Original subtitles

[MUSIC PLAYING]

-Get your Extras!

NARRATOR: There have been showers in Florida,

so there are extras out.

Yes, a new day is starting, and most of us

greet it with hope, like these Hollywood

extra girls, on their way to work.

-United Artists Studio, please.

-Hold it--

NARRATOR: Or these stenographers,

salesgirls, waitresses.

Yesterday's beauty contest winners,

from all over the world.

Whoop-- he didn't get her phone number.

Of course, for some people, yesterday still hasn't ended.

These fellows have been rehearsing all night.

[MUSIC - NAT "KING" COLE TRIO, "SOLID POTATO SALAD"]

-Take a plate, fill it up, and bring it right back.

Got a potato, solid, these are really fine

and you'd better latch on, got a potato, solid, don't hesitate,

go get a plate, before it's all gone.

The farmer said to the spud, your skin looks slightly

pallid, so I'll dig you later, bud,

for some solid potato salad.

Solid potato salad, that's solid salad, Jack, solid potato

salad, boy, take a plate, fill it up, take a plate,

fill it up, bring it right back.

Take a plate, fill it up, bring it right back.

[MUSIC PLAYING]

-Auto all polished and ready to go.

You know, I'm going to that radio show,

"Breakfast in Hollywood."

-Isn't that the one where the guy tries on ladies' hats?

-Yes, that's right.

Uh, do you notice anything silly about me?

Anything?

-Do you mean something out of the ordinary?

-Well, my hat.

-I thought it was a hair dryer.

-Oh, Mr. St. John-- you've just made

me the happiest woman in the world.

You couldn't have said anything to please me more.

Oh, Mr. St. John-- ah--

[MUSIC PLAYING]

-Bus for Phoenix, Flagstaff, Albuquerque, Kansas

City, and Chicago, now leaving.

Phoenix, Flagstaff, Albuquerque, Kansas City,

and Chicago, board.

-Miss Larsen-- Miss Larsen?

-I guess must have fallen asleep.

Did you locate him?

-San Pedro just phoned.

They said they have no record of Seaman First Class James

Glennie ever having been there.

-In his last letter, that's where he said he was going.

-How long ago was that?

-About three months ago.

-A lot can happen in that time.

-When he stopped writing, I thought--

-Yes?

-Nothing.

Do you think he might be in San Diego?

-Now, dear, let's be practical.

You come back here at 5:00 tonight,

and I'll have a return ticket to Minneapolis for you.

Hm?

I'll tell you what I'll do.

You go to the lounge, and freshen up.

And I'll give you a ticket to Tom Breneman's "Breakfast

in Hollywood."

You've still got time, and that'll cheer you up a bit.

How will that be?

-You've been awfully kind.

-Forget it.

-Thank you.

[MUSIC PLAYING]

-Now, don't you worry about me, Tippy.

I'm gonna be all right.

I'll only be gone about an hour or so.

I'm gonna do something this morning

that I've wanted to do for a long time.

There you are.

Now, see?

You're a little croupy this morning.

Well, now, maybe you'll pull in that pride of yours,

and let me get a little box of sand in the house at night.

Come here.

Nobody need know about it but you and me.

[DOG WHIMPERS] Well, have it your own way.

Now, darling, stay in the sun this morning.

And don't take your sweater off.

Goodbye, Tippy.

[MUSIC PLAYING]

-Richard?

-Well?

-Are you awake?

-No.

-I'm leaving.

-Huh?

Any woman who gets up at daybreak to see a radio show

is nuts.

-Now, Richard.

-Well, go ahead.

If you get a kick out of being goofy,

don't let me spoil your fun.

-Oh, would you rather I go with you to San Diego today, dear?

-I wouldn't think of suggesting you do it.

I'm going straight down to business,

and there will be no time for pleasantries.

Now, run along to your concert.

-Radio show.

Aren't you going to kiss me goodbye?

[HE SNORES] Well, have a lovely trip, dear.

And don't work too hard.

I left my purse.

[DOOR CLOSES OFFSCREEN]

-(SINGING)It's better to be by yourself,

than you can always-- da, da, da-- Hello.

-It's Mr. Wheelwright.

-No, no, no.

Cartwright.

I, uh, I'm calling you up at this unearthly hour

because we can get an earlier start for Del Mar, if you like.

-Oh, wonderful.

-Who's coming?

The laundryman?

-It's the gentleman that's taking

me swimming, and to the races today.

Will you be quiet?

-I'll hop now, and get a quick shave and a haircut,

and pick you up at 9:00.

Okey dokey?

-Oh, sure.

Uh, honey, on your way over, would you

stop and buy me a little swimsuit?

Just any little thing.

You pick it out and surprise me, huh?

-And ask him, can he cash a check?

-Goodbye, Mr. Macintosh.

-Ah.

Good morning, Miss, good morning,

Miss, I wonder will you spare a kiss--

[MUSIC PLAYING]

-Going into Hollywood, sir? -Yes.

Come on, get in.

-All right, thank you.

-Where's your home?

-Minneapolis, sir.

Is that the right time?

-Yes.

Why?

-I'm trying to catch an early radio

show. "Breakfast in Hollywood."

Ever hear of it?

-I'm afraid I have.

-My aunt back in Minneapolis listens every morning.

-Well, a very intelligent woman.

With very good taste, too.

-Oh, it's-- it's good, then, huh?

-Oh, terrific.

Sometimes it keeps me awake all night.

-Say, do you know the fellow who runs it?

Uh, Tom Breneman?

-Well, my mother knows him very well.

In fact, she folded his first pair of pants.

-Well, do you think maybe you could get me a ticket?

-Oh, I'm sure I could.

In fact, by a strange coincidence,

I have one in my pocket, right here.

There you are.

-Oh, thank you, sir, but-- gee, I

don't want to rob you of a good time.

-Oh, not at all.

I have no trouble getting in.

It's getting out that bothers me.

-Getting out are sure sweet words to me.

Just got my discharge.

-Oh, swell.

Why aren't you headed for home?

-Oh, I am.

But some important business holds me here.

A suit of civilian clothes that won't

be ready until this afternoon.

-Hm.

I'll bet it isn't a blue serge suit.

[LAUGHTER]

-You can say that again.

-Nice to see you, Howard.

Nice to see you, Betty.

Hello.

How are you?

[APPLAUSE]

Folks, I'd like to introduce myself.

I'm Tom Breneman.

Now you can all applaud.

[APPLAUSE]

Don't spoil me.

How do you like getting up in the middle of the night?

What time did you get up?

-4 o'clock.

-Sucker.

[LAUGHTER]

I'd like to know, first of all, how many of you

ladies here have never heard "Breakfast in Hollywood?"

I mean, you never listen to it on the air?

Is there anybody?

Just you?

Will you please get out?

[LAUGHTER] Seriously, folks, each morning,

just before we hit the air, we kind of

like to visit a bit with you guests,

and kind of find out where you're from, you know,

kind of break ice, [INAUDIBLE] sort of thing,

and-- hello there.

Who are you?

-Mrs. Marie Edgedaw, of Cherry Valley, California.

-Cherry Valley.

Mm-hm.

Well, Mrs. Edgedaw, where is Cherry Valley from here?

-Up near Beaumont.

-You mean, down near Beaumont.

-Up.

[LAUGHTER]

-Oh.

Well, isn't Beaumont down by Banning?

-Yes.

But we're up on the mountain.

That's up.

-Let's get this right, now.

When, eh, when you go south, you go up south, or down south?

-We go up south, but we're a little northeast.

[LAUGHTER]

-You're over that-a-way, in other words--

-No.

Northeast.

And it's up.

Tom, we're just 29 miles from Palm Springs.

-Oh, is that so?

-Uh-huh.

-Up, or down?

Or south, or--

-Oh, we're just to the right of us.

[LAUGHTER]

Oh--

-Listen, Mrs. Edgedaw, did you ever

hear of, uh, "Down in Sleepy Valley?"

-Oh, yes.

-Well, look, do you know of any valley

which you have to go up to get to?

-Mm-hm.

-What?

-Cherry Valley.

[LAUGHTER]

-I give up.

Well, let's go over here and visit a little bit now.

Hello, there.

Who are you?

-Dorothy Larsen.

-Dorothy Larsen.

Well, come on, Dorothy, stand up here,

and let the ladies see you.

Gee, you're pretty.

Where you from?

-Minneapolis, Minnesota.

-Minneapolis.

With a name like Larsen, you couldn't

be from any other place but Minn-ee-sota.

[LAUGHTER]

No.

Tell me, Dorothy, do you hear the program

back there, occasionally?

-Oh.

Do I have to tell?

-My goodness.

We're not that bad, are we?

-Oh, no, but-- well, my boss may be listening in.

-Don't worry about it.

We're not on the air just yet.

-Oh, I get it--

-But you do hear us occasionally, huh?

-Oh, yes.

Back in Minneapolis, at this time

each morning, I used to have coffee and doughnuts in Matty's

Drug Store, and, well, I listened then.

-Uh-huh.

And you weren't supposed to be listening.

-I wasn't supposed to be having coffee and doughnuts.

[LAUGHTER]

Oh.

Well, don't think the laugh's on me.

-No?

Why not?

-Well, I quit my job two weeks ago.

-Oh, you did, huh?

Well, I'm quitting you, too, right now.

[LAUGHTER] She's all right.

[DING]

[DING]

[TIRES SQUEAL]

-It's all right, Mother.

You'll be fine.

You're OK.

Call an ambulance.

-Right.

-Ah-- don't sit up yet.

Everything's all right.

Who's the driver of this car?

-I am, Officer.

But it really wasn't my fault.

I was still in second gear. I'd just turned the corner--

-Take it easy, bud, but stick around.

-Don't try to get up, lady.

-That's right, Mother.

You just stay here and rest a little.

-Oh-- what do you mean, rest?

I just got out of bed an hour ago.

-You might be hurt.

-Oh, go away with such foolishness.

I'm all right.

-Are you sure?

-Why, certainly.

I'm not a bit hurt.

Let me get back to the sidewalk.

-Well, wait a minute.

I've got an ambulance coming.

-Oh, don't tell me that.

I haven't time for such foolishness.

I've got to go someplace.

-I think that you ought to.

The lady says--

-Will you keep out of this?

Where do you want to go, lady?

-Oh, just down to "Breakfast in Hollywood."

It's only a little ways down the street.

And I tell you, I'm all right.

-But I don't know that, you see.

-Oh, well, I'll miss it.

I've been looking forward to it for weeks.

And I'm late now.

-Really, Officer-- I think if she feels--

-Will you be quiet?

-Listen.

I'll go into Mr. Breneman's and sit down.

And then, if you want to, you can come and look in on me,

if you've a mind to.

-All right, Mother, you go ahead.

And I'll come down to see you just

as soon as I get through here.

-Thank you.

Sorry to have been so much trouble.

-Oh, excuse me, but, uh, when you say as soon

as you're through here, does that mean--

-It certainly does.

It means you and I are gonna have a nice, long chat.

Let me see your driver's license.

-Oh, but Officer, this is going to throw me off schedule.

[LAUGHTER, APPLAUSE]

BRENEMAN: Thank you.

Good morning, ladies.

AUDIENCE: Good morning, Tom.

-And good morning to you out there along our network.

Good morning from the ladies having

"Breakfast in Hollywood."

And say, we have a swell turnout here this morning.

Along about this time of our program,

we like to visit a bit.

I think we'll start with, maybe you.

What is your name?

-Harriett Dean.

-Where you from, Miss Dean?

-I'm from Miami, Florida.

-Miami, Florida.

Hm.

Hot down there, isn't it?

[LAUGHTER]

Now, let's see-- who are you, please?

Your name?

-Mullens, this morning.

-This morning?

-This afternoon, it will be Henderson.

-Oh.

Being divorced?

-I'm being married.

[LAUGHTER]

-Well.

Then congratulations.

I suppose you're the happy groom-to-be?

-Yes, ma'am.

I me-- I meant, sir.

-Tell me, Mr. Henderson, are you being married in Hollywood?

-We are.

-Mm-hm.

-Ah, what is your business, Mr. Henderson?

-I'm Miss Mullens' secretary.

-Hm.

What some folks won't do to keep a secretary these days.

[LAUGHTER]

-Oh.

Thank you.

I see one.

-All right, folks, now we're going to meet our service boys

and girls, and I'll ask you to hold your applause,

as I do each day, until we've met them all.

We just want to be sure that the home

folks have a chance to hear them.

You.

-Peter Michaels, Waterboro, Maine,

Machinist's Mate, Second Class--

-Oh, excuse me.

Is this seat taken?

-No, no, I came alone, too.

-Well, that's nice.

So did I.

-I didn't want to embarrass anyone.

-Why don't you put a clove in your mouth?

And then nobody'll know you've been drinking.

-No.

No, I mean, my hat.

Do you think it's silly enough for Mr. Bremmerman to put on?

-Breneman.

It is kind of crazy.

In an artistic sort of way.

-Oh, thank you.

Thank you very much.

I-- you know, for seven months, I've

been trying to wear a hat that Mr. Breneman would put on.

-I'll bet this is it.

-Oh, do you think so?

Well, I hope so.

BRENEMAN: Lieutenant?

-Uh, Lieutenant Steven Wayne, Baltimore, Maryland, sir.

-Mm-hm.

Went there, too, haven't you?

-Yes, sir, a little bit.

-Mm-hm.

What are some of those things, Lieutenant?

-Well, that's the Navy Cross, and the Purple Heart,

and this one--

-Well, we only have 30 minutes.

We can't go into all that.

And well, look who's here.

Do you recognize me?

Who are you, anyway?

-Electrician's Mate, Third Class, Minneapolis, Minnesota.

-Well, that'll help a lot.

What's your name?

No coaching, please.

-Oh.

Ken Smith.

-Well, wait a minute, Ken.

Don't get mad about it, now, you hear me?

[CHUCKLES] What were you doing out in San Fernando Valley?

-Trying to find some people from Minneapolis.

-What for?

-Just to talk to, I guess.

-Oh, Ken, you don't have to go out to San Fernando Valley

to find people from Minneapolis to talk to.

Come over here, son, I-- old Cupid Breneman.

I'll see that you get--

[LAUGHTER, APPLAUSE]

Now, tell us who you are again.

-I'm Dorothy Larsen.

-Oh, Dorothy, I want you to meet Ken Smith.

Go on, Ken.

Pull up a chair.

Aw, this is gonna be swell.

Now, you kids get together and talk your heads off, will you?

Both of you need somebody to talk to.

Aren't they a handsome couple?

[APPLAUSE]

-It's just that I hate to leave here without--

-Without what?

-Without finding my fiance.

-Oh.

-I came here to look for him.

He's from Minneapolis, too.

His name is James Glennie, and he's in the Navy--

-Jimmy Glennie?

-Do you know him?

-Do I know him?

Why-- um--

-Yes, go on.

What were you going to say?

-Nothing, I-- I don't think he's the same fella that you know.

-Now, I guess we've met them [INAUDIBLE].

I wish everybody in uniform in the restaurant

would please stand, because we want to give you

a welcome to "Breakfast in Hollywood."

On your feet.

And let them have it.

Extras--

[APPLAUSE]

-Look, the more I think of it, I'm

not even sure if he came from Minneapolis.

-But you said--

-This guy was engaged to a girl by the name of-- wh--

what'd you say your name was?

-Dorothy.

-Huh, well, there you are.

His girl's name was Cora.

-All right, come on, come on, come on, Minneapolis.

Break it up. The convention is over here now.

Break it up. The convention is over here now. -OK.

-OK.

-Ken, you get back to the table.

-All right.

-And for your girl, for being such a good sport,

here's a couple of $5 bills for you.

-Aw, gee, thanks, Mr. Breneman.

-Fine.

And if you're in Hollywood tonight, spend it on her,

will you?

-Yeah, I sure will.

-And spend it in here. [LAUGHTER] Come on,

give them a hand.

All right.

[APPLAUSE]

Now then, we're going for a hat.

This silly routine, every morning.

I don't know what you're laughing about.

[COUGHING]

Who are you, please?

-Mary Calder.

-Mary Calder.

Where you from, Mary?

-Uh, Kansas.

-You're from Kansas?

Where did you get that silly number?

-Just a little thing I cooked up myself.

-You cooked it up yourself.

Looks like it boiled over.

[LAUGHTER]

Look at there.

That is a monstrosity down there.

Hm.

I simply have to get a closer look at that thing.

No, we're talking about you.

Don't look over your shoulder.

Who are you?

-Elvira Spriggens.

-And where you from, Miss Spriggens?

-Pomona.

-(LAUGHING)Pomona.

I should have known.

That is the silliest thing I've seen

in this place in a long time.

Where do you live now?

-In Hollywood.

-In Hollywood.

That looks like a typical Hollywood model.

What is it, Bobby?

That?

Oh, my goodness.

This is even worse. -Mr. Breneman--

-Hm?

-Do you want me to take it off?

-No, just-- not just right now.

-But do-- do you like it? -Yes.

I'll be back.

[LAUGHTER]

Look at this thing.

-Hello, Tom.

-Hedda, it's awfully nice of you to come over

and say hello to us this morning.

-Oh, I'm so glad to be here.

-It's a pleasure.

-And do you know Mrs. Cooper?

Gary's mother.

-No.

-How do you do?

-Hello, Mrs. Cooper.

Gee, it's nice to see you.

How's Gary?

-Very well, thank you.

-That's grand.

Did you have a nice breakfast?

-Oh, the loveliest bacon.

-Oh, fine.

-And Mrs. LeSueur.

Joan Crawford's mother.

-Oh.

Hello.

How are you?

How's Joan?

-Fine.

-Mm-hm.

Please, give her my regards.

-I certainly will.

Thank you.

-Thank you.

And, uh, you are-- you hear our program too, do you?

-Every morning.

-Mm-hm.

You enjoy it?

-Very much.

-Well, that's nice.

Do you think I'm a good master of ceremonies?

-The best ever.

-Oh.

And you think I'm handsome?

-Very handsome.

-And terribly underpaid, wouldn't you say?

-Yes, very much underpaid.

-You know, you sound just like my mother.

-I am your mother.

-And she is, too.

[LAUGHTER, APPLAUSE]

-Oh, what a lot of ham in that family.

-Say, speaking of ham, Hedda, I'm

inviting you all down for dinner tonight.

-Why, thank you, Tom.

We'd love to.

-Oh, that'd be swell.

Hedda, I know that you're famous for daffy hats,

but what is that supposed to represent?

-Well, when I left home this morning,

it was a goldfish bowl.

-Hedda, I simply have to try it on.

You mind?

-What do you suppose I wore it for?

Miss Cooper, would you please hold the microphone?

Just like that.

Thank you.

-There you are.

-This is the silliest thing I have

ever seen, even for you, Hedda.

There you are, kids.

[LAUGHTER, APPLAUSE]

-Don't you feel bad, dearie.

I think yours is much worse than hers.

BRENEMAN: Wait a minute, you smarties.

After all, on me it didn't attract a duck.

HEDDA HOPPER: No, but brother, what

an invitation to a woodpecker.

[LAUGHTER]

-Hi, Hedda.

-Spike Jones, and his City Slickers.

Need I say any more?

-Well, what did you expect?

Tchaikovsky?

[MUSIC - SPIKE JONES, "HEDDA HOPPER'S HATS"]

-Take a sprig of parsley, add a rubber bathtub stopper--

whattya got?-- a hat for Hedda Hopper.

Mix a batch of concrete in a five and dime corn popper--

whattya got?-- a hat for Hedda Hopper.

Take a ripe banana, add a jigger of Cointreau,

broil it over charcoal that's just Hopper's new chapeau.

Add a pickle to the side of grandpa's old silk topper--

whattya got?-- a hat for Hedda Hopper.

When the swallows come back to Capistrano,

you can bet your life they'll land right

on Miss Hopper's new hat band.

Mister Mockingbird, listen to the mocking bird,

please have pity on that kid, he's

slated for Miss Hopper's lid, Mister Mockingbird,

listen to the mocking, boys, our feathered friend's

a real dead pigeon now.

First you take a-- [BELLS], then you add a-- [HORNS],

whattya got?-- why, a hat for Hedda Hopper.

Then you mix a-- [SOUND EFFECTS]--

whattya got?-- why, a hat for Hedda Hopper.

Scientists are busy with a plan, they're working on it,

mixing up synthetics for Miss Hopper's Easter bonnet.

So if you see a Frankenstein, don't plead or call a copper,

'cause what you see is a hat for Hedda Hopper.

[APPLAUSE]

-And then the cop discovered that my driver's

license had expired.

Of course, it's only a formality, my dear,

but, uh, I shall have to take, well, a slight examination.

And I shall be delayed, well, five or ten minutes.

-All right, Mr. Cartwright, but please hurry.

You're late already.

Goodbye.

-I wish we could hit on some way to do it.

-Do what?

-Let him know Tuesday's my birthday.

Well, it is.

-Now we're going to award our wishing ring.

Yes, sir.

Let me see here.

Who are you?

-Wanda Ricketts.

-From where, Miss Ricketts?

-Denver, Colorado.

-From Denver.

Please draw a number out of the basket.

-All right.

-Fine.

Here's the winner.

4-9-3-6-6.

4-9-3-6-6 wins the ring.

-I have it.

Here it is.

-Oh, good.

Well, look, it's Minneapolis.

Well, come on here, honey.

You've won our wishing ring.

[APPLAUSE]

Come on over here, and let the lady speak.

This is swell.

Dorothy Larsen, the doughnut and coffee girl.

-That's right.

-Oh, this is grand.

Tell me, Dorothy, it must have been swell to come in here

and have a first class breakfast.

-Well, I was a little late getting a seat,

and when they served me, all I got were--

-Coffee and doughnuts, yeah.

Dorothy, you say you're a secretary, huh?

-I was.

I'll be a housewife soon.

I hope.

-Oh, gee, that's swell.

So instead of taking dictation, you be giving it, eh?

-I hope to live on a farm.

-Why?

-So I can hatch baby chicks.

[LAUGHTER]

-Well, now, don't laugh.

That's a good trick, if she can do it. [LAUGHTER]

Dorothy, you've won our wishing ring.

Here, I want to show it to you.

At the same time, I want to show it to the ladies.

There it is.

-Oh, it's beautiful.

-All right, now I want to put it on your finger.

You make a wish, and we'll ask everybody here, and everybody

along our network, to wish along with you.

Now, what's your wish?

-I wish that I may find a friend.

-Well, Dorothy, you've found 300 new friends here this morning.

Isn't that right, folks? [APPLAUSE] You bet it is.

-Thank you, but, well, I mean a certain friend.

He's my fiance, and he's still in the service.

-Oh.

Well, gee, we hope you find him.

-Thank you.

And Dorothy, as a special treat this morning,

we have something here that'll make wishing all the sweeter.

Stand up there, Andy.

Ladies and Gentlemen, Andy Russell.

[APPLAUSE]

Andy's going to sing a little song, dedicated

to the winner of our wishing ring.

And you keep wishing, honey.

-All right.

-OK, Andy.

[MUSIC - ANDY RUSSELL, "IF I HAD A WISHING RING"]

-If I had a wishing ring, I'd never

ask for any worldly thing.

My heart and I agree on what a wish should

be, one miracle would do, the miracle that you'd love me.

You'd be my treasure, way beyond compare, for my heart says

your name in every prayer, no dream would be denied,

and I'd be satisfied, with all your love could bring,

if I had a wishing ring.

My heart and I agree on what a wish should

be, one miracle would do, the miracle that you'd love me.

You'd be my treasure, way beyond compare, for my heart says

your name in every prayer, no dream would be denied,

and I'd be satisfied, with all your love could bring,

if I had a wishing ring.

[APPLAUSE]

-That's swell.

Andy, come on over here just a moment, will you?

I would have words with you.

If you think you're going to get away with one number,

you're crazy.

What would you like to sing for an encore?

-Well, uh, how about "Magic is the Moonlight," Tom?

-Well, that'd be swell.

Especially in view of the fact that you

rehearsed it all morning.

[LAUGHTER]

[MUSIC - ANDY RUSSELL, "MAGIC IS THE MOONLIGHT"]

-Magic is the moonlight on this lover's June night,

as I see the moonlight shining in your eyes.

Can't resist the power in this moonlit hour,

love began to flower yes this is paradise.

Living in the splendor of your kiss so tender,

makes my heart surrender to your love divine.

Magic is the moonlight much more than any June night,

magic is the moonlight for it made you mine.

[SINGING IN SPANISH]

[APPLAUSE]

-Oh, that was grand, Andy.

-Thank you, Tom.

-Thank you.

Just a pleasure.

Now, as we do each morning, we'd like

to award our orchid to our eldest guest.

And I want a bid-- how old?

-71.

-71.

Oh, you're just a youngster.

FEMALE VOICE: 79.

-79-- over here.

-82.

BRENEMAN: 82.

Over there.

82.

Is that the winner?

82-- and so it is.

The little lady over here.

Well, isn't this nice?

Hello there.

How are you?

MALE VOICE: 83.

-83.

83.

A female baritone. [LAUGHTER] Did you say that, sir?

-I'm 83 years old.

-Well, this is a ladies' program, sir.

You'd look pretty silly walking down

Hollywood Boulevard with an orchid in your lapel.

-Guess I made a mistake.

My daughter-in-law says I'm only 78.

-Hm.

How'd you make a mistake like that?

-I've been married twice.

-Oh.

[LAUGHTER]

Well, here's a little consolation prize for you.

Have a cigar.

Now then, we'll go over here and see the little lady who is 82.

Hello there.

-Hello.

-Well.

And who are you?

-I'm Anna Reed, from Hollywood, California,

and I'm pleased to meet you.

-Well, I'm pleased to meet you, too.

Tell me now, you say you're 82.

-I am.

I'm 82, going on 83.

-Well.

Come on out here and meet the ladies.

Gee, this is wonderful.

Here she is, she's Anna Reed, she's from Hollywood,

and she is 82.

[APPLAUSE]

Now then, tell me, is it Miss or Mrs. Reed?

-Mrs., of course.

-I love that "of course."

Why'd you say that?

-Well, because I was married.

[LAUGHTER]

-Tell me-- do you have any children?

-Yes.

One son.

-Mm-hm.

Grandchildren?

-One.

-Great-grandchildren?

-One.

-Annie, you're in a rut.

[LAUGHTER]

Tell me, you don't mind my calling you Annie, do you,

honey?

-No.

I like it.

Tommy.

[LAUGHTER]

-You're a very active woman for 82.

-Oh, sometimes I feel that I'm not very active.

But I've got my own teeth.

-I have mine, too.

On the lower side.

[LAUGHTER]

You and Mr. Reed live in Hollywood?

-Oh, no.

Mr. Reed passed on, about 26 years ago.

I live alone, with my little dog, Tippy.

-Well.

Gee, you smell nice.

No, no, I didn't mean it to sound quite like that.

I mean, that perfume you have on is lovely.

What is it?

-It's Muguet.

It's "lily of the valley" in French.

-Oh.

-It's my favorite.

-Is that your favorite?

Mm-hm.

Tell me, where were you born?

-Well, originally, in Claremont, New Hampshire.

-You were born originally.

[LAUGHTER]

Oh, that's terrible.

And where did you meet Mr. Reed?

-In Newport, New Hampshire.

-And where did you go to live, after you were married?

-In Claremont, and Newport.

-Then you lived in both places.

-Uh-huh.

-How was that?

-Well, I'd live a month or two in Claremont,

and then, uh, I'd live two or three months in Newport.

-Mm-hm.

Why, though?

-Well, my husband used to be on the fire department,

so he had to live in Newport at odd times, for the calls.

Oh.

I understand.

Claremont was my home, and Newport

was where my husband lived.

-Well, that's a little inconvenient, isn't it?

[LAUGHTER]

Huh?

-It was inconvenient when a call would

come through at 2:00 or 3:00 in the morning.

-Yes, I imagine so. [LAUGHTER] Oh, Annie.

Now, from, from Newport to convenient-- I mean,

from-- yes, I guess it would be.

Then your husband was in Newport most of the time.

-Only for fires.

-Oh, only for fires.

-And at other, odd times, while he was in Claremont.

-Hm.

But where did he sleep?

-At the firehouse.

-Oh.

Where was your son born?

In Newport, or Claremont?

-White Pigeon, Minnesota.

[LAUGHTER]

-You-- you know, Annie, you could have

saved us both a lot of trouble?

-You mean if I'd stayed back in Claremont?

-No.

No, if you'd have burned the firehouse down in Newport.

[LAUGHTER]

Well, now, honey, look what we have for you.

There it is-- the orchid.

AUDIENCE: Oh--

-Oh, it's awful pretty.

-Yes.

And it's for you.

-Oh, thank you.

-You're welcome.

You've heard the program, have you?

-Oh, yes, I listen to it every morning.

-Well.

Is that your first orchid?

-It most certainly is.

But I want what goes with it.

[LAUGHTER, APPLAUSE]

-Say, listen, dear.

When I was taking my driver's test,

I ran over a traffic button, and I had a blowout.

How about your meeting me at my office at 12:30?

-Fine.

That's only four hours away.

And where are you having this tire fixed?

New Guinea?

Oh, all right.

But you be there at 12:30, you hear?

-Now we're about to award our famous beauty kit.

So we'll ask one of our guests to draw a number here.

Who are you, please?

-Florence Promise.

-From where, Miss Promise?

-I'm from Philadelphia.

-From Philadelphia.

What are you chewing?

-Gum.

-Oh, you have to spit it out.

You can't chew gum in the ra-- that's it.

Will you draw a number out of basket, please?

-Hope it's mine.

-I hope so, too.

Well, here it is.

4-9-4-0-7.

4-9-4-0-7.

-He, here-- here it is.

-Over here it is.

How nice.

You lucky person.

Come on out here, now. [APPLAUSE] Isn't this nice?

Now, tell us, who are you?

-Oh, my God-- can't remember my name.

[LAUGHTER]

It's Richard.

I mean, Mrs., Mrs. Richard Cartwright.

-Well, now, congratulations.

-Thank you.

-Where do you live, Mrs. Cartwright?

-I live in Ohio.

Columbus, Ohio.

I mean, I live in Hollywood.

Can't seem to remember anything.

-No.

Just a little nervous.

Now, don't be afraid of this microphone.

You've won our beauty kit.

Beverly, won't you show it to Mrs. Cartwright?

At the same time, show it to the ladies here.

AUDIENCE: Ooh--

-Isn't that a dandy?

-Oh, it's very nice.

-Uh-huh.

Well, you don't seem very excited

about it, Mrs. Cartwright.

-Oh, but I am.

It's just that I don't go in very much for cosmetics.

-Well, you will now.

There's enough goop in there to keep you beautiful for a year.

[LAUGHTER]

-I'm afraid my husband wouldn't care for that.

You see, he likes the plain, natural, home-type girl.

-Well, in this day and age, he's a novelty.

-Excuse me.

-Mm.

I figured it'd do that.

-Do what?

-Split the wheel bearing, that's all.

-Well, is that, uh-- is that serious?

-Well, we ain't got none in stock.

We'll have to send out for one.

-Thank you very much.

-You're very welcome.

-Thank you, Mr. Breneman.

-Thank you for asking.

Goodbye.

COP: All right, ladies, let's move on, please.

Let's make a little room here.

-What in the world happened here, Bobby?

-A lady fainted.

-A lady fainted--

-All right, ladies, let's move on, please.

Make room here, please.

-Why, Annie, you rascal.

I'm surprised at you.

-I'll be all right in a minute.

Where's my pocketbook?

-Oh, don't worry, honey, it's right here.

-Oh.

Thank you.

-You'll be all right.

-She was hit by a car about an hour ago, Tom.

-Oh.

-She claimed she wasn't hurt, so I let her come on in here.

-Mm.

Do you have any pain?

-Not much.

-I called an ambulance, too.

-Oh, no ambulance.

Don't let them take me to the hospital, please.

-Well, they just want to see if there's

anything wrong with you.

-I'm, I'm all right.

Thank you.

Honest I am.

All I need is a good cup of tea, in my own house.

-If there's nothing wrong with you,

they'll take you right home.

-Oh, no, they're liable to keep me

there, and then what's to become of Tippy?

My little dog.

He's old, and alone.

He's got to have someone take care of him.

-I'd be glad to take care of him today.

I have nothing else to do.

-Oh--

-There you are.

-That's awful nice of you.

You'd take him for a little walk, maybe?

-Why, sure.

-Now, you have nothing to worry about.

-Well, you're sure that they will bring me home

if they find there isn't too much wrong with me?

-I'll guarantee it.

-And by golly, just to make sure, I'll go with you.

How's that?

-Oh-- you've been so nice to me.

I-- I just hate to put you out.

Besides, you're gonna be awful mad at me.

Look what I did to my pretty flower.

COP: All right, folks, break it up.

Move on, please.

-Oh, there you are.

May I speak to you for a moment?

-Well, sure.

-You were teasing me this morning, weren't you?

-About what?

-About not knowing Jimmy Glennie.

-Oh.

-Of course you know him.

Because he sent me this picture several months ago.

I thought you looked familiar.

And then I remembered this.

-Yeah, sure, I know Jim.

-Maybe you can tell me where to find him.

-I wish I could, but I don't know where he is.

Honest, I don't.

I'm sorry.

-Would you mind if I asked you a favor?

-Not a bit.

-Jimmy means an awful lot to me, and I was wondering if-- I'd

be ever so grateful if you'd just talk to me a few minutes

about him.

-Be a pleasure.

-Tell me how he looked, and some of the things he said,

and some of the things he did.

-Say, listen.

I have to take Mrs. Reed's little dog for a walk.

Would you like to go along?

-You wouldn't mind?

-Mind?

Yeah, that might be a slight inconvenience,

but, uh, I think I can manage to stand up under the strain.

-Well.

This is an unexpected pleasure.

I, eh, I was just going to write you a letter this afternoon.

-Are you kidding?

You told me to meet you here.

This is Myrtle, my roommate.

-How do you do?

-I'm great.

-Why, Gloria.

Why didn't you tell me he was so good-looking?

-Thanks.

Uh, Miss Hammer, suppose you run along to lunch, eh?

-I'd be glad to.

-Honey.

-Yes?

-Listen, I-- uh-- Honey.

Myrtle's broke, and so we thought it would be nice

if you won some money for her at the races today, too, huh?

-Really?

Well, I mean, so after all, I--

-Uh, Mr. Cartwright, did anyone ever

tell you that you look like Gable?

-Oh, really.

Do you think so?

Why, I haven't got his shoulders at all.

-Look, are we going to the races today, or not?

It's 20 minutes to one.

-You bet we are.

On our way we'll stop at the barber shop,

and then we're off.

Nothing can stop us now--

-Mr. Cartwright?

-Yes?

-You'll have to come to the police station with me.

That old lady you hit this morning

is hurt worse than we thought.

There's a bench warrant for you.

-Did you ever go to the Cooper Ballroom in Minneapolis?

-Why, sure.

Every Saturday night.

-We went on Fridays.

I guess maybe that's why I never saw you there.

-Yeah, that's just like me.

I never get to meet a good-looking girl

till it's too late.

-How about Doc's, for hamburgers?

-Yeah, but we were more on the chop suey side.

-Mm-hm.

That was a little expensive for Jimmy and me.

-That's one thing I never had to worry much about.

Dough.

With me, it was always here today, and going tomorrow.

-Don't you ever worry about your future?

-No, I got a crabby old uncle who does that.

Not much sense in both of us worrying.

-You're lucky.

I didn't have anybody to worry about me.

That is, until I met Jimmy.

He worries about me all the time.

-Look, uh--

-Oh, in nice little ways, I mean.

Like not letting me sit in drafts, or telling the fellows

to watch their language when I'm around.

-Doesn't that make you a pain in the neck to the other guys?

-Of course not.

Well, they get a kick out of the way

that-- I never thought of it like that.

-They're very pretty flowers.

-Yes.

Aren't they beautiful?

Mm.

They remind me of the ones down in the islands.

Because they're so different.

Ahem.

[MUSIC PLAYING]

[DOROTHY LAUGHS]

DOROTHY: Oh, Ken-- that's terrible.

-We both look scared to death.

-Well, let's take another one.

And smile this time.

-OK.

You know, the trouble is that-- ah--

we're-- we're posing like two other people.

Maybe-- couldn't we--

-What?

-You know.

Sort of act like we know each other a little bit better.

-Oh.

All right.

How's this?

-Swell.

-Go ahead.

-Huh?

-Put the quarter in.

-Oh.

Let's do it again.

That pose is great.

-You smiling?

-Uh-huh.

-Go ahead.

-OK.

[DING]

-Ken.

That wasn't fair.

-I'm sorry, I-- I couldn't help it-- honest I couldn't.

Dorothy.

-I'm sorry you misunderstood my friendliness.

-I didn't, Dorothy.

It's just that you're so darn sweet--

-What?

-I said, you're so darn sweet, and I'm so darn rusty.

-Well, that isn't very flattering to me, either.

-No, no, what I mean is that, well, we're

both sort of in the same boat.

What we need is somebody to help us over the hurdle, see?

-No.

I don't see.

-There's something that you ought to know.

I'm gonna tell you, but you're not gonna like it.

-I don't want to hear anything more.

As far as you're concerned, I'm terribly disappointed.

Don't bother taking me back in the bus.

-But-- Dorothy-- Please.

I don't want you to think I'm just making a play for you.

I meant that kiss from the bottom of my heart.

-Do you realize what you're saying?

-I sure do.

-Then you're a fine friend of Jimmy's.

-I'm a better friend of yours.

That's why I want to tell you something.

-Just what are you driving at?

-Just this-- you may be in love with Jimmy,

but you're not engaged to him.

-Why do you say that?

-Because he's married to somebody else.

-Married?

-I didn't want to tell you before, because well, it

was none of my business, and I knew it would hurt you.

-I don't believe you.

You're making it up.

If it is true, why didn't Jimmy tell me?

Why didn't he write me?

-He was waiting to get up enough nerve.

He met a girl in Spokane.

He hadn't seen you for over a year.

Just went hook, line and sinker for this other girl,

and married her the week I shipped out.

Somebody had to tell you sometime.

-And you thought for your own convenience you'd tell me now.

-I just didn't want you to go on eating

your heart out for someone--

-When you were on hand.

That's the real reason you told me, wasn't it?

-I just told you.

At first, I didn't think it was any of my business, but--

-Oh, oh, don't try to explain.

Don't try to explain anything.

I'm so muddled up, I don't know what to do.

-Dorothy!

Don't run out on me, I--

[DOG BARKS]

I got the dog on my hands.

-I don't know.

For a smart guy, you're a first class [INAUDIBLE].

-Now, now, baby--

-If you had posted bail and kept your mouth shut,

we'd have been out of here an hour ago.

-Oh, girls, ease up a little bit, will you?

After all, when I started talking

to that pleasant gentleman in the gray suit

and told him what I thought of the police,

how did I know he was the chief of detectives?

-At the rate we're going to Del Mar, I'll never make any money.

-Now, now, let's not lose our tempers.

-Now, for pity's sakes, let's get going.

-In less than nothing flat, sweetheart.

First we go to the barber's, and then

we'll really hit the open road.

Here's the car.

Get your beautiful selves in there-- there you are,

heh, heh, heh.

There.

You in?

Fine.

Hit that track if it's the last thing I do.

[THE ENGINE SPUTTERS]

[MUSIC PLAYING]

-Oh-- good afternoon, ma'am.

-Good afternoon.

-But won't you come in?

Mrs. Reed will want to thank you for being so kind.

-Some other time, please, ma'am.

Right now, there's something important

I have to do before 5 o'clock.

-Very well.

Goodbye.

-So long.

-"Breakfast in Hollywood."

Oh, I'm sorry, his line is busy.

You're welcome.

Oh, Miss Fields.

-Yes?

-This gentleman's waiting to see you.

-Excuse me.

My name is Ken Smith.

Is Mr. Breneman in?

-Do you have an appointment, Mr. Smith.

-No, I don't, but--

-Well, then I'm afraid he can't see you today.

-This is very important, Miss.

-I'm awfully sorry.

Mr. Breneman is a very busy man.

Could you come in tomorrow?

-That won't do me any good.

I'm in trouble.

And tomorrow will be too late.

-Well, what sort of trouble?

-Girl trouble.

Look, Miss.

You don't want to see two people who really need

each other both end up with a kick in the heart, do you?

Well-- wait a minute.

BRENEMAN (ON PHONE): Yes?

-Excuse me, Mr. Breneman.

There's a young sailor out here.

A Mr. Kenneth Smith.

BRENEMAN (ON PHONE): Tell him to come in, please.

-All right.

You may go in.

First door to the right.

-Thank you.

BRENEMAN: Hello, Ken.

What's on your mind?

-Hello, Mr. Breneman.

Oh, boy, you sure got me into something.

Now you gotta help me out.

-I got you into something?

What?

-You introduced me to Dorothy, that girl from Minneapolis?

She won the wishing ring this morning, remember?

-What happened?

Did her fiance show up?

-No, sir, and he isn't going to.

[INTERCOM BUZZ]

-Yes--

MISS FIELDS (ON INTERCOM): I have

a call on number three for you.

-All right.

Hold it, and I'll take it in just a moment.

-The fellow she was engaged to married somebody else,

and didn't tell her.

-I suppose you rectified that error.

-Well, how did you know?

-I can tell by that sick look on your face.

-Oh.

Well, when I told her, she got me all wrong.

She broke out crying and ran away.

-Well, what am I supposed to do about it?

-She's going back to Minneapolis tonight.

Her bus leaves in 25 minutes.

Will you [INAUDIBLE] talk to her?

Will you explain to her?

-Explain what?

-Can't you see what she means to me?

If she gets on that bus tonight-- look,

there's only 20 minutes left.

MISS FIELDS: Mr. Breneman?

-Yes.

-That party's still waiting on the phone.

They say it's urgent.

-OK, I'll take it right now.

-This isn't just a crush.

I'm dizzy about her.

This morning when I met you, I had nothing to gamble for.

Now, I've got everything.

You're not gonna let me blow it without getting

a fair shake for it, are you?

-You're the gabbiest guy I've ever met.

I tell you what you do.

You go to the bus depot.

Hold her till I get there.

-OK.

-And I'll be over just as soon as I answer this phone call.

-Aw, gee, Mr. Breneman, you're the tops.

-Oh, there you go, gab, gab, gab, now go on, beat it.

I'll be over in a few minutes.

And look, don't try to be persuasive.

Be yourself.

-OK.

-So long.

That telephone call?

-You can take it here, sir.

-Thanks.

Hello?

-Mr. Breneman.

This is Mrs. Reed's nurse.

I'm a little worried.

Mrs. Reed has had a peculiar spell,

and I've called the doctor.

I wonder if you could come over for a few minutes?

-Oh, you bet I will.

I won't be gone long.

-All right.

-Won't you just look at me a minute?

-I can hear you without looking at you.

-Honest, Dorothy, I didn't tell you

about Jimmy just because I--

-Oh-- I've already told you, it's unimportant, anyway.

Now what more can I say?

-Well, you could tell me you're not angry with me.

-Can't you see I don't want to talk to you?

-Oh, excuse me.

Say, do you know Tom Breneman?

-What does he look like?

-Well, he's, uh-- oh, skip it.

-Sorry.

-Huh?

TRAINMAN: Phoenix, Flagstaff, Albuquerque,

Kansas City, and Chicago, board.

-Annie, you're a bad girl.

You're not trying, and you know it.

-Oh, I'll be all right.

-Well, you don't sound very convincing.

You're not putting up a fight at all.

-I've been fighting for 82 years.

-I could give you a good spanking,

for talking like that.

-To win a battle, you've got to have something to fight for.

You see, Tippy's the only one that needs me,

and he's lived his life, too.

-Oh, you're talking through your hat.

We all have work to do.

We have people who need us.

-Well, that's a lot of nonsense.

-You're right, it is a lot of nonsense.

I guess you and I both are fed up

with this good neighbor stuff.

-That's right.

-By golly, Annie, I wish I could be more like you.

Then maybe I'd have some sense, too.

-Huh.

-Well, you face fact.

Your work is done.

Why stick your nose into somebody else's business?

Well, have a good night, honey.

-I think I will.

I feel sleepy now.

-I'll get back to the office.

Let somebody else help them.

Good night.

-Help who?

-Oh, I was just thinking out loud.

Good night.

-Wait a minute.

-Yes?

-Who's in trouble?

-Oh, I don't want to bother you with it.

You're tired.

-Now, you come back here, and tell me.

I want to know.

Who's in trouble?

-Well, you remember the young sailor, and the girl

from Minneapolis with the program this morning?

-I most certainly do, and a mighty cute pair they were,

too.

-Well, the boy got a crush on the girl,

and they've had a quarrel, and she's

going back to Minneapolis, tonight.

-Oh, what a pity.

-Yeah, she's been over at the office, mooning around.

Wants me to help them.

You'd think it was the end of the world.

-Well, to two young people in love,

a quarrel is the end of the world.

-Well, let's forget about it.

I'd better go back to the office.

Now, if you want anything--

-Wait.

I got an idea.

-Yeah?

-You go and get those two young people, and bring them here,

and I'll bet you I can get them together again.

-Well, I wouldn't think of it.

You're a sick woman.

-Now, if you say that again, I'm gonna get right up

and go get them myself.

-Are you sure you want to be bothered?

Just a moment ago, you said--

-Oh, that was just a lot of talk.

Now, please do me the favor, and go

get them and bring them here.

-All right, but you're forcing me.

-San Francisco, Sacramento, Salt Lake City,

Cheyenne, Omaha, Minneapolis, board!

-Look-- if I write you a letter in care

of Doc's hamburger joint, will you answer me?

-No.

-What?

Not even a, a postcard?

-No.

-All right, sailor, will you get in or out?

Please.

-OK, OK.

-Sorry, buddy, no loading on the platform.

[MUSIC PLAYING]

-Oo, buddy, is this a happy day.

Jim Jam won the first race at Del Mar.

Ha, ha, ha, ha--

-Oh, Ken-- just a moment, please.

I'm awfully sorry I'm late, but I really have a good excuse.

-Yeah, sure, it's OK--

-No, tell me, what happened?

-Look, let's just forget about it--

-No, no, don't be that way, Ken.

I want to know, really.

-Look, Mr. Breneman, I know you're a good guy,

but it's too late for talk.

Now she's gone.

I'll see you around sometime.

-But--

-Mr. Breneman-- what a lovely coincidence.

-You'll have to excuse me--

-But I just bought new hat, and the lady

said I look just like a penguin.

-Well, that's nice, yes--

-Mr. Bren-- will you go across the street, Mr. Breneman,

and take a look?

I want to see if it'll make you laugh.

-Not now, please.

Bring it down to the restaurant, tonight.

I'll have more time.

-Tonight? -Yeah.

And the name is Breneman.

Bye.

-Brem-- Bren-- Brenen-- Brenman-- Eh--

-Well.

Pardon me, lady.

-Larsen.

L-A-R-S-E-N. Larsen.

She's on the South Lake bus.

It left Hollywood at 5 o'clock.

Oh, thank you, Sergeant.

You're doing the Mayor of Encino a big favor.

Bye.

You know of any other place where

a sailor who's lost his girl might go?

-No.

Unless maybe a cocktail bar.

-Oh, sure he would.

What's the matter with us?

Let's start phoning them, right now.

-There's only 900 of them, in and around Hollywood.

-Well, try it, anyway.

Tell them it's for "Breakfast in Hollywood."

And tell them we'll give a reward,

to anybody who brings Ken to the phone.

-How much?

-Well, two tickets to the radio show, of course.

What do you expect, a half interest in the joint?

-I'd hardly know it's me.

You've changed my whole appearance.

-You have attractive features, dear.

It is just that you have been neglecting

to bring them out to good advantage.

-I can hardly wait till my husband sees me.

-Why not surprise him?

Telephone him.

Have him meet you someplace for dinner.

-I can't.

He's out of town.

-Oh, but my dear, with that beautiful hairdo,

surely you are going somewhere tonight.

-I'm afraid not.

I'd like to have my bill, please.

-OK.

Marie will get it.

-Thank you.

-It really is a pity.

Such a lovely makeup and hairstyle

just cries to be taken out.

-I'm sorry.

I'm afraid it will have to wait.

You see, I'm a little old-fashioned.

I don't believe in wives gallivanting around

while their husbands are away.

Working as hard as mine does.

-I understand perfectly, dear.

-Thank you so much.

-Thank you.

And come again, will you?

-Oh, indeed I will.

-Thank you, Mrs. Cartwright.

-Thank you.

[LAUGHTER]

-What a day, huh?

I literally come out of the police station

to find I'm out of gas.

Why, those two little lollipops could've kicked a hole

in a battleship with a moccasin. [LAUGHTER]

-They walked right out on you, huh?

-Are you kidding?

-They don't walk out on a man like Mr. Cartwright.

He knows how to handle vvvt.

-Ah, you're right about that time, Herman.

Well, right now, those two little sweet patooties

are sitting out front, so sorry, they'd do anything for me.

But my laundry.

[LAUGHTER]

-Doggone it, Mr. Cartwright.

You sure know how to handle it.

-He's certainly got those two eating out of his hand.

-Well, you might say it's a gift.

I was just naturally born with it.

-Excuse me, Mr. Cartwright.

-Yes?

-But the ladies sitting outside in your car

say that if you don't come out in two minutes,

they gonna come in and wipe up the floor-- with you.

-Eh, you better forget the shampoo, Herman,

and let me get out of here.

No need carrying the punishment to the point of cruelty.

-What can I do for you, please?

-Oh, good evening.

-If you and your girlfriends think it's going to be one,

you're optimistic.

-Ye gods.

That was my wife.

-Hmph--

[SIREN]

-What's wrong, Officer?

-You got a passenger by the name of Larsen?

A young lady going to Minneapolis?

-Is there a Miss Larsen on board?

-My name is Larsen.

-Miss Dorothy Larsen?

-That's right.

Why?

Is something the matter?

-Do you know Tom Breneman?

-Why, yes, I-- I was at his radio broadcast this morning.

-OK, lady, I'm sorry, but you'll have to come back to Hollywood

with us.

-What for?

-Step outside, and I'll tell you.

-What's happened?

-It's about a ring.

Mr. Breneman claims you stole one from him.

Come on.

[MUSIC - SPIKE JONES, "GLOW WORM"]

-A-when the night falls silently, the night

falls silently-- [CRASH] on forests dreaming [SNORE]

loved ones wander forth to see, they wander forth

to see the bright stars gleaming,

and lest they should lose their way lest they should lose

their way the glow worms nightly light their tiny lanterns gay

their tiny lanterns gay and twinkle brightly here,

and there, and everywhere through mossy dale and hollow

hollow hollow hello there, girl-- whattya say,

boy-- floating, gliding, through the air,

they call on us to follow ah ah ah ah ah ah ah ah ah choo--

gesundheit-- thank you-- shine, little glow worm,

glimmer shine, little glow worm,

glimmer lead us lest too far we wander, love's sweet voice is

calling yonder-- call, call, you know

what-- shine little glow worm, glimmer, shine

little glow worm, glimmer, light the path below-- above-- eh,

shut up-- and lead us on to love.

Ah-- And lead us on to love.

[APPLAUSE]

-That was Mr. Breneman who just phoned.

I'm afraid the news isn't so good.

-What's wrong?

-Mr. Breneman missed the bus.

The girl left, and the boy has disappeared.

-Oh, no.

-Mr. Breneman's had the girl arrested,

and she's being brought back to Hollywood by subterfuge.

-Did you say, arrested?

-Yes.

-Oh, it's bad.

That's what it is.

KEN: Hello, Tippy.

Brought you a bone.

Yeah.

Saved that for you.

You like that, boy?

Oh, yeah.

Here.

Yeah.

Think you're gonna like that?

Huh?

Oh, that's a good boy.

Yeah.

-Is that you, young man?

-Oh-- excuse me, ma'am, I tried to come in quietly,

so I wouldn't disturb you.

I just brought Tippy a bone.

-Oh, thanks.

My.

Don't you look nice?

I hardly recognized you in your new suit.

-Thank you, ma'am.

-Your young lady friend will be mighty proud of you.

-Oh, well, that's all off.

She's gone back to Minneapolis.

-That's not the way I hear it.

-Oh, but I saw her leave on the bus myself.

I was with her until she--

-Maybe so.

But they're bringing her back to Hollywood, under subterfuge.

-When you say "they," do you mean the police?

-Uh-huh.

Two of them.

Big cops.

They took her off-- they yanked her off the bus,

under very extenuating circumstances.

-But why?

What's she done?

-Something to Mr. Breneman.

What, I don't know.

They're being awful secret about it.

-Oh, they are, are they?

Well, that means they're trying to pin something on her.

-The very thing I said to myself, when I heard it.

Oh, you can bet your life, if I had my strength,

I'd be right down there with bells on.

-But where are they taking her?

-I don't know exactly.

But I'd go to Mr. Breneman and find out.

-I will.

And don't you worry, Mrs. Reed.

I'll find her.

[MUSIC PLAYING]

-Oh, excuse me, but, uh, have you

by any chance seen the lady in here by the name of Cartwright?

-What do you think this is, the bureau of missing persons?

-Well, I don't know, I only--

-What does she look like?

-She's the most beautiful woman in the world.

-Why don't you try Tom Breneman's?

They all wind up there sooner or later.

-Do you think so?

-Yes.

I never thought you cared.

[MUSIC - NAT KING COLE, "IT'S BETTER TO BE BY YOURSELF"]

-It's better to be by yourself.

It is better to be by yourself love is made by two it

don't include a third 'cause you'll lose your chicken

and you'll get the bird so it's better to be by yourself never

trust a gal who puts on sweet dialogue never trust a pal

'cause remember that man's best friend is his dog

so it's better to be by yourself it is better to be on the shelf

be just like a hermit living in a cave you don't get much

lovin' but the dough you save makes it better to be

by yourself there's a story that's told 'bout a man's mate

when his change run out she say "I'll see

you gate'" now he works

all day and come home at night instead of little bitty pettin'

all she wants to do is fight so it's better

to be by yourself boy it's better to be by yourself

oh man it's better to be by yourself boy.

-I want to use the item in tomorrow's column, King.

Will you check on it and let me know right away?

OK.

-Oh, excuse me, but uh, could you by any chance

direct me to someone who could, perhaps, help me?

-Well, what about?

-Well, as a matter of fact, I'm, uh, I'm looking for my wife.

It's quite a long story.

-Well, this sounds like a good story.

You couldn't have chosen a better person.

What's the name?

-Cartwright.

But she probably isn't using it now.

-Well, uh, what does she look like?

-Oh, she's out of this world.

She's gorgeous.

-This, I must see.

Come on, I'll help you track her down.

-Oh, but excuse me, it's, uh, it's because of this, and that,

that I'm looking for her now.

Heh.

Thank you.

-Ah--

-You're Hedda Hopper, aren't you?

-Well, I was when I left home this morning.

-Do you know, I'm one of your most ardent fans.

-You mean, you were.

-What?

-Oh, look what I've done to your hat.

-Oh, that's perfectly all right.

It wasn't silly enough, anyway.

Oh, it couldn't have come to a happier end.

-Well, of course, I'll replace it.

-Oh, no, but Miss Hopper, you don't--

-Oh, I ruined yours, and I insist upon giving you mine.

-A Hedda Hopper hat?

-Oh, well, you've been so swell about it.

I wonder if that will be silly enough?

-Do you think so?

-On you, it looks good.

-Hopper.

-Oh, Frances.

Oh, there you are, darling.

-I beg your pardon.

-Oh, come now.

Let's not be ridiculous.

Why, I've been worried sick about you.

-Oh, please, don't bother to sit down.

I'm just about to leave.

-Well, after all, my dear, fun is fun,

but this is becoming ludicrous.

-Your cab is here, ma'am.

-Oh, thank you.

-As your husband, may I be so nosy

as to inquire where you're going?

-Oh, I don't know.

The Mocombo.

Maybe Ciro's.

I don't know yet.

-Well, may I accompany you?

-Oh.

I'm afraid not.

You're hardly dressed for the occasion.

Ta-ta.

-Some crank.

But she had me tell the cab company

she wanted to go to 26 Canyon Drive.

-26 Canyon Drive.

Why, that's our home.

Heh, heh.

-First door to the right.

-Thank you.

Is this her, Tom?

-This is the girl, all right.

-How can you have me arrested, when I haven't done--

-Now, wait a minute. Take it easy.

Officer, do you mind if I have a few words with her?

You wait right here.

-Not at all.

-What is this all about?

You know I didn't steal that ring.

You gave it to me.

-No, but you did steal something else.

The heart of a swell kid.

Ken Smith.

-Is this your idea of humor?

Bringing me all the way back here, just to tell me that?

-I'm not trying to be funny.

This is serious.

Serious for both you kids.

-I don't see why you had to know anything about it.

-Well, inasmuch as I started this thing,

I thought I'd help to bring it to a happy ending.

-I'm sure you meant well, Mr. Breneman,

but, well, really, there isn't anything that can be done.

After all, he knew I was engaged to somebody else.

-He knew the fellow you were engaged

to married somebody else.

That's what Ken knew.

-Oh, I don't know.

[STARTS TO CRY]

-Oh, let's be sensible about this thing, Dorothy.

You're in love with Ken, and I know it.

-What makes you think so?

-Those tears.

Here, honey.

Have one on me.

-Thanks.

-Aw, gee, honey, the only reason I had you

brought back-- I want you kids to have

the chance you're both entitled to.

-Where's Miss Larsen?

-Inside, with Mr. Breneman.

Why?

-What's the idea of arresting her?

What did she do? -Why?

Are you a friend of hers?

-I sure am, and I'd like to know what this is all about.

-Hey-- come here--

-Why, you big phony.

I'll show you a thing or two--

-Ken-- Ken, stop it.

He's only trying to help.

-What do you mean?

-It's all right, Officer.

Anything can happen in here.

Usually does, too.

-I was told he had you arrested.

-He just had me brought back because you asked him to.

-Shall I take him outside?

-No, let him stay.

The excitement's all over.

This thing will settle down to a good old-fashioned family

fight.

-Then you won't need me.

-No.

Thank you very much, Officer.

You've done the Mayor of Encino a great turn tonight.

-Not at all, Your Honor.

-Good night.

-I only asked him to talk to you.

You wouldn't listen to me.

-Because I'm not interested in anything you're trying to say.

Can't you get that through your head?

-Gee, I'm sorry, Mr. Breneman, but, gosh, now what do I do?

-The only thing a gentleman can do.

-Leave her alone?

-No.

Give her a chance to change her mind.

-But she just walked out.

-Only to be followed.

-How do you figure that?

-Holy mackerel, am I dumb.

-Gee, I'd like to feel like that just one more day before I die.

[MUSIC PLAYING]

-Dorothy?

-Yes?

-You forgot your pocketbook.

-Oh.

So I did.

Thanks.

-You're welcome.

Could I talk to you a minute?

-Well, I--

-I wonder-- could I do it while we're dancing?

[MUSIC PLAYING]

[MUSIC - ANDY RUSSELL, "AMOR"]

-Amor, amor, amor, this word so sweet that I repeat means

"I adore you" Amor, amor, amor, would you

deny this heart that I have put before you?

I can't find another word with meaning so clear my lips try

to whisper sweeter things in your ear

But somehow or other nothing sounds quite so dear

as this soft caressing word I know [SINGING IN SPANISH] If I

had a wishing ring I'd never ask for any worldly thing

no dream would be denied and I'd be satisfied with all your love

could bring if I had a wishing ring.

-You know, I've been thinking.

-Yes?

-You'll probably never ask.

-About what?

-About me.

I figure a Joe my age ought to start

to think a little bit about serious things.

-Such as?

-Oh, you know, about the future, and a lot of things.

Like, uh, settling down, and maybe someday

having a home of your own.

-That sounds wonderful, Ken.

-You know what I really need to make my post-war plan complete,

don't you?

-No.

What?

-You.

Uh, how about it?

-Ken.

Bend your head over.

I want to whisper something.

-Go on.

-You know, we've only known each other about 14 hours.

You'll have to give me a little time to think it over.

-OK.

How long?

-Oh, three or four minutes.

-Ha, ha.

Well, they kissed, and, I hope, will live happily ever after.

-Oh, Mrs. Reed will be so happy to hear it.

She's asleep now.

Thank you for calling.

Good night.

-Good night, Pop.

-Good night, Pop.

-Good night, girls.

Good night.

-Gee, Pop.

What a day.

-Well, are you through for the night, Tom?

-Yeah, all through.

-Oh, say, Tom--

-Mm-hm.

-Oh, I've been wanting to tell you this.

You know, me and Ma sure like your radio program.

-Oh, thanks, Pop.

Look at that time.

And me, up at 5:00 AM in the morning.

-Yes, and then more gags, and crazy hats,

and foolishness, and--

-Yes, and problems, and heartaches, and headaches,

and whatnot.

Pop, by golly, that's what makes the world go round, eh?

-That's right.

-And me with it. [LAUGHTER] Good night, Pop.

-Good night, Tom.

-You old scalawag, you.

-Mr. Bremerman--

-Oh, no.

Not you.

-I just wanted to tell you that Miss

Hopper sat on my penguin hat.

-Well, it's too bad you weren't wearing it at the time.

-Oh, yes, but she gave me this one.

Would you mind trying it on, so I

can tell my friends that you wore it?

Oh, thank you, Mr. Bremerman.

-You're welcome.

-Oh, you do kiss ladies whose hats you try on, don't you?

-Oh, why not?

Everything else has happened to me today.

-Thank you, Mr. Bremerman.

-Oh, and the name is Breneman, honey.

Good night.

-Mr. Bremerman.

[MUSIC PLAYING]