All language subtitles for Love Me or Leave Me (1955) ENG

Is that Marty?

Marty.

Marty, don't
get sore, Marty.

Who's sore?

When Georgie tells me

a customer don't want
to pay up his bill,

naturally,
I want to hear why.

Because I'm tired of being
milked like a cow every week.

Why can't I pay you off
once and for all?

Cut that out, Orry.

I run a legitimate
laundry.

What laundry
tells you

how many tablecloths
and napkins you got to take?

My laundry.
It's our policy.

We want our customers
should be clean.

But who needs so many
tablecloths?

Who comes into a place
like this to eat?

Every customer
has a quota.

Otherwise,
you wouldn't pay me.

Mr. Orry.

MAN: Mr. Orry.

That's all right.

That's all right.

Oh, it's you again.

She broke my leg. I'm
gonna sue this joint.

My dear man,

so a girl steps on your toe.
It was an accident.

Accident, nothing. She
kicked me on purpose.

Impossible.

I can explain
everything.

Did you or did you not

deliberately
kick this customer?

Yes, I did,

but I warned him.
I warned him 3 times.

You're fired.

But that's not fair.
He's the one that was wrong.

It wasn't my fault.

He's got 10 cents
for a dance.

He can't be wrong.

Now cash in your ticket
and get out of here.

The next dance
is on the house.

Enjoy yourself,

but be careful
the way you dance.

Get him a girl.

Marty, you got
to understand my angle.

Now, business
hasn't been so--

not bad, huh?

I could fix it up
for you.

She's one of
those stagestruck ones.

You know the type.

Too bad, kid.

You gonna pay up,
Orry...

Or you want we should
suspend our service?

What'd you have to go
and make a fuss for?

Why should I let
that big ape paw me?

It's natural.
They all do it.

Not to me, they don't.

Oh, yeah, I forgot.
You're different.

You're going places.

That's right.

Well, get wise
to yourself, duchess.

You're not going anyplace.

Not until you stop
hollering, ''hands off.''

I'll stop hollering
when I want to,

not because the customer's
always right.

Have you had a good look?

I understand you want
to go on the stage.

Maybe I can help you.

You get out of here,
or I'll call the manager.

This happens to be
a private dressing room.

Private for employees,

which you are not
no longer.

Well, you want me
to help you go on the stage?

Why don't you buy a ticket

and try your line
on one of the employees?

That is,
if you have 10 cents.

If he has 10 cents?

He's the owner
of the biggest

nightclub laundry
in Chicago--

8 trucks,
a payroll of 43.

No kidding. I know
everybody in the business.

They're all my customers.

Sure. He can introduce
you to a dozen--

shut up!

What are you butting in for?
I can't talk?

I'll give you one of
my own personal cards.

Why should you?

Why not?

I like to help a girl
when I can,

and you got a very
excellent personality.

I can see that.

All I got to do is write
something on my card,

and they'll
put you to work.

Oh, uh, I must've
left them out in my car.

Uh, meet me outside,
and I'll--

now what's the matter?

I'm not getting into
any car with you.

Who said you should?

Who invited you?

I said meet me
at the car.

You dope. He's trying
to give you a break.

Take advantage.

Or don't.

If you want it, OK.

If not, not.

MARTY: Come on,
Claire, get out.

Here. Buy yourself
a horse and buggy,

only, beat it.

Oh, Marty,
what's the matter?

You invite me out
for a pleasant evening,

I wait who knows
how long--

so I changed my mind.
Go on, blow.

Getting awful beat up,
that Claire--

been around too long.

Marty.

[Sighs]

Hiya, baby.

Honey, I'd like to--

up an alley.

What's your name?

Ruth Etting.

Here. Take this over
to the circle.

You know where it is?

It's on the north side.
They'll fix you up.

Go on, take it.

Can I give you
a lift someplace?

Oh, I'm just trying
to be agreeable.

Don't do me no favors.

Do you want
the card back?

Ah, keep it.

Use it in good health.

You want to know what's
your trouble, girlie?

You ain't got no faith
in human nature.

That's all?

She's obligated,
ain't she?

So what are you sittin'?

Maybe we can catch up
with Claire.

So she's got a lot
of mileage on her.

DANCERS: Aah!

[Applause]

♪♪ To quote
Willie Shakespeare ♪♪

♪♪ please lend me your ear ♪♪

♪♪ my introduction
is done with pride ♪♪

♪♪ this act is known
both far and wide ♪♪

♪♪ his imitations
are all the go ♪♪

♪♪ so here he is,
the star of our show ♪♪

Eddie Fulton.

[Applause]

♪♪ I'm sittin'
on top of the world ♪♪

♪♪ just rollin' along ♪♪

♪♪ just rollin' along ♪♪

♪♪ I'm quittin'
the blues of the world ♪♪

♪♪ just singin' a song ♪♪

WOMAN: Thanks, kid.

♪♪ Just singin'
a song ♪♪

♪♪ glory, hallelujah,
I'm just fallin' apart... ♪♪

Only one chorus in
the next number, girls.

We're running late.

Hooray for
Johnny alderman,

the people's friend.

Hey, deal me in.

You taking in laundry?

I got a sackful
of socks.

I wish I had.

These have to last
till payday.

The point is, can you
last till payday?

I get tired just
watching you out there.

I must be something
to watch.

I'm just not a dancer,
that's all.

Oh. It seems odd you'd
want a job dancing, then.

I didn't.
They made a mistake.

I'm a singer.

Oh?

You had much experience?

[Laughs]

None...So far.

I'm just starting.

You going about it
the right way?

What do you mean?

If somebody gives me
a chance to sing, I'll sing.

Well, I've seen
a lot of singers fail

because they--well, they
get off to a bad start.

Right now is when
you need coaching,

before you have time
to form any bad habits.

And you need
special material,

arrangements to show off
what you've got.

Oh.

That is, if--if you're
serious about it.

Oh, I'm serious,
all right.

I'm also broke.

And that'd take
a lot of money.

Tell you what--

I might work with you
a little, if you like,

odd hours
after the show.

Would you?

Oh, that would
be wonderful.

It'd be a pleasure--

one artist to another.

I have a piano
over at my place.

It isn't far from here.

We could squeeze in
quite a bit of time.

Wouldn't that be an awful lot
of trouble for you?

There's some trouble
a man just doesn't mind

getting into.

Get ready, girls--
5 minutes.

Johnny...

WOMAN: Finish the hand.

Better get back
to your piano, huh?

Get ready.

WOMAN: Why should I
get ready?

Alderman.

Will you kindly
use your head?

That one belongs
to the gimp--

bought and paid for.

The gimp?

So don't make trouble
for yourself or me.

I got a big investment
in this place.

That's funny.

I would've sworn
she hasn't been around much.

Well, maybe she hasn't.

What she knows they
learn in the cradle.

MARTY: Wait a minute,
Frobisher.

Hey, Etting!
[Whistles]

I'm here.

Hello, Mr. Snyder.

I got my own
laundry ''A'' trucks,

and she does
her own washing.

Cute, huh?

[Laughs]

Well, are they
treating you right, kid?

Oh, they're wonderful
to me, Mr. Snyder.

OK, Frobisher,
thanks. Blow.

Well, I delivered,
didn't I?

Tell the truth.

You thought I was giving you
the business, didn't you?

Tell the truth.

I've got to go.
Come on, girls.

Hey, Frobisher.
Frobisher.

The kid is staying out
of this one.

Frobisher:
Sure, sure. Whatever.

WOMAN: Don't forget,
you owe me 10 cents.

No, really,
I better go.

No, no, I--

he won't mind.

Oh, Mr. Snyder,
let's not...

Well, there is something
I want to ask you.

You see, I'm dancing--

ah, that's great--
just great.

Tell me, have you
ever been to Florida?

No, I haven't.

Mr. Snyder, I hate
to bother you--

oh, you'll be
crazy about it.

Take it from me--all the girls
are just nuts about Miami.

But Mr. Frobisher
put me in the chorus--

he won't fire you.
Don't worry.

He wouldn't dare.

There's the worst kind
of weather up here--

freezing cold.

In Miami, you go swimming
in the ocean every day.

Mr. Snyder, I don't want
to dance. I want to sing.

Oh, singing, dancing,
what's the difference?

You're on the stage,
ain't you?

In here, Georgie.

GEORGIE: All set, Marty.
Got the train tickets.

How do you like that?

We're leaving Friday night.

Leaving for where?

For where?

For Florida.

Little girl, you got
to start listening to me.

But I don't want
to go to Florida.

Why not?

How do you know
you won't like it?

You never been there.
You said so yourself.

Why, you'll love it.

What's not to like?

Aha.

She thinks it's a line.

She thinks I say Miami,

I mean Atlantic City.

Georgie, show her
the tickets.

Yeah. Here.
Here are the tickets.

Frobisher will keep your job
for you. Don't worry.

Mr. Snyder,
I'm not going.

Georgie,

get out of here.

Beat it.

Now, look here,
you stupid little broad.

Don't you talk to me
like that.

I'll talk to you
any way I like.

You know who I am?

You think I let dames
get away with anything?

I'm not trying
to get away with anything.

I didn't ask you
for one thing.

You didn't ask,
but you wanted.

I did my share.
What about you?

Who do you think you are
you can be so particular?

You're nothing.

You get funny with me, and
I'll throw you right back

to that crummy dance joint
where I found you.

You won't have to.

I'll walk back.

What are you doing?

What are you doing?

I'm leaving.

All I wanted was
a chance to sing,

and I'll get it.

You don't have
to do a thing.

I'll get it for myself.

Hey, Etting!

Etting!

What's her name?

Ruth.

Ruthie!

Ruthie,
come on out, huh?

What did I say
that was so terrible?

What crime
did I commit?

Come out like
a good girl, huh?

Want me to
drag her out, Marty?

Get out of here.

WOMAN: Deal me in.

That's all we wait
for Eddie.

All right, kids,
rehearsal. Let's go.

Why is it every time
we start a card game...

Gaye, you take
Etting's place.

I'm a specialty.

WOMAN: Same here.

[Playing]

Mr. Snyder wants
to see you right away.

I'm working.
Sorry.

Listen,

I asked you nice,
didn't I?

You want me to ask you
not nice?

[Stops playing]

Sure.

Might as well
have both versions.

Johnny.

You think the gimp found out
you talked to the girl?

Maybe.

If he has,
do you think

I should crawl into
the laundry and apologize?

Well, I would,
but I'm an old man.

I want to live.

What else have I got?

You better go.

But, Mr. Frobisher,

we can't rehearse
without music.

So hum to them.

WOMAN: Hum?

All right, girls,
line up.

Come on, line up.

1 , 2, 3, 4.

♪♪ Dum biddy um bum bum ♪♪

All:
♪♪ I miss my Swiss ♪♪

♪♪ my Swiss miss
misses me ♪♪

♪♪ I miss the bliss ♪♪

You notice how the help
all wears gloves?

Once the wash is washed,

it ain't touched
by a human hand.

Maybe I'm crazy,
but I like things clean.

Come on, sit down.
Make yourself comfortable.

Georgie:
Marty...

The piano player.

Oh, yeah.

How much you get an hour
to coach?

Coach?

Miss--Miss Etting,

she, uh--
she wants to sing.

She's got some idea at
the beginning it's important

she shouldn't make
bad habits.

She should have arrangements.
You know what I mean?

What do you get
by the hour?

$5.00.

I'll give you 10.

Anybody hangs around me,

they make.

Well, can she sing?

What, is she a dummy?

Anybody can sing.

You put them on the stage,

tell the public
they're singers,

and they're singers.

What does the public know?

You want the job?

At 10 bucks an hour, sure.

Right. You got
yourself a deal.

Georgie will
take you back.

When would you
like to start?

Well, I--

you can fix it up
between you later.

Now, look, don't take it
too serious, the lessons.

A couple, maybe,
to make her feel good.

I'll be taking her
to Florida any day now.

You know what I mean.
Hee hee hee hee.

Oh, I'm sorry I took
so long changing.

I'm getting paid
by the hour.

By the way, thanks
for cutting me in.

I got the idea from you.

But I would've done it
for nothing.

I thought it was better
if you got paid.

[Laughs]

Well, let's get started
and see what we got, huh?

Right.

Um...

You know this?

[Plays melody]

[Hums along]

Yes. Uh-huh.

[Playing]

♪♪ I can be happy ♪♪

♪♪ I can be sad ♪♪

♪♪ I can be good ♪♪

♪♪ or I can be bad ♪♪

♪♪ it all depends ♪♪

♪♪ on you ♪♪

♪♪ I can be lonely ♪♪

♪♪ out in a crowd ♪♪

♪♪ I can be humble ♪♪

♪♪ or I can be proud ♪♪

♪♪it all ♪♪

♪♪ depends ♪♪

♪♪ on you ♪♪

♪♪ I can save money ♪♪

♪♪ or spend it ♪♪

♪♪ go right on livin' ♪♪

♪♪ or end it ♪♪

♪♪ you're to blame, honey ♪♪

♪♪ for what I do ♪♪

♪♪ I can be beggar ♪♪

♪♪ I can be king ♪♪

♪♪ I can be almost ♪♪

♪♪ any old thing ♪♪

♪ it all ♪

♪♪ depends ♪♪

♪♪on ♪♪

♪♪ you ♪♪

Yes, ma'am.

Am I any good?

Am I good enough
to get somewhere?

Yeah.

Will you tell that
to Mr. Snyder, Johnny?

I need someone
like him--

you know,
sort of a manager.

You're expecting him
to be your manager?

Why not? He has
a lot of connections.

Oh, you're kidding,
aren't you?

No.

You were quick enough
to spot

a routine, friendly pass
when I made it.

You must have a vague idea
of what he wants.

Do you know what
his exact plans for you are?

He's taking you
to Florida with him.

He told me so himself.

He told me that, too...

But I'm not packing.

[Knocks]

Oh, I had a date.
I forgot.

I wouldn't
tell him that.

Think fast, kid.

[Playing piano]

Now, just out of plain,
simple curiosity,

I'd like to know--why
did you give me a stand-up?

And don't say you didn't
get the message.

GEORGIE: I told her
myself, Marty.

Let me hear the fancy story
you're going to give me.

Go on, I dare you.

No story, Mr. Snyder.

I just forgot.

[Music stops]

You forgot?

I don't know how
I could have, but I did,

and I'm very sorry.
Will you forgive me?

Well, naturally,
I thought that--

well, I didn't know
what to think.

Well, you certainly
didn't think

I'd do a thing
like that to you.

Uh...

That's all right, dear.

Everybody can make
a mistake.

How's she doing?

Oh, not bad--
not bad at all.

In fact, she's
quite a performer.

Did you hear that,
Mr. Snyder?

Now will you talk
to Mr. Frobisher

and ask him if I can have
a little song?

I'll talk to him
when I get good and ready.

How do you like that?

You had one lesson.

Who says it's time
for a swelled head?

You think you can
fool the public?

You want to get up before
people and embarrass me?

I'm sorry.

It's just been
on my mind, you know.

I guess this is my night
for making mistakes.

It's because you're tired.

You're not thinking good.

Hey, you got no business
keeping her up so late.

Come on,
I'll take you home.

You go right to bed.

Thank you.

[Applause]

♪♪ To quote
Willie Shakespeare ♪♪

♪♪ please lend me your ear ♪♪

♪♪ my introduction
is done with pride ♪♪

♪♪ this act is known
both far and wide ♪♪

♪♪ his imitations
are all the go ♪♪

♪♪ so here he is ♪♪

♪♪ the star of our show ♪♪

Eddie Fulton!

[Applause,
music playing]

Where's Fulton?
I don't know.

Fulton,
you're on!

Great, great.

What'd I tell you,
Frobisher? A knockout.

Yeah, yeah,
you've told me.

Fulton!

Woman:
Fulton, hurry up!

You're on.
I'm sorry.

If it's so hard for you
to get here, why not quit?

Why not spend all your time
at the craps table?

And don't forget--
smile.

Well, you got
what you wanted, huh?

What's the matter?
You don't look happy.

You wanted a chance
to sing,

and I got you
a chance to sing.

But I'm on and off
in a second.

What'd you expect?

Well, it's not
a real number.

Huh?

I was just thinking
of something.

Suppose Fulton
missed a performance?

If I could substitute--

Fulton?
But he's a headliner.

You're a newcomer.
You just started.

Well, somebody would
have to take his place.

Well, how do you
like that?

Here I'm suspecting
she wants me to work Frobisher

for an extra routine,
but no.

All the time, she wants
the whole business.

What do you want me to do,
knock him off?

Oh, of course not,
Mr. Snyder,

but if he missed
a show--

well, why should he?
Answer me that, Miss Smart.

Well, it could happen,
couldn't it?

It almost happened
tonight, didn't it?

[Whistles]

The nerve you've got.

The gall.

Look...

Would you consider coming into
the laundry business with me?

We'd be millionaires
in no time.

[Laughs]

[Laughs]

Marty, I tell you, no.

You've got a laundry.
I'm a customer. Fine.

You asked me
to give her a job.

I give her a job. Fine.

But there's a limit.

I'm not putting her on
tonight

or any other night.

But you're stuck.
You ain't got Fulton.

Yeah.

Why?

Why should he
walk out on me?

He got in too deep
with the gambling.

They told him
to get it up quick,

and the poor slob
didn't have it.

How come the poor slob
has it to go to Florida?

What are you asking me?

Frobisher,
she'll be a sensation.

To who?

Whoever heard of her?
Who will come to see her?

You want to close
my club?

Are you kidding?

You know
the contacts I got--

personalities,

people who'd be a credit
to the finest nightclubs.

They'll spend. They'll clap.
You'll make a fortune.

Ohh.

On the other hand,
Frobisher,

maybe I got you all wrong.

Maybe you don't want to oblige
a close, personal pal.

[Knock on door]

Come in.

How do I look?

Top of the world.

Oh, here it is, the chance
I've been waiting for.

You made sure it wasn't
too long a wait.

You bet I did.
I'm in a hurry.

And I was right,
wasn't I?

Told you
he'd help me.

Ruth, get rid of him.

Get rid of him now.
It's not going to be worth it.

Johnny, I don't know
what you're talking about.

Why shouldn't I
have a manager?

A manager? Oh, don't lie
to yourself.

If you're going ahead
with this,

at least don't lie
to yourself.

But don't go ahead with it.
You don't have to.

Yes, I do.

I've tried it without help.

I didn't mind it
being hard, Johnny.

I just minded
that it didn't work.

Then let me help you.

I'll get you
to the right people.

I'll work with you,

and they'll want you.
Don't worry.

They won't have to be
strong-armed

or blackmailed
or shoved around.

They'll want you
because you're good.

Oh, try it, Ruth.

Try it that way.

Johnny, so many guys
have wanted to help me,

and they've all been
on the make,

just like him.

I suppose you're the one
who's different.

That's right.

And I mean it,

but get yourself free, Ruth.

But I am free.

I've made
no promises.

I'm as free
as you are.

Are you?
Yes.

Prove it.

Let's meet tonight
after the show,

have a cup of coffee
together--

just 2 free people

getting together
over a cup of coffee.

Why not, huh?

All right.

[Buzzer buzzes]

That's us.
Be great.

[Music playing]

RUTH: I'm ready.

Come on, it's time.

Get down there
and do your stuff,

and don't make me out
a horse's neck.

I got the place
packed with biggies.

Get a load of that.

''Ruth Etting--
Chicago's sweetheart.''

wrote it up myself.

Come on.
I'm a nervous wreck.

Excuse me.

Mazel Tov.

[Music begins]

♪♪ You made me ♪♪

♪♪ love you ♪♪

♪♪ I didn't want to do it ♪♪

♪♪ I didn't want
to do it ♪♪

♪♪ you made me want you ♪♪

♪♪ and all the time,
you knew it ♪♪

♪♪ I guess
you always knew it ♪♪

♪♪ you made me ♪♪

♪♪ happy ♪♪

♪♪ sometimes ♪♪

♪♪ and you made me glad ♪♪

♪♪ but there were times ♪♪

♪♪ dear ♪♪

♪♪ you made me feel ♪♪

♪♪ so bad ♪♪

♪♪ you made me sigh ♪♪

♪♪ for ♪♪

♪♪ I didn't want
to tell ya ♪♪

♪♪ I didn't want to tell ya ♪♪

♪♪ I want some love ♪♪

♪♪ it's true,
yes, I do ♪♪

♪♪ 'deed, I do ♪♪

♪♪ you know I do ♪♪

♪♪ gimme ♪♪

♪♪ gimme ♪♪

♪♪ what I cry for ♪♪

♪♪ you've got
the brand of kisses ♪♪

♪♪ that I'd die for ♪♪

♪♪ you know ♪♪

♪♪ you made me ♪♪

♪♪ love you ♪♪

♪♪ you know ♪♪

♪♪ you made me ♪♪

♪♪ love ♪♪

♪♪ you ♪♪

[Applause]

[Whistling]

♪♪ Stay on the right side,
sister ♪♪

♪♪ stay on the right side,
sister ♪♪

♪♪ stay on the right side ♪♪

♪♪ of the road ♪♪

♪♪ look out for
old man Satan ♪♪

♪♪ he's on the wrong side
waitin' ♪♪

♪♪ keep on the bright side ♪♪

♪♪ of the road ♪♪

♪♪ once you let ♪♪

♪♪ the devil
take your hand ♪♪

♪♪ you'll never get ♪♪

♪♪ to hallelujah land ♪♪

♪♪ I see a great day
dawnin' ♪♪

♪♪ you better heed
my warnin' ♪♪

♪♪ stay on the right side ♪♪

♪♪ of the road ♪♪

♪♪ once you let ♪♪

♪♪ the devil
take your hand ♪♪

♪♪ you'll never get ♪♪

♪♪ to hallelujah land ♪♪

♪♪ I see a great day
dawnin' ♪♪

♪♪ you better heed
my warnin' ♪♪

♪♪ stay on the right side ♪♪

♪♪ of the road ♪♪

♪♪ stay on the right side ♪♪

♪♪ stay on the right side ♪♪

♪♪ stay on the right side ♪♪

♪♪ of the road ♪♪

Look at the flowers.

Just a little token
of the way I feel.

Oh, Marty.

Thank you.
They're lovely.

Don't thank me and hug me
and throw me out so quick.

I have to get dressed.

Well, make it fast
'cause we gotta celebrate.

Oh, Marty.
What?

I'm so tired
and excited,

I don't think
I can go out tonight.

Sure you can.
It's all set up.

Big fancy blow-out
over at Al Gaxly's place.

That's way out in bay cliff
in the country.

Yeah. It's sort of on
the order of a house party

for the weekend.

Now, hurry up.
We gotta leave right away.

Marty, look, why don't
you go ahead without me?

No.

It's just that
I'm so tired.

No.

Not this time, Ruthie.

That's all over.

What are you
talking about?

About the way
you brush me off,

the way you stall me.

Now, don't think I didn't feel
plenty ridiculous at times.

In front of Georgie, even.

Just because--

now, I didn't get sore.

Tell the truth.
Did I ever get sore,

even about not going
to Florida?

Now, you wanted to see
how far you could get.

Fine. I don't blame you.
I give you credit,

but that's all.

I understand.

You got me a break,
and I...

All right.

I'll go with you.

Now, you're talkin',
baby.

And then you'll
never see me again.

Why?

Because that
makes me a tramp,

and I'm not a tramp,

no matter
what you think.

Ruthie, you're wrong!

Oh, listen, well...

I'll be honest with you.

When we first
started up together,

I figured,
well, you know,

a pickup. Why not?

Didn't mean nothing.

But lately,
a change come over me,

and I wanna
do things for you.

I'm anxious.

That's what I was
hoping for, Marty,

that you would get to care
about what happened to me,

but you don't.

What do you mean,
I don't?

I'll show you
you're out of your head.

You know that big fancy joint
across the street

where Helen Terrell
is singing,

the oval room?

Who do you think
I had here tonight

taking a gander at you?

Just the owner,
that's all.

Yeah. A close personal pal.

We're gettin' together
Monday to chew it over.

Now, does that sound like
I think you're a tr--

what you said?

You got no idea
the plans I've got.

If I go to Al Gaxly's
for the weekend, huh?

Well, what do you
want of me? I'm human.

I'm stuck on ya.

Thank you, Marty.

Now let me be honest
with you, too.

In the short time
that I've known you,

you've become
more important to me

than anyone else.

And I like you.

But I'm not
stuck on you.

Maybe it's because
getting someplace

is such a big thing
to me.

It seems as if
I don't have room

for anything else.

Not yet anyway.

Can you
understand that?

Yeah, sure, Ruthie,
sure, but...

But when?

[Sighs]

I don't know.

Look, if you still
want me to go with you,

just give me a minute,
and I'll get dressed.

Ah...

Take yourself the minute.

We'll go out
and get a bite to eat.

Marty...

You'll never be sorry.

What do you mean?
Ha ha!

I'm sorry already.

Well...

I'll wait for you
out in the car,

only hurry up.

What a day I've had.

My feet are killing me.

Hey, Marty.

Oh, we're going downtown
to get a bite to eat.

Call the restaurant

and tell them to get
the champagne ready.

Everything.

She don't wanna
go away with you, huh?

I don't want her to go!
How do you like that?

Bay cliff ain't the
right kind of a place

for a girl like her.

She was great tonight, huh?
A knockout.

Great.
Yeah.

A little extra.

You backed her up good.

Go on, take it.

Get yourself a dame.

Have a big time on me.

Table for 3
for Mr. Snyder.

Yeah.

And...Champagne.

Yeah, that's right.
The works.

Right.

[Hangs up]

[Horn honks]

MARTY: Come on, Ruthie!

Good night, Johnny.

[Music playing]

♪♪ Everybody loves my baby ♪♪

♪♪ but my baby
don't love nobody but me ♪♪

♪♪ nobody but me ♪♪

♪♪ yes, everybody
wants my baby ♪♪

♪♪ but my baby
don't want nobody but me ♪♪

♪♪ that's plain to see ♪♪

♪♪ I am his sweet patootie ♪♪

♪♪ and he is my lovin' man ♪♪

♪♪ knows how to do his duty ♪♪

♪♪ loves me
like no other can ♪♪

♪♪ everybody loves my baby ♪♪

♪♪ but my baby
don't love nobody but me ♪♪

♪♪ nobody but me ♪♪

♪♪ oh, everybody
loves my baby ♪♪

♪♪ but my baby
don't love nobody but me ♪♪

♪♪ nobody but me ♪♪

♪♪ yes, everybody
wants my baby ♪♪

♪♪ but my baby
don't want nobody but me ♪♪

♪♪ that's plain to see ♪♪

♪♪ now, when my baby
kisses me ♪♪

♪♪ upon my rosy cheeks ♪♪

♪♪ I just
let those kisses be ♪♪

♪♪ don't wash my face
for weeks ♪♪

♪♪ everybody loves my baby ♪♪

♪♪ but my baby
don't love nobody but me ♪♪

♪♪ nobody but me ♪♪

This is on the level.
This is legit.

I don't have to
stack the joint no more.

♪♪ You're mean to me ♪♪

♪♪ why must you
be mean to me? ♪♪

♪♪ gee, honey,
it seems to me ♪♪

♪♪ you love
to see me cryin' ♪♪

♪♪ I don't know why
I stay home ♪♪

♪♪ each night ♪♪

♪♪ when you say
you'll phone ♪♪

♪♪ you don't ♪♪

♪♪ and I'm left alone ♪♪

♪♪ singin' the blues
and sighin' ♪♪

♪♪ you treat me coldly ♪♪

♪♪ each day in the year ♪♪

♪♪ you always scold me ♪♪

♪♪ whenever somebody
is near ♪♪

♪♪ dear, it must be ♪♪

♪♪ great fun ♪♪

♪♪ to be mean to me ♪♪

♪♪ you shouldn't ♪♪

♪♪ for can't you see ♪♪

♪♪ what you mean ♪♪

♪♪ to ♪♪

♪♪ me ♪♪

[Applause]

Hey, Marty, Marty...

Sit 5 minutes.

There's a couple things
I gotta talk to you about,

but I don't get a chance.

You're so busy running
all the time.

For instance,
the laundry.

You take care of it,
Georgie.

I got perfect
confidence in you.

I gotta get back.

She'll wonder
I'm not there.

Hi.

I want you to meet
Mr. Loomis

of the Roger Black Agency
in New York.

This is Mr. Snyder.

How do you do,
Mr. Snyder?

Mr. Loomis caught
the show, Marty,

and he liked it.
As a matter of fact,

he has a booking
for me in New York,

a club called
the Black Hat.

I hear it stinks.

Well, it's a beginning,
Mr. Snyder.

We're not starting
at the beginning.

Or maybe
I'm out of line.

Maybe you're handling
your own booking now, huh?

You got it straight,
Loomis?

You wanna talk business,
talk to me.

All right.
Here's my card.

Call me up,
make an appointment.

If I have time,
I'll see you.

Well, thank you very much,
Mr. Snyder.

It was nice seeing you,
Miss Etting.

Thank you.

Thank you
for coming back.

Oh, it was
a pleasure.

Why do you have
to act like that?

All that man
wanted--

shut up.

Who got you this far?
You?

Look at me
when I'm talking to you.

I knock myself out for you
day and night.

At least show me
a little respect.

At least do that much.

You know that Black Hat
he's booking you in so fast?

It's a dump.

You even know
where it's located?

So far uptown it's
practically in the Bronx.

You know
who goes in there? Dogs!

Now, if you want to sing
for dogs, go ahead,

but not with me.

How was I
to know that?

All I heard was
New York,

and naturally
I was excited---

New York's crawling
with dames can sing.

You know when you're
gonna go to New York?

After I make their tongues
hang out for you.

I've got plans for you
so big,

you wouldn't even
understand 'em,

a hick like you.

What plans?

Aha!

Look whose tongue
is hanging out now.

Well, never you mind
what plans.

All you gotta do is sing.

The real work, I'll do.

Come on. Hurry up.
Get dressed.

Who was the guy
came out?

Chiselers, leeches.

You got something good,
everybody wants a piece.

Listen, Georgie,

I wanna put her
on a radio.

Find out who the top man is
at every station

and ask around a little,

which one we can
put the squeeze on.

Know what I mean?

Yeah, but, Marty,
wouldn't it be easier

just to ask them to
come and listen to her?

Bet you anything
they'd give her a job.

Think so?

Why not?
She sings real good.

At that,
you might be right.

But if you ain't
and it don't work,

I'll guarantee you
one thing:

I'll brain you.

Hey, you.

You know anything
about radio?

Yes, a little.

Good. We're branching out.

[Knock knock]

Hi, Johnny. Come in.

Hello.

Oh, he can't make it.

I think he had something
to do about his laundry.

Anyway, he said for us
to go ahead and rehearse.

Pretty fancy, isn't it?

Yeah.

Marty had it decorated for me
as a birthday present.

The first real apartment
I've ever had. I just love it.

Can I get you a drink
or something?

Cup of coffee, maybe?

Not now, thank you.

Did you go
to the radio station today?

Yes. I spent the morning
with Brelston

outlining
the first program.

Oh, Johnny, I still
can't believe it.

My own radio program,

the best possible time
on the air.

And how about you,
maestro?

Conducting
your own orchestra.

Very impressive.

Both of us.

Ruth, what happened
when that agent

came to see you?

He had a booking for me
in New York.

That's what I thought.

Well, why didn't you
take it?

'Cause I'm not
ready for it yet.

And Marty will tell you
when you're ready?

He's made no mistake
so far.

Loomis doesn't
make mistakes, either.

He's the best agent
in the business.

He works for you,

you pay him
a commission,

and you don't
owe him anything.

Why don't you
let him handle you?

Because
I don't need him.

Did Marty tell you
you don't need him?

I don't need him
because I have Marty.

How do you like that?

Believe me,
you have Marty.

You'll have him
for a long time, honey.

He'll be right there with you
every step of the way.

Let me tell you
something.

When it's right for me
to be on my own,

I'll be on my own.

Oh? Use him,
then ditch him

at the strategic
moment?

That's
a charming plan.

What are you
talking about, plans?

I don't have any plans.

You make it sound
as if--

why do you have to
always start something?

I don't. I just seem to have
a strange effect on you.

When you're with me,
you let yourself

take a good look
at what you're doing.

Don't blame me
if it shocks even you.

Let's go to work.

I'm sick of
having you around.

Why don't you quit?

Why don't you tell
the gimp to fire me?

You think I can't?

I know you can.

Why don't you?

I don't know.

I don't know.

Suppose I tell you.

Let's find him, Ruth.

Now. Let's tell him.

No.

There's nothing
to tell him.

Nothing's changed.

Nothing.

Ruth, darling...

[Music begins]

♪♪ In dixieland ♪♪

♪♪ there's a musical man ♪♪

♪♪ he has a good time ♪♪

♪♪ just makin' folks happy ♪♪

♪♪ this musical man ♪♪

♪♪ is a one-man band ♪♪

♪♪ folks have to love him ♪♪

♪♪ for making 'em glad ♪♪

♪♪ he don't play melodies ♪♪

♪♪ just plays blue
harmonies ♪♪

♪♪ just like nobody
ever had ♪♪

♪♪ he just plays chords ♪♪

♪♪ he just
plays chords ♪♪

♪♪ that make you feel grand ♪♪

♪♪ that make you
feel grand ♪♪

♪♪ they call him Sam
the old accordion man ♪♪

♪♪ his dreamy chords ♪♪

♪♪ his dreamy
chords ♪♪

♪♪ remind you of heaven ♪♪

♪♪ remind you
of heaven ♪♪

♪♪ and they're real chords ♪♪

♪♪ according to dixieland ♪♪

♪♪ in the evenin' ♪♪

♪♪ by the moonlight ♪♪

♪♪ when the sun is down ♪♪

♪♪ how those lovers ♪♪

♪♪ Levy lovers ♪♪

♪♪ love to hang around ♪♪

♪♪ he plays those chords ♪♪

♪♪ he plays
those chords ♪♪

♪♪ like nobody can ♪♪

♪♪ like nobody can ♪♪

♪♪ they call him Sam
the old accordion man ♪♪

♪♪ old chords, new chords,
funny old blue chords ♪♪

♪♪ morning, night, and noon ♪♪

♪♪ say, he's got chords,
nothing but hot chords ♪♪

♪♪ never out of tune ♪♪

[Accordion playing]

♪♪ In the evenin' ♪♪

♪♪ by the moonlight ♪♪

♪♪ when the sun is down ♪♪

♪♪ how those lovers ♪♪

♪♪ Levy lovers ♪♪

♪♪ love to hang around ♪♪

♪♪ he plays those chords ♪♪

♪♪ like nobody can ♪♪

♪♪ they call him Sam ♪♪

♪♪ Sam ♪♪

♪♪ Sam ♪♪

♪♪ the old accordion man ♪♪

Ladies and
gentlemen...

Look, Marty, I've been
asking you the same thing

for the past 5 weeks.

Is she gonna sign
with us again or not?

How long can I
stall the sponsor?

What does she want?

Just half of Chicago.

Hey, Marty,
I got it.

Relax, Brelston.

In a couple of minutes,
you'll know as much as I do.

Loomis?

Go ahead. What?

Yeah.

Yeah, yeah.

They agreed to everything?

Uh-huh. All right,
we'll make it.

I'll contact you. Yeah.

Yeah, Marty?

What she wanted,
New York?

That's swell.

When we gonna go?

Couple of days.

I don't know
how smart it is.

Well, anyway, it's done.

You gotta stay here,
Georgie.

You gotta mind the laundry.

Sure.

Well...How far away
is New York?

You'll make visits
lots of times.

Well?

No dice, Brelston.

What do you mean?

What's the sense
of half of Chicago?

She's gonna have
all of New York.

Ladies and gentlemen!

I want to invite you all
to a party

I'm throwing over
at the Plaza for Ruthie.

Quiet! I ain't through.

It was gonna be
on account of

the winding up
of the program,

but now it's for something
much more important,

something Ruthie herself
doesn't know yet.

She's going to New York.

PEOPLE: New York?

She's gonna be...

In a Ziegfeld follies.

[All cheering]

Congratulations!

All right, boys,

I'll see you
over at the party.

We'll save you a drink,
Ruthie.

Oh, I'm so excited.

Told you I'd get the
best for you, didn't I?

Now maybe you'll have
a little confidence.

Oh, I do have.
I always have had.

Coming to the party,
ain't ya?

Sorry, I can't.
Thank you anyway.

Pretty good, huh?
Ziegfeld?

Will you be ready to
leave in a couple days?

I'm not going
to New York.

Huh? What do you mean,
you're not going?

I'll meet you
at the Plaza, Marty.

Wait a minute, Ruthie.

All right. Georgie,
take her to the car, huh?

What's the big idea?

Oh, I've had
another offer

out in California.

It seems
pretty interesting--

well, that's gratitude
for you!

There's nothing I can do
for Ruth anymore.

She's made it.

Are you going?

Yeah, I'm going.

You bet your sweet life
I'm going.

She's gonna need me
the longest day she lives,

no matter
what you think!

No matter
what I think?

Yeah! And I know
what you think,

her having anything
to do with me.

And I know what you
think about me, too:

A jerk, a dumb mug,
strictly for laughs.

No.

A cheap crook
pushing people around.

I ever push Ruthie
around?

You will, pal,
you will.

Wise guy.
You know everything.

You don't know nothin'.

In a million years,

you wouldn't know
about Ruthie,

how I feel about her,
a girl like that.

You don't know nothing,

where'd I come from,

the kind of a life,
the kind of a place.

Same place I did,
Snyder.

Same place, same street,
same everything.

Me and a thousand
other guys.

And they don't all
turn out like you.

Who's she
going with?

Answer me that,
smart guy.

Who is she
going with?

Only one thing
I got against you,

you poor slob.

I'm sorry you quit.

I would've liked
to fire you.

[Piano playing]

MAN: All right,
come down the steps.

That's it. Good.

Boys, come down
behind her.

Good. Come forward.
That's it.

Arms, boys, arms.

That's it.
Keep coming forward.

Get some bounce.

Don't I stay here?

Yeah, right there.
That's OK.

Just a little bit more
forward. That's it.

All right, fellas,
cross over here.

Cross over there.

You stay there, Ruth.
We'll fix it later.

That's it.
Come forward a little.

Good.

Now you go backwards.

Back. That's right.
Back. All the way back.

Now you do
the same thing.

Coming forward again.
That's it.

Clear the way there

so she can
get through.

Come on, that's it.

That's good.
Come on.

That's fine.

Good. A little bit more.

All right, all right,
all right, all right.

That's all.

All right,
lunch, everybody!

Back at 2:00.

Same number,
same people.

Same mistakes.

Oh, I seem to do
everything wrong.

No. It's me.

I haven't turned on
the magic yet,

so take off
the worry-face

and get yourself
some lunch.

MAN: It's in
your dressing room.

Mr. Ziegfeld
ordered it for you.

Oh, thank you.

Doesn't everyone get
spoiled rotten around here?

No. We just choose
a select few.

Good-bye.

Hey, Trent, don't go.
I wanna talk to you.

Marty...

Oh, Mr. Snyder.

I didn't know you were
honoring us today.

Today and every day.

And I still say
it's lousy.

All week I've been
trying to tell ya.

Why don't you
listen to me?

Look at the way you've
been handling her.

Guys prancing
around her, hiding her.

It's crummy!

I'm sorry
you don't like my work.

Perhaps you better tell
Mr. Ziegfeld.

I'm telling you, big shot.

And don't give me that
fisheye of yours, either.

I know what's good for her
and what ain't.

I ought to by this time.
I'm her manager.

She never made a move
I didn't tell her.

I'm sure Miss Etting has
found your advice invaluable.

Perhaps you're just
more talented than I.

You ain't kiddin',
buster. You stink.

Fred, this is beginning
to lose its amusement value.

I'll take care of it.

Beat it, errand boy!
I told you 10 times already!

I don't do business
with assistants.

I'm talking to him!

No, you're not.

Why, you--

just a minute!

Take your hands off me.

Fred, let me.

Are you
out of your mind?

You can't act like
a hoodlum in here.

You think like Ruth,
this is some kind of church?

You mention the name
of Ziegfeld

and everybody
gotta kneel down?

I'm thinking of her,
and what you're doing to her,

what you've been doing to her
ever since you got here.

I gotta look out for
her interests, don't I?

They're looking out
for her interests.

They're the best
in the business.

They'll make a big star
out of her

if you'll just
give 'em a chance,

but you can't
shove 'em around.

Well...

You don't have
to worry about me.

I don't wanna do nothin'
to hurt Ruthie, but I...

I'm just used
to taking care.

I just can't sit
and do nothing for her.

I know, Marty,
and I understand.

You wanna have a cup of
coffee with me, Barney?

Sure. I'd like it.

As a matter of fact,
I'll buy you lunch.

You'll buy? Ha ha!

I'll buy. Come on.

[Whistle blows]

[Timpani roll]

[Orchestra playing]

♪♪ There's an old superstition
way down south ♪♪

♪♪ everybody believes
that trouble won't stay ♪♪

♪♪ if you shake it away ♪♪

♪♪ when they hold a revival
way down south ♪♪

♪♪ everybody with care
and trouble that day ♪♪

♪♪ tries to shake it away ♪♪

♪♪ shakin' the blues away ♪♪

♪♪ away ♪♪

♪♪ unhappy news away ♪♪

♪♪ away ♪♪

♪♪ if you are blue ♪♪

♪♪ it's easy to shake off
your cares and troubles ♪♪

♪♪ tellin' the blues to go ♪♪

♪♪ to go ♪♪

♪♪ they may
refuse to go ♪♪

♪♪to go ♪♪

♪♪ but as a rule ♪♪

♪♪ they'll go if you
shake 'em away ♪♪

♪♪ shake 'em away ♪♪

♪♪ do like the voodoos do ♪♪

♪♪ listen to ♪♪

♪♪ a voodoo melody ♪♪

♪♪ they shake
their bodies so ♪♪

♪♪ to and fro ♪♪

♪♪ with every shake ♪♪

♪♪ a lucky break ♪♪

♪♪ provin' that
there's a way ♪♪

♪♪ away ♪♪

♪♪ to chase your cares away ♪♪

♪♪ away ♪♪

♪♪ if you would lose
your weary blues ♪♪

♪♪ shake 'em away ♪♪

♪♪ shakin' the blues away ♪♪

♪♪ away, away ♪♪

♪♪ unhappy news away ♪♪

♪♪ away, away ♪♪

♪♪ if you were blue,
it's easy to ♪♪

♪♪ shake off your cares
and troubles ♪♪

♪♪ tellin' the blues to go ♪♪

♪♪ they may refuse to go ♪♪

♪♪ but as a rule ♪♪

♪♪ they'll go if you
shake 'em away ♪♪

♪♪ do like the voodoos do ♪♪

♪♪ listen to ♪♪

♪♪ a voodoo melody ♪♪

♪♪ they shake
their bodies so ♪♪

♪♪ to and fro ♪♪

♪♪ with every shake ♪♪

♪♪ a lucky break ♪♪

♪♪ with every shake ♪♪

♪♪ a lucky break ♪♪

♪♪ provin' that
there's a way ♪♪

♪♪ away ♪♪

♪♪ to chase your cares away ♪♪

♪♪ away ♪♪

♪♪ if you would lose
your weary blues ♪♪

♪♪ shake 'em away ♪♪

♪♪ shake those blues
away ♪♪

♪♪ gotta chase
those cares away ♪♪

♪♪ just to prove
that there's a way ♪♪

♪♪ a way to shake,
shake your blues ♪♪

♪♪ away... ♪♪

♪♪ away ♪♪
♪♪ away ♪♪

I think
I'll go backstage

and see her
for just a minute.

No, wait, Marty.
Wait till after the show.

Very good, Ruth.
Take another bow.

You've got 'em,
you've got 'em!

Keep with the group.
Keep belting.

Oh, Miss Etting,
you were just wonderful.

Thank you.

We have to hurry.

Oh, I'm sorry,
Mr. Snyder.

I just want to see
Miss Etting for a minute.

I'm sorry.
I got my orders.

You won't get
into any trouble.

I give you my
personal guarantee.

Wait a minute.
Hey, Taylor.

Come here.

I want to see Ruth
a minute.

Tell him
it's OK, huh?

FRED: Please, Mr. Snyder.

She only has a couple minutes
between numbers.

Out of my way, punk.

Marty, what is it?
What's the matter?

I just wanna see you,

and big shot here
thinks he can stop me.

They don't want people
backstage.

What are you
trying to give me?

I seen people come in.

Everybody else
you make exceptions?

Everybody but me?

You asked for it,
you got it.

Satisfied?

Look, you've been riding me
from the very beginning.

One more crack out of you,
and I'll take you apart!

Marty!

Ah, go away.

Why don't you go play
cops and robbers

where they're
scared of you?

This isn't Chicago.

[Women screaming]

Marty, stop it!

Marty! Marty, stop it!

Please don't!

Take it easy!

Throw him out!

Come on. Ruth,
it's your cue.

Call a doctor!

Ruth, get out there.

Go on.

Outside, buster!
Come on!

Go on!

I don't care
how you do it, Georgie.

Find the fire
and get rid of it.

Look, get all you can.
I'm depending on you.

I'm pulling Ruth
out of the show.

She's leaving Ziegfeld.

I'm what?

I'm fed up!

Marty.

I've had enough!

It's up to here
with me.

From now on,
I'm number one.

Don't worry.
You won't be the loser.

I've been on the phone.

I got bookings for you,
your eyes will pop.

Barney, we gotta get out
of that contract.

I've gotta pay off,
it's all right.

I'll have the dough.
I'm selling the laundry.

But there might
just be an angle.

Marty, we signed that
contract in good faith.

RUTH: There is an angle.

A good one.

You made us a nice
little scandal tonight.

Fred Taylor's
in the hospital

with a broken jaw.

He's lucky he's alive!
So what?

So, Ziegfeld doesn't
want me in the show,

not if you're around.

That don't hurt
my feelings.

He's a bigger jerk
than I figured

if he lets you go
for free.

Only I'm not going.

I was a hit tonight.

A big hit.

It's a chance
to be somebody.

It's the follies.
It's Broadway.

It's a chance to meet
decent people

and to make friends.

It's what I've wanted
and what I've worked for.

Why should I leave it?
What sense does it make?

It doesn't have
to make sense!

It's what I want,
the way it's gonna be!

You can't tell me
what to do!

In a pig's eye, I can't!

You think I'm Georgie?
You think you own me?

You're right, I own you!
That's exactly right!

Barney.

Good night, Ruth.

Good night, Marty.

I'm sorry I got angry.

We have a lot
to talk about.

Let's not do it this way.

Let's not shout
at each other--

don't use your ritzy
Ziegfeld voice on me.

Make like you're back at
the 10 cents a dance joint.

But I'm not, Marty.

That's the whole point.

I'm right where
I want to be.

And I ain't good enough
for you.

I didn't say that!

Well, then say it!

Have some guts.
Say it!

All right!

You don't belong here!

I can't help it.
It's your fault.

It's the way you act.

The way I always acted.

I never heard you
hollering.

It's rotten, dirty,
and I hate it!

You hate it?

You're talking
to me, baby.

Me, not Ziegfeld.

I know you.

You were right there
with me,

working me,
begging for more.

Never mind how rotten
and dirty.

Maybe I did, but I don't
wanna go on that way.

I knew tonight--

tonight?

The minute we got here,
this started.

The minute we got in
that stinkin' theater.

You saw the way
they treated me,

those fancy
New York jokers,

like I was nothin',

small potatoes,
like I had no right.

I didn't say nothin'.

I waited,

waited to see if you'd
butt in and tell 'em,

tell 'em, ''he's with me.
We're together.''

I couldn't have.

You could.

You could.

I'd have done it for you.

But you never
opened your trap,

like you never
owed me nothing.

You walked away.

You walked away!

Since the first day
that I seen you,

I knocked my brains out
for you.

That's all right.

That's all right.

I'm a poor slob.
I can pack a bag

and go back to the laundry,
lay down and die.

You don't care.

No skin off your back.
You got what you wanted.

I brought you this far.
Nobody else. I did.

But that don't count.

Not with you.

Not with a high-class dame
like you.

Marty, I know
what I owe you.

I know it, but there's
no way to pay it.

Don't you see there's
no way to pay it?

Ain't there?

[Muffled screaming]

[Sobbing]

[Door slams]

All right, you can go.

Here. Let me do the lugging.

You got me around.
At least take advantage.

It's all right.

Why don't you sit down
and relax, huh?

Want me to get you
a cup of coffee?

Yeah, that's
what you need.

Do you good.

No, I don't want any.
Really, I'm fine.

I bet you can't guess where
we're going this afternoon.

I bet you can't.

You know that jewelry store
over on Fifth Avenue,

the one that doesn't have
nothing in the window

except a string of pearls,

show they ain't boastin'?

Well, we're going over there

and pick up a little
something for you.

Retail.

How do you like that?

You don't have
to buy me anything.

Who says I have to?
I want to.

Little token
of how I feel.

Don't worry about it
so much.

Ah, who's worrying?

Everything's
gonna be great.

The minute we
get on that train,

the minute we get out
of this phony town,

everything
will be great.

You'll see.

I'll do more for you
than a dozen Ziegfelds.

The tours I got
worked out for you,

coast to coast.

Top spots every place.

What's so terrible
about it?

The day will come
when you'll thank me.

You'll laugh
when you remember.

Are you listening to me?

I'm not complaining.

I'm just trying to tell you

that you don't have
to work so hard.

You don't have
to sell me.

I'm sold.

Ruth:
♪♪ what can I say, dear ♪♪

♪♪ after I say ♪♪

♪♪ I'm sorry? ♪♪

♪♪ what can I do ♪♪

♪♪ to prove it to you? ♪♪

♪♪ I cried ♪♪

♪♪ for you ♪♪

♪♪ now it's your... ♪♪

♪♪ when whippoorwills call ♪♪

♪♪ and the evenin' is nigh ♪♪

♪♪ I hurry to my ♪♪

♪♪ my blue heaven ♪♪

♪♪ 10 cents a dance ♪♪

♪♪ that's what they pay me ♪♪

♪♪ gosh, how they
weigh me down ♪♪

♪♪ 10 cents a dance ♪♪

♪♪ dandies and rough guys ♪♪

♪♪ tough guys
who tear my gown ♪♪

♪♪ 7:00 to midnight ♪♪

♪♪ I hear drums ♪♪

♪♪ loudly the saxophone blows ♪♪

♪♪ trumpets are tearing ♪♪

♪♪ my eardrums ♪♪

♪♪ customers ♪♪

♪♪ crush my toes ♪♪

♪♪ sometimes I think ♪♪

♪♪ I found my hero ♪♪

♪♪ but it's a queer romance ♪♪

♪♪ all that you need ♪♪

♪♪ is a ticket ♪♪

♪♪ come on, big boy ♪♪

♪♪ 10 cents a dance ♪♪

♪♪ fighters and sailors
and bowlegged tailors ♪♪

♪♪ can pay for their tickets
and rent me ♪♪

♪♪ butchers and barbers
and rats from the harbors ♪♪

♪♪ are sweethearts
my good luck has sent me ♪♪

♪♪ though I've a chorus
of elderly beaus ♪♪

♪♪ stockings are porous,
with holes in the toes ♪♪

♪♪ I'm here
till closing time ♪♪

♪♪ dance and be merry ♪♪

♪♪ it's only ♪♪

♪♪ a dime ♪♪

♪♪ sometimes I think ♪♪

♪♪ I found my hero ♪♪

♪♪ but it's a queer romance ♪♪

♪♪ all that you need ♪♪

♪♪ is a ticket ♪♪

♪♪ come on, big boy ♪♪

♪♪ 10 cents ♪♪

♪♪ a dance ♪♪

[Applause]

Just listen to this.

How was that, huh?

You can't top it
anywhere.

Thanks.

How'd it go?

Same as always.

Marty tell you
where we're going

after we close here?

Since when is it any of
my business where I work?

He just wants to
surprise you is all.

He couldn't.

Marty:
Ruthie, are you there?

No, I'm playing
a benefit in Duluth.

Leave it!

Everybody's so
nervous around here

all the time.

I come in. I got
great news, a surprise,

but you gotta make
cracks.

It's enough to take the
heart out of a person.

Never mind the dramatics.

What's the big news
this time?

You're merely going
to make a picture

in Hollywood,
that's all.

I merely kill myself
for the past 2 weeks,

setting the deal up
for you, that's all.

And what a deal.

Between you and me,

the things I told
that Barney Loomis

to ask for,

I didn't dream
we had a chance.

And you should have
heard that Paul hunter

on the phone just now.

Long distance. The head
of the whole studio.

He acted like you was
the Queen of Sheba

or something.

Well, how 'bout it?

It'll be a change, anyway.

You're glad, at least?

Sure. Why not?

Mrs. Snyder, could ya
just once, just once,

show some plain,
common enthusiasm?

What do you want,
a ''thank you'' note?

You know something,
Ruthie?

You ought to lay off
that stuff.

You're gettin' to look
like an old bag.

Ha ha.

[Telephone rings]

Hello.

WOMAN: Miss Ruth Etting,
please. Hollywood calling.

This is Miss Etting.
Hollywood?

Operator, are you sure
this call

isn't for Mr. Snyder?

No, ma'am.
Miss Ruth Etting.

Well, this is she
speaking.

MAN: Hello, Ruth?

Hello.

This is Johnny.

Johnny?

Johnny alderman.

Johnny alderman?

You can hang up, Ruth.

I don't know how you feel
about talking to me.

Oh, I feel fine
about it, Johnny.

I--but I can't
believe it.

What made you call
after all this time?

Oh, I've wanted to call
you often enough.

Only I didn't think I should.

Not after I heard you were
married.

I just heard you're coming out
to do a picture for Paul hunter.

Yes.

Well, I work here, too, Ruth.

And what's more, I'm going
to be working with you.

How do you like that?

Johnny!

You're making it up.

Ruthie, I just came in
to tell you--

who you talkin' to?

I'm sorry.
I'm sorry.

I don't know what
my future plans are.

I see.

I gather you...Don't
want to talk anymore.

Thank you. Thank you
for calling.

It was one
of the newspapers.

Well, why didn't
they call me?

I handle the publicity.

Hey, Ruthie...

We're leaving for
the coast on Sunday.

And I, uh,
I picked a late train

so that you wouldn't
have to rush gettin' up,

you know what I mean?

It'll do you good,
Hollywood.

You'll enjoy it.

It's good for a person
to change.

You and me have been

getting pretty jumpy
lately anyway, you know.

I don't want to go.

What?

It's just that I'm so tired.
I need a rest.

But I...

I asked you before
I started on the deal.

Take a little vacation,
I said.

Lay off a while,
I said.

No, you wait till I get
the deal all sewed up,

hook, line, and sinker.

Answer, why?

Explain to me why.

It's just a feeling
that I have.

Forget it.

I'm taking Mr. Snyder
in to see Mr. hunter.

Oh, yes. Second corner
to the right.

Hello, Paul.

Hello.

Uh, this is Mr. Snyder.

Mr. hunter, Mr. Snyder.

Very nice to meet
you, Mr. Snyder.

Hasn't Miss Etting
come with you?

No. Mrs. Snyder
just sings.

I'm the one
does the talking.

I see.

Well, let's start
with the story.

I'm sure
you'll like it.

I don't mind saying

we're all very proud
of it.

Where's the music?
I don't see no music.

It comes separately,
Marty.

I have it right here.

What's he doing here?

HUNTER: Mr. alderman
is the music director

on this picture.

I used to work for
Mr. Snyder and Miss Etting.

Well, that
makes everything

nice and friendly,
doesn't it?

These are the numbers,
Marty.

I think she'll like 'em.

I've chosen the kind of
material--

you've chosen?! Nobody else
got nothin' to say, huh?

They're all subject to
Ruth's approval, of course.

Well, she ain't no little kid
in a chorus no more.

She knows what she's doing.

And when she don't,
believe you me, I do.

Of course, Mr. Snyder.

That's why we're so happy
to have you both with us.

Now, why don't we all sit
down and talk things over?

WOMAN: Throw the ball
in the air! Ohh!

[Playful shouts]

Ha ha! Look who's
gone Hollywood.

Yeah.

Hey!

Oh, Marty!

[Marty laughs]

Come on, Georgie,
come on.

Everybody come to California
to lay around in the sun,

and she gotta sit
in the house.

Barney:
Hello, Ruth.

Oh, hello, Barney.

Can I get you a drink?

Thanks.

Everything go all right?

Fine.
Good.

Of course Mr. hunter
was disappointed

that you
weren't with us.

Say, you have a lot
of meetings tomorrow.

There's wardrobe and
makeup and publicity--

well,
Marty has the list.

Yeah. You start with
the music director,

and wait till you hear
who that is.

Johnny alderman, the piano
player from Chicago.

Is that a laugh!

It's a small world,
isn't it?

What's with you
and this fella, Marty?

He seemed to bother you
at the conference.

He don't bother me one bit.

He ain't important
enough to bother me.

I just don't like him!

Something about
his personality.

He always gave me
a swift pain, that guy.

Why should he be
on a picture,

a piano player like that?

We ought to have
somebody good, a name.

Well, he's making
a name for himself.

Well, let him make it
on his own time.

How do you feel
about it, Ruth?

I don't care one way
or the other.

Whatever you say.

Well, we'll leave it lay,
for the time being anyway.

Hunter's a nice fellow,
don't you think?

Yeah, a fourflusher,
just like the rest of them.

You know how long it
took me to get his number?

Just about one minute.

And I let him know it, too.

Did you see the expression
on his face

when I told him his last
3 pictures were stinkeroos?

[Marty laughs]

I really let him have it,
didn't I, Barney?

That's the only way
with those phonies.

You gotta let 'em know
who you are.

Who are you, Marty?

What do you mean?

What have you accomplished?

Can you produce a picture?

Have you done one
successful thing on your own?

Just who do you think you are?

Pretty sharp,
the little lady, huh?

Whoever I am, kiddo,

I'm what makes you tick.

And don't you ever
forget that!

[Door slams]

Is it always
like this, Ruth?

I'll make a deal with you,
Barney.

You don't tell me
your sad stories,

and I won't tell you mine.

How do you like it?
How do you like it?!

Have I ever done one
successful thing on my own?

Listen, Marty...

I figure I get
what she means.

Back in Chicago,
you were a big man, see?

But since then, the people
we do business with,

your name don't mean nothing.

After all, it ain't like
it's up anywheres,

''Marty Snyder presents...''

sure, you're married to her,
but for all they know,

you could be a guy that's
hanging on to a good thing,

a meal ticket.

You follow
what I mean, Marty?

[Body hits floor]

I'll show them.

I'll show them.

She'll see.

Well, get up!

What are you layin'
there for?

Barney! Come in here.

I want to talk to you.

Barney, get free
tomorrow. All day.

We got business.

And, Georgie?

You take Ruth to the
studio, instead of me.

And stick with her.

And if she wants
to know where I am,

just tell her...

Tell her I'm too busy.

That's right.
Tell her...

Tell her
I'm just too busy.

JOHNNY: Ruth.

Hello, Johnny.
Hello, Ruth.

It's good
to see you again.

Good to see you.

I'm sorry I'm late.

It doesn't matter.

Oh, you know
Georgie.

Sure, sure.
How are you, Georgie?

Hi.

Georgie, why don't you
sit down over here

and make yourself
comfortable?

We'll be in there
by the piano.

This way, Ruth.

Let's have
a good look at you.

''A good look''?

A good look.

Have I changed?

Yes.

A lot's happened to you,
and it shows.

You're beautiful.

It's good to see you,
Johnny.

And I'm awfully glad

we're going to make
a picture together,

really I am.

We always got along
fine when we worked.

And that's what we're
here for, isn't it?

To work.

By all means,
let's get to work.

Have you looked over
the songs?

You have some choice.

It doesn't
make any difference.

Whatever you think.

Shall we get started?

All right.

I think you know this.

It's an old one of mine.

I'll never stop
loving you.

Yes, I know it.

[Playing piano]

♪♪ I'll never stop ♪♪

♪♪ loving you ♪♪

♪♪ whatever else
I may do ♪♪

♪♪ my love ♪♪

♪♪ for you ♪♪

♪♪ will live
till time itself ♪♪

♪♪ is through ♪♪

♪♪ I'll never stop ♪♪

♪♪ wanting you ♪♪

♪♪ and when forever
is through ♪♪

♪♪ my heart ♪♪

♪♪ will beat ♪♪

♪♪ the way it does
each time we meet ♪♪

♪♪ the night ♪♪

♪♪ doesn't question
the stars ♪♪

♪♪ that appear ♪♪

♪♪ in the skies ♪♪

♪♪ so why ♪♪

♪♪ should I question
the stars ♪♪

♪♪ that appear ♪♪

♪♪ in my eyes? ♪♪

♪♪ of this ♪♪

♪♪ I'm more
than just sure ♪♪

♪♪ my love ♪♪

♪♪ will last and endure ♪♪

♪♪ I'll never ♪♪

♪♪ no, I'll never stop ♪♪

♪♪ loving ♪♪

♪♪ you ♪♪

Yes, you still
care about it.

Are you always this unhappy,

or is it just today?

Is this going to be
a long session, Johnny,

because I have some
other appointments.

No.

No, all I'd planned for today
was to run through the songs.

Of course, I had thought you'd
have lunch with me afterwards

or a drink.

Or a cup of coffee?

Or a cup of coffee.

You know, the last time
you asked me that, Johnny,

I didn't
because I didn't want to.

Now I'll tell you so you'll
never ask me again.

I can't.

[Orchestra playing]

Hello, Barney.

Hello.

I'm very tired, Marty.

I didn't want
to go out tonight.

Oh, relax.
Don't be so sour.

You got to eat someplace.

I ordered your steak
medium, OK?

Yes.

Well, how was it today?

How'd you get along with
that piano player, hmm?

I suppose he feels he's
a pretty big shot now.

Why shouldn't he?
He's doing pretty well.

Well, working for
somebody else, ain't he?

Still punchin' a time clock.

Who doesn't?

Not everyone. Not everyone.

BARNEY: Oh,
go ahead and tell her

and get it over with.

Garbage! Take it back!

Tell the chef
Mr. Snyder said steak.

WAITER: I'm sorry, sir.

There was nothing wrong
with that steak.

Marty, you can't
go on acting this way.

Oh, yes, I can. Here, I can.

I can act any way I want.

This is my place.
I own it.

How do you like that?

You what?

BARNEY: It's his,
all right.

It's changed hands
10 times.

It's jinxed everybody
who's ever had it,

but it's his.

What do you want
with it?

I gonna turn it into the
hottest nightspot on the coast.

Oh, don't you get worried.
None of your money's in it.

Not one red cent.

In 2 or 3 weeks,
when we're open,

you can beg to buy in,

you and old lady Loomis.

In 2 or 3 weeks?

Well, I'll be on this
picture for months.

I can't play
any outside dates.

Did I ask you?

This joint,
I make a success.

Now, don't blame me, Ruth.
I told him it was no cinch,

this nightclub business.

I know it like I know
the back of me hand.

I been around the clubs
for 14 years.

What do you suppose
I was doing

when I was running that
laundry? Washing socks?

Look,
it's one thing--

what's the matter?

You want everybody
should think I'm a dumb ox,

got no brains?

You want they should think

I'm getting handouts
from you?

So busy making them
think you're something,

they don't think
I'm nothin'.

GEORGIE: You put it
all in, Marty?

The dough
from the laundry?

What's the matter,
you gettin' scared, too?

Look, here's
what I'm gonna do.

First, I close down
the whole place.

Then I throw out everything.
Everything. Every stick.

I'm starting from scratch.

When I get through,

its own mother
won't know this joint.

And it's gonna look rich,
like it cost.

Only in good taste, like
you're always screaming.

Nothing loud.

And the entertainment?
Only headliners.

Personalities.

Am I bending your ear
too much, Ruthie?

If I am, I'll shut up.

But I'm all steamed up
about this thing, you know?

What'd you do that for?

I'm sorry.
I'm just so nervous.

You know, the rehearsals and
everything starting tomorrow.

Yeah.

That's what it is, sure.

You're bound to be--

[glass breaks]

I need
a good night's rest.

Yeah, you're right.

I'll, uh...

I'll hit the hay
in the other room.

You go on, go to bed.

Good night.

Good luck with the club,
Marty.

Don't say it like
you're a stranger.

[Door closes]

Hey, Marty.

Here's the layout,
Mr. Snyder.

Here. Yeah, look.

In the middle, ''M.S.''
With a wreath, you know?

And, uh, green and gold.

Yes, sir.

How do you like that
for a name, Barney, hmm?

M.S. Club. ''M.S.''
Marty Snyder. Get it?

Yeah, yeah, I got it.
Now, look, Marty...

I still think
you're making a mistake

about Frankie Desario
and his orchestra.

They're gonna cost you
a fortune.

Book 'em. Book 'em.
Don't give me no headaches.

You the waiters?

ALL: Yes, sir.

OK, don't get excited.
Wait! Ha ha ha!

MARTY: All right,
come on, girls.

Come on.

Oh, come on, get 'em up.

All right. You, you, and you.

The rest of you can blow.

Now, uh, you three, I want
you to remember something.

This is strictly legit.

You ain't sellin' nothin'
but cigarettes.

Back tomorrow morning
at 10:00 for a fittin'.

Uh, Barney, did you
get over to the studio?

Sure.
See Ruth?

Yeah.

She's coming over.
We're going to have dinner.

Now, you know,
we been so busy lately,

we've hardly
seen each other.

How is she,
in a good mood?

Oh, sure.

This picture's been
a real shot in the arm.

Never saw such a change
in a girl.

Well, she listen to me,
she don't go wrong.

Georgie:
Oh, hi, Marty.

MARTY: Where's Ruth?

She had to work again.

She didn't have no call
for tonight.

What are they trying
to pull?

Look, Marty,
this happens all the time.

They find out that
a recording stage is free

or something,
and it's just routine.

Yeah, sure.
Sure, Barney.

Look, I--I know you're
anxious to get home.

I won't need you
no more.

OK. Good night.

Good night, Barney.

How do they act
together, them two?

Ruthie and
the piano player.

I watched just
like you told me.

There's nothing to watch.

She's more friendly
with lots of them than him.

The wardrobe girl,
the makeup man,

that old geezer,
a grip they call him.

Him, she's always talking to.

But Johnny? Nothin'.

[Beep]

MAN: 24-04, take 3.

[Orchestra plays]

♪♪ Never look back ♪♪

♪♪ never look back ♪♪

♪♪ you might see the tears ♪♪

♪♪ I'm trying to hide ♪♪

♪♪ you might catch a glimpse ♪♪

♪♪ of arms open wide ♪♪

♪♪ still waiting for you ♪♪

♪♪ never look back ♪♪

♪♪ never look back ♪♪

♪♪ you've told me good-bye ♪♪

♪♪ now be on your way ♪♪

♪♪ you've made up your mind ♪♪

♪♪ so what could you
say or do? ♪♪

♪♪ I know ♪♪

♪♪ we've reached the parting
of the way ♪♪

♪♪ there's nothing
left for me ♪♪

♪♪ and so,
I only pray ♪♪

♪♪ that you'll forget
the things you've done with me ♪♪

♪♪ you've had
your fun with me ♪♪

♪♪ never look back ♪♪

♪♪ never look back ♪♪

♪♪ no, don't look around ♪♪

♪♪ it wouldn't be smart ♪♪

♪♪ if you look around ♪♪

♪♪ you may see my broken ♪♪

♪♪ heart ♪♪

♪♪ if you ♪♪

♪♪ look around ♪♪

♪♪ you may ♪♪

♪♪ see my broken ♪♪

♪♪ heart ♪♪

MAN: 24-04, take 3.

OK?

All right.

You dumb jerk.

I could've sung all night,
Johnny.

It was a good session,
wasn't it?

You were great,
and you know it.

Thank you.

Of course, I am
getting a little help

from the score
and the conductor.

Thank you.

You're doing
a wonderful job.

I know. Can't understand it.
I'm usually not this good.

Good night, Johnny.

Hello, Ruth.

Oh, hello, Mr. hunter.

All through
for the night?

Uh-huh. Just finished.

I've heard all
the recordings so far.

They're beautiful.

Oh, thank you.

Just beautiful.

I'm delighted.

Ruth, uh...

Mr. Snyder just
dropped in on me.

He tells me that
you're dissatisfied

with Johnny alderman.

Oh, I'm not.

That you want me to
take him off the picture.

That's not true.

Well, he said that either
Johnny goes or you go.

I can't fire a man
for no reason, Ruth.

I'll be here in the morning,
Mr. hunter.

Don't worry.
There won't be any problems.

Good.

Good night.

Good night, Ruth.

Now, you said you were
going to finish tonight.

And that's the way
it's gonna be.

I don't care
if it is double time.

Get it done!

Why did you lie
to hunter?

Oh.
All in an uproar, huh?

He's staying on
the picture, Marty.

Fine. Fine. Then they're
pulling you off.

Have you gone crazy?

Are you
out of your mind?

What have you
got against him?

What has he done
to you? Why?

You're going off,
and that's that.

Marty, listen to me,
please.

This is important.

Don't do this. Don't
spoil this picture.

It's the first thing I've
cared about since New York,

and I don't want
to lose it.

I have to work,
do you understand?

I've got to.
It's all I've got.

Shut up. You're gonna work.
Who said different?

Only where I can
keep an eye on you

so you don't get
so many ideas, get so big.

You're gonna work here,
you're gonna open this joint.

And there's going
to be a sign,

''Martin Snyder
presents Ruth Etting.''

that way, everybody'll
know who's boss.

Like you know.

Like you better know,

no matter how much you scream
and holler and carry on.

What's the matter,
Marty?

Are you afraid
you're losing your grip?

You come back here!

What are you gaping at?!
Get to work!

Ruthie!

Get the car!

Ruthie!

Ruthie!

Ruthie.

[Doorbell buzzes]

[Buzz]

No, she's not here.

What's the matter, Marty?
Did she run away?

You keep away from her.

If I catch you hanging
around her, I'll kill you.

She has to walk out
on you herself.

If she ever gets
the guts to do it,

I will be hanging around.

I'm just telling you

so you'll know
where to find me.

Where now, Marty?

Home.

I'm gonna get my rest.

She's the one
putting on a big act,

let her be the one that
don't sleep. Huh huh huh.

MARTY: You say there's
nobody registered there

that looks like that?

Are you sure?

Well...Well, what time
did you come on duty?

All right, all right.

Keep your shirt on.

Marty, why don't you
lay down a while?

She's got to be
someplace.

What's she
doing this for?

[Telephone rings]

Hello?

Hello, Ruthie?
Where the--

what'd you say,
miss?

All right.

I'll be there.

Barney's office.

She wants to meet me
there in an hour.

Marty, why don't you
take a shower?

I guarantee
you'll feel better.

You know you always
feel better after a shower.

Well, you got
a lot of time.

Where you been? Why a meetin'
all of a sudden? Why here?

Marty, sit down.

We got something
to straighten out

between us, ain't it?

Why drag Barney into it?

Because he's a good friend
to both of us.

So?

Marty, you can have
anything you want,

any kind of settlement.

What are you
talking about?

I want a divorce.

What?

We've got to put
an end to this.

What do you mean
put an end to it?

How can you put an end
to a thing like this?

We have to. It isn't
worth living this way.

It hasn't been.

You think you can just
stand there and tell me that--

I can't anymore,
Marty.

Look, Marty, she can't
help the way she feels.

What a way
to wind it up.

A girl, a secretary
calls you on the phone

and tells you you've
got an appointment.

I've tried,
you know I've tried,

but I can't go on
any longer.

What's the use
if we're both miserable?

It's that guy, ain't it?

No.
Yeah.

Yeah. I was on
the stage last night.

I ain't Georgie.

I seen your face
when you looked at him.

Right from the start,
right from Chicago.

You been two-timing me,
the both of you.

That's not true!

It is true!
It is true!

It's been him all the time,
ain't it? Ain't it?!

No, it's you!
It's you, it's you!

It's because
of you!

[Shrieks, crying]

All right.

All right.

You want to call it
a day? Fine.

Get a lawyer.
Get it started.

Anything you say.
Anything to make you happy.

I did an awful lot
with that girl.

She don't realize.

Isn't that right, Barney?

That's right,
that's right, Marty.

You've been level
with the both of us.

Didn't I do wonders
for her?

Yes, yes, Marty.

The contracts I got her.

All right, so I couldn't handle
all the people with kid gloves,

but it's push or get pushed.

You see? You see
what I mean, Barney?

Sure, I understand now,
Marty.

Go home
and get some rest.

We'll talk later.
You're all keyed up.

Look, maybe this is the best
thing that could've happened.

I mean that serious.

Let her see how she
gets along without me.

If she does, fine.

You won't hear
one squawk out of me.

But she'll come running back
so fast, believe me,

it won't even be funny.

Well, I gotta go.

I got things to do.

Thanks, Barney.

What happened, Marty?
What'd she want?

Aw, nothing.
You know how they are.

They get notions.

Splittin' up?

Splittin' up?
Ha ha. That's crazy.

She'd be lost without me.

Sure. It figures.

Where we going now?

To the club. Where else?

You think I'm gonna
let things fall apart

just 'cause she
gets a notion?

Ah, you're funny.
No kiddin'.

Look at you.
The puss on you.

You're tired, Georgie.

I've been
taking advantage,

running your feet off.

No, no, I ain't tired.

You know, what most
people don't appreciate,

it's a tough business,
show business,

and you got to have
somebody tough on your side.

She'll come
running back.

It's a foregone thing,
that's what it is.

A foregone thing.

A little faster.

Roll 'em.

Speed.

Playback.

[Music playing]

♪♪ Every little breeze
is sighin' of love ♪♪

♪♪ and dyin' at sundown ♪♪

♪♪ every little bird
is resting ♪♪

♪♪ feather-nesting
at sundown ♪♪

♪♪ each little rosebud ♪♪

♪♪ is sleepin' ♪♪

♪♪ wall shadows ♪♪

♪♪ are creepin' ♪♪

♪♪ in the little
cottage cozy ♪♪

♪♪ the world seems-- ♪♪

All right, cut.
Cut.

Stop the playback.

[Music stops playing]

You'll have to
step down, Ruth.

We have some
mechanical difficulty.

Help her down, Tony.

Thank you.

Very nice, darling.

Thanks.

Joe...

Ruth...

Are you all right?

He came to my place
last night

looking for you.
What happened?

Johnny, it has nothing
to do with you.

Have you left him,
Ruth? Have you?

Please, it isn't
any of your business.

That's a lie.
He knows it if you don't.

Have you left him, Ruth?
I've got to know.

Yes, yes, I've left him,

but it doesn't make
any difference, Johnny.

You've got to stay away
from me, please.

Did you see her?

They wouldn't
let me in, Marty.

She's there,
I know she's there.

They've been shooting
2 days already.

What's the matter with you?

Why'd you let them
bluff you for?

Why didn't you barge
right in through the gate?

I did, Marty.
They threw me out.

Oh. You know what?

I ran into Barney Loomis
over at the studio.

He says
the musicians union,

unless you get
some dough up,

they won't let
the band over.

He says he's got
to talk to you.

He'll talk to me
when I talk to him later.

Everybody telling me
all the time what to do.

Marty, listen.

We've been pals
a long time.

Since we were kids
practically, huh?

It ain't Ruth's fault.
It's him.

That piano player.

He's got
an influence on her.

If it's him
or if it ain't him,

what's the difference?
It's all done.

Can't you
forget about her?

We got a club
to open here in 3 days.

All the dough
you got in the world

is tied up
in this joint.

Marty, I tell you
the truth, I worry.

That's a bunk.

I'll take care of you.
Didn't I always?

Yeah. Only--

only what?!
Only what?!

Man:
Oh, Mr. Snyder.

You want to look at these
initials on the drapes

before I hang them?

You're paid to put them up!
Put them up!

Don't ask me so much!

He's in his office,
Barney, if you want--

later, I said! Later!

Let me alone, will you?

Go away!

Like flies!
Like leeches!

In my own place,
they can't let me alone.

Sure, I can forget her.

People die.
People go away.

Once it's finished,

you don't go around

knocking yourself
against a stone wall.

Once it's finished.

Johnny.

Hello.

Hello.

Where have you been
the last few days?

You said you didn't
want to see me.

I know I did, but...

Well, I didn't think
you'd stop coming to the set.

I mean, with so many people
around and everything,

there's no harm in that,
is there?

There's not much point,
either.

I'm sorry.

This car for you?

Yes.

Cancel it.
Let me drive you home.

No, Johnny.

Look, darling, I just
talked with Barney Loomis.

He says Marty's taking
this whole thing

a lot better than you are.

Now, wait a minute.
Let me finish.

I'm not asking you to change
your mind about anything.

All I'm asking,
let me drive you home.

But I can't,
I can't take the chance.

Well, good night.

Please, Johnny.

For what it's worth,

I love you.

[Engine starts]

[Door closes]

[Car drives away]

Good night, Miss Etting.

Good night.

[Car drives away]

[Car approaching]

Johnny,
what are you doing here?

Oh, darling, after what
you said back there...

Good night.

Good night, darling.

[Door closes]

[2 gunshots]

[Johnny moaning]

[Door opens]

Johnny!

Johnny?

Ohh.

He had it
coming to him.

I told him.

I told him I was
gonna let him have it.

I couldn't back down.

You know what I mean,
Ruthie?

You...

You...You been up
all night.

Yeah.
And you're all right...

No matter how you feel.

I feel...

Tired...

Exactly as if...

I was shot.

But if...

If you tell me
you love me,

I'll go to sleep.

I love you.

I'll be telling you
for the rest of my life.

You'll get awfully
tired hearing it.

You want to bet?

How is he?

Ruth, there are still
some photographers downstairs.

Can you take it?

Yes.

Barney, what's gonna
happen with Marty?

Well, he'll probably
get out on bail,

then he'll have
to stand trial.

But what about his club?

Oh, it won't open.
It can't.

Why, it was touch and go
about the money anyway.

Now after this, why,
it's not a chance he can get it.

Now, don't you start
feeling sorry for him.

Aren't you?

Oh, yes, I am.

I'd help him if I could,
but I can't. Nobody can.

And you're the one
person in the world

who mustn't even try.

Why not?

There are a thousand--

Barney, he gave me
a big chunk of his life.

It doesn't matter
that I didn't want it,

but the point is that
he gave it and I took it.

I can't walk away
when he's in trouble like this,

as if it weren't
any of my business.

Now, wait a minute.

Too much of it
is my fault.

That's ridiculous.

I mean it.

Barney, I didn't leave him
with anything...

With any pride,
self-respect, nothing.

I've got to see him.

Barney, you have
to fix it for me.

Please.

Please.

[Sighs]

You're making
a big mistake.

I have made so many,

one more won't
make any difference.

Sit down, please.

Thank you.

Martin Snyder.

Something on your mind?

I don't know if they've
told you or not,

but he's going to be
all right.

That should make it
easier for you.

I ain't worried. I had to
learn him a lesson, and I did.

I guess he thought
I was bluffin'.

Well, a whole lot of people
had me all wrong,

but I guess they're all
wised up now.

I've never been the kind of guy
lets nobody double-cross him.

No one double-crossed
you, Marty.

I've never said
one word to Johnny

that you couldn't
have heard.

Just good pals, huh?

No. Not anymore.

I love him.

And I'm going
to marry him.

Is that what you
come to tell me?

OK, you told me.

Please, Marty,
there is something else.

That day
in Barney's office,

we were both so upset
that...

I couldn't really say
what I wanted to.

Oh, you did just fine.

You said plenty.

But I didn't get
to say thank you

for all the nice things,

for all the good things
that you've done for me.

Who are you kidding,
Ruthie?

Who are you trying
to butter up?

What's the matter,
kiddo? Scared?

You afraid I'll
get out of here

and take another shot
at your boyfriend?

Marty, please,
listen to me.

No, you listen to me.

I'll be sprung,
I'll get out of here,

and I'll beat this rap.

You think I'm through?
You don't know me.

There's one thing
I am through with--

you.

You ain't got a thing
to worry about.

I don't want
no part of you.

Well, what are you sittin' there
like a wooden idiot?

Go on, beat it!

Go on back
to your piano player.

He can have you.

Tell him you've seen me
in the poky and I look great.

Tell him I like it.

Makes me feel like
I'm a kid again.

Well, you ain't told me yet
who put up the bail.

All of a sudden,
you're such a clam.

Didn't have
a chance, Marty,

with all those reporters
and everything.

Barney Loomis,
he put it up for you.

Well, if he's such a pal,
why didn't he come with you?

I don't know, Marty.
Maybe he was busy.

Yeah. Word goes out
a guy's broke,

everybody gets busy.

He put the dough up,
didn't he?

He'll get it back.

Yeah, but he put it up.

Yeah, he ain't
such a bad guy.

Hey. This ain't
the way home.

Thought maybe we'd
drop by the club

for a minute.

Aw.

what do I want to give
myself the blues for?

Couple of things you
ought to look at, Marty.

Forget it.

I want to get a shower.

Ha ha. They don't keep things
so dainty in that clink.

Go on. Go on home.

Yeah, Marty.
Just a minute.

[People chattering]

Georgie.

I'll throw her off.

Marty, stop! Wait!

Marty!

Let go of me!
Let go!

Wait a minute.

There are reporters and
photographers in there.

I don't care
who's in there.

I'll pull her
off the bandstand.

I don't need nobody
to give me a bag of peanuts.

I don't need no handouts!

Now listen to me!

This is not
a handout.

You did a lot for Ruth
in the old days.

She knows it,
and she's grateful,

and she's got a right
to pay it back.

And you've got
to take it.

You've got to be
big enough to take it.

Hey, that's the guy
who shot the guy!

That's him!

Look this way,
Mr. Snyder, please.

Will you give me
your autograph?

Did he bust out of jail
or what?

No, he's out
on bail.

Hey, give me your
autograph, mister!

Break it up.

One more, please.

Looks as if you have
a pretty good thing

on your hands.

Yeah, sure, sure.

Oh, you mean the club?

Yeah. Take a look at
this joint. It's packed.

Never been more than
4 people in here before.

Yeah. Yeah, I guess
you're right.

Mr. Snyder, can I get
some backstage shots?

Huh?

Mr. Loomis said that you're
the only one that can OK it.

Uh, yeah, yeah, sure.
Sure, why not?

Only, uh, not during
the floor show.

That's one of my rules.

Thanks a lot.

Think nothing of it.

What'd you do to the
place? Looks great.

Pretty nifty, huh?

Who'd you get in,
bunch of decorators?

Oh, got myself in,
that's who.

You think you've broken
the jinx on this spot?

There was never
no jinx on this spot.

Just a lot of jerks
running it, that's all.

Got big plans
for it?

When I get through,

you're gonna need a reservation
a month in advance.

Then you're counting on
keeping it running?

Through thick and thin.

No matter what happens
at my trial.

That's just in case you're
being too polite to ask.

[Laughter]

Shh.
Shh, shh.

Mr. Snyder, does Miss Etting's
appearance here tonight

mean you two
are getting back together?

Nah. Miss Etting
is just fulfilling

a contractual
obligation.

You got that?

A contractual
obligation.

She's gonna be paid just
like any other artist.

Kind of surprising, though,
in view of what's happened.

What's surprising about it?

Business is business.

You can put it down

that I've got the greatest
respect for Miss Etting

as an artist.

Uh, boys, step up to the bar
and have a drink on the house.

And, Georgie, see to it my pals
get everything they want.

Woman:
Check your hats, please.

RUTH: ♪♪ love me ♪♪

♪♪ or leave me ♪♪

♪♪ let me be lonely ♪♪

♪♪ you won't believe me ♪♪

♪♪ and I love you only ♪♪

♪♪ I'd rather be lonely ♪♪

♪♪ than happy
with somebody else ♪♪

♪♪ you might find
the nighttime ♪♪

♪♪ the right time
for kissing ♪♪

♪♪ but nighttime
is my time ♪♪

♪♪ for just ♪♪

♪♪ reminiscing ♪♪

♪♪ regretting instead
of forgetting ♪♪

♪♪ with somebody else ♪♪

♪♪ there'll be no one ♪♪

♪♪ unless that someone ♪♪

♪♪ is you ♪♪

♪♪ I intend to be ♪♪

You got to give
her credit.

The girl can sing.

About that,
I never was wrong.

♪♪ Independently blue ♪♪

♪♪ I want your love ♪♪

♪♪ but I don't want
to borrow ♪♪

♪♪ to have it today ♪♪

♪♪ and to give back
tomorrow ♪♪

♪♪ for my love ♪♪

♪♪ is your love ♪♪

♪♪ there's no love ♪♪

♪♪ for nobody ♪♪

♪♪ else ♪♪