All language subtitles for Broadway Melody of 1938 (1937) Robert Taylor, Eleanor Powell, Judy Garland

[MAN SINGS "TOREADOR SONG"
FROM "CARMEN"]

[CONTINUES SINGING
"TOREADOR SONG"]

Nicki. That was beautiful.
That was magnificent.

I've heard worse than that at the opera.
Haven't you?

Oh. You know opera ain't as bad
as it sounds.

And not only can Nicki sing...

...but he can pick horses too.
SONNY: Who do you like in the big race...

...at Baltimore tomorrow?
- I got a hunch on Star Gazer.

Oh. That's a swell little horse.

Hey. Wait a minute. Get this.

"Wanted: Assistant trainer.

Apply to James K. Blakeley. Trainer.
Mrs. Caroline Whipple's Stables...

...Pimlico race track. Baltimore. Maryland."
That's just the job for me.

She pays the biggest wages at the track.

She can. She's one of the richest
chorus girls in the world.

- Is that so?
- Sure. She married Herman Whipple.

- You know. The Iceberg Sucker king.
- Is that the truth?

There's a picture of them
with Star Gazer.

PETER: The guy used to jerk soda
in Coney Island.

Peter. You and I
are going to Baltimore tonight.

What are we gonna use for money?

I don't know. But I know
I gotta get that job.

Nicki...

...I wanna give you a little tip.
- Thank you.

No. I mean on tomorrow's race
at Pimlico.

Don't talk about horses.
I wouldn't bet on another horse...

...if the horse talked to me personal.
- Don't forget the old adage.

- Nothing ventured. Nothing gained.
- Don't you forget that old adage.

That two rolling mosses gathers a bird
in the bushes.

George. You got something there.

There's a little horse in the big race
called Fast Asleep.

L... Fast Asleep?
What kind of horse is that?

- Forty-to-one shot.
- Smartest racehorse in the country.

- Last time out he won by a lip.
- A lip?

- He puckered.
- Puckered?

- Oh. A smart horse.
- Peter. That sounds like the best bet to me.

It's a cinch. Nicki. You give us 20 bucks
and we'll place it for you at the track.

- How much could I win?
- Twenty will get you 800.

Come on. What do you say?

You heard what my uncle said.
No more bets.

- And I mean it.
- Eight hundred bucks ain't buttons.

Buttons. Who wants buttons?
I got buttons.

I want bucks. L...

How much you got to put up
for the 800?

George. Old pal.
It will only cost you 20 bucks.

No. Absotively. No. I only...

Nicki. Come here.

Listen. This time I got a hunch.

When your Uncle George has got a hunch.
He's got something.

What do you say we both put 10 bucks
apiece on Fast Asleep's nose?

How's about it? Do you?

- Okay. Uncle George.
- That's right.

Here. L... Oh.

Here's your 20 bucks.

And for your sake. I hope the horse
don't get sleepy in the race.

- You can bet he'll win.
- What? Ain't that what I'm doing?

Wait a minute. George.
You got nothing to worry about.

PETER: Goodbye. Nicki.
- So long. George.

So long you bring me back the 800 bucks
it's all right.

And no monkey business.
And don't give me the cross double.

MAN [ON RADIO]:
And that, ladies and gentlemen,

concludes our fifth anniversary program.

One hour of delightful music
brought to you...

... by the famous Whipple
All Day Ice Cream Sucker...

... the ice cream that sticks on a stick
until it melts in your mouth.

We wish to thank the sponsor
of this delightful program...

... the man who made the world
Sucker-wise...

... that pioneer of American enterprise,
Herman J. Whipple.

So don't forget every Tuesday at this hour,
The Whipple Sucker Serenaders.

And remember, there's a Whipple Sucker
born every second.

Wonderful.

The best program of the series.

"A Whipple Sucker born every second."

My pet. That is the greatest slogan
I ever thought of.

- You paid $ 10.000 for it. Didn't you?
- Yes. But I thought of buying it.

Herman. Our train leaves at 9:00.
We'd better be going.

Yes. Of course.
My dear. At once. Bertram.

I'm leaving for Pimlico.
If anyone calls. Say that I'm out.

- Make no appointments.
- But you have an appointment.

- Mr. Raleigh is waiting.
- Of course. Young Raleigh.

- Can't you see him some other time. Dear?
- No. My pet.

Raleigh is the man who wrote the songs
you heard on our radio program.

He wants to produce a musical show
and I'm going to back it for him.

Oh. So you're going to be an angel
and put thousands of dollars into a show...

...for someone you know nothing about.

My pet. I'm always the businessman
and never neglect to investigate first.

I even checked on you
before we were married.

How nice.
Did you find anything interesting?

Several things. My dear.
That's why I married you.

Bertram. Read me the report
on Mr. Raleigh.

Herman. You're not putting my money...

I mean our money into this stupid show.

- But. My pet. I have already agreed.
- I'll settle that. Show the gentleman in.

So you checked on me
before we were married. Eh?

Well. Brad Street
didn't do you any harm either.

- Hello. Mr. Whipple.
- Hello. Steve.

Oh. I'm... I'm sorry.
I thought you were alone.

I am. I mean. This is Mrs. Whipple.
Mr. Raleigh.

- How do you do. Ms. Whipple?
- How do you do?

- I've been hearing a lot about you.
STEVE: Good. I hope.

I brought the contracts and
I think they're exactly as you requested.

I put up my show. Book. Lyrics.
And music. Against your money.

If it's a hit. We split fifty-fifty.
If it's a flop...

...well. Then. We'll all be sorry. Okay?

Steve. Mrs. Whipple and I
have been talking this over.

And she doesn't quite approve...

...of my making any theatrical investments
at this time.

I should like to have you release me
from my promise. Will you?

Of course. I wouldn't hold you to it
if Mrs. Whipple objected.

But I didn't object.

If you want to break your word
with Mr. Raleigh...

...don't use me as your excuse.
- But didn't you say...?

I simply said
that I didn't know Mr. Raleigh.

Now that I do. I'm terribly enthusiastic
about the whole idea.

Thank you. Mrs. Whipple.

I wish there were producers like you
when I was in the chorus.

- Come. Herman. Sign the contract.
- Yes. My dove. Yes.

By the way.
Why don't we invite Mr. Raleigh...

...to Pimlico with us?
- Will you?

Mrs. Whipple's horse. Star Gazer.
Is running in the big race tomorrow.

Why not come along
and help us root him in?

Well...

Do you like horses. Mr. Raleigh?

Oh. Yes. Very much indeed but...

Well. At least we have one thing
in common.

ANNOUNCER: They're rounding the turn
toward the stretch. What a beautiful sight.

Star Gazer and Fast Asleep
shoot out in front by two lengths.

They're increasing to four lengths.
Both jocks use the whips.

The battle is on in the home stretch. Jocks
are calling for that last ounce of speed.

Star Gazer in front by a head.
Now it's Fast Asleep by a nose.

They're even. Eye to eye
as they speed toward the line.

Fighting furiously for an added inch.

There they go,
nose and nose under the wire.

- It's a photographic finish.
- That was a close finish.

I got a hunch we should have placed
that 20 bucks on Fast Asleep.

It's a fine time to be getting hunches.

We had to use that dough to get here
to Baltimore to get this job.

If that horse puckered. We're sunk.

We just got the results
of the photographic finish.

The winner, Fast Asleep.

I win $800.

- But half of that is mine.
- Don't be technical. I win!

Herman. What do you suppose
ever happened to Star Gazer?

I didn't know. Dear.

It looks like he's pulled a tendon.
All right.

Yes. He'd have won that race
if he hadn't.

You bet he would. You wanna rub
his leg down good and bandage it.

We're pulling out for New York
on the 6:45 train.

- Have you located the car?
- It's on the siding.

- Get your horses loaded and bedded down.
- Okay. Mr. Blakeley.

- Mr. Blakeley. I'd like to go work for you.
- Have you had any experience?

I used to be a jockey.

- What did you ride? Elephants?
- No. I was a little guy then.

- Little? How big you are now?
- Six-feet-one in my underwear.

WOMAN:
Say. You're doing that all wrong.

- What?
- Well. It's none of my business...

...but why don't you put his leg
right in the tub?

Why don't you go back out to the track
and see the 8th race?

It's better for the horse's leg
if his foot's right in the water.

Well. If you don't mind.
I'll do this my way.

What are you gonna do now?

I wouldn't do a thing
without asking you.

Hey. What's going on there?

You gotta take care of this quickly.
Pulling a tendon is plenty serious.

Some horses are laid up for months
and sometimes they never run again.

- What have you got there?
- Leg brace.

Give it to me. Give it to me.

That's right. Just what he needs.

Who's the gal?

I don't know. I never saw her before.

Sure knows what she's doing.

Look. Run and get me some bandages.

You heard what the lady said.
Run and get her some bandages.

I'll walk but I won't run.

Get out. Here comes Mrs. Whipple.

If she sees you fooling with that horse.
I'll get fired.

- How's his leg?
- It's in pretty bad shape. Mrs. Whipple.

I'm afraid Star Gazer will be laid up
for quite a while.

Think he'll be all right
for the race at Belmont?

I don't think he'll run again
for two or three months.

Oh. That's ridiculous.

He should be turned out
to pasture for a while.

He's been running too much.

We're leaving for New York
on the 6:45 train.

We'll take him. Maybe I can
get him in shape for Belmont.

If you can't. We'll sell him.
I only want horses that can run.

- Come on. Herman.
- All right. Dove.

[CREAKS]

Hey. Psst.

- There's somebody in the car.
- Oh. Why don't you stop reading that stuff?

You'll drive yourself crazy.

[SNIFFS]

Shh.

[THUMPING]

SONNY:
Turn on the lights.

Hey. You. Come on out of there.

Come on. Come out of there.

What are you doing in here?
What did you give that horse?

I'll teach you to steal rides in cars.

So it's you again.

What did you think I was. A football?

- Let me help you up.
- I'll get up myself.

- You hurt yourself?
- Sorry we pushed you.

- Why didn't you tell us who you were?
- You never gave me a chance.

Say. What are you doing in here anyhow?

Look. Fellas. I was afraid
you wouldn't take good care of Star Gazer.

Say. Why are you so worried
about that horse?

I ought to be worried.

He was born on my dad's farm
and I raised him.

- I even named him.
- Why did you sell him?

We had to. We had to sell everything.

He's a great horse.
Mrs. Whipple never got the best out of him.

Yeah. I guess you're right.

- Say. What's your name?
- Sally Lee.

I'm Sonny Ledford.
This is my pal. Peter Trot.

- Glad to know you.
- Likewise.

You fellas don't mind if I ride
to New York with you. Do you?

It's okay with me
if the horses don't kick.

We can't put you off now.
But if Mrs. Whipple comes here...

...we'll probably all get fired.
- She won't come up here.

SONNY: What are you gonna do in New York?
- Oh. I don't know.

Probably have to find work
when my money runs out.

You're a good-Iooking girl.
Ever think of going on the stage?

- Were you ever stage-struck?
- Yeah. Hit me right here.

[LAUGHS]

We were in vaudeville together.

Say. We played the Palace once.
That is. Just once.

Yeah. We didn't stop the show
but we sure slowed her down.

- Wanna see the act?
- Uh-huh.

- Let's show her the act.
- All right. Let's show you the act.

[IMITATING HORNS BLOWING]

- Hello. Dink. What do you think?
- Hello. Fink. How about a drink?

- A drink with snazz?
- Yeah. Man.

- Oh. Boy. Play that jazz.
- Play that jazz.

BOTH [SINGING]:
Harmony, harmony

Marvelous.

If you want to learn to dance

You can be a social riot

Get right in the swim and try it

Follow in my footsteps

[TAPPING]

If you want to crash Broadway

All the mob will pay five-fifty

Try and learn to do a nifty

Follow in my footsteps

Until the date you graduate
Our method is quite scholastic

Then off we'll go to Buffalo

Tripping the light fantastic

If you want to win the crowd

- Everybody loves a dancer
- Everybody loves a dancer

- You can learn and here's the answer
- You can learn and here's the answer

Touch it. Bud.

If you want to learn to dance

You can be a social riot

Get right in the swim and try it

Follow in my footsteps

If you want to crash Broadway

All the mob will pay five-fifty

Try and learn to do a nifty

[STAR GAZER NEIGHS]

Follow in my footsteps

Until the date you graduate

Our method is quite scholastic

Then off we'll go to Buffalo

Tripping the light fantastic

If you want to win the crowd

Everybody loves a dancer

You can learn and here's the answer

ALL:
Follow in our footsteps

Hey.

Come on out of there.

Mr. Whipple. I'm awfully sorry.
I didn't mean to.

That is. L... Well. L...

I hope you're not mad.

I'm not Mr. Whipple. And I'm not mad.

In fact. I'm extremely happy
at this moment.

- What's going on here?
- Oh. Ho! They had a...

Oh. I beg your pardon. Mrs. Whipple.
We were sort of...

- Well. We're just relaxing.
- Who is he?

Oh. He's my helper.
Mr. Blakeley put him on today.

Likewise.

I see.

- Did Mr. Blakeley engage you also?
- No. I'm just traveling.

At my expense?

Oh. No. I'm helping the boys
look after Star Gazer.

Mm-hm. Who are you?

Why. I'm...

She's my sister.

- Your what?
- Yes.

Well. I must say I fail to see
any resemblance.

Different fathers.

Come on. Steve.

I'll be with you in a moment.

How long have you two
been brother and sister?

Since Mrs. Whipple came in.

Tell me. What's a girl like you
doing around horses?

I was practically born on one.

Well. You ought to send that
in to Ripley.

No. Seriously.
What are you gonna do in New York?

- Try to find work.
- At the track?

No. On Broadway.

Well. That's the fastest track
in the world.

So I've heard.

Do you know where Hamilton Brown's
casting office is?

No. No. I don't.

- I do.
- You do?

Sure. I've spent days waiting
in that office.

Swell. Now. Iook.
Will you see that Miss...?

Lee. Sally Lee.

Uh... Will you see that Miss Lee
gets there and asks for Mr. Brown?

- I sure will.
- Be sure now.

CAROLINE:
Steve?

- Well. Goodbye. Miss Lee.
- Goodbye.

See you later.

- What are you. A prowler?
- I was on the platform getting some air...

...and I heard you playing the piano.
So I listened.

- Oh. An eavesdropper. Huh?
- It was lovely.

- Will you play some more?
- Lf you'll come in.

Oh. No. I wouldn't dare.

No. Don't be afraid. Come on in.

- Say. Did you ever write a song?
- Oh. Sure.

When I was 6 years old.
But it was terrible.

- Well. I'm afraid mine is too.
- You mean the one you were playing?

- Mm-hm.
- Oh. That's beautiful.

- You really think so?
- Oh. I wouldn't fool you.

- Let's hear the words.
- That's just the trouble.

I haven't finished them yet.

I got the chorus all right. But I certainly
dried up when I got to the verse.

Hey. How about you helping me?

- Me?
- Sure.

If you can write a song when you're 6...

...you ought to be able
to give me a suggestion now.

"Words and music by Steve Raleigh."

- That's you. Isn't it?
- Yeah.

- Lovely name.
- But it doesn't seem to rhyme...

...with what I'm trying to write here.
- But it ought to be good for a start.

Start. That's it.

- Say. You're great.
- What did I do?

You'll find out. I've got a feeling
you're lucky coming in here like this.

Lucky. Lucky. That's it.

- Oh. You're marvelous.
- What did I do now?

- Practically finished it for me.
- But I haven't said anything yet.

- Of course. It would make me happy...
- Happy. Happy. Happy. That does it.

There you are. You finished it.

- You mean. I've written the verse?
- Exactly.

Are you sure you're feeling all right?

Absolutely. Now. Come on. Sing it for me.

- But I'll wake up everybody.
- Don't worry about that.

Now take the verse nice and slow-like.

Oh. No. You sing it.

Me? If I sang one note.
They'd stop the train...

...come running back
looking for a flat wheel.

- Now. Come on. Sing it.
- But after all. It's your song.

No. It isn't. It's yours and mine.

[PLAYS PIANO]

[SINGING]
Love can come along

In the strangest ways

It looks at a lucky couple

And sets their hearts ablaze

I can feel that fire in my happy heart

For we are the lucky couple

Couple

Look what we have for a start

The stars that shine

Are yours and mine

The rainbows in the sky

Are yours and mine

The song of springtime

The lullaby of fall

The sunshine of summertime

Belongs to us all

The moon above

Is yours and mine

The right to fall in love

Is yours and mine

The hope of finding

The dream our hearts design

All this is yours

And mine

How do you do?
I'd like to see Mr. Brown.

What do you want and who are you?

Why. I am Alice Clayton.
Surely you've heard of me.

- The name is familiar.
- So it should be.

It represents 80 years
in the American theater.

Really. I must say. Madam.
You carry it very well.

You idiot. I was speaking of my family.

- I was a child of the theater.
- Oh. I see. Yes.

Now I am a mother.
She. Too. Is a child of the theater.

Born in a dressing room.
Raised in a wardrobe trunk.

How romantic.

Believe me. If I'd known show business
would turn out what it has today...

...I would've slammed the lid down on her.
- Oh. How very ghastly.

There you are.
The last and youngest of a royal family.

And it is my hope that she will carry on
for the Claytons.

- Oh. The Claytons are a bunch of hams.
- Betty.

I'm sorry. Ma. It slipped out.

- You see. She is too young for her talent.
- Yes. Really. Yes.

Mr. Brown is busy with Steve Raleigh
lining up a cast for his new show.

But that's what I came to see him about.

Yes. So I gathered.
Well. You'll have to wait.

Who's this?

Marie Charnelle. The sensation
of the Folies Bergere in Paris.

And I can get her for you.

To Marie Charnelle
and Steve's new show.

Thanks. Duffy.

- How much?
- Fifteen hundred a week.

That's too much.

To Steve's new show.
Without Marie Charnelle.

Who is she?

Lucille Burton.
The best tap dancer in the world.

And for a 20-week guarantee.
I could get her for $2000 a week.

And her name's worth it.

To Steve's new show and Lucille Burton.

- It's too much. Brown.
- With that millionaire Whipple behind...

I'm not putting on this show
to make money out of Whipple.

He's my partner. I make money for him.
She's out of the question.

- To Steve's new show...
- Without Lucille Burton...

...or any more highballs.
- Okay. Boss.

Don't suppose you saw
the morning papers?

- Yes. They're great. Duffy.
- Great.

Why. Your press campaign for the past
two weeks has been colossal. Stupendous.

Your show isn't in rehearsal yet.
And around Times Square...

...your name is a household word.

I don't remember what the word is now.
But it's a big one.

And who did all this for you?

- You did.
- You guessed it.

And now I'm going to do something
for you.

Here's the $200 you loaned me
when things were tough.

- Why. I can hardly believe it.
- You can't believe I'd pay you back?

I can hardy believe
I ever had it to lend to you.

You did. There's your
first two weeks' salary.

Oh. This is too much. Steve.
I feel faint.

- I feel better.
- Right. But see that you carry on...

...where you left off. I expect something
in the papers every day.

Okay. But you gotta give me
something to write about now.

Gonna have a big name in the show.
I suppose.

Well. He should have
if he expects to put it over.

That's why this Lucille Burton
is a great buy.

I can't use her. Brown.
In the first place...

...she's not the greatest tap dancer
in the world. Because I've got her.

- Yeah?
- Yes.

- Who?
- Sally Lee.

- Never heard of her.
- So did I.

You'll hear plenty when they see her.

- Where did you find her?
- In a boxcar.

- I beg your pardon.
- In a boxcar.

- You know. The thing they carry horses in.
- With a horse?

- Yes.
- Let me get this straight.

- You found a girl and a horse in a boxcar?
- Right.

- And she's a great dancer?
- Right.

- You mean the girl?
- Yes. The girl.

That's a relief. And you're gonna put her
in the lead in the new show.

I certainly am.
I've seen her do several dances...

...and I've heard her sing the songs.
I'm sold on her.

But. Steve. You can't put a show over
with an unknown in the lead.

Why can't I? The picture people do it.
They're giving some unknown a chance...

...praying to make good
so they can cash in on a new star.

But pictures are different.

They print them on celluloid.
If the girl doesn't make good...

...they can just take
a pair of scissors and...

...cut her out like that.

This girl gets on the stage and she has
to stay there until the curtain comes down.

By that time. You'll be over in Newark
looking for a new backer.

I'll be apologizing to the newspaper boys
for having called you a smart producer.

Well. Don't start apologizing
until you've seen her.

- Where is she?
- She'll be up here today.

There's a strange woman outside
with a child who insists upon seeing you.

Have her arrested.

Mr. Brown wants to know
what the kid does.

Oh. He does. Does he?
Well. We'd like to show him.

No. He's terribly busy now.
He can't hear anyone.

- What's the matter. Is he deaf?
- Well. He was the last time I asked him...

...for a raise.

Listen. You. We came here for a purpose.

Mr. Brown is gonna hear Betty sing today.
If she has to sing here in this office.

Well. Go ahead and sing. See if I care.

- Oh. Mom. I'd rather not.
- Oh. Don't be silly. Little girl.

You go right ahead.
Sing to your heart's content.

All right. Betty. Go ahead and sing
and sing loud.

[SINGING]
When the whole world seems wrong

Just learn the words of a simple song

Of blue skies above

Be a troubadour and all is love

When April showers stray

The silver lining will come, they say

And singing in the rain's the thing

That those happy days again will bring

So everybody sing
Everybody sing

Let the sound of your voice
Turn winter to spring

Everybody's gay
Everybody's gay

Oh, say, can't you hear
The orchestra play?

Everybody sing
Everybody start

You can't go wrong
With a song in your heart

Everybody sing
Get into the swing

Get happy
Everybody sing

Yeah, everybody sing

Come on, now
Everybody sing

Let the sound of your voice
Turn the winter to spring

Everybody's gay
Hey, hey, hey

Everybody's gay

Oh, say, can you hear?

La-dadie-ooh-doo-la-doo-day

Everybody sing

Everybody start

You can't go wrong
With a song in your heart

Everybody sing, come on now
Get into that swing

Do-re-me-fa-so-la-si-do

ALL:
Do-re-me-fa-so-la-si-do

Everybody sing
Everybody sing

Let the sound of your voice
Turn winter to spring

Sing before breakfast
Help the birdies along

Before you have your buttered toast
Have a song

Sing before breakfast
Never cry at a thing

Before you eat that shredded wheat
Sing, sing, sing

Sing a song of sixpence
Pocket full of rye

Four and twenty blackbirds
Baked into a pie

ALL: When the pie was open
There before the king

Four and twenty blackbirds
Started into sing

Sing a melody of love

A song will win your lady fair

ALL: Sing a song that mentions love
And you will

Ya-ya-ya-ya-ya

Ya-ya-ya

Sing a song of cheer again

The skies above will be clear again

Those happy days are here again

Sing a song of cheer again

If you worry, if you fret
If you're getting deep in debt

Let your frowns turn somerset

Get yourself a good quartet

In the evening

By the moonlight

You can hear those darkies singing

Sing good, sing bad
Sing loud, sing soft

Sing sweet, sing hot

Sing

Let the sound of your voice
Turn winter to spring

Everybody's gay
Everybody's gay

Oh, say, can you hear?

La-dadie-ooh-doo-la-doo-day

Everybody sing
Everybody start

You can't go wrong
With a song in your heart

Everybody sing
Get into the swing

Do-re-mi-fa-so-la-si

Get happy
Get happy

And everybody sing

Everybody sing

Darling. It was wonderful
I bet he heard that. All right.

Go on and ask him how he liked it.

- Madame. I hate to disappoint you.
- Now what?

- The walls are soundproof.
- Soundproof?

Yes. I screamed my head off in here
one day last week and not a soul heard me.

[SINGING] Sing a song of sixpence
Pocket full of rye

Four and twenty blackbirds
Baked into a pie

I beg your pardon.

May I see Mr. Brown.

I'm sorry. Miss.
But Mr. Brown is very. Very busy.

- Don't you believe a word he says.
- I thought you'd left.

Mr. Brown is in that office right now
with Steve Raleigh making cast suggestions.

- Oh. Really?
- Yes.

- I've met Mr. Raleigh. I'll wait.
- Well. I won't.

- My card. Come. Darling.
- Nice boarding house.

I'll be up for dinner sometime.

Yes. Bring your own duck.

Will Mr. Raleigh come out this way
when he leaves?

- He will. If he doesn't jump out the window.
- I don't think he'd do that.

- Well. I did once.
- You did? Why?

Oh. I don't know. I thought I could fly.

See you later. Jerry.

Hello.

Hello there. Say. Am I glad to see you.

I looked all over the station for you
when the train got in.

- I got off with the horses.
- Yeah. What a break for the horses.

- Say. Are your ears burning?
- No. Why?

Well. They should be.

I just spent over an hour in there
talking about you.

- Good or bad?
- Oh. Good. Good. The very best.

- Curious?
- I am. Tell me.

Can't. It's a secret. I'll tell you later.

- Oh. Please tell me now.
- Not now.

Go on. Tell her.

I'm not a busybody
but the suspense is killing me.

- Where are you stopping?
- I haven't found a place yet.

- What do you say we go look for one?
- I know of a boarding house.

Here's the address.

The place is full of actors and termites.
But it's comfortable.

- Let's go.
- All right.

I hope she has better luck
in show business than we did.

She will. She's got more talent
than we had.

I don't know.
Remember that time at the Palace?

Why. For the first 15 seconds
we were a riot.

Then the audience started hissing that act
that was on ahead of us.

GEORGE:
Aha!

So that's where are you.

- I want my money.
- I want $800.

- Well. Where is he?
- I don't know.

He said he'd wait here for me.

- Is that yours?
- Yes.

Looks like your boyfriend left you
holding the bag.

- I guess you're right. Thanks.
- Here. I'll take it.

[CHATTERING]

Listen. Everybody.

I was over to see Hamilton Brown today.

I understand he's casting for a new show.
And Steve Raleigh is going to produce it.

Now. Instead of all of you people eating
yourselves out of shape at my expense...

...why don't you go over and see
Steve Raleigh. And get yourself a job.

Oh. That guy is harder to see
than a house detective.

I'll tell you. I spent four hours waiting...

[SINGING] A- hunting we will go
A- hunting we will go

A- hunting we will go

Da-da-da
Da-da-da-da-da

A- hunting we will go

A- hunting we will go

ALICE:
What's going on here?

Get those dogs off the table. Come on.

Get those dogs. This is not a zoo here.

What is this?

Aha. A stowaway.

Why do you allow those dogs
to get on my table?

They are trained dogs.

- Did you train them to do that?
- Oh. No. That was their own idea.

Come on.
Get busy and clear those dishes.

Why should I?
Europe's greatest dog trainer...

...and character actor. Wait on tables.

For 20 weeks. I was a sensation
in Pinsky's Theater. Moscow.

Thousands cheered
when I was at the end of a rope singing:

[SINGING IN FOREIGN LANGUAGE]

[PEOPLE LAUGHING]

Professional jealousy.

Thirty weeks I played in Budapest.

Forty weeks
I played in the Folies Bergere in Paris.

Fifty weeks you've been here.
You haven't paid your rent.

Money. Money she wants. A capitalist.

Well. You've got to work out
your back-rent.

I quit. I'm moving.
How much do I owe you?

- A hundred and seventy-eight dollars.
- I'll stay another week.

[HUMMING]

[SNEEZING]

What's matter? You got a cold?

Oh. No. No.

My interest in sneezing
is purely scientific.

You see. They're just one of the forms
of human sound phenomena...

...like snores.

[SNORES]

You know. Snores.

Oh. Yes. That's nostril opera.

I. Uh...

- I'm concentrating on sneezes.
- Is that so? Well.

I usually get my feet wet
and sit in a draft...

...and catch cold to give my talk
on sneezes...

...because it helps me
to illustrate my lecture with a...

With a...

[SNEEZES]

That was Type 1.
The feline or pussycat sneeze.

Well. You couldn't object to that.

Now an extension or expansion of this...

...is Type 1 A...

...the atomizer or seltzer siphon variety.

[SNEEZING]

Type 2 is the trombone...

...or cataclysmic form...

...produced by attempting to impede
the expulsion of the breath...

...by compressing the superior
and inferior labia or lips.

[SNEEZING]

Sounds logical.

Another result of attempted stifling.
Futile. Of course...

...is the ratchet
or clock-winding Type 2A.

[SNEEZING]

Are you following me?

Yes. But not for long.

Perhaps it is just as well
to stifle a sneeze.

- You're telling me?
- Because some of the results...

...of lack of stifling are quite extreme.

Most of us have heard the windows rattle
and the echoes chase each other around...

...in some large public building
when a man has issued...

...what seemed to be an order
to a boarding-house kitchen...

Not Mrs. Clayton's. Of course.
- As in Type 3. the mess call.

[SNEEZES]

One hash coming up. Excuse me.

And in direct contrast to this.
We have Type 4...

...the disappointing
or non-eventuating flivver...

...in which the inspirational element
is so much more noticeable...

...than the anticipated climax.

[SNEEZING QUIETLY]

And now. We have number five...

...the chickle or chewing gum mandatory.

[SNEEZES]

And the carburetor backfire or explosive.

[SNEEZING]

Well. At any rate.
We're up to the articulates.

They sound like spoken words.
As in Type 8...

...the good-luck sneeze.

Horseshoe!

And that little Friday sneeze.

Fish!

And the violent or pugilistic form.

Hit you!

- And finally...
- Good.

...we come to the most colorful of all.

The interrogatory
or scandalmonger's sneeze.

This is an expression not only
of human interest...

...but the true spirit of science...

...curiosity and investigation.

Who is she?

[DOORBELL RINGS]

I'll find out.

- How do you do?
- Hello.

- Anyone you wish to see?
- The landlady.

If it's rooms you're looking for.
We haven't got it. The place is packed.

- Nobody pays. Nobody leaves. Goodbye.
- Just a moment.

- Where is the landlady?
- What's going on here?

- What's going on here?
- Looks like a song and dance team.

- Get your rent in advance.
- I'll take care of this.

Now. You get back into the kitchen
and bathe those dishes.

All right. But I'm warning you.
It's against my artistic temperament.

- I beg your pardon. What can I do?
- We'd like to see a room.

- Single or double?
- Single. It's for Miss Lee.

How do you do?

I met you in Mr. Brown's office.

- Remember?
- Oh. Yes. Yes. How do you do?

Mr. Raleigh was kind enough
to bring me here.

- Not Steve Raleigh?
- Mm-hm.

For goodness' sake. Mr. Raleigh.
How do you do?

- How do you do?
- It's thrilling to have you here.

Do come along. Mr. Raleigh.

Do come along.

Listen. Everybody. This is Miss Sally Lee.
A new member of our happy family.

- How do you do?
- How do you do?

And this is Mr. Raleigh.
Mr. Steve Raleigh.

MAN 1:
Steve? Well. How do you do?

MAN 2:
It's a pleasure.

How are you. Mr. Raleigh?

[CHATTERING]

Nice up here. Isn't it?

At least it isn't so crowded.

I'm sorry
about what happened downstairs.

Oh. You needn't be.

I rather enjoyed it.

You were awfully nice about it.

Well. Why not? They're nice people.

I hope I can have memories like theirs
someday.

Look. Broadway.

Yep. That's Broadway.

The place people come to
from all parts of the world...

...to write home for money.

It sort of scares me a little.

Oh. It shouldn't.
It's really not such a bad place.

Look at the thousands of careers
it's given to people.

I hope it gives me mine.

Maybe it will.

If I can just get a little start.
I'll be satisfied.

What would you think if I said you were
going to play the lead in my new show?

I'd think your show
was going to be terrible.

That's what Duffy and Brown think too.

But I don't.

I believe in you. Sally.

And I'm gonna take a chance with you.
A big chance.

Aren't you even gonna say thank you?

Yes. Sure. As soon as I can believe it.

You can start believing it right now.

But. Steve. You can't do this.

You need somebody important.
Someone with experience.

Will you let me worry about that?

But if I didn't make good.
It would ruin you.

Look. Sally.

I'm putting this show on
with another man's money.

If I didn't think you'd come through.
I'd never take the chance.

- See?
- I see.

Oh. We're gonna put a ring through
Broadway's nose and lead it around.

Just you and I.

You're not doing this because you...

Well...

...because you like me a little.

No.

Just because we'll be working together
doesn't mean I shouldn't like you. Does it?

No.

Because I couldn't help doing that.

I'm glad you can't help it. Now.

- Well. That wasn't work. Was it?
- No.

I think we better have some rules
about this thing.

Now. In the first place. It's going to be
nothing but hard work from now on.

Morning. Noon and night. Never stop.

You mustn't think about anything
or anybody.

Just your work.

There are gonna be a lot of headaches...

...and a lot of heartaches
before the show opens.

And then...

...if we're still talking to each other...

...we'll talk about us.

- Do you understand?
- Uh-huh.

Okay. And we stick to the rules.

- Right?
- Right.

Ten o'clock. Wednesday morning.
Royal Theatre. You got it?

Got it. And we stick to the rules.

That's just to show you
how to break them.

[PIANO PLAYING]

Hello. Good-Iooking.

Come here.

- What do you want?
- Will you tell Mr. Raleigh...

...I'd like to see him?
- Mr. Raleigh is much too busy to see you.

Listen. You. I came here to see Mr. Raleigh
and I won't leave until I do.

Madam. I'm not only following instructions.
I don't own the joint. I merely toil here.

STEVE:
Hey. What's going on here?

Oh. Hello. Steve.

- How are you?
- Fine. Thank you. What are you doing here?

- I came here to see you about Betty.
- Is she here?

- No.
- That's too bad. I'm having auditions today.

- That's why I left her home.
- Now. Why did you do that?

I knew I'd have to say a lot
of nice things about her.

I was afraid it might turn her head.

Are you sure you didn't come here
to see me about yourself?

No. Son. I've had my day.

Yes. I remember.

You mean. You saw me?

Of course. Many times from the gallery.

Don't you sometimes get a feeling
that you'd like to go back?

- On the stage?
- Sure. Why not?

No. I'd be disappointed.

You know. Steve.
I'm smart enough to know...

...that the high spots of a career
can never be recaptured.

I have my memories.

They're grand bubbles.

And I'd hate to burst them.

But the thrill is gone.

The thrill of opening Monday afternoon
at the Palace Theatre in New York.

The greeting of a London audience.

I gave a command performance once.

- Before the king?
- No.

- A gangster.
- What did he make you sing?

The one you heard from the gallery.

Louis. You know the one I mean.

[ORCHESTRA PLAYING]

[SINGING]
Some of these days

You'll miss me, honey

Some of these days

You'll be so lonely

You'll miss my huggin'

You're gonna miss my kissin'

You're gonna miss me, honey

When I'm far away

That I feel so lonely

For you only

Because you know, honey

You've had your way

When you leave me

You know it's gonna grieve me

You're gonna miss your red-hot mama
Your mama, some of these days

AUCTIONEER: Third and last call.
And sold for $ 1250. Thank you. Sir.

And now. Ladies and gentlemen.
The next horse offered for sale is Star Gazer.

You all know his brilliant performances.

There is nothing I can say to impress you
with his greatness.

However. I must tell you
that in his last race at Pimlico...

...Star Gazer bowed a tendon.
And whoever purchases him...

...will do so with full knowledge
of this injury.

Ladies and gentlemen.
What am I offered?

Come. Come. Do I hear an opening bid?

- Three hundred.
- Three hundred. Thank you. Sir.

I have 300. I have 300.
Who will make it five?

- Four hundred.
AUCTIONEER: Four hundred. I thank you. Sir.

I have 400. I have 400.
Who'll make it five?

Five hundred.

AUCTIONEER: I have 500.
Who'll make it six? Who'll make it six?

Well. Are you all through bidding?

Are you all done?

All right. Going for $500.

Going once. Twice. Third and last call.

Seven hundred and fifty.

AUCTIONEER: Seven hundred
and fifty dollars. Is that your bid. Miss?

- Yes.
AUCTIONEER: Thank you.

Thank you very much.

- Sally. What are you doing?
- Steve. He's a dealer. He'd ruin Star Gazer.

How can you buy him?
You got any money?

If the bidding doesn't go any higher I can.
I have that much.

AUCTIONEER: Who'll make it a thousand?
Do I hear a thousand?

DEALER:
One thousand.

AUCTIONEER: I have a thousand.
I have a thousand. Who'll make it 1250?

Twelve-fifty.

AUCTIONEER: Thank you. I have $ 1250.
- Hi. Mr. Whipple.

HERMAN: Hello. Steve. Have a drink?
- No. Thanks.

AUCTIONEER:
I have $ 1250...

Mr. Whipple.
I'd like to borrow some money.

But. Steve. I just gave you some money.

Yeah. I know. But this isn't for the show.
This is personal.

- Personal?
- Yeah.

I need $ 1250.

Well. I'd like to help you out. Steve.
But after all. $ 1250 is $ 1250.

All right. I'll make a deal with you.

You think our show's gonna be a hit.
Don't you?

Of course. I'm backing it.

All right. Then.

I'll put up my half of the show for. Say.
60 days if you'll loan me the 1250.

Fair enough?

Fair enough. I'll do it.

I have $ 1250.
Do I hear any offers over 1250?

Will somebody make it 1500?

Fifteen hundred.

Seventeen-fifty.

- Ledford?
AUCTIONEER: Seventeen-fifty is the bid.

Yes. Mrs. Whipple?

Who's the girl bidding 1750?

- Why. That's...
- She got that amount?

No. Ma'am. I don't think she has.

Then why is she bidding?

- Well...
CAROLINE: Blakeley.

Tell the auctioneer I want the horse sold
to that girl for 1750.

- All right.
- But. Mrs. Whipple...

...that girl hasn't got a dime.

That's what I thought.

Yes. Ma'am.

I've got $ 1750. Who'll make it 2000?

[WHISPERING INDISTINCTLY]

Sold to the young lady for $ 1750.

STEVE: Hello. Sonny.
- Hello. Steve.

- Glad to see you.
- Glad to see you.

- Sit down.
- Thanks.

- I'll be with you in a minute.
- Oh. Take your time. I'm in no hurry.

I suppose you'd like to know
what this is about.

- Yes. I would.
- Well...

...it's about Sally and that jam
she got herself into down at the auction.

Gee. You know.
I've been worried about that too.

I don't know how
she's gonna pay for that.

- That's where you come in.
- Me?

I'd like to see her get the money.
But I can't give it to her myself.

Gee. Steve. I'd like to help you out.
But to tell you the truth. I'm flat too.

I've only got a buck and a half.

Oh. No. No. No. I've got the money.
All right.

Now. Iook. Sonny.

Here's $ 1250.

I want you to give it to her.

Well. Wait a minute.

Why don't you give it to her yourself?

Well. You see. It's like this.

She wouldn't take it from me.

Twelve hundred and fifty bucks.

Say. Where am I gonna tell her I got it?

Well. Tell her anything.

Tell her it was bank night.

I get it. Tell her anything
except that it came from you.

That's right.

You kind of like her. Don't you?

Sure. Don't you?

Sonny. That's an awful lot of money.
I don't know how to thank you.

Oh. You don't have to thank me. Sally.
It's nothing at all.

Nothing? Twelve hundred and fifty dollars?

Say. Where did you get that money?

Why. Uh...

Well...

You see. Sit down
and I'll tell you all about it.

Look. Here's what happened.

Last night. I figured out a three-horse parlay
that won and paid the limit.

- Twelve hundred and fifty dollars?
- Yup.

Seems almost unbelievable. Doesn't it?

Yeah. That doesn't happen very often.
Does it?

Oh. No. No indeed.

Very seldom.

Well. I suppose you're pretty happy
to own Star Gazer again.

Yes. But I'd feel much better if I knew
where his next meal was coming from.

Why don't you let your trainer worry
about that?

- My what?
- Your trainer.

I forgot to tell you. There's a fellow
hanging around Mrs. Whipple stable...

...that's just dying to work for you.
- Oh. That's fine.

He can start in tomorrow at.
Shall we say. Um...

...nothing a week?

Well. I guess that would be all right.

I don't think you could get him
any cheaper.

On the level. Sally.
You have got a trainer.

You see...

...this fellow's kind of crazy about...

...Star Gazer.

I get it.

No. Sonny. You've done too much
for me already.

I won't let you give up your job.

It's too late. I quit this afternoon.

- You didn't.
- Sure. Now on. I'm working for you.

Nothing a week.
If things get tough. I'll work for less.

Sonny. I won't let you.

Say. Listen.
You're not gonna fire me too.

I can't afford to lose two jobs
in one day.

Oh. Iook. Sally.

I'm not doing you a favor.

You're doing me one.

Don't you understand you're giving me
a chance to develop a real champion?

Why. We can't miss.

You and I work together.
In a couple of months...

And in the meantime.
You're broke. I'm broke.

Well. Sure. We're all broke.
But we're happy.

[SINGING] Though I'm flat
Though I'm broke

Though I'm bent

I'm contented to never sigh

As time goes by

There's a gleam
In my eye

And inside of my heart

I'm a lucky guy

Here's the reason why

I'm feelin' like a million

Though I haven't got a dollar
A shilling or sou

Still I'm feelin' like a million

And I want to get this over to you

I'm feelin' like a million

Though I haven't got a sofa
A pillow or bed

Still I'm walking like a million

With my hat on the side of my head

What's this thing that I've found

Through the days that I've clowned?

Is it you that's around?

I get a crazy feeling
I could jump up to the ceiling

'Cause I'm feelin' like a million

Though I couldn't buy a collar
A necktie or glove

Still I'm feelin' like a million

Is it you?
Is it me?

Is it love?

I feel like Mrs. Astor

Though I haven't got a townhouse
A motor or yacht

Still I feel like Mrs. Astor

Though a horse and a tap
Are all I've got

You know, I feel like Mrs. Whitney

Though my dresses are not satin
And my collar isn't fox

Still I feel like Mrs. Whitney

And I'm proud of the runs in my socks

You're a Vanderbilt kin

With a Tiffany grin

Where have you been?

You're another Cinderella
You're a dime from Rockefeller

You're that million-copy seller
Gone With the Wind

I'm feelin' like a million

Though I couldn't buy a collar

- No, sir
- And I couldn't buy a glove

- No indeed
- Why, I couldn't even buy a little posy

- How ridiculous
- All I've got is love

I'm feelin' like a million bucks

[CRUNCHES]

[TAPPING]

[THUNDER RUMBLING]

- Well. Boss. How does he look?
- He looks okay to me.

Sound as a 1929 dollar.
Let me look at that leg.

Aw. That's beautiful.

- Hi. Kids.
SONNY: Hello. Pete.

Hello. Peter. Where have you been?

What are you doing now?
Taking violin lessons?

Where's the feed?

[LAUGHING]

The good provider.

Gee. Thanks. Peter. I don't know
what we'd ever do without you.

Oh. It's nothing.

Hey. Come here.

- Where are you getting this feed?
- I borrow it from Mrs. Whipple's stable...

...when she's not looking.

- What's the idea of the fiddle case?
- That's to get by Blakeley.

What if he asks you to play him a tune?

If he does. It'll be the last straw.

Aha!

So that's where you live.

Where are they?
Where did they went?

- Where did they go?
- Wait a minute. Where did who go?

The two men was standing right here.
Let me tell you something.

If I catch them. If I find them. If l...

Aha! So that's where you are.

Who do you think you are.
Jack and the Beamstalk?

- You come down from there.
- Oh. No. Not me.

- You better come down.
- You bet you my life...

...you better come down.
I bet he thinks I'm mad.

Will you come down from there?

Not until you put the razor away.

[BARKING]

The dog. Call off the dog.

Call him off.
If that dog sues me. I'll bite you.

- George. How are you? Glad to...
- Don't you "hello" me.

- I want my $800.
- Wait a minute. Just a minute.

Sonny. What is this all about?

We took 20 bucks from George here
to bet on a horse called Fast Asleep.

A 40-to-1 shot and the horse won.

So that's where you got the money
you gave me to pay for Star Gazer.

No. That had nothing to do with this.
We didn't bet his money.

What? You didn't make the bet?

- I want my $800.
- Well. We haven't got $800.

- We'll give you back your 20.
- I don't want $20.

I want 800. and I want it quick. Is it?

All right. All right.

Sonny. It seems to me
that both you and Peter are in the wrong.

Please. Let's take the 20 bucks
and call it even.

No. Absotively. No. I want 800.

Mr. Papaloopas. Would you care
to take a chance on a horse...

...to get more than your money back?

One minute. This is all Greek to me.
Explain it. Please. Do you?

Look. We'll give you a third interest
in Star Gazer.

Now wait minute.
I can't let you do this.

You owe him $800.

The only way we can pay the debt
is make him a partner.

If Sally insists. You get a third interest
in the horse.

You gonna make me partners
in the horses?

That's right.

Thank you.

Hello. Hel...

When are you going to put my horse
in the races?

We're going to enter our horse
in the $25.000 jumping race at Saratoga.

Oh. Can he jump?

- Can he jump?
- Can he jump?

Can he jump?

You'll be the first to know.
Come on. We'll find out.

Where's the horse?

So he's a jumper. Huh?

I wanna back out from the deal.

- I want my $800.
- Well. We haven't got $800.

But you haven't given the horse a chance.
He can jump.

I don't care. I want...

- Eight hundred dollars.
- Yes.

Hello there. What's going on here?

- Hello. Steve.
- Who sent for you?

Listen. L... Where are you?

Do you know who that was?

- I don't care. I want $800.
- It was Mr. Raleigh.

Steve Raleigh. The producer.

L... You mean the man
what makes the shows on Broadway?

- Sure.
- That's a fine how-do-you-feel.

That's the man
I want should hear you sing.

Come on.

- Mr. Raleigh?
- Yes.

I'm George Papaloopas.
This is my nephew. Nicki Papaloopas.

- Say hello to the gentleman. Hello.
- How do you do?

Mr. Raleigh. I've been reading a lot
about your new show.

- Oh. Is that so?
- Yes. You know. My nephew's a singer.

He sings just like a knocking bird.
Someday you're going to listen to him. Is it?

Why. Yes. I'd be glad to
but some other time.

There's no presence like the time.
You gotta make hay while the iron is hot.

Come on. Nicki. Sing for the gentleman.

You stand there and sing. Nicki.
I'll play. Don't go way.

[SINGING "LARGO AL FACTOTUM"]

SONNY:
Whoa! Whoa. Boy. Whoa.

Hey. Stop the guy singing in there.
He's driving the horse crazy.

Star Gazer. Whoa. Boy.

Hold him. Boy.

Whoa. Star Gazer.
Whoa. Hold him. Boy. Hey. Sally.

Tempus fugit. And that's "I'll be seeing you"
in any man's language. Goodbye now.

[COUGHS]

That's a terrible cold you got.

Oh. Welcome to the health club.
I'm Emma Snipe and I know what you want.

Your underweight. You're sick.
It's a wonder you can stand up. Sit down.

I don't wanna worry you. But the undertaker
is right behind you. But don't worry.

I can put 30 pounds on you
before you can say...

Uh. Let me hear you say "Rumplestiltskin."

Rumplestiltskin.

Rumplestiltskin.
You don't put any oomph into it.

You've burnt your candle at both ends.
What you want is more oomph. Isn't it?

You can't be vital without vitamins.
How do you eat?

- Like a horse.
- Frankly. You'll have to cut that out.

From now on. You'll sit up at a table
just like anyone else.

Look. I don't wanna put on weight.
I wanna reduce.

I'm a jockey. And if I don't take off
some weight...

...they won't let me ride at Saratoga.

- How much do you wanna lose?
- About 70 pounds.

Seventy pounds? Frankly.
You take that much. You'll be nothing...

...but a blood vessel
to keep your clothes warm.

I'll still do it. How much will it cost?

We charge by the pound. 50 cents a pound.
You pay that much for good rump steak.

- What's your name now?
- Same as it always was. Peter Trot.

Oh. I used to just adore Peter Rabbit.

Will you stick out your tongue. Please?
Now. Can you whistle?

Mm. Frankly. That's bad.

Has difficulty in whistling.

You can stick it back in.
You're getting your tie wet.

Now I'll turn you over to my assistant.
Oh. Babe. Come and get it.

Of course. We could take 10 pounds off
right now if we cut your hair.

- Betty. What have you got there?
- Nothing. Mom.

- Come on now. Let me see it.
- Well...

Come on now. Let me see it.

"Sincerely yours. Clark Gable."

So you've been writing
to the actors again. Eh?

Well. I'll put a stop to that.

Oh. Mom. I paid a quarter
for that picture.

First it was Donald Duck. And now
it's Clark Gable you're crazy about.

Now look here. Young lady.
You stop thinking...

...about these moving-picture actors
and you go right to sleep.

And mind you.
No dreaming about them either.

[SINGING]
Dear Mr. Gable, I am writing this to you

And I hope that you will read it
So you'll know

My heart beats like a hammer
And I stutter and I stammer

Every time I see you at the picture show

I guess I'm just another fan of yours

And I thought I'd write

And tell you so

You made me love you

I didn't wanna do it
I didn't wanna do it

You made me love you

And all the time you knew it

I guess you always knew it

You made me happy

Sometimes you made me glad

But there were times, sir

You made me feel so sad

You made me sigh

'Cause I didn't wanna tell you

I didn't wanna tell you

I think you're grand

That's true, yes, I do
'Deed I do, you know I do

I must tell you what I'm feeling

The very mention of your name
Sends my heart reeling

You know you made me

Love you

Oh. Gee. Mr. Gable.

I don't wanna bother you.

I guess you got a lot of girls
that tell you the same thing.

And if you don't wanna read this.
Well. You don't have to.

But I just had to tell you about the time
I saw you in It Happened One Night.

That was the first time I ever saw you.

And I knew right then
you were the nicest fellow in the movies.

I guess it was because you acted so.
Well. So natural like.

Not like a real actor at all. But just like any
fellow you'd meet at school or at a party.

And then one time I saw you in a picture
with Joan Crawford...

...and I had to cry a little
because you loved her so much...

...and you couldn't have her.

Not till the end of the picture. Anyway.

And then one time I saw you in person.

You were making a personal appearance.
And I was standing there...

...when you got out of your car.
And you almost knocked me down.

Oh. But it wasn't your fault.

No. I was in the way.

But you looked at me and you smiled.

Yeah. You smiled right at me.
As if you meant it...

...and I cried all the way home just because
you smiled at me for being in your way.

Oh. I'll never forget it. Mr. Gable.

Honest Injun. You're my favorite actor.

I don't care what happens
Let the whole world stop

As far as I'm concerned
You'll always be the top

'Cause you know you made me

Love you

Here's to Steve's new show.

Yeah. It's plenty rough in spots.

Hey. Burt. Come here.

You've gotta clean up that finish.
It's no good.

They're all tired out. It's after 1:00.

We'll call it quits for tonight.

All right. Girls. You can all go home.

[WOMEN CLAPPING]

See that you go home.
I'll expect you in the morning.

Ten o'clock in the morning. Girls.
Be here on time. No alibis.

STEVE:
Sally.

Come here a minute.

Sit down.

I didn't like your rehearsal today.

I'm sorry.

That love scene was pretty bad.
You didn't mean it.

But I tried.

That's probably just the trouble.
You're trying too hard.

No. Just be simple and sincere.
Now come on. Read that line for me.

- Which one?
- The one where you say. "I love you."

I love you. Really I do.

I love you with all my heart.

Well. That's more like it.
Why didn't you say it like that at rehearsal?

I'll try to do it better tomorrow.

Be sure you do. It's very important.

Sally.

Yes?

- I'm sorry I had to pick on you today.
- Oh. That's all right. I understand.

Remember I told you
we'd be lucky if we were still speaking...

...to each other at the end of rehearsals?
- Uh-huh.

Speaking of rehearsals.
Let me hear that line again.

I wanna see if you remember it.

Why don't you read it for me.
Then I can tell what you really mean.

All right.

I love you. Really I do.

I love you with all my heart.

That sounded nice. Steve.

Now let me try it again.

I love you. Really I do.

I love you with all my heart.

CAROLINE:
Steve.

If you two can stop loving each other
with all your hearts for one moment...

...I'd like to see you in the office.

You better run along home. Sally.
And get some rest.

- You've got a big day tomorrow.
- All right. Steve.

- Well?
- Herman. Are you going to tell Steve...

...or shall I?
- Oh. Yes. Dear.

Steve. We have some rather bad news
for you.

- I'm sorry to hear that.
- Yes. So am I.

But we've come to the conclusion. Steve.
That we can't go on with the show.

Here now. Wait a minute.
We're partners. We made a deal.

That's right. So we did.
Steve's right. My dear.

We didn't agree to waste your money
on an unknown girl.

I know the idea of a Broadway show...

...resting on an unknown may sound foolish.
But that's been my plan from the first.

New faces. Fresh talent. That's the idea
you bought when you agreed to finance me.

We didn't agree
to finance your love affairs.

I hardly expected that.

I suppose you're not in love
with the girl?

Yes. I am.

If I didn't think she'd make good.
I'd never had her in the show.

I don't suppose
you can understand that.

Herman. Are you gonna sit there
and let him talk to me like that?

Certainly not. My dear.

What did he say?

I want you to tell Steve
that unless the girl leaves...

...you're withdrawing
your financial support.

That's right. Steve. You can't have
two angels in one show. Can you?

I'll do the show without you.

But according to our contract.
I own half of it.

Not if you fail to go through with it.
You don't.

Mr. Raleigh forgets. Dear.
That you hold his personal note for $ 1250...

...and if it isn't repaid within 60 days.
Even his half of the show is yours. Darling.

That's right. Dear.
I'd forgotten about that.

Now. You shouldn't have given me a note
like that. Steve. That was a mistake.

- How did you ever come to do that?
- Mr. Raleigh's romantic. Dear.

Of course. That's something
you wouldn't understand.

Here. Let's go.

- So they walked out on you. Eh?
- Yep.

Well. Here's to Steve's new show
without Sally Lee.

Don't you believe it. I'll find another backer.
And she'll be in the show.

Now listen. Steve. Any guy
that would give up a city bankroll...

...for a farmer's daughter.
If he isn't crazy. Then I am.

You can't do this. You can't throw away
that Whipple money...

...just on account of this Sally Lee girl.

You can find hoofers all over town.
You'll never find another like Whipple.

STEVE:
Oh. Don't worry about it. He's out.

Listen. Now use your head. Will you?

The Whipples will back the show
if the girl is out.

Forget about her
and do it Mrs. Whipple's way.

Make a name for yourself first and
then you can star the girl and her horse.

Forget it. Will you. Duffy?

Sally.

Yes?

- I thought you'd gone home.
- I'm leaving now.

- Wait. I'll go with you.
- Don't bother.

- I'd rather go alone.
- All right.

I'll see you at rehearsal tomorrow. Huh?

I'm not coming tomorrow.

What do you mean. You're not corning?

I'm leaving the show.

Now. Wait a minute.
Stop your kidding. Will you?

I'm not joking. I'm afraid of it.

I don't think I can make good.

Even you didn't like
my rehearsals today.

Well. That's what rehearsals are for.
To improve your work.

Now. You haven't been listening
to Duffy out there. Have you?

No. I've been up in my dressing room.
Thinking this all out alone.

I really don't fit in here. Steve.

I belong with Star Gazer and Sonny.

- Sonny?
- Yes.

This isn't fair to him.

What do you owe Sonny?

He works for me for nothing.
Besides that...

...he gave me the money
to buy Star Gazer.

- He gave it to you?
- Yes. He did.

Oh. Yeah. That's right. He did. Didn't he?

Well. That's no reason
why you should leave me.

My show. I mean.

Believe me.
It will be much better without me.

Good night. Steve.

Where is she?

- She quit the show.
- Say. That's great.

Boy. Are you a lucky stiff.

I tried 10 years to get rid of a girl
I married in South Bend. Indiana.

I'm gonna put this show on with that girl
if it takes me a year.

You haven't got a year.
You got only 60 days.

Right. I gotta work fast.

Look. Have you still got that 200 bucks
I paid you back?

Funny. I never felt that dough was mine.

Thanks. Duff.

[MUTED DIALOGUE]

I'm sorry to hear you're leaving tonight.

Thanks. Dora.

Bet you haven't saved a dime
all summer long.

Oh. It takes money to keep a horse
in training.

- Honest. Sally. I admire you.
- Thanks.

You'd make a swell wife for some guy.

What made you think of that?

If you'd go through all this for a horse.
What would you do for some man?

[CHUCKLES]

LOUIS:
The. Uh. Same answer?

That Raleigh don't take no for an answer.
Does he?

Oh. Why don't you see him. Sally?
You know you want to.

Why don't you give your heart a break?

Perhaps I'd rather give him the break.

The sooner he forgets me.
The sooner he'll get his show on.

I'm sorry. Sir. She will not see you.

- What did she say?
- Nothing. Sir.

She read the note?

Yes. Sir. But the answer is still no.

All right. Thanks. Louis.

[DUCK QUACKING]

Get away.

BLAKELEY:
Hey. You.

Where are you going?

Hey. You're putting on a little weight.
Aren't you?

- Oh. I'm just taking out my laundry.
- Yeah?

Oh. So you're a musician too?

Yeah. I decided to be the life
of the party in 10 easy lessons.

Well. Play something for me.

You'd like it better after the next lesson.

I'd like it now. Play.

It'll sound awful corny.

Yeah. Give me that.

I think you're fired.

Now I know you're fired.

So that's where my feed's
been going. Eh?

You get out of here. Hurry up.
Go on. Get out of here.

That was a good. Stiff workout.
He jumps like a kitten.

I'll say. He's in top form. Right on edge.

Well. That's your last workout
before you go to the post.

Jimmy. Cool him out
and don't give him too much water.

Yes. Sir.

- What do you really think of him. Sonny?
- I think he's got a great chance to win.

Gee. I hope so.

Sally. I wanna talk to you for a minute.

- Come on sit down. Huh?
- All right.

Sally. There's... There's been something
bothering me for a long time.

- Something I want to tell you about.
- Well. What is it?

Well. I feel pretty bad because I know
how things are between you and Steve.

There's nothing between us anymore.

Do you mind if I tell you
I don't believe you?

You're still kind of crazy about Steve.
Aren't you?

Sure. You are. I knew it all the time.

But I've got an idea.
An idea that'll make everything all right.

Now. There's $25.000 in it
for the winner of tomorrow's race.

That dough would go a long way towards
helping Steve put his show on. Wouldn't it?

Would it? But you don't mean that we'd...

Sure. I do. With that 25.000 bucks.
Steve's troubles are practically over.

How could I give it to Steve?
Part of that money belongs to you.

No part of it's mine. That's another thing
I wanna put you straight on.

You see. The money you thought was mine.
Steve gave me to give to you.

He did?

But what about Nicki and George?

- They own a part of Star Gazer now.
- Oh. Don't worry about Nicki and George.

I fixed it with them this afternoon.

They're willing to put their winnings
into Steve's show too.

Oh. Sonny. You're a darling.

GEORGE:
Hello. Peoples.

- Hello.
SONNY: Hello. George.

- How are you?
- How are you?

- Glad to see you.
- How are you?

Wait a minute.
Tell me. How is my horse jumping?

Just like a kitten.

- Do you think he's going to win?
- George. He's got to win.

I want to thank you and Nicki
for what you're doing.

Oh. That's all right. Maybe Steve
is going to put my nephew in the show.

You know Nicki sings
just like a robin red chest.

SALLY: Hello. Peter.
GEORGE: Hi there.

- Hello. How are you?
- Hello.

- Say. What's the matter with you?
- Got a load of grief for you guys.

Bad news?

SONNY: Well. We're sure getting the breaks.
- Yeah. And they're all bad.

Where's Peter?

I don't know. But he ought to be ready
by now.

Any you guys got a pin?

Hey. Pete. Come on. Will you?
It's almost post time.

Are you all ready?

- All I need's a pin.
- What do you want a pin for?

- To hold your hat on?
- To keep my pants up. There's a pin.

Hey. Get away from there.
Come on. Up you go.

Listen. Star Gazer. You've got to win.

[BUGLE PLAYS FANFARE]

My dove. Do you think Dubonnet
will win?

He'd better.
This is one race I want to win.

Well. He's a very likely-Iooking animal.

MAN 1:
Come on up a little bit. Come on.

- Up. Easy. Now. Take it easy.
MAN 2: Now. Go.

[CROWD CHEERING]

- Oh. Sonny. L...
- Nicki. Come with me.

Sing.

[NICKI SINGING
"LARGO AL FACTOTUM"]

Oh. Sonny. I'm afraid
he'll never overcome that lead.

SONNY:
Come on. Star Gazer. Come on. Boy.

Come on. Nicki. Sing. Sing. Nicki.

- Come on. Star Gazer.
- Bring him in. Come on. Star Gazer.

Come on. Star Gazer.

- Come on. Star Gazer.
- Get him in there. Pete. Get him in.

[ORCHESTRA PLAYING]

[CAR HONKS]

Wait a minute. Children.

It's your Broadway
And it was my Broadway

And I can remember just yesterday
When I first came and gave my all, singing:

[SINGING] Tomorrow night
At the Darktown Strutters' Ball

[SPEAKING] Up in the lights were
Montgomery and Stone

Sir Harry Lauder
Al Jolson and George M. Cohen

Vesta Victoria, Ziegfeld
And Gaby Deslys

And I can remember seeing
The first sign that spelled me

Charlie Chaplin came to call
With a night in an English Music Hall

There was Lillian Russell
With beauty divine

And later came Marilyn Miller to shine

Folks, that was my Broadway
Of just yesterday

No wonder they called it
The Great White Way

So years may roll on
Time pass us by

But how can a street
With such memories die?

It's your Broadway
And it's my Broadway

[SINGING] With the rhythm of music
And the music of rhythm

Come what may
It's the same Broadway

For that part of the city
Is the heart of the city

I'll plant my feet
On that grand old street

And let me live in that gay tempo

Bright lights shine
On that old skyline

So come on, let me take you
Where everyone mingles

To the roaring of traffic
And the singing of jingles

- On your Broadway and mine
CHORUS: It's your Broadway

And it's my Broadway

[SPEAKING] Okay, line up for the big parade
Join the old Broadway Brigade

CHORUS [SINGING]: Your Broadway
And it's my Broadway

Wall Street, where they live on spec

There's the Woolworth Tower
Watch your necks

Broadway rhythm

If you wanna see a sight
Greenwich Village on the right

Broadway rhythm

Union Square is right ahead

Close your eyes, fellows
You might see red

Broadway

That's the Flatiron Building, wait
Look straight up, it's the Empire State

Broadway

R.H. Macy, Gimbels, Saks
Bargain basements filled with packs

Broadway

Don't look now, hey, keep your seat
Here comes 42nd Street

Broadway

Busy, dizzy, Times Square
Hear that noise, see that glare

A million lights that flicker there
A million hearts beat quicker there

[SINGING] No skies of gray
It's the Great White Way

It's Broadway

- Broadway
- Broadway

Broadway

ALL [SINGING]:
Your Broadway

And mine

If you want to crash Broadway

All the mob will pay five-fifty

If you learn to do a nifty

Follow

In my

Follow in my footsteps

CHORUS [SINGING]:
Far away I may be

Still a Broadway melody

Lingers on longingly

Deep within the heart of me

I'll remember every hour

Through every day
Through every song

Until we meet on that street

Back where we belong

We gotta dance

We gotta dance

It's your Broadway
And it's my Broadway

Broadway rhythm, it's got me
Everybody dance

You are my lucky star

CHORUS [SINGING]: To the rhythm of music
And the music of rhythm

Got a pair of new shoes

Got a pair of new shoes

Gotta dance

Plant your feet flat on that street

And dance

The rhythm of music

And music of rhythm

Dance on Broadway
Dance on Broadway

Dance and go singing
The whole town is swinging

On your Broadway

And mine

CHORUS [SINGING]: No skies of gray
On the Great White Way

That's the Broadway melody

[ENGLISH SDH]