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(orchestral music playing)

♪ Hello, Frisco, hello ♪

♪ San Francisco Open your Golden Gate ♪

♪ You'll let nobody wait Outside your door ♪

♪ San Francisco Here is your wandering one ♪

♪ Saying I'll wander no more ♪

(crowd laughing)

♪ For he's a jolly good fellow ♪

♪ Which nobody can deny Which nobody can...♪

Inside, inside!

The biggest show on Pacific Street

and the biggest glasses of beer for a nickel.

See Little Egypt, that sensational dancer...

♪ Yip-I-addy-I-ay Yip-I-addy-I-ay ♪

♪ I don't care What becomes of me ♪

♪ When you play me That sweet melody ♪

♪ Yip-I-addy-I-ay ♪

♪ By the Golden Gate ♪

♪ We're down at San Francisco bay ♪

♪ By the Golden Strand ♪

♪ I won her hand ♪

♪ On San Francisco Old new Frisco ♪

♪ San Francisco Bay ♪

♪ And her beauty was sold ♪

♪ For an old man's gold ♪

♪ She's a bird in a gilded cage ♪

Girls, girls!

♪ Hello, my baby Hello, my honey ♪

♪ Hello, my ragtime gal ♪

♪ Send me a kiss by wire ♪

Turn away from those dens of iniquity!

Stay away from those dens of corruption!

Don't swill beer in the gutter.

(piano music playing)

♪ Lindy, Lindy ♪

♪ Sweet as the sugarcane ♪

♪ Lindy, Lindy ♪

♪ Say you'll be mine ♪

♪ When the moon am a-shinin' ♪

♪ Then my heart am a-pinin' ♪

♪ Meet me, pretty Lindy By the watermelon vine ♪

♪ Lindy, Lindy ♪

♪ Sweet as the sugarcane ♪

♪ Lindy, Lindy ♪

♪ Say you'll be mine ♪

Hey, Dan, if we get a hand, we do the new act.

Are you cuckoo? Sharkey wouldn't stand for it.

I'll take care of him. Considine's out front.

He might book us on his circuit.

♪ Meet me, pretty Lindy ♪

♪ By the watermelon vine ♪

He wants to do the new act.

- Tell him to go fly a kite! - That's what I'm gonna tell him.

♪ Lindy, sweet as the sugarcane ♪

He wants to do the new act.

♪ Lindy, my little Lindy ♪

♪ Say you'll be mine ♪

♪ When the moon am a-shinin' ♪

♪ Then my heart am a-pinin' ♪

♪ Meet me, pretty Lindy ♪

♪ By the watermelon vine ♪

(crowd applauds)

Ladies and gentlemen,

in appreciation of your generous applause,

we offer as an encore our latest musical novelty.

Thank you. Professor, please.

(orchestral music playing)

Well, if this isn't the sweetest piece of two-timing I ever saw!

Hey, you wanna end up playing honky-tonks all your life?

Trudy, get in your position, will you?

Hey, Dan, give me a hand with the scenery.

Come on.

♪ Hello, Central, hello, Central Can't you see? ♪

♪ Kindly hurry, kindly hurry Just for me ♪

♪ Please do get me San Francisco ♪

♪ Someone's waiting all alone ♪

♪ Frisco is her name She's at the Golden Gate ♪

♪ Central, it's a shame for her To have to wait ♪

♪ Please, long distance Do connect me ♪

♪ Get her on the telephone ♪

(telephone rings)

-♪ Hello, Frisco ♪ -♪ Hello ♪

♪ How do you do, my dear? I only wish that you were here ♪

-♪ Hello? ♪ -♪ Frisco ♪

♪ Hello ♪

♪ How is the fare out there? They tell me that it is a bear ♪

♪ Don't leave me waiting ♪

♪ It's aggravating ♪

♪ Why can't you hurry, Central? You're so slow ♪

-♪ I can hear you now ♪ -♪ I can hear you now ♪

♪ Hello, now can you hear? ♪

♪ Dearie, I bought the ring And I've arranged for everything ♪

♪ You know I love you, dear ♪

♪ We'll be together soon And then we'll have a honeymoon ♪

♪ Your voice is like music to my ear ♪

♪ When I close my eyes You seem so near ♪

♪ Frisco, I call you up to say hello ♪

♪ Oh, darling I'm so blue without you ♪

♪ I think about you the livelong day ♪

♪ When you ask me if I'm lonely ♪

♪ Then I have only this ♪

♪ To say ♪

♪ You'll never know just how much ♪

♪ I miss you ♪

♪ You'll never know just how much ♪

♪ I care ♪

♪ And if I tried ♪

♪ I still couldn't hide ♪

♪ My love for you ♪

♪ You ought to know ♪

♪ For haven't I told you so ♪

♪ A million or more times? ♪

♪ You went away ♪

♪ And my heart went with you ♪

♪ I speak your name ♪

♪ In my every prayer ♪

♪ If there is some other way ♪

♪ To prove that I love you ♪

♪ I swear I don't know how ♪

♪ You'll never know ♪

♪ If you don't know ♪

♪ Now ♪

♪ If there is some other way ♪

♪ To prove that I love you ♪

♪ I swear I don't know how ♪

♪ You'll never know ♪

♪ If you don't ♪

♪ Know ♪

♪ Now ♪

(crowd applauding)

All right, come on, get back to your jobs!

What do you think I'm paying your for?

To work here or enjoy yourself? Get at the bar!

You three, come with me.

Trudy, honey, you were wonderful.

- Listen to 'em yell. - Come on, let's go out for another bow.

Wait a minute, you pinheads! What do you think you're doing?

We're just trying something different, Mr. Sharkey.

Oh, you were? You pulled 100 people away from my bar.

- It's empty out there. - Well, it just shows you.

You bet it does. If it happens six times a night, I'm out of business.

- Get out of here, you're fired! - Now wait--

- Come on, Johnny, don't argue. - All right.

If that's all the appreciation you've got of what your customers want,

it's Jake with me.

Get out of here or I'll have you thrown out.

We've been thrown out of and back into better joints.

Throw 'em out! Go on, get out!

Sharkey did us a favor.

We're through working in honky-tonks.

Something will turn up.

- And stay out! - Uh, Johnny!

Johnny, I was looking for you while you was acting over at Sharkey's,

but I couldn't wait.

My boy, you was great.

You all know Sam Weaver.

Know him? I've been bitten by him. How are you? Scat!

Johnny, I got news for you. Great news, Johnny.

- Did you hit it? - There's millions there!

Why, there's so much gold, you can shovel it up like coal in a bin!

There, I knew something would turn up. Did you hear that? Sam hit it.

And you were worrying about us getting kicked out of Sharkey's.

- Why don't you grow up? - Well, Johnny,

I was just trying to tell you about a new lead I got up in Sonora.

This time I can't miss.

All I need is another little grubstake.

- Oh. - Well, Johnny, it's an investment.

Safe as Rolston's Bank!

Yeah, but it's after banking hours.

Thank you, Johnny. You'll never be sorry.

One of these days, we'll be riding down Market Street in our own carriages

with harness buckles made of solid gold.

So long, Johnny. God bless you, my boy.

God bless you. (laughs)

(chuckles) Big-hearted John.

We ain't got a job, don't know where the next one's coming from.

I know where my next one's coming from.

I'm going right back to my own little single.

Oh, don't talk like that, Beulah.

We have to stick together. Johnny'll get us another booking.

Sure, he'll get us another booking. And then what happens?

He's gonna try out a new act and boom, we're out in the alley again.

That's the only way we'll ever get anywhere.

Mr. Cornell, I wish to wish you all the luck in the world,

but you can include me out.

I am through.

Listen, that goes for me too.

When I'm walking around, I want my stomach smiling.

I want soles on my shoes.

- Break up the act, is that what you want? - No, they don't.

Never mind, Trudy. If they wanna quit, let 'em.

I never begged anybody to stick with me if they didn't want it.

But they didn't mean it.

The two of you were happy to be with him when everything was going all right.

But as soon as we hit the bumps, you talk about walking out.

♪ Some other to win ♪

♪ Fight manfully onward ♪

Why, Johnny's smarter than Sharkey or any of 'em.

And someday, he’ll be right up on top and he’ll take us along with him.

This is no time to throw cold water on him.

He needs us as much as we need him.

What we ought to do right now is give him a pat on the back.

Honey, that's all you've been doing is giving him a pat on the back.

What do you get from him? The cold shoulder.

No, it isn't. I understand Johnny. He's trying to get ahead.

He has his mind on other things.

That's right. It sure isn't on you.

If he didn't need you for his act, you may as well be painted on a backdrop.

Honey, she's absolutely right. You don't need the guy.

You can get your old job back at the Tivoli in a minute.

Well, I don't want it. I'd rather stick with him.

And you two are all wrong. It isn't me.

It's Johnny's showmanship that puts us over.

And if I'm willing and satisfied to believe in him, why can't you?

Oh, Trudy.

Okay, honey, if that's the way you feel about it, we'll stick.

But remember, I'm doing it just for you. And that goes for her too.

Not a very big night tonight, is it, Pop?

Heaven will provide.

You think heaven would mind if I helped out a little bit?

We need everyone's help, brother.

Have you got a city license to use the streets to take up collections?

Oh, sure.

They'd have run me out of town long before now if it hadn't been for that.

Heaven's gonna provide for both of us, Pop.

♪ He always sings ♪

♪ Raggy music to the cattle As he swings ♪

♪ Back and forward in the saddle On a horse ♪

♪ That is syncopated, gaited And such a funny meter ♪

♪ To the roar of his repeater How they run ♪

♪ When they hear that fella's gun ♪

♪ 'Cause the western folks all know ♪

♪ He's the highfalutin, scootin' Shootin' son of a gun ♪

♪ From Arizona Ragtime Cowboy Joe ♪

♪ He always sings ♪

♪ Raggy music ♪

We got to stop this!

♪ Back and forward In the saddle on a horse ♪

♪ That's syncopated, gaited Such a funny meter ♪

♪ To the roar of his repeater How they run ♪

♪ When they hear that fella's gun ♪

Hey, O'Riley.

♪ He's the highfalutin, scoopin' Shootin' son of a gun ♪

♪ From Arizona Ragtime Cowboy ♪

-♪ Oh, you cowboy ♪ -♪ Captivatin' ♪

-♪ Fascinatin' ♪ -♪ Syncopatin' cowboy ♪

♪ Ragtime Cowboy Joe ♪

(crowd cheering)

Hey, break this up! What do you think you're doing?

What do you mean by putting on a public show on the streets?

- Come down off of that wagon. - Take 'em in, O'Riley. Pinch 'em.

If you do, O'Riley, you're as good as broke.

Every cent we collect here goes to the O'Farrell Street Mission.

Go on, tell him, Pop. Show him our license.

There it is. Would you interfere with the work of charity?

Would you bring righteous wrath down on your head?

Brother, remember you're doing it in the sight of heaven.

I ask your pardon, sir.

I didn't have a right understanding of what was going on.

What do you mean, Sharkey, by bothering these good people?

Have you no respect for religion?

Get back to your gin mill. Get along.

(crowd cheering)

I got everyone but you and Sharkey. You'd better kick in.

Okay, $500, if you'll stay away from my place.

- You got a deal. - This ain't decent.

It ain't, it ain't decent.

♪ By the mill ♪

♪ Where they made sweet cider ♪

♪ I made sweet love to you ♪

♪ Mill wheel was turning ♪

♪ As I sat there yearning ♪

♪ For one kiss The sweetest I knew ♪

♪ On the hill ♪

♪ From the old town chapel ♪

♪ Those evening bells would chime ♪

♪ I'll always remember ♪

♪ That golden November ♪

♪ Sweet cider time ♪

♪ When you were mine ♪

-(crowd applauds) -[Dan] Come on, everybody sing!

You're the last holdout on Pacific Street. We all had to kick through.

Give him his 500 bucks, Lou.

Hey, Sharkey, I wanna make you a very special offer.

For the other boys it was $500, but to you it's $1,000.

Get out of here. Get out of here!

Okay, it's Jake with me. I'll see you in the poorhouse.

Wait a minute, Johnny. He'll kick in.

Listen, he's got you licked sure as my name is Foghorn Ryan.

Hey, Lou, get the $1,000.

"John Cornell, proprietor."

Now that doesn't sound like the Barbary Coast.

Aren't they usually Mulligans or Hooligans or Sweeneys that run these places?

That's his name. He's a remarkable fellow in a way.

In a way?

Pulled himself up by his own banjo strings.

That's right, started out playing his banjo

doing a song and dance on an Oakland ferry

for whatever the passengers tossed in his cap.

Really?

Well! Quite a place.

Three cheers for Mr. Cornell.

From ragtime to riches by way of the Oakland ferry.

Just a starter. His real ambition is to climb Nob Hill.

Oh, don't tell me. From the Barbary Coast to Nob Hill isn't a climb, it's a career.

Not for Johnny Cornell. It wouldn't even faze him.

He has plenty of ambition and brains to back him up.

And if nerve helps, he'll get there with bells on.

Oh, Ned, come on. That's too much.

Good evening.

(orchestral music playing)

♪ You've just seen the Texas hobby But that dance is through ♪

♪ Now we're gonna show you one That's absolutely new ♪

♪ Now out in San Francisco Where the weather's fair ♪

♪ They have a dance out there They call the Grizzly Bear ♪

♪ All your other lovin' dances Don't compare ♪

♪ Not so coony But a little more than spoony ♪

♪ Talk about your bears That Teddy Roosevelt shot ♪

♪ They couldn't class with what Old San Francisco's got ♪

♪ Listen, my honeydew And I will show to you ♪

♪ The dance of the Grizzly Bear ♪

♪ Hug up close to your baby ♪

♪ Roll your shoulders Toward the ceiling ♪

♪ Lordy lordy, what a feeling ♪

♪ Snug up close to your baby ♪

♪ Close your eyes and do some napping ♪

♪ Something nice is gwine to happen ♪

♪ Hug up close to your baby ♪

♪ Sway me everywhere ♪

♪ Show your darlin' beau Just how you go to Buffalo ♪

♪ Doin' the Grizzly Bear ♪

[chorus] ♪ Oh, hug up close to your baby ♪

♪ Roll your shoulders Toward the ceiling ♪

♪ Lordy, Lordy, what a feeling ♪

♪ Snug up tight to your baby ♪

♪ Close your eyes And do some napping ♪

♪ Something nice is gwine to happen ♪

♪ Hug up close to your baby ♪

♪ Sway me everywhere ♪

♪ Show your darlin' beau Just how you go to Buffalo ♪

♪ Doin' the Grizzly Bear ♪

♪ Oh, hug up close to your baby ♪

♪ Sway me everywhere ♪

♪ Show your darlin' beau Just how you go to Buffalo ♪

-♪ Doin' the Grizzly ♪ -♪ Doin' the Grizzly ♪

♪ Do--do--do--do-- Doin' the Grizzly Bear ♪

♪ Dance the Grizzly Bear The Grizzly Bear ♪

♪ I said the Grizzly Bear ♪

(crowd applauding)

So long!

- Honey, you were wonderful. - Oh, thanks.

- Listen to 'em out there. - Looks like we did it.

- You were all great. - The place is backed up.

They're standing three deep at the bar. If this is capacity,

can you imagine what's gonna happen when we really get started?

We're playing to the best people in town.

Did you see who was out there? A bunch from Nob Hill.

Well, you ought to be more careful who you let in the place.

That's all right. That's the crowd I'm after-- the carriage trade.

They're the kind of people I want to patronize us.

That's about all it amounts to, Johnny. They're patronizing us.

Brother, your social register's a police gazette.

- They won't give you a tumble. - No?

Well, Bernice, don't you think we've had about enough slumming?

There won't be another show for an hour. You've seen everything.

- I've seen everything except, uh... - Except what?

What I really came to see. The remarkable John Cornell.

Uh-oh, get the check. She's off again.

- What's this? - White Seal.

'87. Compliments of Mr. Cornell.

Well, now I know I'll have to meet him.

Waiter, would you ask Mr. Cornell to come to our table, please?

Yeah, sure. Yes, ma'am.

Here, bub. You pour.

-(laughing) -"Here, bub, you pour."

That'll give you an example of what to expect from the proprietor.

He'll probably draw up a chair and offer you a cigar.

Good evening. I'm John Cornell. Is everything all right?

Please let me thank you for the wine, Mr. Cornell.

My pleasure, Miss Croft.

Oh?

Am I discovered?

Why, everyone knows Miss Bernice Croft.

Especially if they've seen her drive her carriage through Golden Gate Park.

Thank you. Won't you join us?

I'd like you to meet Ned Clark, Bill McCray, and Dick Greenwood.

Don't get up, gentlemen. I only have a moment.

I have to see that things are kept going.

I think your entertainment's marvelous.

I'll probably spend the next week snapping whalebone in my corsets

trying to do the Grizzly Bear.

Well, I'm sure if you watched the entertainers

you'd pick it up in no time.

Oh, but you don't know how frightfully dense I can be.

And persistent.

Yes, I am, when I want to learn something.

- Well, I could have Miss Beulah Clancy-- - Oh, dear, no.

Dancing with another girl would remind me of boarding school.

I'd prefer the headmaster.

Well, I could...

I'm giving a party at my home next Sunday night.

Won't you come and bring your friends?

Well, thanks, I'd like to.

Now if you'll excuse me, please.

Bernice, I've washed my hands of you entirely.

(waltz playing)

- What are we waiting for? Let's dance. - Well, hello.

- I'm so glad you came, Mr. Cornell. - Good evening, Miss Croft.

- I want you to meet Miss Evans. - How do you do?

- Miss Clancy. - How do you do?

- Mr. Daley. - How do you do?

Miss Croft, this is really a highlight in my career.

And when you really want to get this party rolling,

just give us the high sign.

Would you let me present you to some of my friends first?

My Aunt Harriet and Colonel Weatherby.

Miss Evans and Mr. Cornell.

- How do you do? - Miss Clancy and Mr. Daley.

Why, Colonel, what beautiful medals.

Thank you. Civil War, my dear.

Oh, that's a long story.

(chuckles) Well, I'd love to hear all about it.

Well, I'd be very glad to tell you.

But I'm afraid that Harriet has heard it so often that...

Well, that's exactly what I figured.

You will excuse us, won't you?

Come along, Colonel.

Some of the more conservative ones leave early.

Then we'll have some fun.

- My encore, Bernice. - Oh, Ned.

Ned, I'll give you the best of a bargain. You recall Miss Evans?

- How do you do? - Hello.

- And Mr. Cornell? - Hello.

- Nice to see you. - Ned's a marvelous dancer.

You don't know what I'm giving up.

I think I do.

But I'll try to be as unselfish as you are.

I did a bit of pirating, didn't I?

Now don't tell me getting you in here all to myself has been wasted.

No, I appreciate it.

I'd like to see everything in your house.

This is a kind of room I'd like to have myself someday.

It was my father's study.

He was something of an art patron.

Yes, I know. Edward Dureshka, Nellie Melba, Adelina Patti--

all autographed to your father.

You know, he must have been a big man--

building that opera house, bringing all those great artists to San Francisco.

Oh, exhibitionism, I expect,

to prove how little he thought of money.

I see.

And is that why you carry on?

No. It eases my social conscience,

makes up for the shocking things I do.

I still think it's pretty fine.

I don't know of a better way you could spend your money.

Well, I'm...

I'm glad that you approve of something about me.

"Aida," original manuscript.

"Gift of the San Francisco Opera House, 1882."

You never gamble, do you?

- Not with women. - Not very flattering.

Why?

I'll tell you why.

It's only a 50¢ hack ride from here to the Barbary Coast,

but it takes $1 million to come back up if you want to stay.

Well, it would be nice having you for a neighbor.

Just a minute!

You wanted me to kiss you, didn't you?

Mr. Cornell, you're priceless.

For worlds I wouldn't have missed knowing you.

-(door opens) -[Dan] Hey, Johnny!

Oh, excuse me. The folks are waiting for Trudy to sing

and you'll have to do her music.

That is, if you can spare him.

To Miss Evans? Why, of course.

For a song.

Thank you. Too much.

Perhaps that was a fortunate interruption.

We might have become much too well acquainted.

Maybe we will next time we see each other.

You all set? I'll give Trudy an introduction.

Never mind. We're leaving. Come on, honey.

- Hello. - Be right with you.

They just brought in the take and I'm checking it over.

I don't know how you keep your mind on it.

Every time I come into this room since you had it fixed over,

well, I kind of feel that the butler should bring in my card.

Yeah.

And if I didn't know that we was on Pacific Street,

I would swear that we was up on Nob Hill.

Why don't you pipe down and let me work?

What's this? Dance Land, $1,846.35.

Whew! That ain't bad.

That'll do.

That'll do?

Brother, you sure got chubby with money in a hurry, didn't you?

I can remember a time when you would retire on that kind of dough.

Yeah, so can I.

"Silver Palm Ballroom, $2,100.50."

Johnny! How are you, my boy?

Uh-oh, here he comes. Lock up the dough quick.

Johnny, you struck it rich!

Hey, you, come on. Get out of here or I'll call the cop.

- How are you, Sam? - That's what I came to tell you, Johnny.

This time I got it-- gold!

We'll be rolling in it!

Why, it'll be raining down like a cloud mass.

I got my hands right on it.

- No, you ain't. - Johnny,

I've found a new bonanza, an El Dorado, a Comstock!

And no one knows about it but me.

- All I need is-- - Another little grubstake.

Well, Johnny, I was gonna work up to that gradually.

Just take your time. The answer's no anyway.

What happened to the last one?

Johnny, I swear I never could figure that out.

It just wasn't there. Oh, but this one's different.

Why, I wouldn't even need a pick.

There's nuggets laying there like rocks on a creek bottom

just waiting to be shoveled up.

- Give him $200, Dan. - Yeah, come on, get out--

- What? - You heard me. Give him $200.

- He's got a new mine. - You're telling me.

And he don't need no pick for this one either.

Oh, Johnny, you'll never regret it, boy!

One of these days, we'll be pitching gold watches down Market Street

just to see how far we can throw 'em.

We'll be riding in carriages--

Oh, sure. On your way out, have a drink--

The bottle with the skull and crossbones on it.

So long, Johnny. I'll be seeing you.

God bless you, my boy.

God bless you!

If that guy keeps bucking to you,

you'll be the best-dressed man in the bread line.

Never can tell. He might hit it sometime.

Oh, what are you talking about?

"Green Mill Rollerdrome." Only $428?

That wouldn't even pay for the band or the waiters.

It needs publicity. It hasn't caught on yet.

And it never will. People ain't gonna spend their money

putting wheels on their shoes or splitting their pants bouncing off the floor.

It's gonna be the biggest attraction in town,

and you're going to see it go over tonight.

- I know just what it takes. - So do I.

Andrew Carnegie and Hetty Green's bankroll.

Get out of that thing and put on some street clothes.

- Where are we going? - To the Rollerdrome.

Them roller skaters make me dizzy!

(crowd applauding)

[Trudy] Come in.

It's me, honey.

I'll be right there.

(whistling)

Oh, don't whistle in the dressing room, Johnny. It's bad luck.

You should know that.

You going some place after the show?

(chuckles) No.

It was so warm, I decided to freshen up and change my makeup.

Well, never mind the makeup. We're going out.

Going out? Why?

Well, do you have to ask why when a fella tells you he's taking you out?

Well, when you ask me, I do.

I'll have to ask you out more often then so you'll get used to it.

But what about the midnight show?

Skip it. The place isn't big enough to hold a crowd anyway,

so if they don't like it they can leave.

What's the matter? Don't you feel like going out?

I never felt more like doing anything in my life.

A night off with no work.

Oh, Johnny, I can't believe it. It sounds wonderful.

All right, then get all dolled up and make it extra beautiful.

- Where you been? - We were delayed.

Oh.

(crowd applauding)

What do you think of that? They know us.

I should say so. As soon as it was known that Miss Evans--

- Paul, get us a bottle of wine, will you? - Yes, sir.

Wine, Johnny? What for? Whose birthday is it?

Will you stop asking why and what for?

- It's our night out. - What am I doing here?

You're the master of ceremonies. Go up on the bandstand.

The leader will tell you what to do.

Now I know what I'm doing here.

I think this place is doing fine. It's almost packed.

It's building up. A few more guests nights and it'll catch on.

What you need is some special attraction to get the customers started coming in.

Funny isn't it how different it looks from where you sit?

How?

Oh, it's such a relief to be just a customer once in a while.

You'll never know how much I appreciate it.

Well, we're going to have lots of nights out together from now on.

(crowd applauding)

Thank you, thank you, ladies and gentlemen.

And now before I introduce our guest star of the evening,

I give you Johnny Cornell's famous troupe of skating stars,

that hit show anyplace they land,

those babes and boys on rollers--

The Continental Cadets. Thank you.

(orchestral music playing)

♪ It's tulip time in Holland ♪

♪ Two lips I know are lonely ♪

♪ The sweetest lips in Holland ♪

♪ Are blooming for me only ♪

♪ I'd give the world if I could be ♪

♪ Back there beside her ♪

♪ By the Zuiderzee ♪

♪ It's tulip time in Holland ♪

♪ Two lips are calling me ♪

♪ It's tulip time in Holland ♪

♪ Two lips I love are lonely ♪

♪ The sweetest lips in Holland ♪

♪ Are waiting for me only ♪

(vocalizing)

♪ By the Zuiderzee ♪

♪ Tulip time in Holland ♪

♪ Two lips are calling me ♪

(vocalizing)

♪ Two lips are calling me ♪

(crowd applauding)

(all vocalizing)

♪ It's tulip time in Holland ♪

♪ Two lips are calling me ♪

(crowd applauding)

Thank you. Thank you. Thank you.

And now, ladies and gentlemen,

the big moment of the evening's entertainment,

the piece de resistance, which means she's swell,

the one you've all been waiting for,

that lovely little lady, our guest with the golden pipes of pan--

San Francisco's own Miss Trudy Evans!

(crowd applauding)

Go on, honey, they're waiting for you.

Our night out.

"Pick On Me." It's all fixed.

(orchestral music playing)

♪ When I was born my pa and ma ♪

♪ They looked at me and said ♪

♪ "Oh, pshaw" ♪

♪ The doctor said "It's a girl, I think" ♪

♪ Then pa went out and got a drink ♪

♪ Then ma said I look just like pa ♪

♪ And pa said I took after ma ♪

♪ Aunt Jane said I look like a quince ♪

♪ And I've been a stepchild ever since ♪

♪ Oh ♪

♪ They always, always pick on me ♪

♪ They never never let me be ♪

♪ I'm so very lonesome ♪

♪ Awfully sad ♪

♪ It's a long time Since I've been glad ♪

♪ But I know what I'll do By and by ♪

♪ I'll eat some worms And then I'll die ♪

♪ And when I'm gone You wait and see ♪

♪ They'll all be sorry That they picked on me ♪

♪ Now why do they always, always Have to pick on me? ♪

♪ Why do they never, never Never let me be? ♪

♪ I'm so very lonesome ♪

♪ Awfully sad ♪

♪ It's a long long time ♪

♪ Since I've been glad ♪

♪ But I know what I'll do By and by ♪

♪ I'm gonna eat me some worms ♪

♪ And then I'll die ♪

♪ And when I'm gone Just you wait and see ♪

♪ They'll all be sorry Terribly, terribly sorry ♪

♪ Gee, they're really gonna be sorry That they picked ♪

♪ On ♪

♪ Me ♪

(crowd applauding)

It's too bad I haven't got someone like you to entertain at all my places.

Then they'd all go over like the Rollerdrome did tonight.

You didn't mind going on, did you, honey?

No, but you could have told me.

I'd have been glad to do it anyway.

I'm glad to be a part of anything you do.

You are. That's have the fun of doing things-- having you in on it.

- Is it? - Sure.

(sighs) It's wonderful the way you've made it all come true.

- Proud of me? - Mm-hmm.

You've got about everything you've started out for,

except the house on Nob Hill.

Oh, I've forgotten all about that.

I know where I belong-- doing what I'm doing.

They haven't got anything up there I want.

Too bad about Bernice Croft, isn't it?

What about her?

Ned Clark told me her gold mine was playing out.

She began speculating pretty heavily.

And he tried to stop her but...

Anyway, she's lost everything.

They're even going to auction off her things.

Well, I guess she had fun with it while she had it.

I wonder what a girl like her will do now.

She can't support herself.

That's the trouble of inheriting those big family bankrolls.

You're better off where you are-- in show business.

Show business.

That's all that makes your life worthwhile, isn't it, Johnny?

I'm satisfied.

We can't always have everything.

No.

I guess you're right.

[auctioneer] $200. Ladies and gentlemen, who will make it $225?

- Who will give me $225? -$225.

-$225? -[woman] $230.

$230. Bid $230, gentlemen.

-$230, make it $235. -$235.

-$235 and going at $240, $240. -$240.

-$240, who will say $250? -$250.

$250. $250, ladies and gentlemen,

for this beautiful original Sébastien Érard concert harp.

- Who will say $300? -[woman 2] $255.

Come come come, ladies and gentlemen.

This bidding is ridiculous.

There isn't another Sebastien Erard instrument to be had

this side of New York or Europe.

- Who will make it-- -$350.

-$350? - Are you loco?

What do you want that harp for?

- You'll break off all your fingernails. - So? I want it.

There's a lot of other things around here I want too.

[auctioneer] $350.

Is that all I'm bid for a beautiful instrument like this?

All right, $350 once, $350 twice.

Sold to Mr. John Cornell.

You're hooked. When you die, where you're going you won't need that thing.

And now, ladies and gentlemen,

an exclusive item from the Croft musical offering.

A collection of opera scores as produced at the Croft Opera House.

And I'm sure they require no further recommendations.

- Now what am I offered? -$3,000.

Thank you, Mr. Cornell.

$3,000. Who will make it $3,500?

$3,500? $3,500?

-$3,500? - Just a moment.

There must be some mistake.

The opera scores are not for sale.

But, Miss Croft, they were offered in the inventory.

I said they were not for sale.

I'm sorry, Mr. Cornell. I shall have to ask you to withdraw your bid.

Boy, are you lucky. (chuckles)

Stay here and bid on the paintings and bric-a-brac for me.

Bric-a-what? Well, that's a little more like it,

coming from a guy whose old man used to be a hod carrier.

And now, ladies and gentlemen,

what am I offered for this fine Theobald Boehm instrument?

-50 bucks. -$50 from the stout gentleman

with the diamond stickpin for this fine Bavarian flute.

Flute? Me?

I'm bidding on a flute?

Why did you do that?

The scores are not for sale.

Meaning they're not for sale to me

because I'm from the other side of the tracks

and wouldn't appreciate them.

No, on the contrary.

I think you're one of the very few people who would appreciate them

and understand what they meant to my father.

Then why did you stop my bid?

Because some things are beyond mere monetary value.

But I'll make you a present of them.

They'll be delivered with the other things you've purchased.

But you can't afford to do that.

I'll give you $5,000 for them-- $10,000.

You said once it was only a 50¢ hack fare up here from the Barbary Coast,

but it took $1 million to stay.

Well, you've just about made your million.

I haven't made that much.

You will someday.

But there's one thing you must learn,

and that's to accept a gift with merely a simple thank you.

The scores are yours.

- Thank you. - You're quite welcome.

And now perhaps that I'll no longer be able

to be patron to the San Francisco Opera,

they may find a new impresario in Mr. John Cornell.

I'm afraid that would be a little bit over my head.

Well, I'm sure nothing would be over your head that you set your mind to.

You have a way of saying things that--

That what?

I'll have to say this my way.

Suppose I set my mind on you?

I'd be flattered, but for the present, I have other plans.

I'm taking whatever I have left and shaking the dust of San Francisco

from my worn-out sandals.

You see, John, in some ways we're very much alike.

We both have an inordinate amount of pride, and I--

Well, I just couldn't remain here and have my friends feeling sorry for me.

Those are the kind of friends you'd be better off without.

I'm not that kind.

I'm glad of that.

I might be glad to take advantage of it sometime.

But if I do come back to San Francisco, it'll be to everything I've always had.

So once again, John,

for worlds, I wouldn't have missed knowing you.

Goodbye.

Don't say that.

Then au revoir.

That's better.

(door closes)

(strums)

(harp continues)

That harp is driving me bugs.

I thought she was out shopping.

What did Johnny want with that disappointed zither?

He was going to build a number around it, but he hasn't gotten to it yet.

A number, eh? And I know the number.

It's that enameled-puss society wench up on Nob Hill.

And if I didn't hit it right in the nose,

why did he buy out nearly everything she auctioned off?

And now he's trying to buy the house too.

- Well, that's Johnny's affair. - You said it.

Aw, honey, you ain't kidding nobody.

You're dead gone on Johnny, but you don't do nothing about it.

Well, I can't very well throw myself at him.

Well, you could throw something at him.

I know if he was my man and I wanted him,

I'd go after him hallelujah and high water.

Trudy, better get dressed. You got five minutes.

Mm-hmm.

Well, I'm your man, babe. You want me, don't you? Ha!

- I know you love me. -(sputters)

(orchestral music playing)

(alarm ringing)

[men] ♪ Why, Bedelia, what do you mean ♪

♪ By putting in this false alarm? ♪

♪ False alarms, me foot ♪

♪ That scallywag tried To take me in his arms ♪

♪ Well, why not? ♪

♪ Bedelia, I'd want to steal ya ♪

♪ Bedelia, I love you so ♪

♪ I'll be your Chauncey Olcott ♪

♪ If you'll be me Molly O ♪

♪ Say somethin', sweet Bedelia ♪

♪ Your voice, I'd like to hear ♪

♪ Oh, Bedelia, elia, elia ♪

♪ I made up me mind to steal ya Steal ya, steal ya ♪

♪ Bedelia dear ♪

♪ Sure, I thank you, Clancy, Pat And Michael Hooligan and Joe ♪

♪ Well, you're mighty kind But if you don't mind ♪

♪ There's one thing I'd like to know ♪

-♪ Has anybody here seen Kelly? ♪ -[men] Who?

♪ K-E-double-L-Y ♪

♪ Has anybody here seen Kelly? ♪

-[men] Kelly? -♪ Have you seen him smile? ♪

♪ Sure, his hair is red And his eyes are blue ♪

♪ And he's Irish through and through ♪

-♪ Has anybody here seen Kelly? ♪ -[men] Who?

♪ Kelly from the Emerald Isle ♪

♪ Is anyone looking for me? I'm Kelly, as you can see ♪

♪ Me hair is red And my eyes are blue ♪

♪ And by golly I'm Irish through and through ♪

♪ Has anybody here seen Kelly? ♪

Ouch! (squawking)

♪ Oh, Bedelia, elia, elia ♪

♪ I be of me mind to steal ya Steal ya, steal ya ♪

♪ Bedelia, dear ♪

K-E-L-L-Y! Ooh, what a guy!

(applause)

- Great show, Mr. Cornell. - Thank you.

There's a gentleman waiting in your office, Mr. Cornell.

Thanks. Take a bottle of white seal to Mr. Dawson's table

-with my compliments. - Who, sir?

Douglas Dawson, the biggest producer in London.

- Table number nine. - Yes, sir.

After the way I've been raving about Miss Evans,

I hope you're not too disappointed.

Not at all. You're quite right. She's wasted here.

I'd like to drop backstage and have a chat with her.

Fine. I think she'd be delighted.

- Good evening, Burkham. - How do you do, Mr. Cornell?

I received your message.

And while I don't generally transact business after office hours--

I was wondering why I hadn't heard from you.

I haven't been able to contact the lady since I last saw you.

I presume she's traveling.

Yes, she was in Newport last week as a guest on count somebody-or-other's yacht.

Yes, that's where I addressed your last offer. The letter was returned.

I must say, Mr. Cornell,

she doesn't seem to be much interested in your desire to purchase her home,

even though you keep increasing the amount you're willing to offer.

If you find out where she is, raise it again.

The newspapers say she's going to Europe.

- On that yacht? - I really couldn't say.

Hey, Johnny, I-- Oh, excuse me.

It's all right, Dan. Come on in.

This is Mr. Burkham of Burkham & Burkham Real Estate Brokers.

- Mr. Daley. - How do you do, Mr. Daley?

Hello! Buying another honky-tonk, huh? Say, what ya peddlin', bub?

Mr. Daley, Burkham & Burkham do not peddle honky-tonks.

Burkham & Burkham deal in high-class properties exclusively.

He'd make a good straight man.

Good night, Mr. Cornell.

If I have any further word from Miss Croft,

- I shall contact you immediately. - Good night.

Listen, Johnny, it ain't none of my business, but--

- Then don't say it. - I won't.

But for a smart guy you're making a champion chump

of the world out of yourself.

You don't wanna buy that house. You're just trying to make a hit with her.

I thought we agreed it's none of your business.

I won't say a word. Just listen to this, mister.

Nob hill and the Barbary Coast don't mix no more than champagne and beer.

If it will shut you up, she's on her way to Europe.

Some count's taking her.

Oh, well, then let me be the first to congratulate you.

Say, Dan, go down and check the bar, will you?

I certainly will.

I'll pour myself a big one just to celebrate your great victory.

Very well, Miss Evans. We'll leave it that way.

When you make your decision, I'll expect a cable from you.

Thanks, and I really appreciate it.

And thank you, Ned. You're still my most loyal audience.

- And always will be, Trudy. Good night. - Good night.

- Good night. - Good night.

Say, it was nice of Dawson to come backstage to meet you.

- He liked the show? - He must have thought it was pretty good.

He made me an offer to go to London.

You're not thinking of taking it?

Yes, I am.

Trudy, you can't. I can't let you go.

Why, losing you would be like losing part of myself.

I used to feel like that too, Johnny,

but, well, you have other plans

and I have to think of getting ahead the same as you have.

But what's Dawson got to offer you that I can't give you?

London? You're a star over here. You don't know how you'd go over there.

- Don't you think I could make good? - Of course you would,

but I don't want you to make good for anybody else.

If you want to do a musical, I'll get a theater uptown.

I'll buy The Majestic.

I'll get you the west coast rights to any show you want

and I'll put you over bigger and better than Dawson ever could.

I always told you when I went up I wanted you there with me.

I know, Johnny, but I wouldn't fit in up where you're going.

Oh, so Dan's been giving you that.

Well, for your information, I'm not going up there.

Besides, Trudy, there's no place I'd ever go that you wouldn't fit in.

Do you really mean that?

Have I ever lied to you?

Oh, I should have thrown that Dawson out

instead of blowing him to a bottle of wine.

Johnny, I didn't accept Mr. Dawson's offer.

Well, what did you want to scare me like that for?

You almost had me believing it.

Take off your makeup

and don't give me that stuff about the midnight show.

- We're going out. - The last time you asked me that--

Yeah, yeah, I know. But this time no entertainment.

Just dinner for two at the Palace.

(knock on door)

- Yeah? -[man] Telegram, Mr. Cornell.

Get dressed, honey.

Thank you, Sam.

- Well, hello. - Hello.

It was nice of you to respond so quickly when I sent for you.

I knew you were the one friend I could depend on.

At least you're the only one who seemed to care what had become of me.

I thought you were on your way to Europe on Count Somebody's yacht.

Oh, Count Veroni lost all interest in Bernice Croft

when he find out she wouldn't be able to support him

in the manner to which he was accustomed.

He replaced me with a steel heiress from Pittsburgh.

Well...

Well, does that bring us back to business?

If you've decided to sell...

John, you're as easy to read as an open book.

The reason you've made me so many generous offers on my house

is your way of showing that you wanted to help me.

Well...

You knew the money I got from the auction wouldn't last long.

Well, it hasn't. I'm flat.

If you sell the house, it'll give you a new stack of chips.

Well, that won't last long either. And then what?

You see, like Count Veroni,

I have to be supported in a manner to which I'm accustomed.

But I thought that...

I know. I said you were an open book.

You'd not only offered to buy my house,

but you'd offer me yourself and everything you have with it.

Well, I appreciate it,

and I'd be an asset to anyone with a house on Nob Hill.

I didn't mean that. I don't need anyone to make them accept me.

It's like you to say that.

I once told you we were both proud.

Well, I wouldn't sell on those terms

and you wouldn't buy under those conditions.

Well...

Heavens, Johnny, if this is a proposal, don't stand there saying, "Well."

Use a little imagination.

- Hello, Dan. - Fine time to be showing up.

It's almost 1:00, do you know that?

There's been three wine agents here

and that real estate guy was here asking about buying The Majestic.

All right, I'll close the deal in the morning.

Listen, John, it's none of my business, but a theater's a gamble.

You've been doing all right with the music halls and the Rollerdrome.

Didn't I promise you that I'd put you all up on top sometime?

Yeah, it was nice talk too, when we didn't have a dime.

I know you're doing this mostly for Trudy,

but, John, if she knew what she was getting in for,

she wouldn't want no part of it.

She'd be satisfied to stay right here.

Well, I wouldn't be.

I'm through with honky-tonks in the Barbary Coast.

I'm gonna be respectable.

What for?

Because my fiancée would like it that way.

(chuckles) Your--

Oh, my hearing.

You know, for a minute I thought you said your fiancée.

- Now look, Johnny-- - I did.

You what?

I said my fiancée.

For your information, Mr. Daley, champagne and beer

and Barbary Coast and Nob Hill do mix.

I'm marrying Bernice Croft.

- Well... - Well, what?

Well, it's too late now.

I always knew you was a sucker for gold mines,

but this time, brother, you're gonna need one!

- What's the matter? - Oh, nothing.

Did Johnny close the deal for The Majestic Theater?

Mm-hmm, tomorrow morning. Oh, by the way,

he don't want to be connected with honky-tonks anymore.

He's going to be respectable.

- Is it as bad as all that? - It's worse.

You know why he's doing it too, don't you?

I know why he's buying The Majestic.

(chuckles) That's what you think. That's what I thought too.

I thought it was going to be for you, Beulah and myself.

But that ain't the half of it.

Well, I guess he's doing it for himself too.

After all, Johnny's outgrown Pacific Street.

He's an important person now.

Oh, now I've heard everything.

I thought that Croft dame was the only one who was filling him with that stuff.

- But if you're gonna-- - Miss Croft hasn't anything to do with it.

No, no, she's just gonna sit out front there, that's all.

And tell me how you and me should be doing our stuff, that's all.

Well, maybe you can like it, but not me.

I can take orders from the headman himself,

but when the headman's wife starts running the show--

- Wife? - Wife.

That's what I said-- wife.

From now on he's going to be known as Miss Croft's husband.

She's got the sign on him already.

She's the one who made him quit the Coast for that society stuff.

If that's the way he wants it, it's his wedding.

And that's gonna be his funeral too.

(orchestral music playing)

Overture! Beulah!

Hey, Beulah!

Now where have you been? Where's Trudy? Don't you hear that overture playing?

She's gone.

You look like the last half of Finnegan's Wake.

Get in there and put some powder on your face.

She's going to London!

Oh, she's going to London. That's very funny.

The overture's on, she's--

- She's what? - Trudy is going to London.

- Going to London? - Yeah!

What are you talking about? This time of night,

you couldn't even get a ferry boat to Oakland.

She's going to London.

(people laughing, chatting)

(orchestral music playing)

(no audible dialogue)

(music plays)

(bell tolling)

♪ By the light ♪

♪ Of the silvery moon ♪

♪ I want to spoon ♪

♪ To my honey I'll croon love's tune ♪

♪ Honeymoon ♪

♪ Keep a-shinin' in June ♪

♪ Your silvery beams Will bring love dreams ♪

♪ We'll be cuddling soon ♪

♪ By the silvery moon ♪

♪ Place, park Scene, dark ♪

♪ Silvery moon is Shining through the trees ♪

♪ Cast, two Me, you ♪

♪ Sound of kisses Floating on the breeze ♪

♪ Act one, begun ♪

♪ Dialogue, "Where would you Like to spoon?" ♪

♪ My cue with you ♪

♪ Underneath the silvery moon ♪

-♪ By the light ♪ -♪ By the light ♪

♪ Of the silvery moon ♪

♪ Silvery moon Silvery moon ♪

♪ I want to spoon ♪

♪ Want to spoon Want to spoon ♪

♪ To my honey I'll croon ♪

♪ Love's old sweet tune ♪

♪ Honeymoon ♪

♪ Keep a-shinin' in June ♪

♪ Your silvery beams ♪

♪ Will bring love dreams ♪

-♪ We'll be cuddling soon ♪ -♪ We'll be cuddling soon ♪

♪ By the silvery moon ♪

♪ Your silvery beams Will bring love dreams ♪

♪ We'll be cuddling soon ♪

♪ By the silvery moon ♪

(crowd applauding)

Oh, Ellie, more flowers than I've ever seen before.

And they brought me out for a dozen curtain calls.

Heavens, miss. And why shouldn't they?

Here, let me take these. I'll put them in water.

All right.

I can't believe it's true.

I've had opening nights before.

Lots of 'em.

There was always someone there to...

sort of help you over the bumps.

Someone you knew would back you up.

It's funny, isn't it,

how scared you can be

when you think you're all alone in a strange country without...

Johnny!

Oh, Johnny.

I ought to punch you right in the nose for running out on me.

But I feel just as proud of you as if I did it myself.

You had that audience out there right in your pocket.

- Were you out front? - Sure.

I cabled for tickets from Paris.

You didn't think I'd be within 1,000 miles of you on your opening night

and not be here, did you?

I thought you were 1,000 miles away. I read you were in Italy.

Sure, I saw the works from soup to Switzerland.

And what those babies don't know about show business over there

-would fill Carnegie Hall. - Show business.

That's still your first love, isn't it?

Oh, I didn't mean that, Johnny.

I know. Bernice is in Paris.

Dressmakers and all that stuff.

She's sailing tomorrow and I'm boarding the boat at Southampton.

- It's about time I was getting home. - Yes, of course.

I guess you're itching to get back.

And how are Dan and Beulah and The Grizzly?

Fine. Dan's running the place.

I don't expect I'll be seeing much of it from now on.

- Did you buy The Majestic? - No.

It wouldn't have been any fun without you there.

I'm going high-hat in a big way.

I'm taking over the opera house.

Oh, that's wonderful.

Sure, I went into that opera stuff while I was in Italy,

and take La Scala, for instance.

It's only a high-class concert hall.

The only difference is you play to the carriage trade

and the people in the audience don't know what the performers are yelling about,

but I think I can show them back home how it should be done.

Well, if you say you can, Johnny, I know you will.

Gee, Trudy, it's like old times having you give me a pat on the back

and telling me to go after things.

That's someone else's privilege now.

Oh, she's all for it--

keep opera in the Croft family and all that stuff.

Funny, isn't it?

I wonder where we'd all be now

if we had been satisfied just plugging along

on that old act we tried out at Sharkey's that night.

I wonder.

Well, we can all take a bow.

We were tops and we proved it.

We've got everything we started out for.

I guess you got everything you started out for.

(knock on door)

We're from the newspaper.

- London Times. - Telegraph.

- Just a moment, gentlemen. - Thank you, miss.

Well, I'd better go now.

Keep in touch with me, Trudy.

I might want you for a big show myself sometime.

You bet I will, Johnny.

- Goodbye. - Goodbye.

Would you grant us an interview, Miss Evans?

It was an extraordinary performance.

[Johnny] "Tosca"-- $1,750.

"Il Trovatore"-- $1,600.

"Aida"-- less than $1,500.

Why, there were more people on the stage than there were in the audience.

This free list looks like the entire social register.

Is there a law against paying people money to hear opera?

Mrs. Cornell's friends.

But when you sponsor opera, you don't expect to make money.

Who doesn't? A sponsor's an angel,

an angel is a sucker and a sucker is a sap.

And if business doesn't pick up at the end of the week,

-put out the closing sign. - But, Mr. Cornell--

And cut out the free list!

I've been trying to tell you for over a month

that the place is on the skids.

But no, no, you were too busy with that spaghetti carnival at the opera house.

I'm trying to get that out of the red too.

Well, it don't pay off, brother. You understand?

What do you do? You go and sell the Rollerdrome,

then you sell Dance Land, and now the Silver Palms.

And why? To supply them imported canaries with birdseed.

Yeah, and if you don't mind a suggestion, Mr. Cornell,

you better do something about pulling The Grizzly Bear out too.

The sheriff's gonna be breathing right down the back of your neck.

She ain't kidding either, brother.

We haven't even got a half a stock down in that bar.

All our old customers have to go some place else

because we can't supply their favorite brands.

Sure, and all the good chorus girls have quit for jobs.

The ones we got left look like something that came across

with the covered wagons-- pullin' 'em.

Listen, you still got a chance to get out though.

Well, if you'd bring Trudy back.

That's a swell suggestion.

I should take Trudy out of a hit show in London

and bring her back to work for me on the Barbary Coast.

Johnny, she wouldn't think about that.

She'd be on the next boat if you'd send her an SOS.

Forget it. I got myself on the skids, I'll get myself off of it.

I'll get another singer.

I made a star attraction out of Trudy, I can do the same with another girl.

Well, all right, if you don't know who your friends are.

But you're playing the chump, fella,

and you have been ever since the night you fell for that society stuff.

I'll say you have.

As long as you stuck to Pacific Street, nobody could outsmart you.

And you'd still be smart if you'd--

If I'd what?

I'll tell you.

If you'd shake that dame there before she breaks you

and come back here at The Grizzly Bear.

What do you mean shake that dame? Who are you talking about?

I told you it wouldn't do any good, Dan.

When a guy's being made a monkey of and likes it,

he don't wanna hear the truth. Come on.

Maybe you're right. And since we're being so frank,

I've got something I want to tell you two.

There you are. I knew you'd see we were just thinking about you.

- What is it? - You're fired!

Both of you. And I'm selling The Grizzly Bear.

(men shouting)

There must be some misunderstanding.

But it is already announced in the paper.

Closed. Finished.

Ay, jiminy. What about my reputation?

He's treating us like common actors. We are artists!

But I'm sure Mr. Cornell would have consulted me.

Impossible. Impossible.

Why, we haven't sing "Rigoletto"'

"Traviata"' "Nibelungen."

(men shouting)

Shh!

If you are not an American multimillionaire,

why did you want opera?

- You cheap-- - I'm telling you--

- Shut up! - You needn't shout.

I'll shout all I want to.

You guys are pretty hard to convince.

If I weren't in my own home, I'd throw you all out.

Maybe you'd get it through your thick skulls that you're canned.

- Through! - John, please.

I know, and I'm sorry.

But there's no more money.

Even you can understand that.

You guys are just a bunch of second-rate hams.

I didn't know that when I first got into your game

because I was out of my own neighborhood.

Well, I learned. All right, I backed a turkey, a flop.

But I'm through. So get out!

He can't talk to me like that! I'm Zambini!

- Get out! -(men clamoring)

That was a pretty exhibition.

All you needed was the proper atmosphere--

-sawdust on the floor. - That's right.

If I'd had sense enough to stick by the Barbary Coast where I belong,

I'd be a lot better off.

I thought I could raise you above it.

- I thought my father's prestige-- - Your father.

I'm sick and tired of hearing about what your father did.

I'm fed up with his opera house and the art museum he gave the city

and the big blowouts he used to throw for the Crockers and the Floods.

He had a gold mine, I haven't.

But you've dug me for one ever since you married me.

Whatever made you think I married you for any other reason?

I never told you I loved you.

I needed money and you needed social position.

Well, I gave it to you.

I'll send the deed for the house over tomorrow.

That's all there is left.

(key jingles)

And for worlds, I wouldn't have missed knowing you.

(orchestral music playing)

All right, you can drive on.

(Beulah singing)

Driver, pull up.

(Dan singing)

(Beulah singing)

(Dan singing)

(Beulah singing)

(Beulah and Dan singing)

♪ The watermelon vine ♪

-(music stops) -(crowd applauding)

♪ Gee, but it's great To meet a friend ♪

♪ From your hometown ♪

♪ What difference Does it make if she ♪

♪ ls up or down? ♪

♪ When she takes you by the hand ♪

♪ There's a feeling You can understand ♪

♪ Oh, gee, but it's great To meet a friend ♪

♪ From your hometown ♪

♪ Now, friends Have you ever stopped to think ♪

♪ When you've been traveling Here and there ♪

♪ What a great, big lonesome world This seems to be? ♪

♪ And how hard it is to find a pal ♪

♪ Say, who's really on the square ♪

♪ But now my world has changed ♪

♪ As you can see ♪

♪ Gee, but it's great To meet a friend ♪

♪ From your hometown ♪

♪ What difference Does it make if she ♪

♪ ls up Or down-own-own, own-own ♪

♪ When she takes you by the hand ♪

♪ There's a feeling You can understand ♪

♪ Oh, gee But it's great to meet a friend ♪

♪ From your hometown ♪

-♪ Gee, but it's great to meet ♪ -♪ To meet a friend ♪

-♪ A friend from your hometown ♪ -♪ isn't it wonderful? ♪

-♪ What difference does it make ♪ -♪ if he is up ♪

-♪ if she is up ♪ -♪ Or down? ♪

(crowd applauding)

Oh!

(crowd laughing)

What makes you so clumsy?

Ooh!

Trudy! Oh, honey!

Dan, oh!

So glad to see you.

- Oh, Beulah! - Oh, you look wonderful!

Listen, sit down here and tell us all about it.

Gee, I never was so happy in all my life.

Get her.

Well... this is something, ain't it?

Here we all are back at Sharkey's again.

This is the last place I ever expected to find you.

- I don't blame you. - It's the only place we could get a job.

And Sharkey only hires us

'cause every time he gets cockeyed he enjoys throwing us out again.

Yeah, all the points on his side, but he hires us over because he figures

he can kick us out again whenever he feels like putting on another brannigan.

Well, he's bounced you out for the last time.

I'll take care of that.

Oh, thank you, honey.

Gee, we've been reading all about you. We think it's swell.

I'm so happy for you, Trudy.

Mr. Cornell certainly did you a favor

when he gave you the bounce for a ride on that Croft merry-go-round.

Yeah, and after she took him for the gold ring,

she even made him pay for the divorce.

Yeah, I heard about it.

He's down at the beach now spieling for a hula concession,

and you're sitting on top of the world.

Well, he still knows more about show business

than anyone in San Francisco.

Oh, you're right, honey. but you can't do anything for the guy

because he won't let anybody do anything for him.

He thinks that you're doing him a favor.

[Beulah] Come on, let's talk about you, Trudy.

[Dan] Gee, but you look pretty, honey.

Hurry, hurry, hurry, ladies and gentlemen.

Step right up and buy your ticket. The big show is about to commence.

Remember, gents, this is only the free exhibit on the outside.

Inside we have a show full of snappy dancing.

Hula girls straight from the coral strands of their south sea island home.

Remember it's the biggest show on the midway,

and it's about to commence immediately.

Don't stand too close there, brother. You'll bother the ladies.

See Princess Hilei Kelanei.

Her grass skirt's waving in the breeze like tropical palm trees.

Why, she alone is worth the price of admission,

Which is 10¢, the 10th part of a dollar, a $2 show for a dime.

All right, girls.

And now, ladies and gentlemen, after you've blown your eyes to this show,

if you don't admit it's the finest show on the midway

we will cheerfully refund your money.

- Johnny, my boy! - Sam?

Look, Johnny! Gold watches!

Here, see how far you can throw it.

Are you loco? Come over here.

Oh, Johnny, you're spoiling all the fun! There's plenty more where these come from.

Say, wait a minute. Did you hit it?

Did I hit it? Why, Johnny,

There's some folks calls me Sam The Millionaire.

Why, if Jay Gould was to come up to San Francisco,

he'd have to look me up if he wanted to buy a couple of gold mines.

If Vanderbilt was looking for a partner to buy a railroad--

Wait a minute. Was it on the grubstake I gave you?

Johnny, your grubstake had kittens.

Why, I got more gold than they got rice in China.

Yes, sir, it's a Comstock!

Why, there's nuggets there you can pick up in your bare feet with your toes.

Yes, sir. Now here's a little chicken feed.

And if you want some real money,

we can go down to Rolston's Bank with a wheelbarrow.

Just a moment. I got to let this sink in.

Take all the time you want, son.

Time and money's all we're gonna spend from now on.

No, there's something I got to take up where I left off.

Oh, if that's what you want, why, we can build our own house up on Nob Hill

with solid-gold fittings in the bathroom.

No, we won't. I was talking about the Barbary Coast.

Sam, meet me at the Palace Hotel in an hour.

This joint owes me 12 bucks, and I wanna get it.

- You're living at the Palace? - I will be by the time you get there.

(sighs)

(piano)

[woman] ♪ Hello, my baby, hello, my honey ♪

♪ Hello, my ragtime gal ♪

♪ Send me a kiss by wire ♪

♪ Baby, my heart's on fire ♪

♪ If you'll refuse me Honey, you'll lose me ♪

♪ Then you'll be left alone Oh, baby ♪

♪ Telephone and tell me I'm your own ♪

♪ Hello, hello, hello ♪

♪ Hello, my baby Hello, my honey ♪

♪ Hello, my ragtime gal ♪

♪ Send me a kiss by wire ♪

♪ Baby, my heart's on fire ♪

♪ If you refuse me Honey, you'll lose me ♪

What is this, a gag?

Now listen, Johnny, so help me.

I've dug up every singer in this town that ain't working.

And that's about the last one.

I'm sorry, miss, but you haven't got what it takes

to sell a song in a concert hall.

It wouldn't do either one of us any good. Thanks anyway.

Who do you expect? Jenny Lind?

(chuckles) I put in a call for two other gals.

They might show up.

Mr. Cornell, the foreman would like to see you.

I'll be right with him.

If they're not any better than the ones you've shown me, forget 'em.

Listen, if Johnny catches on, he's gonna hit the ceiling.

And you're gonna hit the floor.

- Will you let me handle this my way? - All right, go ahead.

But pretending you can't find any girl singers

and having that phony gold miner throw brass watches away,

well, it's my idea of playing with matches.

So that's your cue to do all the worrying.

Go on back up there and leave me alone!

All right, mallet head!

Mallet head?

Hello, Johnny, my boy!

- How's it going? - Looks like it's going pretty fast.

You opened the bar a little early, didn't you?

I thought it'd look better if the bottles weren't all full.

They're not gonna look so good empty either.

- What's the trouble, Joe? - About the cabinets, Mr. Cornell.

- How do you want these doors hung? - Let me see the layout.

Better put them on slides so they don't interfere with the bar fixture here.

Now, Johnny, that ain't nice.

I'm sober as a jaybird. Nothing interferes with me.

Just pass you out all the money you want. Them's my orders.

What are you talking about?

Where the gold's coming from, son.

But I know a place in the Sierras

where there's nuggets like fleas on a dog's back

just itching to be scratched.

And all for me and you, Johnny.

Well, you can have it. I told you I'm only using your money to get started.

- Then you'll get it back. - You don't have to pay me back, son.

It ain't my gold dust. It doesn't belong--

Sure, sure, what are you talking about paying him back?

You grubstaked him, didn't you?

Suck on that bottle and plug up your mouth.

Nobody gets anything out of me. I'm tight as an oyster.

Guy's blurry as a hoedown. He's talking through his hat.

Where were we, Joe?

Oh, by the way, Johnny, a new singer just came in.

- I'd like for you to hear her. - Sure, put her on.

Well, don't you want to see her?

All I have to do is listen to her, and I can do that from here.

Oh, but all this noise--

I said I can hear her. Put her on.

All right.

You better put a partition here so it'll support the shelves.

- Yes, sir. - Wait a minute.

There's something else I want to check while you're here.

(piano)

[Trudy] ♪ You'll never know just how much ♪

♪ I miss you ♪

♪ You'll never know just how much ♪

♪ I care ♪

♪ And if I tried I still couldn't hide ♪

♪ My love for you ♪

♪ You ought to know ♪

♪ For haven't I told you so ♪

♪ A million or more times? ♪

♪ You went away And my heart ♪

♪ Went with you ♪

♪ I speak your name ♪

♪ In my every prayer ♪

♪ If there is some other way ♪

♪ To prove that I love you ♪

♪ I swear I don't know how ♪

♪ You'll never know ♪

♪ If you don't ♪

♪ Know ♪

♪ Now ♪

♪ How I miss you ♪

♪ I speak your name ♪

♪ In my every prayer ♪

♪ If there is some other way ♪

♪ To prove that I love you ♪

♪ I swear ♪

♪ I don't know how ♪

♪ You'll never know ♪

♪ If you don't ♪

♪ Know ♪

♪ Now ♪

Say, that girl's got a voice that really gets you.

Yeah. She's all right.

You better put some extra men on these doors.

- We haven't got much time. - Yes, sir.

Well, Johnny, what do you say? Can you use her?

- Hello, Johnny. - Hello.

Boy, are you lucky. Not a gal to be found in this town

that can sing without tripping over her tonsils,

and in walks Trudy looking for a job.

It's quite a coincidence, isn't it?

Yeah, you can have her for $200 a week.

It's a pretty big drop from $2,000.

I'm afraid she's a little out of my class.

No, I'm not. I'm laying off for the summer anyway

and I wouldn't mind taking a cut.

I'm sorry, Trudy, but I couldn't ask you to.

Oh, what are you talking about, Johnny?

The Grizzly Bear wouldn't be the same without Trudy with us.

- We'll get along. - Oh, John, you--

Johnny, I know you can get along without me,

but... I don't want you to.

I want to help.

Why, you and Dan and Beulah mean more to me than anything in the--

Sorry, Trudy, but it still goes. I can't use you.

I couldn't let you come back and work for beer and pretzels

when it's all I had to offer you.

I'm on my own now. I don't need anything from anybody.

What are you gonna do with a guy like that?

He'd give his right eye to get your back, but he won't give in to himself.

Stubborn.

(orchestra plays)

♪ Strike up the band Here comes a sailor ♪

♪ Cash in his hand Just off a whaler ♪

♪ Stand in the row Don't let him go ♪

♪ Jack's a cinch But every inch a sailor ♪

♪ Oh, I've got a gal in every port ♪

♪ I've got a gal In every port ♪

♪ All the other sailors Call me sport ♪

♪ 'Cause I've got a gal In every port ♪

♪ Now, didn't we meet in Panama? ♪

♪ Or was it Baltimore? ♪

♪ It was destiny Remember me? ♪

♪ Hey, I never saw That face before ♪

♪ Oh, I've got a gal in every port ♪

♪ Da di da di da ♪

♪ Now didn't we meet in Zanzibar? ♪

♪ Or was it in Calcutta? ♪

♪ My sweet patoota ♪

♪ You look so cute-a ♪

♪ And you are off your nutter ♪

♪ Oh, I've got a gal in every port ♪

(whistles)

(wolf-whistles)

♪ Didn't we meet in old Brazil? ♪

♪ Or Pottstown, Pennsylvania? ♪

♪ Baby, you were shy And so was I ♪

♪ Get outta here, mutt Or I'll brain ya ♪

♪ Oh, I've got a gal in every--♪

(whistles)

♪ Didn't we meet in Saskatoon? ♪

♪ Or S-S-S-Schenectady? ♪

-♪ I remember your shape ♪ -♪ You should, you ape ♪

♪ You big baboon, you married me ♪

♪ Oh, I've got a gal in--♪

-♪ Married you? ♪ -♪ Mm-hmm, you married me ♪

-♪ I married you? ♪ -♪ Your family ♪

(women whistling)

Uh-oh.

♪ He's got a gal in every port ♪

♪ Ha ha ha ha ha ♪

(bell rings)

(bell rings)

(crowd laughing)

♪ Jack's a cinch But every inch ♪

♪ A sail--♪

♪ Ah, whoo ♪

[both] ♪ Lor ♪

Great show, Johnny. Best on the coast.

- Thank you, Frank. - Congratulations. You sure put it over.

You certainly do know how to put on a show, Johnny.

Bringing back the goods like old times again.

- Congratulations. - Good work.

- Johnny! - Thank you, fellas.

Come on and have a drink with your old card Sam.

You've had about enough, haven't you?

Me? Why, Johnny, I can drink prussic acid out of me own boot.

Wouldn't have no more effect on me than bird meal.

What are you gonna have, Johnny?

- Seltzer, please. - Straight bourbon.

Johnny, you're looking at the man who's got

the greatest gold strike in the Sierras all lined up.

You cracked about that once before.

You have all you need now, haven't you?

Johnny, that's nothing.

All the ones you and me didn't get ain't nothing,

because this time we can't miss.

Why, I'll get you back every little grubstake you've ever give me,

-and all I need is-- - What are you getting at?

Gold, son!

This time we'll hit it!

Where'd you get all that money you've been giving me?

Come on, answer me! Where did you get it?

Where'd you get it?

Oh, now, don't get mad, son.

What's the difference if that little gal of yours staked you?

Why, we'll pay her back.

We'll get nuggets by the buckets.

So it was Trudy. Why didn't you tell me?

Come on, Johnny, don't take it so--

Get out!

(crowd laughing)

Give me a chord there, professor.

(fanfare)

Thank you. Thank you. Thank you, ladies and gentlemen.

I just wanna tell you how wonderful it is to be back at The Grizzly

and how swell it is to have you back here with us.

But there was someone missing in the show tonight--

the little lady that used to give you her heart with every song.

Well, she's right in the audience now, and if you'll let her know that you want her,

she'll be up here just like she used to be.

I refer to San Francisco's own, the one and only, Trudy Evans!

And now, folks, there's someone else we can't forget on this re-opening night.

The one who gave you The Grizzly Bear,

the one who when he gets up here will bring us all back together again,

the impresario of The Barbary Coast-- Johnny Cornell.

Hit it! Curtain!

(orchestra playing)

♪ Hello, Frisco, hello ♪

♪ Hello, Frisco, hello ♪

♪ Don't keep me waiting ♪

♪ It's aggravating ♪

♪ Why can't you hurry, Central? You're so slow ♪

♪ I can hear you now I can hear you now ♪

♪ Hello, now can you hear me? ♪

♪ Dearie, I bought the ring And I've arranged for everything ♪

♪ You know I love you, dear ♪

♪ We'll be together soon And then we'll have a honeymoon ♪

♪ Your voice is like music to my ear ♪

♪ When I close my eyes You seem so near ♪

♪ Frisco, I called you up to say ♪

♪ Hello ♪

♪ For you'll never know ♪

♪ Just how much I miss you ♪

♪ I speak your name ♪

♪ In my every prayer ♪

♪ If there is some other way ♪

♪ To prove that I love you ♪

-♪ I swear ♪ -♪ I swear I don't know how ♪

♪ You'll never know ♪

♪ If you don't ♪

♪ Know ♪

♪ Now ♪