All language subtitles for Sweet.Adeline.1934

Three...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak...we speak...

...we speak...we speak...we
speak...we speak... ...we speak... ... Hey!

Can this small ends?

Shelly will be liberty beams.

On insulaties will be McKinley Hay.

Good work, Oscar.

Now, how about some of the beams McKinley
Hay?

New, bachelor, liberty beams.

They tell me Roosevelt is ready to charge
San Juan Hill.

Never make it.

And Dewey is going to try to catch him in
L.A.

You'll never do it.

What time you expect these, sir?

What does his name compose at?

Said Barnard.

He'd do about 10-30.

What time is it, Robert?

Oh.

I have 11 o'clock.

That makes it just 10-30.

Well, it's very simple.

My watch is a half-hour fast.

It's always been a half-hour fast.

It was a half-hour fast today,
important.

I've never changed it.

I'm not a fellow likes to tinker with
anything.

Don't you have trouble telling time by it?

Oh, I'm used to it.

You see?

I've just adopted a half-off in the total,
and there you have it.

Except, of course, at the time-stuttering.

Ooh, ooh, ooh, ooh, ooh, ooh, ooh,
ooh, ooh, ooh, ooh, ooh, ooh, ooh,

ooh, ooh, ooh, ooh, ooh,
ooh, ooh, ooh, ooh, ooh,

ooh, ooh, ooh, Will's be
called to play the little of.

Great story.

Yes, thank you.

How today is... that's what's his name,
composer.

Hey, Sir.

Get something on his mind!

Yeah, probably my lyrics.

My friend.

What's the matter, sir?

Why haven't you been playing my song?

Well, we played your number six times,
Rahersnite.

We've got to give the other boys a chance.

I've got a new in I want you to try out.

Floyd.

There's a rushing hospital in.

I love you.

Oh, that's sweet.

Play it for me, sir.

Stop!

Stop!

Stop!

You stop!

Stop!

You look for it!

When I don't want you to come down here
again.

What's the matter, Mr. Schmidt?

You son, plugger, you.

What's happened?

You took my daughter Adline out once and I
want you.

You took her again out and I want you
twice.

Well, now last night, but we came in
early.

After nine o'clock, you called that early?

My Adline is a good girl.

Now ask of you, reasonable.

Oscar?

Oscar?

People think maybe we went to school
together.

Here, take your music and get out of here.

Go ahead, play something.

Not his.

Hey, Barnard, sir.

You know my new importation, Alicia.

Did you do anything about my lyrics?

Which one?

What I called as a brave heartading when
you burn the candle at both ends.

I'm working on it.

Get that scowl off your face.

I got some good notes for you.

Such a squat.

If you lost interest in your operator,
you heard it six months ago.

You didn't like it then.

Well, these things take time.

I like it now.

I like your music.

The book needs tightening, but we can get
somebody to help you with that.

You can count on me.

You mean you're going to do it?

Yes.

I'm mad about it.

And Rupert is going to back me in it.

Aren't you?

Yeah.

You can't take your money to the grave.

I'll just say it.

We're going to start for her so Monday
morning with a few of the principles.

Alicia, we'll be star.

How does that sound?

I was just going out to a list.

Oh, you can at least start with the show
opens.

If you still want to... I'll be right
back.

Where's that high?

and a light.

Nearly put that paper away.

Why?

Was it pop ever so I'd not go on put it
away.

Oh,

look, it's made today.

Dewey is in Manila.

The Spanish fleet is bottled up.

Wood and Roosevelt and Cuba.

Ready to drive.

the Spanish tyrant from an enslaved
island.

Are you men with us?

Yeah!

Uncle Sam needs men like you and you and
you.

Find strong, healthy, 100% Americans.

Oh, he is handsome.

Oh, that's right, pretend you don't care.

I suppose you rather go spot him and sit
on it.

A song from there.

Here's not.

He writes beautiful music.

Not much the idea.

Businesses go downstairs so my daughters
stay upstairs.

What would else come in down, Pa?

Maybe your father's spear garden ain't
good enough for you anymore.

She wants to be offensive for me.

She wants to be an actress.

Like this.

What is this?

A beer garden or a barber shop.

I told you 100 times on her there.

I don't want such a paper in my house.

I brought it in, Pa.

You.

You're too sensitive.

But she wants to be an actress.

She never will be as long as I live to see
the day.

What you, with that loafer coming in after
9 o'clock.

That's a nice example to set your sister
in any unit.

Why do you still there?

Pa, what about Sid?

Never mind Sid.

He won't bother us no more.

My outline is too good for him.

Here comes Major Day.

Oh, come, kick.

Put it up down.

The names are all response by outline
DeVina.

Good evening Major Day.

See, I said, I saved your table for you
and I can recommend the picture.

I'm lying to you.

I can't read.

Oh, thank you very much.

I don't care about Pa.

I won't talk to you.

I can't.

Oh, I always wanted to read an actress.

I think you're gorgeous.

Won't you write my album?

Oh, Mr. Rockingham.

I followed your career in Sunday papers
too.

I know.

You come from one of the oldest Dutch
families in New York.

Your great-great-grandfather was Eric
Rockingham.

You made a fortune just before the Civil
War selling slave short.

You got a brother too.

Is he like you?

Well, that is a great big handsome fellow.

And I'm quite as magnetic as I,
of course.

He hears a great personality too.

Oh, you're the one I'm interested in.

The paper said that you
went to Europe to propose

to Sarah Bernhardt and
she turned you down.

Is that true?

Well, no.

You see, I find out there was another man.

And I asked her if she preferred him to
me.

And she said yes.

Sure, I do.

That's well.

You look lovely tonight, Adeline.

Thank you, Major.

What's your thing for us?

Of course, anything you like.

Here am I.

That's my favorite song.

It's my favorite song too.

Wait till you hear a sing.

It's great, Adeline.

It's a beautiful song, Sin.

It comes in the second day.

It's a beautiful swing number.

You're swinging high above the heads of
the audience and the people on the stage.

We're just sound exciting.

Where do you do it?

What's the matter with Elisa?

Oh, she can't do it.

She's not a singer.

She's a clothes horse.

My songs are different, Adeline.

They're written for you.

That's sob.

Well, that's my name.

No one else understands.

Oh, you'll be famous overnight.

We'll both be famous.

Let's not go into that again.

You know I can't do it.

That's all.

You're afraid.

Maybe.

A little.

A New York audience might not like me the
way you do it.

And then there's pop.

They were killing... painted woman,
the stage actress.

It must be after nine.

We'd better go.

All right.

If I had a line you'd want to be stuck in
the whole book and all your life.

Of course I do.

Then why don't you come with me?

I'll work with you every day.

Every moment.

I'll make you the greatest thing in New
York.

You'll make me the greatest thing in New
York.

If I don't, my songs will.

They were written for you.

It's all very flattering, sir,
but it's no use.

Then you're happy here.

I'll be a garden singer.

Well, I'm not ashamed of it.

Well, I am.

I'm ashamed to see you throwing away your
talent on a bunch of beard rocks.

You're just boiling for a fight.

No, I'm not.

You're just being stubborn, that's all.

I'm not stubborn.

I won't leave power.

But you're wrong with that.

You'll have to leave him sometime.

You'll have to leave him to become Mrs.
Major Day.

Well, you don't have to look at me like
that.

You can see the wedding bells in your
father's eyes every time the Major comes in.

And Nellie, too, yes, even Nellie,
I saw her reading a society columns.

Well, I ought to slap your face for that.

Yes, I ought to slap yours.

Let's stop soon, shall we?

I wish it would.

Isn't it a shame we couldn't bring Nellie
with it?

Do a good, she's out all the time.

Boy, it's all this boy.

Well, she's so young.

No, no, no, but I want my girls to be
ladies.

My headlight.

I'm doing Nellie good to stay home for a
while alone.

Wonderful, wonderful.

It's a little bit crooked.

Good, couldn't it?

No, it isn't.

Back the leaning tower of partner.

Oh, sorry.

I guess it must be the beer.

I think we could stand a little salt.

I think we could.

Yeah, you know, I'm a father.

It's very fun to salt.

Very fun to salt.

But I'm playing food, but plenty of salt.

Most people think I use too much salt.

I like a little salt myself.

You do?

Not too much.

Just right.

I just taste the food and see how much
salt there is on it.

There's enough for me.

I never add any more.

But there isn't.

I just add a bit of salt.

How much fun?

How do you feel about pepper?

Oh, I like lots of pepper.

You do?

Oh, I don't care for pepper.

Plenty of salt.

In fact, I think I could get along with
our pepper entirely.

You know, isn't wonderful.

The two people could sit in a room like
this and just talk.

You like to talk.

Well, I think it's a pretty good thing.

You know, I used to sit at home and just
think.

Until one day a friend told me about
talking.

And I looked into it.

I wish you could see the look of surprise.

I could move my friend's faces when they
first heard me talking.

Oh, Rocky, you're delicious.

Yeah, you're quite a fancy gal yourself.

And how do you feel about kissing?

Kissing?

Well, I think it brings people closer
together.

It's what our bills for a better
understanding.

I think we could find a spot for it.

Oh, there you are.

Well, I thought I'd find you here.

Where have you been?

We haven't seen you at rehearsals.

Well, business, government business.

Whoa, whoa, you know.

A leash has been asking for you.

I have been rather delightful of late.

Will you do me a favor?

Will you mail this to a leash for me?

Thank you.

There's nothing on it.

Oh, that's all right.

We're not speaking.

Goodbye.

Where's that line?

Oh, you quarrel, isn't you?

I know all about it.

Where is she?

She went on a pit that was parked in the
major.

And they left me here all alone.

Where'd they go?

I don't know.

I said I hate me.

Why do I want anything
I dare not find me?

Yes, sir, Mr. Rockingham, you're in the
right atmosphere.

The theater was a dark dammer.

You were born to be an infrasarial.

Yes, I thought so.

I had this production of young sedge
that's going to make history.

Yes, sir, make history.

Just look at this production.

The scenery alone for at the price of
admission.

Very fine plan to have you.

And not only that.

Everybody hurting together.

Perfect tournament.

I'm true.

It won't do.

It never was right and isn't right.

Damn.

Damn.

Damn, Huzzy.

Look back.

Take it easy.

Look back, look back, look back.

I cannot stand it.

I will not go on.

No, no, no, no, no, no, no.

Don't make me nervous.

I won't let her do it.

My music and my lyrics are written for a
girl with a sob and a voice.

A sob and her voice, blah.

We want somebody to farm in the theater.

At least she will do that, maybe.

But she can't keep me in.

I'm true.

I'll have you summon in mine to take her
place.

And if so, if you've got somebody to put
up the money for, now don't be a fool.

Try it again for my sake.

Everything I've got staked on is true.

If it's a bust.

I'm sorry, I lost my temple, Alicia.

Let's try it again.

We'll pick it up on where you say to Mardi
Gras.

So this sir is what you mean.

Here, you, you'll be Mardi Gras.

Me?

Mardi Gras.

Yes, just stand there.

Don't do a thing.

Just read these two lines.

Understand?

Oh, sure.

Stand over there.

Back, back.

On your life, stand back.

Oh, yeah.

And with a penalty, I love you.

And you approve your log by an act of
violence?

No.

You are wrong.

I would only persuade you to be my wife.

You, me, Lyman Treadwell.

I am very poor shocker.

My present life is a struggle for a scanty
existence.

My future is a life of time.

But rather than a thousand times than a
life of horror with you.

Why

won't I leave me?

What do I get?

Do I leave me?

Why do I want a thing?

It's no use, it's no use.

It's a sin.

A sin.

Adeline.

Something else happens.

Melie ran away.

She's somewhere in New York.

She just walked out of the house and
didn't say anything to anyone.

We thought you might help us.

You hear me?

Here's the girl who should play the lead.

I wrote the music for her.

I heard her sing at the Bear Garden.

I want to sing one of my songs for them.

You know, the one where you face the
world, friendless.

Your sweetheart's left you.

But said, I'm worried about Nellie.

She's here.

Well, she's alright, honey.

Perfectly safe.

Oh, take me to her.

I want to see her.

If I promise to take you to Nellie,
will you do something for me?

Sing this song for Mr. Hersey.

And I'll take you to Nellie.

You promise?

Of course, ma'am.

I'll play it for you.

Write down here.

I can't sing now.

I'm all choked up.

Fine, that's just what I want.

You see,

that's what we need.

A problem, the boys.

She's great, but who's on the backers?

Who ever heard of Adeline Schmidt?

Well, he'll play after the opening night.

That will be too late.

Well, just a moment, my good fellow.

If it's a question of money.

And it is.

You'd like me to say the line to sing in
your show.

I certainly would.

Wait a minute.

In that case, I should be delighted to
underwrite the show.

My good man.

Do you know what you're doing?

If you'll consent to play, I'll consent to
pay for the show.

Now, I'll take me to Nellie, please.

Come on.

Well, now that you're going to be with us,
Miss Alicia and I have had a little chat.

Unless she's the star of the show,
I will withdraw my financial support.

We got a new backer.

You have?

Who?

Let me meet him.

Well, now I'll tell you, honey,
it's this way.

All right, girls, come on, places.

But, Alicia is concerned there is only one
way.

That is the delicious way.

Yes, yes, I know.

Let her have all the songs in the show.

You still got the great part.

All that smart chatter the critics rave
about.

A big garden singer to take my place.

She will never do it.

You understand?

Never, never, never, never.

Oh, yes, she will.

Van Huzzyk's newest operator, the love songs
now have been in rehearsal three weeks.

It's rumored along Broadway that Major Jim
Day is backing the show.

Since the handsome major is frequently
seen in the company of Miss Adeline

Schmidt, the newly discovered Primadana,
the rumors are probably correct.

Come in.

Oh, hello, Rulbert.

How can order with me?

What's the idea?

Read that.

Mr. Rupert Rockingham, New York City.

Dear sir, you will consider this letter
your official appointment as operator

number 666 in the intelligence department
of the Department of Justice.

Your patriotism and volunteering your
services is duly appreciated and you are

here by assigned to investigate and report
upon the activities upon a stellar

espionage known on the stage as a leisure.

Information has reached us at the set of
leashes engaged in attempted espionage.

The department awaits your detailed
reports, respectfully yours.

Is that on the level?

Certainly.

I want to serve my country.

By the shrubbery.

Ah, so no, no, no, me, you see?

I get it.

What a situation.

Here I am a secret service operator.

and the woman I love was a spy.

What drama?

What theater?

I'm in.

I've learned some more alone in my room.

May I come in and visit?

Yes, come in.

Oh, Sid, Adi said she
might not be home to a

quaint lake, so I'll have
to skip her rehearsal.

Here, well, I will return later.

Oh, don't go, Rulbert.

You didn't know it was me.

Is he rehearsing something?

Did she go out with a major?

Oh, sure.

She goes out with every Sunday.

He said, oh, watch it this morning.

It's Rulbert crazy.

Holy shit, Alicia.

Can you give me a word that Ryan's with
Alicia?

Oh, go away.

Oh, no, Alicia.

Alicia, I must have a word, preferably in
one syllable.

I don't think there is a rhyme.

There's several words like that,
you know, like, uh, orange.

No rhyme.

Orange, that's good.

That's good.

That's fine.

Orange, come on.

That's it.

Orange.

Well, things are coming through a pretty
pass with Adi line in the major.

So I hear... Are you going to sit there in
salt?

Well, what else am I supposed to do?

Why don't you take me out?

I don't make a jealous.

Great.

Now, you run along and play with Rulbert.

Just because Rulbert's infatuated with
Alicia doesn't bother me.

Sid, why don't you take her out?

Oh, Sid, listen to this.

How do you like this?

Uh-huh.

There.

Sweet little girl.

Sweet little girl.

My head's in a whirl.

So send me a curl.

You're the only girl for me.

Have an orange.

Oh, you know what I'm going to call it?

No, why?

Alicia.

Are you hungry, don't you see me?

I knew she'd come back.

Oh, Rulbert, you could think you ought to
be here.

Never take the place of a horse.

Yeah, your children, get away from that.

But if I don't touch anything,
you can.

I mean, I was afraid you wouldn't get back
in time.

Oh, I'm sorry, Sid.

I just came in a change.

I'm going to the ballgame with me today.

Then I'm dining with him tonight.

Look at her, be careful.

I ain't some color officer.

Go away.

I love your serve, dearie.

I thought you were going to spend the day
with me.

But I see you every day at the theater.

You just go and shout at me.

On Sundays, I want to have some fun.

I guess the major knows his way about.

He certainly does.

Delmonico's vectors can feel Saratoga.

I'm having the time of my life.

It must be fun doing those things with the
person you love.

Coming.

Oh.

What about us here?

Is that right?

Go by Rulbert.

He said.

He said.

We're all ready for the South Miss Palace.

You're going to spend the rest of the
night in our number?

No, waiting for you.

All right, boys.

Back to the opening of the policy.

That must be correct there.

All right, Sid, music.

Oh, it's okay.

Well, I was sitts for.

He told me I could kill
Nellie over in fatuation

by kissing until she
couldn't see straight.

I must have stopped too soon.

The rain was perfect.

You don't need that thing, your eyes are
all right.

Can you imagine?

What do you black patch over my eye when
it's perfectly all right?

That ball of the mine has no brains at
all.

Come on, let's get going.

I drink my gosh, I'm a sobriant.

Could never stop sighing for sweet molly
oil.

Every morning up like a spiral.

And I would like a narrow just leaving a
ball.

On to a house by the spring.

It was too hard when all I'm saying.

It's good morning to you.

The molly or don't know.

It's yourself that I'm asking to go.

There's a sun in the sky.

There'll be one in my eyes.

If you'll say that you'll come,
I'll leave your molly or don't know.

Are they supposed to be icecoons?

No.

But one of the shepherds.

See that step?

It's a very hard step to do.

It is.

And what do they do?

Leisure.

Where's the leisure?

Don't make yourself useful.

But get a lesion.

A lesion.

Yes.

Me.

What do you think?

Oh, well, I can't tell you through a
closed door.

Call me.

What do you want?

Well, I hadn't given it any thought.

Maybe you could suggest something.

A lesion?

You want on the stage?

That reminds me.

I was to tell you that you were one of
them on the stage.

Would you do me a favor?

You have to, but ask.

Funny Crossy Street to the little car
blurt in the corner.

The heel is loose.

Leave it with him.

Quite a coincidence.

We had a lot of trouble with loose heels
and our family.

The car blurt was now too do a vehicle.

I hate to see you waste money.

You know my uncle's a car blurt.

Please, Rupert, darling.

Take this at once across his teeth.

Oh, well, well, you put it that way.

Only I didn't want to see you waste your
money.

Because my uncle is a car boy.

Let's go someplace where we can talk this
over quiet.

We can do our talking here.

Well, for one thing, you might have
studied your lyrics.

Furthermore, you've got to feel it.

Give it hard.

Well, you ever in love with the man?

No.

Well, pretend that the man
you're in love with, madly

in love with, is turning
you down for love with.

Now, shall we try it again?

Wait a minute.

I don't remember.

Check your head.

Your head's just thing on your shoulders.

Thank you for that.

Oh, we look.

Hey!

Yes, Mr. Hertic?

Why, how did you get these two tramps?

They're not tramps.

They played six weeks and Tony pastors.

Well, they won't play no six weeks for me.

Well, what's wrong with them?

They only went $30 a week.

Yes, sir.

That's what's wrong with them.

I can get that jokes and kid to sing for
ten.

Can't we have some quiet?

You know, how do we be hurt?

We've got to have some quiet.

Quiet, everybody.

Tell that jokes and kid to stand by.

Right.

All right, said.

Come on, boys.

Get your photographs.

We'll try it again at all.

I'll remember.

None of the boys on the stage want to
dance with you.

Music.

Music.

Waiting to dance.

The lonely waste can turn their forearms
to hold.

The lonely waste aren't embraced.

Moms for a dance by someone.

Some mothers are put some.

Wouldn't we dance?

And wouldn't I be killed?

Simply blind.

Simply blind.

That's fine, Edeline.

I'm sorry, I... I shouted.

Quite all right, Mr. Barnet.

You will see a bird on my screen.

Thank you.

Thank you, Major.

Ring on my jokes and kid.

How are you fixed for heels?

Fine.

Mr. Leisha, how are you seeing zaprocks?

All right, Mr. Leave it out.

Fix it and send it over.

Yeah?

Thank you.

It's a new day to date.

Oh, yeah, sir.

He's going to get something like one of
these days.

Hey, was that for us?

Get, I picked up the house, Johnson.

You never get over there.

All right, children, that's all for
tonight.

Final dress rehearsal at 10 o'clock in the
morning.

I'll go home and get a good night's sleep,
but not all right.

Ladies and gentlemen,
you're all invited to a

champagne separate, but
now when it's happened.

Wait a minute, Major.

Just a minute.

Tomorrow rehearsal, Edward.

Aren't you got to get some sleep nonsense?

Is it the best thing in the world for a
little party?

No, no, you don't understand.

Well, don't take it so seriously.

And I tell the Major.

I don't think I'd better go.

Well, it's a crazy idea.

You need plenty of rest.

Turn on me.

I go home and study my lines if I were
you.

Of course I'll go, Major.

Don't worry about me, Mr. Hezek.

I'll be fine tomorrow.

I'll just go in and change my dress.

Oh, you've got a lot of influence with
that girl.

Major, I'll be your guest on one condition
that you'll allow me to be the host.

Not since, boy, I'm giving this party an
honor about a line.

Well, and I'll talk to you, because I want
to give a party an honor to unleash you.

Say, well, he's everybody.

I just came from the ferry.

I saw all these camps here in that road.

But is this a funeral?

Yes, a my show.

The Major's giving your daughter a so
-called party tonight.

Yes, British.

I'm on camp.

Oh, see, and where is everybody?

Where's Ernie?

Where's Rupert?

He's outside, I guess.

Waiting for a lesion.

He is.

Oh, dear.

Get my mind.

Just generally, or about any particular
thing.

I'm not going to be cautious anymore.

I love you.

I love you.

I love you.

So you got left?

I knew you were not going.

Oh.

Come in, see, sit down, have it me.

Just what you need.

Here, sit down, see.

Thanks.

Here's luck.

Thank you.

No.

Shall we try it again?

Not interested.

Just a little bit.

It was not so long ago.

That car was smarter, small.

And all their tires and fads have gone
like all sashay.

Third things must set too far.

Third things must set too far.

Third things must set too far.

Must quite the same as all the things that
I'd love to say today.

How was mother's born?

And all their styles and fads have gone
like all sashay.

Third things must set too far.

The things must set too far.

We're quite the same as all the things
that lovers say today.

Major days, party.

Major days, party.

Major days, party.

Major days, party.

Major, everything's been prepared with the
exception of your line.

Let's share pain flow like once.

That line, this is my favorite table.

Oh, it's beautiful.

Ladies and gentlemen, I want you to order
whatever you like.

The party is on me and the sky is the
limit.

It's my favorite!

I'm a little tired.

I'm a gentleman.

I'm a bit afraid.

I'm a little tired.

The limit for me is you.

Where I am, who is and school.

Oh, you're flat.

You're flat, I'm back and me.

Just a girl for me.

I'm glad of lying and champagne.

They make my world around you.

Thank you, Mady.

Shall we dance?

Yes, I love this voice.

I'll

see that your books are served
immediately.

Thank you.

This is a lesson for all of you.

You know, I don't trust Ed Burner.

It's disgraceful.

Look at him.

Look at him.

Yeah, that's right there.

Of course.

You are such a sweet boy.

But toast to the success
of the love song in

the bell of New York,
Miss Adeline Schmidt.

But I'm my best friend.

It's just toast to me today.

Thank you, Mady.

Thank you, Mady.

Do I have a full of yourself?

How dare you talk to me, Liza?

Your men, you're forgetting who you are.

Oh, wait a minute.

I'm not the other one, Mr. Blaine.

You think you can feed her like you feed
all your animals.

Get away.

You can't do anybody out.

You can't do this.

You can't do this.

You can't do this.

That's how it comes to me.

It hurts you.

Why are you hardly touching me?

I'll never speak to him again.

I think I've seen like that.

There you are.

Sweet of you to come, my dear.

Let me take your raft.

Well, you look lovely tonight,
Adeline.

Thank you.

You forgive me.

And welcome to the show.

Talking you here on chaperone could die
with an unattractive crusty old batter.

Do you know you don't mean a word of that?

Tonight's New York will acclaim you.

Tomorrow the world will be your stage.

Do you begrudge me this hour alone?

Of course not.

Are you hungry, my dear?

No.

I couldn't eat a thing.

I'm too nervous.

Do you really think they're like me?

Like you, they'll adore you.

How do you like the new place?

Beautiful.

At a time, I want to show you something
that you've never seen before.

What is it?

Edison's newest invention, my dear.

The photo grime.

Oh, no.

Yes, my dear.

What does it do?

It plays sweet music, my sweet.

But you'll hear that later.

Come and sit down.

Well, have you any improvements to
suggest?

No.

It's perfect.

I'll take it just as it is.

Good.

It's yours.

Oh, but Adeline, my sweet.

I'm serious.

You mean... I like your major, but I'm
not dreaming of getting married, yeah.

Married?

Nor am I, my dear.

Why, I haven't given marriage a serious
thought?

Not in years.

Surely, Adeline, you don't expect me to
believe you of that night, are you?

I don't expect you to believe anything.

Excellent.

You can move in tonight.

If you like, after your triumph,
my dear.

And I shall be taking myself back to my
musty old end.

But I felt certain you
let me borrow your

lovely little apartment
just for the occasion.

Just a moment.

Did you really think that I... I thought
only what all New York is thinking,

my dear, is complete stopping.

But in all New York is wrong.

How did you?

How dare you?

Oh, stop acting, Adeline.

I did take you out of a beer garden back a
show, or you spend a fortune on it.

And I'm sorry if you wasted all that time
and money.

Well, I haven't wasted them.

Don't be silly, Adeline.

There are thousands of girls who give
anything to me in your place.

Think a beautiful
apartment, ample spending

money, clothes, all
New York at your feet.

Please go, please.

After the show tonight, Adeline.

There won't be any after.

I won't go on.

Oh, yes, you will.

And anyway, don't be foolish.

Think it over.

I have thought it over.

Well, this is a fine time to be coming in
on your opening night.

It isn't my own thing.

I did it.

Oh, works.

Now he's... I just come down to tell you
that I'm out of the show.

I'm going to get my thing.

What do you mean?

Major Dave will supply you with the
details.

You better get a lease, you ready.

I'm sorry, Mr. Herrsy.

Hey.

Well, this is a fine situation.

In my five years of Dean
of the American Theatre,

nothing like this ever
happened to me before.

What is it?

You won't bring me a beer garden,
see how you've ruined my show.

What are you talking about?

Go to major Dave for the details she said.

Well, you'll tell me what's happening.

That line, she's in her dressing room.

She won't go on.

It's your fault.

The fight, last night.

She won't.

Herrsy tells me you're not going on.

No.

What's happened?

Nothing.

Did Major Dave's butler bowlow enough for
you?

I was that too much rum in the sauce.

Have you anything else, does it?

No.

That line.

I admit I made a fool of myself in the
gowns, Tavan.

And I'm sorry.

And if I'm embarrassed you, I made you
feel uncomfortable.

I'm doubly sorry.

But this is no way to take it out on me.

I don't want to talk about it.

All right.

Then you're going on with the show.

No.

I'm not going to beg.

I'm not going to plead with you.

I'm not going to call on my
hands and knees and say,

please, Miss Adline Schmidt,
will you save my show?

I'll let it rock this.

Will you get out of here?

No.

What makes you think I'm going to stand by
while you walk out on me?

And let's incorporate understudy ruin my
work.

Well, Adline has shown me a lot to both of
us once.

If you don't care anything about yourself,
do you want to be selfish and childish?

All right.

But think of me.

I spent years waiting for this chance.

It means everything in the world to me.

It's about me.

Have you ever thought what it might mean
to me?

It means you, by what can it mean?

Except more fame, more glory, more
champagne.

And more major days.

Yes, more major days.

That's right, more major days.

Bring them on, more major days.

One at a time.

I'll go on.

I'll do your show for you.

But don't you ever come near me again?

Never, never, never.

Come on, Laysia.

Yes.

Here and out, though.

I can't.

I can't do it.

So, you would have me.

You would love me.

You would die for me.

But would you serve me?

No.

Or then get out.

How do it myself?

Why should you hurt her?

She's on your own.

She's playing the part that should be
mine.

Her name is an electric light.

It should be mine.

Make it out.

Out, out, out.

I will fix her.

Oh!

Hello, Perd.

Are you not ashamed of yourself?

But it's my duty.

Your duty.

Oh, it's awful.

Just to think of it.

The woman I love is a spy.

It's my painful duty to place you under
arrest.

How can you arrest me?

Because I'm an operator in the Department
of Justice.

Would you close back on and come with me?

You cannot take me now.

Not before the show.

Why not?

I have nothing else to do.

But you cannot.

You would ruin the show.

And the show must go on.

Why?

I do not know.

It is a tradition.

Everybody say that.

The show must go on.

Oh, I see.

The show must go on.

The show must go on.

Is it you beloved?

No.

I adore you.

And I've learned a bit of truth.

I'm more of a man than I am a patriot.

I cannot arrest you.

I love you too much.

I love you.

Oh, hello, Nellie.

I thought you were Alicia.

You were grand out of line.

Hey, hey.

Hey, hey.

For so young a time was a evening in May.

If was a thing of either spring and movie,

or spring and the
more I saw you.

The heavens are smiling.

I'd be beautiful flowers, the major seeds.

Have you heard from said?

At first we did.

He said flowers and notes and popped
through them all out.

That's what you wanted, wasn't it?

Yes, I suppose so.

At night you are

in all my dreams.

You're afraid to see you perfectly.

You're all in all the world.

It didn't work.

I told you she wouldn't like it.

That song has no appeal.

As a producer I can say, they won't sell
it.

It doesn't copy them.

Here.

We sing another course.

We might get some pretzels.

Let's do it.

What are you doing here?

Just trying out a song.

We don't want your songs and we don't want
you.

That's all for the night, guys.

We.

We had to line the need together.

We don't want you.

Then I guess I had a line as well again.

She's fine.

And she's going to marry a gentleman.

The major?

Yeah?

The major.

Now get out.

When you see I had a line.

Tell her I wish you're all in one.

I'm sorry, see you.

Lynch!

Take on your arm!

Oh, that's old stuff, man.

This is 1898.

You've got to give your audience something
new.

Listen, sirs, you're a nice boy.

You're right, nice music.

But you don't know your stage.

The clinch is older than you are.

It was old in 1860.

It's old in 1898.

It'll be old in 1935.

But your audience will still want to see
you do it.

Well, if you insist.

But I'll have to write some dialogue.

Dialog?

Listen, son, this is a love scene.

Boy and girl love each other.

You love her, but you don't know whether
she loves you.

She defies her father.

She comes in.

She sings a love song to you.

To you, you poor sap, not to me.

You say nothing.

You take her in your arms.

And the audience go out without a dry tear
in the house.

But you stand there like a cigar store
aimed in.

Why don't you kiss her?

What's the matter whether she poisoned
Ivy?

Well, don't blame me.

She holds back.

She won't give.

Well, if he doesn't take me to zone to the
zone, then what am I supposed to do?

I mean, it just as much as you do.

I don't care anything about your private
lives.

I want you to play this scene for me.

You can't do it.

Let's get together.

Come and dismiss.

Press the 10 o'clock at the morning shop.

10 o'clock at the morning.

I don't know how I bother about this sort
of thing.

Oh, hello.

It's all right, Pop.

We just rehearsing.

Well, I'll get your lines right.

Good night.

And I, Pop.

Good night, Pop.

Dude.

What?

I'll never leave me the cause if you do.

I have no idea.