All language subtitles for Haunted Corpses (1939)

Hello, Charlie.

So be it, Miss Lily Mars.
Have your old career. Go to New York City.

Go on the stage.
All I gotta say is good luck and goodbye.

-Good morning, Charlie.
-Good morning.

-Hello, Charlie.
-I forgot my hat.

-Got any more bubble gum?
-No.

Oh, Lily, Charlie's back!

Lily, Charlie's back already!

-Lily, Lily!
-Lily, Lily!

No, no, I don't wanna see her.
I just want my hat.

-Lily, here's Charlie! Lily!
-Lily!

Davey, have you seen my hat?

I don't collect hats. I collect doorknobs.

Ain't she a beauty?

Oh, Lily, Charlie's back!

I am not. I am not.

Oh, there it is.

Oh, excuse me.

-Hello, Charlie.
-Look, Mama.

Oh, you got it. It's lovely.
Davey, get me the top for this.

-Well, goodbye, Mrs. Mars.
-Goodbye, Charlie.

I'll be sorry not to see you again,
Mrs. Mars.

Oh, now, now, Charlie.

People shouldn't be mad at people.
Goodbye, Charlie.

Charles.

Hey, Charlie, wait for me.

Never again, you-- You actress.

Poor Charles.

He's so young.

So very young.

And it hurts me to hurt him...

...but what can I do?

-Mama.
-Oh, go on, dear.

I'm not laughing at you.
I like to see you act.

-Mother.
-Oh, now, I'm not mother. I'm Mama.

Here's the hat for Mrs. Thornway.

-Davey, where's the top to this?
-Here it is, Mama.

Lily, can I go
to Mrs. Thornway's house with you?

No, Davey, dear.
Her doorknobs might tempt you.

Oh, they already have.

-Lily, please take me.
-No.

Well, then could you sort of
maybe get one for me?

-Of course not.
-Oh, but they're such superdupers.

-All right.
-Here you are, dear.

I may not be back for some time...

...but when I come back, I have
a big surprise for you. That's for luck.

-Good luck.
-Thank you.

-Good luck.
-Thank you, bye.

Goodbye.

Good morning, Miss Lily.

Morning, Andrew.
I brought Mrs. Thornway's hat.

-I'll take it for you.
-Oh, well...

...I know how busy
she must be this morning...

-...but, Andrew, I simply must see her.
-Yeah?

-Yeah, come right in.
-All right.

-She's in the doctor's office.
-Oh, thank you.

Well, I'll tell John just as soon
as he gets here.

Come in, Lily.

Well, he should be here
in a few minutes if his plane's on time.

Yes, Mr. Vail.

Yes, Mr. Vail, I understand.

You and Miss Rekay are motoring here.

You'll arrive early this afternoon.

And you think it would be a good idea
to shoot Irene in the first act.

Yes, I'll tell John. Goodbye.

Mrs. Thornway, I brought your hat.
It isn't exactly what you ordered, but--

Just a minute, Lily.

And wants to shoot--

Oh, bother.

He wants to shoot some girl.

But what girl and in what act?

-Irene in the first act.
-Thank you.

Mrs. Thornway, when you ask your son
about a part for me...

...will you tell him
I'd rather not play Irene.

-You wouldn't?
-Not if she gets killed in the first act.

-Let's see the hat.
-Will you tell him?

If he says no, will you try
and make him give me a part...

...even a little one?

Maybe Irene?

Lily, the last time I was able to make
John Thornway do anything, he was 10.

He wanted to join the circus.

I persuaded him not to
by locking him in the cellar.

Well, if I could just meet him
and maybe act for him a little.

Lily, dear, he's going to be
frightfully busy.

He always is.

Here today to close an old show...

...gone tomorrow to open a new one.

That's John.

Never a minute for anything
but show business.

Well, I'm show business.

My dear, but--

My dear child. Oh, my dear child.

I know you'll love it after you get used to it.
The fashion magazine said it's the latest.

I know-- Oh, well,
I wouldn't cut the feather if I--

That's John. I know his slam.

-Mimi!
-Lily, dear.

Mimi!

-You better wait in here.
-All right.

Don't come out
until I have John nicely buttered up.

All right.

-John.
-Hello, Mimi.

-Welcome home, dear.
-Well, you--

-Do you like it?
-Well, it--

-Do you?
-Yes.

Well, then that's good enough for me.

Oh, Mimi, it's good to see you again.

I hope you had a nice restful trip, dear.

I did. I worked on the script of the new play
from New York to Indiana.

-Any telegrams for me?
-Five so far...

...but the day is young yet.
They're on the desk.

John?

Oh, John, it's beautiful.

-Oh, but, John, you--
-Yes, I know, I know. I shouldn't've done it.

I have a message for you
from Owen Vail.

Oh, he phoned?

Asked me to tell you that Isobel
is not coming by train with the company.

She's motoring here
from Chicago with him.

Oh, well, that's fine.

And Isobel is--
Well, Isobel is Isobel.

Now look, Mimi, I don't care
what Isobel does off the stage.

I love her as an actress.
I adore her as a leading lady.

I'll do anything I can
to keep her happy in the theatre.

But I definitely, flatly,
am not going to humor Miss Rekay...

...by becoming one of her husbands.

John, do you remember Henry Mars?

Used to come here often
to tune the piano.

-That's the man.
-Yeah.

John, he died several years ago.

-He did? I'm sorry to hear that.
-He left a wife and five children.

Nobody knows how they manage,
but they do.

Everybody in Midhaven worries
about the Marses, except the Marses.

The oldest child's name is Lily.

That's Lily.

She's such a remarkable child,
and so talented.

-She acts.
-Yes.

-Experience?
-Oh, loads of it.

-Peter Pan, Macbeth, the Follies.
-Oh, really?

Well, the Midhaven High School Follies.

John. John!

John!

Mimi, there's only one thing in the world
I will not do for you and that is it.

-I have seen my last amateur.
-But Lily's unusual.

Unusual. Oh, Mother.

There's a Lily Mars in every town
and all alike, full of hope and so hopeless.

I'll tell you what you do, Mother. Let her
down easy, but do it so she'll stay down.

She won't. She'll bounce right up again.
You don't know Lily.

-I don't and I'm not going to.
-It won't hurt to meet her.

You can't just meet them.
She'll start acting on me.

-Well, let her play a scene for you.
-Not a scene, not a line...

-...not a word, not a syllable!
-All right, but you'll be sorry.

-Lily, dear.
-It's all right.

You don't have to let me down easy.
I heard.

-I'm sorry.
-He is pigheaded, isn't he?

-Yes.
-Do you mind if I take the box?

-It's the only one we've got.
-Of course.

All right.

Lily. You know,
I'm getting used to the hat.

-It does rather grow on one, doesn't it?
-Oh, yes. I think it's beautiful. I love it.

-It looks lovely on you.
-Thank you.

-Well, goodbye.
-Goodbye.

She sees Stefan, she screams.

That's it. That's it.

Mother! Mother!

-Yes?
-Oh, where is that thing? Where is it?

Mother!

-Where is it? Where is it?
-Where is what?

The play! The play!
It's my only copy with the notes in it.

-It's gone!
-It can't be gone.

-It's gone. I've got to find it! I've got to.
-It won't do any good repeating yourself.

I didn't leave it on the plane.
I didn't leave it in the car.

I'll search the house.

Hello? Yes, this is John Thornway.

Oh, you found it. Where, whe--

In an ash can?

Want it? Of course I want it!

Will you bring it right--?

Will you--? Oh, you can't.

Yes, yes, sure I'll come, but wait a moment.
What's your address?

-Hey. Are you John Thornway?
-Yeah.

-The guy who produces all those shows?
-That's right.

How do you do?

-How do you do? I'm--
-I know who you are.

-Do you know who I am?
-No.

Oh, come right in, please.

I'm in rather a hurry.

Yes, if you'll just come
and sit down, please.

Oh, don't sit there.
Sit here, please.

Please.

Ladies and gentlemen

You've heard of Sarah Bernhardt

She really was a dilly

But Sarah Bernhardt couldn't compare
To the gal who's known as Lily

You've heard of Eleanor Duse

Her drama knocked them silly

But Duse was an amateur
Compared to a gal like Lily

On your mark

Get set

For here comes Lily

Yet, here's a spot.

Out, damned spot. Out, I say!

One...

...two...

Who would have thought
that the old man had so much blood in him?

Fie, Macbeth!

Fie!

A soldier, and afraid?

What, will these hands never be clean?

But no more of that, my Lord,
no more of that.

Oh, no, no, no.

All the perfumes in Arabia
will not sweeten this little hand.

Look not so pale, Macbeth.

Come, man, put on your nightgown
and come to bed.

To bed.

To bed!

There's a knocking at the gate.

Come, give me your hand.

What is done cannot be undone.

Come.

To bed. To bed. To bed!

How was I, Mr. Thornway?

-Awful.
-Well, what did I do wrong?

Everything.

And now, Miss Mars,
will you please give me back my play.

But I did it exactly as I was told.

You mean somebody told you
to do it that way?

Yes. Professor Eggleston, in school.

Miss Mars, I'm going to talk to you
for one minute...

...quietly but firmly.

I shouldn't, but you're a friend of my
mothers and you come from my town.

And your father
brought me into the world.

That is not one of the qualifications,
Miss Mars, for success on the stage.

I am going to give you
no encouragement whatsoever.

But what I want is a job.

Miss Mars, I give an actress a job
for only one reason...

...and that is that she is the best
I can get for the part.

Miss Mars, I have neither the wish,
the time, nor the patience...

...to teach anybody how to act.

Lady Macbeth is walking in her sleep.

She is talking to herself,
not to a boyfriend in the gallery.

She is a strong woman.

She has murdered a king
so she can become a queen.

But her conscience has crept into her
dreams and is gnawing at her mind.

Gnawing like a relentless rat.

Gnawing, gnawing.

And you play her as if she were
a high school girl with a bellyache.

It is not:

Come, man, put on your nightgown
and come to bed.

It's:

Come, man...

...put on your nightgown...

...and come to bed.

There's a knocking at the gate.

Come.

Give me your hand.

What's done cannot be undone."

Oh, bravo!

Bravo!

-Miss Mars, where's my play?
-You've been sitting on it.

That's yours too.

-Mr. Thornway?
-No!

It's not about me,
it's about my brother.

-Does he act too?
-No, he collects doorknobs.

-Doorknobs.
-Yeah, and that was a superduper.

Oh, well, thank you.

Lily, can I blow out the candle?

-He'll be sorry.
-You bet he will.

Thanks for the knob.

Lily, don't feel bad.

I don't feel bad.

I just feel mad. Hopping mad.

Children, children, children.
What's all the fuss about?

We're being hopping mad,
Mama, for Lily.

Well, go be hopping mad
in the dining room. Go on.

Well?

He didn't like me at all.

Perhaps he doesn't like Shakespeare. You
should've done something more lowbrow...

...like Ten Nights in a Bar Room,
or Why Girls Leave Home.

Or that sad scene
from The Secret Bride.

Yes.

No coy little laugh, she just goes.

Yeah? Yeah?

-Excuse me, Mr. John, there's a lady here.
-Shoot her.

I think she's an actress.

Go away, you pest!

What's the matter, Johnny? Let me in!

Isobel. Angel!

Angel. Pest. Pest. Angel.
Make up your mind, Johnny.

Well, it's angel.
I thought you were somebody else.

-A girl?
-No, no, no, a pest.

Well, yes, a girl, but a pest.

-She's been hounding me.
-Johnny, what have you done?

Nothing, not a thing.

And you? I mean, recently?

Nothing but think of you, Johnny.

The lonely weeks on the road, in Buffalo,
Cleveland, Detroit, Cincinnati, Chicago.

Pittsburgh?

Yes, Pittsburgh.

What was that big pig-iron man doing?
Helping you think of me?

Well, I had to have a little fun. Innocent.

It's all right.
You have all the fun you like.

Just don't miss
any more Saturday matinees.

In there you have no heart.
You have a box office. Goodbye.

-Now, now, where you going?
-Pittsburgh!

I don't have to work for you.

I can leave the stage and marry a man...

...with a million dollars worth of pig iron.

Then why don't you?

I don't like pig iron, Johnny.
I like you.

Oh, not bad, John, not bad.

But can't you put a little more oomph?
A little more crunch?

Oh, stop it, Owen.

Owen. Ow-- Owen-- Look...

...you can't shoot Irene
in the first act.

-Second act?
-No, no.

Now, you've written a swell play.
Let it alone.

-When do we go into rehearsal?
-Next week.

All right, now, off with you.

I'll see you back here tonight. Mimi's
tossing a high-class brawl for the troupe.

-Right now I got things to do.
-Oh, Johnny, I want to see your hometown.

And it wants to see you, darling,
tonight, at your best.

So it would be a swell idea if you went on
back to the hotel and took a nice long nap.

Come on, you too, Owen. Bye-bye.

-Goodbye, Johnny.
-Goodbye.

Now let's see.

-Irene enters down left--
-Listen to me. You must. You shall listen.

It's not for my sake,
but for the sake of this poor, innocent child.

Why should she pay for our folly? See?

She has your eyes and your smile
but not your name.

Papa! Papa! Papa!

Papa!

-Could be a racket, you know? It must be.
-Papa!

-That girl's lying.
-But that baby. She's the image of John.

-Papa!
-She does holler like him.

Please, I want nothing for myself,
nothing!

Please. I beg you on bended knee.
Please! Please!

Now, that's enough.
This won't do you one bit of good.

When I say no, I mean no!

-Papa! Papa!
-Shut up!

Papa! Papa! Pa--

Now, go on away, please,
and stop hounding me.

-But, Mr. Thornway--
-Go on, beat it, and take that grubby child.

If you'd just give me a fair chance--

Come here, come here.

Here are a couple of passes for the show.

Go down and see some acting
but for heaven sakes don't do any more.

-Oh, thank you, Mr. Thornway.
-Thank you, Mr. Thornway.

-Got any bubble gum?
-Oh, she just loves bubble gum.

Do you know what I'm gonna do
if I ever catch you anywhere near me again?

-No, Mr. Thornway.
-No, Mr. Thornway.

Now listen carefully, young lady.

-Yes, Mr. Thornway.
-Yes, Mr. Thornway.

I don't care where it is,
or how many other people are there.

I'm gonna take you across my knee
and spank the acting out of you.

Now go on. Beat it.

-Yes, Mr. Thornway.
-Yes, Mr. Thornway.

Go on, beat it!

Could it be the moon

Or the fiddler's tune
Played so dreamily?

Is it really love

Or the Gypsy in me?

Can you tell me why?

Tell me how can I
Solve this mystery?

Is it really love

Or the Gypsy in me?

Not so very long ago

A fortune teller told me

Someday he will come along

And in his arms

He'll hold me

Since we've been apart
I talked to my heart

Both of us agree

This is really love

Not the Gypsy in me

Strike your cymbal
Beat your drum

Hold back the dawn
And may tomorrow never come

Play Zigeuner, play till dawn

Play it faster till at last a rhapsody is born

I know how I fell
Underneath the spell of this melody

This is really love

Not the Gypsy

In

Me!

Supper is served. Supper is served.

Lily, let's go home.

Not yet.

Then let's go someplace
and have a hamburger.

Boost. Boost.

Come on, Charlie. Boost.

Boost!

You must try coming in through the door
sometime. It's so much simpler.

Yes, if you're invited.

You're Mr. Owen Vail, the man who
writes such wonderful plays, aren't you?

Well, I'm Lily Mars. And you can do
so much for me if you only will.

It's no good my talking to Mr. Thornway,
he won't listen to me.

He will to you
and if you spoke to him about--

Wait!

Why, it's-- It's the-- You're the girl that--

-What's the matter?
-Tell me this:

Has John Thornway
never done anything for you?

-No, never.
-Well, what reason does he give?

He doesn't like me.

He doesn't like--

You wait right here.

But, Mr. Vail.

-Mr. Vail.
-Stay there.

You will speak to Mr. Thornway?

Don't you think
it's time you called him John?

Has anyone seen Mr. Vail?

There you are, Mr. Vail,
I was looking for you.

Supper's served. Come on. Both of you.

There's only one of us.

I heard a girl's voice.

-No, that was me.
-You?

-Oh, yes. I often talk to myself.
-Soprano?

Sometimes.

Oh, it's me, Lily, Mrs. Thornway.

Why, Lily Mars.

-Come in, dear.
-Oh, no, I don't think I'd better.

Nonsense, we'd love to have you.

Oh, I don't think your son would.

-I guess he must have told you about--
-About that?

Don't let that worry you anymore.

Things like that don't upset John
for very long.

Come on. Come in, Mr. Vail.

Don't upset him?

-Now make yourself perfectly at home.
-Thank you.

-Good evening, Lily.
-Good evening, Lily.

-Excuse me.
-Good evening, Professor Eggleston.

-My dear, Lily. Delighted to see you.
-Thank you.

How are the children?

Three of the--
Three of them had the mumps...

...but they're fine for now, thank goodness.
Excuse me.

-Did he say children?
-Well, yes.

Wait right here.

Miss Rekay, I saw your show,
and your Gypsy number--

-Excuse me. Excuse me. Where's John?
-Where is John?

-That girl is here.
-Girl? What girl?

-What girl?
-You mean--? Did she bring--?

No. And it seems there's not just one.
There are:

-Three?
-At least. Maybe:

Four.

Well, can I play too?

-What is this, a new game?
-No. An old one.

John, you've simply got to do
something about that girl.

-What girl?
-What girl? Lily Mars.

Has she been working on you too?
Don't pay any attention to her.

-You did.
-Not a great deal.

-I simply told her what I tell all the others.
-Others?

Yes. There's at least one in every town.
But why are you interested in this one?

-I've seen this one.
-And the child.

-One of them.
-This afternoon.

Outside your window.

Well, you low-minded snoopers. Of all--
You ought to be ashamed of yourselves.

She's one of those stage-struck kids...

...that thinks all she has to do
to be an actress is make a wish.

I told her
if she ever bothered me again, I-- I--

Excuse me.

John.

Oh, John. Just a moment.
Will you autograph my program?

Yes, I'd be delighted.

-Such beautiful music.
-Marvelous.

-For you.
-Thank you.

-Thank you.
-Yes, thank you.

Thank you.

And hit the hit parade
It was growing pop

And it couldn't stop

Now it's number one

Thanks to Tom, the piper's son

Tom, Tom, the piper's son

He's stole a tune and away he run
And away run he

With that melody

Tom was hot, the tune was sweet
But he revamped it with a new offbeat

And the classic thing

Got a shot of swing

Mr. Brahms cried Ach

So did Mozart and Bach

And to hear them rave

Paganini tumbled over in his grave

And now that tune that no one played
Has stepped right up and hit the hit parade

It was growing pop

And it couldn't stop!

Now it's number one
Thanks to Tom, the piper's son

-Once more, please. By special request.
-It's all right with me. Keep singing.

Tom, Tom the piper's son

Stole a tune and away he run
And away run he

With that melody

Tom was hot, the tune was sweet
But he vamped it with a boogie beat

And the classic thing
Got a shot of swing

Beethoven turned gray

So did, did Debussy and Bizet

It was such a stew

Tschai-- Tschaikovsky said
I'm gonna sue

And now that tune that no one played

Has stepped right up
And hit the hit parade

It was growing pop

And it couldn't stop

Now it's number one
Thanks to Tom, the piper's son

I do hope Mr. Thornway
will do something for Lily.

-Oh, I think he will.
-Good. Good.

I guess you were kind of surprised
to see me pop up here tonight, weren't you?

I was. I shouldn't have been knowing
what a talent you have for popping up.

But I didn't see you come in.

I didn't exactly come in.
You see, I came over the wall.

And just where did you...?

Right over there.

That's right where you going to:

But when I was singing,
you looked so interested.

-I am not.
-So human.

I am not. Now, Miss Mars,
this way out. Please.

Mr. Thornway, please take me to New York
with you tomorrow.

I can do so much
for Mama and the kids.

You might start by washing
that grubby little sister.

Poppy is not grubby.
She was made-up for the part.

Miss Mars.

Very well. If you really want me to go.

I do, Miss Mars. I do very much.

All right, over I go.
But you're gonna have to boost me.

Come on, boost.

You're afraid of me.

-I'm what?
-You are.

Well, that's one thing
I didn't know till now.

There are a lot of things
you don't know about yourself.

One of them is why you're making me
go back over that wall.

Well, that is one thing I do know,
young lady, it's to teach you a lesson.

Just like a naughty little girl.

I know why you treat me as a child...

...it's because you're afraid
to think of me as a woman.

All right, boost.

One, two.

Goodbye.

I beg your pardon.

What's the matter, Lily?

-Nothing.
-Don't cry, Lily.

I hate him. I just hate him.

I hate him too.

Who does she hate?

Children. Children.

Now, now, now. It isn't as bad as all
that no matter how bad it is.

Why are you crying?

Because Lily is.

Lily, why are you crying?

Mr. Thornway wouldn't give me a job...

...and he sneered at me...

...and he told me to go home
and wash my grubby little sister.

Me?

And he made me climb
back over the wall.

Well, Lily, dear,
that's nothing for you to cry about.

Were you mean to him?

Did you sneer at him?

Did you call him grubby?

Did you make him climb a wall?

Well, then. Who should be ashamed?

-Him.
-Right. Who should be crying?

-Him.
-And if you shouldn't be crying...

...what should you be doing?

-Laughing.
-That's right.

Now then, off to bed all of you.
Come on, laugh yourselves to sleep. Scoot.

Mama, when I grow up can I be you?

I'll try and arrange it.

Now scoot.

Lily, you're something
that's very wonderful to be.

-What, Mama?
-Nineteen.

Nineteen and nowhere.

Some very successful people
didn't get their start until well past 20.

Right now it looks
like I'm gonna be well past everything...

...before I get my chance to do
what I've always dreamed of doing.

Being an actress, and a good one too.

I could give you and the kids
all the things you want.

I've got what I want.

What you want's in New York, isn't it?

And you're in Indiana.

Well, if you want to get what you want,
you've got to go where it is, don't you?

Well, then.

Davey? Davey!

Yes, Mama?

Get George and bring him here to me.

-I'm not gonna let--
-You will too.

-Let's have no fiddle-de-dee about this.
-But, Mama, I can't--

Here. I got it. I was sound asleep.

-Here's George, Mama.
-Thank you, Davey. Now run along.

-Good night.
-Good night, dear.

Now you're going to take this
and go to New York.

It's only $28.

-But I just can't--
-Who's Mama around here?

Good night, dear.

Davey?

Davey?

I want you to put this money in George,
but don't let Mama see you do it.

Can't you put the money in George?

I won't be here.

Oh, not now, dear.

You can do it tomorrow.

All right, girls. Places for the finale.

-Excuse me, but--
-Excuse me, but...

Where did you get that hat?

It's a copy. I made it myself.
Ninety-eight cents.

-Can I go in with you?
-Are you in the show?

No, not yet.
I just got to New York today, but--

Sorry, honey, but Thorny
has a strict rule against visitors.

Well, come on. Snap your shirttails.
What is this?

-What's cooking, Mike?
-Hi, Mike, what do you know?

-Hi, Mike. What do you know?
-Everybody but you.

Oh, well, it's perfectly all right.

You see, I know Mister--
I know Thorny.

Do you, now?

-His father brought me into the world.
-Did he, now?

Well, if you bother the son during rehearsal,
he'll do just the opposite for you.

-Well, thank you anyway.
-Young lady...

...if you wanna see Mr. Thornway,
why don't you send your name in to him?

Because I wanna see him.

Lady, that does not make sense.

It does to me.

You see, we had kind
of a misunderstanding.

He doesn't know I'm here.

So why don't you let me go right on in
and surprise him--?

I'm sorry, lady. You can't surprise
Mr. Thornway. Only by appointment.

Now, get off with you now.

Well.

-Here?
-That's right.

Darling, I want you to always wear
that hat to rehearsal.

-Everything goes well when you do.
-Certainly. It's my lucky hat.

Excuse me.
But could you tell me where Mr. Tho--

So you wiggled in, did you?
Wiggle out now, wiggle out now, or I'll--

-Mike!
-Miss Rekay.

I thought you were,
but you weren't, were you?

Excuse me, I apologize.
I beg your pardon.

I'm-- I'm sorry. I--

What's the matter with Mike?

I'm afraid he's been drinking.

Shouldn't do that.
That sets a bad example.

Come on, let's follow it.

All right, girls.
Come on, line up for the last number.

Owen, coming with us?

-Nope.
-For a drink?

Yeah!

Mister--?

Come on, this is a Russian number, girls.
Move. Move.

At the Club Tovaritch
There is romance in the air

Love is everywhere!

When you hear the balalaika
You had best beware

Everyone is there!

Say. Say! Wake up! Wake up!

What happened? Get locked in?

Yes, ma'am...

...but I wanted to be.

Sorry, but there's no sleeping permitted
in this theatre.

-But I haven't got any place to--
-Out. Out.

All right.

I'll find some other way
to see Mr. Thornway.

-Well, goodbye.
-Say, wait a minute.

Is it about a job?

Where you from?

-Indiana.
-How old?

-Nineteen.
-I'm from Nebraska. I was 16.

There's a boy back home
who wants to marry you.

The one who wanted to marry me
was a fine young fella.

The kind who was sure to get ahead.

Yeah, that's Charlie.

That was Sam. And he did all right too.

Now he's the big man out that way.

Everybody said I was an awful fool
not to stay home and marry Sam.

But there was something I wanted more
than him, or anybody or anything.

And that was to go on the stage.

Well, where am I?

Gee.

And you've been trying
since you were 16?

Bless your heart, child,
I didn't start with a broom.

First I carried a spear.

Then the third year I got a line to speak:

Madame, dinner is served.

Oh, then there were a lot of years,
and a lot of shows.

And a husband or two.

And then there was a song
that got to be my song.

That was all before your time.

-What's your name?
-Lily Mars.

Lily, know what you are?

Foolish?

You're me. The same eager,
hopeful, stage-struck little hick...

...I was half a century ago,
with the same question to answer.

What do you want?

I wanna be an actress.

Know what I'd do if I were you?

Go home?

Lily, I think you are home.

I know I am, and I'd rather be here...

...even doing what I'm doing,
than be anywhere else on earth.

Because...

...this is where I belong.

Every little movement

Has a meaning of its own

Every thought and feeling

By some posture can be shown

And every love thought
That comes a-stealing

O'er your being
Must be revealing

All its sweetness

In some appealing little gesture

All of its own

Every little movement

Has a meaning of its own

Every thought and feeling

By some posture can be shown

And every love thought
That comes a-stealing

O'er your being
Must be revealing

All its sweetness

In some appealing little gesture

All of its own

All right, dear, come on,
run through it once with me now.

Now watch this, Gene.
Hit it, Colly.

What is this throbbing within me?

What is this rhythm so new?

What is this beating
That keeps on repeating

I love you?

I love

You, my dear

Don't you know it's you?

When I look at you

I hear lovely music

Can it be my heart that sings?

When I look at you

I look at an angel

Tell me where you've parked your wings

Dizzy me
Silly moon

Crazy quilt of a sky

Are you real or a dream

That got caught in my eye

My dearest

When I look at you

I'm looking at rainbows

Stars come tumbling down from above

And I'm in love with you

My

Love!

Places for the Russian number.

Come on, shake your shirttails.

Get going.

There should be a stampede
around here. Come on, move.

There you are!

At the Club Tovaritch
There is romance in the air

Love is everywhere!

When you hear the balalaika
You had best beware

Everyone is there!

There is Toscha, Sascha, Mischa, Grischa,
Rimsky, Pimsky, Anton, Danton

Georgevitch, Oh, Porgevitch
Oh, Niegin, Iliavitch

Tomazoffsky, Borisloffsky
Woizikeffsky, Igoreffsky

Feodoroff, Anniloroff

Will be at the Club Tovaritch

Hi!

-You. Come here.
-Hello.

Mr. Thornway, I'm sorry. I--

-Keep the change.
-Thank you, Mr. Thornway.

Thank you very much for the lunch.
It was the best I ever had and the biggest.

-That long train ride gave you an appetite.
-Train?

And spending all night in a theater
isn't nourishing.

I guess not.

-Aren't they--?
-Miss Mars...

...let's get something settled
once and for all.

I'm letting you stay in the show
only because:

You knew my father.

You know my mother.

You come from my hometown.

You're in New York in need of a job.

Well, I needed a few more girls
in the show anyway.

I wish there was some way
I could show my appreciation.

-There is. Just do your job.
-Oh, I will.

Now, some of the girls
live in a boarding house...

...they've affectionately dubbed the
Incubator". It's reasonable, respectable.

But where you live or what you do
outside of the theater...

...is strictly your own affair.

Miss Mars, you understand, don't you?

Absolutely. You want me to live
in an incubator and not to bother you.

Yes, yeah, that's the gist of it.

So starting right now,
you're strictly on your own.

I wash my hands
of any responsibility for you.

All right.

And, Miss Mars...

...there's one thing that I must ask you
not to do around the theater.

-What's that?
-Don't wear that hat.

Well, Mr. Thornway, it's--

It's the only one I've got.

Yes, yes.

Well, here we are. This is it.

This is the Incubator.

A lot of fine young actresses
come out of here.

Of course they have to go in first.

Well, thanks again for the hat.

You know it didn't have to be
a boughten.

-A boughten? What's a boughten?
-Oh, that's what Poppy calls a store hat.

You know, one you don't make yourself.
It's boughten. I always make my own.

Yes, I know.

-Good afternoon. Have you any rooms?
-No, sir.

-Not even a small one?
-I'm sorry. We do not take mixed couples.

We take only ladies.

Well, will you take this one?

-Yes, certainly.
-Well, that's fine.

-I have to be getting on back to the theater.
-All right.

Do you want me to come with you?

No. No. You be at rehearsal tomorrow
morning at 9. Sharp.

-Goodbye, Miss Mars.
-Goodbye. And thank you very much.

Oh, Lily, for your brother.

Oh, thank you, Mr. Tho--

John.

-Hi, Mike.
-Hello, Mr. Thornway.

-What do you--
-I--

-Rosebud?
-Yes, sir?

-Is that Miss Rekay's?
-Yes, sir. She gave it to me.

-Where is she?
-She's in her dressing room.

Waiting for you. I'll tell her you here.

-But, Isobel, it was written for you.
-I will not play it as it is.

-But Isobel--
-He's here.

Rosebud, I told you
to throw that hat away.

-So you know more than I do?
-Who doesn't?

-All right, then. Why don't you write a play?
-Why don't you?

Now, what goes on here?

Our star has decided
she doesn't like the third act.

I hate it. It doesn't march along.
It dribbles.

Now, let's sit down
and we'll talk about it. Quietly.

Are you sure you have the time?

Oh, I'm sorry I'm late, dear,
but I had to have lunch.

What did you two eat, an elephant?

And then after lunch I had things to do.

Business.

Hello?

John. For you.

A lady.

-Me?
-Yes, you.

Hello?

Oh, hello, dear.
Well, it's nice to hear your voice.

It's my mother.

Yes, yes, she's here.

No, I mean, she's not here.
She's here in the incubator.

-Incubator?
-Yeah, it's a sort of a club.

A young folks home.

-John, will you give her a job?
-Well, I've already given her one.

Hello. Tell her Mama
and the children send love.

I'm Mama.

Tell her I know I don't need to worry,
but I will.

Well, you needn't, Mrs. Mars.

I'll be just like a father to her.

Oh, yes, yes, yes.
It's respectable. It's painfully respectable.

Hold on.

John, you will keep an eye on her?

Oh, yes, yes, yes. Now, look dear...

...I have to say goodbye now
because some people are waiting.

Goodbye, dear.

Well, after all
my father did bring her into the world.

Now about that third act.
What seems to be wrong with it?

Everything.
Brighter dialogue, stronger scenes.

Such as?

Such as you are going to write. Goodbye.

Well?

Well, what?

You got any ideas about the third act?

No. Have you?

No. I was thinking about women too.

What has Miss Mars
got to do with this?

John, I wish I had as much money
as you don't know about women.

Look, if you were sore at me. You'd punch
me right in the nose, wouldn't you?

-With pleasure.
-Yeah. All right.

If Isobel were squawking
about one scene...

...I might think she was sincere, but no,
she doesn't like the whole act.

It doesn't march along. It dribbles.

Yeah, and if you keep on being so chummy
with that babe from the woods--

I am not chummy with Miss Mars.
Isobel's imagining things.

John about such things,
women do not imagine, they know.

I don't know how they know,
but they know.

Catch that, will you?

-Hello?
-Miss Lily Mars is here to see Mr. Thornway.

-Shall I send her up?
-Why, yes.

Yes, certainly. Right away.

-It's-- It's your laundry.
-How could it be?

-I didn't send out any laundry.
-You do your own?

Oh, come on now.
Come on, let's get to work.

Well, here's how it goes.
Stefan enters. I'm Stefan.

-Nadina is singing. You're Nadina.
-Me?

Now you can't go on with the gay song,
so you break.

Oh, I'm a Gypsy
I'm--

Come in, come in.

Who is she? Who is she?

Please, believe me.
There is no other woman, darling.

Just leave it in the hall out there.

You mustn't cry.

Why are you here?
Go away, leave me alone.

-No.
-What do you want?

First, I want to tell you
that you're beautiful.

And then I want to take you in my arms.

Oh, Stefan.

-All right, now stop your kidding, Owen.
-Who's kidding?

Oh, Stefan.

Excuse me. Here's my laundry.

-Good evening, Miss Mars.
-Good evening.

-And good night.
-I wanted to--

I'm terribly sorry, we're very busy...

...it's time all young actresses
should be in bed.

I was in bed, but I couldn't sleep.
I just tossed and tossed.

Whenever I'm worried,
I toss and toss.

Well, that's very interesting.
What's worrying you?

-Our show.
-Now she doesn't like it.

I like it. I love it.
I think it's a wonderful play. Really I do.

-But may I say something?
-I know of no way of stopping you.

Well, I think we need a new finish.

Isobel doesn't like the third act,
Miss Mars doesn't like the finish.

Tell me, Miss Mars,
what's wrong with it?

-Well, to me it just fizzles out.
-Fizzles?

-Just fizzles--
-Stop fizzling!

Well, now listen. Here's the way it goes.

Stefan says,
l wanna take you in my arms.

Nadina, I want you to dearest.

I've been away for years,
and I never wanna leave again.

As Nadina and Stefan gaze tenderly into
each other's eyes, curtain. Not natural.

If I were in love and all they did was gaze
tenderly into my eyes I'd have another fight.

-Well, Miss Mars, what would you do?
-Well, look, I'll show you.

Now, you're Stefan.
Go on, say your line.

And then I want to take you in my arms.

And I want you to, dearest.

I've been away from them
for a million years...

...and I never wanna leave them again.

Curtain.

Here's where I think we really helped it.

You follow the chambermaid
up the stairs.

Say goodnight. You go into your room.

She has her line. Curtain.

-I love it.
-Yeah, that's great, John.

-That takes care of all my objections.
-Fine.

-Now let's try it, shall we?
-From where?

The two of you are looking at each other
and the chambermaid enters.

-Oh, yes.
-All right. Chambermaid.

Your Excellencies,
your rooms are ready now.

May I show you to them?

Come on down and answer the phone.

Lily, you're wanted on the telephone.

Oh, it's Thorny again tonight?

Oh, dear. Dear, dear.

-Hello?
-I'm just leaving the apartment...

...and I'll be right over
to pick you up. Goodbye.

Goodbye!

Yeah?

She is? Well, tell her I've gone.
Tell her I've--

She's already on her way up?

Oh, that's bad. All right.
Well, thanks. Thanks.

Hello, darling. Well, I was just taking
a cold shower to wake me up.

You mustn't touch me.
You'll get all wet.

-I've got to work all night.
-So you told me.

But, John, take tonight off.
Let's go out somewhere.

Now, angel, you mustn't tempt me.
Work is work.

But you haven't taken me anywhere
in two whole weeks.

Yes, I know, but tonight is not the night.

No, I simply can't go out with you tonight.
That's all.

Then I'll come in.

Isobel, you must be worn out
from that rehearsal today, aren't you?

-Oh, no.
-No?

Just look at all this work I've got to do.

Poor boy.

Oh, don't touch anything.

You'll get everything mixed up.

-Remember the first time I sang for you?
-Yes, of course I do.

That's one night I'll always remember.

So shall I, John.

-Look, Isobel, darling, I've just got to work.
-Wait, wait, wait.

When I look at you

I hear lovely music

Can

There is something wrong
with this piano.

I'll fix it.

Can it be my heart that sings?

Well, good night now.
It's awful. It's terrible.

-What?
-The piano, it needs tuning.

Now, darling, you run home
and take a nice long rest.

I certainly wish I could.

If you won't change your mind,
so I better go home.

Well, I'm sorry. But you know with the
show opening in a week and everything...

...I'm so busy that I--
Well, you know how busy I am.

Yes, I know.

You're so busy...

...you take your shower with your tie,
shirt, coat and pants on.

Think about a cowboy
When you think of yippee-yee

Think of English crumpets
When you think of havin ' tea

Think of silver moonlight
And how lovely it can be

But when you think of lovin '
Baby, think of me

Think of snowcapped mountains
When you think you'd like to ski

Think of Cuba-libres
When you think you'd like a spree

Think about the movies
For a set of dishes free

But when you think of lovin '
Baby, think of me

Good evening, Mr. Thornway.
Table 53, please.

-This way, please.
-Thank you.

Ladies and gentlemen,
I see a celebrity among our customers.

It's the ace of the racetrack,
the year's leading jockey, Dixie Bray.

What are you gonna
do to entertain the folks?

Nothing. All I can do is ride.

Well, next time
I think you'd better bring your horse.

Here's a man who has presented
many actors, so for a change...

...I'm gonna present him,
John Thornway.

-How are you, Bob?
-Fine, John.

-Say, who's the lady I see you with?
-Oh, I'm Lily Mars.

-Yeah? What do you do?
-I'm a chambermaid.

-In what hotel?
-Not in any hotel.

In John Thornway's new show,
Let Me Dream.

What do you do in the show?
Do you make beds for the audience?

Oh, I should say not. They're not gonna
fall asleep during our show.

Well, what are you gonna do
to wake us up?

Well, I-- I can sing a little.

-Come on, sister, you're on.
-Is it all right?

Go right on.

Excuse me, I'll telephone John.
Maybe he'll come here and join us.

-But, darling, he's probably fast asleep.
-He'd better be.

When I look at you

I hear lovely music

Can it be my heart that sings?

When I look at you

I look at an angel

Tell me where you've parked your wings

Dizzy me
Silly moon

Crazy quilt of a sky

Are you real or a dream

That got caught in my eye?

When I look at you

I'm looking at rainbows

Stars come tumbling down from above

And I'm in love with you

My love

He doesn't answer.

Oh, well, John's a very sound sleeper.

We're going to another club.
New place, just opened.

Oh, no, I want to stay here.

But you won't like it here.
You won't like it at all.

You're not gonna be
a chambermaid very long.

-Let's try another and swing it a bit.
-All right.

Besides that, we can't get a table.

I can't get a table?

-You hear?
-Yes.

Well, if they want me to sing
for my supper. Come on.

What is this throbbing within me?

What is this rhythm so new?

What is this beating
That keeps on repeating

And what am I dreaming
That I wake up screaming

I love you?

I love you

I love you

I love you

John, I--

When I look at you

Can it be my heart that sings?

When I look at you

I look at an angel

Tell me where you parked your wings

I mean, your wings

I mean, your wings

I mean, your ever-loving,
turtle-doving wings, Jack

Dizzy me

Silly moon

Crazy quilt
Of a lackadaisy, crazy quilt of a sky

Are you real as your seemin '

Or a dream that I'm dreamin '?

Or are you just a sty
That got caught in my eye?

Just a sty in my eye

When I look at you

I see a rainbow

The sun, the moon
The stars in June

Come tumbling down from above

And I might as well face it

I'm in love

Was I all right? Did you--?

Miss Rekay.

I'm sorry, but, but--

-But--
-But, but what?

-I didn't know you were here.
-Well, I wasn't.

But as luck would have it I happened
to drop in just in time to catch your act.

Clever, very clever. Isn't she, John?

Well, there I was
and he said do something.

-I didn't know what to do.
-So you imitated me.

Well, Miss Rekay, any time you want to,
you can imitate me.

Oh, thank you.
That's very kind of you, Miss Mars.

And I'll never sing your song again,
I promise. Honest.

Neither shall I. Honest.

Isobel, do you care
for a drink or anything?

No, I don't care for a drink or anything.

I'm sorry to break up this party.

But I'm getting tired, John, very tired.

I think I'd better be taken home
right now.

-Come on, Owen.
-Isobel, I've called a rehearsal...

...for 9 in the morning.
You come in whenever you like.

I'll do that, John. Good night.

Oh, now look what I've done.
She's mad, John, good and mad.

Come on, let's dance.

-It's exactly 5:00 p.m.
-All right, so what, time signal?

All this waiting, waiting, waiting.
And for what?

For a woman to make up her mind.

From me they get 10 minutes, tops.

Stop your worrying.
Rekay'll be back.

She's always getting
hoity-toity and flouncing out.

But this time she means it.

It'll take a little high-powered
coaxing and petting.

-John knows how to handle her.
-Hope he hasn't lost his touch.

All right, Scotty, you can tell them
they can all go home.

Everybody.
Everybody, that's all for today.

What time tomorrow?

I'll let you know tomorrow, that's all.

Is there anything I can do, John?

Yeah, Scotty, you can go out
and get drunk. For me.

Anything I can do, John?

Well, you can help Scotty.

-Anything I can do?
-Hey.

Yeah, you help the two of them.

That'll be all for today.

John?

Hi there.

Hello.

I'm going home.

Back home. Tonight.

No. No, you're not.

But if I go away everything will be all right
with the show...

...and everything.

I'm calling off the show.

Oh, no, you mustn't.

I'm not gonna do it
unless I can do it right.

But, John, I've been thinking
that maybe I--

I know what you've been thinking.

I believe I could do it.

What do you think?

I think that...

...I'm in love with you.

Oh, John, I--

You run along now...

...and I'll let you know what I'm gonna
do just as soon as I know myself.

All right.

Love.

I hate love.

Women? You can have them.

Thanks, I got some.

Good night, fellow comedians.
I'm going home to my wife...

...the one in Brooklyn.

I shall walk all the way, and I hope,
I hope it's raining.

And when I'll get home,
if my supper isn't ready, I shall beat her.

And if my supper is ready,
I shall not eat it.

Farewell.

There's a guy that gets drunk and
has the D.T.'s all at the same time.

Well?

The show opens as planned,
one week from tonight.

-With Rekay?
-Without Rekay.

Right. Now here's what I'm gonna do.

Don't. She's clever but she's not
nearly ready to step into a big part.

It'll take years before
she's ready to carry a Broadway show.

Just the same,
I'm gonna take a chance.

Wait. We're the ones
that have been drinking.

Think it over, John.
It's an awful big gamble.

What's show business?

Lily. Lily, telephone. Lily, telephone.

It's Thorny.

Hello?

Yes, John.

Yes, John.

Oh, yes, John.

What's happened?

-Where are you going?
-Hey, Lily, wait.

-Where you going?
-To the theater.

-Like that?
-What?

-Mama! Mama!
-What is it? What happened?

Hello, operator, get me long distance.
Yes.

Oh, Lily.
Oh, I'm so tickled that I'm tickled.

Oh, bless your heart child. Well, it's
only what I expected sooner or later.

Good night, dear. Lily, be sure to eat plenty
of fresh vegetables. Goodbye.

Hello, operator?
Get me the Midhaven Daily Press.

Children, guess what? Lily is a star.

-Will she twinkle?
-She'll twinkle.

Midhaven Daily Press? I have a very
important piece of news for you.

Tell him about it, Mama!
Tell him about Lily!

Children, stop it. Be quiet. Be quiet.

Not you.

My name is Lily Mars' mother.
Guess what?

A little more wine?

"No more champagne, Stefan.

More kisses."

-No.
-No?

No, Lily. No.

Look, darling, try to remember
you're a mature Russian princess.

-On your honeymoon.
-Yes.

Not a village belle on a hayride.

That's all right, darling.
Come on now. Let's try it again.

-All right.
-From your entrance.

You're doing fine, honey. Keep it up.

Don't get excited. Don't get excited now.

-All right.
-All right.

Oh, Stefan, how could you do this to me,
and on our honeymoon?

No, no, no. You're not suffering enough.

-She's wiggling enough.
-Go on, go on. Suffer.

Suffer. Oh, Stefan,
how could you do this to-- Ouch!

And on our honeymoon.

-Now, darling, you know what I want.
-Yes.

-You're sure?
-Yes.

That's fine.

Okay, Beethoven, hit it.

I heard a tune in the moonlight

From the distance arising

Troika bells harmonizing

A Russian rhapsody

Hold it! Hold it!

-Will you send this out for me, Mike?
-Sure will, Syd.

Say, how'd it go?

Well, it's a good sign
when the dress rehearsal smells.

How was the Mars kid?

It's a good sign
when the dress rehearsal smells.

Attababy, baby.

-I was all right, wasn't I?
-Oh, sure. Sure you were.

And you're gonna be all righter too.
Now relax, huh?

All right.

Here.

Thank you.

"When John Thornway's new play, Let Me
Dream, opens in New York Friday night...

...the star will be none other than Lily Mars,
daughter of Mrs. Flora Mars of Midhaven."

I can't believe it.

Oh, I'm in heaven.

Ouch. All except my feet.

Frankie, I wonder why John
didn't come back to see me?

Well-- Well, he never does.

Once the show starts off in dress rehearsal,
he just stays out front and lets it roll.

I made some mistakes,
but not very big ones.

Oh, well, sure. Everybody makes mistakes.
Now relax and save your strength.

You gotta go out there tomorrow night
and murder a lot of people.

Relax.

Oh, hello, Mr. T.

-Is she decent?
-Yeah, sure, come on in.

-Will you go and tell Scotty not to leave?
-Yeah, sure.

-Hello.
-Hi there.

How was I?

First.

Lily, you've learned more in a few weeks
than most actresses learn in a lifetime.

With a little luck and a lot of hard work,
you're gonna be a great actress, someday.

Now, I've called another
dress rehearsal for tonight.

We'll start just as soon as the cast has
had a little rest and got something to eat.

All right, boss. I'm ready.

No, Lily.

I hate worse than anything in the world
to tell you, but no, you're not ready.

I should have had more sense than
to let you tackle such a tough part...

...but I wasn't being sensible
and now I've got to be.

And so have you.

Am I hopeless?

No, darling, no, you're not hopeless.

It's just that you're green.
You're inexperienced.

Lily, it's a tremendous job for an actress
to carry a whole show.

She has to have authority.
She has to have range and ease.

And a thousand and one tricks of the trade
that you can only learn through experience.

She has to be a finished actress.
A big actress.

And I'm only a little one.

You're a good little one.

But this part calls for a good big one.

And I've got her.

You made up with Isobel.

It wasn't a question of making up,
it was business.

Show business between
two professional show people...

...who understand that their job's are more
important than their personal feelings.

Darling you and--

-Miss Rekay wants me to put these--
-Just a minute, please.

She can move in now.

Lily, take all the time you want to.

She shouldn't have
barged in here like that.

Darling, I--

I can't tell you
how rotten I feel about that but--

-Hey, boss.
-I'll be with you in just a minute, Scotty.

But here's how it's got to be:

Isobel plays the princess
and you play the--

Your old part.

Rekay called. She wants this room
or she's gonna take another powder on you.

Well, she'll just have to wait.

Lily.

Lily.

I don't want you to go
but you can if you want to.

You can go away, you can go back home,
you can hate me for the rest of your life.

But there's something else you can do
if you want to.

You can come back tomorrow night...

...and try to play that maid better than any
maid has ever been played in any theater.

When you walk out on stage
and say your few lines...

...and give them everything
you've got to give...

...there'll be one less amateur
in the world...

...and one more professional.

Now, that's all up to you.

Here she is.

Surprise! Surprise!

Surprise! Surprise!

-Congratulations.
-Congratulations, Lily.

-I'm so happy.
-We'll all move to New York.

-I'll get a lot of superduper doorknobs.
-Wonderful. You're wonderful.

-We just had to come.
-So we came.

-In a bus.
-We sold the piano.

Oh, well, I'm certainly glad to see you.

Oh, you're tired, dear.

Come and sit over here.
Right here in this big chair.

You look just the same.

-Well, where's Poppy?
-Poppy?

Oh, Poppy.

Children, did we come
away without Poppy?

No, Mama.

-Did we leave her on the bus?
-No, Mama.

Well, then, she must be here.

Yes, Mama. Poppy! Poppy! Poppy!

Congratulations, Lily, dear

Upon the start of your career

We love you best of all the stars

We're proud of you, Miss Lily Mars

That's nice, dear. She loved it.

I ' m not a star. I ' m not even an actress.

I'm nothing at all.

Oh, there, there, dear.

Now no matter how bad it is,
it isn't as bad as all that.

I wanna go home.

Oh, there, there, darling.

Look at him. He's got the biggest
moneymaker he ever had in his life.

And what is he doing? Moping.

-John, how about Lily? Is she here?
-I don't know.

What about her part?

Well, if she isn't here to play it,
the other girl will.

I heard a tune in the moonlight

From the distance arising

Troika bells harmonizing

A Russian rhapsody

Where roses bloom in September

Where autumn leaves are swaying

To balalaikas playing

John, how soon is Lily
supposed to make her entrance?

Right after Isobel's song.

Where?

Through that door over there.

Pick a rose in September

When it's spring you'll remember

A Russian rhapsody

When it's spring you'll remember

A Russian rhapsody

-Stefan.
-Waiters.

No more champagne, Stefan.
More kisses.

Your excellencies, your room is ready.
May I show you to it now?

Children, quiet. Quiet.

-Good night, Your Excellencies.
-Good night.

And may your dreams be beautiful.

-Thank you.
-Thank you.

-I'm so glad, dear.
-I knew she'd come back. I'll see you later.

Isobel, darling, you were swell.

Thanks for coming back
and I'm very happy about everything.

You should be, John. I am too.

Now run along and see Lily.
And tell her for me she's a real trouper.

And you're very lucky.

Swell, kid. You were swell. You were swell.
Oh, and you were swell. Swell.

Hello.

Swell. You were sw--

Oh, Scotty, listen, thanks a million.
It was swell.

Leo, costumes swell, swell.
You were swell.

You-- Oh, I beg your pardon.
I thought he was in the--

-This should be good for two years.
-Yes. Listen, where is Lily dress--

Lily's dressing--

Oh, it's all right. Never mind.
You were swell, Scotty.

-She just left.
-Oh, well, thanks. You were swell, Prissy.

Thank you.

Lily. Lily.

-Hi there.
-Hello.

Thanks for coming back.

I never enjoyed any actress's performance
so much in my life.

Oh, John, I was only on the stage
for a minute.

It was the happiest,
the most thrilling moment...

...I ever hope to have in the theater.

It made me sure
that I was right about you.

John, we've got an audience.

Well, you just wait until you see
the audiences you're going to have.

You've heard of Sarah Bernhardt
She really was a dilly

But Sarah Bernhardt couldn't compare
To the gal that's known as Lily

Where there's music

There'll be singing

Where there's singing
You'll find skies of blue

For when all the world goes wrong

A simple little song

Will always bring a rainbow
Smiling through

With a rainbow

There'll be laughter

Chasing after sunshine from above

Where there's sunshine

There'll be music

And where there's music

There's love

Hey, mister, that's my sister.

She's marriaged.

-Poppy, be quiet.
-Yes, Poppy, you'd better...

...or you'll get put out.

Not with my mother-in-law here.

For songs are souvenirs

That live through the years

The grand old songs never die

Where there's music

There'll be dancing

No matter where you go

It's 3:00 in the morning

We've danced the whole night through

That melody, so entrancing

Seems to be made for us two

I could just keep right on dancing

Forever dear with you

Where there's music

There'll be dancing

And romancing

To the rhythm that is new

Gotta dance

Gotta dance

Broadway rhythm
It's got me

>Everybody dance

Broadway rhythm
It's got me

-Everybody dance
-Broadway rhythm it's got me

On the gay white way

In each merry caf�
-Orchestras play

-Taking your breath away with that
-Broadway rhythm it's got me

Everybody sing and dance

That Broadway rhythm

That Broadway rhythm

When I hear that happy beat

Feel like dancing down the street

That Broadway rhythm
It's got me beating

Broadway rhythm
It's got me

Broadway rhythm
It's got me

It's the sweetest beat
From the sweetest street

-Known as Broadway
-The street of a million dreams

-Broadway
-Where nothing is what it seems

Broadway rhythm's got me

And where there's rhythm

There's music and love