All language subtitles for Broadway.Melody.Of.1940.1940.720p.BluRay.x264.AAC-[YTS.MX]

Downloaded from
YTS.MX

Official YIFY movies site:
YTS.MX

All right, Chinatown.

Let's go to Chinatown and the bowery.

Just leaving, buddy.
A trip through dreamy Chinatown.

- Go away. Go away.
- Just a place for a honeymoon.

Here, here, here.
Tonight's the night, folks.

Tonight's the night.
It's wedding night at dawnland.

Now, we're not only gonna give away
this beautiful bride, but four,

four rooms of furniture and
50 dollars in cash.

This way to the bridal night at dawnland.

Miss Martin, meet up with Mr. Jones.

- Hi.
- Aw, go on.

Ladies and gentlemen, it is my privilege

to again officiate at another one of
dawnland's weekly happy events.

Through the courtesy
of the dawnland ballroom,

many a young couple has embarked
successfully on the sea of matrimony.

- Johnny.
- Yes, sir?

There's a guy been here
looking for your partner.

This smiling couple that
stands before me, is just another...

Where is he?
= he said he'd be back.

And you better scrape up some dough,
or he's going to take your pal's suit.

Yeah?

I'm going to put on your number
before he shows up again.

Or it might turn into a striptease.

Yes, sir.

- Now, look, king...
- Wait a minute, wait a minute, Johnny.

Let me speak first.
I can explain everything.

I had a chance to get rid of a girl,
so I saw her off on the train.

Yeah? = yeah.

You knew it was your turn
to call for the bride.

This is the third time
I've had to cover up for you.

Okay. I'm sorry. I'll take the next three.

- Who do you love?
- You, you, you silly.

Go on, get going.

What a guy.

And we came to New York
to get on Broadway.

At least after five years of hoofing,
we're in the right town.

Yeah, but who knows it except us?

Just a couple of taxi dancers.

Pushing around a lot of
female lonely-hearts

at five cents a dance.

And doing a specialty act without pay.

What a career.

You don't feel much like going on,
do you, king?

Oh, sure. I can hardly wait.

If there's anything I enjoy,
it's doing a specialty for no dough.

All those agents you keep
telling me about, be in to see us.

I suppose they'll all be
out there tonight.

Agents just love to come
to a dump like this.

They expect to find so much.

All right, suppose we don't go on tonight?

- Huh, huh?
- Yeah.

You're getting more and more
discouraged all the time and you're...

You're letting the act down,
and that's no good, king.

Say, listen, we may never get anywhere.

But if we don't think so...
I'd rather break it up now.

Well, maybe I'm weakening.

Maybe I'm holding you back.

Maybe you ought to get yourself
another partner.

Maybe you're right.

Oh.

Who you gonna get?

Bill sanderson.

Bill's a good boy.

If you can still call him a boy.

He's been around a long time.

Hey, that's us.
Come on, come on, get out there.

We'll give these people a show.

Okay, boy. = and remember.

You never know who may be out there.
So give!

Right.

We now give you that talented dance team,

Shaw and Brett.

Let's give them a big hand.

J due to landscape gardeners gifted j;

I father knickerbocker's face j

j is being lifted so much j

j that you hardly know it as such j

j all the streets are being dressed up j

j so before they ruin Broadway
I suggest up you go j

j to the city fathers and say, "whoa" j

j glorify sixth Avenue j

j and put bathrooms in the zoo j

j but please don't monkey with Broadway j

j put big floodlights in the park j

j and put Harlem in the dark j

j but please don't monkey with Broadway j

j though it's tawdry and plain j

j it's a lovely old Lane

j full of landmarks galore
and memories gay j

j so move Grant's tomb to union square j

j and put Brooklyn anywhere j

j but please, please, I beg on my knees I

j don't monkey with old Broadway j

j plant trees in the Polo grounds j

j and put yorkville out of bounds j

j but please don't monkey with Broadway j

j close the village honky-Tonks j

j suppress cheering in the Bronx j

j but please don't monkey with Broadway j

j think what names used to dance
on this road of romance j

j think what stars used to stroll
along it all day

j make city hall a skating rink j

j and push wall street in the drink j

j but please, please, I beg on my knees I

j don't monkey with old Broadway j

Wait a minute. That's all.
Always leave them wanting.

He's wonderful. He's sensational.

He's... he's... he's good, isn't he?

I like singers, Mr. Casey.

Oh, you do? You like singers, Mr. Casey.

Oh, listen, Pearl, he's got... he's...
I can just see it.

Casey and Matthews present,
uh, whatever his name is.

I'll show Matthews
who's the brains of this firm.

Why, this is
the greatest discovery of my life.

I'll... I'll... here, boy.

- Was you addressing me?
- Uh, yes.

I wanted to talk to that young man
who was just dancing here.

You know, the one on the end there.
It's very important business.

Please get him right away, will you?

- Sure.
- Thank you.

Now, you see why I come
to a place like this?

You never can tell where talent'll hide.

It's apt to be the lowest konky-to...
Uh, ko... uh, tonky...

The lowest dive.

I wish you wouldn't keep rubbing
that cape. It's... you"ll wear it out.

Hey, there's a gent out there,
wants to see one of you guys on business.

- An agent!
- Sit down. Be right out, classy.

Well, come on, come on.

What're you waiting for?
The guy's liable to get away.

That's no agent. Look at that.

Uh-oh.

- Got any dough?
- Not enough.

Suit, you're about to return
to your maker.

Wait a minute. Wait here.

Hey, you ; Ng man = me? Your

yes. Where have you been hiding?

- Where have you been looking?
- Everywhere, ll... no, that isn't...

What's your name?

- King Shaw.
- King Shaw. Must remember that.

Uh, I'll be right back.

Here, uh, you...

Oh, come on, don't high-hat me, sister.

Okay, brother, no hard feelings.

Shake. = sure.

Uh, oh.

I once knew
the cutest little Japanese banker.

Uh...

- Well?
- I just saved your life.

- I told him I was you.
- But why are you me?

Because if a guy had
a summons for king Shaw,

and handed it to Johnny Brett,
it wouldn't be legal, would it?

Say, why didn't we think of that before?

If you'd stop trying
to corner the market on blondes

we might keep the suit and the act.

Hey, are you sneaking out again tonight?

Uh-huh.

Come on, come on, Johnny.
Come clean, tell kingsie.

Where do you go every night at this time?

I've told you. I take dancing lessons.

Dancing lessons. Ho-ho! Who is she?

Why, king, I'm surprised at you.

Would I let a girl get under my skin?

Do you think I could be charmed
by a smile or a pretty face?

Look at me. Am I the kind of a guy

a woman can twist around
her little finger?

Now I ask you, am I?

- I don't know, are you?
- I certainly am.

Good evening.

J as long as this is a nautical yarn j

j with a nautical sort of plot

j it would be so very fittin' j

j it would help us with our knittin' j

j if we only had a-something
we could call a yacht j

J now that we have got
such a mighty fine yacht;

j there is only one thing more j

j life will be a dish of gravy j

j in this operatic Navy j

j up until we've got
a good old, salty commodore j

j a good old commodore j

J I am the captain of this boat j

j she's my concern from stem to stern j

j I am the skipper of this yacht j

j what it entails with the sail I've got j

j so if you'll only be my crew j

j we'll sail across the bounding blue

j and under the stars we will sleep j

j rocked in the cradle j

j rocked in the cradle of j

j rocked in the cradle of the deep j

J under the stars we will sleep j

j rollin' j

j rockin'j

j singin'j

I talkin'j

j rocked in the cradle of the deep j

Oh, sorry.

So sorry, sir.

Your hat, sir. = oh, no.

Thank you.

- Goodnight, George.
- Goodnight, Johnny.

Come in.

Well, well, well, hello. Hello. Busy?

No, no, Casey. We're holding open house.

Oh, that's fine. Clare, darling.

I'm sorry I wasn't able
to catch the show tonight.

Well, I'm sure that Bert saw to it
that everything went all right.

Everything didn't go all right.

Well then, you can use a little good news
and I've got it for you.

I've got a great surprise for you.

It's... oh, no, it's not you.
I've... oh, yes.

Excuse me, this is miss Pearl delange.

How do you do? = hello.

Bert, our troubles are over.

I've made the greatest discovery
of my life.

Just what we've been hoping for.
I have found Clare's new partner.

- Well, what's his name?
- Well, I wrote it down.

Here it is, Peggy britton, Columbus six...

Oh, no, that's something else.

Uh, king Shaw, that's it.
King Shaw. Wait till you see him.

- King Shaw?
- Yes.

Never heard of him.

- But you will, Bert. You will.
- We've got to have a name, Casey.

Clare didn't have a name
when I discovered her.

- Why, I certainly did.
- What?

- Bridget Callahan.
- Yes, that's right.

And what were you?

Nothing but
a great big baritone when... when...

When I told you how to fix
the second act of your show?

Yes. No. Well, you did...
Was just a suggestion.

Yeah. And you made a fortune
out of that suggestion.

There's gratitude for you.
Didn't I make you my partner?

- Well, you needed a young man.
- What?

You were getting old. = old?

My hair was as white as it is now
when I was 17... 15.

Well, I was pretty young.

- Bob, he's just jealous of you.
- Of course, he is.

When're we gonna see
this discovery of yours?

I'll have him in Bert's office
tomorrow morning at 11 o'clock.

Come on, Pearl, darling.
Let's take this home.

It's been so nice
having this little chat with you.

Yes. Well, come on, my little chatterbox.

I'm beginning to think
you get more people back here

than we get out front.

Oh, I'm sorry you were interrupted, Bert.

Tell me something.

Why do you always propose
three days before the close of a show?

I mean to do it
at the end of the run but...

How much do you really want to marry me?

More than anything in the world.

Bert...

I'd hate to give up my career.

Yeah.

What are you talking about?

Why, the new show's all written.
You've got a contract with me.

You can't walk out on a contra...

Say, what are you doing, kidding me?

I'm just trying to prove that
the theater is your real love.

And I guess the same thing goes for me.

Yeah. That means "no," huh?

Well, let's say it doesn't mean "yes."

Mm-hm.

Just keep the motor running.

I may have a little trouble
getting my cape back.

Yes, sir.

You certainly have been
nice to me, Mr. Casey.

- Ah, well, I...
- I mean, about this cape.

Oh, well... well...

Of course, I hope you won't misunderstand.

I mean, about my accepting it.

Oh, no, w-well, I hope
you won't misunderstand either.

Oh, no. I think people can be platonic
and still be friends.

Well, goodnight, Mr. Casey.

Wait just a minute.
Aren't you forgetting something?

Does Mr. Casey mean
his little night-night kiss?

Ah, the, uh...
Yes, that's just what I mean.

Ah, it's been a lovely evening, Mr. Casey.

- Thanks for everything.
- Here.

- Oh, Mr. Casey!
- Uh, huh?

I understand about the cape, Mr. Casey.

No hard feelings. Shake?

Oh, well, that's big of you, Pearl.

Oh, you knew
the cutest little Japanese banker.

Uh, come on! Drive like the wind!

Come and get it!

Hey, king! Wake up!

Nice, black coffee
for that nice, black hangover.

Oh, oh, Johnny, Johnny, don't.
Don't, don't, don't, Johnny.

Oh, I think I swallowed
a cactus last night.

Here, drown it with this.

Quit pushing, will you?
It's those little men again.

Here, I'll handle the cup, Johnny.

Sure you got everything you need now?

Yeah, everything except my health.

Hey, where are you going?

Matthews and Casey are doing a new show.

I just thought I'd drop by.

I'll save you a trip.
There's nothing there.

How do you know?
= there never has been.

There never is. There never will be. Amen.

Yeah?

Listen to this,
"Turner and Farrell got a specialty spot

in the new Cole Porter show.

And what's more, they worked it
up to three and a half minutes."

Yeah? Well, Turner must be
the manager's uncle

and Farrell must know
where the body's hidden.

Well, maybe I can find a body. So long.

Hey, Johnny.

When you come back, do me a favor, huh?

Don't stamp.

I'm in a very delicate condition.

Sure.

= oh!

Speak.

Hello, is this king Shaw?

This is Casey and Matthews
of Matthews and Casey.

Oh, yeah?

Well, this is Shaw and Brett
of Brett and Shaw.

Say, quit kidding me, will you, Johnny?

Hey, as long as you're still downstairs

send up a pack of cigarettes, huh?

Cigarettes? What are you talking about?

You've got the wrong number. I've got...

I mean, this is Casey and Matthews.
Are you king Shaw?

Matthews and Casey?

Oh, gosh! I'm sorry.
Yes, sir. I'll be right over.

And ask for Mr. Matthews.
That's my junior partner. Yeah.

How did the cape gag work last night?

What do you mean, "gag"?

I always tell them
I'm going to take the cape back.

Yeah, after they've wasted
an evening with you.

Why, you wear out 50 blondes to one cape.

Do you think it needs a new lining?

You both do.

Oh.

Why don't you ever take me out?

Maybe you haven't looked at me.
I'm blonde.

Oh. Oh, well, the cape wouldn't fit you.

Well, if you took me out to supper
a lot, I could grow into it.

Well... no, I don't think
you'd look well in it.

I'd look better in it than you do with it.

Well, that's beside the...

Here. This. That's all. We'll...

Oh, uh, there's a lady
in the reception room waiting to see you.

Oh, really? What's she like?
I mean, who is she?

- Pearl delange.
- Well, ask her to... Pearl delange!

And is she sizzling!
I think she's out trapping ermine.

I'll bring her right in.

No, you'll do nothing of the sort, Amy.
Tell her that I can't see her.

I-I can't see anybody. I'm busy.

And tell Mr. Matthews that
I've gone to the pelham golf club.

No, better make it Westchester golf club.
It's further away.

Johnny Brett of Shaw and Brett.
Any chance seeing Mr. Matthews?

He hasn't come in yet.

Hello. = hello.

And what do you do?

- I'm a juggler.
- A good one?

- Yeah, sure.
- Since when?

- Hello, Dan.
- Hello, Johnny.

- Been the rounds?
- Just starting.

Me too.

Do you see what I see? = uh-huh.

Now you do it.

I only do it with plates.

Good! Very good.

Now you throw it to me.

Hup!

Hup!

Hup!

Hup!

Hup!

Uh-uh-uh-uh-uh. You're a big boy now.

Mr. Casey interviews all juggling acts.

Come on, Clare.

- Good morning, miss Bennett.
- Good morning.

- Good morning, Mr. Matthews.
- Morning. Can't see anyone today.

Mr. Matthews can't see anybody today.

- I wonder if...
- That goes for all of you.

Say, sister, did my partner,
Johnny Brett, go in there?

No, he went out there. Good day.

You mean he left?

Yes. Yes, why don't you join him?

Oh, wait a minute, wait a minute, sister.
I'm king Shaw.

Okay, king, abdicate.

Okay, I'll do that.

Casey just phoned and said that
Matthews is waiting to see me

but I'll take your advice. Thanks, sister.

Wait a minute. What are you talking about?

You're talking. I'm listening.

- Mr. Shaw to see Mr. Matthews.
- Well, send him in.

Yes, sir.

- Morning.
- Good morning, Mr. Shaw.

- This is miss Clare Bennett.
- Miss be...

- As if I didn't know.
- How are you, Mr. Shaw?

I caught your last show in Chicago.

You were very good. Very good.

Oh, I'm glad you liked me.

Sit down, Mr. Shaw. Sit down.

Oh, sure, thanks.

Oh, gosh, I'm sorry. Here, I've got it.

Mr. Matthews, here. Let me do that, sir.

I wouldn't have had this happen
for anything in the world.

I think we'd all be comfortable
if you just sat down.

Yes, sir, thank you.

Well, one thing about a little water,
it never does any harm.

Shaw, Mr. Casey tells me
you're a good dancer.

Yeah? Well, I... I can't argue with him
about that.

If you're as good as he says you are,

we may be able to use you
in our next show.

You'd be making no mistake, Mr. Matthews.
Johnny and I did a specialty act

in a musical show in Kansas City.
We did three minutes in one.

Stopped the show cold.
«=I don't doubt it.

If my partner were here,
we could show you the act.

- I'm not interested in your act, Shaw.
- Oh, but it's great.

And I'm not interested in your partner.
This is a one-way deal.

Oh.

- No team, huh?
- No.

You see, we're looking for
a new personality,

a leading man for miss Bennett.

Me? Dance with Clare Bennett?

That was the idea.

Say, do you mind standing up for a minute?

I wanna see how your height
would be with miss Bennett.

Yeah. Well, before we go any further,
I want to see you dance.

Have you caught miss Bennet in her show?

No, sir.

Go see it. There's a number
called "between you and me."

If you think you can get up in it,
I'll try you out with her.

Saturday night after the show closes.

Gosh, that would be great.

- But...
- What's the matter?

- Oh, nothing, Mr. Matthews, nothing, I...
- Still worried about your partner?

Oh, a lot of partners in the theater
have outgrown each other.

- Do you hear me, Shaw?
- Oh, yes, sir. Yes, sir.

I guess you're right, Mr. Matthews.

A guy's got to look out for himself.

Well, it's up to you. Take it or leave it.

I'll take it.

Hey, where you been?

To every agent and manager in town,
but I've got a perfect record.

Didn't see one of 'em.

You should have stuck with me.
You'd have seen Bert Matthews.

Yeah, I'll bet.
What did he do, drop in for tea?

No, he phoned, and... l went over there.

I met Clare Bennett.

Quit kidding, would you?

I'm not kidding, Johnny.

Honest. It's true.

True? Well, go on. What happened?

- What happened?
- Well, we had a little business talk.

You mean there's a chance
we might get a bit in the new show?

- Now Johnny, wait a minute.
- Huh? Do you...

Don't interrupt me, will ya?
Will you let me finish?

- All right, all right, all right.
- They're looking for a new personality.

They must've caught our act,
and... and like you said,

you never know who's out there.

King, we're in!

Johnny, wait a minute.
= when do we start? What do we do?

- Johnny, please.
- "Please," he says!

Gee, I wish
I could have been with you, kid.

What'd he say?
Come on, tell me all about it.

Johnny, will you not get too excited?

All right, all right, all right.

It's... it's cold.

Cold? But you just said...

They want one guy...
To dance with Clare Bennett.

Oh, I see. They want a leading man.

Wonder why they phoned us.

They didn't phone us.

They phoned me.

And then showed you the door.

You don't rate me very high, do you?

They offered me an audition.

To be Clare Bennett's leading man? You?

Gee, that's great. Why, that's terrific!

But what do you mean, it's all cold?

Well, what would you have said
if they'd offered you a job without me?

- Well, I'd...
- That's exactly what I said.

I said, "look, Mr. Matthews,
we're a team and that's the way we stay."

Are you crazy?

Then he gave me a lot of hot air
about what a great opportunity it was

but I said,
"wait a minute, Mr. Matthews.

We've been together five long years.
And five pretty tough years."

Tough, but a lot of laughs
when you think back, huh?

You said it.

Why, you half-witted...

Turning down the chance
of a lifetime on account of me.

Well, it isn't only
a question of you, it's...

It's a question of being on the level.

What a guy. Well, I know what I'd do.

Yeah?

I'd get on that phone and
tell him I'd take it. But quick.

Well, I wouldn't be any good
without you anyhow.

You know you figure out
all the dance steps.

I'm not leaving town. I'll be around.

You mean you're gonna help me, Johnny?

I'll figure out a routine for you
that'll kill them.

What a guy.

But this isn't a sure job yet, Johnny.
It's only a tryout.

You see, they want me to watch the show
a couple of nights and get up

in that, "between you and me"
number with Clare Bennet.

The one she's doing in the show now.

She's wonderful in it.

Have you seen it?

Yeah. She's attractive, huh? Close to?

Attractive? She's the tops, Johnny.

You've never seen anything like her.

Why, from the minute she met me,

she acted as though she'd known me
all her life. Imagine it!

The biggest star on Broadway!
You wanna know something else?

I think she kinda took a shine to me.

Oh, I guess that'd be hard to take.

Hey, let's get going.

Get on that telephone and
tell Matthews it's all set.

Well, uh, well, I don't have to do that.
You see, we left it like this.

If I change my mind,
I show up at the theater tonight.

And that's just where you'll be!

J between you and me j

j you're something spectacular;

j between you and me j

j you're a prize j

j between you and me j

j; To use the vernacular j

j you've got what they call j

j oomph in your eyes j

j till I make you mine j

j your heart I'll bombard to get j

j no matter how hard to get it may be j

j so why not combine j

j and Chuck the formality &

between love and j

j between you and me j

But that's not him!
That's not the Shaw I saw.

I mean, tha... that's an imposter!

Casey? Casey!

- Oh, well, I better...
- Casey!

- I'm sorry, Bert.
- Congratulations, Bob.

- That boy is a real find.
- You mean you like him?

Like him? O'Grady!

- But...
- Take this down, Amy.

Yes, boss. = listen.

I'm gonna give king Shaw
the lead in the next show.

I want you to get
to work on him immediately.

- Yes, sir.
- Build a personality for him.

Change his address.

Take him to a first-class hotel
and a good tailor.

- Yes, chief.
- Let him be seen around the night spots.

Get him talked about.

Build him up until the customers
know the name "king Shaw"

- as well as they know their own.
- Yes, Bert.

But he's not... oh, well, I...

- Where are you going?
- He's going out to get some air.

Yes.

Yes, yes, yes.

How was it, Johnny?

Miss Bennett, this is Johnny Brett.

- How do you do?
- How do you do, miss Bennett?

Is this your partner? = yeah.

Good, wasn't he?
= first time too. Proud of him?

- Plenty.
- Okay, king, who's your agent?

I haven't any.
= you don't need one.

We'll sign a contract, hm?

A contract?

You'll never regret it
as long as you live, Mr. Matthews.

Yeah. Change your dress, Clare.

The three of us are going out tonight
to celebrate.

Oh, this is Mr. Brett,
Mr. Matthews. He's...

How do you do?

How do you...

Come up to the office, king,
and we'll fix everything.

Glad to have met you, miss Bennett.

Oh, Mr. Brett. Johnny.

Look. Come out with us tonight.

Thanks.

I'd rather not. Thanks.

Thanks a lot. So long, miss Bennett.

- Goodnight.
- Goodnight.

Goodnight.

Oh, here. Pardon me. I'd like to talk
to you for a minute if you don't mind.

Now, look, you'll be paid very soon.

Paid? Do you owe me something?

You're not a collector?
= collector?

Oh, yes. Well, I used to collect stamps,
but I gave it up

when people stopped writing to me.

Don't you remember meeting me
four nights ago?

Distinctly.

You told me then that
your name was king Shaw.

Gee, yes, that's when I thought
you were a bill collector.

- Bill collector, me?
- Yes, I'm awfully sorry.

Yes, well, I'm sorry too. For you.

Because that little mix-up
lost you the job

as Clare Bennett's leading man.

What's that?

Yes, I thought your name was king Shaw

so I sold king Shaw to my associates.

Oh, I see.

Yes, well, maybe we better
have a drink together, huh?

- Yeah, let's. I could use one.
- Yes. Well, let's...

I'm going to clear this whole thing up.
You're going to play that part.

Oh, no, I'm not. Now, look, Mr. Casey,
king's the man for you.

You need a personality.
Why, he's a natural.

Women'll go for him like a bargain sale.
They always have.

- Yes, but I saw you dance.
- Yes, and you saw him dance too.

Tonight with Clare Bennett.
Why, they were wonderful together.

Rabbit? = no.

You know, you're just like me.
I'm always pushing my partner ahead too.

But I'm gonna fix this.

Look. Matthews is satisfied,
I'm satisfied,

why shouldn't you be?

Well, maybe you're right.

Squirrel? = no.

I tell you what,
I'll discover you next year.

That'll make me a hero all over again.

- I can hardly wait.
- Ils it a deal?

Sure. = that's wonderful.

That's the first deal
I've been in on in years.

- Beaver?
- Certainly not.

Let's drink to the deal.

Don't you think you've had enough?

Ah, just one more won't hurt.

- Herman!
- That's right. Ermine.

- Hi, Johnny.
- Hi.

- Hey, what are you doing?
- Getting a swelled head.

What?

Why, I even know this guy.
I live with him.

Good publicity, huh? = yeah.

- Hey!
- Yeah?

How'd the rehearsals go today? Good?

Oh, a little off, but all right.

- Say, king.
- Huh?

I had an idea this afternoon.

You know the step you do at the end
of the second chorus?

Yeah.

Suppose you try it this way.

- Say, that looks good.
- Try it.

Yeah, yeah, that's it. How does it feel?

Feels great.

You know, I think we can
brush up the number

in a couple of other places too.
Want to work tonight?

Oh, no, not tonight. I'm dining out.

With Clare? = who else?

Oh, boy, what a gal!

And fun too.
I wish you could see something.

Everywhere we go, people start buzzing

"look, there's king Shaw
and Clare Bennett.

King Shaw and Clare Bennett.
King Shaw and Clare Bennett.

Oh, oh, oh, oh, oh!™

boy, you certainly are moving up fast.

"King Shaw and Clare Bennett.”

Well, I think I get top billing with her.

You know, Johnny,
I never had a girl hit me like this.

I always thought I could
take them or leave them.

Well, here's one that I'm not leaving.

And what's more,
I think she'd feel pretty bad if I did.

If it's Mr. Shaw,
I'll be right out, angel.

Yes'm.

- Shall I offer him a drink?
- Well, don't encourage him.

That boy don't need
no encouragement, honey.

Oh!

- Hello, Clare.
- Hello, Bert. Anything wrong?

That's what I came to find out. From you.

Look, Clare...
You've never gone out like this

during the last few days of rehearsals.

You never wanted to,
until king Shaw came along.

- Why the change?
- I'm having fun.

Just watching the kick
he gets out of going places

and seeing things.
Things he's never seen before.

You got the same fun out of watching me

when you first took me out places.

- Not quite the same, I hope.
- I didn't mean that, Bert.

Is that the only reason
you're running around with him?

If there were any other, I'd tell you.

Look, Clare. Be sure that king understands
there isn't any other reason.

I will.

All he needs is to think
you're falling for him

and he'll be bossing me
around the theater.

You know, you're not doing him any good.
All that lad wants to do is to play.

He should be home tonight
resting or rehearsing

and so should you.

Well, what excuse can I give him
as late as this?

Well, tell him the truth.
«= that's an idea.

No, no, that wouldn't be feminine.

Give him the one you always
give me, the headache.

- Oh, angel.
- Yes, ma'am?

- Get Mr. Shaw on the telephone.
- Yes, ma'am.

Well, goodnight. Have a good rest.
See you at rehearsal.

Goodnight, Bert.

Well, sure, I know we've got a tough day
tomorrow, but it's no tougher than...

Besides, I've got a headache.

Oh, oh, I see.

Well, if that's the way you feel
about it, it's okay with me.

Uh-huh.

Sure, I'll see you tomorrow.

Goodbye.

- What's the matter?
- Nothing.

- Aren't you going out with her?
- She's got a headache.

And I sent her orchids.

Maybe you should have sent her aspirin.

Ha ha, very funny.
It's a fine time of night to break a date.

Just when I was all
keyed up to take her out.

Oh, it's just as well.
Now we can go through that number.

Now, how do you expect me
to concentrate on a number

when a girl plays a trick like that on me?

- Maybe she has got a headache.
- Yeah? Well, I'll show her.

I'm going out on the town.
= that'll make two headaches.

Boy, are you full of jokes!

- Hello.
- Hello, king. This is Clare, again.

I just called back
to say I'm sorry about tonight.

But, uh...

Oh, that was a silly excuse
I gave you about having a headache

but we do have a tough day tomorrow and...

But, uh...

Oh, don't argue with me, king.
Just say I'm forgiven.

Well, at least say something.

I love you, Clare.

What a stupid guy.

Oh!

You're sure bein' mighty sweet
to poor little lonesome Emmy Lou.

All alone up north, not knowing nobody.

Oh, why, it's a pleasure.

- Hi, Emmy Lou.
- Hello, honey.

I thought you didn't know
anybody up north, uh, north.

Why, he's an old friend of mine
from the south, sugar.

Oh.

Y'all know what it means down south

when a gentleman gives a lady a cape?

Uh, she gives it back again.

Oh, lordy, no, sugar.
It means he's got to give her a ring.

Hello, honey. It sure is.

Why, I declare, sugar,
this place is full of southerners.

- Southerners?
- Makes me feel so safe.

It's getting powerful warm here.
I mean, for the north.

I declare, honey,
you're the strangest man.

Just like I heard you was.

- Oh, did you hear about me?
- Oh, lordy, yes, sugar.

The cutest little Southern girl
told me all about you.

- Oh, she did, huh? Well.
- She sure enough did.

- Her name was Pearl delange.
- Delange! Uh, oh...

- She told you all about me?
- Every single thing.

Oh.

Well, sugar, I guess it's getting
powerful late

for poor little me to be out.

Oh, now, don't you bother, sugar.
I can get home myself.

Oh, I know, but what about the... the...

Down south, the gentleman pays the check.

Oh, no, not the check.
I mean, what about the...

King! King! Eh...

Oh, you can't leave now.
You've got to meet king Shaw.

He's the richest man in the north
and the south too.

Oh, well, I... might just stay
long enough to meet up with him.

King, my boy,
I'm delighted to see you. Delighted.

Meet miss Emmy Lou Lee.

Mr. Shaw, miss Lee.
Shaw, Mr. Lee. Sit down.

Hello, honey.

Why don't you ask miss delange...
Delee... Emmy Lou to dance?

- Okay, em. On your feet.
- I'd love to, sugar.

All right, everybody. Let's get...

What is this? What is this?

- Who are these people?
- Shh, shh.

This is the greatest discovery
of Mr. Casey's life.

He wants them to audition for you
before rehearsal.

- That Casey's crazy. Where's he?
- He's not so crazy, he's still in bed.

All right, all right, but make it snappy.
We got a rehearsal.

Okay.

Okay, boys.

How do you do?

How do you do?

How do you do?

Oh, dear me. Fancy seeing you here.

Thank you.

Can you hear me?

That's fine. Very fine. Amy! Amy!

That's all, thanks. We'll let you know.

Thank you.

Give them back to Casey. He deserves them.

All right, clear the stage, please.

Ready for the harlequin number.
Take it from king Shaw's entrance.

Give us the pickup, will you?

Stop it, stop. Come on.
Come on, Mr. Shaw, that's you.

What're you waiting for?

- Play it again.
- Oh, Mr. Matthews.

Um, Mr. Shaw isn't here yet,
and I'm afraid it's all my fault.

Oh. So you didn't take my advice
last night, huh?

Yes, I did.

Mr. Shaw was here this morning,
but his tailor phoned.

And I thought we weren't going to do
the number until this afternoon.

- So he went to the tailor's.
- Oh. He did, did he?

Mr. Matthews. I'm afraid king
is going to be a little late this morning.

- He's late right now.
- That's what I came to explain.

Good morning, miss Bennett.

See, king's been up all night
with a very bad toothache.

- Toothache?
- Yes, he's gone to the dentist.

You mean tailor's.

Yes. Dr. Taylor's.

You two ought to get together.

All right, ladies and gentlemen
we'll resume rehearsal

when Mr. Shaw returns
from his remarkable adventure.

It seems he's gone to the tailor's
to have a tooth pulled.

Oh, Johnny.

I guess I'd better go and see
if king is coming.

In all my experience in theater,
I've never met anybody like him.

If he isn't interested
in the success of the show,

he might at least have
a little consideration for the rest us.

If he doesn't pay a little more attention
to his job,

Matthews is going to stop barking
and start biting.

Well, he'll be here any minute.
He was getting up when I left.

- He went out last night, didn't he?
- Yes, he did.

Right after I phoned him the first time?

Yes.

No, no. I-l mean, uh...

I-I'll just go out and see if he's coming.

Yes.

No rush. They've broken for lunch.

- Gosh, did you square me with Matthews?
- Not exactly.

Clare spoke to Mr. Matthews first.
We sorta got our wires crossed.

She went to bat for me? = yeah.

What do you know?

- In front of the whole company?
- That's right.

What a sucker I was last night.

She was on the level all along, Johnny.
She really had a headache.

What a gal. Sticking up for me.

- Who do you love?
- You, you. You silly.

And that's who she loves too.

Come in.

Hello, darling.

I, uh...

I'm sorry I'm late, Clare.
But then again, I'm glad.

If I hadn't been late,
you wouldn't have had to go to bat for me.

I wouldn't have found out how you felt.

Well, I'll tell you how I feel.
= you don't have to.

- Going to bat for me was enough.
- I don't know why I did.

I'll bet I know why you did.

Don't ever do that again.

You mean this?

Now, would you mind leaving me alone?

Say, sometimes I think
you don't know your own mind.

What's the matter?

The more you know about women,
the less you know about women.

Maybe it's time you found out
they're not all alike.

Come on, we'd better
go through your routine.

Routine, routine, routine.

Don't you ever think of anything else?

Okay, it's your routine, not mine.

Oh, wait a minute, wait a minute, Johnny.

Don't be like that. I'm sorry.

I... l guess I'm a little over-trained.

Okay, kid.

Watch this.

- Yeah?
- That's out. I got a new one.

But why do you always have to
keep changing the steps on me?

It's neater this way.
Then you go into the old slap.

J I've got my eyes on you j

I so best beware j

j where you roam j

j I've got my eyes on you j

j so don't stray too j

I far from home j

j incidentally &

j I've set my spies on you j

j I'm checking on all you do j

jfromatoz j

j so darling j

j just be wise j

j and keep your eyes j

j on me j

That was swell, Johnny. Swell.

Thanks. I was just limbering up.
You know, a little workout.

- Yes, I know.
- Gotta keep in shape.

Uh-huh, sure.
I noticed you changed it a little.

- Yeah, a little.
- King ask you to?

No, I just did it by accident I guess.

I like it better by accident.
You must show it to king.

Yes, l... well, I mean,
king's doing all right.

You know, there's one thing
I'd like to get straight.

Casey must've seen you dance

when you and king were together.
I wonder...

I know what you wondering,
but Casey has the advantage over you.

You've never seen king with an audience.
That's when he's really great.

Oh, I see. And I suppose you just fade
in front of an audience.

Not exactly. Well, a little.
I mean, you know...

Well, I guess I mustn't keep you
from lunch.

Oh, I never eat lunch.

Is that so?

Do you eat breakfast?
= I'd love it.

Now?

Gosh, that'd be great. Only...

Only what?

Well, there's something
I've got to do for king.

How about letting king
do something for himself?

- But of course, if you don't want to...
- Want to?

Why, there's nothing I'd rather do.

Then what are we waiting for?

Lunch, I guess.

Now, honestly, I wish this thing
would stop following me around.

It seems everywhere I go, it's in my way
and I can't do anything about it.

Come on, let's get out of here.

Do I really look like that?

I don't make your face.
I just make your silhouette.

So, lady, please.

- Here you are.
- Thank you.

Let's see.

Hmm? What seems to be
the matter with this, huh?

Well, I don't think you quite got her.

Now take her nose, for instance.

- Her nose...
- Her nose is exactly like this.

Of course, it is. He's supercritical.

You said it, lady.

I'm afraid you've hurt his feelings.

I'm sorry, professor.

- Here.
- Oh, thank you very much.

Maybe, probably, perhaps,
you are not so super after all.

Now you see what comes
of criticizing an artist?

He asked me what I thought.

Do you always tell people what you think?

Yeah, sure.

Amazing.

What are you thinking now, Johnny?

- I was thinking...
- He don't like your nose.

No. I was thinking...

About that dance you do in the second act.

Was that what you were
really thinking, Johnny?

Yes, really.

That first step. I like it.
The way you do it.

- It's swell.
- It's very simple.

- I know.
- There's nothing to it.

Look.

Come on, try it.

I have tried it, but...

I don't seem to get
quite the same thing. Let's see.

That's it.

And you can travel with it too, can't you?

Uh-huh.

Let's see.

Simple.

Funny, sometimes the simpler the step...

What kind of a show
is this anyway?

Amateur theatricals?

How are we gonna open Wednesday?

This morning, no leading man.
And now it's 2:30

and the leading lady hasn't shown up.

Where is she?

What are you barking at me for?
I haven't got her up my sleeve.

- I haven't seen her.
- You're not here enough to see anything.

- I tell you, I'm not going...
- Hello.

Anything wrong? = oh, no.

No, everything's fine. Everything's dandy.

Where have you been?
= we didn't realize it was so late.

- I'll get ready right away.
- And make it snappy.

Well, what are you waiting for?

- Why don't you go and get ready?
- I've been ready for two hours.

Okay. Then go and tell
that stooge of yours

that I won't have him
holding up my rehearsals.

I don't know why
he hangs around here anyway.

Don't worry. I'll tell him that.
And a lot more too.

I want to talk to you. Come into my room.

Or should I say our room?

- What's the matter, king?
- So you took Clare out to lunch, eh?

- No crime in that, is there?
- No, no. We share everything.

Don't be silly, king.
I know how you feel about Clare.

You know I wouldn't double-cross you
any more than you'd double-cross me.

What did Clare say about me?

We didn't discuss you.

What did you talk about? The weather?

Now, wait a minute.

I know you've got a hangover,

and you're nervous
and jumpy about the show,

and you've got to
let off steam on somebody

but please, don't say anything
we might both regret.

Oh, you're getting sensitive, aren't you?

Not a bit. I'm getting a little fed up
with the way you're acting,

if that's what you mean.

Oh, pardon me.
I'm only the leading man in the show.

Go ahead, take Clare out,
make her late for rehearsals,

so long as you get yourself
in nice and solid.

Don't worry about making
a monkey out of me.

I'm only the guy
that's gonna have his name up in lights.

Listen, king.

When success goes to a dancer's feet,
he's all right

but when it goes to his head,
he's top-heavy.

Say, where do you get off
to talk to me like this?

I'm wise to you. You're too smart.

That was very clever,

the way you got that story mixed up
this morning out there

so as to put me in a bad light
with Matthews and Clare.

Then you take her out to lunch
and do a little chiseling.

"It's too bad about king, isn't it?

Now, if I was in his shoes..."

I don't know why
I don't take a poke at you.

I know why you don't.
Because you haven't got it in you.

A guy that can't take it,
can't give it, and that's you.

You've proved that ever since you
got tripped up by a little bit of success.

Why, you're not even
on the level with yourself.

You're always acting.

Well, one of your audience is walking
out on you right now, that's me.

You're staying right here
till the show opens.

That's what you think.

Okay. Hey, you.

Come back here.

The yes-man says "no."

All right. From the beginning.
And make it good.

And don't stop for anything. On your toes.

Here, here. Stop, hold everything!

I have just made
the greatest discovery of my life.

- Will you go away?
- No, but you don't understand.

This is sensational. You've got to see it.

It's a man on a one-wheeled bicycle.
He's way up here.

And rides out from
the wings like the wind.

And he comes out here
and stops on a dime. It'll kill you.

Are you ready, the great capolio?

Eh, sit down, everybody. Come on, now.

Eh, uh, give us a roll on the drums
and on your Mark.

Get set. Go. Ta-da!

Stop stroking that cape so much.

- Yes, darling.
- And don't call me darling.

The only reason
I've brought you out here tonight

is because I had to put
the cape on somebody

and I'm too nervous for a struggle.

- Good evening, Mr. Matthews.
- Good evening.

Oh, good evening
and good luck, Mr. Matthews.

A very good evening to you, Mr. Casey.
=

- good luck.
- Thanks, Amy.

Good evening. = hello.

Oh.

- Mr. Matthews.
- Good evening.

Hello. How do...

Place is just crowded with memories.

One row further back,
we'd have a good view of Broadway too.

Well, I like to sit in the back.
I can get out quickly.

You expecting trouble?

- Program, Mr. Casey?
- No, I know who's in the cast.

- Aren't they late coming in?
- Yes.

I'd better tell Bert to hold
the curtain a few minutes.

Excuse me.

Johnny.

- Oh, hello, Mr. Casey.
- I'm glad to see you.

Thanks.

Well, your pal had better be good tonight.

Don't worry, Mr. Casey, he will be.

I'd feel a lot better about it
if you were up there.

Oh, don't talk like that.
He'll be swell. Just you wait.

I hope you're right.

Uh, will you excuse me, sir?

I can't let king go on
without wishing him luck.

Nice going.

- Johnny.
- Hello, Clare.

Your flowers were beautiful,
Johnny. Thanks.

It's nothing.

Why weren't you
at dress rehearsal last night?

I, uh, I went out dancing.

Oh.

Well, I'm glad to see you.

- All the luck in the world, Clare.
- Thanks, Johnny.

- Oh, miss Bennett.
- Coming.

Keep your fingers crossed.

Well, well, well.

Look who's here.

I knew you'd come back.

King, what's the matter with you?
Why aren't you dressed? You gotta go on.

Don't tell me what I gotta do.

I'll knock 'em dead.

Come on, get your makeup on.

- Gotta get made-up.
- Yeah, come on.

Gotta get made-up.
Gotta get ma...

Shut up!

Do you want everybody in the theater
to know you're tight?

There you are. Made-up.

Overture, Mr. Shaw.

Wait a minute. You can't go out like that.

Who says I can't? Get out of my way.

Oh, so that's why you came back, huh?

Trying to keep me from going on.

Still trying to double-cross me, huh?

Just like you did with Clare.

Come on, king. Use your head.

I don't like you.

King!

Come on, boy. Come on.

On-stage, please.
On-stage, Mr. Shaw.

J whenever skies look gray to me j

j and trouble begins to brew j

j whenever the winter winds
become too strong j

j I concentrate on you j

j when fortune cries "nay, nay” to me j

j and people declare "you're through” j

j whenever the blues become my only song j

j I concentrate on you j

j on your smile, so sweet, so tender j

j when at first my kiss you decline j

j on the light in your eyes
when you surrender j

j and once again our arms intertwine j

j and so when wise men say to me j

j that love's young dream
never comes true j

j to prove that
even wise men can be wrong j

j I concentrate on you j

jl concentrate j

I and concentrate j

j onyou/

Johnny, what's the matter with king?

Don't worry. I'll tell you later.

I'll get him ready for his next number.

You won't say anything, will you?
Please, Clare.

Here, here.
You gotta help yourself a little.

What I want to know is, what happened?

You keeled over when you came off.

When I...

- When I came off?
- Yeah. You fainted in the wings.

You were pretty fried when you went on

and, what with all the turns
and everything,

you were lucky to get through the number.

Here.

Get into this.

Well, how was I? = swell.

Gosh, I don't remember.

I don't remember anything.

Say, what are you doing with my robe on?

Um. You almost drowned me when
I was trying to put you under the shower.

Here, take another whiff of this.

Great work, king. Keep it up, huh?

Oh, thanks, Bert.
Uh, you haven't seen anything.

Say, I must have been good.

How was Clare?

Here, let me fix that.

Stand still, will ya?

What's the matter? You sore
'cause that I'm putting the show over?

- On-stage, Mr. Shaw.
- Coming.

If you really want to see something good,

catch me in this next number.

Thanks. I've seen enough.

Clare! Well, well.

The more you know about women,
the less you know about women.

Gosh. I was beginning to think

I had a permanent lease
behind the eight ball.

Well, look. What did you think
of the notices? Nothing but raves.

- I'm glad you're satisfied.
- Oh, well, it... it wasn't all me.

I came to talk to Johnny and
you about last night. Where is he?

Johnny? He's gone.

Where?

I don't know and I don't care.

So, you don't care?

Well, if those newspapers
had printed the truth

this morning, you would've read,

"while king Shaw passed out,
drunk in his dressing room,

not even knowing
that the show had started,

a new star was born to Broadway,
Johnny Brett!"

Wha... what are you talking about?

I'm talking about
your first number, Mr. Shaw.

The number they're all raving about.

He handed you a career
on a silver platter.

And personally,
I don't think you're worth it.

- Good evening, pop.
- Good evening, miss Bennett.

There's your mail.

I gave the key to
your dressing room to Mr. Shaw.

- Mr. Shaw?
- Yes, miss.

Half-hour. Half-hour.

- Good evening, miss Bennett. Half-hour.
- Good evening.

Half-hour.

- Angel!
- Yes, ma'am.

- Give these back to Mr. Shaw.
- Yes, ma'am.

I'm sorry you didn't like my roses.

I picked them for you myself.
Well, what's the matter?

You'll never be able to go on.

Well, who cares?

Don't want to be able to go on.

You ought never to be allowed
in the theater again.

She loves me. She loves me not.

Where's Johnny?

Don't you wish you knew where he was?

Well, I know where he is,
but I ain't saying.

Where is Johnny?

Go on, guess. = where is he?

He's down at the dawnland ballroom,

right where he belongs.

- Bob!
- Yes?

Bob, king's in there drunk.

Take him to your office and keep him there

until you get word from me.
I'm going to find Johnny.

Drunk? But that's terrible! My show!

Johnny! Johnny!

- Clare! What...
- I've got to see you. I must!

Right after this is over, wait for me.

Clare! This isn't mine. Clare.

Clare, you didn't think I'd...
I mean, it's the other fella's.

- I mean, I wasn't...
- You mean, you weren't going to...

- Do you think I'd...
- Oh, Johnny, I was so...

I mean... Johnny, come on!

Hello? What's that?

They found Johnny?

They found him! They found him!

- Why, Mr. Casey.
- Oh, yes, well, come on.

Uh, what are you gonna do with the body?

Do you think he's still unconscious?

- Hm. And how.
- All right. Now, young man.

Now, you can consider
this your two-weeks' notice.

J when they begin the beguine &

j it brings back the sound
of music so tender j

j it brings back a night
of tropical splendor j

j it brings back a memory evergreen j

j to live it again is past all endeavor j

j except when that tune
clutches my heart

j and there we are,
swearing to love forever

j and promising never, never to part j

j what moments divine,
what rapture serene j

j till clouds came along to disperse j

j the joys we had tasted j

j and now when I hear people curse j

I the chance that was wasted j

j I know but too well what they mean j

j so don't let them begin the beguine j

j let the love that was once
a fire remain an Ember j

j let it sleep like the dead desire
I only remember j

j when they begin the beguine &

j oh, yes, let them begin the beguine j

j make them play j

j till the stars that were there
before return above you

j till you whisper to me once more j

j darling, I love you j

j and we suddenly know j

I what heaven we're in j

j when they begin the beguine &

j when they begin j

j the beguine j

J when they begin the beguine &

j listen to it bringing back
the sentimental sound

I a music so tender j

j bringing back that night »

j that night of tropical splendor j

j in the merry land of ours j

j it was, it was a memory evergreen j

j I mean the beguine j

j come on, let them play it j

j let them play the beguine j

j over and over, again and again
till the stars that were shining before j

jreturn above you j

j until you whisper to me
softly once more

j darling, I love you j

j and then we'll suddenly know j

I what heaven we are in j

j when they begin, begin,
begin the beguine

j begin beguine, begin beguine j

Here's your drunk.
He's as good an actor off as he is on.

- Who do you love?
- You! You, you, you son...

Oh, no, no! Johnny! No, no!

J I've got my eyes on you j

j so best beware where you roam j

j I've got my eyes on you j

j so don't stray too far from home j

j incidentally, I've set my spies on you j

j I'm checking on all you do from a to z j

j so darling, just be wise j

j keep your eyes on me j