All language subtitles for Glorifying the American Girl_1929.ENG

[orchestra: Traditional jazz]

Male chorus| I And in each every Kiss
There's an ocean of bliss §

♪ And our wedding bells
Soon will chime I

7 And 'I build her a nest
And I hope we'll be blest

& With a sweet, darling baby
And there may be more maybe

3 Every year just at Tulip Time I

J Sally, won't you come back [

J For our alley's not the same [

You can have your fame I

J But what we're after
Is your sunshine and your laughter

Come back to our alley, Sally

J Don't say no I

& A pretty girl

♪ Is like a melody I

4 That haunts you night and noon J!

7 She will leave you and then J

I Come back again

& A pretty girl

I Is just like a pretty tune I

1 No, no, no foolin' ®
Who, who do you love? §

&' Who are you thinkin' of?
No foolin' ♪

& No, na, no foolin' ♪

3 No, no, no foolin
Who, who do you miss &

2 When it's time to kiss?
No foolin'

4 I wonder who you
Really think you'll marry &

2 Don't blunder &

& With some Tom or Dick or Harry
No foolin' I

I Take me instead
But after we're wed I

3 Na foolin'

4 No foolin', no foolin'
Who do you love? 2

[Gloria] No foolin®
Who do you love? &

4 Who are you thinking of?
No foolin' ♪

♪ No foolin'
Who do you miss I

2 When it's time to kiss?
No foolin'

7 I wonder who you think
You're really marrying &

2 Don't blunder &

2 With some Tom or Dick or Harry &

I No foolin'
Take me instead ♪

J But after we're wed
No foolin' &

Hey. I want "Baby Face."

He wants “Baby Face.”

[chuckles] I don't blame him.

[plays flourish]

I Baby face I

I You've got the cutest
Little baby face I

I There's not another one
Could take your place I

Hey, this song was written for you, kid.

Shh. Don't tell anybody. It's a secret.

J God, it's something
Baby face &

You're a wise guy.

Oh, no! I'm Little Red Riding Hood!

Oh, what big teeth you have!

Woof, woof!

4 With your pretty baby face J

Hey, two.

Gee, I'm dead.

[Buddy] So am I.

Gloria.

Oh, Mother, you frightened me.

My feet are almost dead.

And I haven't half finished!

Oh, I'm so sorry, Mother.

I've got to have a little more money.

Hello, Mrs. Hughes.

Hello, Barbara!
How are you, little sweetheart?

Hello, Mrs. Hughes.
How are you feeling today?

Hello, Buddy. How are you? I'm fine, fine.

That's all I have.

That isn't half enough.

Aw, gee whiz, Ma.

Gee whiz, nothing.

Young lady, if you haven't got it,
you've got to get it.

- My feet are all...
- Gloria. Gloria.

Here, I can spare this $5
until you get paid.

Aw, Buddy, you're a dear, sweet boy.
Thanks so much.

- Goodbye, Buddy.
- Goodbye, Mrs. Hughes.

See you at home, Gloria.

I don't know how she does it,
but Mom certainly can smell money.

[Buddy chuckles]

Thanks, Buddy. I'll pay you back Saturday.

That's all right, Gloria.

Remember what I always fold ya...

you can have anything I've got.

Of course, I haven't got anything, but...

you can have all of it.

Thanks.

Oh, Buddy...

You remember the dreams
I used to have about the Follies?

Yeah.

Well...

I guess they were only dreams.

Why don't you try to get in again?

I've been thrown out of there
too many times now.

The only way they'd let me stay inside
is to have the joint quarantined.

-The first time was all right—
-Maybe you're right about that, kid.

- No more for me.
- Gee, that's tough luck.

Lookie, kids.
We're gonna have another outing!

- That's swell! When is it? Gee!
- Great!

[crowd singing upbeat song]

Come on, dear.
Let's sneak away on the lake, shall we?

Yeah, come on.

[song ends]

[crowd applauds]

Your beautiful tribute

has brought the tears to my eyes.

On this occasion...

the 41st anniversary...

of Heimer's,

of which I have the honor
of being your president...

[crowd cheering]

...of ten years...

of service, loyalty and cooperation.

With our proud duty to our community...

with the noble heritage of our past,

with the glorious promise of our future,

thrilling to that duty
of service and loyalty,

one for all, and all for one!

[enthusiastic applause]

One big, happy family.

We stand hand-in-hand,
shoulder-to-shoulder,

and back-to-back in this great fight!

[enthusiastic applause]

[band resumes playing]

But let us always remember

the customer is always right!

[enthusiastic applause]

But right or wrong,

our country needs us!

Gosh, Gloria,

isn't this better than sitting there,
singing our heads off to that old pretzel?

Mm-hmm.

Gee, I don't know.

When you're close to me like this, you...
You just burn me up.

I guess that's the same kind
of funny feeling I get, Buddy.

[Barbara] Yoo-hoo! Buddy!

-If we could only be like this, always.
Hmm.

- In a canoe?
- Anywhere.

A little flat.
And I'd come home to you every night.

- And you'd be waiting there...
- On, [ would, would 1?

Any old time I stay at home all day,
waiting for a man...

Yeah, but lots of girls do, dear.

Now, Buddy. You've been reading
your fairy tales again.

And the little princess
waited for her little Prince Charming.

No, darling. Not for little Gloria.

I want to go places and do things
before I settle down

and raise a lot of little passengers
for the subway.

Oh, Buddy. Let's sing your new song.

How does it go?

-I When luck defies you I
-Wait, wait, I know.

2 When luck defies you &

[continues, indistinct]

[woman] Yoo-hoo! Buddy!

1 Just look around
And 1 be there §

'When you go falling &

&' Don't waste your time
In calling 7

1 Just look around
And 1 be there §

[band playing in distance]

- “What's that?
- Oh, just the band. What do we care?

Listen, that's hot.
Let's go back and dance.

No, gorgeous, it's swell here.

Come on, big boy. Start the engine.

Say, I bet you a nickel
I can kiss you without touching you.

All right. I bet ya.

- Well, smarty, you lost.
- Know it.

- I owe you a nickel.
- Buddy! Come on, some speed.

[Gloria singing along]

Ladies and gentlemen!

The first act on the bill will be

Miller and Mooney... dancing team.

[upbeat music playing]

Come here. Say, I like you.

Who are you, anyway?

I am woman, one of nature's
loveliest pieces of architecture.

([crowd chuckling)

Oh, yeah? Gee, that's great.

I'm a building inspector.

[man] Some gal.

- Say, do you know what I call my girl?
- No, what do you call your girl?

I call my girl Grapefruit.

Why do you call your girl Grapefruit?

"Cause every time I squeeze her,
she hits me in the eye."

You're so funny.

Hey, watch your feet, you big ham.

Ah, button up your face,
your nose is out too far.

7 Little girl
No wonder you're so happy &

I Little boy
No wonder you're so gay J

I Let me take you strolling
In the moonlight

2 Oh, I know at jolly game
That we can play!

4 Billing and cooing
While we go canoeing &

& Around a little sea we go

I Hugging, kissing
Oh, you don't know what you're missing &

As you watch
The rippling waters flow

7 Laughing, singing
To each other clinging &

2 With the moon
That's softly shining up above

7 Kiss her once or twice
Gee, boys, now, ain't it nice?

I While spooning
With the one you love &

1 Boys, now ain't it nice? I

I Spooning with the one you love J

What's the idea of butting in on my bow?

Your bow? Hey, bozo,
I always finish with you, don't I?

As far as I'm concerned,
you're finished to a T.

That finish routine
makes a big hit with me.

Well, I got along a darn fine better
before I married you.

Yes, you got along before you married me,

swishing your tail in burlesque.

([band plays)

([whistles)

Listen, Belle, ( was only kidding you.

You didn't take me seriously,
did you, kid?

Say, I didn't mean that.

[audience whooping]

Forgive me this time, will ya?
Just this time, honey.

([audience shrieks)

([audience applauds)

Gloria, why don't you try
that cute little dance you used to do?

- Oh, na.
- Come on.

We gotta go on. Yeah, we do.

Attagirl, Gloria.

Come on, Gloria. Come on!

Say there, kid.

You're some cute dancer.

Thanks.

I can do much better than that,
but I haven't practiced for years.

With a little practice, I think you'd
be able to make the grade in the big time.

You really think so?

I should say so.
Where can I get in touch with you?

Say...

Oh, don't worry, buddy. Strictly business.

Well, I... I'm Gloria Hughes.

And I work in the song department
at Helmer's.

Say, I'd like to look you up.

You mind if I show you
some of my new dance steps?

No, I'd love it.

- Okay with you, sonny?
- My name isn't sonny.

Say, I didn't ask you
to climb up on my knee.

It's Buddy.

Okay, Buddy.

Time step.

I can't get that first part right,
where it starts...

2 When... &
[plays melody]

I think it's great just that way.

Yeah? What do you know about it?

Well, I know the things that I like.

And one of them is your song.

[increases tempo]

[vocalizes melody]

- Geez, it's the boss.
- Go on, Buddy. That's swell.

Geez, it's the boss.

What's the idea? Nobody's singing here?
Where's Gloria?

Why, she had a bad toothache
and had to go to the doctor's.

I mean, the dentist.

Oh, Barbara.

-Yes, sir.
“Where's Gloria today?

Uh... [chuckles nervously]

Her grandmother died this morning.

She had to go to the funeral
this afternoon.

[piano thuds]

Well, she can go to her own funeral now.

I'm sick of these girls walking
in and out of this place as they please.

And when she comes in, tell her
not to hang around for a check.

We'll mail it to her.

Gee, Buddy, did you hear what he said?

I was afraid this was
gonna happen to Gloria.

I knew she was spending
too much time with that Miller guy.

Lackawanna-6100.

[telephone rings]

Sheet music.

Hello, Buddy? Hey, Buddy, brace yourself.

I've got some great news for you.

We've just been booked for 20 weeks.

- Gee, Barbara, they made it!
- Oh, great!

But this is the greatest news of all.

We leave tonight at 8:00 for the West.

Yeah.

Yes!

Gee, Buddy. Aren't you happy?

And you're the first person I've fold.

I've got to run and pack now, dear.
Hurry over as soon as you can.

I'll be there.

Goodbye.

Golly, that's wonderful.

Yeah.

Wonderful.

[plays somber melody]

[horns honking]

Sections 5 and 7 on the Chicago.

([man) Better hurry. Only got a minute.

He isn't here.
Something must have happened.

Come on, Gloria. We've only got a minute.

[conductor] Board!

Barbara. Pay for this, will you, please?

Oh, Buddy! [Sobs]

Damn it.

You better get that piano player
out of your mind.

He never did anything for you.

What of it?

Now, Gloria.
For instance, take Mr. Miller. He's—-

Yeah. You take him.

Well, if it wasn't for him, you'd still
be yelling your head off at Heimer's.

Am I any better off now?
Eating a lot of greasy food,

one cheap hotel after another,
playing five a day.

- “Well, you make a lot of money.
- Yeah, a lot of it [ get.

Well, of course,
you'd only spend it foolishly.

- I'm saving it for you.
- Yeah, I know.

A lot of thanks I get
after all I've done for you.

Didn't I raise you and slave for you?

[mockingly]
And worked my fingers to the bone.

Yeah, I know that old story too.

[Mrs. Hughes sobbing]

Oh, I'm sorry, Ma.

I appreciate
everything you've done for me.

I'll try my best to forget Buddy.

Oh, Gloria, darling.

You always were a good, good girl.

I've got to go to the drugstore
before it closes.

Hurry now, dear.
You only have a few minutes.

Good evening, Mr. Miller.

Oh, hello, Mrs. Hughes.

I'm on my way 10 the drugstore.

Can I get you some more corn plasters?

No, thanks, Mother.

I've got enough to last me
another thousand miles.

[bath laugh]

That old dame gets in my hair.

[orchestra plays]

2 When you forget to remember &

It's a wonder you wouldn't knock.

Aha. It is often said
a boost is better than a nap.

Well, smarty, you can just
boost yourself right out of here.

Now, now, gorgeous. Don't get violent.

- Please, I'm in a hurry.
- Just look at those pretty lips.

How about a little kiss?

How about a little bite instead?

Come on.
Cut out the wisecracking, will ya?

I like you a whole lot.

Well, let it end there.

But I can't, baby.
I'm just nuts about you.

Gee, every time I lock at you,
I just go daffy.

- Please. I'm in a hurry.
- Gloria, I'm crazy about you.

Don't do that.

I'll make you like my kisses,
you little devil. [Chuckles]

Now, you get out of here, and get out
quick, before I start throwing things.

Let me tell you something, baby.

I can get another Mooney for this act
overnight.

And if you're gonna get fresh with me,
you'll find yourself

back in the alley where I found you.

Hey, gorgeous. Come here.

Oh, how do you de?
You're Mr. Miller, aren't you?

You said it, baby.

I'd like to have a little talk with you.

Won't you come into my office?

You know, baby, I got a load of you
from the wings yesterday.

And I think you're plenty hat.

Oh, Mr. Miller.

While I was watching your routine work,
I got an idea.

How'd you like to get out of that line
and team up with a real act?

Oh, Mr. Miller!

[Miller] You know, Mooney and I
don't hit it off so well together.

Besides being slow on her feet,
she's got a bad disposition.

And I thought maybe
you'd like to take her place.

Oh, Mr. Miller!

[Miller] Say, I've got an idea.

How would you like to come up
to my place after the show

and we'll talk this thing over.

You never can tell around here.
There are too many big ears.

Well?

What do you say?

How about a little kiss
to seal the bargain?

What's the matter?
Did you and Miller have a fight?

I just heard him talking to another girl
about taking your place.

- When?
- She's in there now.

You must have done something
to make him mad. What was it?

Oh, that dirty bum sneaked in here
and started one of his mauling scenes.

I got a little sore
and I told him where to get off at.

I knew I shouldn't leave you alone.

Every time I do, you mess things up.

What are we gonna do if he kicks you out?

I'm sorry, Ma,
but that's not part of our act.

- [knocking on door]
- [man] Miller and Mooney on next.

- All right.
- Hook me up quick, will you?

Hello, hello.

[man] Mr. Miler, you're on.

Yes? How am I doing?

- [Not bad.
{both chuckle]

Well, we have just about enough money
to get us back to New York.

And if you ever open your mouth again,
I'll put my foot in it.

All right.

I'm sorry, Mr. Miller. I didn't mean that.

That's the last time you're gonna
bum me up and knock me cold.

I was only joking.

All I want you to do is go on
and do the act.

[upbeat music playing]

Is this the act you want to see,
Mr. Sharpe?

That's the new Mooney.
I wonder how they're hooked up.

I don't suppose they're hooked up at all.

I understand he has a new Mooney
every few weeks.

[audience applauding]

& Don't think your work is over
At close of day J

2 When night comes "round
You mustn't stop to rest &"

J Put on your patent leathers
And make your way

2 To where your feet
Must take their dancing turn &

4" Heels burning up, toes turning up
Sparks flying around J

2 When you get those old hot feet
To heat up the ground »

I Shoes popping and knees flopping
There's no stopping your feet I

2 And a big asbestos seat
Is all that you need &

[continues, indistinct]

J Put your old hot feet
That beat the beat on the ground 2

How do you like the act?

All right. Let's go back and see them.

Oh, Mr. Miller. I'm sorry about Gloria.

But I'm sure I can fix everything.

- Oh, you can, can you?
- Yes.

Well, there's nothing to fix.

Hey, Danny. Danny.

Did you know Sharpe was outside?

- You mean Stanley Sharpe, from Ziegfeld?
- Yeah.

Old boy Stanley, en?

I guess Ziggy sent him on
to get me to sign for next season.

He thinks because I'm playing this town,
he can get me for coffee and cake money.

Well, he'll lay it on the line too, baby.

“This is Miller speaking.”

Oht

Hello, Mr. Sharpe.

I'm Miller.
You know, Miller of Miller and Mooney.

- Yeah, I just caught you.
- Oh, yeah?

How'd you like it, eh? Pretty good, huh?

Yeah. By the way, how about Mooney?

Oh, money? We can get together
on that, all right, Mr. Sharpe.

How are you hooked up?

You know. I manage to put away
a little something every week...

No, old man, you got me wrong.
I mean the girl, Mooney, your partner.

[people laugh]

Oh, I see.

You mean... [chuckles]

We're hooked up all right.

You know, partners.

Of course,
the kid's a little new yet, but...

I think with a little more work,
I'll make her pan out all right.

Where is the girl?
I'd like to have a chat with her.

She had to duck
right after the performance, Mr. Sharpe.

Dancing for one of those big parties.

Didn't even have time
to change her costume.

Too bad. I'd like to have seen her.

Oh, I'll tell her you called.

I'll bring her around to see you,
Mr. Sharpe.

I suppose you're at the Blackstone.

No trouble.
I'll get in touch with her later.

Oh, no trouble, Mr. Sharpe.

Say, I'm tickled to death
to do it for Ziegfeld.

Well, all right.

You were right, Danny.
Make him put it on the dotted line.

- Let him know it's Miller speaking.
- [people laughing]

That was just Sharpe's way
of trying to beat me down.

[both sobbing]

Before I'd let him touch me,
I'll go back to Heimer's.

[sobbing] I guess that's where
you'll have to go now.

And the act was going so grand.

I know it.

You won't get applause like that
down at Heimer's.

Aw, gee, Ma. I'm sorry.

I thought I told you to knock
when you came in here!

[Mrs. Hughes] Gloria!

Now, Gloria, why do you always pick on me?

Mr. Miller, you don't understand Gloria.

She was only playing with you,
not picking on you.

“Weren't you, Gloria?
Uh-huh,

Well, I'm certainly glad to hear that.

For a while, she had me fooled.

You know, Mrs. Hughes,

Gloria and I just had a little spat.

Oh, Mr. Miller, that isn't anything.

Everybody has a spat now and then.

[both chuckle]

Well, here's what I was thinking of,
Mrs. Hughes.

In order to protect Gloria in the future,

in case these little spats
should occur again,

I was thinking we ought
to have an agreement.

You know, a partnership.

Oh, Mr. Miller.

I just think that's lovely of you
to have Gloria's interest at heart.

And I certainly think a contract
would be fine for both of you.

Don't you think so, Gloria?

Yes.

But why the sudden change?

A little while ago,
you wanted to kick me out on my ear.

Aw, gee whiz, Gloria.

Couldn't you see I was only fooling?
[laughs]

([Mrs. Hughes laughs)

Yeah, I knew it all the time.

But I don't want to sign any agreement.

Oh, Gloria. Don't you see that
Mr. Miller's just doing it for your good?

Well, if Gloria feels that way about if,
I wouldn't want her to sign.

Mr. Miller, just a minute, please.

I knew it.

After the way I've worked for you
and slaved for you, what do you do?

You never think of your poor mother.
[sobbing]

Al right, Ma.

I sign.

You know, Gloria, after all,
it's you I'm thinking of.

I worked dam hard
teaching you my routines.

All right.

If its going to be a partnership,
we'll make everything 50-50.

-50-507
-50-50.

Oh, Gloria.

I work just as hard as you do,
and I want half of everything.

- Nothing doing.
- No contract.

Oh, well...

What's the difference? That's okay.

Well, here's the game.

“It is mutually agreed...

that we are equal partners

in the team of Miller and Mooney...

and will split all earnings...

biting...

et cetera...

50-50...

for a period of five years'...

- Five years?
- [Mrs. Hughes] Why, of course, Gloria!

[Miler] Certainly.

All right.

“...from the above date.”

[crowd chattering]

([man) Porter!

Hey, Buddy. I can't see a thing.
Can you see her?

No, I can't.

Gloria! Gloria!

- You look like a big star.
- [laughs]

No, I don't. I had a marvelous trip.

Damn it.

[posh accent]
Gloria! I say, Gloria!

Oh, I might have known something
like this would have happened.

[normal voice]
Ain't it awful? It just makes me sick.

Mo, it's lousy. Let's ankle out of here.

All right.

Stage door, New Amsterdam Theater.
43rd Street.

Buddy! Buddy! Buddy!

[people scream]

[people shouting, indistinct]

[officer] Get an ambulance! Quick!
Get her back!

How annoying!

I suppose some hayseed
thought he was back on the farm.

I guess you're right, Mother.

[horns honking]

All right, boys. Come here. What do
you say? Double or nothing for the tip.

- Tails.
- Heads. You lose.

Boy, New Amsterdam Theater.
Stage door.

Gee, I wish you
didn't have to go to rehearsal

and we could be alone tonight.

Yes, dear. It would be nice to be alone.

But this is much more important.

Yeah, if that's what you think.

Why, Buddy!

This is my big chance.

I know it, dear.

Gee, Buddy. Just think.

Wouldn't it be great
to have my name in lights?

Yes. It'd be great.

What's happened, Gloria?

You seem different.

Oh, Buddy. Don't be silly.

[horns honking]

[crowd murmuring]

- ([bell ringing]
- [siren walling)

Remember the dreams we used to have
about the stage when we were kids?

You remember how Mike used to throw
Barbara and us out of the New Amsterdam?

I should say I do.

[siren wailing]

[{Gloria exclaims] {bell ringing]

Those things
make cold shivers run up my back.

Yeah, they give me the creeps, too.

Where were we?

Oh, we were talking about Barbara.

Can you imagine us running off
and leaving her?

Why? What do you mean?

- Was she down there to meet me?
- Yeah.

Oh, Buddy.

I guess she'll get home all right.

- Got that end all right?
- Okay.

- Oh, Buddy, doesn't this look familiar?
-'ll say so.

[piano playing]

[dancers' shoes tapping]

-Isn't that Mike?
I think so.

Sure, it's Mike.

You don't remember us, do you?

You used to throw us out of here
when we were kids.

And I'll throw you cut again.

You will not!

I'm Gloria Hughes!

- Little Gloria Hughes?
- Yes!

But now I'm Mooney, of Miller and Mooney.

I knew you'd make good.

You were always a fresh little egg.

Well, I guess you'll
be seeing a lot of us now.

Oh, boy, I'm scared stiff.

Come on. You'll be all right.

Hold it

What's the matter with you girls?

Are you afflicted with housemaid's knee?

Raise your legs on that kick.

You work like a lot of rheumatics.

- All right, come on. We'll try it again.
- Gloria.

What do you mean
by running away and leaving me?

Oh, Mother. I was so excited.
I couldn't wait for you!

Hello, Mrs. Hughes. How are you?

Oh, it's Buddy! I suppose
you're still down at Heimer's store.

- Yes, I am.
- I thought so.

Say, Dad...

Who's the old gray-haired guy out there?

That's Pop Morgan, the director.

Oh.

[Morgan] Hold it.

Girls, girls,
what is the matter with you today?

Why, you're positively stupid!

Why don't you listen to me?

- (All right. We'll do it again.
- [music resumes)]

So I says to this guy, “Nerts,” I says.

- Oh, you didn't.
- Didn't, huh?

He can't get away with that stuff with me.

My God, my feet are killing me.

[Morgan] Come on, girls.
Pep it up, come on.

0Oh, lay an egg, you old coot.

That's one director you can call
what you damn please.

He's as deaf as a post.

But, boy, how he can read lips.

He keeps his ears glued to the piano.

Getting vibrations, or something,
the old coot.

Come on, come on.
You're like a lot of old washerwomen.

Blow it in your hatch,
you old, white-headed rooster.

Step out of that line.
I saw what you called me.

I didn't call you anything.
Really, Mr. Morgan.

I just said I was one
of your greatest boosters.

Boost yourself to your room.

I'm not gonna stick around here all day.

I think I'll tell that bird who I am.

Yes. Go ahead.

A little pep now, girls. Come on.

Hey. Hey.

Hey!
“Who are you "heying"?

This is a team going into the show.

A theme? What theme?

No, a team. Miller and Mooney.

I'm Miller. You know, Miller,
of Miller and Mooney.

You're a team, huh?
Where's the rest of ya?

- Here I am. Hello, Mr. Sharpe.
- Hello, Miss Mooney.

This is Mr. Morgan, the director.

Mr. Morgan, this is Miller and Mooney.

How do you do?

Say, do you want us
to do our stuff for ya?

Well, you certainly can't dance
with those clothes.

-Get 'em off.
“Where can I change?

Anywhere on the stage.
Over there, anywhere.

Oh, Buddy, will you
please bring me my bag?

All right, girls. Give me the exit step.

I'm all set the way I am.

Put it there, Buddy.
Open it quickly, will you?

Listen, Mike. Tell that laundryman
to be careful of the laundry.

He lost two of my Pullman towels
last week.

[chuckles] Oh-ho, that's a good one!

Gloria. I was thinking,
if you get a chance, would...

Would you mind talking to him
about my song?

- Your song?
- Yeah.

Gee, Buddy, give me a chance
10 get myself set first, will you?

Well, you needn't get sore about it.

All right, Charlie,
here's the first number, “Hot Feet.”

Play an 8-bar introduction and two chords.

- And don't forget the 8-bar tag.
- Yes. And build up the finish, will ya?

- Okay, okay.
- Make it good and hot.

Nice and peppy. Let's go.

[plays “Hot Feet']

All right, that'll do.
I can imagine the rest.

Come on, girls.
Let's have that last chorus.

Wait a minute. Say...

Ain't you gonna give me a chance
to show you my single?

I don't want to see your single.

- I'll knock "em dead!"
- All right, Joe. Hit it.

I'll knock 'em dead, I tell ya!
I'll knock "em dead!"

I'll knock you dead
if you don't stop veiling at me.

What's the matter, Mr. Sharpe?

I'm sorry, but if Pop Morgan
doesn't like you, that's all.

But we signed a contract with you,
Mr. Sharpe.

You've got to stand behind us.

I know, Miss Mooney.
But it can't be helped.

Listen, Mr. Morgan. I'm not trying
to tell you how to run your show,

but we came here to show our stuff,
and I want a chance to do it.

Well, just what can you do?

Well, I can do anything.

I can dance that chorus. Or any chorus.

All right, let's see it.

Will you please take that mat up?

Boys, pick up this mat.

I've got to dance now.

I've waited all my life
for this opportunity

and I'm not gonna let it get away from me.

Gee, are you ready for the other one?
Come on now, hurry.

Don't rush me.

Remember, Gloria.
I'll be plugging for you.

Yes, Buddy, I know.

- Are you all right now?
- Oh...

Would you please play a waltz?

Why, I'd even “play house” for you.

[music ends]

Well, what do you think?

[whispering, indistinct]

-See? I told you all along she was great.
Quiet!

She'll hear you.

That guy knows as much about dancing
as I know about building a bridge.

Mother! I made it!

Oh, I'm so proud of you, honey.

Oh, Danny,

I'm awfully sorry.

So that's Miller and Mooney.

[chorus girl] Hmm! They can't kid me.
That's Mama and Papa.

Really too bad, Mr. Miller.
And after all you've done for Gloria.

Say, don't worry about me.
I'm not worried.

Remember, we're still partners.

Still partners?

Certainly. Don't you remember
that little agreement? For five years?

Five years?

Mm-hmm.

And we split everything 50-50.

-50-50?
Mm-hmm.

You know, that was your idea, Gloria.

And I, being big-hearted, agreed.

Now all I have to worry about
is your future.

Now you see the mess we're in?

Well, I guess it's all my fault.

Buddy! Aren't you going
to congratulate me?

Of course I do.

Why, Buddy!

What's the matter?

Nothing.

Oh, you'll be busy,
and I guess I'll go along.

No, don't go.

Yes, I... I think I'd better.

Goodbye, Gloria.

[playing somber melody]

[knocking on door]

Good evening, Buddy.
I've been trying to get you for hours.

And then [ guess I dozed off
and the piano woke me up.

I'm awfully sorry, Miss Schultz.
I didn't realize it was so late.

Oh, t'ain't that.
But I've got some bad news for you.

- Bad news?
- Barbara is seriously hurt.

She's in the emergency ward
at Bellevue Hospital.

What?

And she's calling for you.
I guess you'd better rush right on over.

Oh, telephone the New Amsterdam Theater
and tell Miss Hughes about it.

Miss Hughes? All right, son, I'll phone.

[piano playing]

Buddy...

Buddy...

You...

wait for me, Buddy.

Why are you always running away from me?

I'll never run away again, dear.

Oh, I was afraid you wouldn't get here.

It'll be all right.

I only got word a minute ago.

Don't leave me.

You'll never leave me again,
will you, Buddy?

No, dear.

Never.

How do you do, ladies and gentlemen,
this is Norman Brokenshire

with the Columbia Broadcasting System.

Tonight we're broadcasting
the gala opening

of Florenz Ziegfeld's greatest show,
Glorifying the American Girl.

I wish you could be here with us tonight.

Every big name in town is here.

There he is.
There he is, Florenz Ziegfeld.

Get a good look.
He's with his wife, Billie Burke.

Ah, Ziegfeld is staging this
just like a movie.

Radio and everything.

[chuckles] And everything.

There's Noah Beery.

Oh-ho, he's hiding behind the whiskers.

Here comes Adolph Zukor,
the president of Paramount Pictures.

Oh, here's another marvelous writer,
Ring Lardner.

You know him, Al.

([audience chattering)

Here comes a big shot.
Here comes a big shot.

Banker, philanthropist, art patron.

I want you to see Otto Kahn.

And here's Texas Guinan.

Here's Texas Guinan.
And tonight, she's the sucker.

She's paying $25 for a seat.

Here comes Mrs. Walker
and her husband, Mayor Jimmy Walker.

Hurry up, Jimmy. Hurry up, Jimmy.
You'll be late again.

[orchestra: Upbeat]

[orchestra: Ballad]

[chorus singing ballad, indistinct]

([singing continues)

[man] It's Rudy Valée. It's Rudy Valée.

[crowd clamoring]

Rudy Valée. It's Rudy Valée.
It's Rudy Valée.

Rudy Valée. Rudy Valée.

[orchestra: Upbeat]

I Some gins
Are quickly forgotten ♪

2 And gone with the dawn
Of the day &

I Some you remember
Like last glowing embers ♪

4" Haunting your memory
And dreams J

J For I'm just a vagabond lover

2 In search of a sweetheart
It seems &

& And I know that someday
I'll discover her ♪

' The girl of my vagabond dreams!

J For I'm just a vagabond lover

2 In search of a sweetheart
It seems &

& And I know that someday
I'll discover her ♪

' The girl of my vagabond dreams!

You know this means an awful lot to us.

Yes, Danny. I know.

Oh, my, what lovely flowers.

Yes, aren't they beautiful?

I was remembered
by every department at Heimer's.

(My word! Heimer's! [Chuckles)]

You know, it reminds me
of the night I opened in Paris.

Paris, Kentucky, Gloria.

[piano: Ballad]

7 Life was blind to me
Now it's kind to me &

♪ Love has opened my eyes I

I Since it came to me
Life's a game to me I

I With the sweetest surprise I

J I never knew
How good it was to be I

2 A slave to one
Who means the world to me &

I loved that man From the start

2 And way down deep In my heart

2 know he loves me &

I Heaven knows why ♪

J And when he tells me
He can't live without me &

2 What wouldn't I do
For that man? &

I He's not an angel or saint ♪

& But what's the odds
If he ain't J

J♪ With all his faults
I know we'll get by I

I'll be so true to him

2 He'll never doubt me

2 What wouldn't I do
For that man? &

♪ If I could only rest
My weary head J

7 On his shoulder &

I I'd close my eyes
Right there and wish

I never grow older

2 I'll never leave him alone

& I'll make his troubles
My own J

I love that man
Like nobody can &

J I'm just no good I

I When his arms are around me ♪

2 What wouldn't I do
For that man? &

2 Oh, what wouldn't I do
For that man? &

[audience applauding]

Well, Gloria. This is the big night,
and I know you'll put it over.

Oh, I hope so.

I predict a great success for you, Gloria.

You have nothing to fear.

I want to thank you, Mr. Morgan.
You've been so kind and considerate.

- I do appreciate it.
- Thank you. It's been a pleasure.

- Good luck, Gloria.
- Thank you.

- Good luck, Gloria.
- Thanks, Danny.

[{man] Curtain's up, Miss Hughes!
Mother!

Oh, darling, you're going to be
wonderful tonight.

[all chattering]

Don't be scared now. You'll make good.

I was frightened a little too when I first
came with Ziegfeld, but I'm over it now.

Besides, they're a great audience.

I've got all my relatives out there.

And a few gentiles, too.

- Now, go after it, kid. You'll make good.
- Thank you, Eddie.

[orchestra: Romantic]

([applauding)

[ballad resumes]

[continues, up-tempo]

[theme from Swan Lake]

[all exclaiming, chattering]

That was wonderful! Congratulations!

[all chattering]

Mother, get them out.
I have a quick change.

- I'm sorry. You must all go.
- Thank you!

I'm sorry.

- Gee, Eddie Cantor is next!
- Really? Al right!

Oh, there you are, my boy.

You've got the finest suit of clothes
in the whole place, I'm telling you.

Wait, wait. No, no, no,
don't raise your arms.

I'm asking you, please,
don't raise your arms.

You've got the finest suit
in the whole place...

Moe! Moe! Ain't you got that package
wrapped up yet?

Go ahead, kill me. Go ahead, kill me.

Here you are, my dear man.
I want to tell you something.

That is the best suit of clothes
we've got in the whole house.

You won't be able to wear that suit out.
You'll be ashamed, I'm telling you.

You've got the finest suit of clothes
in the whole place.

Oh, don't listen to him,
he's a damn fool. Go ahead.

I'm telling you, you've got
the finest suit in the whole place.

Come in again. Come in again sometime.

- Moe. Listen to me, Moe.
- What's the matter?

Don't you tell anyone
that I am a damn fool.

Don't you ever tell anyone
that I am a damn fool!

I didn't know it was a secret.

Oh, hello, my friend!
Hi! I'm glad to see you again!

Come in! How are you, my little lemming?
What can I do for you?

- I'd like a nice, classy suit.
- A nice, classy suit. Exactly!

Uh, college boy style.

College boy style! It suits you perfectly!

Would you mind coming upstairs,
walking up to our clothing department?

- Our elevator just broke down.
- Not at all.

And I want to let you in
on something very secret.

We have just received a shipment of goods

that was supposed to go
to the Copenheimer company.

You know the Capenheimer company.
The best clothes in the whole world.

Now, I'm going to show you
some styles, some material.

Some chutz that you'll be surprised.

Well, here we are
in the clothing department.

- Say, you've got quite a building here.
- I should say so.

I want to tell you something, my dear man.

That's the best suit of clothes
we've got in the whole—-

“What's the matter with you?
What's the matter?

- It's the man's own suit!
- Go ahead, kill me. Go ahead.

Take off your hat and coat, my friend.
Make yourself perfectly at home.

That's the idea.

Let me see. You take about a 46 stout.

Now, I've got for you here
something very beautiful.

Here is a lovely golf suit.

A very handsome
English Bucking-suit, the latest cut.

Comes right straight from the Piccadilly.

- Oh, lovely!
- Look at those shoulders.

- How that fits him!
- Wonderful!

Take a walk around.
See how you feel in the suit.

Just move around easy.

There's a nail sticking me in the back.

That's not a nail.
That's our own invention.

You know how you go into a restaurant,
you hang up your umbrella and hat,

and you get indigestion,
you think somebody's gonna steal it?

This is our own invention.
When you take this,

you can take your umbrella and your hat
and you hang it up,

and nobody can steal it from you.
Take a walk.

Take a walk. How does it feel now?

Its all right,
but I don't eat in restaurants.

Look, eat in your Aunt Sarah's house.
I don't care where you eat.

But you take the suit.
1 tell you what you do.

Are you a sport? Do you play casino?

You take the suit
and we'll send you home in a taxicab.

Call him a taxicab. All right?

- Want a belt in the back.
- All right. You're gonna get a belt.

Here is something very lovely.

Here is a very lovely sack suit.

Here is a suit that only the gentlemen,
of the whole people, is wearing.

Of course, the buttons don't meet, but...

I don't think
they've ever been introduced.

Don't tell jokes.

You see what this suit is?

It's the latest Palm Beach model.

All the people is gonna wear
two-button sack suits this season.

- I like the one-button.
- One-button?

We're here to please you, my dear man.
That's our job.

- How do you like that?
- Too tight for me.

Too tight. All you've gotta do is tell me.
Turn around.

Go ahead. Now, take a walk.

How does that feel?

It's all right,
but a little cool in the back.

Cool! That's what you call
the cooling system.

That's the new Frigidaire.

With a suit like this, you couldn't
get hot under the collar, you see?

You like the suit?

He likes it. He'll take t?
You'll take it.

He'll take it. He'll take the suit.

- I want a belt in the back.
- All right.

Listen. Did anybody see you come in?

That's all I wanted to know.

Listen, I have for you
a very pretty smoking jacket.

I think you'll like this.

Every gentleman wears
a smoking jacket like this...

- It's a little too big for me.
- Too big? All right. Moe, alterations.

What do you mean alterations? Where?

-He wants alterations.
“Where do you need alterations?

He don't need it.

That fits him like a kimono.
What's the matter with you?

Look at that! Look at that!
What's the matter with you?

Don't you know what it is?

That saves you from buying mittens
in the wintertime.

Can't you see that we're saving you money?

- No, I'd like to have it fixed up.
- You want it fixed up?

So I'll fix it up.
What have we got to do'?

All right. Take this down.

- Raise the shoulders.
- Raise the shoulders.

- About six inches.
- Six inches.

- Fix the lapels.
- Fix the lapels.

- The two lapels.
- Both lapels.

- Give him a cut here.
- A cut here.

- Give him a gash here.
- Gash on the left.

- And give him a slice here.
- Right in the middle, a slice.

- Above the appendix.
- On top of the appendix.

I haven't got an appendix.

Have you got tonsils? Why are you
telling me what you've got there?

Let's talk suits here.
You want patch pockets?

- You want patch pockets? You want patch?
- Pockets?

Patch pockets, you want?

Patch. You want patch? Give him patch.

You'll get patch. You'll get patch.

- Give him patch there.
- Patch pockets.

- How do you like that?
- How much is it?

- Take a look at that tag.
- TOT.

- [$26.50.
{laughs] That's too much.

- $26.50. $26.50.
- “Too much.”

Let me explain to you.

The suit cost us alone, wholesale, $24.

We are paying rent here, a year, $1,075.

It costs us for gas and electricity
every month $35.

We are paying the police protection,
they shouldn't break the windows, $25.

Last winter, my wife was sick.
What did It cost me?

$320.

I'll charge you $15. Here, add it up.

What could be making profit
on a suit like that?

Say, maybe I don't have to have it fixed.

That's what I'm telling you,
you don't have to have it...

He's intelligent.
I could tell by his hair.

Of course you don't have to have it fixed.

You know why you don't
have to have it fixed?

Because you don't have
to have it fixed. [Laughs] Some joke!

- You like it? You'll take it.
- [stammering]

Listen! Say “belt” and I'll kill you.
I'm telling you.

I'd like a blue serge suit.

Oh! All right.
We're here to please you, my dear man.

If you want a blue serge suit,
here you are.

Here is a nice blue serge suit for you.

Blue serge!

Yes, sir. That's what
you call pale navy blue.

- Pale navy blue.
- Pale navy.

Looks like banana color to me.

Do you want the suit or do you want
vegetables? What are you looking for?

- It's too light for me.
- You want it dark?

A dark-blue double-breasted suit.
He knows what he wants.

Here's a dark-blue
double-breasted suit for you.

- [{exclaims]
- That's the best fit in the whole store.

- That's what you call two-in-one.
- That's lovely.

Two-in-one.

It's a suit and an overcoat combined.
You like the suit like this?

- I like a blue serge with a white stripe.
- With a white... Ah!

With a stripe, with a stripe.
Say what you want.

Here you are. How do you like that?

- I look like a zebra.
- Don't talk like a jackass.

What is a zebra? A sport-model jackass.
It's nothing.

You like the suit? My dear man,

you look ten years younger to me.

You're just a kid.
I wish I had a balloon to give you.

I'll tell you something.
You're a different man.

Your own friends wouldn't
recognize you in that suit.

Your own mother
couldn't recognize you in that suit.

- That so?
- Really! Take a look in the light.

Go outside. Take a look at the material.
That's all you gotta do.

That's all right. What I like about this
is it's strong material.

- Yes, sir?
- I've always liked strong clothes.

What... What can I do for you?

[I just tried this suit on.
{exclaims]

You see? Even I didn't recognize you!
How do you like that? [Chuckles]

[customer] Well, I want
a belt in the back.

You want a belt...

Please, wait a minute.
Where are you going?

Stop a minute. Don't be so excited.
Here, take that.

Look, I've got for you here
a very beautiful hunting suit.

There is what I call a hunting suit.

The finest hunting suit,
if I have ever seen, in this place.

- A hunting suit?
- Yes, a hunting suit.

Why do you call it a hunting suit?

We've been hunting for the pants
for two years.

Now, wait a minute. Here is the hat
that goes with that suit.

How do you like that hat? Good?

- It's too big for me.
- Give me your hand. Give me your hand.

What's too big about it?

I'm telling you, for two years
you could wear that hat.

Take a walk. For two years, my dear man,
you could wear that hat.

- Yeah, but my hand will get tired.
- You change your hand.

You've got to tell them everything.
Well, how do you like it?

- Well, I'll take the hat.
- And the coat?

- No.
- And the coat.

Listen, they've been together
for two years.

Why should you separate
the hat and the coat?

I'll take the hat,
but I want to look in the mirror.

[chuckles]

Why should you look in the mirror
and get discouraged?

-Can't you take my word for it?
“Would he lie to you?

We're not in business for that.

Well, how do you like that?
Let me tell you something.

When you're wearing a suit like that,

you will be the talk of the town,
I'm telling you.

You could go to a baseball game,
and you'd stand up and holler,

“Hooray for Babe Ruthie!
Knack a home run!”

And the people would say,
“Who is that fresh man?”

They'd see you and say, 'He's not fresh,
he's wearing a Copenheimer coat.”

You see what I mean?

You go to a dance at night.
You come up to a woman and say,

“Pardon me, could I have
the next waltz with you, if you please?”

And she says, “He's too short.
Ah, but he's a Copenheimer.”

So if you wear a Copenheimer, you
can"t go wrong. I'll tell you something.

In Washington, in the inauguration,

what do you think Coolidge
is saying to Hoover?

I want a belt in the back.

- [Muttering]
- Let me out of here!

- Let him come.
- Just a minute. Just a minute.

- Wait, wait, wait.
- Let him come.

Listen, let's be honest with you.

If you want that suit
with the belt in the back,

we'll have to make it to order.

Is that so? How much is it?

Well, you're a short man.
You take about two and a half yards.

- $65.
- That's too much.

Wait a minute. We'll come to terms.
Wait a minute.

“Would you go to $52.507
No, sir.

“Would you spend $45?
No.

I'm telling you,
a suit we're going to sell you.

You wouldn't get out of here
without a suit, that you know.

That you know, don't you?

-You want to save $107
-Yes.

Walk upstairs. Come along.

That's all you've got to do.

We're here to please you.
We want to take care of you.

[imitating religious chant] J Oh, Moe
Take the gentleman's measure

Come up here
And I take your measure &

The neck is 25

225 in the neck &

J And the Adam's apple
Is seven and a half

I Seven and a half
In the Adam's apple I

J The shoulders is 312

I 31 in the shoulders I

1 Sweet Adeline

What are you singing? Get up there.
What are you singing?

- I thought it was a quartet.
“Who's a quartet? What quartet?

-Take down the pants.
“What?

No, listen. I mean take down
in the book the pants.

-The pants is 61,
-Pants is 61.

What's the matter with you? You're
measuring your own pant from here up.

Are you telling me? I'm the tailor.

Do I tell you how to milk your cows?
You do as I say.

You want two sleeves?
You want two sleeves?

-Yeah, I think-
-Give him two sleeves.

Two sleeves. Two sleeves.

- The sleeves is 19.
- Looks to me like 16.

- I'm telling you it's 19.
- I'm telling you it's 16.

- Why are you telling me?
- I'm telling you it's 16.

[shouting, indistinct]

- Wait! Hey, hey. Come back.
- Come here!

Come back here.

Get up. Up, up. Up, up, up.

What do you think, I'm a trained dog?

Up, I give you liver! Up, up!

What's the matier with you?
You think we need your business here?

Listen... Get down here.
I want to tell you something.

You can't aggravate me.
I'm too young for you.

Go some other place.

- I don't need your business. Go ahead.
- All right, I'll go.

- Look, he can't take a joke. [Laughs]
- It's a joke. That's all.

- Well?
- /I be here tomorrow.

All right. You can come here tomorrow
and you'll try on the suit.

No, I'm coming here to get it.

In one day you expect
to get a suit made to order?

- You advertise 24-hour service.
- For pressing. For pressing!

For pressing!
For pressing, I'm telling you.

In one day he wants— What's your hurry?

Well, I'm going to Boston by boat.

By boat! A sailor suit.

I've got a suit... Wait a minute now.

- Here you are.
- How do you like that?

How much is it?

- $19.50.
- Will you take it?

- I'll take anything to get cut of here.
- Wait a minute.

A bat and ball
goes with every sailor suit.

[audience applauding]

[chattering]

- [{knocking at door]
- Come.

- Another telegram.
- Oh, thank you, Mike.

- Miss Hughes, you were marvelous.
- Thank you, Mike.

We've waited all our life
for this night, Ma.

Oh, it's from Buddy!

“Barbara and I will be out front tonight
cheering you,

knowing that you will cheers us too,

because today we were married.”

Oh!

Oh, my God!

- [sobbing]
- Oh, don't... [murmuring]

Don't be like that, Gloria.

Mama!

What will I do?

What will I do now?

Gee, Gloria sure got her wish.

She certainly is glorified tonight.

You lock pretty glorified yourself, honey.

Not glorified, but happy.

- Let's stop those tears.
- I'll try, Mother.

[orchestra: Fanfare]

I Romeo and Juliet I

2 Were both in love with love &

7 Antony and Cleopatra

I Fined like a glove I

7 Guinevere had romance &

7 Like a tale once told &

2 Why can't I have romance

2 Like the loves of old? &

J There must be &

Somebody waiting for me &

Somebody waiting for me &

& In Loveland &

2 There must be a bluebird

I Coming my way I

J♪ A bluebird leading the way I

2 To Loveland &

I Where is the silver lining'? I

I Where is the rainbow shining? I

J There must be &

& Some good luck coming to me I

Somebody waiting for me &

& In Loveland &

[chorus]
7 There must be &

Somebody waiting for me &

Somebody waiting for me &

Jin Loveland, Loveland J

2 There must be a bluebird

I Coming my way I

I A bluebird leading the way
To Loveland &

I Where is the silver lining'? I

I Where is the rainbow shining? I

J There must be &

& Some good luck coming to me I

Somebody waiting for me &

& In Loveland &

[audience applauding]