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00:01:00There's my baby. Big, exciting new theater restaurant, right at Sunset and Vine in Hollywood.
00:01:14Only six months ago I left Paris, a showman with a big idea, not a Frank to back it. Back
00:01:20home I met a jolly little millionaire who looks and acts, well, kind of like Santa Claus.
00:01:25He went for my big idea. My name is Dan Bradley, and here it is, the Moulin Rouge. It's empty
00:01:32now, but in an hour or so it'll come aglobe, all the magic of an opening night.
00:01:37One last rehearsal on the mood number, girls. On stage, everybody.
00:01:42It's time to rehearse the mood number just one more time. And after that, the gambler's
00:01:48coin will be spinning, heads or tails.
00:01:55I'm in a mood tonight.
00:02:24Tonight.
00:02:26A mood to be loved.
00:02:31Tonight.
00:02:33Though I try to conceal it, I really can feel it.
00:02:40Tonight.
00:02:47I want you to hold me tight. Who knows if it's wrong or right?
00:03:01I feel so romantic. It's driving me frantic.
00:03:09Tonight.
00:03:16You know we had a date, and yet I'm here all alone.
00:03:23You know I'm gonna wait, but honey, why don't you fall?
00:03:30I'm in a mood.
00:03:35A mood for love tonight.
00:03:43Tonight.
00:04:13Me!
00:04:23Splendid! Splendid! Bravo!
00:04:27How did it look, Harry?
00:04:29Real fine. You'll have an audience next time. Do as well in front of them and we're in business.
00:04:34Oh, that was excellent.
00:04:37Keep pouring it on, honey. Here comes Mr. Moneybags in person.
00:04:42Oh, hello, Mr. Gaylord. How'd you like number? Great, huh?
00:04:45Delightful, my boy. Delightful.
00:04:48Oh, did that take me back to the lush old days in Montmartre?
00:04:52You spent a lot of time in Europe, didn't you, sir?
00:04:54Mostly Paris, my boy.
00:04:56And you know, I consider the show that we're giving tonight as my small tribute to that lovely city.
00:05:01Oh, I can't thank Mr. Bradley enough for allowing me to finance it for him.
00:05:06Damn, Bradley's lucky.
00:05:07Hey, Moneybag is like you. You're really doing this in style.
00:05:10If anything, it's too expensive.
00:05:12My dear boy, expense is never a problem. Quality is the watchword. Quality and splendor.
00:05:19And I like to think of splendor as synonymous with the name of Alfred Gaylord.
00:05:24Yes, sir.
00:05:25Harry! Harry!
00:05:27Yes, Margaret?
00:05:28Tell Dan Bradley I want to see him at once.
00:05:31Margaret's on a warpath again.
00:05:33Well, where is Mr. Bradley?
00:05:34Last minute details, I guess. Curtain time is 8.30, you know.
00:05:37I'll see the lady.
00:05:39Yes.
00:05:52Come in.
00:05:55Oh, Mr. Gaylord, I'm so sorry. I thought it was that darling producer of mine.
00:06:00Did I hurt you?
00:06:01Oh, my dear, of course not.
00:06:03As a matter of fact, I admire temperament in young ladies.
00:06:06It reminds me of the Countess du Bois in Paris.
00:06:08The Countess du Bois?
00:06:09Yes. She used to eat wine glasses when she was angry.
00:06:13Now, what's the trouble, my dear?
00:06:15Well, it's Dan. You see, he talked me into going into this production, and now...
00:06:19Oh, with good reason. You're a very important star. You're our star.
00:06:23Well, then why doesn't he treat me like one? Why doesn't he dress me? Nobody dresses me.
00:06:28They don't? Well, I'd be very happy to. I mean...
00:06:31Mr. Gaylord, Mr. Bradley sent me down to see you about this bill.
00:06:35Sir, you have interrupted.
00:06:37I'm sorry.
00:06:38Well, your apology is accepted. I'll see you in a moment.
00:06:42Now, my dear, about your costume. What seems to be the trouble?
00:06:45These rabbit skins. Where did Dan Bradley pick these up? In a rummage sale?
00:06:50I agree with you, my dear.
00:06:52You know, that's the one fault I find with Mr. Bradley, his inability to spend money.
00:06:57But now don't you worry. I shall comb this city and find...
00:07:00Or better still, I'll phone to Paris, have them fly something over for you.
00:07:04But you shall have the best.
00:07:06Oh, you're wonderful. Thank you.
00:07:10Now, what do you want?
00:07:11Mr. Bradley told me to see you about a check.
00:07:14A check?
00:07:15Yes, on account of the furs I supplied for the show, Mr. Gaylord, sir.
00:07:21You supplied these... whatever they are?
00:07:25I distinctly told Mr. Bradley to bring mink. Real mink.
00:07:29Haven't you got any?
00:07:30Yes, sir, but I...
00:07:31Well, then bring it over immediately. Now, what is that thing?
00:07:33Oh, it's nothing, sir. Nothing. Just the bill.
00:07:36Well, give it to me. I'll handle it immediately.
00:07:38Give me a pen.
00:07:39Yes, sir.
00:07:42There you are. An acknowledgment of the receipt of goods.
00:07:46And my signature.
00:07:48Thank you. Thank you, Mr. Gaylord. Thank you.
00:07:51Thank you. And I'm sorry I interrupted you, but...
00:07:54I shall have the mink over here right away.
00:08:00You see how foolish it is to get angry, my dear?
00:08:02Oh, you're so cute.
00:08:04Only you are a few years younger.
00:08:06Well, I'm not so terribly...
00:08:09C'est la vie.
00:08:11Would you mind doing me a favor and tell Danny that I want to see him?
00:08:14Of course, my dear. Danny.
00:08:16Oh, it's Danny now.
00:08:18You are a young lady of many moods.
00:08:21Do you mean to say that you and Danny...
00:08:23Definitely.
00:08:24L'amour.
00:08:25But definitely, for sure.
00:08:27L'amour.
00:08:28Oh, l'amour.
00:08:30I shall have Mr. Dan Bradley over here immediately,
00:08:33no matter how busy he is.
00:08:37Danny, are you sure you know what you're doing?
00:08:39But definitely.
00:08:41But definitely?
00:08:42For sure.
00:08:44You know something, honey? You're the first scenic designer
00:08:46I ever saw that I wanted to kiss.
00:08:48Yeah, but lady scenic designers aren't too easy to find.
00:08:51Let me go, Danny. I've got to finish my hotel.
00:08:53Uh-uh.
00:08:54The show opens tonight. I haven't got much time.
00:08:56For what?
00:08:58To ask you to marry me.
00:09:00Oh, fine time to ask me.
00:09:02Look, I know this isn't the time or the place,
00:09:05and it's not much of a proposal, but...
00:09:08I love you, Ruth.
00:09:10Oh, Danny, I know you do.
00:09:13Well, I'll think about it.
00:09:15Think about it.
00:09:17I'll give you just until...
00:09:19you finish your Eiffel Tower.
00:09:21Danny, this is a real scary thing you're suggesting.
00:09:24What do we live on? You haven't got a quarter.
00:09:26Yeah, but I got a beautiful backer named Kayla.
00:09:28And what about your beautiful star, Margaret?
00:09:31Margaret?
00:09:32She looks at you like it was mating time on the backyard fence.
00:09:35Margaret doesn't mean anything to me.
00:09:37But you mean a lot to Margaret.
00:09:39After all, Danny, she is the star of the show.
00:09:41What's she got to do with us?
00:09:43Margaret never took it into her vocalizing head
00:09:46to walk out on the show.
00:09:48Danny, don't you see we've got to wait?
00:09:50I want to tell Margaret about it.
00:09:52Danny, don't be a fool.
00:09:54I can't help it.
00:09:55Daniel!
00:09:57Oh, uh...
00:09:59Yes, Ruth, I think it's a very good idea about the tower.
00:10:02Oh, hello.
00:10:04Well, it's a wise man who checks on every little detail.
00:10:07But you look remarkably calm
00:10:09for a man who's going to open his show tonight.
00:10:12My show?
00:10:13Sure money, Mr. Gaylord.
00:10:14Oh, no, no.
00:10:16I'm very happy with the whole thing.
00:10:18You know, this is a fine idea of his,
00:10:20bringing a breath of the continent,
00:10:23a theater and a restaurant
00:10:25where a man can have a good meal and see a continental review.
00:10:28Oh, I tell you, after tonight,
00:10:30we'll open places in other spots.
00:10:32New York, Las Vegas.
00:10:33Good, huh?
00:10:34Wonderful.
00:10:35Good.
00:10:36Oh, by the way, I just came from Miss Walton.
00:10:38Margaret?
00:10:39Oh.
00:10:40She needs a little cheering up, Daniel,
00:10:42and I think you should go and see her
00:10:44because we don't want anything to happen
00:10:46to our star on opening night, do we?
00:10:48No, I'll, uh...
00:10:50I'll attend to it right away.
00:10:52That's simple.
00:10:54Oh, what a remarkable age we live in.
00:10:57A beautiful young lady like you designing scenery.
00:11:01Well, it's a living.
00:11:03Oh, well, I think your murals are perfectly charming.
00:11:06They're just a breath of France.
00:11:08Oh, merci beaucoup, monsieur.
00:11:10My first idea was to bring Dali or Picasso over to do them, you know,
00:11:14but Daniel wouldn't hear nothing of it.
00:11:16That boy will not spend my money.
00:11:18But in this case, I'm very glad he didn't
00:11:20because I think that you have captured just the...
00:11:23the...
00:11:24Really, I think you have.
00:11:28Oh, thank you.
00:11:30Come in.
00:11:34Hiya.
00:11:35Where have you been?
00:11:37Maggie, this is no time to get upset.
00:11:39It's opening night.
00:11:40I don't care about that.
00:11:41Listen, I've done everything but throw myself at you,
00:11:43and now I'm even doing that.
00:11:45Well, you know how it is.
00:11:46I mean, there's a lot of responsibility...
00:11:48Don't say that for the birds.
00:11:50Listen, when you talked me into going into this show,
00:11:52you promised me your personal attention.
00:11:54Or maybe I didn't read the small print.
00:11:57Oh, come on, Margaret.
00:11:58It's opening night, honey.
00:12:00Danny, there's something come over you.
00:12:02What is it?
00:12:04Well, to tell you the truth, Margaret...
00:12:08Danny, Danny, before you go any further,
00:12:10I want you to know one thing.
00:12:11I'm a good scout about anything but another woman.
00:12:14If I thought that there was anybody else,
00:12:17I'd leave you and this show
00:12:18flatter than yesterday's potato pancakes.
00:12:20Yeah, I bet you would.
00:12:22Okay, Danny, what did you want to say?
00:12:24Miss Walton, this is Harry.
00:12:26You asked me to squeeze in some time for you
00:12:27to rehearse that number again.
00:12:29I'll be ready for you in two minutes.
00:12:31I'm waiting, Danny.
00:12:33Well, Margaret, I...
00:12:35I just came up to wish you good luck
00:12:37and tell you I hope everything goes well.
00:12:40I got to run now. See you later.
00:12:57Eldred?
00:13:00Gertrude?
00:13:02Sam?
00:13:05Barbara?
00:13:06Where's Mr. Bradley? He's not upstairs.
00:13:08Oh, he's busy around here somewhere, probably. Why?
00:13:11You're very close to him, aren't you, Chuckles?
00:13:16The name is Chuck.
00:13:18Oh, last night you said you liked me to call you Chuckles.
00:13:22Yeah.
00:13:24Yeah, but that was last night.
00:13:26You want something. Now, what is it?
00:13:29Nothing, really.
00:13:31I just think you're cute.
00:13:34The cuter you think I am, the more I know you want something.
00:13:37Now, what is it?
00:13:38Well, I was wondering if you'd do me a favor.
00:13:41Oh, no. I already did you one when I got you the job here as cigarette girl.
00:13:44Your sister nearly blew herself up a gale.
00:13:46Oh, my sister still thinks I'm in pigtails.
00:13:49She doesn't see me the way others do.
00:13:52The way you do.
00:13:55Kind of makes me glad I'm not your sister.
00:13:58Look, I want Mr. Bradley to give me an audition on Margaret's songs.
00:14:04Your sister's songs?
00:14:06Man, she'll take this place apart.
00:14:08She's just jealous because I can sing as good as she can.
00:14:11The show has to have an understudy for her.
00:14:14Please ask Mr. Bradley, Chuck.
00:14:18Please.
00:14:20Well, okay.
00:14:23Thanks, Chuck.
00:14:25Oh, uh, call me Chuckles.
00:14:29You're dreamy.
00:14:32You know it.
00:14:47Frank Parker. It's been a long time.
00:14:50Dan, it's wonderful to see you.
00:14:52Nice to see you, Frank.
00:14:53Well, I want to tell you, boy, from what I've already seen, I'd say you got a hit on your hands.
00:14:57Well, I sure hope so.
00:14:58This club's the biggest thing I ever tackled.
00:15:00I can't tell you how much I appreciate you flying out here from New York to give me a hand.
00:15:03I need that voice of yours.
00:15:04Well, I'm happy to be here.
00:15:06You know, I work for a fella that likes to help his friends, too.
00:15:08You know what he said?
00:15:10Go out there and help that pal of yours.
00:15:12Well, bless him, Frank.
00:15:13Bless him.
00:15:14Hey, Jacko, meet Frank Parker, Chuck Russell.
00:15:16Well, the voice in the shadow box.
00:15:17Hi, Frank.
00:15:18Hiya, Chuck.
00:15:19Dan told me you're going to come out here and help us out.
00:15:21Sure swell of you.
00:15:22Well, I'm here, and I'm happy.
00:15:23Say, by the way, that other number is called, uh, the lady's name is Paris.
00:15:26Oh.
00:15:27And Harry and the girls are waiting down there to give it a run through.
00:15:29Well, let's not keep Harry waiting.
00:15:31Pardon me.
00:15:37I got a good feeling about this show.
00:15:39After tonight, we ought to be able to live it up.
00:15:41Yeah, with a backer like Gaylord, we ought to be fixed for life.
00:15:44It's been tough living out of the filing cabinet, but, uh, we couldn't let Gaylord know how broke we were.
00:15:48Yeah, real broke.
00:15:50You know, I can stand on a dime and tell you whether it's heads or tails.
00:15:54Well, Gaylord wouldn't understand anybody being broke.
00:15:56It's, uh, De Classe in his book.
00:15:59Yeah, well, he's all right in our book.
00:16:01Funny how all this happened, you and me living it up big in Paris after the war
00:16:05and then having it pay off back here in the States.
00:16:07Yeah.
00:16:08Out of the clear blue, an angel, a beautiful angel,
00:16:11who happened to fall in love with Paris 40 years ago.
00:16:13Yeah.
00:16:14Bless his little halo.
00:16:16Uh, I think I'll go out on the balcony and, uh, case the action.
00:16:20Yeah, I'll put the, uh, kitchen back in a dead letter file, Danny.
00:16:35That's much better, kid, much better.
00:16:37All set, Margaret?
00:16:38Mm-hmm.
00:16:39Relax, girls.
00:16:40Uh, Bill and Miss Walton, something.
00:16:42Thank you very much.
00:16:43Okay.
00:16:45♪
00:16:49♪ Can this be love?
00:16:54♪ Can this be real?
00:16:57♪ Is this the magic
00:17:01♪ all lovers feel?
00:17:05♪ Is this the thrill of true enchantment?
00:17:11♪ The thing they call the oldest story ever told
00:17:19♪ I hear no bells, no trumpets blow
00:17:28♪ It's just that deep inside I really know
00:17:37♪ And so my heart alone can answer
00:17:44♪ Can this be love?
00:17:49♪ Oh, yes, it's love
00:17:55♪ Da-da-dee
00:17:59♪ Da-da-da
00:18:02♪
00:18:05Been waiting a long time for tonight, sweetheart.
00:18:09Oh, it's you.
00:18:11Who were you expecting?
00:18:12Ruth.
00:18:14Oh, I see, it's, uh, you and Ruth, uh...
00:18:19Hey, and also, you and Margaret, uh...
00:18:23Boy, you're gonna get yourself in a jackpot.
00:18:26Well, I think I can handle it.
00:18:27I didn't live all those years in Paris for nothing.
00:18:30Yeah, well, women are the same everywhere.
00:18:32Paris, France, or Paris, Missouri.
00:18:34My pop used to tell me a woman is like a mule.
00:18:37She can be perfectly nice for 20 years,
00:18:39but eventually she'll catch you bending over
00:18:41and kick your brains out.
00:18:43Hi.
00:18:44Hello, darling.
00:18:49Well, take a gander at my beautiful new nightclub.
00:18:52Ours, if you want it that way.
00:18:54How about it?
00:18:56How about what?
00:18:57What I asked you about downstairs.
00:18:59Oh, yeah, that proposal of marriage.
00:19:02How am I doing?
00:19:04Danny.
00:19:05Remember?
00:19:07Hey, I like that change of key.
00:19:13Is this the thrill of true enchantment?
00:19:19The thing they call...
00:19:21Danny, you know I love you more than anything else in the world.
00:19:25It's just that...
00:19:27Well, I want a lot out of marriage, Dan.
00:19:29Well, name it.
00:19:30You can have it after tonight.
00:19:32I'm afraid it's not that easy.
00:19:34I'm sick and tired of show business, Dan.
00:19:36I hate all the confusion and ulcers.
00:19:39Everything about it.
00:19:40What I want is a nice ranch house someplace
00:19:43with a big kitchen and a deep breeze.
00:19:46I think we can arrange that.
00:19:47Yeah, but even a little ranch house costs money.
00:19:50And if anything should happen to make this show flop, Dan,
00:19:52well, where am I?
00:19:53And there goes our dream.
00:19:55Sweet, darling.
00:19:57Oh, yes.
00:20:00It's love.
00:20:07Oh, yes, it's love.
00:20:09Cut.
00:20:11Will you try the last 16 bars again for me?
00:20:13And maybe we can speed it up a bit.
00:20:26Hi, Chuckle.
00:20:28Hi, Barbara.
00:20:29I'm a little busy right now, honey.
00:20:32Mm-hmm.
00:20:34Yes, sir.
00:20:35Boy, oh, boy, oh, boy.
00:20:36I kind of like that.
00:20:37Don't you think it brings out my eyes?
00:20:39Oh, yeah.
00:20:40Well, it kind of brings mine out enough, I'll tell you that.
00:20:43Is this the young lady you were telling me about, Chuck?
00:20:45Oh, yeah.
00:20:46Barbara, this is Mr. Bradley.
00:20:47I know.
00:20:48Hello, Mr. Bradley.
00:20:49How are you, Barbara?
00:20:50You look very, uh, well, for want of a better word, cute.
00:20:55Oh, uh, damn.
00:20:56She sings up a storm.
00:20:57Oh, not only that, Mr. Bradley.
00:20:58I can act a little and dance a little.
00:21:00I do impersonations.
00:21:01Oh, that's fine.
00:21:02Oh, Mr. Bradley, I can do anything.
00:21:04Besides that, I guess I'm just about the most stage-struck girl in the world.
00:21:07And that's always good for ambition.
00:21:09Yes.
00:21:10I've taken lessons from everyone.
00:21:11Honest.
00:21:12Uh, drama.
00:21:13Uh, look.
00:21:14Ophelia.
00:21:15The queen says, let her come in.
00:21:18Then Ophelia enters.
00:21:19I'm Ophelia.
00:21:20See you.
00:21:24Uh, where is the beauteous majesty of Denmark?
00:21:30Then the queen says, how now, Ophelia?
00:21:34Then Ophelia says, how should I your true love know?
00:21:41Yes, that's fine.
00:21:43Wait.
00:21:44Sit down.
00:21:45You haven't heard me sing.
00:21:47No, but I have a feeling I'm going to.
00:21:50Can this be love, love, love?
00:21:53Can this be real?
00:21:56Is this the magic all lovers feel?
00:22:02Is this the thrill of true enchantment?
00:22:09The thing they call the oldest story ever told.
00:22:18No trumpet blow.
00:22:21It's just the deep inside I really know.
00:22:27And so my heart alone can answer.
00:22:33Can this be love, love, love?
00:22:37Oh, yes, it's love.
00:22:40That's fine, honey.
00:22:41I enjoy it every minute.
00:22:42But I'm awfully busy right now.
00:22:44If you'll run along, I'll give you an audition sometime.
00:22:47Brother, you've already had one.
00:22:49Yes.
00:22:50Yes, that I have.
00:22:51Have you any more surprises for me this evening, Chuck?
00:22:54No, that was it for right now.
00:22:56Boys.
00:22:57Oh, Harry.
00:22:58Yeah.
00:22:59Everything set backstage?
00:23:00Yeah, we're OK.
00:23:01Feed the people, and we'll draw the curtain.
00:23:02Good luck, boy.
00:23:04Bless us all.
00:23:05Amen to that.
00:23:06The reservation's coming.
00:23:07Pretty good, Danny boy.
00:23:10Barbara.
00:23:11Wait till mother gets a load of you in that outfit.
00:23:13Oh, it's nothing, really.
00:23:15That's what I mean.
00:23:17I'll have you know I just auditioned for Mr. Dan Bradley.
00:23:22You did what?
00:23:24Auditioned.
00:23:25A-U-D-tioned.
00:23:27Well, what did you audition for?
00:23:29I want to get someplace.
00:23:31I'm tired of just being Margaret Walton's little sister.
00:23:35Well, why don't you go out and get yourself a millionaire?
00:23:38That outfit you can't miss.
00:23:40I don't need a millionaire, honey.
00:23:42Every girl does.
00:23:44Not me.
00:23:45If you can be an ass, so can I.
00:23:55Why, James, those other things you'll send to the stage door, won't you?
00:23:59It's most important.
00:24:02Uh, Daniel.
00:24:04Daniel.
00:24:05Oh, I ordered some flowers for the company, my boy.
00:24:08Flowers?
00:24:09Yes, a dozen long-stemmed American beauties for each of the ladies.
00:24:12You know, opening night, you know.
00:24:14Well, it's almost curtain time.
00:24:15Yes, oh, my dear.
00:24:17It reminds me of the good old days.
00:24:19You know, I was quite a stage door Johnny in my day.
00:24:23You still are.
00:24:25My boy, I want to thank you for making tonight possible.
00:24:28Me?
00:24:29Money, Mr. Gaylord.
00:24:30Oh, now, now, now.
00:24:31You know what the French say.
00:24:32Faire son dire.
00:24:34Act without talking.
00:24:35That's what I like to think I do.
00:24:40Everybody on stage.
00:24:44Excuse me, where can I find Mr. Gaylord?
00:24:46He's right over there, sir.
00:24:50Presentation.
00:24:52Look at them come in.
00:24:53It's going to be a wonderful audience.
00:24:55Father?
00:24:57Oh, no.
00:24:59Wendell, you should not have come here.
00:25:02Mr. Bradley, this is my son Wendell.
00:25:05How do you do?
00:25:06And his wife, um, oh, dear.
00:25:09It's Priscilla, father.
00:25:11Of course, of course.
00:25:12Priscilla, Mr. Bradley.
00:25:14Mr. Bradley, if you please, sir.
00:25:17You see, we've been looking for father for months,
00:25:19and now he has to go back with us.
00:25:21Back?
00:25:22Back where?
00:25:23To the rest home.
00:25:24Oh, we call it that.
00:25:25It's sort of a, uh, institution.
00:25:28An insta-tution?
00:25:31Oh, yes, but nothing with bars on the windows
00:25:33or anything like that, no.
00:25:35Oh, well, that's better.
00:25:37Well, um, what do you think of my latest enterprise?
00:25:40Very nice, father.
00:25:42Isn't it?
00:25:43I'm afraid this may come as sort of a blow to you,
00:25:45but father has delusions.
00:25:47Delusions of grandeur.
00:25:49Oh, now, wait a minute.
00:25:50I...
00:25:51What?
00:25:52Oh, it's usually quite harmless.
00:25:54You see, he still believes himself living in the past
00:25:56when he was very wealthy,
00:25:58imagines himself as a famous impresario.
00:26:00He's done this quite often.
00:26:02But the money, this place, the show,
00:26:05he signed all the bills.
00:26:08Yes, he's usually very clever
00:26:09when he starts out on one of these.
00:26:11You see, he has a small annuity
00:26:12and he saves up for a year or so.
00:26:14Then he leaves the rest home
00:26:15and finds someone who needs an investor.
00:26:17He uses his own money for his clothes
00:26:19and the best hotels,
00:26:20and then he just signs things.
00:26:22Somehow, people always give father credit.
00:26:25Shall we be going now, father?
00:26:27Going?
00:26:28You mean going with you now?
00:26:29Oh, no, that's ridiculous.
00:26:30You must stay here and see my new show.
00:26:33His show?
00:26:35But who's gonna pay for all this?
00:26:37Well, we would, but we don't have any money.
00:26:40No?
00:26:41No money?
00:26:42No, no money.
00:26:43I have a small, modest income.
00:26:46I'm sorry if there have been any inconveniences.
00:26:51Incon...
00:26:53No.
00:26:55Inconvenience?
00:26:59Okay, everybody.
00:27:00Stand by for your call.
00:27:01Over to you any time now.
00:27:03I'm ready, Harry.
00:27:05Ru, look!
00:27:07Hey, honey, your costume!
00:27:15There.
00:27:16That's better.
00:27:17What was wrong with it?
00:27:18Nothing, except you had it on backwards.
00:27:20Backwards?
00:27:23I thought that was a Parisian touch.
00:27:29She'd have been the head of the show.
00:27:32Come along, father, we must go.
00:27:34Yes, of course, my dear, I will.
00:27:36I just want...
00:27:37Daniel, I want you to know that...
00:27:42Hear that, my boy?
00:27:44That's what I did it for.
00:27:46The magic moment of the theater.
00:27:49Just before the show starts.
00:27:51And the stage comes alive with a wonderful imagery.
00:27:55It's a thrill that I've never forgotten since I was a little boy.
00:27:59I tried to help you create it.
00:28:02Maybe I did.
00:28:04All right, now, wait a minute.
00:28:06You're going to stay and see the show.
00:28:09And you're with him.
00:28:11He's going to stay and see it, enjoy it.
00:28:15Enjoy the magic that he helped to create.
00:28:21Jim!
00:28:22Mr. Gaylord's table.
00:28:24Yes, sir.
00:28:26Come here.
00:28:34THE TALES OF GAYLORD
00:28:41Hey, Danny boy, get a load of the tuxedo.
00:28:44Just went and hocked for this beauty.
00:28:46Look at that doll.
00:28:47But it doesn't matter.
00:28:48We'll be loaded tomorrow, just loaded.
00:28:51Hey, look at this.
00:28:54Hey.
00:28:55Huh?
00:28:56Hey, what's the matter?
00:28:58Oh, that's Gaylord.
00:29:00Old money bags?
00:29:03Old money bags is as nutty as a fruitcake.
00:29:08How can a guy be nutty with all that dough?
00:29:10He hasn't got enough dough to bake a loaf of bread.
00:29:13Yeah, but he signed for all those bills.
00:29:16I know, and I'm his partner.
00:29:18All those bills he signed for, I'm responsible for.
00:29:22Send me to prison.
00:29:25Oh.
00:29:26Well, I...
00:29:27I'm not worried.
00:29:28I've seen you in jams before.
00:29:30Oh, that's a great comfort.
00:29:32Old place packed with people waiting to see...
00:29:36Wait a minute, we are packed with people.
00:29:38If we were a hit tonight,
00:29:39we might have reservations for weeks and months ahead.
00:29:42Yeah, yeah, that's right.
00:29:43That's money, isn't it?
00:29:44Yeah, yeah.
00:29:45The money to pay off the cast.
00:29:48Could be.
00:29:49And, uh...
00:29:50Well, the musicians, the costumers,
00:29:53and the scenic designer.
00:29:55And, uh...
00:29:56And?
00:29:57And Dan, the tux.
00:29:59Oh.
00:30:00Sure, Chuck knows the tux.
00:30:02Yeah, we'll pay for that, too.
00:30:03Okay, all right.
00:30:04We're not for Chuck.
00:30:05No, we're not.
00:30:06Here we go.
00:30:09Wait for me, Dan.
00:30:17Say, that's a nice looking hat.
00:30:18Maybe it'll fit me.
00:30:20Oh, I don't think so.
00:30:22I'd have to have my head re-blocked.
00:30:23Give her to the hat checker.
00:30:24It belongs to Gaylor.
00:30:26Hey, the joint's really jumping.
00:30:28Danny, you really started something.
00:30:30There's the man that started it.
00:30:37Yeah, he's jumping, too.
00:30:38Yeah.
00:30:42Dan Bradley proudly presents a new Parisian revue,
00:30:45Voici Paris!
00:30:47Featuring the sportsmen,
00:30:49Kathy Charlton,
00:30:51Frank Duvall and his orchestra,
00:30:54the Moulin Rouge dancers,
00:30:56Frank Parker in a special guest appearance,
00:30:59and starring Margaret Walton.
00:31:26A plot to beguile for a lark
00:31:29Have you ever been to Paris?
00:31:32Have you visited Versailles?
00:31:36Have you seen the naughty Twinkle?
00:31:39It's in every Frenchman's eye
00:31:42If you've never seen the Arc de Triomphe
00:31:44Then it's something I just can't forget
00:31:48If you've never been to Paris
00:31:51Then you've never really lived
00:31:57Have you seen the naughty Twinkle?
00:32:00It's in every Frenchman's eye
00:32:04If you've never seen the Arc de Triomphe
00:32:06Then it's something I just can't forget
00:32:10If you've never been to Paris
00:32:13If you've never been to Paris
00:32:17Then you've just never lived
00:32:23Never lived
00:32:35Dan!
00:32:36Oh, hi, honey.
00:32:38Oh, what's the matter, darling? You look so gloomy.
00:32:41Ruth, I was just wondering,
00:32:44would it make any difference if the show was a flop tonight?
00:32:48You could always get Mr. Gaylord to back in another one.
00:32:51Gaylord, yeah.
00:32:52Well, supposing I lost Gaylord, everything.
00:32:55I'd like that fine.
00:32:57Then you can be a plasterer or a bricklayer.
00:33:22Gaylord!
00:33:52Gaylord!
00:34:22Gaylord!
00:34:52Gaylord!
00:34:53Gaylord!
00:34:54Gaylord!
00:34:55Gaylord!
00:34:56Gaylord!
00:34:57Gaylord!
00:35:22Gaylord!
00:35:23Gaylord!
00:35:24Gaylord!
00:35:25Gaylord!
00:35:26Gaylord!
00:35:27Gaylord!
00:35:28Gaylord!
00:35:52Gaylord!
00:35:53Gaylord!
00:35:54Gaylord!
00:35:55Gaylord!
00:35:56Gaylord!
00:35:57Gaylord!
00:35:58Gaylord!
00:35:59Gaylord!
00:36:00Gaylord!
00:36:01Gaylord!
00:36:02Gaylord!
00:36:03Gaylord!
00:36:04Gaylord!
00:36:05Gaylord!
00:36:06Gaylord!
00:36:07Gaylord!
00:36:08Gaylord!
00:36:09Gaylord!
00:36:10Gaylord!
00:36:11Gaylord!
00:36:12Gaylord!
00:36:13Gaylord!
00:36:14Gaylord!
00:36:15Gaylord!
00:36:16Yay!
00:36:17Yippee!
00:36:18Hey kids, I have
00:36:42an idea.
00:36:44Mike.
00:36:47♪♪
00:36:54♪♪
00:37:04Have you ever been to Paris?
00:37:29Have you visited Versailles?
00:37:32Have you seen the Norwich Winkle?
00:37:35It's in every Frenchman's eye.
00:37:38If you've never seen the Octopi,
00:37:40I'm glad it's something I just can't forget.
00:37:44If you've never been to Paris,
00:37:47If you've never been to Paris,
00:37:51Then you just never really will.
00:38:03Remote!
00:38:21If you've never been to Paris,
00:38:36If you've never been to Paris,
00:39:04Then you just never really will.
00:39:20The lady's name is Paris,
00:39:24And she's as lovely as her name.
00:39:29The lady no less Paris,
00:39:33Is like a breath of spring,
00:39:35A haunting refrain.
00:39:38Wildly and wise,
00:39:40Yet the face of an angel.
00:39:46Stars in her eyes,
00:39:49And her laughter as gay
00:39:52As a bright summer day.
00:39:55The lady's name is Paris,
00:39:59And she appears so fancy free.
00:40:03But in the heart of Paris,
00:40:07There is a tear that only Frenchmen can see.
00:40:12She never shows,
00:40:16She's a Lady Pagliacci.
00:40:27The world just knows
00:40:31The lady as gay Paris.
00:40:57On the Jack Benny show,
00:40:59You've all come to know
00:41:01Our unusual musical greeting.
00:41:04As you may have heard,
00:41:06We don't say a word.
00:41:08We go hmm,
00:41:11And this hmm takes a beating.
00:41:15This hum that we sing can fit anything
00:41:20Ridiculous or sublime.
00:41:25We didn't invent it,
00:41:27It first was presented
00:41:31At the very beginning of time.
00:41:37When the world was unfurled,
00:41:39Then the only man was Adam.
00:41:41He was bored,
00:41:42So the Lord sent him Eve to be his madam.
00:41:45She stood there clothed in sunlight,
00:41:47Didn't even wear a bib.
00:41:49And when Adam asked her,
00:41:50How'd you come?
00:41:51She answered,
00:41:52From your rib.
00:41:53Adam stared,
00:41:54Yes, he stared,
00:41:55And went hmm.
00:41:57He went hmm,
00:41:59My, how he stared.
00:42:01And the longer he kept looking,
00:42:03While ideas began a-cooking,
00:42:05He went hmm,
00:42:06As the facts of life were banned.
00:42:11Paradise was quite nice,
00:42:13And without a word of warning,
00:42:15I'm afraid Adam strayed
00:42:17And did not return till morning.
00:42:19He said that he was hunting,
00:42:21Eve, he thought, he told her fibs.
00:42:23She waited till he fell asleep,
00:42:25Then counted all his ribs.
00:42:26She took count of his ribs,
00:42:28And went hmm.
00:42:30She went hmm,
00:42:32And not in vain.
00:42:34When she found her rib was missing,
00:42:36Eve, he wondered, who's he kissing?
00:42:38She went hmm,
00:42:39Then she started raising Cain.
00:42:44Samson fell for that bell,
00:42:46Sweet Delilah was his girlie.
00:42:48She was mad,
00:42:49Cause he had longer hair,
00:42:51And it was curly.
00:42:52The night she clipped his tresses,
00:42:54She fed him this baloney.
00:42:56I did it so the world would know,
00:42:58Just which one had the Tony.
00:43:00Samson thought, yes he thought,
00:43:01And went hmm.
00:43:03He went hmm,
00:43:05For quite a while.
00:43:07It was really an unfair cut,
00:43:09When she gave him such a haircut.
00:43:11He went hmm,
00:43:12And the crew cut came in style.
00:43:17Now let me see,
00:43:18Anthony loved his Cleopatra madly.
00:43:21He was true to that shrew,
00:43:23But she treated Mark quite badly.
00:43:25One night Cleopatra held poor Mark within her grasp,
00:43:29And while he sat there kissing her,
00:43:31She stung him with her ass.
00:43:33Poor Mark jumped, yes he jumped,
00:43:35And went hmm.
00:43:37He went hmm,
00:43:39And other things.
00:43:41He said, Pat, I should desert you.
00:43:43Cleo, ask him, does it hurt you?
00:43:45He said, hmm, confidentially.
00:43:48It stings.
00:43:51Comes the day for our pay,
00:43:53Mr. Benny starts to heckle.
00:43:55Mr. Hyde jumps inside,
00:43:57He turns into Dr. Shackle.
00:43:59The salary that he pays us,
00:44:01Keeps the sportsman not so sporty.
00:44:03He's laying all that hay away,
00:44:05Until the day he's forty.
00:44:07We look down at our checks and say hmm.
00:44:10We say hmm,
00:44:12So this is fame.
00:44:14Should we sing for our enjoyment,
00:44:16Or collect our unemployment?
00:44:18We say hmm,
00:44:19We'd be making just the same.
00:44:22So from Adam to Benny,
00:44:25We bet our last penny,
00:44:30The whole world loves to
00:44:37Hmm.
00:44:47You float it like this, don't you, Jim?
00:44:50I certainly do, sir.
00:44:52Dan Bradley proudly presents
00:44:54The singing star of the Moulin Rouge,
00:44:56Margaret Walter.
00:45:03I'm all aglow again,
00:45:05I know again it's love.
00:45:08I feel that thrill again,
00:45:10That chill again of love.
00:45:13I didn't want this thing to happen,
00:45:15But it happened just like that.
00:45:18And now I'm all a-tingle,
00:45:20And not a single thing can be done about it.
00:45:23Wild again, let's chill again in love.
00:45:27I guess I'll try again,
00:45:29I'll fly again with love.
00:45:32If this is what they call a rebound,
00:45:35I'll sound off and say that I'm aglow again,
00:45:38Aglow again, hooray!
00:45:45Wild again, child again in love.
00:45:49I guess I'll try again,
00:45:51I'll fly again with love.
00:45:54If this is what they call a rebound,
00:45:57I'll sound off and say that I'm aglow again,
00:46:00Aglow again, hooray!
00:46:07See what I mean?
00:46:15Everything is all going along fine.
00:46:17You're beautiful, all of you, you're beautiful.
00:46:20Harry, it looks like in spite of everything we're a hit.
00:46:23No, no, no, don't say that.
00:46:26I'm superstitious.
00:46:27Oh, what's the matter with you?
00:46:28Can't you hear the audience?
00:46:29We are a hit.
00:46:30No, no, no, it's an old-stage tradition
00:46:32not to mention the word hit on opening night.
00:46:34So many things could happen.
00:46:36You old-timers and all your traditions.
00:46:38I'm telling you, don't whistle in the dressing room,
00:46:40don't read mail during a performance,
00:46:41for crying out loud, an understudy always makes good...
00:46:43Yeah, yeah, yeah, I know.
00:46:44It's only 2,000 years old.
00:46:47Keep up the morale, I'm going to talk to you.
00:46:48Wait a minute, I'll help you.
00:46:49Is it all right, Harry, if I'm just a little bit happy?
00:46:52Just so you don't overdo it, huh?
00:46:55And now, Joey Harper and his guitar.
00:46:58Kids.
00:47:01Kids, you're all doing great.
00:47:03I want you to stay in your dressing rooms and rest.
00:47:06What else do you think we're going to do, calisthenics?
00:47:08Watch yourselves on the next number that's coming up.
00:47:10It's tricky.
00:47:11Follow your music cues.
00:47:13Wait a minute, the boss wants to say a few words.
00:47:16Thanks, everybody, for being so wonderful.
00:47:18You ought to hear what they're saying out front,
00:47:19nothing but raves.
00:47:20If you keep it up, I'll love you forever.
00:47:23Oh, thanks, honey.
00:47:24Hey, how pretty you look.
00:47:25Thanks.
00:47:26Wow.
00:47:27Honey, I believe we got a hit.
00:47:28Oh, Danny, I'm so happy for you.
00:47:30For me?
00:47:31For us, darling.
00:47:32Hey, Danny, what about Margaret?
00:47:33Margaret?
00:47:34Honey, it's you I want.
00:47:36How many times do I have to tell you?
00:47:38Oh, darling, wait till after the show.
00:47:40Don't, Danny, don't.
00:47:43And after tonight, I can open spots in Las Vegas, Broadway.
00:47:46And then spaceship to the moon.
00:47:47And then you'd better run along and check your scenery, honey.
00:47:51What?
00:47:52You better do what the boss says, honey.
00:47:54Go get your little hammer.
00:47:55Margaret, you were great.
00:47:56What a performance.
00:47:57Not as good as yours.
00:47:59Anything wrong?
00:48:00No, nothing special.
00:48:02Just let me fix this mic of yours.
00:48:05Well, I guess that's what you call making your life an open book, huh?
00:48:09I'm not running a lending library.
00:48:12Now, look, Miss Walton, you misunderstand.
00:48:13Now, you stay out of this.
00:48:14Wait a minute.
00:48:15I wish I could.
00:48:16Listen here.
00:48:17Now, you got me into this show, making me think you were in love with me.
00:48:19Margaret, don't leave me out of it.
00:48:20And then you fell in love with that lady mechanic here.
00:48:23I think I will get that hammer.
00:48:25Margaret, I didn't lead you on.
00:48:26You led yourself on.
00:48:28You believed what you wanted to believe.
00:48:30Oh, so that's how it is.
00:48:32Well, I leave you with two words, goodbye.
00:48:35You can do this show without me.
00:48:37We can't do the second half without you.
00:48:39I'm crying.
00:48:40Margaret, you can't do this to Danny.
00:48:42I can't, can't I?
00:48:43Listen here, Danny.
00:48:44You can take this turkey of yours and put it in your deep freeze.
00:48:49Hey, what's going on?
00:48:50What's the matter?
00:48:52She just walked out.
00:48:53We haven't got a second act.
00:48:55Oh, no.
00:48:56Oh, yes.
00:48:57Hey, with Margaret out of that number, we're dead.
00:48:59Yeah, I guess we are.
00:49:01It's too late to re-routine and no understudy.
00:49:05What did I tell you about superstition?
00:49:11Well, I guess I goofed.
00:49:13You still have Gaylord and his millions.
00:49:15Gaylord hasn't got any millions.
00:49:17What?
00:49:18He's as daffy as a dyke mender.
00:49:20Oh, Dan.
00:49:21Well, maybe I could keep it from you until after the show tonight, but...
00:49:24His son and daughter just came in to take him back to the Jolly House.
00:49:27The whole place is on the cuff, and I'm responsible for the tab.
00:49:30It's what's commonly known as fraud.
00:49:33It's like the Bastille for me.
00:49:34Oh, you poor darling.
00:49:36The Boulard Rouge dancers in the Bois de Boulogne ballet.
00:49:40Well, at least I got four more minutes of solid show, and then...
00:49:44What are you going to do, Dan?
00:49:46Well, I've had a lot of trouble in my life, and most of it never happened.
00:49:49I'll tell you one thing I'm not going to do.
00:49:51It's worry.
00:49:57It's worry.
00:50:28The moon is high
00:50:33And here am I
00:50:37It seems a shame to let this evening go by
00:50:45The time is right
00:50:49Tonight's the night
00:50:52For love
00:51:22For love
00:51:53For love
00:52:04The lamp is low
00:52:08The world's aglow
00:52:12And here is something that I'd like you to know
00:52:20The time is right
00:52:24Tonight's the night
00:52:27For love
00:52:50Why don't you go on?
00:52:52You mean out there in front of all those people?
00:52:54Actually, like you did in Paris when I produced the musical.
00:52:56You were fine.
00:52:57That was different.
00:52:58You tricked me then.
00:52:59Just a little trick, Chuck.
00:53:01Margaret's number's next.
00:53:02What do we do?
00:53:03How do we do?
00:53:04How do I know what we do?
00:53:05To stall them or something, Harry?
00:53:07Okay, I hope you know what you're doing.
00:53:08I know what I'm doing.
00:53:12Margaret, I just heard you quit the show.
00:53:15You know, I still think I'm going to tell Mother about this outfit you're wearing.
00:53:19You can't do a thing like that.
00:53:21All the girls, the actors, everybody, they're all depending on you.
00:53:23You can't do it.
00:53:24The show must go on.
00:53:25Why must the show go on?
00:53:27Well, because.
00:53:28Because every...
00:53:30Because I'll tell Mama on you.
00:53:32Honey, I don't know why you're making all this fuss.
00:53:34You've always wanted to go on my place.
00:53:36Well, here's your chance, little Eva.
00:53:38All right, I will.
00:53:41Now, I don't care, see?
00:53:42I will go on.
00:53:44I shall not fail the call of Thespis.
00:53:48You better be good or I'll tell Mother about that, too.
00:53:51Of course I'll be good.
00:53:52I've been waiting all my life for this.
00:53:54I love the theater.
00:53:56I'm dedicated.
00:54:01Dedicated?
00:54:04You're dead, kid.
00:54:06Oh, James, the audience seems a trifle restless,
00:54:10and I want you to send a bottle of champagne to each table with my compliments.
00:54:14Each table, sir?
00:54:15Yes, sir.
00:54:16Well, of course.
00:54:17Have Paul Roget and a good year.
00:54:19Certainly, sir.
00:54:20Yes.
00:54:21What have you been doing now, brother?
00:54:22Well, just ordering a drink.
00:54:24A drink for everybody in the house.
00:54:26Oh, Father, no.
00:54:28Wendell, you depress me.
00:54:34Go on, do something.
00:54:35Do anything.
00:54:36A little joke like at the party the other night, huh?
00:54:37Dan, you know I'd do anything in the world.
00:54:39Well, then go do it.
00:54:40I can't.
00:54:41Chef, will you please help me?
00:54:42Oh, yes, I'd be glad to.
00:54:44I'll help you think of something in a minute.
00:54:45Honest, I will, Dan.
00:54:46Let me get you around here where I can get a little light.
00:54:49I'm stuck.
00:54:50Yes, so is everybody, honey.
00:54:52I don't want to wrestle.
00:54:54Well, these things are hard to handle.
00:54:56Take it easy.
00:54:57I'd rather lose the dress than my life.
00:54:59Revolve.
00:55:11Good evening, ladies and gentlemen.
00:55:19I didn't expect I'd be here tonight.
00:55:22How on stage that is, but...
00:55:28I guess I could tell you a story about these two English fellows
00:55:32who walk into a bar in New York City.
00:55:35They walk up to the bartender.
00:55:36The bartender looks at them and he says,
00:55:40What'll yous have, gents?
00:55:42One English fellow looked at his friend and he said,
00:55:47What did he say?
00:55:55He's going over great.
00:55:57And what?
00:55:58He'll wind up with a circus number?
00:56:00Well, it's set up for the other number.
00:56:02We'll have to strike that first.
00:56:05Well, Mr. Bradley, I'm ready.
00:56:08Good.
00:56:10Ready for what?
00:56:11To go out for Margaret.
00:56:13You?
00:56:14Well, sure.
00:56:15I know the number, all the moves, everything.
00:56:20Well, yes, but...
00:56:21But what?
00:56:23Well, you're so inexperienced, I mean...
00:56:25Oh, wow.
00:56:30Well, uh...
00:56:31Yes?
00:56:34No.
00:56:35We can't get the circus number ready in time.
00:56:37Danny went dead.
00:56:44Barbara, you're on.
00:56:47Use your sister's dressing room and hurry.
00:57:09It's no true, sister.
00:57:11And it's no true, brother.
00:57:13Yet it's the child of your father and your mother.
00:57:18I don't believe what I know, old man.
00:57:20Who is it?
00:57:21It's a bartender I met in America last week.
00:57:27Who is it?
00:57:28Danny, can I come in?
00:57:29Uh-huh.
00:57:31Come on, snap into it, honey.
00:57:32Chuck's running out of material.
00:57:33And the costume doesn't fit?
00:57:34Ah, it looks fine.
00:57:35They'll never notice it from out front.
00:57:36Are you sure?
00:57:37Positive.
00:57:38I'm so nervous.
00:57:39And my stomach...
00:57:41It happens to everybody.
00:57:42Just butterflies.
00:57:43Lead butterflies.
00:57:45They're power-driving.
00:57:47Come on, you've got to get a hold of yourself, honey.
00:57:49I know.
00:57:50All my life I've been dreaming of this chance.
00:57:52Sure you have.
00:57:53I've got to go on.
00:57:55And you're going to do fine.
00:57:56And it killed me.
00:57:57It won't hurt a bit.
00:57:59Oh, there they go.
00:58:00Well, pull up on the throttle.
00:58:02I guess I'd better be getting off stage right now, ladies and gentlemen.
00:58:05I'd like to tell you one thing that my mother always told me.
00:58:08She always said,
00:58:09Chuck, me boy, wherever you go, whatever you do,
00:58:13always be certain of one thing.
00:58:15When the people are nice to you, kind and considerate,
00:58:18don't forget to leave the people with a laugh.
00:58:20Always leave the people with a laugh.
00:58:22So, ladies and gentlemen, until I see you all again...
00:58:33Oh, that curtain.
00:58:34We've got to go on.
00:58:35Please hold it.
00:58:36It can't, honey, because they...
00:58:37Oh, is the costume all wrong?
00:58:38It doesn't fit.
00:58:39And my hair!
00:58:40Oh, it looks wonderful.
00:58:41My stomach!
00:58:42Bring it with you, honey.
00:58:43Look, don't worry.
00:58:44The understudy always makes good for the star.
00:58:46That's tradition, doll.
00:58:47Come on, baby.
00:58:49There's one kid that may break tradition.
00:58:55Margaret, you still here?
00:58:56Thought you'd be back with Swanson's minstrels by now.
00:59:01Suppose you know your sister Barbara's going to take your place in the show tonight.
00:59:04Is this on the level?
00:59:07How would you know?
00:59:11Something must have happened.
00:59:12I hope nothing's gone wrong.
00:59:14It is quite a wait, isn't it?
00:59:18Go ahead, Barbara.
00:59:19Watch me for your cue.
00:59:20Don't worry, Mr. Bradley.
00:59:21I'm over the jitters now.
00:59:23I'll go out and kill him.
00:59:24Sure you will, baby.
00:59:25Go do it.
00:59:27Come on.
00:59:28Up.
00:59:29Get up there.
00:59:42Come on.
00:59:43Go ahead.
00:59:56What's the matter?
00:59:57I can't do it.
00:59:58What do you mean you can't do it?
00:59:59I don't know.
01:00:00I just, I can't.
01:00:01This is the chance you've been begging me for.
01:00:02The people are out there waiting.
01:00:03I'm sorry.
01:00:04What do you want to do?
01:00:05Close the thing down?
01:00:06These kids all thrown out of work?
01:00:07I don't know.
01:00:08Listen, baby, you can't.
01:00:09I can't.
01:00:10Say something, will you?
01:00:11You're the stage manager.
01:00:12All right?
01:00:13Do it.
01:00:14No.
01:00:15Come on.
01:00:16I can't.
01:00:17I can't.
01:00:18I can't.
01:00:19I can't.
01:00:20I can't.
01:00:21I can't.
01:00:22I can't.
01:00:23I can't.
01:00:24I can't.
01:00:25Ah.
01:00:26Well, do you still think it's so easy?
01:00:30More temperamental talent, huh?
01:00:31Do you still think that the show must go on?
01:00:35Not with me.
01:00:37Well, I do, darling.
01:00:39Here, now give me this.
01:00:43This is going to be the first time in show business, the star has to make good
01:00:46for the understudy.
01:00:47All right, Margaret.
01:00:48OK, kid.
01:00:49Come on.
01:00:50Let's break it up.
01:00:55I'm a lonely girl, and I'm looking for a lonely guy, just to kind of make the hours go by
01:01:16in this lonely town.
01:01:24There must be someone looking for a gal like me, who could use some love and sympathy
01:01:38when the sun goes down, then we could leave this lonely town.
01:02:08I'm a lonely girl, and I'm looking for a lonely guy, just to kind of make the hours go by
01:02:28The days are not so sad when you're all alone,
01:02:50but nights are gutted bad looking for a lad that I can call my own.
01:03:02There must be someone looking for a gal like me, who could use some love and sympathy
01:03:16when the sun goes down, then we could leave this lonely town.
01:04:16I'm a lonely girl, and I'm looking for a lonely guy, just to kind of make the hours go by
01:04:36The days are not so sad when you're all alone,
01:04:56but nights are gutted bad looking for a lad that I can call my own.
01:05:26I'm a lonely girl, and I'm looking for a lonely guy, just to kind of make the hours go by
01:06:16I'm a lonely girl, and I'm looking for a lonely guy, just to kind of make the hours go by
01:06:46I'm a lonely girl, and I'm looking for a lonely guy, just to kind of make the hours go by
01:07:06Here they come, here they come, it's circus day today, hooray!
01:07:16I love a circus, a circus, a circus, I love a circus, it's a circus life for me
01:07:22Show me the monkeys, the lions, the tigers, show me the tumblers and the clowns I long to see
01:07:28Here they come, here they come, hear the boom of the drum, it's the great, great, greatest show on earth
01:07:34How the people will flock, how the big top will rock, ah, look, they're coming down our block
01:07:41I love a circus, a circus, a circus, I love a circus, it's a circus life for me
01:07:49And the circus is a circus in America, one day it will be
01:08:04Ladies and gentlemen, presenting in ring one, Tony Gentry and Baby Burma
01:08:32In ring two, Lady Margaret and her chimps, and in the center ring, Bill Dietrich and his ponies
01:08:44Where'd father go?
01:09:08My boy, my boy, you're a rip-roaring success
01:09:11What do you mean me? We are, we're partners, aren't we?
01:09:13Oh, now, please, let's forget that partnership arrangement because business bores me
01:09:18I wouldn't think of it. Tell me something, what do you want your checks for?
01:09:20Oh, checks, money, they'd never catch up with me. I'm leaving for St. Louis tonight, right away
01:09:25St. Louis?
01:09:26Yes, oh, you could do a big favor for me. Would you tell my son that I've gone to Alaska?
01:09:32Alaska?
01:09:33Please
01:09:34Tell me, what's in St. Louis?
01:09:39Oh, oh, there's a fascinating proposition there that I'm interested in financing
01:09:43It's an old-fashioned Mississippi steamboat, you know, a chance for something with quality and splendor
01:09:49Oh, well, we're going to miss you
01:09:52Oh, thank you. Au revoir, mis amies
01:09:55Goodbye
01:09:56Thank you for a very delightful visit
01:09:59Hey, what's all this fuss about here? We've still got a finale to do
01:10:03Look, Harry, we've got a hit on our hands, haven't we?
01:10:05Oh, don't count your chickens before they hatch
01:10:14Damn
01:10:18Oh, damn
01:10:35Oh, damn
01:11:05Oh, damn
01:11:35Oh, damn
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