MEN [SINGING] : Rolling home, across the bounding blue
So, boys, give her class And start rubbin' the brass
We're roll, rollin' home
Rolling home, come on, you lazy crew
Our whole course is set To race over the wet
We're roll, rollin' home
Oh, can't you see The light in your mother's eye
When that son of a gun, her roving son Attacks a piece of pie?
And can't you taste The lips of a certain miss
When her pride and her joy, her sailor boy Smacks her with a kiss?
And can't you hear Them cheering on the pier?
So quick, gobs, get on your jobs And tell the engineer
We're rolling home
Our chores are nearly through
So step lively, pals You'll soon be with the gals
We're roll, rollin' home
Just think of it, no more hardtack No more beans
No more salt horse And canned sardines
We've sailed all the seven seas We've crossed every pond
Oh, from now on, it's duck soup And a pure platinum blond
So no more labor, no more toil
No more Mother Sills And no more castor oil
No more spending the night aboard
Instead of ashore
Will we ever do it again?
Quoth the raven:
"Nevermore"
I still could swear When I think of the fair
Venetian maid I met
'Neath stars above She taught me to love
At least to love spaghet'
But when I tried To return to her side
And visit her on the Lido
The chief said no And sent me below
To polish his pet torpedo
It's the worst of breaks When the captain makes
You polish his pet torpedo
I hate romance When I think of the chance
I missed at Honolula
I scanned the beach And there was a peach
Enjoying a hula-hula
I could plainly see She was flirting with me
And my heart was filled with hope
But how can I show I'm a Romeo
Through a rusty periscope?
Nope, you can't even register hope
Through a rusty, dusty periscope
We're home, boys, we're home.
-Surface. -Surface.
BIow main baIIast.
[HORN BLOWING]
ALL [SINGING] : Rolling home Our chores are nearly through
So step lively, pals You'll soon be with the gals
We're roll, rollin' home
We're rolling home
Sweet home!
-Gunny Saks. -Not granted.
Oh, but I gotta get ashore, I wanna see my wife.
-Your wife? -I haven't seen her for four years.
-Who'd marry you? -A minister.
-Next. -Mush Tracy.
-Not granted. -But I gotta go ashore.
I wanna go rowing in CentraI Park.
Move on, move on. Next.
-Frank HaIiday. -Okay.
-RaIph Leon. -Okay.
WeII, it's a tough break for you guys.
I was sort of hoping you'd get ashore with me.
I wouIdn't join the Navy again if they made me a generaI.
-You never see a generaI in the Navy. -No, that's because they're smart.
What'd you join the Navy for in the first pIace?
Account of a woman, my wife. Two days after we were married...
...she toId me I wasn't a man of the worId so I joined the Navy.
-WeII, do you think she'II recognize you? -Gee, I hope so.
I haven't changed much. Except that I've stopped biting my fingernaiIs.
She doesn't know you're coming home.
I know that. I'm gonna surprise her.
You know what I'm gonna do? I'm gonna rush up to her and say:
''Jenny, your man is home.''
Boy, I've waited four Iong years for this.
-Yeah, what's your wife been doing? -She's been waiting too.
-You hope. -You hope.
Saks, Tracy, report to the captain at once.
-Saks, I want-- -Captain, I'm Saks. This is Tracy.
Mr. Tracy, shake hands with Captain Dingby.
How do you do, Mr. Tracy?
I'm gIad to meet you, captain. I've seen you around.
I-- I'm Iooking for two saiIors who know where the BrookIyn Navy Yard is.
-It must be in BrookIyn. -If it's in BrookIyn, we'II find it.
Good. That's the spirit. Now, men, this message is very important.
I want it deIivered immediateIy to the BrookIyn Navy Yard...
...in care of Rear AdmiraI Stubbins.
Aye, aye, sir.
WeII, where'II we find the rear admiraI?
In the front office.
[PEOPLE CHATTERING]
[BELL RINGS]
Your name, pIease?
-What's the name? -Who? Mine?
WeII, there's onIy two of us here and I know mine.
Oh, it's Nora. Nora Paige.
JENNY: Paige.
Paige. No, nothing today.
WeII, there couIdn't be. I wasn't expecting any maiI.
Oh, a practicaI joker, huh?
Oh.
I'm sorry I bothered you.
JENNY: Hey, wait a minute.
What's your hurry? Now, don't go away mad.
Oh, I'm not mad.
Come on, sit down.
Thanks.
You been in New York Iong?
About a week.
-Working? -No, I'm finding it difficuIt to get work.
My kind of work.
WeII, just what kind of work is your work?
I'm a dancer.
-You don't use a fan? -No.
Where you from?
I came from a IittIe town in New Hampshire, to get on the Amateur Radio Hour.
Is that so? WeII, what happened?
WeII, I started to sing my song and--
You got the gong?
-That's right. -Oh, weII, don't Iet that bother you, honey.
The way some of those guys hit a gong, you'd think they were driving an ambuIance.
Gee, I wish I couId get something.
No sign of a job yet, huh?
And it Iooks Iike I'II never get one.
And I hate to go back home.
WeII, say, you can stay here with me untiI you Iand something.
Can I? Oh, gee, you're sweII.
You know, I didn't Iike you at first.
Oh, weII, I'm Iike oIives, you gotta Iearn to Iike me.
Say, are you bashfuI about getting up in front of a Iot of peopIe...
...and doing your stuff?
-WeII, I-- -Come on.
Listen, boys and girIs, got a IittIe surprise for you tonight.
I want you to meet Miss Nora Paige, who's gonna sing and dance for you.
And someday when she's a big star...
...you'II aII be proud that you saw her make her first New York appearance.
Okay, toots, you're on your own.
[SINGING] If you want to ring the bell Not once but twice
If you want to roll and roll Those lucky dice
If you want to spend Your journey's end
With sweet music and love
If you want to lick this world Of men and Mickey Mice
Take my advice
When you sit down one day Look over yourself and say:
" You're very good"
[TAPPING]
Rap tap on wood
When you have such success You're conscious that you impress
The neighborhood
Rap tap on wood
When every meal you take Is made of milk and honey
When every stock you stake Is making mints of money
When every heart you break Is such a cinch it's funny
Careful, sonny
Rap tap, rap tap, rap tap-tap Rap a-tap-tap
You're knockout, you're good news And you'll never, never lose
If you just put on your dancing shoes
And rap tap on wood
Rap tap on wood
When you sit down one day Look over yourself and say:
" You're very good"
Bum, bum, bum, bum, bum Babubum, Babubum
Tap on wood
Rap tap on wood
When you have such success You're conscious that you impress
The neighborhood
Bum, bum, oh
Tap on wood
Rap tap on wood
When every meal you take Is made of milk and honey
When every stock you stake Is making mints of money
When every heart you break Is such a cinch it's funny
Careful, sonny
You're knockout, you're good news And you never, never lose
If you just put on your dancing shoes
And rap tap, rap-tap-tap on wood
[TAPPING]
Say, whoever gave you the gong ought to be hit over the head with it.
-Did you reaIIy Iike it? -Like it? I think you're great.
Oh, thanks.
-Come on inside, huh? -AII right.
Come on in.
-Sit down. -AII right.
You know, I came from a smaII town myseIf, same as you.
Were you a dancer?
Yeah, a marathon dancer.
-That's where I met my husband. -Oh, are you married?
Yes, we were partners in a marathon dance.
About the 28th day, business dropped off, so the management offered a cash prize...
...to the coupIe that'd get married during the contest.
WeII, gee, dancing with the same guy for 672 hours...
...naturaIIy, I thought I was in Iove. But I was just tired.
Two days after we were married, he came home in a saiIor suit.
-A saiIor suit? -Yeah, he joined the Navy.
That was four years ago and I haven't seen him since, the rat.
Mommy.
-Mommy. -Excuse me a minute.
Oh, what are you doing out of that bed? Come on, back you go. There.
This is my IittIe girI.
Your daughter?
First prize of the marathon dance.
Oh, she's IoveIy.
I'II bet your daddy's proud of you.
I've never seen my daddy.
He-- He doesn't know about SaIIy.
-You mean you've never toId him? JENNY: No.
WeII, why not?
Because someday we're going to surprise him.
You see, she knows everything.
-Hey, ain't you guys coming in? -What for?
I'm gonna see my wife.
-Does she Iive here? -No, no, she works here.
You've been away for four years. Don't you want a coupIe of minutes aIone?
That's aII right, Ted. But I want you to meet her.
Okay. Come on, Mush.
I gotta deIiver this message to Rear AdmiraI Stubbins.
Oh, that's right. Yeah, and you better do that too.
No, come on, meet the wife first, wiII you? Come on.
Okay.
[BELL RINGING]
-HeIIo. MEN: HeIIo.
Say, my name is Gunny Saks. I'd Iike to see my wife.
-WeII, I'II teII her you're here. -Thanks.
Oh, Jenny, you're wanted at the desk.
-Who wants me? -Gunny Saks.
Gunny?
-Are you sure? -Yeah, he's with two other saiIors.
Oh, excuse me a moment.
Gunny.
[JENNY SHRIEKING]
DarIing.
Oh, am I gIad to see you.
Hey, hey, hey, wait a minute. Wait a minute. I'm Gunny Saks.
-You? -Yeah.
Yeah, yeah, that's him.
JENNY: Oh.
Oh, I couIdn't have been that tired.
Yeah, but Jenny, ain't you gIad to see me?
-I don't know yet. -But I'm your husband.
Yeah, weII, don't remind me of it.
Uh. Hey, bud, Iook...
...when a guy's IoneIy around here and he sees somebody he'd Iike to meet...
-...what's he do about it? -WeII, just waIk right up and say heIIo.
-Just waIk up and say heIIo, huh? -Yeah.
Okay, that's-- AII right.
HeIIo.
HeIIo yourseIf.
What's this aII about?
WeII, uh....
Boy meets girI.
Oh, I see. WeII, boy Ioses girI.
WeII, boy gets girI.
Not so soon, saiIor.
Oh, now, wait a minute.
Hey, Iook, Iisten, Iisten.
You're not very patriotic.
But I am. I'm just not, um...
...uniform-crazy.
-Not even interested? -Oh, I Iove watching a parade.
Oh, I get it. But after the parade's over, you Iike to waIk home aIone?
Oh, not aIways, but I do have a good sense of direction.
Oh, is that so?
WeII, how about you finding us a pIace to sit down together, hm?
AII right.
But, Jenny, ain't you gonna kiss me or something?
I'II shake hands with you.
Is that aII I get after four years?
-What did you expect? -WeII, after aII I'm your husband.
Yeah, I don't know whether I Iike the idea of marriage.
You don't? Do you reaIize that marriage is a nationaI institution?
That 50 percent of the married peopIe are women?
Yeah, I'II think it over.
In the meantime, what do you say if we go home, huh, Jenny?
-Home? -Yeah, where we Iiving now, baby?
Uh, weII, you see, Gunny, aII I got is a singIe room.
That's aII right, I've been sIeeping in a hammock for years.
AII right, I'II send you one.
I'm getting out of the service in two weeks.
I was reading they're going to strengthen the Navy.
-Hey, do you Iike actors? -Better than saiIors.
-I'm gIad to hear you say that. -Why?
Because I'm an actor.
BIush when you say that, mister.
I don't have to. I got taIents. I've got an inventive mind.
Yeah, most saiIors have.
I'm inventing something right now.
When I get it working, I'm gonna seII it to the government for pIenty of dough.
What's that?
I'm crossing parrots with carrier pigeons.
-What for? -What for?
So you can send verbaI messages.
I don't know. Maybe you have the wrong impression about guys who wear uniforms.
WeII, it's improving.
Oh, thanks.
-But you know any soIdiers? -One.
-WeII, do you Iike him? -Yes.
-WeII, do you know any other saiIors? -Besides you? No.
WeII, do you Iike him?
Yes.
WeII, which do you Iike best, the soIdier or the saiIor?
Oh, I never make snap judgments.
TED: WeII, no, no, what I mean is--
When you go to the footbaII game, who do you root for, Army or Navy?
-The Army. -Why?
Because they aIways win.
They aIways win, huh?
WeII, wouId you Iike to be married to an Army man?
No.
-Think you couId be true to the Navy? -What?
WeII, weII, you know what I mean.
[SINGING] I've been around such a lot in my time
I know the hairpins by heart
The way they chase after me, babe It's a crime
And the way I make love, it's an art
So let's find a corner and start
What do ya say?
Hey, babe, hey, babe
How ya doin' today, babe?
You look sort of shipshape to me
And I've sighted a few
Hey, babe, hi, babe
Why not give me a try, babe?
And maybe I'll make you my babe
'Cause I'm nuts about you
MEN [SINGING] : Hey, babe, hey, babe
How ya doin' today, babe?
You look sort of shipshape to me
And I've sighted a few
Hey, babe, hi, babe
Why not give me a try, babe?
And maybe I'll make you my babe
TED [SINGING] : 'Cause I'm nuts about you
Hey, baby, hey, baby
What do ya say, baby?
How about bein' my crew?
I need a lookout
To point some shady nook out
I'm sick of seafarin' I wanna try sharin'
A snug little cottage for two
So be my pilot To love's dreamy islet
'Cause I'm nuts about you
Pretty baby, pretty baby
And what might your plans for today be?
If you're lonesome On your own-some
Well, I haven't a darn thing to do
People tell me it's the season
When the girls like huggin' and squeezin'
And for some dumb goofy reason
Baby:
[HARMONICA PLAYS]
WOMEN [SINGING] : Pretty baby, baby, baby MEN [SINGING] : Hey, babe, hey, babe
WOMEN: And what might your plans for today be?
MEN: How ya doin' today, babe?
WOMEN: If you're lonesome on your own-some
MEN: You look sort of shipshape to me
WOMEN: Well, I haven't a darn thing to do
MEN: And I've sighted a few
WOMEN: People tell me it's the season
MEN: Hey, babe, hi, babe
WOMEN: When the girls like huggin' and squeezin'
MEN: Why not give me a try, babe?
WOMEN: But for some dumb goofy reason
MEN: And maybe I'll make you my babe
WOMEN: Baby, I'm nuts about you MEN: 'Cause I'm nuts about you
And for some dumb goofy reason
Baby, I'm nuts about
-I'm nuts about -I'm nuts about
I'm nuts about you
Pretty baby, pretty baby
And what might your plans for today be?
If you're lonesome On your own-some
Well, I haven't a darn thing
To do
People tell me it's the season
When the boys like huggin' and squeezin'
And for some dumb goofy reason
Baby, I'm nuts about you
CHORUS [SINGING] : Hey, babe, hey, babe
How ya doin' today, babe?
You look sort of shipshape to me
And I've sighted a few
Hey, babe, hi, babe
Why not give me a try, babe?
And maybe I'll make you my babe
'Cause I'm nuts about you
People tell me it's the season
When the girls like huggin' and squeezin'
And for some dumb goofy reason
Baby, I'm nuts about you
Be my pilot To love's dreamy islet
'Cause I'm nuts about you
Maybe you will be my babe
'Cause I'm nuts about you
-Hey, Gunny. GUNNY: What?
-I'm a IittIe worried. -WeII, I'm a IittIe worried too.
I'II never get over the way my wife treated me Iast night.
After four years, aII she does is shake hands with me.
Didn't we forget to do something Iast night when we were ashore?
-I know, the report. GUNNY: What report?
From the captain to Rear AdmiraI Stubbins at the BrookIyn Navy Yard.
Gee, Mush, I'm awfuIIy sorry. That's my wife's fauIt.
You're right. I guess we'd better tear it up.
-No, don't. They'II put you in the brig. -I'II send it to him by carrier pigeon.
Hi, boys.
-HeIIo. -Hi.
Hi. Boys, I just wanna thank you for a wonderfuI evening Iast night.
Yeah? I'm gIad somebody had a good time.
-You sure went overboard, didn't you? -WeII, who wouIdn't?
Boy, that's the kind of a girI I've been Iooking for.
BeautifuI eyes, IoveIy hair--
SAILOR: Attention.
What's going on here?
-What's that? -The message.
-For me? -From you.
What?
-Rear AdmiraI Stubbins, eh? -Yes, sir.
-CaII the master-at-arms. -Aye, aye, sir.
-Why wasn't this deIivered? -It was his wife's fauIt.
-His wife? -Yeah.
-Do you know what this means? -No, sir.
-Do you? -No, I'm not quite sure, sir.
-And how about you? -I give up.
WeII, there you are.
-You sent for me, sir? -Yeah.
-Put Saks in the brig. -Aye, aye, sir.
I'm Saks.
HoId everything.
My mistake, men.
Now, Iet that be a Iesson to you.
WeII, what do we have to have? A dime. You got a dime, Nora?
-I think so. -Now, you Iook right through there.
Yes, here's one.
There you are.
-Can you see? -Yes.
Mommy, whose boats are they?
Oh, they're UncIe Sam's, darIing.
Our UncIe Sam, Mommy?
Yes, dear. On your father's side.
-Is Daddy with UncIe Sam now, Mommy? -Yes, dear.
Mommy, what does UncIe Sam do for a Iiving?
-Oh, weII, um, he's a coIIector. -Is he rich?
You sure have a job on your hands.
Look, you run aIong and pIay Iike a good IittIe girI, huh?
There you go.
Phew, she's a probIem.
Just at the age where she wants to know everything.
She can't understand about that feIIa I'm married to.
WeII, why don't you teII her?
WeII, I can't tiII I know more about him myseIf.
Why not?
WeII, when you're picking a father for your chiId, you've gotta be awfuIIy carefuI.
When he proves he's worthy of SaIIy, then I'II teII him. But untiI then....
Gee, I hope I can keep him from finding out about her whiIe he's in port.
Jenny...
...is the fIeet Ieaving soon?
I don't know.
Why, does that worry you?
A IittIe.
I never thought this couId happen to me.
Gee, kid, I hope you haven't done something you'II be sorry for.
So do I.
WeII, what did you do?
I feII in Iove.
You reaIIy Iike that guy?
Gee, I'm crazy about him.
-When you gonna see him again? -Just as soon as I can.
Maybe tonight.
MINISTER: And now I pronounce you man and wife.
SALESMAN: Yes, my friends...
...words Iike that mean perfect happiness to every newIy married coupIe.
So if any of you contempIate marriage...
...do so at once and carry your bride across the threshoId...
...of the Harmond Honeymoon Cottage...
...the ideaI home for newIyweds.
This is the Iast demonstration of the afternoon.
We invite your carefuI inspection.
Thank you.
How do you do? May I have the pIeasure of showing you our IittIe masterpiece?
-Okay. -Pardon me, just for a moment.
I think we have a better pIace for this over here.
[BUTLER GASPS]
Oh, yes.
The unIimited resources of a mammoth department store...
...finaIIy soIved the vitaI probIem of how to furnish a honeymoon cottage.
CoIor harmony is the answer.
CooI bIues and quiet grays and greens are the main motives...
...whiIe the vioIent cerise has been used mereIy as an accent.
You wiII notice that everything is done to soothe the frayed nerves...
...of the scurrying businessman.
To offset the noise and confusion of our heIter-skeIter existence, yes.
Notice the theme in the window hangings.
They're white chiffon, a medium fuIIness.
With over drapes of green pIaid chintz and caught up with a gorgeous bow.
Breathtaking, isn't it?
Making a perfect symphony in coIor, yes.
Oh, you must notice the carefree abandon and careIess profusion of the peIargoniums.
Oh, yes, geraniums to you. You know, fIowers are Iike IittIe chiIdren.
They refIect the happiness that shouId be in every home.
And music. Music.
The duIcet tones of the Harmond Honeymoon Grand.
Nothing quite so soothing as music, especiaIIy after a meaI.
EspeciaIIy a meaI prepared in one of our modern kitchens...
...eaten in one of our cozy dining rooms...
...and digested in one of our superIative Iiving rooms.
It brings on a feeIing of contentment and Ianguor...
...that Ieads us eventuaIIy to the bedroom.
Isn't it ravishing?
Oh, it's beautifuI.
-Where's the other bed? -Other bed, sir?
We beIieve in the doubIe bed and a Iasting marriage.
Yeah, weII, I don't-- No man couId sIeep in that.
It's got an awning on it.
I beg your pardon, sir, but that's imported siIk voiIe with baII fringe.
WeII, I don't care what it is, I couIdn't sIeep there.
-It's too short for me. -Oh, no, sir. It's standard.
WouId you care to try it for size?
-No, no. -Oh, don't be bashfuI, sir.
Many of our cIients insist on trying the bed, I assure you.
-They do? -Oh, yes, sir.
-WeII, hoId this, Nora. NORA: Mm-hm.
-See what I mean? -Yes, sir, a perfect fit.
Not very wide, either.
No, I assure you you're wrong.
I-- Oh, do you mind?
No, I'II show you, sir, reaIIy.
There you are, sir. PIenty of room.
Besides, it's awfuIIy comfortabIe, isn't it, sir?
AwfuIIy comfortabIe. Try it, sir, won't you?
[NORA LAUGHING]
[WHISTLE BLOWING]
DINGBY: At ease.
Now, men, this afternoon, we are permitting visitors to come aboard...
...for a theatricaI pubIicity stunt.
We are to receive the briIIiant young musicaI-comedy star...
...Miss Lucy James.
[MEN CHATTERING]
Quiet, pIease.
AIthough this may seem rather unusuaI, I, uh-- I see no objection to it.
MEN: No. -Quiet, pIease.
As a gentIe reminder and a warning...
...and so this crew, of which I'm very proud...
...wiII appear at its very best...
...I want you aII, when this beautifuI young Iady comes aboard...
...to behave Iike saiIors.
[SINGING] Miss Lucy James sighted starboard beam
Miss Lucy James approaching Starboard beam
Miss Lucy James nearing starboard beam
DINGBY: About face.
LOOKOUT [SINGING] : Miss Lucy James alongside Starboard beam
Miss Lucy James alongside Starboard beam
MEN [SINGING] : Miss Lucy James boarding Starboard beam
For your information Miss James is a dream
MEN: Miss Lucy James boarding Starboard beam
Just a combination of peaches and cream
MEN: Ahoy
Ahoy, Miss Lucy James
And welcome to our submarine
Most glorified of dames
Good morning, miss And how do you do?
And how's the captain Not to mention the crew?
Well, as far as I know The crew is all right
But the captain had a big night last night
Yes, yesterday He drew his pay
So the captain had a big night last night
But don't be cross With the dear old boss
'Cause he had A very, very big night last night
Now, since you asked me about my crew
It gives me pleasure To present them to you
Boys, meet Miss-- Oh, I'm so awful at names
Why, the name of the lady Is Lucy James
Lucy James, got another papa
You got another papa But he's bad at names
'Cause he had a very, very big night
Miss James
Now, since we all have met
And formalities are through
May I present My heaven-sent
-Cheeky-Peeky-Poo? MEN: Who?
Love me, love my Pekingese Spite of your antipathies
If you want to cultivate me Gotta love Cheeky
MEN: Howdy, little Cheeky
Cheeky, he's my chaperon Never lets me be alone
So when you invite me to tea Gotta have Cheeky
MEN: Nasty little Cheeky
Cheeky barks, Cheeky bites
Cheeky goes in for neighborhood fights
Cheeky, like all gentlemen Is a tease
MEN: Cheeky, please
But be warned before you start
If you want to win my heart
Don't bother to buy me big rings
Or other extravagant things
Get something chic for Cheeky My Pekingese
MEN: We love you, Cheeky
You squeaky little Pekingese
Oh, captain, what a IoveIy submarine.
Oh, yes, yes. It's the pride of the Navy.
TeII me, how Iong can your submarine stay under water?
WeII, now, it aII depends.
Once, we submerged with the hatches open and we didn't come up for two weeks.
-ReaIIy? -PositiveIy.
[ALL LAUGH]
Quiet, pIease.
Wait a minute, boys.
How do you do, Captain Dingby?
How do you do?
Oh, perhaps you don't remember me.
I'm James McKay, personaI representative for Miss Lucy James.
Uh, we had Iunch together yesterday.
Oh, yes, yes. How do you do, Mr. McKay? I've been expecting you.
Fine. WouId you mind posing for a picture with Miss James?
Not at aII, I shouId be deIighted.
That is, if Miss James doesn't object.
-Oh, captain, I'd be thriIIed. -Oh, so shouId I.
-Fine, fine, now you step right over here? -With pIeasure.
McKAY: AII right, boys, excuse me, just a minute. Fine.
Now, captain, Miss James, come right over here by the raiIing. Fine.
-Now, captain, take Miss James by the arm. -PIeasure.
That's it. Fine. Now, hoId it. That's it.
-You aII set boys? PHOTOGRAPHERS: Yep.
-Ready? -Just a moment.
Captain, wouIdn't you Iike to hoId my IittIe Cheeky for the picture?
Oh, deIighted.
McKAY: SmiIe now, captain.
A IittIe more.
That's fine now. HoId. AII right.
Cheeky. Someone save my Cheeky.
Dog overboard. Everybody get ready to submerge.
Morning.
Look at that.
What a break.
''U.S. saiIor rescues actress' Pekingese.''
What an awfuI picture of me.
What are you taIking about? You can't buy pubIicity Iike that.
You drop your pooch overboard, the whoIe U.S. Navy dives in after it.
HeadIines in every newspaper in the country. What a break.
-Wait a minute. That gives me an idea. -What?
Cook up a romance between you and that saiIor.
Too bad he isn't an officer.
No, no, better this way, beIieve me. More heart interest.
PubIic wiII go for it. They Iike the idea of you faIIing for an ordinary gob.
-CindereIIa angIe. McKAY: ExactIy.
Maybe I'II Iike it, Mac.
WeII, that's up to you.
No fear. It's ridicuIous.
Lucy, I'II teII you what you do.
Be seen with him a few times. PubIic pIaces, night cIubs, cabarets.
That'II start the gossip coIumns. I'II pick it up there.
-And deny it? -Sure.
That'II keep your name in the front page for months.
-What's the name of that boy again? -Barker, Ted Barker. And don't forget it.
Wish I couId think of some way to get that saiIor shore Ieave.
-I can arrange that. -You can? How?
Why, the captain's dying to do me a favor.
Fine. ''Famous actress in Iove with gob.''
What an angIe. The pubIic wiII eat it up.
-It's kind of a dirty trick. McKAY: Yes, but a good one.
I guess you're pretty proud of yourseIf tonight, aren't you?
WeII, who wouIdn't be sitting here with you.
Thanks. But I meant about having your picture in the paper with Lucy James.
Oh, oh, weII, it's just a IittIe....
I'm awfuIIy gIad you saved her dog.
Oh, you are, huh?
TeII me about her.
Is she nice?
Yeah, weII, I guess so.
You guess so? WeII, didn't she thank you?
Oh, sure. Yeah.
Maybe someday you can do as much for me.
What do you mean?
Oh, when I'm a star.
You're reaIIy going on the stage, huh?
WeII, I've aIways wanted to.
I'm Iooking every day.
You know, it's funny, but once I get started...
...think I've got a pretty fair chance of making good.
Of course you're gonna make good.
You're gonna have one big booster. I'II be down in the front row opening night.
You'II be many miIes from here my opening night.
Oh, no. My time's up in three weeks. I'II be out of the Navy after that.
WeII, what are your pIans then?
Are you Ieaving New York?
No, I kind of think I'II stick around now.
I'm gIad, Ted.
-Nora. -Yes?
WeII, you reaIIy wanna go on the stage?
WeII, I hope to.
WeII...
...success and aII that, do you think that'II change you?
Of course not.
Why do you ask?
Oh, I don't know.
It just seems that that kind of success aIways does something to peopIe.
-At Ieast, I've noticed it. -Just recentIy?
Oh, Nora, the difference between you and girIs that--
That amount to something?
I wish you knew what you amounted to with me.
TeII me.
[SINGING] I know too well That I'm just wasting precious time
In thinking such a thing could be
That you could ever care for me
I'm sure you'll hate to hear That I adore you, dear
But grant me just the same
I'm not entirely to blame
For you'd be
So easy to love
So easy to idolize, all others above
So worth the yearning for
So swell to keep any home fire Burning for
We'd be so grand at the game
So carefree together
That it does seem a shame
That you can't see
Your future with me
'Cause you'd be
Oh-so easy
To love
So worth the yearning for
So swell to keep any home fire Burning for
Oh, how we'd bloom, how we'd thrive
In a cottage for two
Or even three, four or five
So try to see
Your future with me
'Cause they'd be
Oh-so easy
To
[MUSIC STOPS]
[MOUTHS] It's the guard.
[MUSIC RESUMES]
[MOUTHS] Let's go.
TED [MOUTHS] : Well, look at that.
[THUD]
[TED WHISTLES]
TED: Hey, Gunny, come here.
-WeII, we're going ashore. -What, so soon?
Yeah, the captain's sending the report again.
He sure is an optimist.
Ted wants me to go to LoneIy Hearts CIub for him.
Anything you want to teII your wife?
-You gonna see my wife? MUSH: I wasn't, but I wiII.
Hey, why don't you go yourseIf.
Listen, I gotta report to Lucy James at the CIub ContinentaI.
-But it's the captain's orders. -At the CIub ContinentaI?
-Yeah. -What's the Navy coming to, anyway?
I don't know, but if this gets around town, it'II be over-enIisted.
WeII, anybody that wants it can have my share of the Navy.
Look, uh, Gunny...
-...how are you fixed for dough? -Pretty good.
Yeah, I was wondering if you couId Iend me 1 0 bucks.
-I'm fIat broke and I'm-- -AII right, here.
Oh, thanks. You sure you won't need this?
-Not whiIe he's in there. -Oh, that's right too. So Iong, Gunny.
-Hey, Mush, wiII you do me a favor? -What?
-When you see my wife, kiss her for me? -A pIeasure.
-HeIIo, foIks. JENNY: HeIIo, Mush.
-How are you? -Okay.
-Got a message for you from your husband. -What is it?
Any answer?
Yeah.
Where is Gunny?
-In the brig. -Something serious, I hope.
-I got a message for you too. -From Ted?
He came ashore with me...
...but he's on speciaI detaiI.
-Captain's orders. -Oh.
But he wants to see you when he's through.
Where?
In CentraI Park.
CentraI Park's awfuI big, saiIor.
He said he'd meet you at the usuaI pIace.
Honest? What time?
Ten o'cIock sharp.
[INSTRUMENTAL MUSIC PLAYING]
Let's dance, shaII we?
WeII, I don't know, I'd--
It's kind of Iate. I--
Don't you think we'd better go?
AII right, if you want to.
Oh, waiter.
-Yes, sir? -Check, pIease.
Yes, sir.
It's been a IoveIy evening.
You know, I'm beginning to change my mind about saiIors.
WeII, thanks.
I'm sorry, sir, but your check is 1 1 .80.
Yeah, it's 1 1 .80.
WeII, my mistake.
WeII, I'm a IittIe shy.
That's what I Iike about you.
[JENNY HUMMING]
Nora.
Oh, what's the matter?
Lucy James, huh?
So that's it.
Hmm. That dame's first name shouId have been Jesse.
I can't understand Ted doing this.
Oh, honey, they're aII aIike.
If you get a good one, it's a Iong shot. If you don't, it's a consensus of opinion.
It's aII very funny.
Just yesterday I tried out for Lucy James' show.
WeII, what happened? TeII me.
Nothing, except I registered for the chorus...
...and to be her understudy.
Oh, gee, I hope they caII you. Be a good way to get even with these nibs.
You mean Daddy, Mommy?
JENNY: No, darIing.
WeII, you aIways caII Daddy nibs.
You see how it is? It's impossibIe to speak before her.
-You finished with your breakfast? -Yes.
You may Ieave the tabIe. I wanna taIk to Nora.
Oh, go ahead, Mommy, I won't Iisten.
-O-day ou-yay eak-spay ig-pay Atin-Iay? -Es-yay.
Ood-gay. I ought-way o-tay isit-vay the ubmarine-say ithout-way AIIy-say.
Oh, you do, do you? I'd Iike to see you visit the submarine without me.
Now, how do you Iike that?
SaIIy, you're gonna drive me to stop drinking.
Now, you gotta go. Come on.
-Am-scray. -Oy vey.
Are you reaIIy going to board the submarine?
-CertainIy, tomorrow. -But why?
WeII, I owe it to Gunny whiIe he's in the brig.
And besides, whiIe he's in the brig, I'm safe.
WeII, so is SaIIy. He'II never see her.
That's right, we'II aII go.
Not me. I don't want any part of Ted Barker.
-Aunt Nora. -Yes, dear?
You're wanted on the phone.
-Who wants me? -I didn't ask.
It's the first time you minded your own business.
Excuse me.
-HeIIo? -Nora.
Oh.
DarIing, I want to expIain about Iast night.
See--
WeII, when I got to the park, I--
Nora? Nora?
Atkins and McKay. Who's caIIing?
I'm sorry, Mr. McKay can't be disturbed, he's taIking to himseIf.
I mean he's in conference. AIrighty, I'II teII him you caIIed.
Atkins and McKay. Who's caIIing?
Oh, heIIo, OpaI. WeII, say, ain't you working today?
Your boss is gone and everybody took the day off?
WeII, ain't that Iife. When the cat's away, the mice act Iike rats.
Oh, say, guess who I seen at CIub ContinentaI Iast night.
Lucy James with that saiIor she met through a Pekingese.
BeIieve me, he's a sea-going thriII if I ever seen one. What's he Iike?
WeII, taII, sort of the answer to a maiden's prayer on stiIts.
Honest, he must be 6'4'' and that's just two inches shorter than a totem poIe.
Oh, but he's got a smiIe Iike concentrated vodka.
Vodka. Oh, it's a Japanese drink made out of panther bIood, I think.
What's Lucy James Iike?
WeII, she's taII and bIond, with a Iimousine body.
AII I can say and stiII be a Iady...
...is I can't see what she's got that I ain't, outside of a Pekingese.
Why, haIf the Navy dives in the water after her pooch.
I couId be drowning with a Saint Bernard and get nothing better than water wings.
Oh, I never seen such Iuck. I guess it's kismet.
I said, kismet, OpaI. That's Latin for ''spinach.''
WeII, of course, I speak Latin: sic transit gloria mundi.
Don't I sound sweII? What does that mean?
It's Latin for ''he opened the door and in fIew a dead duck.''
At Ieast, that's what my boyfriend said it meant.
CouId I see Mr. McKay, pIease?
Mr. McKay ain't in. He's out.
WeII, are you sure he's out?
He went out 1 5 minutes ago, won't be back for haIf an hour.
Where was I at, OpaI?
Look, he asked me to come in here.
-I don't know-- -Oh, it's you, Mr. Barker.
Oh, weII, just a moment pIease and I'II ring him for you.
You're a saiIor, ain't you, Mr. Barker?
I got saItwater in my veins. My uncIe used to work on a tugboat.
It's a smaII worId, ain't it? Mr. McKay, the dogcatcher is here.
I mean Mr. Barker.
AIrighty. He says you can go right in, Mr. Barker.
Thanks very much.
HeIIo. How are you?
-WeII, I'm gIad to see you. -Hi, Mr. McKay.
-Sit down. -Thanks very much.
Say, by the way, I've just been reading about you in Hector's coIumn.
Boy, you're a something.
Oh, yeah, yeah, that's Lucy James.
WeII, it's kind of siIIy, isn't it?
SiIIy? No, it's great.
I taIked to Miss James over the teIephone a IittIe whiIe ago. Boy, she Ioves it.
-It's not so hot, though. -Why?
-WeII, I just don't Iike being made a fooI of. -You're not.
You shouId have heard what she said a few minutes ago.
-What, about me? -Sure.
And she's not the type that faIIs easiIy.
-What do you mean, she kind of Iikes me? -Kind of Iikes you? She's nuts about you.
Oh, no. WeII, that's no good, though.
Why?
-WeII, you see, I'm not nuts about her. -Oh, she'II grow on you.
-WeII, I don't want her to grow on me. -Barker, you've been in the Navy too Iong.
Have a cigar.
Oh, thanks.
Uh, Mr. McKay, I don't want to change the subject or anything...
...but I was wondering if you couId do me a favor?
What?
When does Miss James' new show go into rehearsaI?
-Oh, next week. -Next week, huh?
CouId you use the worId's greatest dancer?
My boy, Miss Lucy James is the worId's greatest dancer.
No, I don't think so.
No, the girI I'm taIking about just wants a chance.
Anything. You can put her in the chorus.
I'd Iove to do you a favor, but I can get the chorus girIs I want for a dime a dozen.
You can't get this girI for a dime a dozen. Listen, she is the most marv--
You wait tiII you see this girI.
Ted, I'II teII you what you do. Have her phone me for an appointment.
WeII, oh, no, I couIdn't do that. You see, you'II have to phone her.
-What, can't she remember numbers? -I don't want her to know...
...that I came here and asked you to give her a break, you see?
I understand. Where can I get in touch with her?
Oh, weII, here, you can caII her right at this number.
-There, right there. -Fine.
You won't teII her that I came in, you know--
No, certainIy not.
[WHISTLE BLOWING]
I beg your pardon, sir.
You'II frighten the fish.
-Any Iuck, captain? -Say, I Iost the biggest fish you ever saw.
-Just now? -No, when we were in San Francisco.
You sure do a Iot of fishing, don't you?
Yes. I expect to run for president someday.
MUSH: You better hurry up.
-What are you doing? -That message to Rear AdmiraI Stubbins.
-What about it? -I couIdn't find BrookIyn.
You couIdn't find BrookIyn?
I was in Yonkers aII day before I found out it was Yonkers.
-Doing what? -Looking for the BrookIyn Navy Yard.
There must be a man in my crew who knows where BrookIyn is.
-Saks knows. -Saks? How does he know?
He was born there. At Ieast, Iooks Iike he was born there.
-He does? Where is Saks? -In the brig.
-What's he doing in the brig? -Three days, sir.
Who put Saks in the brig?
Why, you did.
Oh, yes, yes, yes. Got a match?
I feeI uncomfortabIe about going aboard, Jenny.
I hope I don't meet Ted.
Listen, baby, when a horse throws you, you gotta get right back up and ride him.
I won't even Iook at him.
That's wrong. Act Iike nothing happened.
If you want a Iesson in seIf-controI, just watch me with Gunny.
TED: Attention.
Where's Saks?
I'm Saks. Captain, you're aIways getting us two mixed up.
Are you two men twins?
I don't know about him, but I'm not.
I want this deIivered to Rear AdmiraI Stubbins...
-...at the Navy Yard. -Yes, sir.
-You were born in BrookIyn. -Yes, sir.
-What part? -AII of me.
-DeIiver that message at once. -Aye, aye, sir.
MAN: Listen up.
[PEOPLE CHATTERING]
Are you the guide?
No, madame, I am the captain.
Oh, I'm so sorry. I beg your pardon.
WeII, couId I pIease visit the brig? There's a man I'd Iike to see in it.
I mean there's a man in it I'd Iike to see.
I'm sorry, madame, but visitors are not aIIowed beIow deck.
-Oh! -Oh, Jenny, that's a shame.
Oh, weII, we'd Iove to Iook around. CouId we go visit the crow's nest?
Under no condition, madame.
This is the mating season.
Oh, weII, Iet's go Iook anyway. Come on.
-Did you see what I saw? -What?
Gunny. He's not in the brig.
I can't Iet him see SaIIy. If he finds out he's her father...
...his chest wiII be bigger than his head.
Jenny.
-Jenny. -What are you doing here?
-Why, I work here. -Yeah, but I thought you were in the brig.
-Jenny, ain't you gIad to see me? -WeII, yes and no.
Gee, now we're getting somepIace.
WeII, heIIo.
WeII, I'm gIad to see you again, Nora.
I'm awfuI sorry about what happened.
I can expIain if you give me a chance.
I'm reaIIy not interested.
-HeIIo there. -HeIIo.
Say, who's IittIe girI are you?
Mommy's girI.
Yeah?
What do you mean, ''yeah''?
How oId are you, IittIe girI?
Three and a haIf.
Three and a haIf?
Run aIong, SaIIy, and pIay. That's a good girI.
-Say, who's her mother? -I am.
What?
Why, certainIy it's her baby. Isn't it, Nora?
AbsoIuteIy.
-Oh, Nora. Don't teII me you're married. -WeII, I wouIdn't dare teII you I wasn't.
Yeah. No, you wouIdn't, wouId you?
Oh, SaIIy. Oh, she's aIways getting into troubIe.
Just Iike her father.
That's right.
Gee, I wish that was my kid.
-Gosh, I envy her father. -Oh, you needn't. He's a saiIor too.
Oh, the poor kid.
Oh, don't worry about us. We'II get aIong aII right.
Of course, taking care of a chiId nowadays costs money.
-That's why I was so anxious to find work. -WeII, I hope you get it, Nora.
I've got it.
-What, aIready? -Mr. McKay notified me yesterday.
I'm to be Miss James' understudy.
What, he toId you that?
Yes, that's what I tried out for a few days ago and I got the job.
-WeII-- -You'II be there opening night, of course.
-Sure. -In the front row.
Yeah.
Supposing I shouId kiss you.
I'd Iike it.
-That's what I'm afraid of. -Why?
WeII, I wanna find out first if I Iike it.
Then if I Iike it, I'II Iet you kiss me.
Gee, I hope you Iike it, Jenny.
Yeah, weII after four years, I think it's time I found out.
HoId stiII.
How was it?
I didn't Iike it.
WeII, I Iiked it.
[PEOPLE CHATTERING]
-HeIIo, Jen. -Oh, heIIo, honey.
I ordered for you.
Thanks.
How are rehearsaIs going?
Oh, aII right, I guess.
OnIy I'm not getting the kick out of it I thought I wouId.
Why not?
Ted hasn't been near the theater.
Oh, weII, did you expect to see him around?
WeII, yes, I did, but I guess I was wrong about him.
You know, I can't figure him out.
He hasn't seen Lucy James since we started rehearsing.
JENNY: He hasn't? -Not once.
Then, why haven't you heard from him?
Maybe because he thinks I'm married.
Oh, I'm sorry about that.
Gee, I'm the one that spoiIed everything for you.
-Oh, you weren't to bIame, Jenny. -Oh, yes, I was too.
And if I'd known then what I know now, it never wouId have happened.
You know, Nora, I've been thinking things over.
And when Gunny gets out of the Navy, we're gonna settIe down, make a go of it.
You are? Oh, I'm so gIad.
-What did Gunny say when you toId him? -I haven't toId him yet.
WeII, how did you decide?
WeII, I kissed him and I didn't think I Iiked it, but--
But you did.
Yeah. I did.
BeIieve me, without pubIicity you can wrap the show up.
RehearsaIs are fine. What are you kicking about?
I'd rather pIay safe and keep the pubIic Lucy James conscious.
But pIease, Mac, not about my private Iife.
Nothing spreads Iike gossip.
It's the best kind of baIIyhoo as Iong as you keep it cIean.
WeII, I didn't mind at first, but now it's different.
Are you on the IeveI? Are you serious this time?
Yeah, just as you were a few months ago with Tommy Morgan.
HonestIy, Mac, I swear this is different.
-Yeah, I've heard that before too. -Oh, forget it.
-This Barker is out of the Navy, isn't he? -Yes.
If he's crazy about you, why hasn't he been around?
-Because he resents the whoIe thing. -Oh, he does. WeII, that's too bad.
He phoned and wanted to see me. That is, if it couId be arranged privateIy.
And I asked him to come here.
-Tonight? -Any minute now.
''Cupid's Boomerang. Actress to Wed Ex-saiIor.''
You're writing the finish first. The man hasn't asked me yet.
But if he does and I shouId marry him, not a word in the papers about it.
What's the use if you don't get any pubIicity?
Oh, Mac, you're hopeIess.
AII right, go ahead and marry him.
Let's arrange for a divorce before the show opens.
-We need the pubIicity. -There'II be no pubIicity.
AII right, go ahead. Tie my hands, ruin me.
Oh.
Oh, the maid toId me to come right in.
Oh, heIIo, Ted. Come on in.
-Nice to see you. -HeIIo, how are you?
McKAY: WeII, heIIo, Barker. -HeIIo. GIad to see you.
GIad to see you.
Look, I hope I'm not interrupting.
Oh, no, no. Mr. McKay was just Ieaving, weren't you, Mac?
Yeah, I'm practicaIIy gone.
WeII, I'II see you at rehearsaI in the morning. Night.
-Night. -Night.
-ShaII we go out on the terrace, Ted? -Okay.
Anita, if anyone shouId caII, I'm not at home. Remember that.
-Yes, Miss James. -Thank you.
Here's to you, Ted.
-Happy days. -SkoaI.
Uh, why was Mr. McKay here tonight?
I sent for him to put a stop to that cheap pubIicity we were getting.
Oh, weII, thanks.
That's the reason I came up here to taIk to you tonight.
I toId him if there was one more word about us...
...I wouIdn't go on opening night.
WeII, are you serious?
I've never been more serious in my Iife.
WeII, what'II happen to the show opening night?
My understudy wouId go on.
Oh, she wiII, wiII she?
She'd have to.
WeII...
...do you think your understudy can pIay your part?
Oh, I wouIdn't know about that.
TeII me, Ted, are you interested in the theater?
Oh, yes. WeII, more or Iess.
But never been active.
Mmm. WeII, I was in a Iot of shows at coIIege.
I, uh-- I pIayed the Ieading Iady.
Ted, I'm awfuIIy gIad you came here tonight. Are you?
Yes.
I've been wondering about you.
[SINGING] I've got you
Under my skin
I've got you
Deep in the heart of me
So deep in my heart
You're really a part of me
I've got you
Under my skin
I tried so
Not to give in
I said to myself
This affair never will go so well
But why should I try to resist
When, darling, I know so well
I've got you
Under my skin
I'd sacrifice anything come what might
For the sake of having you near in spite
Of a warning voice That comes in the night
And repeats and repeats in my ear
Don't you know, little fool
You never can win
Use your mentality
Wake up to reality
But each time I do
Just the thought of you
Makes me stop
Before I begin
'Cause I've got you
Under my skin
Men, your enIistment is up.
Today you Ieave the service.
It grieves me to see you go.
But it warms the cockIes of my heart...
...to know that the members of my crew have behaved Iike one big happy famiIy.
Men, aIIow me to wish you Iuck.
-What's this? -The message to Rear AdmiraI Stubbins.
-Why hasn't this deIivered? -CouIdn't find the rear admiraI.
-Saks, if you-- -Captain--
Don't teII me, don't teII me. I know.
-You're Saks and he's Tracy. -That's right.
If you weren't getting out, I'd put you in the brig.
-You know what this means? -No.
-Do you? -No, sir.
WeII, there you are.
There must be some way of getting this to Rear AdmiraI Stubbins.
Put it in a bottIe and throw it overboard.
It'II take too Iong to reach him.
I've forgotten what's in there.
-Open it and read it to me. -Yes, sir.
''Dear admiraI, I have two box seats...
...for the opening of Lucy James musicaI comedy on Wednesday night.
Park your battIeship in the harbor. Join me and we'II make a night of it.
Very sincereIy yours, PercivaI Dingby.''
Oh, yes, yes, yes.
[SINGING] You'd be
You'd be so easy to love
So easy to idolize, all others above
You'd be so worth the yearning for
And, honey, you'd be so swell
To keep every little home fire burning for
We'd, we'd be so grand at the game
So carefree together
That it does seem a shame
That you can't see
Your future with me
'Cause you'd be
Oh-so easy to love
[NORA HUMMING]
So try to see
Your future
With me
'Cause you'd be
Oh-so easy to love
Oh, oh, oh, oh, oh
So easy to love
[AUDIENCE CLAPPING]
He's pretty good. Where'd you find him?
The Navy didn't take up his option.
I got him cheap.
There's Iots of taIent in the Navy.
You ought to know.
WeII, the show Iooks great.
I have a feeIing in my bones we're gonna have a hit. If you--
If you're gonna start on Ted Barker, save your breath.
-I know the speech by heart. -Oh, Lucy, use your head.
You know how vaIuabIe pubIicity is to a show before it opens.
Let me run a story about you and Ted in the papers--
No. PositiveIy no.
One more word in the newspapers and I don't go on opening night.
Now, you remember that, Mac.
WeII, how's it feeI to be out of the Navy?
-I don't know. I'm Ionesome. -So am I.
-Say, have you seen Nora? TED: No.
WeII, she's married. I guess that Iets me out.
-Why, have you seen Jenny? GUNNY: No. It's no use.
I don't know, Ted. Maybe I'm just a man's man.
I'm getting disgusted with married Iife.
Is this what I'm supposed to wear in the opening?
But that's the finest creation we ever made.
I don't Iike it.
-But you okayed the sketches-- -I won't wear it. Make me something eIse.
-We haven't time, you have to wear it. -I don't have to do anything.
-Hey. -PIease, Miss James.
Where's that arrangement for me?
-Here it is, Miss James. -What are you waiting for? PIay it.
[PIANO MUSIC BEGINS]
Stop it. Stop it. I couIdn't dance to that. Nobody couId.
-Are you trying to ruin me? -That's a sweII number.
-The more you hear it, the more you Iike it. -It's awfuI.
If that's the best you couId do, I won't even bother to rehearse.
WeII, I may be crazy, but I think it's a great number.
Nora. Come here.
-Did you hear that number? -Yes, sir.
Can you dance to it?
WeII, I think so.
Go ahead and try it.
But, Mr. McKay, are you sure Miss James won't mind?
Go ahead and try it. Let's have it.
AII right.
[PIANO MUSIC PLAYING]
[TAPPING]
LUC Y: Stop it.
[MUSIC STOPS]
Just what do you think you're doing, making a fooI out of me?
-But I didn't mean-- -I don't care what you meant.
When I want 5- and 1 0-cent store dames doing my numbers, I'II Iet you know.
Are you trying to show me up in front of the whoIe company?
We'II see about that. Fire her this minute, do you hear me?
-CaIm down. -Get rid of her.
-She's your understudy. -I don't need one.
I've got a fortune in this show.
-You can't teII me how to run my company. -I can't, can't I?
WeII, take your choice. Either she goes or I go.
I'm sorry, Nora...
...but I'II have to Iet you go.
PIease, Mr. McKay.
It wasn't my fauIt, reaIIy.
I know.
And the tough part of it is there's nothing I can do about it.
I'm sorry.
-WeII, heIIo, Jenny. -HeIIo, Ted.
WeII, weII.
Ted, something terribIe has happened.
-What is it? Something happen to Nora? -WeII, yes.
WeII, what is it?
WeII, I might as weII start at the beginning.
In the first pIace, Nora isn't married.
She isn't married?
No, she just said that to heIp me and beside that, she Ioves you.
She Ioves--?
WeII, what about that baby?
Oh, that's my baby and I'm gonna teII Gunny just as soon as I see him.
-Oh, Gunny's the father? -Yeah. Ain't nature wonderfuI?
WeII, what about Nora?
-Nora was fired today. -Fired?
Lucy James made Mr. McKay fire her.
-Oh, she did, huh? -Yeah.
Just kicked her out of the show, huh?
-Isn't that a dirty trick? -WeII, how do you Iike that?
-Can you keep a secret? -I'II try.
I'm gonna get Nora a better job. Come on.
[PHONE RINGING]
HeIIo.
It's Mr. McKay.
HeIIo, Mac.
REPORTER [ON PHONE] : How's the show coming along?
Oh, sweII.
Hey, you want a hot tip for your coIumn tomorrow?
-WeII, if it's hot, Iet's have it. -WeII, this is pIenty hot. Now, get this--
NEWSBO Y: To marry Ted Barker, former saiIor.
Extra, extra. Famous actress to marry ex-saiIor.
Extra, extra. Read aII about it. Lucy James to marry Ted Barker.
-Who put this in the paper? -I don't know.
You're Iying. I toId you what I'd do if this broke.
-I didn't do it. I don't know who did. -You did it. Who eIse wouId?
Now, get this through your thick head.
If your show opens tonight, it'II open without me.
Now get out of here.
-You can't get away with this. -Oh, yes, I can.
You waIk out, you'II never be in another Broadway show as Iong as you Iive.
Get out!
Get out of here!
[KNOCKING ON DOOR]
Come in.
Barker, something teIIs me that you've got more brains than I gave you credit for.
But you're not gonna get away with it.
-I don't get it. -Oh, yes, you do.
That was cIever trick, trying to muscIe in your girIfriend.
But get this. UnIess Lucy James goes on tonight, there's not gonna be any show.
-No? -No.
-Then why doesn't she go on? -You know why and took advantage of it.
Get on that teIephone, teII her you put that in the paper.
WeII, why shouId I?
You know weII that you and Lucy James have been making a chump of me.
I've got $ 1 00,000 tied up in this show.
UnIess you get on that teIephone and teII her, I'm gonna break your neck.
Ah-ah.
PEPPY [SINGING] : Not so many summers ago
The land of New Dealin' Was feelin' so low
That even folks In darkest Washington knew
CHORUS [SINGING] : Wha-hoo
Something had to be done
So they called The country's cleverest ginks
To figure some plot out To blot out the jinx
Yet no one had a mumblin' word to say
'Cept Professor Cab Calloway
CHORUS: That ol' man, Calloway
But Cab the wise Rose and said to these guys
"If you're fixin' to beat this whole thing
As a Harlem resident Mr. President
-I say CHORUS: He say
-Give 'em CHORUS: Give 'em
- Swing" CHORUS: Doo wop, doo wop
Zoo zad, zoo zad, zoo zad
Now everybody's happy
And everyone's gay
'Cause every little mammy and pappy
Is swingin' the jinx away
What is that thing they're all a-singing?
Why, that's hi-de-hi-de-hey
'Cause everybody's buckin' and wingin'
Swingin' the jinx away
From fair Niagara's fountains To the far Rocky Mountains
They're swingin', swingin' away
From the Suwannee River To the home of the flivver
They're swingin', swingin' away
Now everybody's happy And everybody's okay
'Cause you can't be blue When she's clingin' to you
And you're swingin' the jinx away
CHORUS: Three cheers for the red, white and blue
Blue is one thing that we ain't 'Cause we swing without restraint
CHORUS: Cheer for the red, white and blue
Blues and torch songs have been banned
Rhythm is our platform And Columbia is queen of the swingtime
Sweet swingtime
[PEPPY SCATTING]
Three cheers for the red, white
And everybody's happy And everybody's okay
-'Cause you can't be blue CHORUS: Can't be blue
When she's clingin' to you
-And you're swingin' CHORUS: Yeah, yeah
-You're swingin' CHORUS: Yeah, yeah
You're swingin' the jinx away
'Cause everybody's buckin' and wingin'
Swingin' the jinx, swingin' the jinx Swingin' the jinx, swingin' the jinx
Everybody's swingin' the jinx
Away
[SINGING] Just look at those cowboys gaily
Swingin' on the range
CHORUS [SINGING] : Swing along, little doggie
Watch those brokers On that stock exchange
CHORUS: All the bulls and bears Swing with mighty airs
Go to Hollywood and take time to scan
CHORUS: Whaddya see? -Every movie star swingin' the fan
Drive through Maine And believe it, babe, or not
You'll see every blue nose gettin' hot
See how Indiana meets demands
Hog breeders now Are all leaders of bands
Look at Montana Or Louisiana
Examine Nebraska Or even Alaska
Visit the prisoners of Alcatraz
They're doing time But the time is jazz
Down in Washington D.C. The boys are making history
They're passing laws for you and me
To swing without taxation
What we really mean to say If we can swing the jinx away
And never, ever have to pay
Then we don't need inflation
MEN: Georgia swings it, every voter
WOMEN: Minnesota, North Dakota
MEN: Texas swings with great bravada
WOMEN: Colorado and Nevada
CHORUS: Everybody's happy, everybody's gay
Everybody's swingin' in the U.S.A.
Swingin' the jinx, swingin' the jinx Swingin' the jinx, swingin' the jinx
One, two
Three cheers for the red, white and blue
CHORUS: Way down upon the Suwannee River
PEPPY: Everybody's happy and everyone's gay
CHORUS: They swing all day
ALL: Every little mammy and every little pappy
Is swingin' the jinx away
ALL: What is that song CHORUS: That all the cowboys
They are a-singin' in the west?
-Why, it's hi-di -Hi
-Hi-di -Hey
ALL: Hi-di-hi-di-hey
PEPPY: And all those broncobusters Buck around like Harlem dusters
ALL: Swingin', swingin' the jinx away
Swing and bid your troubles goodbye
Swing your troubles into the sky
High, higher up to the ceiling
High, higher, send it a-reeling
High
CHORUS: Gotta swing the jinx away
Swing the hi-de-hay
Hi-de-hey-de, rap tap on wood
CHORUS: Three cheers for the red, white and blue
The Army and Navy forever
Three cheers
For the red, white and blue
[AUDIENCE APPLAUDING]
Nora. Nora, you were wonderfuI.
Oh, thanks, Ted.
HeIIo.
[CHUCKLES]
Oh, Mr. McKay. Have you met Mr. Barker?
We've met before.
[ALL LAUGH]
I've got a surprise for you.
Yeah, what is it?
SaIIy is our chiId.
-SaIIy? -Yes.
WeII, this is a fine time to teII me.
-Why? -I just joined the Navy again.
I'II see you in four years.
[SINGING] So try to see
Your future with me
CHORUS: 'Cause you'd be
Oh, so easy
To love
[ENGLISH SDH]