Millionaire Merry-Go-Round (aka The Playboy)
78 min | Comedy, Musical | 30 March 1938 (UK)
A millionaire in London falls for a poor girl with a great singing voice, but his gold-digging past girlfriend tries her best to ruin the relationship.
Director: Walter Forde
Writers: Thomas J. Geraghty (story), Michael Hogan
Stars: Bert Ambrose, Evelyn Dall, Harry Richman
78 min | Comedy, Musical | 30 March 1938 (UK)
A millionaire in London falls for a poor girl with a great singing voice, but his gold-digging past girlfriend tries her best to ruin the relationship.
Director: Walter Forde
Writers: Thomas J. Geraghty (story), Michael Hogan
Stars: Bert Ambrose, Evelyn Dall, Harry Richman
Category
🎥
Short filmTranscript
00:00:00This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:00:30This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:01:00This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:01:30Sorry, but I've left my pockets in my other trousers. Any laces or tape, lady? Come on.
00:02:00This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:02:30This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:02:35This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:02:40This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:02:45This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:02:50This is a work of fiction. Any resemblance to anyone, living or dead, is coincidental and unintentional.
00:02:55What is all this, a revolution? Ambrose, my lord, and his band.
00:03:02President Ambrose. Ambrose? Never heard of him.
00:03:32Silence! Silence! Silence! In town tonight!
00:04:02Now listen, folks. There's some very important people here tonight.
00:04:11First and foremost, our distinguished host, Mr. Robert Hawks.
00:04:19How goes it, Robert?
00:04:20You know, he throws the swellest parties and wears the cutest beard in my band.
00:04:25Oh, but who have we here? His attendant, his future bride, the future Mrs. Hawks.
00:04:32Oi!
00:04:34Come on, Flo.
00:04:35Come on, lads. Make way. Make way. Let me get through. Clear the deck for action. Make way for Dallas, there.
00:04:42Hello, darling.
00:04:43Oh, you do look a sight.
00:04:46Come on, everybody. Don't stand around looking seductive. Enjoy yourselves. Come on, dance. Let's have some music first. Go on.
00:04:56Enjoying yourself?
00:04:57What do you think? Will you miss me when I'm in Hollywood?
00:05:00Oh, don't be absurd. I'll be there. We'll be married long before that.
00:05:05Yes, of course.
00:05:06It's all going to be marvelous, isn't it?
00:05:08Yes. Last night I was dreaming about wonderful clothes and jewels, the house in the country, a yacht.
00:05:15Yes, but darling, I mean a party.
00:05:18With you, there's no question of being apart from all that.
00:05:21I know, but Flo, if there were.
00:05:24Bobby Hawks, you're not going to go serious on me, are you?
00:05:27Have I the honor?
00:05:29Surely.
00:05:30Oh, yes.
00:05:31What a marvelous make-up. Do you even smell the bod?
00:05:35You bet your lady, because I always grooms me horses myself.
00:05:40Divine.
00:05:42I'll never marry you again.
00:05:44Oh no, darling.
00:05:45I'll never marry you again either.
00:05:47I said so myself, there's no question of being apart from all that.
00:05:50I know, but Flo, if there were.
00:05:53Bobby Hawks, you're not going to go serious on me, are you?
00:05:56Have I the honor?
00:05:58Surely.
00:05:59Oh, yes.
00:06:00Fine. Dancing?
00:06:02Dancing. Here, Cecil. Hold my tray.
00:06:10Are you really fixing Clorox in Hollywood?
00:06:13Don't be silly. Is it likely when she's my principal attraction that the club beat it?
00:06:16Oh, but I heard you tell her.
00:06:17I know, I know. I have to kid her along.
00:06:19If I told her the truth, she'd go up in the air.
00:06:22Well, she did a good stroke of work when she landed Bobby.
00:06:25Poor dear boy. Everybody knows she was after his bank balance.
00:06:28Yeah, everybody except Bobby.
00:06:31Excuse me, what were you saying?
00:06:33Oh, we caught you beautifully, Bobby darling.
00:06:37Yes, I saw you coming across. I was just pulling your leg.
00:06:39Sure, and the joke is on me.
00:06:41Yes. Come on, let's dance.
00:06:42Just a minute. I'm sure she'll excuse you for a moment, won't she?
00:06:45Why, yes, of course I will. I'll just go and find Tommy.
00:06:51Just a minute, Mark.
00:06:54Can you think of any reasons why I shouldn't give you a sock in the jaw?
00:06:58Plenty. I'm a quick thinker.
00:07:00You know, you can't talk about Flo like that and get away with it.
00:07:03I'm sorry, Bobby, but you have to learn it sooner or later.
00:07:06Besides, everybody else knows.
00:07:08Rubbish. Don't you suppose I know Flo by this time?
00:07:11Tell a guy for yourself.
00:07:24So you think Flo is the type that would turn me down if I didn't have any money, eh?
00:07:28Well, not exactly, but she's the kind of female that goes after the lion or the biggest man.
00:07:45Hold it, boys. Hold it.
00:07:47Give me music, Bert. Pathetic music.
00:07:50When I welcomed you tonight in these rags,
00:07:52I fondly imagined that I was in fancy dress.
00:07:56I was wrong.
00:07:57This is the correct attire for poor Bobby Hawke.
00:08:03Oh, it's true. Now, where is that? Where is that? Oh.
00:08:05This envelope contains my epitaph.
00:08:07It informs me, at the rate of twelve words for nine pence,
00:08:10that I am absolutely, irretrievably broke.
00:08:15No, no, no. It's true.
00:08:16I gambled just once too often,
00:08:19and now there remains ruin.
00:08:21Inevitable ruin.
00:08:23Oh, but let not the merriment cease.
00:08:25For you, the bright lights.
00:08:27For me, the darkness.
00:08:33Look, Bobby.
00:08:34Look, Bobby.
00:08:35Look, Bobby.
00:08:36Look, Bobby.
00:08:37Look, Bobby.
00:08:38Look, Bobby.
00:08:39Look, Bobby.
00:08:40Look, Bobby.
00:08:41Look, Bobby.
00:08:42Look, Bobby.
00:08:44But not alone.
00:08:45Together, we will share our hundred crowns.
00:08:48Together, we will stay lame in snowstorm.
00:09:03Oh.
00:09:04Oh, Jerry.
00:09:06You should have been an actor.
00:09:07Why?
00:09:08Did you think it was a good performance?
00:09:10Great.
00:09:11You know, for a moment when you started,
00:09:12I almost thought you mentioned
00:09:14that I can't think of anything worse than being broke.
00:09:18But, uh, I am broke.
00:09:21Don't be an idiot.
00:09:27You see, I've been playing around with the market quite a bit,
00:09:30and, well, it's just come unstuck.
00:09:33Bobby, if this is your idea of humor, it isn't mine.
00:09:36There's nothing funny in being poor.
00:09:39No, I've been thinking that.
00:09:41But the fact remains.
00:09:44What is this you're trying to tell me?
00:09:46I told you.
00:09:48I haven't a cent.
00:09:50Oh, I'm sorry, Flo, that I've been a fool, but...
00:09:53Well, I figure I can pull somehow.
00:09:55Of course, I'll probably have to start at the bottom of the ladder and about...
00:10:02Well, Flo, this, uh...
00:10:04This isn't going to make any difference, is it?
00:10:06I mean, between you and me.
00:10:08I'm afraid it is.
00:10:10A whole heap of difference.
00:10:12I've had my poor days, and I don't intend to start them all over again now.
00:10:18After all, it's best to be honest, isn't it?
00:10:22Yes, I suppose it is.
00:10:33Doesn't seem to be much to be said now, does it?
00:10:35I'm sorry.
00:10:37I'm awfully fond of you. I am really.
00:10:39Sure, I know, but not as fond as all that, are you?
00:10:43Frankly, no.
00:10:47Oh, look. It's Harry Richmond.
00:10:49I must go over and say hello to him.
00:10:51Hello, baby.
00:10:53Mark, I'm glad to see you.
00:10:57Bob!
00:10:59Oh, Flo, you here.
00:11:01Oh, I'm glad to see you.
00:11:03Hey, I am in luck.
00:11:05Hey, wait a minute. Harry Richmond's just arrived.
00:11:07So what?
00:11:08So what? Well, ain't you going to listen to him?
00:11:10No, I'm going.
00:11:11Going? Where are you going?
00:11:12Oh, I don't know. Somewhere, anywhere.
00:11:14Say, listen, this is your party.
00:11:16All right, you can have it.
00:11:18Wise guy.
00:11:21Hey, Flo, what is all this? I seem to be overdressed.
00:11:24Oh, it's just one of Bobby's latest ideas for the stunt party.
00:11:27Oh, I see.
00:11:29The Mayfair merry-go-round, the social round that never stops.
00:11:34The Mayfair merry-go-round, the hits from shoulders with a flop.
00:11:38Entrees up and downers, nightly go-to-towners, down from college clowners.
00:11:45If you look, you'll see them on that Mayfair merry-go-round, where life is just a pleasure cruise.
00:11:52The Mayfair merry-go-round, you'll meet the folks that make the news.
00:11:56Major back from Puna, social climbing crooner.
00:12:01Well-known honeymooner on the Mayfair merry-go-round.
00:12:05Those new rich who love to lord it, debutantes who just come out.
00:12:09Stony brokes who can't afford it, but must be seen about.
00:12:13That Mayfair merry-go-round, they're out for any thrill that's new.
00:12:18The Mayfair merry-go-round, but they've got nothing else to do.
00:12:23How they burn the candle, it's a school-folk candle.
00:12:28Who turns the handle of the Mayfair merry-go-round?
00:12:35Taxi! Taxi!
00:12:42Taxi! Hey there! Taxi!
00:12:46Come on, take me to Mayfair, show me all the bright spots.
00:12:51That Mayfair merry-go-round, the playground of the young and smart.
00:12:56The Mayfair merry-go-round, the heart has stayed and it stays the heart.
00:13:00Two young, pissing slumbers, two old, killing rumbers.
00:13:05New stars and back numbers on the breathtaking, heart-breaking Mayfair merry-go-round.
00:13:17Let me tell you this, my friends.
00:13:20Party politics is the girth of this country.
00:13:25We shall never have a prosperous and contented England until they've been abolished.
00:13:33Lock, stock and barrel.
00:13:37I'm out to abolish Toryism, Communism, Socialism, Bolshevism.
00:13:46And Robertism.
00:13:50Quiet! Quiet! Quiet! I can't hear myself speak.
00:13:55You ain't missing nothing.
00:14:07Cheer up and sing as you travel along.
00:14:11Just go on singing a song.
00:14:17May you, my friends, enjoy us an uplifting song.
00:14:21Lies the remedy against pessimism and gloom, the two greatest curses of the country.
00:14:28Our object must be to work on, unceasingly, until we live to see England
00:14:34joyous and happy, long after we're dead.
00:14:39As I gaze round this park, designed for happy recreation,
00:14:43what do I see? The hallmarks of misery and depression.
00:14:48Yes, observe that young man there.
00:14:52Yes, there he stands.
00:14:55A poor peasant flotsam, tossed up by the stormy waters of life.
00:15:00Step forward, my lad, step forward. Come along, you're amongst friends.
00:15:03That is me.
00:15:08My song, ladies and gentlemen, the uplift song, written and composed by myself,
00:15:12I will now pass round amongst you.
00:15:15It is yours for the asking. Owing to the park regulations, I'm not allowed to sell it.
00:15:20Not that I wish to profit by it. No, perish the thought.
00:15:24One is money after all, mere dross.
00:15:29Hand him round, my boy, a penny in the bob commission.
00:15:32Now then, what about the chorus, eh? Once more, all together. One, two.
00:15:37Cheer up and sing, that's the uplift song.
00:15:41Thank you very much.
00:15:42Cheer up and sing, and don't go wrong.
00:15:45And beat up this for Tuppence. Thanks.
00:15:47When you're feeling so depressed, wear a grin, stick out your chest.
00:15:51The best you can do is do your best, you won't be going short.
00:15:55Good though you could use one, young lady.
00:15:56Cheer up and sing as you travel along.
00:16:00Just go on singing along.
00:16:04Cheer up and sing, that's the uplift song.
00:16:07Cheer up and sing, and you won't go wrong.
00:16:11When you're feeling so depressed, wear a grin, stick out your chest.
00:16:15The best you can do is do your best, you won't be going short.
00:16:18Cheer up and sing, and come along.
00:16:21Just go on singing along.
00:16:23Oh no, you don't.
00:16:24What, me?
00:16:25Yes, you.
00:16:27You know this is against regulations.
00:16:29Would you arrest a man for ministering to the sick at heart?
00:16:32That's spectacular. Come on.
00:16:34This is an outrage, I protest.
00:16:36Just a minute, officer.
00:16:37You're barking up the wrong tree.
00:16:39He told me to give them away, and it was my idea to sell them.
00:16:42Oh, so you left a little Victoria Cross at home, did you?
00:16:45Now you better come along too.
00:16:47Oh, live and let live.
00:16:48Come on.
00:16:54Here, don't get too hot.
00:16:56What's the matter, miss?
00:16:57Some guy grabbed my bag.
00:16:59Oh.
00:17:00Which way did he go?
00:17:01That way.
00:17:03Are you all right, miss?
00:17:04I'm sure you're all right.
00:17:05Not much in it, miss.
00:17:08That was a narrow squeak.
00:17:09I'm very grateful to you, m'lady.
00:17:11Not at all.
00:17:13What about us to stop?
00:17:14Do you indulge?
00:17:15Well, no, I, um...
00:17:16Not teetotal.
00:17:17Oh, no, no, no, no.
00:17:18No, then let us to the bar.
00:17:20All right.
00:17:22Wait.
00:17:23You'll find that a trifle strong on an empty stomach.
00:17:26A little dilution might not be a mistake.
00:17:28Oh.
00:17:29Is it all pure?
00:17:30Yeah, quite.
00:17:32I have made a close study of the law affecting alcohol.
00:17:37And after thoroughly absorbing it, I say...
00:17:44Hmm, that reminds me.
00:17:46Your collection.
00:17:47Oh, yes.
00:17:50Your commission, my boy.
00:17:51Hmm?
00:17:52Ah.
00:17:53Thanks.
00:17:54Money means nothing to me as a rule.
00:17:56But a certain pressure from the landlord of our domicile
00:17:59regarding some trifling arrears of rent
00:18:01necessitated by taking drastic measures
00:18:04to obtain pecuniary assistance.
00:18:06So, in short, to raise the wind.
00:18:08You mean the dough?
00:18:09Yes.
00:18:10On durix, yes.
00:18:11You know, it's a bit of luck, that girl,
00:18:12screaming at the right moment.
00:18:13Yes.
00:18:14The intervention was one of those singular strokes of fate.
00:18:17Ah, there you are, my dear.
00:18:21I thought I'd find you here.
00:18:23Yes, here I am.
00:18:24If I hadn't done some quick thinking in the park,
00:18:26you'd be in a very different place.
00:18:28How many times have I asked you not to do that?
00:18:30Humble I may be.
00:18:31But don't worry.
00:18:32I'll find you.
00:18:33I'll find you.
00:18:34I'll find you.
00:18:35I'll find you.
00:18:36I'll find you.
00:18:37I'll find you.
00:18:38I'll find you.
00:18:39I'll find you.
00:18:40I'll find you.
00:18:41I'll find you.
00:18:42I'll find you.
00:18:43I'll find you.
00:18:44I'll find you.
00:18:45I'll find you.
00:18:46I'll find you.
00:18:47I'll find you.
00:18:48I'll find you.
00:18:49I'll find you.
00:18:50I'll find you.
00:18:51I'll find you.
00:18:52I'll find you.
00:18:53I'll find you.
00:18:54I'll find you.
00:18:55I'll find you.
00:18:56I'll find you.
00:18:57I'll find you.
00:18:58I'll find you.
00:18:59I'll find you.
00:19:00I'll find you.
00:19:01I'll find you.
00:19:02I'll find you.
00:19:03I'll find you.
00:19:04I'll find you.
00:19:05I'll find you.
00:19:06I'll find you.
00:19:07I'll find you.
00:19:08I'll find you.
00:19:09I'll find you.
00:19:10I'll find you.
00:19:11I'll find you.
00:19:12Well, good luck.
00:19:13Thanks, Pete.
00:19:14After all, your part in the business wasn't any too stainless, aiding and abetting criminals
00:19:15to escape justice.
00:19:16Do you know that you could get a lifer for that?
00:19:19You sound like an American.
00:19:20Are you?
00:19:21Not actually, though I did live in New York for about four or five years.
00:19:26Damn on your luck?
00:19:27Well, you might call it that.
00:19:29I expect you could do with a sandwich?
00:19:31Oh no.
00:19:32No.
00:19:33I-
00:19:34I bet you could.
00:19:35I know what it's like.
00:19:36Bring me a large ham sandwich.
00:19:37Yes, miss.
00:19:39Thanks.
00:19:42Uncle!
00:19:43Merely a precautionary measure, my dear.
00:19:45There's a nip in the air outside.
00:19:48Cheerio!
00:19:52For what portion of the metropolis are you bound, Mr. Perkins?
00:19:55Nowhere in particular.
00:19:57I don't mean to say you have no fixed abode,
00:19:59no locust tender.
00:20:00Well, I...
00:20:01My poor young friend.
00:20:03For me to offer you the shelter of our humble dwelling.
00:20:07But, but, Uncle!
00:20:08No, I couldn't...
00:20:09Nonsense, my boy!
00:20:11A pleasure to have you. Consider it settled.
00:20:12No sandwich.
00:20:13Huh?
00:20:14Oh.
00:20:15That's fine, but where's he gonna sleep?
00:20:17In the plate rack?
00:20:18He shall have my bed, my dear.
00:20:20I will occupy the guest room.
00:20:21Guest room?
00:20:22Not prepared?
00:20:23No matter.
00:20:24I will attend to it myself.
00:20:26You can keep the change, my man.
00:20:28Change?
00:20:29Well, it's four pounds short.
00:20:31Bless me soul.
00:20:32Ten thousand pounds.
00:20:35Won't I be in Houston?
00:20:36I shall be asleep, so I won't know.
00:20:38Well, shall we swing a leg, Mr. Perkins?
00:20:40Just whatever you say.
00:20:44Uncle has a very inventive mind.
00:20:46Well, certainly it sounds like it.
00:20:48You know, I think something ought to be done for you, Martin.
00:20:51Oh, I'm in a good job.
00:20:53I'm not grousing.
00:20:54But if we're speaking of work,
00:20:56why don't you try and get yourself a steady job?
00:20:58You know,
00:20:59there's something to that.
00:21:02I might try it, too, if...
00:21:04well, if I could find someone to persuade me often enough.
00:21:07You tuck those covers in.
00:21:09I'll say good night.
00:21:10Oh, but I haven't thanked you for your hospitality.
00:21:12It's not what you have to thank.
00:21:13You have been listening to Amber's news band,
00:21:15broadcasting from the Ritz Fortrester Hotel, London.
00:21:19That is the end of broadcasting
00:21:21in the national and regional programs for tonight.
00:21:24Stations will now be closing down until tomorrow.
00:21:27Good night to you all.
00:21:29Good night.
00:21:31Good night.
00:22:02I wish I could have a word with those guys who write love songs
00:22:07They're writing them wrong
00:22:10I'll tell them they're wrong
00:22:13I wish I could have a word with those guys who write lyrics
00:22:18They give me hysterics
00:22:21With their crazy lyrics
00:22:24No songs about love
00:22:27No songs about that tender feeling
00:22:30They don't mean a thing
00:22:32But if you want swell numbers
00:22:34Oh, you can't beat Rumba's fourth string
00:22:40No songs about love
00:22:43No hits about the silver moonlight
00:22:46When you've got to sing
00:22:48But if you want swell numbers
00:22:50Oh, you can't beat Rumba's fourth string
00:22:56I'm a Rumba fan
00:22:58Cause a Rumba man down in Cuba
00:23:01Shows me how to shake when you get afraid
00:23:04To the rhythm of a famous tuba
00:23:07No songs about love
00:23:09No words upon that well-known subject
00:23:12Let it wait till spring
00:23:14But if you want swell numbers
00:23:16Oh, you can't beat Rumba's fourth string
00:23:23I'm a Rumba fan
00:23:24Cause a Rumba man down in Cuba
00:23:27Shows me how to shake when you get afraid
00:23:30To the rhythm of a famous tuba
00:23:33No songs about love
00:23:35Don't choose to make you sentimental
00:23:38About that certain thing
00:23:40But if you want swell numbers
00:23:42Oh, you can't beat Rumba's fourth string
00:23:46Oh, you can't beat Rumba's fourth string
00:24:16No, not you, just your address.
00:24:19Is there anything you require?
00:24:21I just came down here to, well, thank you for your hospitality.
00:24:24What, again?
00:24:25Well, sure.
00:24:27After all, I hardly told you a thing about myself.
00:24:30And by the way, there's one thing that you didn't tell me.
00:24:33What?
00:24:34That you had a voice.
00:24:35Most people have.
00:24:36Oh, no, I'm serious.
00:24:37Now, why do you work in a place like this when you can sing like that?
00:24:41It's a regular job.
00:24:42Well, most people have.
00:24:43I suppose, but I don't know.
00:24:46I have a feeling that you could do much better.
00:24:49You know, from now on, I'm going to be your agent.
00:24:51What sort of results could you get?
00:24:53Ah, you'd be surprised.
00:24:55For that sort of thing, you have to have a pull with the right people.
00:24:58I have.
00:25:00I mean, by that, I will have.
00:25:02Oh, you'll leave it to me, won't you?
00:25:04All right.
00:25:05You come back in 24 hours with a manager under each arm, and it's a bet.
00:25:10Oh, I'll take that copy, miss.
00:25:14Thank you very much.
00:25:39And who's to blame?
00:25:44You're what's the matter with me?
00:25:49You and that look in your eyes.
00:25:54You got me right up a tree with your thrill eyes.
00:26:01Oh, you're what's the matter with me?
00:26:07You from your head to your toes.
00:26:12Oh, what a life it would be but for you with your yeses and nos.
00:26:21Everything about you has got everything about me up in the air, up in the air.
00:26:31Everything without you isn't anything without you, and you're not there.
00:26:37I despair.
00:26:40You're what's the matter with me?
00:26:45You and your trick with my heart.
00:26:50It's crazy patter says you're what's the matter with me?
00:26:59Oh, you're what's the matter with me?
00:27:03You and that look in your eyes.
00:27:08You got me right up a tree with your thrills and your sighs.
00:27:17Oh, you're what's the matter with me?
00:27:22You from your head to your toes.
00:27:27Oh, what a life it would be but for you with your yeses and nos.
00:27:36Everything about you has got everything about me up in the air, up in the air.
00:27:45Everything without you isn't anything without you, and you're not there.
00:27:51I despair.
00:27:54You're what's the matter with me?
00:27:59You and your trick with my heart.
00:28:04It's crazy patter says you're what's the matter with me?
00:28:19Hello, Flo.
00:28:21I like this song, Harry.
00:28:22Where'd you get it?
00:28:23From Ambrose.
00:28:24Ambrose?
00:28:25Hello, Flo.
00:28:26Mark, why can't you get me numbers like that?
00:28:29Well, I...
00:28:30Oh, now don't worry, Flo.
00:28:32Mark, you give her that song.
00:28:34I'll get another one, dear.
00:28:35Oh, no, Harry, it isn't you.
00:28:36It's Mark.
00:28:37Anyone would think he wanted me to be a flop on the opening night.
00:28:39Oh, now listen, Flo.
00:28:40I've listened long enough.
00:28:41Bad songs, rotten billing, pokey little dressing rooms, and what about that Hollywood contract?
00:28:46Listen, honey.
00:28:47They're nibbling.
00:28:48I might almost say biting.
00:28:49Mr. Brown.
00:28:50Yes?
00:28:51Hollywood on the line.
00:28:52What?
00:28:53Oh, yes.
00:28:54There you are.
00:28:55What did I tell you?
00:28:56Oh, Mark, don't let them think I'm too anxious.
00:28:58No, dear, I won't.
00:28:59Now, when you be a good girl and look at these numbers Ambrose picked out for you.
00:29:05Thanks, kid.
00:29:06Saved my life that time.
00:29:09Hello, Bobby.
00:29:10Oh, hello, Mark.
00:29:11How are you?
00:29:12Fine.
00:29:13You sure?
00:29:14I'm sure.
00:29:15All right.
00:29:16I'll risk a sock in the nose.
00:29:17Fine.
00:29:18Bobby, I read that telegram.
00:29:19What?
00:29:20Now, wait a minute.
00:29:21Did you tell anybody I'm not really broke?
00:29:23No, honest.
00:29:24I haven't told a soul.
00:29:25Well, that's a load off my mind.
00:29:26You had me scared for a minute.
00:29:28You know, Flo would kill me if she ever found out.
00:29:30That's a dead certainty.
00:29:32I've got another reason, too.
00:29:33Even?
00:29:34Well, the first one sounded pretty good to me.
00:29:36Mark, I found a girl.
00:29:41Ah, Miss Begley.
00:29:42We've been looking for you all over the joint.
00:29:44We've got for you a song.
00:29:46Ah, we wrote it specially for you, love.
00:29:48Yeah, listen, Mrs.
00:29:49We stayed up all day specially writing for you this number.
00:29:52It's a swell song, Flo.
00:29:53I can't use it, but it's great for you.
00:29:55Really, Harry?
00:29:56Yes.
00:29:57Oh, go ahead, boys.
00:29:58Fun.
00:29:59No, boy, can she swing.
00:30:02Does she sell them that thing?
00:30:05Boy, is she on.
00:30:07She gives everything she's got.
00:30:09Yes.
00:30:10No.
00:30:12Pardon me.
00:30:14I suppose this is another one of Mr. Mark Brown's smart ideas.
00:30:19Well, now he's going to hear a few of mine.
00:30:23I don't think she likes it.
00:30:26I tell you, Mark, this girl has got a voice in a million.
00:30:29I know, they all have.
00:30:30I've heard the other 999,999.
00:30:33Now listen to me.
00:30:34Ambrose has got to hear this girl at once.
00:30:36This very afternoon.
00:30:37That's impossible.
00:30:38He's rehearsing here all afternoon.
00:30:40Tomorrow he flies to Birmingham and back for a BBC date.
00:30:42Why not leave it till after the opening?
00:30:44But don't you understand?
00:30:45We want her opening.
00:30:47Listen, it'll be a miracle if we do open.
00:30:49Putting money in this place is like pouring it down a drain.
00:30:52I'm snowed under with bills.
00:30:53I don't know which way to turn.
00:30:55All right.
00:30:58How much do you need to straighten you out?
00:31:00I mean, after the opening.
00:31:01Oh, $8,000, I guess.
00:31:03$8,000, you guess.
00:31:04But how much to make sure?
00:31:06Well, $15,000?
00:31:09All right.
00:31:10I'll buy you out at that again.
00:31:11On the level?
00:31:12I'll have my solicitors here in half an hour.
00:31:14It's a deal.
00:31:19You know, I'd love to see Flo's face
00:31:21if she ever hears about this.
00:31:24That's the date, sir.
00:31:25Ambrose to be at 557 Tottenham Court Road at 3 o'clock.
00:31:28OK.
00:31:30I'll tell them they're wrong.
00:31:34I wish I could have a word with those guys who ride them.
00:31:38Ambrose?
00:31:39He's going to take her away from me?
00:31:42He's going to give her 50 pounds a week?
00:31:4550 pounds?
00:31:47Oh, this is terrible.
00:31:50What for, you tell me this, sir?
00:31:53I don't know.
00:31:54Oh, this is terrible.
00:31:57What for, you tell me this?
00:31:59What are you to Ambrose?
00:32:01I don't know, Mr. Stoker.
00:32:02Nothing to say.
00:32:04I'm married to the flute player.
00:32:06And I don't mind telling you that we don't approve
00:32:08of Ambrose or his method.
00:32:10So that's your idea in coming here?
00:32:15And when Rupert, that's my husband,
00:32:18told me that Ambrose was going to sign up this little girl,
00:32:21I said to myself, I said, Sammy, I said,
00:32:23it's your duty to warn that poor, unsuspecting Mr. Stoker
00:32:27that that clever little girl is going to be filched,
00:32:30filched from under his very nose.
00:32:32Can I believe all this?
00:32:34You say you are the wife of the flute player?
00:32:38And I don't mind telling you, Mr. Stoker,
00:32:40it's not all honey being a musician's wife.
00:32:43Do you know, they get so attached to their instruments,
00:32:46Rupert actually takes his flute to bed with him.
00:32:49I remember one night, well, as I was saying,
00:32:52when I heard that Ambrose...
00:32:54Yes, yes, yes, yes, but what am I going to do?
00:32:58Why don't you send for the little girl right away
00:33:01and place her under contract?
00:33:04That's some idea.
00:33:08Miss Martin, Miss Pepper Martin.
00:33:11Yes, tell her I want to speak to her at once, please,
00:33:13here in my office.
00:33:15But wait a minute.
00:33:17This is no good.
00:33:19You say that Ambrose is going to come here any minute,
00:33:21and if she's not singing, he's going to ask for her,
00:33:23and then he will find out.
00:33:25Oh, no, no, he won't, Mr. Stoker.
00:33:27I know just how to handle this situation.
00:33:29How?
00:33:30Let me take her place.
00:33:32When he's heard me sing,
00:33:34the last thing he'll want to do is to give her a contract.
00:33:37Marvelous!
00:33:38You can have absolute confidence in me, Mr. Stoker.
00:33:40I shall take up my place by the piano immediately.
00:33:43Rupert will be so pleased about it.
00:33:45It's what I always say.
00:33:47What we want in the world is...
00:33:49Oh, I beg your pardon.
00:33:51700 crates stand at the entrance.
00:33:53Thank you, Mr. Stoker. Bye-bye.
00:33:55Come in.
00:34:02At last, we are alone.
00:34:05Yeah, I was just wondering why.
00:34:07For some considerable time,
00:34:09I have been watching your career.
00:34:11Oh, excuse me, please.
00:34:16Expecting burglars?
00:34:18How would you like me to give you a lot of money?
00:34:22If you touch me, I'll scream.
00:34:24You've got me all wrong.
00:34:26I am philanthropist. I am Santa Claus.
00:34:29I'm only interested in what goes in your stockings.
00:34:32That's what I was afraid of.
00:34:34You sign a contract to sing for me for one year,
00:34:37and I give you 10 pounds a week.
00:34:3910? To sing? Here?
00:34:41Here. Of course, here.
00:34:43If I can have...
00:35:05Oh, come on. Let's go.
00:35:13Don't tell me how to shake when he did a break
00:35:16To the rhythm of the famous tuba
00:35:18No songs about love
00:35:20No time to think you can't sing
00:35:22Make sure you don't mean a thing
00:35:24Because if you want the number
00:35:26You can't beat the rumba fast wheel
00:35:28No
00:35:36Oh, I'm a rumba fan
00:35:38I'm a rumba man
00:35:40Don't tell me how to shake when he did a break
00:35:43To the rhythm of the famous tuba
00:35:45No songs about love
00:35:47No time to think you can't sing
00:35:49Make sure you don't mean a thing
00:35:51Because if you want the number
00:35:53You can't beat the rumba fast wheel
00:35:58So Ambrose said she was a pain in the neck.
00:36:00I think he said Nick.
00:36:02When a guy is as angry as he was,
00:36:04he's not too clear about the locality.
00:36:06I'm not a fool. I tell you that girl would be a riot.
00:36:08I've had one already.
00:36:10I'll talk to Ambrose.
00:36:12Not here you won't.
00:36:13Why not?
00:36:14He's home packing.
00:36:15All right, I'll get him on the telephone then.
00:36:20Talk about pepper like that, eh?
00:36:23I'll show him where he gets off.
00:36:29Hello?
00:36:31Hello? Hello, Ambrose?
00:36:33This is Bobby Hawk.
00:36:35Now, what's all this about that girl that you went to...
00:36:40I'm a what?
00:36:44Wait a minute. I don't want to lose my temper,
00:36:46but either you didn't hear the right girl or you were tight.
00:36:49Well, you're going to hear whether you like it or not.
00:36:52I'm bringing her right over in a taxi.
00:36:54I've wasted a whole afternoon already
00:36:56and that's enough for me. Goodbye.
00:36:59He's wrong.
00:37:01He's going to hear that girl sing if I have to tell him.
00:37:03Well, maybe he wouldn't mind it so much after that.
00:37:09I've got an idea.
00:37:15Hello, Pepper.
00:37:16You're just in time for a great surprise.
00:37:18What's it all about?
00:37:19Come on in. I'll tell you about it later.
00:37:21This is an old pal of mine, Bert Harrison.
00:37:23He's going to make a record of your voice.
00:37:25I'll passport the fortune, my child.
00:37:27Whatever for?
00:37:28Oh, I haven't time to explain now.
00:37:30An agent's job is to get results and talk afterwards.
00:37:34So what's all the rush?
00:37:36Don't tell me you're taking this agent racket seriously.
00:37:38Well, I certainly am.
00:37:40In that case, I've double-crossed you.
00:37:42What?
00:37:44I'll sign the contract.
00:37:46Fifteen pounds a week.
00:37:47What for?
00:37:48To go on doing my present job with Stoker.
00:37:50Oh, don't let that worry you.
00:37:52We'll soon be able to buy him out. Are you ready?
00:37:54All set. What are you going to sing?
00:37:56Do you know that song, You're What's the Matter With Me?
00:37:58Yes, I know that.
00:37:59All right, let's have it.
00:38:00Come on, let's go.
00:38:01Stand by, boys. Here we go.
00:38:06How far away from this do I stand?
00:38:08Quiet. Recording.
00:38:11I know I'm going to make an awful mess of this.
00:38:13Sing.
00:38:16Sorry, I'm all behind.
00:38:20You're what's the matter with me
00:38:25You and that look in your eyes
00:38:31You've got me right off a tree
00:38:34With your thrills and your sighs
00:38:42You're what's the matter with me
00:38:47You from your head to your toes
00:38:53Oh, what a life it would be but for you
00:38:58With your yeses and your noes
00:39:04Everything about you has got everything about me
00:39:09Up in the air, up in the air
00:39:15Everything without you isn't anything without you
00:39:20When you're not there, I miss that
00:39:26You're what's the matter with me
00:39:30Oh, you and your tricks with my heart
00:39:37It's crazy patter says
00:39:40You're what's the matter with me
00:39:51Oh, gee, that was great.
00:39:53Well, that's all right for trial.
00:39:55Now let's have a proper one.
00:39:57No, no, that don't have to do.
00:39:58I haven't time.
00:39:59Have you an envelope?
00:40:00Please.
00:40:01Thank you very much.
00:40:02Oh, everything's going to work out fine.
00:40:04But I don't understand.
00:40:06Morgan, now listen.
00:40:07Will you leave everything to me?
00:40:09Please.
00:40:10But if you'd only explain.
00:40:11I'll get in touch with you tonight.
00:40:13Goodbye.
00:40:20Oh, hello, boys.
00:40:21Oh, there you are, Ambrose.
00:40:23Hi, Bobby.
00:40:24Beat you to it.
00:40:25It's just a little ugly day, though.
00:40:27Hi.
00:40:28What's the idea?
00:40:29You'll see what the idea is.
00:40:31You're going to hear that girl sing or choke.
00:40:33I'd rather hear her choke.
00:40:35Hey, not that temper girl again.
00:40:37That's right.
00:40:38You know, I've bought the club lock, stock, and barrel.
00:40:41And that goes for your contract, too.
00:40:43From now on, I run the show.
00:40:45What, with this?
00:40:46Exactly.
00:40:47Now, boys, you're really going to hear something.
00:40:50Yay!
00:40:52This is to introduce Miss Pepper Martin.
00:40:54Ta-da!
00:40:55She's wild.
00:41:00How far away from this do I stand?
00:41:03As far away as you can get.
00:41:05About a couple of miles.
00:41:07That's a mile and a half.
00:41:09Quiet.
00:41:10Recording.
00:41:11Quiet.
00:41:12Quiet.
00:41:13Quiet.
00:41:14Quiet.
00:41:15Quiet.
00:41:16Quiet.
00:41:17Quiet.
00:41:18Quiet.
00:41:19Quiet.
00:41:20I know I'm going to make an awful mess of this.
00:41:25Sorry, I'm all behind.
00:41:27You're going all the time with me.
00:41:33You and that looking girl.
00:41:37You.
00:41:38You.
00:41:39You.
00:41:40You.
00:41:41You.
00:41:42You.
00:41:43You.
00:41:44You.
00:41:46Me.
00:41:47Me.
00:41:54Now, that's pretty good.
00:41:55You little hooligan.
00:42:00Hello?
00:42:01Hello, Mark.
00:42:02Well, this is Bobby.
00:42:04No.
00:42:05No.
00:42:06No.
00:42:07That gramophone record didn't work out.
00:42:08Well, no, I don't know what went wrong.
00:42:12Listen, I've got a better idea.
00:42:15You get a hold of Pepper, and get...
00:42:24We must be miles from anywhere.
00:42:26Say, you taking me for a ride?
00:42:28I am, and we're nearly there.
00:42:30Where?
00:42:30Where we're going.
00:42:32I don't like the looks of you.
00:42:33I don't believe you're on the level, and I don't think you own the Club Veeder.
00:42:36Matter of fact, I don't.
00:42:42Boy, can she sleep when she's awake.
00:42:54Hey, why don't you go away and let me sleep?
00:42:58Ah, but what about a song?
00:42:59I'm dead more than eight bars.
00:43:00Well, that's seven bars too many.
00:43:02Go away.
00:43:12Hey, you, what's the big idea?
00:43:15Ambrose, are you listening?
00:43:17Whenever you hire a plane, always check up on the pilot.
00:43:24What the hell?
00:43:26If he undoes this like he does his guy, it's all up with our song.
00:43:34Pepper Martin is ten miles from here, waiting for an audition.
00:43:37Will you hear her?
00:43:39No, and you can't put him into it.
00:44:05For the second time.
00:44:07No, cut it out.
00:44:16Can Bobby Perkins anything to do with this?
00:44:18Perkins? Only Perkins I know lives in Honolulu.
00:44:22I know, you heard me sing at the store.
00:44:24Get around.
00:44:28Governor, for goodness sake, give our little listen.
00:44:31Oh, all right, all right.
00:44:34Speak up.
00:44:35All right, we'll do anything you say.
00:44:37Let us down.
00:44:41Don't try and kid me.
00:44:42Ambrose lives out here.
00:44:43No, but he's liable to drop in at any minute.
00:44:52I shall count ten and then sock you.
00:44:54One.
00:45:00And don't forget, if anybody tells Miss Martin I fixed this,
00:45:04you'll walk back to your date at Broadcasting House.
00:45:23Here they are.
00:45:24What the?
00:45:25Come on, come on.
00:45:28Hey, Ambrose.
00:45:32Hello, Ambrose.
00:45:33How are you?
00:45:34Oh.
00:45:35Well, never mind.
00:45:36I want you to meet Miss Pepper Martin.
00:45:39That's not Miss Pepper Martin.
00:45:40You've kidnapped the wrong girl.
00:45:42Aren't you Miss Martin, Miss Martin?
00:45:43Of course I am.
00:45:44What do you want me to do, show you my strawberry birthmark?
00:45:47Never mind, never mind.
00:45:48Let's go and listen to her.
00:45:49Chance of a lifetime.
00:45:50Come on, boys, get your instruments.
00:46:07Had no rhythm, blues were chronic.
00:46:10I was a melancholy wreck.
00:46:13Dark rhythm gave me a tonic.
00:46:16Bang went my pain in the neck.
00:46:19After one slow waddle, I would sing waddle, waddle, waddle.
00:46:25If you want to know why I sing like I sing, it's the rhythm in me.
00:46:31If you want to know why I swing everything, it's the rhythm in me.
00:46:37On the day the old salt brought me, I made my singing debut.
00:46:43Every lullaby they taught me, I just gave it that laugh.
00:46:49When I take an opera and sing it and scat, it's the rhythm in me.
00:46:55I'm to see my doctor and he told me that it's the rhythm in me.
00:47:01There's nothing he can do about it, it's some unknown malady.
00:47:07Says I'll have to wait, cause he can't operate, it's the rhythm in me.
00:47:13When she's in the country, it isn't the air, it's the rhythm she's got.
00:47:18She can do the springtime, the midsummer, the fair, it's the rhythm she's got.
00:47:23I'm all about her like a milkshake.
00:47:26Can't stand trying to sing it slow.
00:47:29Talk about the Briscoe Earthquake.
00:47:31You gotta lift it up and let it go.
00:47:34Nobody can drive her, she's gotta be let, it's the rhythm she's got.
00:47:39Every time a band plays, it goes to her head, it's the rhythm she's got.
00:47:44I suppose I'll never lose it.
00:47:48It's just a gift I can't see.
00:47:52I'm gonna love, gonna like what I've got, it's the rhythm in me.
00:48:05Well, everything all set?
00:48:07Mr. Brown, only I have a little stage fright.
00:48:10Sacre no, you're so tranquille.
00:48:12Ah, you gotta be calm when you're running a big show.
00:48:15Look at Napoleon.
00:48:16Yes, I'm looking at him.
00:48:18Oh, hello Flo.
00:48:20You know, you ought to be relaxing.
00:48:21You gotta be at your best tonight.
00:48:23Oh, don't worry about me.
00:48:25I'll be all right.
00:48:27By the way, Mark.
00:48:29Just as a matter of interest, why did you engage this girl, Pepper Martin?
00:48:34Well, I saw her last summer in New York in a little honky-tonk off Broadway.
00:48:38I thought she had what was needed, had her taught singing,
00:48:40and I brought her over last week on the Queen Mary.
00:48:42Well, well, well.
00:48:44Isn't that lucky.
00:48:47Don't worry.
00:48:48Don't worry.
00:48:49So Bobby didn't, he didn't pick her up in Hyde Park.
00:48:52Flo.
00:48:53And she doesn't like him.
00:48:55And he didn't pick her up in Hyde Park.
00:48:58Flo.
00:48:59And she doesn't work in a chain store in the Tottenham Court Road.
00:49:02Flo.
00:49:03And you didn't take her for a drive through the home county.
00:49:05Now, Flo.
00:49:06And Ambrose didn't give her an audition by midnight.
00:49:08And Bobby isn't crazy about her.
00:49:11Now, listen, Flo.
00:49:12Listen?
00:49:13Listen to you?
00:49:14You listen to me.
00:49:15My fiance, my money, my son, my Hollywood contract.
00:49:18Where are they?
00:49:19You weasel.
00:49:20Watch me tear this place out.
00:49:22Now, don't get excited.
00:49:23Excited?
00:49:24Hollywood contract on the way.
00:49:25What?
00:49:26Hollywood.
00:49:27Do you know?
00:49:28Hollywood.
00:49:29Mr. Brown.
00:49:30Mr. Brown.
00:49:31Mr. Silverman.
00:49:32On the phone.
00:49:33What did I tell you?
00:49:34Hollywood.
00:49:35Now, be a good kid.
00:49:36Get made up and I'll attend to this.
00:49:37Hold on a minute.
00:49:38I'll speak to them myself.
00:49:39No.
00:49:40Better let Markie attend to this.
00:49:41Oh, no, you don't.
00:49:42Not this time.
00:49:43I'll do it myself.
00:49:44You don't.
00:49:45Not this time.
00:49:46Take your hands off.
00:49:48Hello?
00:49:49Hello?
00:49:50Hello?
00:49:51Hello?
00:49:52Hello?
00:49:53Hello?
00:49:54Hello?
00:49:56Hello?
00:49:58Hello?
00:49:59Hello?
00:50:00This is Hollywood.
00:50:01Are you still there?
00:50:02Oh, hello.
00:50:06Oh, hello.
00:50:07This is the Silverman Studios, Hollywood.
00:50:09Am I under Mr. Mark Brown's office, representing Miss Flo Hadley?
00:50:13No.
00:50:14This is Flo Hadley herself speaking.
00:50:16Oh, fine.
00:50:17This is Lou Silverman.
00:50:19Glad to have you talk to me, Miss Hadley.
00:50:21Well, what's your proposition, Mr. Silverman?
00:50:24You can tell me.
00:50:25What part is it?
00:50:28Well, I tell you.
00:50:30In our next epic, we've got a part.
00:50:33Oh, is it a part?
00:50:35It's a kind of a sort of a...
00:50:38Hepburn.
00:50:40Hepburn?
00:50:41Yeah, Hepburn.
00:50:42You've got to be able to act.
00:50:44Oh, I can do that.
00:50:45Just a minute.
00:50:52Hello?
00:50:53Oh, dear.
00:50:54I don't know.
00:50:56Do you think I'll ever become a very great actress, Mr. Silverman?
00:51:00You've got to speak up.
00:51:03Well, I want to be a great actress, and I'm going to be a great actress.
00:51:06Of course, I realize I've got to do a lot of things to develop my character to become a really great actress.
00:51:12Maybe I'll have to sin a little, but it won't really be sinning if it's helping my art.
00:51:18How is that, Mr. Silverman?
00:51:20How is that, Mr. Silverman?
00:51:21Oh, well, that's not bad, but I want about 50% more heartthrob, you know?
00:51:27I want to pay for it.
00:51:29I want emotion to tear the heartstrings.
00:51:33Would you like to hear me die?
00:51:35Lady, you've taken the words right out of my mouth.
00:51:39All right, just a minute.
00:51:42I'm just getting ready to die.
00:51:44Well, I don't want to hurry you, but this call is costing me $25 a minute.
00:51:48You have to imagine that I'm in bed, propped up with a lot of cushions, being stuck.
00:51:56Anna, you think he'll come.
00:52:00Surely he'll come to me now.
00:52:03He can't forget those days we spent together at the little farmhouse.
00:52:07For six weeks, we laughed and laughed.
00:52:11Little Audrey!
00:52:13We were so happy, romping beneath the orange blossoms.
00:52:18But now, I'm so tired.
00:52:22Anna, I'm feeling too hearty.
00:52:29Perhaps, perhaps a little color in my cheeks would help.
00:52:33I really feel so much better.
00:52:38You're coughing very much better.
00:52:40Please tell him to hurry.
00:52:43It's getting dark.
00:52:46Oh, lovely chameleons.
00:52:49How beautiful they smell.
00:52:54Amor, amor, at last.
00:52:58Hold me, hold me.
00:53:00I'm sinking.
00:53:03Sinking.
00:53:06Sinking.
00:53:08Sinking.
00:53:09You're sunk.
00:53:11I'm sorry, Miss Hadley, you just can't make the grade.
00:53:14Now listen, you take my advice and stick to that manager of yours.
00:53:17That guy's a live wire.
00:53:18Why, he's been on the line to me day in and day out about you.
00:53:22Yes, sirree.
00:53:23You stick to little Mark Brown and you'll be...
00:53:27Sorry you've been troubled.
00:53:31Now blow.
00:53:32I was only kidding.
00:53:33You know me, Flo.
00:53:34I was...
00:53:35Now blow.
00:53:36Have a heart.
00:53:37You, you cheapskate.
00:53:39You dirty little double-crosser.
00:53:41I told you not to be here all the time.
00:53:44Go away.
00:53:45Hey, why are you...
00:53:49That's what I think of you.
00:53:51And let me tell you.
00:53:52No, let me tell you.
00:53:53You've pulled the house down all right.
00:53:55But you've done it for the last time as far as I'm concerned.
00:53:57I'm dispensing with your services.
00:53:59What?
00:54:00In other words, you can get out and you can stay out.
00:54:02I'm putting all my eggs in one basket.
00:54:04I'm going nap on Pepper Martin.
00:54:13Gee.
00:54:14You look marvelous.
00:54:16Do you like it?
00:54:17Do I like it?
00:54:19You don't look so bad yourself.
00:54:20Say, isn't it wonderful what you can hire for 15 shillings?
00:54:24Great, Snape.
00:54:25Look at your tie.
00:54:26What's the matter?
00:54:27Sit down.
00:54:28What did I do?
00:54:29Didn't I get down right or what?
00:54:30No.
00:54:31You can't ever have tied a tie before.
00:54:32Well, it's so long since I've had one on, I've forgotten how.
00:54:35Just one question before we go.
00:54:37What?
00:54:38On the level.
00:54:39Did you fix all this?
00:54:40Alice, if we don't hurry, we're going to be late.
00:54:42That's no answer.
00:54:43Well, suppose we go into it later.
00:54:46You see, there are a lot of things I want to tell you about after the show.
00:54:49All right.
00:54:50I'll hold you to that.
00:54:51Okay.
00:54:58I suppose I'll get at the truth sometime.
00:55:00But I'd like to thank you now for all you've done.
00:55:03Oh, that's all right.
00:55:11I'm sorry to interrupt at such a sacred moment.
00:55:14But the taxi is at the door and the meter has commenced its dirty work.
00:55:18Come.
00:55:19May your debut be as successful as mine was.
00:55:23Bless you.
00:55:24Away with us to Athens, three and three.
00:55:26We'll hold a feast in great solemnity.
00:55:30Ladies and gentlemen, a descriptive piece of music, Night Ride.
00:56:00Night Ride
00:56:30Night Ride
00:57:00Good luck.
00:57:01Thanks a lot.
00:57:02And if the audience thinks you're half as good as I do, you'll be terrific.
00:57:09Bye.
00:57:30Night Ride
00:57:31Night Ride
00:57:32Night Ride
00:57:33Night Ride
00:57:34Night Ride
00:57:35Night Ride
00:57:36Night Ride
00:57:37Night Ride
00:57:38Night Ride
00:57:39Night Ride
00:57:40Night Ride
00:57:41Night Ride
00:57:42Night Ride
00:57:43Night Ride
00:57:44Night Ride
00:57:45Night Ride
00:57:46Night Ride
00:57:47Night Ride
00:57:48Night Ride
00:57:49Night Ride
00:57:50Night Ride
00:57:51Night Ride
00:57:52Night Ride
00:57:53Night Ride
00:57:54Night Ride
00:57:55Night Ride
00:57:56Night Ride
00:57:57Night Ride
00:57:58Night Ride
00:57:59Night Ride
00:58:00Night Ride
00:58:01Night Ride
00:58:02Night Ride
00:58:03Night Ride
00:58:04Night Ride
00:58:05Night Ride
00:58:06Night Ride
00:58:07Night Ride
00:58:08Night Ride
00:58:09Night Ride
00:58:10Night Ride
00:58:11Night Ride
00:58:12Night Ride
00:58:13Night Ride
00:58:14Night Ride
00:58:15Night Ride
00:58:16Night Ride
00:58:17Night Ride
00:58:18Night Ride
00:58:19Night Ride
00:58:20Night Ride
00:58:21Night Ride
00:58:22Night Ride
00:58:23Night Ride
00:58:24Night Ride
00:58:25Night Ride
00:58:26Night Ride
00:58:27Night Ride
00:58:28Night Ride
00:58:29Night Ride
00:58:30Night Ride
00:58:31Night Ride
00:58:32Night Ride
00:58:33Night Ride
00:58:34Night Ride
00:58:35Night Ride
00:58:36Night Ride
00:58:37Night Ride
00:58:38Night Ride
00:58:39Night Ride
00:58:40Night Ride
00:58:41Night Ride
00:58:42Night Ride
00:58:43Night Ride
00:58:44Night Ride
00:58:45Night Ride
00:58:46Night Ride
00:58:47Night Ride
00:58:48Night Ride
00:58:49Night Ride
00:58:50Night Ride
00:58:51Night Ride
00:58:52Night Ride
00:58:53Night Ride
00:58:54Night Ride
00:58:55Night Ride
00:58:56Night Ride
00:58:57Night Ride
00:58:58Night Ride
00:58:59Night Ride
00:59:00Night Ride
00:59:01Night Ride
00:59:02Night Ride
00:59:03Night Ride
00:59:04Night Ride
00:59:05Night Ride
00:59:06Night Ride
00:59:07Night Ride
00:59:08Night Ride
00:59:09Night Ride
00:59:10Night Ride
00:59:11Night Ride
00:59:12Night Ride
00:59:13Night Ride
00:59:14Night Ride
00:59:15Night Ride
00:59:16Night Ride
00:59:17Night Ride
00:59:18Night Ride
00:59:19Night Ride
00:59:20Night Ride
00:59:21Night Ride
00:59:22Night Ride
00:59:23Night Ride
00:59:24Night Ride
00:59:25Night Ride
00:59:26Night Ride
00:59:27Night Ride
00:59:28Night Ride
00:59:29Night Ride
00:59:30Night Ride
00:59:31Night Ride
00:59:32Night Ride
00:59:33Night Ride
00:59:34Night Ride
00:59:35Night Ride
00:59:36Night Ride
00:59:37Night Ride
00:59:38Night Ride
00:59:39Night Ride
00:59:40Night Ride
00:59:41Night Ride
00:59:42Night Ride
00:59:43Night Ride
00:59:44Night Ride
00:59:45Night Ride
00:59:46Night Ride
00:59:47Night Ride
00:59:48Night Ride
00:59:49Night Ride
00:59:50Night Ride
00:59:51Night Ride
00:59:52Night Ride
00:59:53Night Ride
00:59:54Night Ride
00:59:55Night Ride
00:59:56Night Ride
00:59:57Night Ride
00:59:58Night Ride
00:59:59Night Ride
01:00:00Night Ride
01:00:01Night Ride
01:00:02Night Ride
01:00:03Night Ride
01:00:04Night Ride
01:00:05Night Ride
01:00:06Night Ride
01:00:07Night Ride
01:00:08Night Ride
01:00:09Night Ride
01:00:10Night Ride
01:00:11Night Ride
01:00:12Night Ride
01:00:13Night Ride
01:00:14Night Ride
01:00:15Night Ride
01:00:16Night Ride
01:00:17Night Ride
01:00:18Night Ride
01:00:19Night Ride
01:00:20Night Ride
01:00:21Night Ride
01:00:22Night Ride
01:00:23Night Ride
01:00:24Night Ride
01:00:25Night Ride
01:00:26Night Ride
01:00:27Night Ride
01:00:28Night Ride
01:00:29Night Ride
01:00:30Night Ride
01:00:31Night Ride
01:00:32Night Ride
01:00:33Night Ride
01:00:34Night Ride
01:00:35Night Ride
01:00:36Night Ride
01:00:37Night Ride
01:00:38Night Ride
01:00:39Night Ride
01:00:40Night Ride
01:00:41Night Ride
01:00:42Night Ride
01:00:43Night Ride
01:00:44Night Ride
01:00:45Night Ride
01:00:46Night Ride
01:00:47Night Ride
01:00:48Night Ride
01:00:49Night Ride
01:00:50Night Ride
01:00:51Night Ride
01:00:52Night Ride
01:00:53a go home I'll explain to Andrew I feel awfully queer listen to me you get home
01:00:59the best I'll send you along in my car.
01:01:04Hello.
01:01:05I. Put that
01:01:20down he's not worth it I'm not going home I'm not going to let him think I'm
01:01:25running away because of him I'm going through with it.
01:01:31You can't go on in that condition.
01:01:35Have.
01:02:05The.
01:02:14If you want to know why I think like I think it's a very big deal if you want
01:02:18to know why I think everything is good and I'm
01:02:21a big deal about me I mean I think and they do every lullaby they got me.
01:02:35You know what.
01:02:51I thought he was
01:02:52a friend of mine.
01:03:05I. Want
01:03:22. To. Pardon me sir you remember I don't remember if I'm
01:03:31a man but I got quite rich which I wish to present.
01:03:46Come back to sing you a little song my very own.
01:03:49Song.
01:04:02When you're feeling.
01:04:10Great.
01:04:20Please stop.
01:04:22Will you get back on the plane.
01:04:27I call myself a policeman.
01:04:31So long as you don't say about you.
01:04:36It's just.
01:04:39Me going inside I want to sell for my son with this and this robbed me of my
01:04:43rights as a Britannic subject I did.
01:04:46To go here.
01:04:50This time you don't stop and I don't believe that.
01:05:05I don't know if you think I like to think he's just one of my young woman and
01:05:09she thinks I'm I don't think that I thought to me it's my copyright and for
01:05:13the right I can't do it in what right you want to say I'm really glad it's my
01:05:18singing night.
01:05:25You know what.
01:05:33This girl has signed on the line for me listen you lay off.
01:05:49I listen to you.
01:05:51I want to break.
01:05:55My conscience.
01:05:57I can't jump the band I can't jump.
01:06:05I'm the kind of this place get this guy out of here before he starts a riot with
01:06:08you and what do you want.
01:06:10Oh I can't jump you.
01:06:15Are you listening to me.
01:06:17What is this a lunatic asylum I have
01:06:18a good mind to pinch a lot of you think this girl is the cause of all the trouble
01:06:23she's under the influence of the war I resent that every member of our family
01:06:29stick with you.
01:06:33That's what it is she is we know the reason why what you heard of all the help
01:06:38and take that.
01:06:40I.
01:06:55I can't get
01:06:56a word I must have all that I don't know what I'm trying or why I'm trying to
01:07:01unlawful assembly disorderly behavior assaulting the police.
01:07:07Assaulting the police.
01:07:10Good thing you got to go but it appears that the cause of the trouble was that
01:07:13the young female defendant over the other stone the tomb which led to
01:07:16a breach of the peace. I got to. Excuse me please it's got nothing to do with
01:07:21that you're my girl has been stolen it's
01:07:23a barefooted robbery that's what it is I demand the king's justice.
01:07:29What you want is the king's English.
01:07:35I speak fluently the king's English I am
01:07:37a Britannic subject listen garlic I am
01:07:40a British object to you have read the show just don't you. Want to.
01:07:52Yes we are quite satisfied you are
01:07:53a British subject but what is your name Antonio Eduardo Benito Pasquale Giovanni
01:07:59Luigi.
01:08:03You mind taking this down I'm getting
01:08:04rather short of ink up here. We'll continue the evidence because we want to
01:08:11attempt to restore order I received
01:08:13a violent blow in the eye from
01:08:14a man bag bummed at me by the lady in the corner found I never found anything in
01:08:20my life besides it wasn't meant for him I found it up my manager. Casting
01:08:26missiles and I know I know. Who are these people who were
01:08:33bummed things up on another musicians in the like you worship. I see no reason why
01:08:40I shouldn't find a lot of you in jail.
01:08:57You'll get something much worse than that sort of you don't behave yourself now you
01:09:01claim this song or whatever it is as your property it's got nothing to do with
01:09:05that you're pretty you see that man that man he snatched and grabbed my girl and
01:09:11probably for me must be sunk the sink the sun that's like
01:09:15a song we can prove it it goes like this you find out.
01:09:32When I want to vocal demonstration I'll ask what am I dealing with the other
01:09:36possible to fix musicians in the like you worship I know I know.
01:09:42Now listen judge I'm not a judge I'm only
01:09:45a magistrate well don't worry you'll get there this little lady is a great little
01:09:49artist and I've just landed a Hollywood contract for you land a contract you
01:09:53couldn't land it said it's on the level this time so I expect the confirmation this
01:09:57morning I wouldn't believe it unless I saw it in black and white and even then I
01:10:00wouldn't believe it but listen flow. I will not have this unseemly altercation in
01:10:06court you've got to listen to the other guy's angle palsy palsy palsy palsy.
01:10:13It's time I made an example of some of you take seven days without the option Oh
01:10:17just make it
01:10:18a month and you take seven days without the option as well. The contract we say
01:10:25tomorrow. You've been trying to land me in Hollywood when the contract comes you
01:10:30let me. But you're only you can't do it. You're not careful I'll give you all
01:10:36seven days I don't know what the seven days I want to just be.
01:10:43If it wasn't for her we wouldn't be here and now I'm just not it is
01:10:47a big deal that you stole the song did you or did you not know your worship only
01:10:52and you claim to have composed it yourself no well that is my uncle. What your
01:10:58uncle got to do with it is he in court yes there he is.
01:11:04Now this song that's causing all the trouble so you claim to be the owner.
01:11:09No no it's ours we can prove it I can't grow up the band and move the band.
01:11:17This is Ambrose here.
01:11:20Here was. No I wonder if you would just play this over for me if I like
01:11:27a judge for myself. I knew that you will say it was. Thank you.
01:11:37And that's the only. Thing and you can't go wrong when you're
01:11:44feeling so depressed where a great stick out your chest the best you can do is to do
01:11:49your best you'll soon be going.
01:11:54Well. It all sounds very familiar to me. Where have I heard it before where I had
01:12:01it you're on a year ago at the Crystal Palace to the band contest. Now what is
01:12:09it. Much military. You know I remember that when we used to not do it in the boys
01:12:15cops. Exactly quite so it's cool well it appears I've been trying to force this
01:12:22you obviously cannot belong to any of the claimants the case is dismissed.
01:12:39I'm.
01:12:45Very proud.
01:12:50Very proud.
01:12:58Very.
01:13:09Very.
01:13:15Very.