Got any coffee on you?
Oh, yes?
Now I can retire.
Well, there's your | good-neighbor policy.
Come on, honey. | That's good neighborin'. There we are.
And now, ladies and gentlemen, | that international favorite, Tony De Marco.
You never saw a place | like this in your life.
- Hello, kids. There you are. | - Hello.
I'll wait a bit on you | till the other one.
- This place gives me a very uneasy feeling, A.J. | - Shame on you.
- Gimme your hat and get your mind off your wife. | - That hat's all right?
- Yes, your hat's all right. | - That's my hat.
She knows it. | Never lost one in her life.
Now, see here, A.J. | I should have been more fiirm.
When I told you that I am never seen | in places like this, I meant it.
I don't know how you've managed to get me | this far. I should have put my foot down.
- Don't be a square from Delaware. Get hep to yourself. | - What kind of talk is that?
- I heard it on a jukebox. | - Well, I don't think I like it.
- I have your table, Mr. Mason. | - Thank you, Harvey. Come on, Pottsie.
Hey, Phil, do those two | come here very often?
Well, I haven't seen | the mortician before...
but that old mountain goat | in the blue serge...
comes leaping in here | two or three times a week.
That old mountain goat | happens to be my father.
Well, you see, I like goats. | Lovely animals.
Some of my best friends are- | How about another goat- uh, beer?
No, thanks. | I think I'll horn in on the old goat.
The usual. Lemonades.
- What did you order? | - Lemonade.
How do you like Tony De Marco? | Great, isn't he?
I hope that woman's his wife, because | if she's not, there should be a law.
That's a good one.
Good, eh?
A.J., look. | We have company.
- What are you doing here? | - I was about to ask you the same thing.
Well, we just dropped in | for a nightcap.
- We missed the Westchester train, and | Potter here suggested- - Nothing of the kind.
- Andy, this is entirely your father's idea. | - What?
- Yes. | - Young man, I thought you had to get back to your outfiit.
Well, I do, but I didn't say when. | I've got till Monday morning.
How 'bout you? | Mrs. Potter give you a furlough too?
I promised my wife I'd be home before | midnight. I like to keep my promises.
She expects me to, | and I expect her to expect it.
Say, Peyton, supposing I get | Mrs. Potter on the phone...
- and explain that you and Dad just dropped in- | - Go ahead, son.
- She likes Andy, and anything he tells her will be okay. | - I'll call her, fiix everything.
- You be sure to explain to her | that this is just lemonade.
- Lemonade. | - Lemonade.
And now, folks, | the Club New Yorker proudly presents...
its beautiful dance instructors, | specially imported to teach you...
that brand-new South American | dance sensation, the Uncle Samba.
Our girls don't wait for leap year. | They choose their partners now.
And you don't have to | wait either, gentlemen.
Look around and choose | your nearest exquisite.
All right, girls. | Grab your partners and let's go.
Come on up. That's the idea. There we go.
There you are.
Hello? Hello!
Oh, hello, Andy. | Where are you?
Club New Yorker? | Oh. Potter's with you?
Dad brought him here after the dinner | for a nightcap. Don't worry about him.
Don't give him anything stronger | than lemonade.
The last time he had champagne was | on our honeymoon. It was at Niagara.
He thought he was a barrel. He wanted me | to roll over the falls with him.
I'll look after him.
Is Vivian there? | Put her on.
Hold on. I'll call her. | Oh, Vivian!
- Yes, Blossom. | - Phone, dear.
- Who is it? | - Andy.
Oh. Hello, Andy.
At the Club New Yorker?
He is?
How dare you drag my father | to such a sinful place?
Tell your mother she has | nothing to worry about.
My father, he's doing all right.
Say, that girl's a honey. | Who is she, Ruth?
- That's Eadie Allen, one of our new girls. | - Eadie Allen. Hmm.
Mr. Potter!
This is all your fault, A.J.
It was you who sicced | that gypsy on me.
- She's no gypsy. She's a Brazilian. | - Well, whatever she is, she's a-
- She's a bombshell. | - Bombshell. That's exactly right.
Did you see that man with the camera? | Did you see that thing explode in his hands?
I was lucky to get out alive. | Now I'm gonna be fiirm. We are leaving.
Well, I talked to Mrs. Potter | and everything's fiine.
- She was delighted to hear that you had taken up dancing again. | - She was?
Did you tell her about me out there | dancing with that South American savage?
I knew I shouldn't have | let you telephone.
I was only joking. | I told her nothing.
What I was doing out there, | that wasn't Peyton Potter at all.
- Now, don't be modest. You were swell. | - Really. I've had enough.
- Mason, if you please. | - Old Pottsie can't take it.
Well, you go along with him. | I've got some unfiinished business.
Unfiinished business? | That must mean a girl.
Boy, I wish I were young again.
- Well, I'm glad you're not. Where would I be? | - Good night, Son.
Good night, Dad.
Oh, waiter. | Take a message to Phil Baker.
- Ask him to meet me at the bar between shows. | - Yes, sir.
And, waiter. Have him | bring Miss Allen with him.
- There you are. | - Yes, sir. Miss Allen.
- You want to see me, Andy? | - Yes, but, well, where's Miss Allen?
Miss Allen? Oh, you see, between shows, | she goes over to the Broadway Canteen.
This is her night | to dance with servicemen.
- Didn't you tell her I wanted to meet her? | - She wasn't interested.
- I'm afraid you picked the wrong girl. | - Yeah?
I think I'll go over | to that Broadway Canteen.
- I'm warning you, you won't get to fiirst base. | - I'm pretty good at baseball.
So was the mighty Casey, | but even Casey struck out.
It'll take more than three strikes | to keep me away from fiirst base.
- Fifty bucks says you go down swinging. | - I'll take that bet.
- Have you ever been in Tennessee? | - No. Is that where y'all from?
- You guessed it. And I bet I can tell you where you're from. | - Where?
Heaven, lady. | Heaven.
Shove off, sailor.
- So long, angel. | - So long, Tennessee.
- Are you really an angel? | - The navy seems to think so.
My mom always told me, if I was | a good boy, I'd see an angel someday.
You be a good boy now and watch | that right hand. It's slipping.
Just lookin' for your wings, baby. | Lookin' for your wings.
- Do I really have to give you up? | - Sorry, it's the rule here.
The marines lay the groundwork, | and the army takes over.
When I fiirst saw you, | I said, "target for tonight. "
Hmm. You're not | wearing them, are you?
- Not wearing what? | - Your marksmanship medals.
Ah, I wish you weren't | so beautiful.
Why?
Well, then nobody would cut in, and you'd be | all mine for the rest of the evening.
Have you been getting results | with that line?
Aw, I'm sorry.
You're used to getting a pretty good spiel | from most of these fellas I guess.
Oh, I don't mind them.
After all, | they're a long way from home.
A long way from their girls.
You can't blame them if they get | off the beam once in a while.
They're all pretty sweet.
Even the wise ones.
Say, would you think | I was too forward if I, uh-
If you what?
Well, if I asked you your name?
No, of course not. It's Allen. | What's yours?
- What? | - I said, "What's your name? "
Oh. Well, uh, it's, uh, Casey.
Casey? Hmm. | That's a pretty good name.
- "Casey at the bat. " | - That's me.
- Huh? | - Well, I-
I mean, | I played a lot of baseball.
- Are you pretty good? | - Well, that depends.
Sometimes I, uh, | don't even get to fiirst base.
- I like baseball. | - So do I.
I like dancing too.
- Huh? Oh, I'm sorry. | - That's all right.
Would you like something to eat?
- Why, yes. I guess I would. | - Doughnuts and coffee?
- If you led me to it, I'd eat hay. | - Well, come on.
May I have a couple, June?
Thank you. | There you are.
- Oh, cream and sugar? | - No, thanks.
You'll fiind those awfully good. | You can dunk if you'd like to.
- Dunk? | - Mm-hmm. Like this.
- Isn't that better? | - Yes, much better.
Here. Have another bite.
Couldn't we just talk? | I'm not awfully hungry.
Well, I have to leave pretty soon now. | I've got a show to do.
A show? | Are you an actress?
Well, not exactly. | Just a showgirl from the Club New Yorker.
- A showgirl. | - Mm-hmm.
- Gee, no wonder you're so glamorous. | - Now.
- Say, if I'm not being too forward- | - Yes?
You suppose I could walk | to the club with you?
Or do you have a boyfriend?
I haven't a boyfriend. No.
- But we're not allowed to leave the canteen with soldiers. | - Oh.
And, uh, now I'm afraid | I'll have to say good night.
Good night?
Won't I ever see you again?
Well, I'm here | three nights a week.
Yes, but I won't have | another leave for some time.
I'm sorry. | Best of luck, soldier.
Thanks.
- You're sweet. | - Thanks.
Well, looks like | we've reached our objective.
- Good night, Casey. | - I wish you didn't have to go in.
- Good night, soldier. | - Couldn't I meet you after the show?
We could sort of go out and you could | show me the town sort of. Will you?
- I'd love to. | - Really?
I'll be fiinished at 1:30.Just in time | for a drink and dance at the Stork Club.
Then on to El Morocco, then just | a quick look in on Monte Carlo.
After that, we'll go | to Lindy's for a late bite...
and then I know | a swell spot on 52nd Street.
Won't cost you more than $50...
that is, of course, | if you don't tip too heavily.
We're gonna have lots of fun, | Sergeant.
- Those places are pretty expensive, aren't they? | - Yes, they are.
Well, I'm afraid I couldn't afford it, | not on a sergeant's salary.
- Well, then what do you say we skip the whole thing? | - All right.
- Good night, soldier. | - Good night.
- Casey. | - Yeah?
Would you-Would you like | to see the show?
- Gee, would I! | - I'll fiix it for you out front.
Oh, don't go to all that trouble. | I'll see it from backstage.
- Good night, Ben. | - Good night.
- Good night, Ben. | - Oh, Miss Allen...
I just had a nice talk | with your boyfriend here.
Didn't know | you had a sweetheart.
I, uh- I- I told him we were sweethearts. | I hope you don't mind.
Stop acting like Don Ameche, | and get me a taxi.
- I've got one waiting. | - Thank you.
Let's go over by the rail.
First a taxicab, | then the Staten Island Ferry.
You certainly can pick 'em.
Well, you see, I thought it was nearer | and really much cheaper than-
Any nightclub in town.
- You know, it is kind of nice to get out of the city at that. | - I'll say.
- It's beautiful out here, isn't it? | - Mm-hmm.
You're beautiful too, Eadie. I couldn't keep | my eyes off you in that show tonight.
You ought to be the star | instead of just one of the girls.
I won't be for long. Phil promised me | a song in the new show.
Really? | I didn't know you could sing.
- Phil thinks I can. | - He's a swell guy.
You'll like him | when you get to know him.
That sounds as though you're going | to let me come around some more.
- Could be. | - Well, after all...
I suppose I'll have to hear | you sing sometime, won't I?
Yes, I suppose you will.
Well, what are we waiting for?
All right, soldier, you win.
Ready?
Hear the orchestra?
Yeah.
Where's it coming from?
Where's your imagination?
Gee, that's swell.
- Did you really like it? | - You bet I did.
- Hey. | - What?
Look over there.
The evening star.
Over your left shoulder too.
That ought to mean something.
Oh, I- I forgot to tell you.
We're gonna have Benny Goodman | and his orchestra in the new show.
- Oh, you are? | - Mm-hmm.
That's fiine.
I'm certainly glad | I met you tonight.
- Why? | - Oh, lots of reasons.
Do me a favor, will you?
Sing that song again.
- Oh, you don't want to hear it again. | - Oh, yes, I do.
- That sounds like an order. | - It is.
Okay, Sergeant.
- Here we are. Wait for me. | - Yes, sir.
- Well? | - Oh, no. I'm gonna take you right up to the door.
- Will I see you tomorrow night? | - I thought you had to go back to camp.
Well, I do, but you'll be at the | Grand Central Station to see me off.
I hadn't thought about it.
You'll think about it now, | won't you?
Uh-huh.
- But you haven't even told me where you were going. | - Huh?
Well, I mean your camp. | Where is it?
Oh. Oh, well, uh-
- Well, that's a military secret. | - Is it north, east, south or west?
I- I can't tell you that either.
- You see, I've never been there before. | - Oh.
But from what the fellas tell me, | it's really a paradise for soldiers.
- No. | - Yeah.
They say it's warm | and beautiful there.
And at night, even the ocean | sings you to sleep.
And the moon and the stars, | why, they-
- Oh, that's swell. | - Yeah.
You'll be hearing from me | the minute I get there.
My train leaves at 8:00.
I'll meet you at | the information booth at 7:30.
Well, I, uh- | I don't know whether I can make it.
You see, I have a- | I have a rehearsal in-
in the morning, | and I don't know for how long.
Then I promised Mabel...
from there I'd go to Brooklyn | with her to see the Dodgers play.
I- I guess maybe I could miss | seeing the Dodgers.
Won't hurt anything.
- Don't be late. | - I won't.
Remember. | Grand Central Station. 7:30.
I'll be there.
Good night.
Good night.
Did you have | a good time in town?
Well?
Vivian, I want to tell you | about last night.
- You see, I- | - Andy, you don't have to explain anything to me.
I simply asked you | if you had a good time.
Well, uh, yes, I did.
Well, that's all that matters.
You're a good sport, Vivian.
- But then, you've always been. | - Sure.
- You're a very lucky guy to have a girl like me. | - I know that.
However, don't think | I won't be properly jealous...
if you go cruising around | in that uniform...
and get yourself a sweetheart | in every port.
Oh, I'm a soldier, | not a sailor.
A soldier can get | in deep water too.
Sometimes way over his head.
I wish I could take this pool | of yours back to the camp with me.
- You mean they don't have | a swimming pool for you...
Or a nice man to bring you | tall frosty drinks when you're thirsty?
Good afternoon. | How's the swimming today?
Super, Mrs. Potter. | Simply super.
Well, that's wonderful. | Too wonderful.
- Aren't you going in, Mrs. Potter? | - Oh, mercy, no.
The pool is Vivian's department.
I just have the towel concession.
Please. Don't rush those things | back and forth too much.
These children are here | to swim in the pool.
Yes, madam.
Hello, kiddies. | Have you seen the morning tabloid?
I suppose you'll show this to Dad | right away and be properly outraged.
Oh, no. I'm saving that until I need it.
Go ahead, Beezy. | Ask her.
- I will. Stop pushing. | - Well, go ahead.
- M-M-Mrs. Potter? | - Yes, my dear. What is it?
W- Would you care to dance, | Mrs. Potter?
Me? Oh, isn't that sweet of you. | Just being polite, of course.
Oh, no, he isn't. | I told him you like to dance.
Oh, I do. I love it. | But he is so young, and I am so-
Well, you know, so-so. | Oh, you embarrass me. Really, you do.
- Oh, go ahead, Mother. Beezy loves to dance. | - Yes, that's what I'm afraid of.
You know, I'm not 16 anymore. | I feel silly.
He wants to play.
Drop that.
Mrs. Potter, | I want to have a talk with you.
Come to my study at once, please.
Pass the ammunition, kiddies.
- You going to write me? | - Are those orders, Sergeant?
- I'm serious, Eadie. | - How serious?
Hearing from you every day would make me | feel that you're marching...
right up there with me | at the head of the column.
And that's where | I want you to be, Eadie.
I will write you, Andy...
every day.
All aboard. Leaving on Track 28.
Westbound Limited.
Chicago, Omaha, Denver...
Salt Lake City, Los Angeles...
and San Francisco.
Westbound. All aboard.
Well, I guess that's me.
Wait a minute, Andy.
- You said you were going to Florida. | - I didn't say that, darling.
Yes, you did. You said you were going | to a camp where it was warm and beautiful.
- But, Eadie, I- | - But I remember every word.
You even said the ocean | would sing you to sleep.
- And the moon and the stars and- | - Well, that's right, darling.
The ocean will sing me to sleep.
And the moon and the stars-
The stars. Remember last night | on the ferryboat?
- Yes. | - Well, look over your left shoulder again, will you?
- No, Andy. No. | - Please? Just for me. Just this once.
Just for good luck. Please.
Andy, you've got-Andy!
Andy!
That's the last time | I'll ever take you anyplace.
- Eadie. Well. | - Fancy seeing you here.
- Yes, isn't it fancy? | - I suppose you came down to meet our train, eh?
Yes, I did, | but I was a little early.
Of course, you couldn't have been seeing | a few soldiers off, by any chance.
A few soldiers? | Only one, I'll bet you. Sergeant Crazy.
It's Casey, Dorita. And what's wrong | with saying good-bye to a soldier?
- Nothing. | - I call it nice works if you can get him.
- Where have you two been? | - To the cleaners.
- The cleaners? | - That's what they call the racetrack.
Dorita's never seen a race, | so I took her out to Empire City.
I thought she ought to meet a few | of the horses she's been supporting.
I've never seen a race myself, Dorita. | Tell me about it.
Okay, I tell you. First you pick | the horses, to win, to place, to show.
Then you buy three tickets. | You sit and hold them like this.
The horse lose. | You tear up the tickets.
Then you pick three more, to win, | place, show. You buy three more tickets.
You hold them. | The horse lose again. You tear them up.
More races, more tickets, | more horse lose.
The day is over and what have you got? | I'll show you.
Hold this for me. | Like this, yes.
Horses.
Well, it looks like | a white Christmas.
A.J., have you seen | the San Francisco newspaper?
Why should I see | the San Francisco newspaper?
Well, my secretary's hometown | is San Francisco...
and she gets the San Francisco | newspaper every day.
- What's that got to do with me? | - Don't be stupid, old boy.
If it weren't her hometown, | she wouldn't get the paper, would she?
And I wouldn't be able to show you | this picture of your son receiving a medal.
So what? What?
Well, why didn't you say so | in the fiirst place?
Look at that. Been in the South Pacifiic | three months and already a hero.
Why wasn't I told about this? Why didn't | Andy write me? Where's my mail, Miss Custer?
- Right there before you, Mr. Mason. | - Oh, so it is.
- Why were you keeping this from me? | - Why, that's a medal.
- It's a medal. | - Why, it's the same one as in the picture.
It's the same one, on a ribbon | and everything. Isn't that handsome?
- Look at that. | - Oh! He's in San Francisco.
- No. | - Be home in about two weeks.
- No. | - Pottsie! My son back on American soil and a hero.
- Oh! | - Please.
- I tell you, we've got to get busy and make some plans. | - We certainly have.
Why not another stag dinner? | I had a very good time at that last one.
No, no. Right here. | Behind his name, he signs "N.S.D."
Yes, National Selective Draft. | You see, that's what that-
National Selective nothing. | It's N.S.D. No stag dinners.
No stag dinner, yes. Well, then a quiet | little party at home. Just the two families.
He don't want | a quiet little dinner.
He's young. | He wants excitement.
Why, he wants wine, girls, song!
Yes, well, there's the community | sing every Thursday night. It's really-
Oh, that's so stupid, | the choir.
I know what it is. His favorite spot. | The Club New Yorker.
Oh. Well, that lets me out. | Of course, he's your son. If you want-
Wait a minute, Pottsie. | I'm tied up with this board meeting...
but you go right over to the Club New Yorker | now and make arrangements for a party.
What are you talking about? I go to a place | like that in broad daylight and by myself?
Oh, never mind. Now, come on. | Come on. I'll go with you.
Miss Custer, | cancel my next appointment.
Where did you think | you were goin'?
Come on, girls. Snap into it. | Put some life into it.
Close it in. Come on.
Watch your feet. | Up! That's it.
Lines. Now travel forward. | Come on. Forward. Travel!
Oh, kind of ragged, girls. Benson, I want you | to set a new routine for this opening.
- Come on, Pottsie. | - Oh, A.J. -
If you're scared, hold my hand. | Mr. Baker, you remember me, Andy's father.
- Yes, indeed. | - My partner, Mr. Potter.
- Hello. And how's the sergeant? | - Well, if you're referring to my son...
he's back from the Pacifiic | and covered with medals.
Really? How do you like that? | Andy Mason a hero.
And that's why we're here. | He'll be home in a couple of weeks...
and I want to arrange | a party for him here.
That'll be fiine. | Only, the club is closed.
- We're rehearsing a new show to open in October. | - Oh, really?
In that case, Mason, I'm sure Mr. Barker here | must be very busy with his chorus girls-
- Now, wait a minute. | - What's the matter?
- I've got an idea. | - It's too late, old boy.
- This time it's a real killer diller. | - A what?
Jukebox. Why don't you bring | your show up to my place?
That is a ridiculous idea. | You're not well, A.J.
And it's the air in here. | I know. It's this fresh paint.
- Look, you can rehearse it there and present it at Oakwood. | - Oakwood? That's my place.
- Of course. | - What are you talking about?
That enormous terrace garden | on the south slope.
We could put tables on the terrace | and stage the show in the rose garden.
In my rose garden? I won't hear of such | a thing. Those are my prize yellow roses.
We'll put the show on | to sell war bonds.
We'll make it the biggest | bond-selling drive you ever saw.
We'll charge our neighbors | $5,000 bonds for admission.
Why, we'll raise a million dollars...
which would go to help Andy Mason | and millions like him to get the stuff they need.
Mr. Mason, if you had a beard, | you'd remind me...
of my two favorite people- | Santa Claus and Uncle Sam.
Well, we'll consider everything settled.
You bring your whole troupe | up for a week.
We got plenty of room for everybody, | two houses. Bring 'em up for two weeks.
- Oh, be sensible. Actors for two weeks? You couldn't feed 'em. | - Oh, now, now.
- You couldn't feed them. | - We haven't got time to be sensible.
I'll call you back later this afternoon | and give you the details.
- Great. | - Oh, by the way...
do you think the Brazilian bombshell | will like the idea?
Well, I don't know. Why don't you | ask her yourself? Here she comes now.
How do you like my new costume? | You think it'll knock their feet off, huh?
Sensational. Oh, Dorita, you remember | Mr. Potter and Mr. Mason.
I remember Mr. Potty. You are here | to kick up some more heels, huh?
- No. | - Mr. Potter wants you to come to his house this weekend.
Ah-ah, you naughty boy.
You are what they call a fast-work man, yes?
- Mason, please. | - Well, it was really my idea.
We wanted you to come | and help sell war bonds.
Oh. You know, I like you both. | I think you are very cute.
Phil, we're ready for Eadie Allen's number.
Okay. Why don't you boys watch the rehearsal? | I want to see what you think of it.
- Okay, Benny, here we go. | - All right, Phil.
What do you say? | How about it, Eadie?
- I'm all ready, Phil. | - All right, boys, hit the lights.
Come on, girls. | Clear the stage, everyone. Hit it, Benny.
Wait till you hear her sing this song. It's a lulu.
Where'd you get | all these station wagons?
Commandeered them from the neighbors. | I'm chairman of the transportation committee.
With Mr. Mason's $5,000 war bond admission, | reservations are pouring in.
And at $200 a table, looks like | a real sellout for the army and the navy.
- Say, that's wonderful. | - Did you ever saw so much flowers...
and trees and shrubbers?
- Very nice, Dorita. Very nice. | - What are you do up in the dumps?
Eadie is worried because she thinks | a certain soldier may be back from overseas.
Why shouldn't I worry? | He'll never fiind me out here.
The club is closed, I've left my apartment. | He won't know where I am.
I know exactly | how you feel, Eadie.
I have a soldier too. | He lives right next door.
Andy Mason, Jr. | Maybe you know him.
- Andy Mason, Jr? Why, I know him well. | - You do?
Say, you're not by any chance | engaged to him, are you?
Well, sort of. We've been sweethearts | since I was 10 and he was 12.
- Andy's just back from Australia. | - Australia?
- Casey was in Australia. | - Really?
Wouldn't it be funny | if they knew each other?
Yes, wouldn't it?
Mr. And Mrs. Potter, I want you | to meet Benny Goodman and his boys.
- How do you do, Benny Goodman and boys? | - How do you do?
Go in the house. | You'll fiind everything you need.
- Walter and Edward will take care of you. | - Thank you.
Just make yourselves | at home, boys and girls.
Mother, this is Eadie Allen and Dorita. | I think you've met Mr. Mason.
- Hello. | - Welcome to Oakwood, my dears.
- We're so pleased. | - Thank you.
Ah, I remember you from your pictures | in the newspapers, or was it the police gazette?
- How are you? | - I'm very well to do. Thank you.
Ah, you do very well | what you do do.
Now you young ladies will have the Magnolia | Room. That is the room next to my daughter's.
I'll show you up.
I'm going to like here.
That hat. I'll have to watch | my bell cords and lampshades.
Oh, Phil.
- Hello, Mr. Mason. | - Mrs. Potter, I want you to meet Phil Baker.
How do you do, Mrs. Potter?
This is a great pleasure, | Mr. Baker.
I've heard so much about you, | from young Andrew especially.
I'm so happy to have you with us. | So happy.
I'm so happy | to be here, Mrs. Potter.
It's lovely of you to arrange this holiday | for my hardworking little troupe.
- So very lovely. | - Oh, it's nothing at all, really.
I'll leave you two to get acquainted while | I see that the boys fiind their proper rooms.
- Blossom! | - Philsy!
Blossom, you old cabbage, you.
Oh, boy, it's more | like coleslaw now.
Oh, you haven't changed a bit.
I wish I could say | the same for you.
- You could if you'd lie a little too. | - Do you remember Paris?
- Do I? | - Ah, Paris.
- Paris in the '20s. | - Oh, boy, were you a sensation with that accordion.
And you with your silver soprano. | What a set of pipes.
Ah, the pipes are not what they used to be. | They're a little corroded right now.
Phil, if anybody in Westchester ever dreamed | that I was once on the stage and in Paris-
Scandalous. Do you remember | the Count de Grace?
How could I ever forget him? | He used to call me his "long-stem Blossom. "
Well, what the countess called you | made international headlines.
- That was the night of the Beaux Arts Ball. | - You and I took over the show.
- Do you remember that Apache dance we did? | - Do I?
You sure it was in the '20s?
I'm positive it was in the '20s. | It was in the '20s, wasn't it?
Mrs. Potter!
Oh, Peytie. I was just | welcoming Mr. Baker to Oakwood.
- Mr. Baker, Mr. Potter. | - How do you do, Mr. Potter?
I had no idea | he was that welcome.
How welcome would you say | I was in round numbers?
The rest of the theatrical people | are having refreshments on the terrace.
- Possibly you'd like to join them. | - You left your motor running.
He's a sweetheart. I'll bet | he'd give away his last pint of blood.
In fact, I think he has.
I absolutely forbid you getting within | 20 feet of that man again. You understand?
- Peytie, wouldn't you settle for 10? | - Well, 15 at the most.
Peytie, can I help it | if I'm irresistible?
It's that vitamin B1. I told you you were | taking too much. You're overdoing it.
- Peytie- | - I don't care to discuss the matter at all.
- All right, Cap, hook her up. | - Give me the slack.
- I love that melody. | - That's the music for Tony De Marco and Maria's dance.
Where are they? | Oh, Tony! Maria!
Don't look now, | but here comes half of them.
Don't tell me | they've been rationed too.
I know, but what are you gonna do?
If you don't cut that out, | the censors will. What's he saying?
He wants to know why you didn't tell him | he had to dance in a rose garden.
- What's that got to do with it? | - They're Mr. Potter's roses and he's fond of them.
But he says you don't realize | what your fiiendish little roses have done.
What have they done?
No.
- What'd he say? | - How should I know?
They had to send his partner | back to New York with rose fever.
- She doesn't like roses, so Tony hates them. | - Is that so?
Where is he? There you are. | My roses aren't too fond of you.
What have you got to say to that?
He says he's gonna sue you | and your roses for ruining his partner's health.
- Sue me? | - S!
This is an outrage! Where's Mason? | He got me into this.
I'm gonna have you and your theatrical troupe | thrown off this place forcibly.
- Mason! Mason! | - Oh, Mr. Potter! Mr. Potter!
Let him go. | Mason will cool him off.
What happens to me they wouldn't believe | on the Goodwill Hour.
- Eadie, tell Tony he'll have to get another dancing partner. | - Another partner?
- Yes. | - But who?
- That's his worry. | - Okay.
I'll stay as I am.
Tony!
I'm sorry. | I've never seen him-
- You are beautiful! | - He speaks English.
It's wolf talk. | That's international.
Say, Vivian's all right. | She catches on pretty quick.
Well, I taught her a few steps | when her father wasn't around.
I might have known. Mrs. Potter | was a great dancer herself in her day.
- Really? | - She was so smooth, she could waltz around...
with a glass of beer on her bustle | and never disturb the foam.
- I guess Vivian takes after her. | - A block off the old chip, huh?
That was thrilling, darling.
I think you danced beautifully.
Baby, you were great. | I want you in the show.
Thank you, Mr. Baker, but I'm afraid of Dad. | He'd never approve of it.
- Why not? | - You know how he feels about shows and show people.
- My purple past, remember? | - Vivian's gonna be in this show.
Oh, Peyton will never allow it.
- Not even with some gentle persuasion? | - What do you mean?
- Let's see. I've got it. Your boudoir. | - What are you talking about?
I'm talking about the biggest scene | of your career.
Come along, | you old tenderized ham.
Well, at last, | I'm worth something.
- You know what to do now? | - No, my mama never told me.
Don't you worry about me.
- Here he is. | - Come on, baby. Do your stuff.
- Come in. Oh, Peyton. | - You sent for me, dear?
- Yes, I did. | - What's Mr. Barlow doing here?
- Protect me. This man is blackmailing us. | - Blackmail?
- What's he want, money? | - Would it were money he wanted.
- What do you mean by that? | - He threatens me unless I allow my daughter-
your daughter- our daughter to dance | in the show with Tony De Marco.
Why, that's unthinkable!
Oh, you blackguard. | Oh, you gangster.
How could you think | of such a fiiendish scheme?
Now, Mr. Potter, the only decision | I want you to make is this.
Shall I introduce Vivian as the charming child | of Mr. And Mrs. Peyton Potter...
or shall I simply announce, | ladies and gentlemen...
- I give you the talented daughter | of the notorious Blossom Murphy?
You know her name? | You told him your name?
- No, Peyton, he knew me in Paris. | - In Paris?
You scoundrel! Out of her dark past | which she has lived down so beautifully...
so gracefully, you come at a time | like this to blackmail her.
Ugly word, "blackmail. " | Don't say it again.
Blackmail, blackmail, | blackmail!
- How much money does he want? | - I don't know.
As I said before, | you cannot bribe me with gold.
It is the artistry | that was Blossom Murphy...
that I would restore to the world | through her daughter Vivian.
Oh, Peyton, you won't make her do it! | You won't make her appear in that show!
- I would die! | - I see no other way out, darling.
Mr. Bailey has us in his power.
- Will you give your consent, Mrs. Potter? | - If Mr. Potter insists!
What else can I do? | But I'm not fiinished with you yet.
I'll see a good lawyer today | to deal with you for this outrage.
- My brother in Brooklyn, he's a wiz on blackmail cases. | - Oh, is he?
- Yes. | - Really!
- Dorita, come in. I've got a surprise for you. | - What surprise?
- What was it? | - Dad's given his consent. I can appear in the show.
Marvelous! | Then everything's donkey-dory, huh?
- What you got there? | - Sergeant Mason.
- You like him? | - Sergeant Mason? He's Sergeant Crazy!
I think it's you that's crazy.
Oh, no, no, I'm not crazy. | My name is Dorita.
- This is the man I'm going to marry. | - What?
Then he's a two-time, | double-cross snake in the bush.
- Dorita. | - Yes?
- Are you the woman? | - Of course I'm a woman. Do I look like a man?
You don't understand. | You see...
I think there was someone he was playing | around with in town.
Look, nobody play around me, | in town, in cities, nowhere.
I thought you recognized | this picture.
At fiirst minute, yes. | But the second minute, no.
It was somebody else who looked | just like him, like twin sisters.
Same eyes, same hair, | same mouth.
- You were telling the truth? | - Scratch my heart.
Vivian, are you in?
- Oh, it's Eadie! | - What about it? Does that frighten you?
No, I'm cold as a cucumber.
- Come in, Eadie. | - I just heard the good news.
Phil's little blackmail party | really paid off.
Isn't it wonderful? | I've always wanted to dance.
- Tony's very excited about you. | - Oh, I'm glad.
- What's the matter with you? | - Nothing. I feel in the pinks.
Then stop looking like Lady Macbeth. | What's wrong with her?
I don't know. | Can I get you something, Dorita?
Oh, no, no, nothing. | I feel wonderful, if you don't mind.
- Why don't you sit down? You seem restless. | - Oh, no, no.
I like it here, just standing.
- Aren't you tired? | - Yes, I guess I am.
I think I go now and turn myself in | and get some shut eyes.
- You know. Good night. | - Good night, Dorita.
- I'll see you in a few minutes. | - Yes, good night.
Dorita, you're snoring again.
Dorita! Dorita, wake up!
What's the matter, buglers?
- Where did you get this picture? | - What picture?
You know what picture. | This picture of Casey.
Your birthday next week, no?
- Don't change the subject. | - I'm not changing anything.
Casey sent you the picture | for your birthday. Only, he send to me.
And now you have spoiled surprise. | That's all.
No, I haven't. It's a much better | surprise this way.
- You think so, huh? Yes? | - Mm-hmm.
Good. I don't get it.
Good heavens, 10:00!
I might expect this | from you in person...
but when your picture wanders | into strange girls' rooms-
Really.
Well! What do you want?
Mr. Mason is serving everyone mint jalops, | and I bring you a mint jalops too.
- It's delicious. | - You might have saved yourself the trouble.
- I am a teetotaller. I never touch alcohol. | - You don't touch. You drink it.
I'm very sorry, but I am a very busy man, | and I am never disturbed at this time.
So I'm going to ask you to run away, | and take those poisonous things with you.
No, I stay and be a teetotaller too. | Maybe show me how to teetotal.
Miss Dorita, I am a businessman. | I go in for no foolishness.
- I am entirely business. | - Oh, I like that.
Maybe you show me how | to be all business too. Is it fun?
Well, uh, fun? Business? | Why, certainly not. It's not supposed to be fun.
- Oh, no? | - No.
Then I don't think I like it. | I like to have fun.
- You'll never make money that way. | - Oh, money, huh?
You have lots of, don't you? | Thousands and thousands of dollars, huh?
I've done rather well, yes.
Look, Dorita has only a little.
If she had only a few thousand, | she would not work for a boss.
She would work for herself | in her own nightclub.
Maybe you let her have | a few thousands, maybe?
Well, certainly not! | I never heard of such nonsense.
I never invest | in theatrical enterprises. Never.
Now, I want you to take | these two slugs I think they call them...
and you tell everybody you see | that I'm not to be disturbed.
- What do you invest in? | - Oh, well, several things.
- I have an investment counselor, really. | - What is that?
- He's a man who handles my money for me. | - I have one of those too.
- Who is it? | - Phil Baker.
- Phil Baker, the actor? | - Yes.
- He handles your money for you? | - Only, when he handle my money, I never see it again.
- Like these fiive horses with letters. | - Horses?
- Yeah. | - You need say no more, Miss Dorita.
I understand why you never see | your money again. You're a foolish girl.
You should insist on sound investments. | Now, tell my wife-
- Maybe you could handle my money for me. | - Sorry. I have no time.
Oh, but how much time | would it took? How much time?
It takes more time | than I could afford to give.
Miss Dorita, I am in no mood | to listen to fiinancial suggestions.
Oh, come on here. | Sit by me.
Come on here. Sit by me and | tell me more about sound investments.
- Yes, yes. You have the busiest hands. | - You think so?
Sound investments? | Well, there are quite a few of them.
- Quite a few I haven't got money for. Just tell me one. | - One?
- Yeah. | - Well, there's National Copper.
- National Copper. | - That's very safe.
That's pretty. I like it very much. | Thank you very, very nice. Yes.
Well, uh, then, of course, | there's American Steel.
American Steel. | That's beautiful too. I like too.
Thank you very, very nice.
I could say Tel and Tel.
Tel and Tel. | I like that best of all!
- I hoped you would. Yes, I hoped you- | - Yes!
And did you play money | on this Tel and Tel?
Very often. | Quite a lot of money, yes.
- And she come in for you? | - Yes, if that's the way you want to put it.
I want to put it that way, yes. | I want to put all my money on her.
- On Tel and Tel? | - Yes! Thank you very, very much!
Buddy, what's the matter?
I don't know.
- But it's happened. | - What happened?
- Does that mean anything to you? | - No.
- Well, it does to me. | - I don't understand.
Oh, nobody is more surprised | than I am.
Mr. Potty, I'm afraid of you.
You are, really?
National Copper, eh?
American Steel? Well-
- Don't move! | - Mrs. Potty.
Don't mention my wife. | We're going to keep this all on an even keel.
Mrs. Potty-
- Do you remember the other night | when we danced together?
You do remember. Good. | You remember how I held you in my arms?
That's the way I'm gonna hold you now.
- No, no, no. Mrs. Potty! | - We'd like to be alone, please.
Darling, how marvelous! We were just | discussing the invasion- the investments.
It's Tel and Tel, Miss Dorita. | You mustn't forget it.
That's one of | our soundest investments.
You can't go wrong with Tel and Tel. | Can we, darling?
Tel and Tel! | Oh, Tel and Tel!
- Thank you very, very nice. | - Just a minute.
It wasn't my fault. | He swooped me off my feet.
Oh, chop, chop, chop.
So-
Well, old swoopy, swapping swoops at your age. | What have you got to say about that?
I told you, darling, | we were simply discussing investments.
I see. Is that the way | it's being done nowadays?
No wonder you come home | from the offiice so tired.
That's what I say, dear. | That's what I say. No wonder.
Oh. Ketchup.
No doubt. | And from a Brazilian tomato.
Darn it. | Hook me up, will you, soldier?
- Thanks. | - Excuse me.
- Hey, where are you going? | - Andy. Andy, welcome home, Son.
- Dad. | - I knew you'd do it.
Certainly looks good to see you again | after all these months.
- That goes double, Dad. | - Why didn't you wire me? I didn't expect you till evening.
I flew in. | Gee, it's great to be home.
But, Dad, what's going on around here? | The house is full of show people.
Don't worry, Son. I locked up all the silverware | and put all the breakable stuff away.
I've got a big surprise for you.
- Oh, Vivian. | - Come in, Eadie.
- Does that do it, Nanette? | - I think it will.
- Good morning. | - Good morning.
- My, but you look pretty. | - I hope so. Andy's coming home today.
That's right. I'm looking forward | to meeting your Andy.
- You'll like him. | - I'm sure I will.
- There, that does it. | - Thank you, Nanette.
- You're welcome, Miss Vivian. | - Well, what a coincidence.
- What? | - This frame. I have one exactly like-
What are you doing with this picture | on your dressing table?
- That's the man I'm going to marry. | - Are you kidding?
No, of course I'm not kidding. | It's a very good picture of him.
- I agree with you. | - You do? You don't even know him.
- Not really, but I've seen him. | - You have?
Mm-hmm. Look. | Tsk, tsk, tsk.
What would your sergeant | think of this?
I'll bet Dorita had something | to do with it.
You wait and see.
Tell me, Dad, | what's the idea?
It's a little surprise party | for you, Sergeant.
Being as you're opposed | to bachelor dinners...
we're staging a big show next door in | Potter's gardens, and you're the guest of honor.
No fooling? You're really doing all that | for me? Gee, that's swell, Dad.
Brought up the whole | Club New Yorker.
Brought up the whole show. | Well, what do ya know?
Say, wait a minute. | Did you say the Club New Yorker?
- Sure. | - But that means Phil Baker and Dorita and Eadie-
- Eadie's here, isn't she? | - You mean Miss Allen?
- Yeah. | - Sure. She's one of their stars. You know her?
Know her? I'm in love with her. | I'm going to marry her, Dad.
- Now wait a minute, Son. Hold on. | - It's true.
I came up to tell you- | to tell everybody.
See here, the excitement's upset you. | You don't realize what you're saying.
- You're gonna marry Vivian Potter, remember? | - Yes, yes, I remember.
- But that can wait. | - Yeah.
- Wait? | - Well, it's like this. You see-
I can't explain now, Dad. I've got to see | Eadie right away. Where is she?
- Why, she's next door with Vivian. | - With Vivian?
You mean to say that she's over there | with Vivian right in the same house?
Sure.
See here, Son.
Was this Eadie Allen the unfiinished business | you had to attend to...
that night at the Club New Yorker | just before you sailed?
Mm-hmm.
Well, you've certainly got | a nice fiinishing job on your hands.
- Yeah, I sure have. | - You're gonna need a bracer before you face those girls.
Come on. | How about a nice mint jalopy?
Oh, darn it. | She's got me saying it now.
- Dorita, what have you done | with Sergeant Mason's picture?
- Sergeant who? - Sergeant Mason- | the picture that was in this frame.
And Casey's picture, it's gone too. | What have you done with it?
Dorita. Dorita, | what are you up to?
Okay, I guess the jig is down. | I might as well make a clean chest of it.
Your picture and Vivian's picture | is the same picture.
- What are you talking about? - Sergeant | Mason is Sergeant Crazy and vice-a-vice-a.
You and Vivian both got same sweetheart | between you.
- Dorita, you know, I think you're a little- | - No, no, I'm not little.
I'll show you. Give me this picture. | You don't believe me, huh?
I'll show you. Look. | There's your Sergeant Crazy.
And I wash my face | of the whole business.
Find it, Eadie?
Andy's picture. | Then she did have it.
- Are you, uh-Are you sure it's Andy? | - Huh?
- Well, I mean- | - Well, of course it's Andy.
Isn't he handsome?
I wonder what made her | do a thing like that?
I don't know. | I guess it was just one of her tricks.
Oh, clowning, huh?
Yeah...
clowning.
Dorita! Where's Eadie?
Oh, it's you. Shame on you, | you Dr. Jekylls and Mr. Hydes.
- Then Eadie knows. And Vivian? | - I just spilled the cat out of the beans myself.
- You did. Gee, what'll I do? | - I don't care what you do.
I know what I'd do if girl | take my man away from me.
- What do you mean? | - I break her into little hunks...
and then I break him | into little hunks.
And then I take | all the little hunks and, uh-
Well, good-bye. | I must do some rehearsalings.
Vivian!
Andy, darling!
Oh, let me look at you, you wonderful guy | with decorations and everything.
Hug me again. Closer.
It's good to have you home again after all | these months. I bet you didn't miss me.
Or did you? | Well, come on. Tell me.
Andy, darling, | what's the mat-
Oh, Eadie, don't go. | Come here.
This is my Sergeant Mason | I've been talking so much about.
How do you do, | Sergeant... Mason?
How do you do?
- Well, aren't you going to introduce us? | - Huh?
Oh, uh, this is | Sergeant Pat Casey.
- Miss Potter and Miss Allen. | - Pleased to meet you, I'm sure.
Sergeant Casey has been helping me | with my correspondence.
Receiving certain letters for me | and handing them over.
- Certain letters? | - Yes, you see, well, it's-
That's right, Vivian. | You might as well know now.
This is my Sergeant Casey. We were gonna | keep it a secret, weren't we, Pat?
- Were we? | - Why, Eadie, they did know each other in Australia.
- Uh-huh. | - Isn't it a small world?
- Yeah. | - Oh, Andy, listen.
I have to run now. | I'm in the show and I have a rehearsal.
So you'll excuse me, won't you?
Oh, uh, why don't you all take a walk or something. | You and Eadie can get acquainted.
Pat and I have so much to talk about. | Haven't we, Pat?
- Have we? | - Oh, that's all right.
Andy won't mind. | See you later, kids.
Eadie-
Pat, why don't you go watch the rehearsals. | Maybe some of the girls need hooking up.
Eadie, where are you going?
- What difference does it make? | - A lot.
I'm sorry, Eadie. | Desperately sorry.
- I was going to tell you, honest I was. | - Tell me what?
About this whole thing, Vivian and me. | It doesn't mean anything.
Just childhood sweethearts, that's all. | The families, you know.
- I bet if you even ask Vivian, she'd tell you- | - She has told me.
How much?
Plenty.
- Do you remember that night in the canteen? | - Uh-huh.
I told you you were sweet.
I meant it. | You were sweet.
And you still are, Andy.
But just because you guys | over there go through a lot of-
Well, never mind.
But what do you suppose the girls you | leave behind think of after you've gone?
- Their man. | - Yeah, I guess they do.
I don't have to guess. | I know.
- I wrote you every day, didn't I? | - Yeah.
At night I couldn't wait to get through | at the club so I could get home to write.
I know you did.
- How do you know? | - I just know, that's all.
Yeah, you know.
You men know everything.
You can tear a girl's heart right out | of her and cut it up into little pieces.
A girl knows that. | Every girl knows it.
And that's why I'm gonna let | Vivian go right on through...
even though | the stop signal's against her.
- But, darling, you- | - I'm doing it because she- she believes in you.
She loves you, Andy.
No girl with understanding | would ever let another girl down.
But you can't do this, Eadie. | I- I love-
You love yourself, Andrew Mason.
Why don't you try sitting | back among the crowd for a change...
instead of up close | at the ringside.
Oh, that's wonderful, Tony. | Do you really mean it?
- Certainly. | - Then I'll go.
- But what about your engagement to Andy? | - You leave that to me.
- Splendid. | - See you after the show.
- Okay. | - Oh, Eadie, isn't it wonderful?
I'm on my way to Broadway. | I'm going to New York with Tony De Marco.
- I'm his new dancing partner! | - What?
I don't know what the folks | will say, about Andy, I mean.
Of course, it's only a family affair. | We never really loved each other.
- You mean that- | - Well, even Andy knows that.
Anyway, the folks started it. | Let them work it out.
- Eadie, come on. They're waiting. | - There's something I have to do.
I know- the fiinale. You can't keep | those children waiting all night.
But you don't understand. It's your son. | I have to tell him something he doesn't know.
Then he's the only one who doesn't. | But just in case, I'll tell him.
You will?