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# It's a most important affair | 0:01:32 | 0:01:35 | |
# Mr Drake wants his evening shoes polished | 0:01:35 | 0:01:38 | |
# We must see every speck is abolished | 0:01:38 | 0:01:41 | |
# It's a most important affair | 0:01:41 | 0:01:44 | |
# It's a most important affair | 0:01:44 | 0:01:47 | |
# Mr Drake is impeccably proper | 0:01:47 | 0:01:50 | |
# And tonight he has ordered his topper | 0:01:50 | 0:01:53 | |
# It's a most important affair | 0:01:53 | 0:01:56 | |
# It's a most important affair | 0:01:58 | 0:02:00 | |
# Mr Drake always chooses the right tie | 0:02:00 | 0:02:03 | |
# And tonight he has chosen his white tie | 0:02:03 | 0:02:07 | |
# It's a most important affair | 0:02:07 | 0:02:10 | |
# Dear Mr Drake is so debonair | 0:02:10 | 0:02:13 | |
# That his bath has perfumed bubble suds in | 0:02:13 | 0:02:16 | |
# And he's wearing his shirt with the studs in | 0:02:16 | 0:02:19 | |
# It's a most important affair | 0:02:19 | 0:02:22 | |
# With a white carnation to wear | 0:02:22 | 0:02:25 | |
# Mr Drake will be quick on the trigger | 0:02:25 | 0:02:28 | |
# Give his hi-ball that one extra jigger | 0:02:28 | 0:02:32 | |
# Whether he pays me or pays me not, he don't care | 0:02:32 | 0:02:36 | |
# He may do the town with the mayor | 0:02:36 | 0:02:38 | |
# He may christen a sub or a lighthouse | 0:02:38 | 0:02:41 | |
# He may even have grub at the White House | 0:02:41 | 0:02:44 | |
# I don't know but I'm willing to swear | 0:02:44 | 0:02:47 | |
# It's a most, most, most, most... ALARM RINGS | 0:02:47 | 0:02:52 | |
ALL: Seven o'clock. | 0:02:52 | 0:02:54 | |
Do them all over again. | 0:02:55 | 0:02:57 | |
ALL: # A most important affair. # | 0:02:57 | 0:03:09 | |
KNOCK AT DOOR | 0:03:10 | 0:03:12 | |
RHYTHMICAL KNOCKING | 0:03:12 | 0:03:14 | |
KNOCKING CONTINUES | 0:03:14 | 0:03:16 | |
BUTLER: Mr Drake. | 0:03:17 | 0:03:20 | |
KNOCKING CONTINUES | 0:03:31 | 0:03:33 | |
Come in. | 0:03:36 | 0:03:38 | |
-Seven o'clock, sir. -Hm? -It's seven o'clock. | 0:03:40 | 0:03:43 | |
-PM. -Oh, thank you. | 0:03:43 | 0:03:45 | |
Are you engaged in this household to call time signals? | 0:03:51 | 0:03:55 | |
No, sir. | 0:03:55 | 0:03:57 | |
Then, spring out of here. | 0:03:58 | 0:04:00 | |
Oh, Byngham. | 0:04:02 | 0:04:04 | |
-Yes, sir. -Er... | 0:04:04 | 0:04:07 | |
HE CLEARS HIS THROAT | 0:04:07 | 0:04:09 | |
Would you say I was inebriated last night? | 0:04:10 | 0:04:13 | |
Oh, no, sir. Although you had Whiffin cook you six pancakes | 0:04:13 | 0:04:17 | |
-and you spent an hour trying to play them on the Victrola. -Hmm. | 0:04:17 | 0:04:22 | |
How did they sound? | 0:04:22 | 0:04:24 | |
Much better after you put the syrup on. | 0:04:24 | 0:04:27 | |
Although I wouldn't say you were inebriated. | 0:04:27 | 0:04:30 | |
-HE MUTTERS -Go and tell my valet to come into my room at once. -Yes, sir. | 0:04:30 | 0:04:35 | |
O'Brien. | 0:04:39 | 0:04:41 | |
-O'Brien. -Yeah, what do you want? | 0:04:43 | 0:04:46 | |
Mr Drake wants to see you in his room. | 0:04:46 | 0:04:48 | |
Oh, tell the old f... # ..folks that I'm coming and they will sit all night... # | 0:04:48 | 0:04:54 | |
-Morning, boss. -Morning. -I found an unopened letter in your evening clothes, sir. | 0:04:54 | 0:05:00 | |
-It arrived about four weeks ago. -Are you trying to rush me into reading it? | 0:05:00 | 0:05:05 | |
-I say, intruding on the man's leisure. -Yeah. | 0:05:05 | 0:05:08 | |
I don't want to be unpleasant, Byngham | 0:05:08 | 0:05:11 | |
but SCRAM out... Ohhh. | 0:05:11 | 0:05:13 | |
There, sir. | 0:05:14 | 0:05:16 | |
-What's this? -It's a letter. Byngham put it there. -Oh, yeah. | 0:05:18 | 0:05:22 | |
Somebody should read it. | 0:05:23 | 0:05:26 | |
Well, what do you think of that? | 0:05:30 | 0:05:33 | |
-This is the end. -What does the letter say, sir? | 0:05:35 | 0:05:39 | |
-Read it yourself. -Yes, sir. | 0:05:39 | 0:05:41 | |
"Having failed to fulfil your many promises | 0:05:44 | 0:05:47 | |
"to make payments on your obligation, | 0:05:47 | 0:05:50 | |
"...the bank has instituted foreclosure proceedings on your property. | 0:05:50 | 0:05:56 | |
"You will have approximately 60 days to vacate the premises. | 0:05:56 | 0:06:00 | |
"Yours very... | 0:06:00 | 0:06:02 | |
-"Yours very..." -Cordially. | 0:06:02 | 0:06:04 | |
Oh, yeah. "..cordially, | 0:06:04 | 0:06:06 | |
"the National Bank of Manhattan." | 0:06:06 | 0:06:09 | |
-You have 30 days left, what will you do? -Do? | 0:06:09 | 0:06:12 | |
I'll show you what I'm going to do. | 0:06:12 | 0:06:14 | |
INTERCOM BUZZES Hello. | 0:06:18 | 0:06:20 | |
Listen, Whiffin, I want you to whiff up... | 0:06:20 | 0:06:23 | |
whip up, a super supper for - let me see - eight guests. | 0:06:23 | 0:06:28 | |
Yes. Make it a gastronomical masterpiece. | 0:06:28 | 0:06:32 | |
Yes, sir. | 0:06:32 | 0:06:33 | |
-Who's coming? -Just get my evening clothes. | 0:06:33 | 0:06:36 | |
-You'd better invite the man who wrote the letter. -Yeah, I... | 0:06:36 | 0:06:40 | |
-Shoot the soup. I'm draping the droop on the galoop. -Are the guests paying? | 0:06:41 | 0:06:47 | |
-Don't be mercenary. -I'm not, I'm broke. -We all are. | 0:06:47 | 0:06:50 | |
-I haven't cooked so much since Mr Drake's wife left. -Maybe that's why she left. Hey! | 0:06:50 | 0:06:56 | |
-Are you boiling that beret? -I'm giving it a wash and polish. | 0:06:56 | 0:07:01 | |
It needs a change of oil, too. | 0:07:01 | 0:07:03 | |
-Do you know why the staff hasn't been paid for seven months? -Just an oversight, I suppose. | 0:07:04 | 0:07:10 | |
The piano business hasn't been good lately. | 0:07:10 | 0:07:13 | |
-It's been bad since he fell heir to it. -Hmm. | 0:07:13 | 0:07:17 | |
-A lack of salary is awkward but we all love Mr Drake so. -He loves you all so. | 0:07:17 | 0:07:22 | |
-Hi, Mill. -Hi, Michael. -Ready with the pumps? Hello, cute and adolescent. | 0:07:22 | 0:07:27 | |
-I've finished adolescing. -Don't rush it. | 0:07:27 | 0:07:30 | |
Yeah, ageing takes time. Shut up, junior. | 0:07:30 | 0:07:33 | |
She's only three days older than me. | 0:07:33 | 0:07:36 | |
-How's your biography coming on, Marty? -Swell. | 0:07:36 | 0:07:39 | |
I found that the Drakes built their original house right here in 1622. | 0:07:39 | 0:07:45 | |
< They didn't come on the Mayflower, they met it. | 0:07:45 | 0:07:48 | |
And the original Drake harpsichord still exists. It's hidden in this very house. | 0:07:48 | 0:07:54 | |
-Millie! -Now what have you done? | 0:07:57 | 0:08:00 | |
-Oh, I didn't mean to. -I'll fix it. Hand me the flour. | 0:08:00 | 0:08:03 | |
-Not much damage. -Not much shirt. | 0:08:03 | 0:08:06 | |
-After 20 years in this house. -Anybody can make a mistake. | 0:08:06 | 0:08:10 | |
- She's nobody. - And she wants to go to the Butlers' Ball. | 0:08:10 | 0:08:14 | |
-The Butlers' Ball?! -Some day I will. -Sure you will. | 0:08:14 | 0:08:18 | |
But it's a very dignified event in New York. | 0:08:18 | 0:08:21 | |
Soon there won't be enough butlers to throw a ball. Here. | 0:08:21 | 0:08:25 | |
Thank you, Michael. | 0:08:27 | 0:08:29 | |
You're wonderful. | 0:08:29 | 0:08:31 | |
I'm quite popular with myself, too. | 0:08:31 | 0:08:33 | |
It's what comes when a club singer turns valet. Back to work. | 0:08:33 | 0:08:38 | |
Go to the laundry and bring up some bath towels | 0:08:38 | 0:08:41 | |
-without mutilating them. -Yes, sir. | 0:08:41 | 0:08:44 | |
That's the trouble with a scullery maid... Ow! | 0:08:45 | 0:08:49 | |
I know how I feel. How do I look? | 0:08:49 | 0:08:51 | |
-Good enough to be buried. -What? | 0:08:51 | 0:08:53 | |
I mean that as a compliment. | 0:08:53 | 0:08:56 | |
-Miss Sandy Brooks. -Sandy! What brings you here? | 0:08:56 | 0:08:59 | |
30 bucks a week, with room and board. | 0:09:01 | 0:09:04 | |
30...? Oh, yeah. It all comes back to me now. | 0:09:04 | 0:09:07 | |
-Usually does. -Mr Drake, you remember Sandy, | 0:09:07 | 0:09:11 | |
-my vaudeville partner. -Hello. | 0:09:11 | 0:09:13 | |
She's... Oh, yes, I haven't see you in a long time. | 0:09:13 | 0:09:17 | |
Not since you engaged me last night. | 0:09:17 | 0:09:19 | |
-I engaged you? -Yes. | 0:09:20 | 0:09:23 | |
-As social secretary. -Remember? | 0:09:23 | 0:09:25 | |
You were a little stiff. | 0:09:25 | 0:09:28 | |
Sir, the gastronomical masterpiece is ready | 0:09:28 | 0:09:31 | |
-but there are no guests. -Never mind that. | 0:09:31 | 0:09:34 | |
-Will you join us? -Delighted. | 0:09:34 | 0:09:37 | |
-Mr Drake. -THEY ALL GASP | 0:09:50 | 0:09:52 | |
-Evening, everybody. -ALL: Evening. | 0:09:52 | 0:09:55 | |
-Mr Drake, if... -Calm down, Byngy. This is Miss Sandy, our social secretary. | 0:09:55 | 0:10:01 | |
-How do you do? -Did I ask you to prepare dinner for eight? | 0:10:01 | 0:10:05 | |
Right. One, two, three, five, eight. | 0:10:05 | 0:10:08 | |
-You are my guests. -You want to dine with us? -No, I want YOU | 0:10:08 | 0:10:12 | |
to dine with ME. Go in and find your places. | 0:10:12 | 0:10:15 | |
-Yes, sir. As you wish. -I wish. | 0:10:15 | 0:10:17 | |
If I'd known, I'd have changed my dress. | 0:10:17 | 0:10:20 | |
If I'D known, I'd have washed the tomatoes. | 0:10:20 | 0:10:23 | |
Millie, you will serve. | 0:10:23 | 0:10:25 | |
-Start with sherry. -Yes, sir. | 0:10:26 | 0:10:28 | |
Now, everybody sit down. | 0:10:31 | 0:10:33 | |
-Including me. -SANDY: It's a democratic household. | 0:10:33 | 0:10:37 | |
You're going to love it here. | 0:10:37 | 0:10:39 | |
I propose a cheer to Mr Drake, to whom we owe so much - and vice versa. | 0:10:39 | 0:10:44 | |
ALL: Hooray! | 0:10:44 | 0:10:45 | |
Hooray! | 0:10:45 | 0:10:46 | |
This is a dramatic moment. I don't remember when I've been as touched. | 0:10:47 | 0:10:52 | |
It was seven months ago. | 0:10:52 | 0:10:54 | |
Yes, I... | 0:10:54 | 0:10:56 | |
I see what you mean. | 0:10:56 | 0:10:58 | |
I want you to know that over 300 years ago, | 0:10:58 | 0:11:01 | |
the Drake family established themselves on this very site. | 0:11:01 | 0:11:06 | |
As you know, the family prospered and amassed a great fortune. | 0:11:06 | 0:11:10 | |
It ran into a ridiculous figure. | 0:11:10 | 0:11:13 | |
All went well until 1941 when, unfortunately, a catastrophe occurred. | 0:11:13 | 0:11:18 | |
What has happened? | 0:11:18 | 0:11:20 | |
I have been picked clean by buzzards. | 0:11:20 | 0:11:23 | |
I have vultures in my investments. | 0:11:23 | 0:11:26 | |
And today my creditors discredited me. | 0:11:26 | 0:11:29 | |
That... Oh, that was my end. | 0:11:29 | 0:11:32 | |
-And he's flat on it. -Don't be down in the dumps. It ain't bad as dumps go. | 0:11:32 | 0:11:38 | |
-And it goes in 30 days. -ALL: What?! | 0:11:38 | 0:11:40 | |
This is the RICH Mr Drake(?) | 0:11:40 | 0:11:42 | |
-Now known as that shlemiel. -< Mr Drake, | 0:11:42 | 0:11:45 | |
this is very sad but not unexpected. | 0:11:45 | 0:11:48 | |
You needed the steady influence of your wife and daughter. | 0:11:48 | 0:11:52 | |
-I didn't know you had a daughter. -< Oh, yes. | 0:11:52 | 0:11:55 | |
Pamela lives with her mother. Mrs Drake ran off with a man... | 0:11:55 | 0:11:59 | |
Whiffin, do not discuss my family. | 0:11:59 | 0:12:02 | |
Ohh! | 0:12:02 | 0:12:04 | |
Wait, Byngham. She hasn't been paid for seven months. | 0:12:04 | 0:12:08 | |
She can drop noodle soup on her own time. | 0:12:08 | 0:12:11 | |
I'm sorry. Thank you, Michael. | 0:12:11 | 0:12:13 | |
Just a moment. Why isn't she sitting down with us? | 0:12:13 | 0:12:17 | |
She can't, she has a low seniority. | 0:12:17 | 0:12:19 | |
She has? I didn't notice that. | 0:12:19 | 0:12:22 | |
She is the servants' servant. | 0:12:22 | 0:12:25 | |
Snobs, eh? Well, dear, you take my seat and I'll serve. | 0:12:25 | 0:12:29 | |
-I couldn't, sir. -Of course you can. | 0:12:29 | 0:12:32 | |
Take the head of the table. Sit down. That's it. | 0:12:32 | 0:12:35 | |
-Thank you, sir. -That's all right. | 0:12:35 | 0:12:38 | |
-You remind me of my father. -Really? | 0:12:38 | 0:12:40 | |
Just before he died. | 0:12:40 | 0:12:43 | |
That gives me a great idea. It solves our problems. He had a daughter | 0:12:43 | 0:12:48 | |
and if that daughter was here now, | 0:12:48 | 0:12:50 | |
she'd be a debutante and be able to marry a rich guy and we'd all get paid. | 0:12:50 | 0:12:55 | |
So we take a dame. That's our bait. | 0:12:55 | 0:12:58 | |
We sugar her with swell clothes and call her Pamela Drake, | 0:12:58 | 0:13:02 | |
-the daughter of Cyrus Drake, the piano tycoon. -It's costly to launch a debutante. | 0:13:02 | 0:13:08 | |
-We can help, we have a 5th Avenue mansion. -Yes, for 30 days(!) | 0:13:08 | 0:13:12 | |
Katherine Keating's coming out. | 0:13:12 | 0:13:15 | |
Who cares? I was in show business. | 0:13:15 | 0:13:17 | |
We'll build our deb up with publicity. | 0:13:17 | 0:13:20 | |
It sounds plausible. I don't overlook a good investment. | 0:13:20 | 0:13:24 | |
Yeah, Mom's got dough. We... | 0:13:24 | 0:13:27 | |
-We need a girl to play the part. -I am at your disposal. | 0:13:27 | 0:13:30 | |
OK, you're disposed of. | 0:13:30 | 0:13:33 | |
Mr Drake, | 0:13:33 | 0:13:34 | |
-is Millie like your daughter? -ALL: Millie?! | 0:13:34 | 0:13:37 | |
-I'm not like anyone. -You are. | 0:13:37 | 0:13:39 | |
We struck a gold mine. Sandy, you can help us polish Millie. | 0:13:39 | 0:13:44 | |
-I don't want to be polished. -< Nevertheless, sister, | 0:13:44 | 0:13:48 | |
you're a debutante. | 0:13:48 | 0:13:50 | |
I don't like it. | 0:13:50 | 0:13:51 | |
You'll have the time of your life. | 0:13:51 | 0:13:54 | |
And, besides, you'll be rich. | 0:13:54 | 0:13:56 | |
Wait. Maybe she HAS a guy. Have you? | 0:13:56 | 0:13:58 | |
Have you? | 0:13:58 | 0:14:00 | |
-Well... -Uh-oh. | 0:14:01 | 0:14:03 | |
SANDY: Is he in love with you? | 0:14:03 | 0:14:06 | |
I don't think so. | 0:14:07 | 0:14:09 | |
Who is he? | 0:14:09 | 0:14:11 | |
Oh, he's um... | 0:14:11 | 0:14:14 | |
He sings to me from his window across the way. | 0:14:14 | 0:14:17 | |
I er... | 0:14:17 | 0:14:19 | |
We just wave at each other... like that. | 0:14:19 | 0:14:22 | |
I guess you can't get into any trouble just waving. | 0:14:23 | 0:14:27 | |
Millie, do you want to go to the Butlers' Ball? | 0:14:27 | 0:14:31 | |
-More than anything else in the world. -You're going. | 0:14:31 | 0:14:34 | |
Not only that, she can sponsor it. | 0:14:34 | 0:14:37 | |
-Byng, you can fix that. -Well, er...perhaps. | 0:14:37 | 0:14:40 | |
Will you do it? | 0:14:40 | 0:14:42 | |
-MAID: You'll have a big house. WHIFFIN: And a limousine. -What do you say? | 0:14:43 | 0:14:48 | |
Yes. | 0:14:48 | 0:14:50 | |
-ALL: Hooray! -The first corporation meeting will be tomorrow. | 0:14:50 | 0:14:54 | |
We all share equally in Millie Incorporated. | 0:14:54 | 0:14:58 | |
Now, may I present Miss Pamela Drake? | 0:14:58 | 0:15:00 | |
# Katherine Keating's falling down, falling down, falling down | 0:15:04 | 0:15:08 | |
# Katherine Keating's falling down, my fair Millie | 0:15:08 | 0:15:11 | |
# We will organise a corporation | 0:15:11 | 0:15:13 | |
# And I will supervise its operation | 0:15:13 | 0:15:16 | |
# There's money in the movies, there's money in the ads | 0:15:16 | 0:15:19 | |
# There's money in the old Johns, there's money in the lads | 0:15:19 | 0:15:23 | |
ALL: # Millie, Millie, Millie, money, money, money | 0:15:23 | 0:15:26 | |
-# Eeny, meeney, miney, mo and mo and mo... -I'll do it! | 0:15:26 | 0:15:30 | |
ALL: Hooray! | 0:15:30 | 0:15:31 | |
# We'll catch a fortune by the toe | 0:15:31 | 0:15:35 | |
# I won't say can't, I'll say CARN'T | 0:15:35 | 0:15:38 | |
# I won't say shan't, I'll say SHARN'T | 0:15:38 | 0:15:41 | |
# I'll call my auntie my aunt | 0:15:41 | 0:15:44 | |
# For today I'm a debutante | 0:15:44 | 0:15:47 | |
# When you're invited to dine | 0:15:47 | 0:15:50 | |
# You don't drink beer, you drink wine | 0:15:50 | 0:15:54 | |
-# It's all just too, too divine -ALL: # Too, too! | 0:15:54 | 0:15:57 | |
# That today I'm a debutante | 0:15:57 | 0:15:59 | |
# I'll wear a face like a sphinx | 0:15:59 | 0:16:01 | |
# I'll dress in ermines and minks | 0:16:01 | 0:16:03 | |
# If necessary, you'll wear a sarong | 0:16:03 | 0:16:06 | |
# I'll be polite to the press | 0:16:06 | 0:16:08 | |
# And I'll learn how to say yes | 0:16:08 | 0:16:10 | |
# When the right man comes along | 0:16:10 | 0:16:13 | |
# If I come home about four | 0:16:13 | 0:16:16 | |
# And find a wolf at my door | 0:16:16 | 0:16:20 | |
# Invite him in, this is WAR! | 0:16:20 | 0:16:23 | |
ALL: # And today I'm a debutante... | 0:16:23 | 0:16:27 | |
-ALL CHEER -# Quiet, please, | 0:16:27 | 0:16:29 | |
# No riot, please | 0:16:29 | 0:16:31 | |
# This lowly little creature must be made into a double feature | 0:16:31 | 0:16:35 | |
# I can't wait to be a fabulous | 0:16:35 | 0:16:37 | |
# Amorous ALL: # Glamorous | 0:16:37 | 0:16:39 | |
-# Act of fate -ALL: # We're gonna be rich! | 0:16:39 | 0:16:42 | |
# In the social swim, I'll make an awful splash | 0:16:42 | 0:16:46 | |
# I'll buy Boston and I'll pay cash | 0:16:46 | 0:16:49 | |
# I'll play the ponies, I'll mingle with the phonies | 0:16:49 | 0:16:52 | |
# Just disgustingly rich | 0:16:52 | 0:16:54 | |
# Every winter we will learn to ski | 0:16:55 | 0:16:58 | |
# Every summer we will sail the sea | 0:16:58 | 0:17:01 | |
# Catch barracuda down in Bermuda | 0:17:01 | 0:17:04 | |
# Just disgustingly rich | 0:17:04 | 0:17:06 | |
# I'll buy autos for the autocrats | 0:17:07 | 0:17:10 | |
# I'll drink Pluto with the plutocrats | 0:17:10 | 0:17:13 | |
# Swimming in hi-balls | 0:17:13 | 0:17:15 | |
# Stewed to the eyeballs | 0:17:15 | 0:17:17 | |
# Disgustingly rich | 0:17:17 | 0:17:19 | |
# We can dig the spots with the jitterbug snare | 0:17:19 | 0:17:22 | |
# Park our chewing gum on the seats of the mayor | 0:17:22 | 0:17:25 | |
# We won't be civil, nasty as the devil | 0:17:25 | 0:17:28 | |
# Just disgustingly rich | 0:17:28 | 0:17:30 | |
What about me? | 0:17:30 | 0:17:32 | |
# You will rocket like a ball of fire | 0:17:32 | 0:17:35 | |
# Higher and higher and higher and higher | 0:17:35 | 0:17:38 | |
# You must be pale as a ghost | 0:17:38 | 0:17:41 | |
# And always rude to your host | 0:17:41 | 0:17:43 | |
# And forget Miss Emily Post | 0:17:43 | 0:17:46 | |
# For today, you're a debutante | 0:17:46 | 0:17:50 | |
# Then I will fly about town and meet some guy about town | 0:17:50 | 0:17:53 | |
# Who's worth a million in glamour and swank | 0:17:53 | 0:17:55 | |
# When he says: Will you be mine? | 0:17:55 | 0:17:58 | |
# Before you give him the sign, be sure he's got it in the bank | 0:17:58 | 0:18:02 | |
# The world is mine to bewitch | 0:18:02 | 0:18:05 | |
# So get right in there and pitch | 0:18:05 | 0:18:08 | |
# Three cheers, we're gonna be rich | 0:18:08 | 0:18:11 | |
# Too, too disgustingly rich. # | 0:18:11 | 0:18:20 | |
WOMAN: There. It is finished. | 0:18:22 | 0:18:25 | |
MAN: Exquisite. WOMAN: I am stunned. | 0:18:25 | 0:18:27 | |
-So am I. -She is beautiful. | 0:18:27 | 0:18:29 | |
-Am I really? -Even I'D be beautiful in that. | 0:18:29 | 0:18:33 | |
OK, chum. Here's your money. | 0:18:33 | 0:18:35 | |
-Thank you for paying in cash. It's quite unusual for me. -Me, too. | 0:18:35 | 0:18:39 | |
Come along, Rita. | 0:18:39 | 0:18:42 | |
It's wonderful what clothes can do for a girl. | 0:18:42 | 0:18:45 | |
-It's wonderful what a girl can do for clothes. -Let's get to work. | 0:18:45 | 0:18:50 | |
Oscar, carry these boxes upstairs. Yes, m'm. | 0:18:50 | 0:18:54 | |
OSCAR: That sure is a transformation, Millie. | 0:18:54 | 0:18:58 | |
-What's that? -A book. | 0:18:59 | 0:19:01 | |
-I can't read it that way. -It's for learning how to walk. | 0:19:01 | 0:19:06 | |
-I CAN walk. -That's what YOU think. Watch me. | 0:19:06 | 0:19:09 | |
You see, a debutante has to do the society slink. | 0:19:09 | 0:19:12 | |
Like this. | 0:19:15 | 0:19:17 | |
-Sort of sneers with her feet. -All right. | 0:19:18 | 0:19:21 | |
-Sneer with my feet? -Right. | 0:19:23 | 0:19:25 | |
-Sneer. -Slink. | 0:19:25 | 0:19:28 | |
-Sneer. -Slink. | 0:19:28 | 0:19:30 | |
The book is too light. Try Gone With The Wind. | 0:19:30 | 0:19:33 | |
-My feet hurt. -You've got to get it. -Try this one. | 0:19:33 | 0:19:37 | |
-Oscar, play some walk music. -Walk music? | 0:19:37 | 0:19:40 | |
-Nobody walks when -I -play. > -Play it. | 0:19:40 | 0:19:42 | |
And we'll go over that lesson again. | 0:19:42 | 0:19:45 | |
-OK. Oscar, go. -HE PLAYS JAZZ PIANO What's your name? -Millie. | 0:19:45 | 0:19:49 | |
-BOTH: What?! -Pamela. -Where are you from? -Switzerland. | 0:19:49 | 0:19:53 | |
-What's your father's name? -He's dead. -BOTH: What?! | 0:19:53 | 0:19:57 | |
-Mr Drake. -Good. What are you going to be? | 0:19:57 | 0:20:00 | |
-Sick. -Oh, brother. | 0:20:00 | 0:20:02 | |
Michael, please. I'll try again. | 0:20:02 | 0:20:05 | |
All right. Here we go. | 0:20:05 | 0:20:07 | |
-What are you going to be? -Debutante number one. | 0:20:07 | 0:20:11 | |
-Who's Katherine Keating? -The girl I have to lick. -Good! | 0:20:11 | 0:20:15 | |
Oh, dear, that settles it. | 0:20:15 | 0:20:17 | |
-Did the publicity break? -Like a cloudburst, and all over me. Look! | 0:20:17 | 0:20:22 | |
-Who's that? -Millie. -Oh. | 0:20:23 | 0:20:25 | |
-Millie?! -It's great. It says your daughter arrived. | 0:20:27 | 0:20:31 | |
It also says my wife Emily arrived. | 0:20:31 | 0:20:34 | |
A daughter we can do but half the town knew my wife. | 0:20:34 | 0:20:37 | |
So what? That's easy. Sandy can be Mrs Drake. | 0:20:37 | 0:20:40 | |
They know what she looks like. | 0:20:40 | 0:20:43 | |
After 15 years of wear and tear? She's a natural. | 0:20:43 | 0:20:46 | |
-Meet your husband. -How do you do? | 0:20:46 | 0:20:48 | |
-Only within the corporation. -We'll vote on it. | 0:20:48 | 0:20:52 | |
-Millie, meet your mother. -How can she be my mother? | 0:20:52 | 0:20:56 | |
-She's never met my father. -Television. | 0:20:56 | 0:20:58 | |
What'll they wear next? | 0:20:58 | 0:21:00 | |
You know, Millie. | 0:21:02 | 0:21:05 | |
You know, it's dangerous for a girl to be as attractive as you are. | 0:21:05 | 0:21:09 | |
Oh, Michael. | 0:21:09 | 0:21:11 | |
I'm too happy to talk and I'm too excited to keep quiet. | 0:21:11 | 0:21:15 | |
-Shall we sit down? -Yes, Michael. | 0:21:15 | 0:21:18 | |
-I must warn you about something. -What? -Wolves. | 0:21:19 | 0:21:22 | |
-In New York? -Packs of them. | 0:21:22 | 0:21:24 | |
They'll be howling after you. | 0:21:24 | 0:21:26 | |
The higher-bracket wolves have sharper claws. | 0:21:26 | 0:21:30 | |
-First, there's the creepy wolf. -Is he dangerous? | 0:21:30 | 0:21:33 | |
He's no vegetarian. He puts his arms round you, | 0:21:33 | 0:21:37 | |
presumably to fix your collar, | 0:21:37 | 0:21:39 | |
and softly and slowly his hands rest on your shoulders. | 0:21:39 | 0:21:43 | |
His paws just stay there? | 0:21:43 | 0:21:45 | |
No, no, they keep going down, down. | 0:21:45 | 0:21:48 | |
"Pretty soft touch," he thinks. | 0:21:48 | 0:21:50 | |
-He wants to see if I am tender? -Hmm?! | 0:21:50 | 0:21:53 | |
Michael, how do I make a man BE a wolf? | 0:21:53 | 0:21:56 | |
Oh, well, you... | 0:21:56 | 0:21:58 | |
-Why? -You want me to get a rich husband. | 0:21:58 | 0:22:01 | |
Oh, Millie, you're just bait. | 0:22:01 | 0:22:03 | |
If you put bait on a hook, you don't expect it to do that. | 0:22:03 | 0:22:07 | |
-Will I know if I meet the right man? -You'll know. | 0:22:07 | 0:22:10 | |
You'll look at some guy and he'll look at you | 0:22:10 | 0:22:14 | |
and you'll look at each other. It just clicks. | 0:22:14 | 0:22:17 | |
What clicks? | 0:22:18 | 0:22:20 | |
Your blood fizzes like ginger ale. You're walking on air. | 0:22:20 | 0:22:24 | |
-Your heart pumps noises into your head. -Clicking noises? | 0:22:24 | 0:22:29 | |
Yes. | 0:22:29 | 0:22:31 | |
Tell me more. | 0:22:31 | 0:22:33 | |
Another type of wolf is the hand-kisser. | 0:22:34 | 0:22:37 | |
He'll admire your hand: "What a lovely hand." | 0:22:37 | 0:22:40 | |
He starts kissing and then he nibbles, like it's spare ribs. | 0:22:40 | 0:22:44 | |
We're playing a game. | 0:22:50 | 0:22:52 | |
-He's a wolf and I'm pretty soft. -Yeah. | 0:22:52 | 0:22:55 | |
Um... er...I was showing her a few things I picked up. | 0:22:56 | 0:23:00 | |
From the things you picked up. | 0:23:00 | 0:23:03 | |
-That's it... -DOOR BELL RINGS | 0:23:03 | 0:23:05 | |
Mickey, tell the man at the door to come back in 60 days. | 0:23:07 | 0:23:11 | |
We'll be put out in 30 days. | 0:23:11 | 0:23:13 | |
That's the point. Oh. All right. | 0:23:13 | 0:23:15 | |
What about the woman? < Tell her the same. | 0:23:15 | 0:23:19 | |
Yeah? Good morning, I'm Frank Sinatra. | 0:23:21 | 0:23:23 | |
What? | 0:23:25 | 0:23:27 | |
Just a moment, please. | 0:23:29 | 0:23:31 | |
Don't you feel well? Oh, I... | 0:23:31 | 0:23:34 | |
I feel wonderful. | 0:23:34 | 0:23:37 | |
Well, shall we pull ourselves together? | 0:23:37 | 0:23:40 | |
Did you come to see me? No. I came to see | 0:23:40 | 0:23:43 | |
the young lady that waves like that. | 0:23:43 | 0:23:45 | |
Oh. | 0:23:45 | 0:23:47 | |
The one who waves like that? | 0:23:47 | 0:23:49 | |
Mm-hm. | 0:23:49 | 0:23:51 | |
She's in here. Come on. | 0:23:51 | 0:23:53 | |
It's for you. His name is Sinatra. | 0:23:55 | 0:23:58 | |
-How do you do? -How do you do? -Hello. | 0:23:59 | 0:24:01 | |
-I brought you flowers. -For me? -And a new song. | 0:24:01 | 0:24:05 | |
-Oh, thank you. -Sweet(!) | 0:24:05 | 0:24:07 | |
You haven't been waving lately. I thought you were ill. | 0:24:07 | 0:24:11 | |
Oh, no, I feel swell. | 0:24:11 | 0:24:14 | |
We know each other from across the courtyard. | 0:24:14 | 0:24:17 | |
-So it's you. -It's indecent. How would your father feel? | 0:24:17 | 0:24:21 | |
-Am I doing wrong? -You're not doing bad. | 0:24:21 | 0:24:24 | |
-May I ask your name? -It's Millie... -< It's a nickname. | 0:24:24 | 0:24:27 | |
-Her real name is Pamela Drake. -Of THE Drakes. | 0:24:27 | 0:24:31 | |
Oh, I'm sorry. It's rather silly. | 0:24:31 | 0:24:33 | |
I thought Miss Drake was a member of staff. | 0:24:33 | 0:24:36 | |
I apologise. BOTH: The staff accept your apology. | 0:24:36 | 0:24:40 | |
Is there something wrong with your head? | 0:24:40 | 0:24:43 | |
Oh, no. I'm just learning to walk. | 0:24:43 | 0:24:45 | |
-It's a delayed case. -She's preparing for her debut at the Butlers' Ball. | 0:24:45 | 0:24:51 | |
Oh, I'm singing at the Ball. Our chambermaid asked me. | 0:24:51 | 0:24:55 | |
You mean... | 0:24:55 | 0:24:56 | |
-GENTEEL ACCENT: -Oh, how very nice. | 0:24:56 | 0:24:59 | |
Is this a love song? | 0:24:59 | 0:25:01 | |
-No, it's a torch ballad. -Oh, a hot tune, ain't it? | 0:25:01 | 0:25:04 | |
Ain't it? | 0:25:04 | 0:25:05 | |
Won't you please sing it for me now? Oscar will play. | 0:25:05 | 0:25:09 | |
-Well, I... -You see, Pamela... | 0:25:09 | 0:25:11 | |
-Don't mind Michael. He's only the valet here. -Yes, I'm only the... | 0:25:11 | 0:25:17 | |
Oscar, would you play this for my...friend? | 0:25:17 | 0:25:20 | |
For your friend I'll play it extra well. | 0:25:20 | 0:25:23 | |
He may sing us out of a fortune. | 0:25:23 | 0:25:25 | |
# I couldn't sleep a wink last night | 0:25:32 | 0:25:39 | |
# Because we had that silly fight | 0:25:39 | 0:25:45 | |
# I thought my heart would break | 0:25:46 | 0:25:49 | |
# The whole night through | 0:25:49 | 0:25:53 | |
# I knew that you'd be sorry | 0:25:53 | 0:25:56 | |
# And I'm sorry, too | 0:25:56 | 0:26:00 | |
# I didn't have my favourite dream | 0:26:00 | 0:26:07 | |
# The one in which I hold you tight | 0:26:07 | 0:26:12 | |
# I had to call you up this morning | 0:26:14 | 0:26:19 | |
# To see if everything was still all right | 0:26:19 | 0:26:25 | |
# Yes | 0:26:25 | 0:26:27 | |
# I had to call you up this morning | 0:26:27 | 0:26:34 | |
# Cos I couldn't sleep a wink last night | 0:26:34 | 0:26:40 | |
# I didn't have my favourite dream | 0:26:41 | 0:26:47 | |
# The one in which I hold you tight | 0:26:48 | 0:26:53 | |
# I had to call you up this morning | 0:26:54 | 0:27:00 | |
# To see if everything was still all right | 0:27:00 | 0:27:06 | |
# Yes | 0:27:06 | 0:27:08 | |
# I had to call you up this morning | 0:27:08 | 0:27:14 | |
# Cos I couldn't sleep a wink last night. # | 0:27:15 | 0:27:26 | |
-That's beautiful. -Thank you. | 0:27:27 | 0:27:30 | |
I think it's fine, too. Thank you, too. | 0:27:30 | 0:27:33 | |
That was great. See you at the Butlers' Ball. | 0:27:33 | 0:27:36 | |
Maybe I'll sing for you. That'll be peachy. | 0:27:36 | 0:27:39 | |
-I'll see my friend out. -So long. | 0:27:39 | 0:27:42 | |
Mrs Keating and Miss Keating. Hello. I'm Mrs Keating, this is my daughter Katherine. | 0:27:43 | 0:27:50 | |
How do you do? < FRANK: How do you do? | 0:27:50 | 0:27:52 | |
I'm an old friend of Mrs Drake. | 0:27:52 | 0:27:55 | |
I'm a stranger here myself. | 0:27:55 | 0:27:57 | |
This is Miss Drake. Goodbye. | 0:27:57 | 0:27:59 | |
-Don't work too hard. -I don't since we got the new vacuum cleaner. | 0:27:59 | 0:28:04 | |
< Goodbye. | 0:28:04 | 0:28:05 | |
Goodbye. Goodbye. | 0:28:05 | 0:28:07 | |
-So you're Pamela. -Mmm-hmm. -Well, well, well. | 0:28:07 | 0:28:11 | |
So your mother and father are making up. | 0:28:11 | 0:28:14 | |
I never believed those rumours about him. You remember Katherine? | 0:28:14 | 0:28:19 | |
-Don't you? -Well, I er... -When you were tiny you used to scratch each other. -Did we? | 0:28:19 | 0:28:25 | |
Mother, please. And now you're rival debutantes. | 0:28:25 | 0:28:28 | |
Tell me, darling. How did you leave dear, wonderful Lucerne? | 0:28:28 | 0:28:33 | |
Oh, er... | 0:28:33 | 0:28:35 | |
She's quite well, thank you. | 0:28:35 | 0:28:37 | |
-Mother meant Lucerne, Switzerland. -Oh, I don't know her at all. | 0:28:37 | 0:28:42 | |
She don't. | 0:28:42 | 0:28:44 | |
Do excuse Miss Drake. She's very tired - | 0:28:44 | 0:28:47 | |
trying on gowns, posing for pictures. You know. | 0:28:47 | 0:28:51 | |
-You go and get changed. -All right, Mother. | 0:28:51 | 0:28:54 | |
She always calls me Mother. They all do. I mother them so. | 0:28:54 | 0:28:58 | |
Sandy, who was singing in here? Bing Crosby? | 0:28:58 | 0:29:01 | |
Bing bang Sinatra. | 0:29:01 | 0:29:03 | |
Well, he'll never get anyplace. Ohhh! Oh... | 0:29:03 | 0:29:06 | |
-Cyrus, aren't you going to speak? -Of cour... Of cour... | 0:29:06 | 0:29:11 | |
-Of course, dear. How are you? -Don't you remember me? | 0:29:11 | 0:29:14 | |
How could I forget a face like yours? So well preserved. | 0:29:14 | 0:29:18 | |
-Have you seen Pamela? Oh, hello. -Hello, Mr Drake. -HE GIGGLES NERVOUSLY | 0:29:18 | 0:29:23 | |
She always calls me MISTER Drake. So respectful, don't you think? Er... | 0:29:23 | 0:29:29 | |
-Oh, yes. Come along, darling. -Good afternoon. | 0:29:29 | 0:29:32 | |
Shall we sit down? Who's this? | 0:29:34 | 0:29:36 | |
-That's my daughter Katherine. -Oh, little K-K-Kathy. Yes. | 0:29:36 | 0:29:40 | |
-Do sit down. What brings you here, Georgia? -Today's paper. | 0:29:40 | 0:29:45 | |
Today's paper? | 0:29:45 | 0:29:47 | |
We read about Emily and Pamela and came right over. And another thing - | 0:29:47 | 0:29:52 | |
Katherine hoped to be this season's debutante | 0:29:52 | 0:29:56 | |
and I wondered if you'd mind waiting until next year to bring Pamela out. | 0:29:56 | 0:30:01 | |
We couldn't do that. I'll tell you why. Could we? | 0:30:01 | 0:30:05 | |
BOTH: No! | 0:30:05 | 0:30:07 | |
May I present my secretary and my secretary. | 0:30:07 | 0:30:10 | |
We just must bring Pamela out this year. | 0:30:10 | 0:30:13 | |
-I'd better have a word with Emily. -Yes, do that. | 0:30:13 | 0:30:16 | |
-No, please. -Where is she? -She's under the weather. -Really? | 0:30:16 | 0:30:20 | |
-She's got it. She's had it for some time. -Ohh. | 0:30:20 | 0:30:24 | |
-Can't get rid of it. -SHE TUTS | 0:30:24 | 0:30:26 | |
Mr Drake, the committee agrees. Pamela can sponsor the Butlers' Ball. | 0:30:26 | 0:30:31 | |
-The Butlers' Ball?! -Oh, yes. | 0:30:31 | 0:30:33 | |
-All right, Byngham. -I'll speak to Emily later. | 0:30:33 | 0:30:37 | |
SHE SINGS TO HERSELF | 0:30:37 | 0:30:40 | |
-Oh, Mrs Keating. Are you leaving? -I'm afraid we must. | 0:30:50 | 0:30:54 | |
Oh, too bad. Do come and see us again. | 0:30:54 | 0:30:57 | |
-Thank you. -If you're not busy on Friday, do come to my party. | 0:30:57 | 0:31:01 | |
-And bring her. -I er... | 0:31:01 | 0:31:03 | |
If it's at all possible. Thank you. Thank you. | 0:31:03 | 0:31:06 | |
Goodbye. | 0:31:06 | 0:31:09 | |
Oh! It's formal. | 0:31:09 | 0:31:11 | |
Good evening. Welcome to the 37th annual Butlers' Ball. | 0:31:21 | 0:31:25 | |
The committee extends its thanks to members, generous patrons | 0:31:25 | 0:31:30 | |
and our honoured sponsor - a charming and beautiful young lady. | 0:31:30 | 0:31:35 | |
A member of a distinguished family. A favourite for number one debutante - | 0:31:35 | 0:31:40 | |
Miss Katherine Keating. APPLAUSE | 0:31:40 | 0:31:44 | |
Thank you very much, ladies and gentlemen. | 0:31:50 | 0:31:53 | |
It is a privilege to be here this evening. | 0:31:53 | 0:31:56 | |
I'm honoured to be chosen as your sponsor. | 0:31:56 | 0:31:59 | |
Thank you. | 0:31:59 | 0:32:02 | |
(Psst. Hey, Byngham.) | 0:32:05 | 0:32:08 | |
HE MOUTHS | 0:32:08 | 0:32:11 | |
Mr Speaker, you've made a mistake. | 0:32:14 | 0:32:17 | |
How did that Keating dame pull that off? | 0:32:17 | 0:32:19 | |
-I guess she's got a better butler. -And he probably gets paid. | 0:32:19 | 0:32:24 | |
Ladies and gentlemen, we have two sponsors. | 0:32:27 | 0:32:30 | |
The second is also charming and gracious and a member of a distinguished family. | 0:32:30 | 0:32:36 | |
A close rival for number one debutante - Miss Pamela Drake. | 0:32:36 | 0:32:40 | |
Your speech. Make your speech. | 0:32:55 | 0:32:57 | |
Ladies and... | 0:33:03 | 0:33:05 | |
Ladies and gentlemen,... | 0:33:05 | 0:33:07 | |
this is a very gr... | 0:33:07 | 0:33:09 | |
Oh. This is...very...great... | 0:33:09 | 0:33:12 | |
-LAUGHTER -..evening... | 0:33:12 | 0:33:14 | |
It's gone. | 0:33:16 | 0:33:18 | |
(Say something.) | 0:33:18 | 0:33:20 | |
Well, anyway... | 0:33:20 | 0:33:22 | |
All... All my life I've dreamed of attending the Butlers' Ball. | 0:33:22 | 0:33:28 | |
And just think... | 0:33:28 | 0:33:30 | |
Here I am. | 0:33:30 | 0:33:32 | |
POLITE LAUGHTER | 0:33:32 | 0:33:34 | |
I'm so happy. I can't believe it's poor little me. | 0:33:35 | 0:33:40 | |
I wouldn't be surprised to wake up in the morning | 0:33:40 | 0:33:43 | |
and find I had been dreaming, | 0:33:43 | 0:33:45 | |
that I haven't been here at all. | 0:33:45 | 0:33:48 | |
LAUGHTER | 0:33:49 | 0:33:51 | |
-I have never... -(Pipe down.) | 0:33:54 | 0:33:56 | |
I have never piped down. | 0:33:57 | 0:33:59 | |
LAUGHTER | 0:33:59 | 0:34:01 | |
What a delicious sense of humour. | 0:34:01 | 0:34:04 | |
I have never sponsored anything before | 0:34:04 | 0:34:07 | |
in my life, | 0:34:07 | 0:34:09 | |
although I've heard it done by the soap man | 0:34:09 | 0:34:12 | |
-on the radio. -LAUGHTER | 0:34:12 | 0:34:14 | |
(What's that?) | 0:34:14 | 0:34:17 | |
And I want you to know that... | 0:34:17 | 0:34:20 | |
the bar will close at two o'clock. | 0:34:20 | 0:34:22 | |
LAUGHTER | 0:34:22 | 0:34:24 | |
RAUCOUS LAUGHTER | 0:34:26 | 0:34:28 | |
She's wonderful. | 0:34:32 | 0:34:34 | |
Well, I...I'd just like you... | 0:34:35 | 0:34:39 | |
I just want to say that... | 0:34:40 | 0:34:43 | |
that this is the most wonderful night of my life. | 0:34:43 | 0:34:46 | |
And I hope that the man there | 0:34:46 | 0:34:49 | |
will let me come down onto the floor and let me dance. | 0:34:49 | 0:34:54 | |
Just once. | 0:34:54 | 0:34:56 | |
Thank you. | 0:34:58 | 0:35:00 | |
ANNOUNCER: You bet we will, Miss Drake. | 0:35:00 | 0:35:03 | |
Spoken like a true Drake - sweet, simple and incoherent. | 0:35:03 | 0:35:07 | |
Would our two beautiful sponsors step down to the floor | 0:35:07 | 0:35:11 | |
to receive a small token from our committee? | 0:35:11 | 0:35:14 | |
Oh, Mike, I'm frightened. | 0:35:17 | 0:35:19 | |
It's all right. Remember to sneer with your feet. | 0:35:19 | 0:35:22 | |
-And keep your mouth shut. -Yes, Mr Drake. | 0:35:22 | 0:35:25 | |
Mr Drake. | 0:35:25 | 0:35:27 | |
-Hello. -Hello. | 0:35:37 | 0:35:40 | |
The presentation will be made by a special guest. | 0:35:40 | 0:35:43 | |
Courtesy of Mr Frank Sinatra's chambermaid, | 0:35:43 | 0:35:47 | |
we present Frank Sinatra. APPLAUSE | 0:35:47 | 0:35:50 | |
# The music stopped | 0:35:57 | 0:36:03 | |
# But we were still dancing | 0:36:04 | 0:36:08 | |
# Which goes to show | 0:36:09 | 0:36:12 | |
# That music has charms | 0:36:13 | 0:36:18 | |
# The lights were low | 0:36:18 | 0:36:24 | |
# So we went on dancing | 0:36:24 | 0:36:28 | |
# I felt the glow | 0:36:29 | 0:36:34 | |
# Of you in my arms | 0:36:35 | 0:36:41 | |
# The band had left the stand | 0:36:41 | 0:36:45 | |
# And we were in heaven | 0:36:45 | 0:36:48 | |
# Dancing on a cloud | 0:36:50 | 0:36:53 | |
# Way off in the blue | 0:36:53 | 0:36:58 | |
# The music stopped | 0:36:58 | 0:37:04 | |
# And people were glancing | 0:37:05 | 0:37:09 | |
# But we went on dancing | 0:37:10 | 0:37:14 | |
# For we didn't know | 0:37:15 | 0:37:20 | |
# Because the lights were low | 0:37:20 | 0:37:26 | |
# And we were in love | 0:37:26 | 0:37:30 | |
# The band had left the stand | 0:37:32 | 0:37:35 | |
# And we were in heaven | 0:37:35 | 0:37:40 | |
# Dancing on a cloud | 0:37:41 | 0:37:44 | |
# Way off in the blue | 0:37:44 | 0:37:48 | |
# The music stopped | 0:37:48 | 0:37:53 | |
# And people were glancing | 0:37:53 | 0:37:58 | |
# But we went on dancing | 0:37:58 | 0:38:02 | |
# For we didn't know | 0:38:03 | 0:38:07 | |
# Because the lights were low | 0:38:07 | 0:38:13 | |
# And we were in love. # | 0:38:14 | 0:38:23 | |
We'll fulfil Miss Drake's request | 0:38:34 | 0:38:36 | |
and ask the sponsors and their escorts to lead the dancing. | 0:38:36 | 0:38:41 | |
Miss Drake's escort is a new member - | 0:38:41 | 0:38:43 | |
Mr Michael O'Brien. | 0:38:43 | 0:38:45 | |
Yes, fine. | 0:38:47 | 0:38:49 | |
To add to our galaxy of celebrities > | 0:38:49 | 0:38:51 | |
we have Miss Keating's escort, a man of ancient lineage. | 0:38:51 | 0:38:56 | |
May I present Sir Victor Fitzroy Victor, KB, OBE? | 0:38:56 | 0:38:59 | |
KB, OBE? He sounds like a radio station. | 0:39:02 | 0:39:05 | |
Yes, but it has a nice ring to it. | 0:39:05 | 0:39:07 | |
-Hmm, like a cash register. -Maybe we can tap it. | 0:39:07 | 0:39:10 | |
You mean he might be a likely prospect for Millie? | 0:39:10 | 0:39:14 | |
A capital candidate. | 0:39:14 | 0:39:16 | |
Well,...as chairman of the corporation | 0:39:16 | 0:39:19 | |
I shall give him consideration. | 0:39:19 | 0:39:22 | |
Sir Victor, further introductions aren't necessary - just call me Mike. | 0:39:22 | 0:39:27 | |
-The same goes for me. -OK, Mike. | 0:39:27 | 0:39:30 | |
Thank you, Mike. | 0:39:30 | 0:39:32 | |
Oh, Pamela, may I present Sir Victor Fitzroy Victor, KB, OBE. | 0:39:32 | 0:39:36 | |
-How do you do? -How do you do? | 0:39:36 | 0:39:38 | |
-Oh, good evening, Miss Keating. -Good evening. | 0:39:38 | 0:39:42 | |
Sir Victor, they're waiting for us. | 0:39:42 | 0:39:44 | |
Er... Excuse me. | 0:39:44 | 0:39:46 | |
-Looks all right. -Oh, yes. | 0:39:49 | 0:39:51 | |
Just like the dough from now on. | 0:39:51 | 0:39:54 | |
BAND PLAYS "The Music Stopped" | 0:39:54 | 0:39:56 | |
Mike... | 0:40:00 | 0:40:03 | |
I feel wonderful. | 0:40:03 | 0:40:05 | |
-My blood is fizzing like ginger ale. -HE CHUCKLES | 0:40:06 | 0:40:09 | |
I'm walking on air. | 0:40:09 | 0:40:11 | |
And I'm hearing strange noises. | 0:40:13 | 0:40:15 | |
SHE CLICKS HER FINGERS | 0:40:17 | 0:40:19 | |
-What's that? -Doesn't it mean anything to you? | 0:40:19 | 0:40:23 | |
Sounds like a cricket. | 0:40:23 | 0:40:25 | |
-It's a click. -All right. Put it away. You can play with it at home. | 0:40:25 | 0:40:29 | |
Mr Sinatra has lovely round notes. | 0:40:33 | 0:40:35 | |
But they're not negotiable. | 0:40:35 | 0:40:38 | |
-You have to keep your mind on Sir Victor. -Sir Victor? -Yes. | 0:40:38 | 0:40:42 | |
-Miss Drake is a graceful dancer. -Yes. | 0:40:43 | 0:40:46 | |
He isn't half bad. I'm sure the corporation will OK him. | 0:40:46 | 0:40:50 | |
-For what? -For your husband. | 0:40:50 | 0:40:52 | |
He's wealthy and he has a swell title. | 0:40:52 | 0:40:55 | |
He's not MY idea of a husband. | 0:40:55 | 0:40:57 | |
-He's satisfactory to the corporation. -Don't -I -have a say? | 0:40:57 | 0:41:01 | |
Sure, sure. You say yes when we tell you to. | 0:41:01 | 0:41:04 | |
Here he comes now. Try to make an impression on him. | 0:41:04 | 0:41:08 | |
He's smiling. You've impressed him. | 0:41:17 | 0:41:20 | |
-Are the Drakes people of means? -Oh, I guess they have money. | 0:41:21 | 0:41:26 | |
-I'm going to suggest that we change partners. -Oh, no. -Why not? | 0:41:26 | 0:41:30 | |
I don't know how to dance with foreigners. | 0:41:30 | 0:41:33 | |
Here he comes. | 0:41:38 | 0:41:40 | |
We'll stall till he catches up to us and then I'll ask him. | 0:41:40 | 0:41:44 | |
-What's wrong? -I seem to be shorter on one side. | 0:41:49 | 0:41:52 | |
You dance like you're on a hill. | 0:41:52 | 0:41:55 | |
-What step is that? -Maybe it's housemaid's knee. | 0:41:56 | 0:42:00 | |
-Stop it, will you? -Michael, I can't help it. | 0:42:01 | 0:42:05 | |
Well, that's a strange dance she's doing. | 0:42:05 | 0:42:08 | |
LAUGHTER | 0:42:08 | 0:42:10 | |
Stop. Think of the corporation. | 0:42:10 | 0:42:13 | |
Mr Drake is looking at us. Pull yourself together. | 0:42:13 | 0:42:16 | |
Yeah. That's better. | 0:42:20 | 0:42:22 | |
Say, are you getting smaller? | 0:42:24 | 0:42:26 | |
-I lost my shoes. -What?! | 0:42:29 | 0:42:31 | |
Oh, well, he can't see them. | 0:42:31 | 0:42:34 | |
Michael, I don't want to dance with anyone else but you tonight. | 0:42:36 | 0:42:40 | |
Don't be silly. You've got to dance with the millionaire. | 0:42:40 | 0:42:45 | |
No, no, no, no, no! | 0:42:45 | 0:42:47 | |
Hey! Your hair. Your hair is coming down. | 0:42:47 | 0:42:50 | |
Fix your hair. Fi... Come on. Ohh. | 0:42:53 | 0:42:56 | |
Look, he's looking. | 0:42:56 | 0:42:58 | |
Fix it up, dear, that's it. | 0:42:58 | 0:43:00 | |
That must be the American Indian dance I've heard so much about. | 0:43:01 | 0:43:05 | |
Haven't you any more hairpins? | 0:43:05 | 0:43:08 | |
No, let it go. I often wear it that way. | 0:43:08 | 0:43:11 | |
Millie's falling apart. | 0:43:11 | 0:43:13 | |
So's Mom's bankroll. | 0:43:13 | 0:43:15 | |
Sir Victor is behind us. I'm going to ask him. | 0:43:15 | 0:43:19 | |
Oh, can't we dance around just once more? | 0:43:19 | 0:43:22 | |
No, no. This is business. | 0:43:22 | 0:43:24 | |
LAUGHTER | 0:43:32 | 0:43:34 | |
My dress! | 0:43:35 | 0:43:36 | |
Thank you, Sir Victor. | 0:43:39 | 0:43:41 | |
-I hope you don't mind. -Not at all. | 0:43:51 | 0:43:53 | |
Well, Miss Drake, we seem to be left alone. | 0:43:53 | 0:43:56 | |
Shall we? | 0:43:56 | 0:43:58 | |
SHE SINGS TO HERSELF | 0:44:13 | 0:44:15 | |
-COCKNEY ACCENT: -Last night was wonderful. | 0:44:15 | 0:44:18 | |
Everyone was there, even Mrs Vanderwater's butler. | 0:44:18 | 0:44:22 | |
Wasn't Pamela Drake a panic? | 0:44:22 | 0:44:24 | |
She was better than the entertainers. | 0:44:24 | 0:44:27 | |
And, you know, she looked just like a kitchen maid | 0:44:27 | 0:44:30 | |
I used to work with over in Long Island. | 0:44:30 | 0:44:34 | |
-Ah, look at her now. -Sarah, the ball is over. | 0:44:34 | 0:44:38 | |
-Yes, ma'am. -One picture of me, ten of her. In this one she's shaking hands | 0:44:38 | 0:44:43 | |
with a waiter. Here she is applauding herself. | 0:44:43 | 0:44:46 | |
If you ask me, Mr Drake bought up every editor in town. | 0:44:46 | 0:44:50 | |
You'd have got more pictures if you'd dropped your girdle. | 0:44:50 | 0:44:54 | |
Oh, Mother, I don't understand this. | 0:44:54 | 0:44:57 | |
Pamela Drake arrives in town, | 0:44:57 | 0:44:59 | |
unheralded and unheard of and becomes a social sensation. | 0:44:59 | 0:45:04 | |
Katherine, I don't think she IS Pamela Drake. | 0:45:04 | 0:45:07 | |
What?! We'll find out on Friday. | 0:45:07 | 0:45:09 | |
Mother, you're not going to that party of hers. | 0:45:09 | 0:45:13 | |
We certainly are...now. | 0:45:13 | 0:45:15 | |
She's probably got morning jitters. | 0:45:15 | 0:45:19 | |
-The newspaper notices will cure her. -Uh-oh. | 0:45:19 | 0:45:22 | |
-Has she scrammed? -I don't know. Look in there. | 0:45:23 | 0:45:26 | |
-Yes? -No. | 0:45:27 | 0:45:29 | |
She probably didn't sleep a wink. | 0:45:29 | 0:45:32 | |
Hey, Mike. | 0:45:34 | 0:45:36 | |
Millie! | 0:45:36 | 0:45:37 | |
What are you doing there? | 0:45:37 | 0:45:39 | |
-It's Wednesday. -What's that got to do with it? | 0:45:39 | 0:45:43 | |
I always scrub the steps on Wednesday. | 0:45:43 | 0:45:45 | |
-Great - a photo of Pamela Drake cleaning the stoop(!) -Come in. | 0:45:45 | 0:45:50 | |
Some debutante. | 0:45:50 | 0:45:52 | |
-Good morning. -Hello. -Are you getting your exercise? | 0:45:55 | 0:45:59 | |
No, just scrubbing the steps. | 0:45:59 | 0:46:02 | |
-I came to congratulate you. You were wonderful last night. -I thought I was, too. | 0:46:02 | 0:46:08 | |
Say, what's the idea...? Oh! | 0:46:08 | 0:46:10 | |
-You only have to do that for the photographers. -The things those papers think up. | 0:46:10 | 0:46:16 | |
-I didn't know... -She's so forgettable. | 0:46:16 | 0:46:19 | |
-I brought you flowers. -That's swell. | 0:46:19 | 0:46:22 | |
-She means it's nice. -Where do you get these flowers? | 0:46:22 | 0:46:25 | |
-My old man owns a flower shop. -That's nice, too. Come on, Pamela. | 0:46:25 | 0:46:30 | |
You have a lot of cheques to sign. | 0:46:30 | 0:46:33 | |
-Play with your pail later. -She's off to the beach. | 0:46:33 | 0:46:36 | |
-Loves the water. -Blows bubbles. | 0:46:36 | 0:46:39 | |
-Bye, Pamela. -Goodbye. See you at the window. | 0:46:39 | 0:46:42 | |
SHE WHISTLES | 0:46:44 | 0:46:46 | |
Hello. | 0:46:46 | 0:46:47 | |
So long. | 0:46:47 | 0:46:50 | |
I saw you first. | 0:46:50 | 0:46:52 | |
Now, wait a minute. # Nobody else is going to get you | 0:46:52 | 0:46:56 | |
# I saw you first I guess I'm in it. | 0:46:56 | 0:46:58 | |
# Nobody else is going to pet you | 0:46:58 | 0:47:00 | |
# You smiled at me, that was my lucky break | 0:47:00 | 0:47:04 | |
# Gave you that double take | 0:47:04 | 0:47:07 | |
# Said to myself Quote. | 0:47:07 | 0:47:09 | |
# Oh, Frankie Unquote. | 0:47:09 | 0:47:11 | |
# You gave it that I did? | 0:47:11 | 0:47:13 | |
# I suddenly found myself in clover | 0:47:13 | 0:47:15 | |
# I tumbled flat You sure did. | 0:47:15 | 0:47:18 | |
# That was the time that you took over | 0:47:18 | 0:47:21 | |
# If someone else wants to try this love scene we rehearsed | 0:47:21 | 0:47:25 | |
What'll I tell 'em? # Just tell them I saw you first | 0:47:25 | 0:47:29 | |
# I'll try to remember that I saw you first | 0:47:29 | 0:47:33 | |
Me? # Baby, I should have seen you sooner | 0:47:33 | 0:47:37 | |
# I saw you first Oh, gee. | 0:47:37 | 0:47:39 | |
# Think you could ever stand a crooner? Uh-huh. | 0:47:39 | 0:47:42 | |
# You smiled at me, that was my lucky break | 0:47:42 | 0:47:46 | |
# Gave you that double take | 0:47:46 | 0:47:49 | |
# Said to myself What did you say? | 0:47:49 | 0:47:52 | |
# That does it | 0:47:52 | 0:47:53 | |
# You gave it this | 0:47:53 | 0:47:55 | |
# I was like a clown in clover | 0:47:55 | 0:47:58 | |
# And that first kiss, that was the time that you took over | 0:47:58 | 0:48:02 | |
# So if my other love affair should go and burst | 0:48:03 | 0:48:08 | |
You double-crosser. I'm going to listen to Crosby. | 0:48:10 | 0:48:14 | |
OK, but... | 0:48:14 | 0:48:15 | |
# Remember... | 0:48:15 | 0:48:18 | |
# I saw you first. # | 0:48:18 | 0:48:23 | |
HE PLAYS "I Couldn't Sleep A Wink Last Night" by Frank Sinatra | 0:48:25 | 0:48:29 | |
Lovely thing you're playing Victor, what is it? | 0:48:35 | 0:48:38 | |
It's a piano. | 0:48:40 | 0:48:42 | |
Very funny. Why did an excellent musician like you learn the piano? | 0:48:42 | 0:48:47 | |
My teacher couldn't play any other instrument. | 0:48:47 | 0:48:50 | |
I should have known better. | 0:48:50 | 0:48:52 | |
Hmm. Here's a nice picture of you and Pamela Drake. | 0:48:55 | 0:48:59 | |
-You're quite photogenic. -The continental police thought so. They took lots of photos of me. | 0:48:59 | 0:49:06 | |
Well... | 0:49:06 | 0:49:08 | |
"Among another notables attending the Butlers' Ball | 0:49:09 | 0:49:13 | |
"was Victor Fitzroy Victor, KB, OBE." | 0:49:13 | 0:49:16 | |
The title you gave me is a tongue-twister. | 0:49:16 | 0:49:19 | |
-And attractive to rich ladies like Miss Drake. -I see what you mean. | 0:49:19 | 0:49:23 | |
-Do you mind if read the paper? -Not at all. | 0:49:23 | 0:49:26 | |
THE FOUR OPENING NOTES OF BEETHOVEN'S Fifth Symphony | 0:49:27 | 0:49:31 | |
RA-TA-TA-TA! > | 0:49:31 | 0:49:33 | |
HE REPEATS THE FOUR NOTES | 0:49:35 | 0:49:37 | |
FOUR KNOCKS | 0:49:37 | 0:49:39 | |
I am the 4th assistant managing director. | 0:49:44 | 0:49:47 | |
-Oh. -Mr Green, a word, sir. > | 0:49:47 | 0:49:49 | |
Mr Henry, I'm unable to pay my bill this week. | 0:49:49 | 0:49:53 | |
You said that last week. Well, I kept my word. | 0:49:53 | 0:49:56 | |
You did. Mr Henry, if he told you | 0:49:56 | 0:49:58 | |
that he couldn't pay and didn't - he kept his word. So you owe him an apology. | 0:49:58 | 0:50:04 | |
Quite. I told Mr Green that if he didn't pay I'd turn him out. | 0:50:04 | 0:50:08 | |
-I am going to keep MY word. -Quite. | 0:50:08 | 0:50:11 | |
Mr Henry, don't be upset over such a small thing. | 0:50:11 | 0:50:14 | |
You see, Sir Victor is going to marry Pamela Drake. | 0:50:14 | 0:50:18 | |
Drake? Last week you said Katherine Keating. | 0:50:18 | 0:50:21 | |
-That was last week. -But Miss Keating has 1 million and Miss Drake has 2 million. | 0:50:21 | 0:50:27 | |
-Two. -Oh. | 0:50:27 | 0:50:29 | |
Quite. Quite. | 0:50:29 | 0:50:31 | |
-Quite. -Quite, quite. | 0:50:31 | 0:50:33 | |
HE PLAYS A JOLLY TUNE | 0:50:33 | 0:50:35 | |
I... KNOCK AT DOOR | 0:50:38 | 0:50:41 | |
Sir Victor? | 0:50:45 | 0:50:47 | |
Compliments of Miss Drake. She's sorry she poured the champagne down your back. | 0:50:47 | 0:50:53 | |
Oh...that's perfectly all right. | 0:50:53 | 0:50:56 | |
-Isn't it unorthodox, her sending me flowers? -Very odd girl. | 0:50:56 | 0:51:00 | |
Her father's rather odd, too. | 0:51:00 | 0:51:02 | |
He wants to invite you to Miss Drake's coming out party on Friday. | 0:51:02 | 0:51:07 | |
I think it would fit in with our plans. | 0:51:07 | 0:51:10 | |
-Ours too, thank you! I mean, thank you. -Thank YOU. | 0:51:10 | 0:51:13 | |
-You see, Mr Henry - Mr Drake. -Yes, indeed. Let's forget that little matter of the bill for now. | 0:51:13 | 0:51:20 | |
Let's forget it indefinitely. | 0:51:20 | 0:51:22 | |
Mr Henry, is there a flower shop in this hotel? | 0:51:22 | 0:51:26 | |
Yes, a beautiful flower shop. | 0:51:26 | 0:51:28 | |
Would you exchange these for two bottles of beer? | 0:51:28 | 0:51:31 | |
Two... Er... Oh, quite. | 0:51:31 | 0:51:33 | |
Hey, step on it. Sir Victor has arrived and the rest of the guests are due. | 0:51:37 | 0:51:42 | |
Millie, that's sensational. | 0:51:42 | 0:51:45 | |
-If she can't hook a fish in that, we can dissolve the corporation. -Sir Victor will melt. | 0:51:45 | 0:51:51 | |
OK, kid. Come down those stairs like you're entering snobby lobby. Come on, gang. | 0:51:51 | 0:51:57 | |
Michael. | 0:51:58 | 0:52:00 | |
Will he ask me to marry him tonight? | 0:52:00 | 0:52:03 | |
I don't see how he can help it. If I were him, I would. | 0:52:03 | 0:52:06 | |
-Would you, Michael? -Sure. | 0:52:06 | 0:52:08 | |
And I'd say yes, Michael. | 0:52:08 | 0:52:10 | |
That's my girl. The corporation will be proud | 0:52:10 | 0:52:14 | |
and I'm very grateful because, after all, I started this. | 0:52:14 | 0:52:18 | |
Well, good luck, kid. | 0:52:18 | 0:52:20 | |
LIGHT JAZZ PIANO MUSIC | 0:52:29 | 0:52:32 | |
# A casual stroll through a garden | 0:52:43 | 0:52:48 | |
# A kiss by a lazy lagoon | 0:52:48 | 0:52:53 | |
# Catching a breath of moonlight | 0:52:53 | 0:52:59 | |
# Humming a favourite tune | 0:52:59 | 0:53:03 | |
# This is a lovely way | 0:53:03 | 0:53:08 | |
# To spend an evening | 0:53:09 | 0:53:15 | |
# I want to save all my nights | 0:53:15 | 0:53:21 | |
# And spend them with you. # | 0:53:21 | 0:53:28 | |
PIERCING WHISTLE | 0:53:32 | 0:53:34 | |
SHE MOUTHS | 0:53:43 | 0:53:46 | |
PIANO MUSIC: A ballet theme by Tchaikovsky | 0:53:54 | 0:53:57 | |
PIANO MUSIC CONTINUES | 0:54:08 | 0:54:10 | |
Are you trying to kidnap me? | 0:54:51 | 0:54:53 | |
No, I asked you to meet me | 0:54:53 | 0:54:55 | |
-because I have something to ask you. -Oh? | 0:54:55 | 0:54:58 | |
-Frank? -Mmm? | 0:55:00 | 0:55:02 | |
How do you feel about marriage? | 0:55:02 | 0:55:04 | |
Well, I think that marriage is an institution | 0:55:05 | 0:55:09 | |
that no family can do without. | 0:55:09 | 0:55:11 | |
Are you in love? | 0:55:13 | 0:55:15 | |
-No. -Oh, that's wonderful. | 0:55:16 | 0:55:20 | |
It is? | 0:55:20 | 0:55:22 | |
-Because now you're unbiased. -I am? | 0:55:22 | 0:55:24 | |
-Sure. -Swell(!) | 0:55:24 | 0:55:26 | |
Frank, it's like this. | 0:55:26 | 0:55:29 | |
I've got to marry a man but I don't love him. | 0:55:29 | 0:55:32 | |
Oh, that sort of thing. | 0:55:33 | 0:55:35 | |
Well, why do you have to? | 0:55:35 | 0:55:38 | |
Because the man I love wants me to. | 0:55:38 | 0:55:40 | |
-He does? -Yes. | 0:55:40 | 0:55:42 | |
Isn't that an odd way for him to show he loves you? | 0:55:42 | 0:55:46 | |
-He doesn't love me. -He doesn't? -No. | 0:55:46 | 0:55:48 | |
Oh. Have you told him you love him? | 0:55:48 | 0:55:52 | |
-No. -No? | 0:55:52 | 0:55:54 | |
Oh, no. I'm waiting for him to find out he loves me. | 0:55:54 | 0:55:57 | |
You know, I seem to be confusing you. | 0:56:00 | 0:56:03 | |
Let's sit down and start all over again. | 0:56:04 | 0:56:07 | |
Now, how does the guy you're going to marry feel about this? | 0:56:13 | 0:56:17 | |
Oh, he hasn't proposed yet. | 0:56:17 | 0:56:19 | |
What does your father say? | 0:56:20 | 0:56:22 | |
Mr Drake isn't my father. | 0:56:22 | 0:56:24 | |
-I'm just his daughter. -Mm-hm. | 0:56:27 | 0:56:29 | |
Temporarily. | 0:56:29 | 0:56:31 | |
Until I marry the rich man. | 0:56:31 | 0:56:33 | |
-Rich man. -You can see it's a desperate situation. | 0:56:33 | 0:56:37 | |
Oh, yes. | 0:56:37 | 0:56:39 | |
A very desperate situation. | 0:56:39 | 0:56:41 | |
-Frank. -Mm-hm? | 0:56:42 | 0:56:44 | |
How would you go about making someone fall in love with you? | 0:56:44 | 0:56:48 | |
Well, if it were a certain someone I met at your house, | 0:56:50 | 0:56:55 | |
I would take her for a walk in the park. | 0:56:55 | 0:56:57 | |
And we would sit down - like this. | 0:56:57 | 0:57:00 | |
And, without confusing her, I'd say... | 0:57:00 | 0:57:03 | |
# This is a lovely way | 0:57:03 | 0:57:09 | |
# To spend an evening | 0:57:09 | 0:57:14 | |
# Can't think of anything | 0:57:14 | 0:57:19 | |
# I'd rather do | 0:57:19 | 0:57:24 | |
# This is a lovely way | 0:57:24 | 0:57:29 | |
# To spend an evening | 0:57:29 | 0:57:34 | |
# Can't think of anyone | 0:57:34 | 0:57:38 | |
# As lovely as you | 0:57:39 | 0:57:46 | |
# A casual stroll through a garden | 0:57:46 | 0:57:52 | |
# A kiss by a lazy lagoon | 0:57:53 | 0:57:58 | |
# Catching a breath of moonlight | 0:58:00 | 0:58:05 | |
# Humming a favourite tune | 0:58:06 | 0:58:11 | |
# This is a lovely way | 0:58:11 | 0:58:17 | |
# To spend an evening | 0:58:18 | 0:58:24 | |
# I want to save all my nights | 0:58:25 | 0:58:30 | |
# And spend them with you... | 0:58:30 | 0:58:39 | |
# And spend them with you. # | 0:58:44 | 0:58:53 | |
Has Miss Pamela come down yet? | 0:58:59 | 0:59:01 | |
Would you ask Miss Pamela to come down? | 0:59:01 | 0:59:04 | |
She's already down...and out. | 0:59:04 | 0:59:06 | |
-Out where? -Out's a big place. | 0:59:06 | 0:59:09 | |
-Out with her nightingale. -You didn't say anything. | 0:59:09 | 0:59:12 | |
-I could say something. -Run along and pass your...things. | 0:59:12 | 0:59:16 | |
Hello, Byngy. | 0:59:16 | 0:59:18 | |
-Where have you been? -Inviting my friend to the party. Mr... | 0:59:20 | 0:59:24 | |
Yes. We've heard that name before. Mr Drake. | 0:59:24 | 0:59:28 | |
-You remember our good friend. -Mm-hm. | 0:59:28 | 0:59:30 | |
-How do you do? -How are you, Mr Fitzroy? | 0:59:30 | 0:59:33 | |
-His name is Sir Victor, Millie. -And hers is Pamela. | 0:59:33 | 0:59:37 | |
-I... -Don't apologise. I get my name mixed up, too. | 0:59:37 | 0:59:40 | |
Pamela, would you like to walk in the garden? | 0:59:40 | 0:59:44 | |
-I'd love to. -Good. | 0:59:44 | 0:59:46 | |
Sir Victor, Pamela would love to take a walk. | 0:59:46 | 0:59:49 | |
Well, I should be delighted. | 0:59:49 | 0:59:51 | |
Miss Keating. | 0:59:53 | 0:59:55 | |
-Yes? -Would you like to take a walk in the garden? -Well, I... -Frank. | 0:59:55 | 1:00:00 | |
-Yes? -Miss Keating would love to take a walk in the garden. | 1:00:00 | 1:00:04 | |
Well, I... | 1:00:04 | 1:00:06 | |
-I would be delighted. -I knew you would. | 1:00:08 | 1:00:11 | |
We'd be OK if she'd forget that songbird. | 1:00:17 | 1:00:20 | |
We could poison his birdseed. | 1:00:20 | 1:00:22 | |
-Would YOU like to take... -Yes, I would. Right now. | 1:00:22 | 1:00:25 | |
Oscar. Yeah? | 1:00:33 | 1:00:35 | |
Can you give me some advice? I've got more than enough of that. | 1:00:35 | 1:00:40 | |
< What's wrong? Every time I catch a man, he catches someone else. | 1:00:40 | 1:00:45 | |
< You just haven't caught the right man. | 1:00:45 | 1:00:48 | |
But if I find a man, what'll I say? | 1:00:48 | 1:00:50 | |
You can have someone advise you. | 1:00:50 | 1:00:52 | |
That is, when you buy a precious stone. | 1:00:52 | 1:00:55 | |
# But when it comes to love | 1:00:55 | 1:01:00 | |
# You on your own | 1:01:00 | 1:01:04 | |
# If you must have information | 1:01:04 | 1:01:06 | |
# You can dial your telephone | 1:01:06 | 1:01:09 | |
# But when it comes to love, you're on your own | 1:01:09 | 1:01:12 | |
Who asked you? | 1:01:12 | 1:01:14 | |
# If your songbird flies without you | 1:01:14 | 1:01:17 | |
# You can climb another tree | 1:01:17 | 1:01:19 | |
# You know, I'm simply mad about you | 1:01:19 | 1:01:21 | |
# You're arsenic to me | 1:01:21 | 1:01:24 | |
# There are red lights round to warn you | 1:01:24 | 1:01:27 | |
# When you in a danger zone | 1:01:27 | 1:01:29 | |
# But when it comes to love you on your own | 1:01:29 | 1:01:33 | |
# That romantic moon will help me | 1:01:33 | 1:01:38 | |
# And the stars that shine above | 1:01:38 | 1:01:42 | |
# But if that old moon won't help you | 1:01:42 | 1:01:47 | |
# Then I'll help myself to love | 1:01:47 | 1:01:50 | |
# I'm a parliamentary figure | 1:01:50 | 1:01:53 | |
# I'm in favour with the throne | 1:01:53 | 1:01:55 | |
# But when it comes to love | 1:01:55 | 1:01:57 | |
# You're on your own | 1:01:57 | 1:02:00 | |
# We could fly away together | 1:02:00 | 1:02:03 | |
BOTH: # And explore the great unknown | 1:02:03 | 1:02:05 | |
# Just you and I together on our own | 1:02:05 | 1:02:09 | |
# Reel him in, we've caught a flounder | 1:02:10 | 1:02:13 | |
# Yeah, we got him on the hook | 1:02:13 | 1:02:15 | |
# If we can only land the bounder Long enough to pick his pocketbook | 1:02:15 | 1:02:20 | |
# With your beauty and my brain work | 1:02:20 | 1:02:22 | |
# We can make a lovely match | 1:02:22 | 1:02:24 | |
-# Yes, but when it comes to love we start from scratch -I'm leaving now. | 1:02:24 | 1:02:29 | |
FRANK: # Can't we fly away together | 1:02:29 | 1:02:32 | |
# And explore the great unknown? | 1:02:32 | 1:02:34 | |
ALL: # Just you and I together on our own | 1:02:34 | 1:02:38 | |
STAFF: # Come on, let's have some action | 1:02:38 | 1:02:41 | |
# Hurry up, now, don't delay | 1:02:41 | 1:02:44 | |
# Now's the time to pop the question | 1:02:44 | 1:02:46 | |
# Break it up, scram, go away... # | 1:02:46 | 1:02:48 | |
Come inside. | 1:02:48 | 1:02:50 | |
# If a lot of busybodies | 1:02:50 | 1:02:52 | |
# Minded business of their own | 1:02:52 | 1:02:55 | |
# They ought to see we want to be alone | 1:02:55 | 1:03:00 | |
# Cos when it comes to love | 1:03:00 | 1:03:04 | |
# You on your own. # | 1:03:04 | 1:03:11 | |
-# When it comes to love, you're on your own... # -Cyrus. | 1:03:12 | 1:03:16 | |
-Such talented staff. Where did you find them? -I opened my pocketbook and there they were. | 1:03:16 | 1:03:22 | |
-I want to ask you something. -Carry on. | 1:03:22 | 1:03:25 | |
Did you have more than one daughter? | 1:03:25 | 1:03:28 | |
Well...that I wouldn't know. My wife took care of those matters. | 1:03:28 | 1:03:33 | |
Where did you find Millie? The scullery maid. | 1:03:33 | 1:03:36 | |
Oh...the scullery maid. Oh...er... I got her | 1:03:36 | 1:03:40 | |
-from a SCULL mate of mine. -Where is she? | 1:03:40 | 1:03:43 | |
-In the scullery. -There's no-one in there. -No? | 1:03:43 | 1:03:46 | |
I'll go and put somebody there. | 1:03:46 | 1:03:48 | |
The cook said Millie was upstairs. | 1:03:48 | 1:03:51 | |
-Millie, upstairs? -I understand she's taking care of Emily. | 1:03:51 | 1:03:55 | |
-Oh, dear. Er... Of course, I'd forgotten all about that. -How IS Emily? | 1:03:55 | 1:04:00 | |
-She's worse. Broke her leg. -What?! -We almost had to shoot her. | 1:04:00 | 1:04:05 | |
-What happened? -She was under the weather and coming out from under it... | 1:04:05 | 1:04:10 | |
-she did it. -How? | 1:04:10 | 1:04:12 | |
Well, say this is the weather. | 1:04:12 | 1:04:14 | |
Well, she was under it and coming up... Right there. | 1:04:14 | 1:04:19 | |
Oh, awful. Had to have it hemstitched. | 1:04:19 | 1:04:22 | |
May I say something frightfully boring and mean it? | 1:04:22 | 1:04:26 | |
You're the most extraordinary girl I've met. | 1:04:26 | 1:04:29 | |
Lately, I'm the most extraordinary girl I'VE met. But I wasn't always this way. | 1:04:29 | 1:04:35 | |
-You weren't? -No, I was just ordinary before I became Pamela Drake. | 1:04:35 | 1:04:40 | |
-Before you became Pamela Drake? -Mm-hm. -When was that? | 1:04:40 | 1:04:44 | |
Oh, it seems like a long time ago. | 1:04:44 | 1:04:46 | |
Although it really wasn't. | 1:04:46 | 1:04:48 | |
Oh, you mean you were reincarnated? | 1:04:48 | 1:04:51 | |
-No, I was incorporated. -Incorporated. | 1:04:51 | 1:04:54 | |
-Is that the same thing? -Not exactly. | 1:04:54 | 1:04:57 | |
Incorporated is when you are in a corporation. | 1:04:57 | 1:05:00 | |
Reincarnated means you have lived as someone else. | 1:05:00 | 1:05:04 | |
-That's me all right. -That's you? | 1:05:04 | 1:05:06 | |
Say, what were you in this other life? | 1:05:06 | 1:05:09 | |
-A scullery maid. -A scu...! | 1:05:09 | 1:05:11 | |
-Wonderful. -It wasn't so bad. | 1:05:13 | 1:05:15 | |
In fact, I think I liked it better than being Pamela Drake. | 1:05:15 | 1:05:20 | |
Have you ever been reincorporated? | 1:05:20 | 1:05:22 | |
Er... Well, I have had several lives before I became Victor... | 1:05:22 | 1:05:27 | |
Victor... Victor something. | 1:05:27 | 1:05:30 | |
-What were you before? -A crook. | 1:05:30 | 1:05:32 | |
I mean a cook. I cooked up music. Piano. | 1:05:32 | 1:05:35 | |
-I'll bet that was nice. -Yes, I love music. | 1:05:35 | 1:05:38 | |
-Shall we sit down? -Uh-huh. | 1:05:39 | 1:05:42 | |
Tell me, Pamela, | 1:05:45 | 1:05:47 | |
-were you married in this former life? -Oh, no. | 1:05:47 | 1:05:51 | |
Would you like to be in this life? | 1:05:52 | 1:05:55 | |
Oh, yes. To the right man. | 1:05:56 | 1:05:59 | |
When the right girl meets the right man | 1:06:00 | 1:06:03 | |
at the right time - | 1:06:03 | 1:06:06 | |
everything is right. | 1:06:06 | 1:06:08 | |
Isn't it? | 1:06:08 | 1:06:10 | |
-Hey, how's it going? -Pretty good, so far. | 1:06:13 | 1:06:16 | |
They're getting very chummy. | 1:06:16 | 1:06:18 | |
-He's asking her something. -What's she's saying? -She's saying... | 1:06:18 | 1:06:23 | |
He's coming in the house. | 1:06:23 | 1:06:25 | |
-Here he comes. -Go and get the lowdown from her. -OK. | 1:06:26 | 1:06:30 | |
Millie, how did it go? | 1:06:34 | 1:06:36 | |
-Have we struck gold? -He proposed. -Great, we'll clear a dividend. | 1:06:36 | 1:06:41 | |
-When's the wedding? -I haven't told him I would yet. | 1:06:41 | 1:06:45 | |
You haven't told him you would? | 1:06:45 | 1:06:47 | |
Michael, I'm in love with someone else. | 1:06:47 | 1:06:50 | |
Love! Don't start that routine. You'd sacrifice this for some guy | 1:06:50 | 1:06:55 | |
who doesn't even know you're alive? | 1:06:55 | 1:06:58 | |
Doesn't he, Michael? | 1:06:58 | 1:07:00 | |
Of course not. He's got maids all over town. | 1:07:00 | 1:07:03 | |
Do YOU have maids all over town? | 1:07:05 | 1:07:07 | |
Well, er... Yeah, sure. | 1:07:07 | 1:07:10 | |
I guess you're right, Michael. | 1:07:15 | 1:07:18 | |
Oscar. Fanfare, please. | 1:07:28 | 1:07:31 | |
FANFARE | 1:07:31 | 1:07:33 | |
I want to make... | 1:07:33 | 1:07:35 | |
..To announce my engagement to Sir Victor Fitzroy Victor, KB, OBE. | 1:07:35 | 1:07:40 | |
CROWD MURMURS WITH EXCITEMENT | 1:07:41 | 1:07:43 | |
What?! Sir Victor is very impulsive. | 1:07:43 | 1:07:46 | |
We're in. | 1:07:47 | 1:07:49 | |
Pamela, are you sure you know what you're doing? | 1:08:00 | 1:08:03 | |
SHE SNIFFS TEARFULLY | 1:08:07 | 1:08:09 | |
# If the one you've always longed for | 1:08:10 | 1:08:16 | |
# Seems to have a heart of stone | 1:08:16 | 1:08:22 | |
# Remember, when it's love | 1:08:22 | 1:08:27 | |
# You're on your own. # | 1:08:27 | 1:08:35 | |
Miss, I think a wedding is the happiest moment in a girl's life, don't you? | 1:08:40 | 1:08:46 | |
-Yes. If you're the bride. -That's the main part of the happiness. | 1:08:46 | 1:08:50 | |
-Will Miss Drake be Sir Lady Victor? -Do you think I care? | 1:08:50 | 1:08:54 | |
Never you mind, he wasn't good enough for you. | 1:08:54 | 1:08:58 | |
-Good heavens, Sarah, I didn't want him. -No? I thought you did. | 1:08:58 | 1:09:02 | |
Mother has an affinity for titles. | 1:09:02 | 1:09:05 | |
-Personally, I prefer Mr Sinatra. -Oh, him. | 1:09:05 | 1:09:08 | |
-He looks like someone I heard on the radio. -Ready, darling? | 1:09:08 | 1:09:12 | |
Yes, Mother. Sarah, you're coming with us. | 1:09:12 | 1:09:16 | |
-Me? To the wedding? -I'm sure Miss Drake will be delighted to see you. | 1:09:16 | 1:09:20 | |
MUSIC: "Wedding March" | 1:09:20 | 1:09:22 | |
(Where's the bride?) | 1:09:43 | 1:09:45 | |
-(Right behind me. -She is not. -Huh?) | 1:09:45 | 1:09:48 | |
(Run up and get her, quick.) | 1:09:50 | 1:09:52 | |
-Where's Millie? -In the attic. -Why? -For a piece of my great-grandmother. | 1:10:03 | 1:10:08 | |
-What? -A good luck trinket. Old, new, borrowed, blue. -But the people... | 1:10:08 | 1:10:13 | |
-Millie. -Yes, Michael? | 1:10:28 | 1:10:30 | |
-What are you doing? -Trying to find something old and blue. | 1:10:30 | 1:10:34 | |
-Look, you can't keep everyone waiting. -I've got to find it. | 1:10:34 | 1:10:38 | |
I must have something old, something new, something borrowed, something blue. | 1:10:38 | 1:10:44 | |
-You should have thought of it before. Is there anything blue? -No. | 1:10:44 | 1:10:49 | |
Help me find it, Michael. Please. | 1:10:50 | 1:10:53 | |
-All those people. -They won't mind waiting. Let's look here. | 1:10:53 | 1:10:57 | |
This is ridiculous. You... | 1:10:57 | 1:10:59 | |
-It's a music box. -MUSIC BOX PLAYS A MINUET | 1:11:02 | 1:11:05 | |
It still plays. | 1:11:05 | 1:11:07 | |
It's beautiful. | 1:11:08 | 1:11:10 | |
-What is the music? -A minuet. This is the music | 1:11:11 | 1:11:14 | |
our grandparents used to dance to. | 1:11:14 | 1:11:17 | |
So lovely. | 1:11:19 | 1:11:21 | |
Psst. | 1:11:58 | 1:12:00 | |
-Hey, have you two gone nuts? -Is this a wedding or a murder-mystery? | 1:12:08 | 1:12:13 | |
It's a funny time to jitterbug. | 1:12:13 | 1:12:15 | |
It sure is. Come on. Victor's getting agitated. | 1:12:15 | 1:12:19 | |
-I don't want to marry Sir Victor. -You do as the board directs. | 1:12:19 | 1:12:23 | |
Besides, if we don't marry him, how will I pay all the salaries? Come on, Mike. | 1:12:23 | 1:12:29 | |
-No rush, Millie's not marrying him. I'm calling it off. -ALL: You are? | 1:12:29 | 1:12:34 | |
-She can't marry a man she doesn't love. -Love! This is business. | 1:12:34 | 1:12:38 | |
-The whole thing was your idea. -But Millie will marry the songbird. -And the corporation? | 1:12:38 | 1:12:44 | |
-I'm dissolving it. -What?! | 1:12:44 | 1:12:46 | |
You can't, you're only one stockholder. | 1:12:46 | 1:12:49 | |
Yeah, you're going to be voted down. | 1:12:49 | 1:12:52 | |
Take it easy. No violence. | 1:12:53 | 1:12:55 | |
-That's that. Now for the wedding. -Let's go. | 1:13:04 | 1:13:07 | |
How do you like that?! | 1:13:08 | 1:13:10 | |
THE WEDDING MARCH PLAYS | 1:13:10 | 1:13:13 | |
We are gathered together here in the presence of these witnesses | 1:13:57 | 1:14:02 | |
to join this man and this woman in the bonds of matrimony. | 1:14:02 | 1:14:06 | |
Is there a reason why you should not be legally joined in marriage? | 1:14:06 | 1:14:10 | |
Or if there be anyone who can show just cause why these parties should not be legally joined together, | 1:14:10 | 1:14:18 | |
let him speak now or hereafter hold his peace. | 1:14:18 | 1:14:21 | |
-'I'm speaking! I have plenty to say.' -EVERYONE GASPS | 1:14:21 | 1:14:25 | |
'Sir Victor, don't marry Pamela. She's in love with somebody else.' | 1:14:25 | 1:14:30 | |
Her name is not Pamela Drake. | 1:14:32 | 1:14:34 | |
'It's Millie Picotte, and she's a scullery maid.' | 1:14:34 | 1:14:38 | |
'She's just marrying you for your money.' | 1:14:38 | 1:14:42 | |
'Millie, tell them.' | 1:14:42 | 1:14:44 | |
Is that true, Pamela? | 1:14:44 | 1:14:47 | |
The name is Millie. | 1:14:47 | 1:14:49 | |
And it's very true. | 1:14:49 | 1:14:51 | |
MURMURING | 1:14:51 | 1:14:53 | |
That's all, folks. Now, will everyone scram? | 1:14:53 | 1:14:56 | |
Wedding gifts will be refunded at the front door. | 1:14:56 | 1:15:00 | |
-'Take care of it, Millie.' -OK, Michael! | 1:15:00 | 1:15:03 | |
EXCLAMATIONS FROM GUESTS | 1:15:08 | 1:15:10 | |
That's all, folks! | 1:15:10 | 1:15:13 | |
Just dandy! | 1:15:13 | 1:15:15 | |
PROTESTS AND QUESTIONS | 1:15:15 | 1:15:17 | |
I want you to know these are mine! | 1:15:22 | 1:15:25 | |
This is Mrs Morgan's... | 1:15:25 | 1:15:27 | |
This is mine. | 1:15:27 | 1:15:29 | |
Oh, all right, then. | 1:15:29 | 1:15:31 | |
This is Mrs Broughton's present... Oh, well. | 1:15:31 | 1:15:34 | |
Goodbye! You're invited to our next wedding. Hey! | 1:15:34 | 1:15:38 | |
What are you going to do, Mr Drake? | 1:16:03 | 1:16:06 | |
Do? I'm going to do Mr O'Brien. | 1:16:06 | 1:16:08 | |
I vote for that. Me, too! Come on. | 1:16:08 | 1:16:11 | |
Are we too late? | 1:16:11 | 1:16:13 | |
-Is it over? -Yes, it's all over. | 1:16:13 | 1:16:15 | |
Oh, hello, Sarah. | 1:16:15 | 1:16:17 | |
-COCKNEY ACCENT -Hello, Mill. How are you? | 1:16:17 | 1:16:20 | |
Much better now. Much better. | 1:16:20 | 1:16:23 | |
Sir Victor! | 1:16:23 | 1:16:25 | |
Did you know that this girl is not Pamela Drake? | 1:16:25 | 1:16:28 | |
We found out just in time. Please forgive... | 1:16:28 | 1:16:31 | |
-Why, hello, Joe! -Joe? Joe who? | 1:16:31 | 1:16:33 | |
Why, he's Joe Brown from Newcastle. | 1:16:33 | 1:16:36 | |
We used to walk out together when he was at the Royal Crown. | 1:16:36 | 1:16:40 | |
He's awful entertaining, if you know what I mean. | 1:16:40 | 1:16:44 | |
We know what you mean. | 1:16:44 | 1:16:46 | |
Mrs Keating, it can be explained. | 1:16:46 | 1:16:48 | |
Here he is! | 1:16:48 | 1:16:51 | |
Where? | 1:16:51 | 1:16:53 | |
A BARRAGE OF EXCLAMATIONS | 1:16:53 | 1:16:55 | |
Stop squawking. You haven't lost everything yet. | 1:16:55 | 1:16:59 | |
Boys, we're indebted to you for that lovely trip down the elevator. | 1:16:59 | 1:17:03 | |
Marty, does your biography say that the Drakes ran a secret tavern? | 1:17:03 | 1:17:08 | |
-Yes. -You were right. And about the harpsichord. | 1:17:08 | 1:17:12 | |
-< What are you dribbling about? -The swellest goon trap that ever caught a lush. | 1:17:12 | 1:17:18 | |
Oh, get a load of this place, Marty! | 1:17:20 | 1:17:22 | |
Oh, boy! Is this my house? | 1:17:22 | 1:17:24 | |
Look at that! | 1:17:24 | 1:17:26 | |
It's wonderful. | 1:17:26 | 1:17:29 | |
Boy! | 1:17:29 | 1:17:31 | |
-Are you saying these casks and bottles are all full?! -Full and fancy. | 1:17:31 | 1:17:36 | |
-The gag started here about wine, women and song. -Drakes are first in everything. | 1:17:36 | 1:17:42 | |
I bet the songs were terrific if played on this harpsichord. | 1:17:42 | 1:17:46 | |
Build a stairway to the street and you're in business. | 1:17:46 | 1:17:50 | |
-That banker friend of yours will finance it. -That's an idea! Votes? | 1:17:50 | 1:17:55 | |
Yea! Yea! | 1:17:55 | 1:17:57 | |
Yea! And I move we offer Mike our apologies. | 1:17:57 | 1:18:01 | |
Right. And a contract as general manager. | 1:18:01 | 1:18:04 | |
Well, thanks very much. | 1:18:04 | 1:18:06 | |
I accept the apology. | 1:18:06 | 1:18:08 | |
But er... | 1:18:08 | 1:18:10 | |
-I can't take the job, boss. -THEY PROTEST | 1:18:10 | 1:18:12 | |
-I'm getting out. -You're getting out? | 1:18:12 | 1:18:15 | |
Say goodbye to Millie for me. | 1:18:15 | 1:18:17 | |
-Make sure that she gets two full shares in this? -Two?! | 1:18:17 | 1:18:21 | |
Yeah. Hers and mine. | 1:18:21 | 1:18:23 | |
Where are you going? | 1:18:23 | 1:18:25 | |
A friend has offered me a small part in a big show. | 1:18:25 | 1:18:29 | |
Are you falling for that kid yourself? | 1:18:29 | 1:18:32 | |
So long, gang. | 1:18:32 | 1:18:34 | |
What will we do without Mike? | 1:18:34 | 1:18:36 | |
# We will rocket like a ball of fire | 1:18:36 | 1:18:38 | |
ALL: # Higher and higher and higher and higher! # | 1:18:38 | 1:18:42 | |
MUSIC PLAYS | 1:18:45 | 1:18:48 | |
RADIO ANNOUNCER: 'Good evening, ladies and gentlemen. | 1:18:48 | 1:18:52 | |
'Your entertainment is coming from Drake's Amsterdam Tavern, | 1:18:52 | 1:18:56 | |
'New York's most novel nightclub. | 1:18:56 | 1:18:59 | |
'Our guest star tonight is Frank Sinatra.' | 1:18:59 | 1:19:02 | |
MUSIC BEGINS | 1:19:02 | 1:19:04 | |
# I couldn't sleep a wink | 1:19:04 | 1:19:08 | |
# Last night... # | 1:19:08 | 1:19:10 | |
KNOCK AT DOOR | 1:19:10 | 1:19:12 | |
Mr O'Brien, these forwarding addresses are following you around. | 1:19:12 | 1:19:17 | |
-I've got a big following. -I like your act. -Thanks. | 1:19:17 | 1:19:21 | |
What?! | 1:19:21 | 1:19:23 | |
# Yes, I had to call you up... # | 1:19:29 | 1:19:31 | |
"Reception and dinner at Drake's Amsterdam Tavern. RSVP." | 1:19:31 | 1:19:35 | |
When's the next New York train? | 1:19:35 | 1:19:38 | |
-Ten o'clock. -See if you can get me on it. | 1:19:38 | 1:19:40 | |
-How about the show? -I'll take care of that. | 1:19:40 | 1:19:44 | |
# ..Last night. # | 1:19:44 | 1:19:47 | |
You'll sleep, brother. | 1:19:50 | 1:19:52 | |
# SOLEMN HARPSICHORD TUNE | 1:19:57 | 1:20:00 | |
# Once, in Manhattan | 1:20:07 | 1:20:11 | |
# In gay, old Manhattan | 1:20:11 | 1:20:16 | |
BOOGIE: # They used to try to hop and bop to the minuet in boogie | 1:20:17 | 1:20:21 | |
# It was quite a novelty | 1:20:21 | 1:20:23 | |
# It was a minuet in boogie | 1:20:23 | 1:20:25 | |
# Not the minuet in G | 1:20:25 | 1:20:28 | |
# Oh, what a jam there | 1:20:28 | 1:20:30 | |
# In old Amsterdam | 1:20:30 | 1:20:32 | |
# There was plenty of fun for everyone | 1:20:32 | 1:20:35 | |
# Peter Stuyvesant was jumping | 1:20:35 | 1:20:37 | |
# And they called him Solid Pete | 1:20:37 | 1:20:40 | |
# While his wilted leg was bumping | 1:20:40 | 1:20:42 | |
# To a boogie oogie woogie beat | 1:20:42 | 1:20:45 | |
# Father Knickerbocker, a-settin' in his rocker | 1:20:45 | 1:20:47 | |
# Pulled his knickerbockers up | 1:20:47 | 1:20:49 | |
# He started rocking, nearly split a stocking | 1:20:49 | 1:20:52 | |
# Feeling like a newborn pup | 1:20:52 | 1:20:54 | |
# Mrs Rumpermeyer nearly took a flier, and the population roared | 1:20:54 | 1:20:59 | |
# Papa was a miller, Junior was a killer | 1:20:59 | 1:21:01 | |
# Playing on the harpsichord | 1:21:01 | 1:21:04 | |
# Now in Manhattan | 1:21:04 | 1:21:06 | |
# While sippin' or chattin' | 1:21:06 | 1:21:09 | |
# The modern chicks still get their kicks | 1:21:09 | 1:21:11 | |
# When they listen to a straight beat | 1:21:11 | 1:21:13 | |
# A Basin Street quintet | 1:21:13 | 1:21:15 | |
# Play that old Dutch treat in eight-beat | 1:21:15 | 1:21:18 | |
# Boogie-woogie boogie-woogie boogie-woogie minuet | 1:21:18 | 1:21:23 | |
# Now in Manhattan | 1:21:28 | 1:21:30 | |
# While sippin' or chattin' | 1:21:30 | 1:21:32 | |
# I saw a boogie-woogie rhythm had 'em all a-scattin' | 1:21:32 | 1:21:35 | |
# To a one two three four five six seven eight beat | 1:21:35 | 1:21:39 | |
# Basin Street quintet | 1:21:39 | 1:21:41 | |
# That old Dutch treat with a straight beat | 1:21:41 | 1:21:44 | |
# Boogie-woogie | 1:21:44 | 1:21:46 | |
# Minuet! # | 1:21:46 | 1:21:48 | |
APPLAUSE | 1:21:50 | 1:21:52 | |
# I saw you first | 1:21:56 | 1:21:59 | |
# Nobody else is going to get you | 1:21:59 | 1:22:02 | |
# I saw you first | 1:22:02 | 1:22:05 | |
# Nobody else is going to pet you | 1:22:05 | 1:22:08 | |
# He used to sing to me... # | 1:22:08 | 1:22:12 | |
But that, my child, is past. | 1:22:12 | 1:22:14 | |
Oh, yeah? # Well, I saw him first | 1:22:14 | 1:22:16 | |
# But I've got him last | 1:22:16 | 1:22:23 | |
# This is a lovely way | 1:22:23 | 1:22:29 | |
# To spend an evening | 1:22:30 | 1:22:35 | |
# There isn't anything | 1:22:36 | 1:22:40 | |
# I'd rather do | 1:22:42 | 1:22:46 | |
# This is a lovely way | 1:22:47 | 1:22:52 | |
# To spend an evening | 1:22:53 | 1:22:58 | |
# There isn't anyone | 1:22:59 | 1:23:02 | |
# As lovely | 1:23:04 | 1:23:06 | |
# As you. # | 1:23:06 | 1:23:12 | |
-Mike O'Brien! -Hello, Whiffin. | 1:23:15 | 1:23:17 | |
Mike! | 1:23:19 | 1:23:21 | |
-Hiya. -Hello, O'Brien. | 1:23:21 | 1:23:23 | |
Hi, fellas. | 1:23:23 | 1:23:25 | |
-Mike! -Hello, Sandy. | 1:23:25 | 1:23:27 | |
-Hello, son. -Hiya, boss. | 1:23:27 | 1:23:29 | |
What are you doing here? | 1:23:29 | 1:23:32 | |
-Well, look who's here! -Hello, Oscar. | 1:23:32 | 1:23:35 | |
Welcome back! When did you get back? | 1:23:35 | 1:23:38 | |
Hiya, kids. | 1:23:38 | 1:23:40 | |
Hello, Mr O'Brien. Hiya, Mike. | 1:23:40 | 1:23:42 | |
-A fine guy! -What? -Millie hasn't got any dough so you marry another bankroll. | 1:23:42 | 1:23:47 | |
Don't be silly. I never intended to marry Millie. | 1:23:47 | 1:23:51 | |
-That's why I'm here. -That kid's never been in love with anybody | 1:23:51 | 1:23:56 | |
-except you. -Me? -Yeah. | 1:23:56 | 1:23:58 | |
-Are you kidding? -No. | 1:23:59 | 1:24:01 | |
Everybody knows that, including Mrs Drake. | 1:24:01 | 1:24:05 | |
< We've been looking for you for months. | 1:24:05 | 1:24:08 | |
-Sorry, Frank. Where is she? -In the scullery. | 1:24:08 | 1:24:11 | |
-The scullery? -Yes. | 1:24:11 | 1:24:13 | |
She's still got the lowest seniority. | 1:24:13 | 1:24:16 | |
-Michael! -Millie! | 1:24:24 | 1:24:26 | |
-What's the matter? -I heard that click. | 1:24:26 | 1:24:28 | |
Oh, you did, Michael? | 1:24:30 | 1:24:32 | |
But is your blood fizzing like ginger ale? | 1:24:32 | 1:24:35 | |
And you feel like you're walking on air? | 1:24:35 | 1:24:38 | |
Yes, and I heard that music. | 1:24:38 | 1:24:42 | |
-Are you going around? -Around with you. | 1:24:42 | 1:24:45 | |
For a long time. A very long time. | 1:24:45 | 1:24:48 | |
# The band had left the stand | 1:25:02 | 1:25:05 | |
# And we were in heaven | 1:25:05 | 1:25:09 | |
# Dancing on a cloud | 1:25:11 | 1:25:14 | |
# Way off in the blue | 1:25:14 | 1:25:18 | |
# The music stopped | 1:25:18 | 1:25:24 | |
# And people were glancing | 1:25:24 | 1:25:29 | |
# But we went on dancing | 1:25:29 | 1:25:33 | |
# For we didn't know | 1:25:34 | 1:25:38 | |
# Because | 1:25:38 | 1:25:41 | |
# The lights were low | 1:25:41 | 1:25:45 | |
# And we were in love. # | 1:25:47 | 1:25:56 | |
Subtitles by Red Bee Media Ltd | 1:26:01 | 1:26:06 |