WEBVTT

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You are bound to be entertained by some of the biggest names in show business.

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For the next hour and thirty minutes, this program will present in person such bright stars as...

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Faye Bolter,

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Jerry Cooper,

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Delta Ribbon Boys,

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Danny Kaye,

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Maxie Rosenblum,

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Rudy Vallee,

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Julie Wilson,

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Meredith Wilson,

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and my name darling is Tallulah Bankhead.

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The National Broadcasting Company presents...

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The Big Show!

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The Big Show!

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Ninety minutes with the most intimidating personalities in the entertainment world.

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Brought to you this Sunday and every Sunday at the same time as the Sunday feature of NBC's All-Star Festival.

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And here is your hostess,

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the glamorous,

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unpredictable,

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Tallulah Bankhead!

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Well darling,

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this is the one big show that I've been waiting for all season.

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Did you get a load of all those wonderful men NBC lined up for me?

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I got half of mine not to take the money this week.

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That's the half I'm sending to a psychoanalyst.

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Well I was the only woman on the show that at the last moment some smart addict booked in that gorgeous gal,

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Julie Wilson, to sing.

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Until then it was a wonderful week,

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rehearsing with all the divine men,

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holding hands,

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going out to dinner and holding hands,

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dancing with them and holding them all.

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Of course I expect my tech this week to be practically all withholding.

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But you know men,

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towards the end of the week they became almost unmanageable.

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Kissing and hugging and really acting scusstily.

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Honestly I don't see how that Julie Wilson can stand it.

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Men, they're all alike.

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Not me Miss Bankhead, I ain't alike.

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That's your Maxi Rosenblum.

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Now Maxi, you haven't forsaken me for Julie Wilson.

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I don't think so.

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What does forsaken mean?

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Well I mean you haven't given me up for Julie.

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Ah, no. I don't go out of my class.

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You're more my weight.

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Look Rosenblum,

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don't start any fights with me.

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Oh by the way, how many fights have you had in your career?

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418.

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Any of them with men?

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Yeah, some of them.

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Well I've been on this program only 12 weeks,

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and believe me darling, I've had more fights than that.

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Well you ain't gonna fight with me. I'm not fighting no more.

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Well now that you're out of the fight game Maxi,

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what are you doing with yourself?

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Well I have been playing night club.

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I've just been down at Baltimore.

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Oh I'd go over very big with them Baltimore aunts.

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Well what do you do to divert your cafe clear and clear?

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What?

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Well Maxi, I know that you'll pardon me and I mean no offense,

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but I noticed that you talk rather peculiarly.

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I mean, did you ever get hit hard in the nose at the boxing ground?

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Yeah that's right. It's still up there.

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Well darling, I would have given anything to have seen you in one of your fights.

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What was your best punch Maxi?

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Well I used to have a left jab and a right hook.

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I used to call it my Sunday punch.

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Oh, did you win many fights with your Sunday punch?

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They never let me fight on Sunday.

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Well of course not darling, that's my night.

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But tell me Maxi, I'm a little confused.

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Now are you the one who was involved with that long count in Chicago?

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No, but once I was mixed up with a short countess in Detroit.

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Ah, a romance Maxi?

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No, I boxed her.

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Well the fight game must be pretty tough in spite of the big money you can make.

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Yeah and it's worse today.

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Today prices are so high, years ago you could get a piece of steak for 20 cents

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and put it on one eye.

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And get another piece of steak for the other eye for 20 cents.

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And that's how you got your 2020 vision?

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What?

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Maxi, why do you keep saying what all the time?

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Listen Tallulah, when I get a hole of a one syllable word, I really use it.

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I'll throw the call in for the moment Maxi.

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I'll see you later darling, but right now I might as well get this over with.

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Ladies and gentlemen, as much as I hate to admit it,

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one of the most beautiful and talented song stylists who will sing

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For Every Man There's a Woman, Miss Julie Wilson,

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accompanied by Meredith Wilson and his...

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Judith?

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Julie Wilson and my...oh.

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Oh that's how she got on this show.

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Thanks, sister, thanks.

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For Every Man There's a Woman

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For Every Life There's a Plan

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For Every Life There's a Plan

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For Every Man There's a Woman

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For Every Life There's a Plan

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And wise men know it was ever so

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Since the world began

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Woman was made for man

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Where is he? Where is he?

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Love for me

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For every prince there's a princess

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For every jow there's a jow

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And if you wait you will meet the maid

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Who'll run for you alone

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Happy to be your own

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Where is he? Where is he?

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Love for me

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Find the one, find the one

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Then together you will find the sun

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For every heart there's a moment

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For every hand a glove

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And for every woman a man's love

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Find the one, find the one

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Then together you will find the sun

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For every heart there's a moment

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For every hand a glove

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And for every woman a man's love

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Where is he? Where can my lover

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be?

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Well, Julie, that was a beautiful song

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and you sang it beautifully

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and you must come and see us again some year.

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Now, ladies and gentlemen.

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Oh, just a minute, Tallulah.

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If you don't mind, I have a date with somebody

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and I'd like to wait until he's finished with his part of the show.

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Well, darling, why don't you go home

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and I'll have him telephone you after the show.

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Which one is it?

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Rudy Vallee.

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All right, I'll have him megaphone you.

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Now, why don't you get into the rest of that dress

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and go on home, darling.

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There's only room on this show for one glamorous woman.

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Yes, I know. So I'll wait.

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Now, look, Julie, it is quite obvious

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that the only reason you're on this show

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is because you happen to be related to Meredith Wilson.

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But we're not related.

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Meredith spells Wilson with two Ls.

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I spell my name with one L.

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Well, you got the L out of that once.

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Why don't you do it again?

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I've been looking for you, Miss Wilson.

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I hope I haven't kept you waiting.

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Oh, Rudy Vallee.

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Oh, Rudy, it's so nice to see you again, darling.

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Excuse me, madam. Miss Wilson.

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As per our telephone conversation,

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Saturday, January 27th, when I called you

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person to person, evening rave,

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from the Sheraton Biltmore Hotel in Providence, Rhode Island,

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where I'm currently appearing,

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this is to confirm our dinner engagement for this evening.

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New paragraph.

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May I recommend several restaurants

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for your consideration?

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The Hollywood Brown Derby,

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the McFadden-Doleville, Miami Beach,

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or if you prefer some place closer, Childs.

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Charge of one, no substitution.

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Childs. Why Childs?

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Why not Childs?

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I've been eating in Childs for a long time.

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I'm a man of habit.

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When I find something that pleases me, I stick with it.

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I've been with the same barbers for 15 years.

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I've been with the same tailor for 21 years.

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As far as restaurants go, for the past 18 years,

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I've been with Childs.

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Congratulations.

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Have a cigar.

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Well, all right, Rudy.

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Any place you say is all right with me.

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Obviously.

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Look, sporty.

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What happened to that dinner engagement we had for tonight?

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We had no dinner engagement, Miss Bankhead.

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Well, obviously you didn't read your contract.

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If you will hold your contract up

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back at Claw's seven.

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I never see the contracts. My lawyers take care of that.

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Applebee, Cranshaw, Bates, and Walsh.

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If you care to have dinner with them, you...

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Charge of one again, huh?

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What's the matter, Tallulah?

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This guy making trouble for you?

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We had a dinner engagement, Massey.

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Now he's suddenly decided to take out Julie.

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Oh, yeah? Listen, you can't do that to Tallulah.

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I'll tear you apart. I'll beat the brains out.

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If I had any.

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I'll tear you to pieces and don't think I can't do it.

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Stop shaking your fist at me.

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I didn't do anything. It's Rudy Valley.

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Oh, excuse me.

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I'm the culprit.

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What?

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Culprit, that's what.

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And I'd advise you not to engage in fisticuffs.

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While in college, I was boxing champion of the campus.

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Yeah, I've been on the campus myself.

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But if you're gonna break the thing with Tallulah,

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you gotta fight me.

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That a boy, champ.

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Isn't this wonderful two men fighting over me?

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I warn you, sir, if you insist upon this vulgar display of brute strength,

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I shall defend myself to the last ditch.

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I shall give two for every one I receive.

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I shall fight valiantly without compassion.

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Even though I shall be destroyed and drowned to ashes like Phoenix,

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I shall arise from these ashes for all to see the truth,

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so crushed to earth will rise again.

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Hey, what are you doing?

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Fighting me or acting me?

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That's telling him, champ.

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Now let's get the fight started.

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We shall fight Marcus of Queensbury.

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Two of us against one day?

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Eh, that sounds fair.

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Very well, here we go. Defend yourself.

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Don't worry about me. I'll take care of myself.

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You just take care of yourself.

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I can take care of myself.

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Well, I can take care of myself.

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I can take care of myself as well as you can take care of yourself.

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Well, just so you'll take care of yourself.

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I'll take care of myself.

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Okay, take care of yourself. I'll be seeing you.

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Look, Dove. Feel, Dove.

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And that certainly was the jolly fight I ever saw.

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I'm sorry I lost my temper, Tallulah.

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When aroused, I'm like some magnificent savage jungle beast.

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Well, music has charms, they say.

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So how about soothing yourself with some music, darling?

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Yes, I'd like to sing a song with lyrics by Milton Berle.

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You took me out of this world when you took me in your arms.

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Well, soothe yourself.

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You took me out of this world when you came into my heart.

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You took me out of this world into a world of ours

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where every dream we share has a way of coming true.

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But darling, this couldn't be had it not been for you.

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You took me up on a cloud where I could touch every star.

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You took me out of the cloud in the sand without

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I'm feeding off the land of love that's bounded by your charm.

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You took me out of this world when you took me in your arms.

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I'm feeding off the land of love that's bounded by your charm.

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You took me out of this world when you took me in your arms.

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Rudy darling, you certainly stirred up fond memories.

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I was listening to that beautiful familiar voice of yours.

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Now, Tallulah, I'll take it from anybody else.

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But don't tell me that you heard me sing as a little girl.

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Oh, did you sing as a little girl, darling?

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Oh, well you must tell me about that sometime.

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But you know what I was thinking as I listened to you sing just now?

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I was thinking this is the man who practically started radio.

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That's strange. I was thinking this is the woman who's finishing it off.

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Being the actress I am, I continue quite carefully.

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Rudy, I was thinking of those days in radio when everything was new and exciting

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and how you played such a big part in making it so.

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You don't know it, darling, but I was really one of your most ardent fans.

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When you left radio and the time was on, everything seemed to have gone flat.

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I miss them all cheering and saying,

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My time is your time. Your time is my time.

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Yes, time has certainly gone flat.

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I don't think I missed a single program you ever did, Rudy.

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Thank you, and I don't think I missed a single play you ever did, Tallulah.

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And I followed your career avidly for years.

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Thank you, and I followed your career avidly for years.

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And here you are today, just as youthful and handsome as ever.

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Thank you, and I don't think I missed a single play you ever did.

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Oh, Silk Valley, why don't you get lost?

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Go on television, for instance.

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As a matter of fact, I've been thinking that television might be pretty good for my talent.

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Yes, I suppose so, if your talent happens to be wrestling.

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All I've ever seen on television is wrestling and more wrestling.

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Now, that's not fitter, at least not the theater I knew when I first came to New York.

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Darling, darling, did I ever tell you about the first day I came to New York to go on the stage?

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Yes.

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It was a warm summer day. I remember it was a Monday.

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I decided I was going to conquer Broadway if it took me the whole day.

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I was 16 years old, darling. And that was the very first year I was 16.

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Oh, what a lovely age, 16 years. There I was, fresh from a little town in Alabama

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and really pretty nervous about the whole thing.

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Well, I walked into the producer's office and was stopped cold by his secretary.

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Hello, sugar. I'd like to see Mr. Bradley.

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You know, just a friendly visit. And then, sugar, he was busy today auditioning for a play.

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Who else would I have to tell you?

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You know what, sugar? While I'm here being friendly, I might as well audition to play myself.

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Tomorrow? Well, why don't I come back tomorrow?

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No, I haven't got a sore throat today.

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Now, you just tell Mr. Bradley I'm here, will you, sugar?

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My name? Tudu the Bankhead.

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What do you mean, is that the best I can make up?

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Now, look here. Down where I come from, the name Bankhead is respected and revered.

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While we Bankheads fought in the war between the states,

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the history of the South is filled with the deeds of the Bankhead.

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But, yes, I know the war is over, but you don't have to take it out on me just because we won.

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And don't think you can just sit there and talk to me just because you keep calling me darling.

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Oh, you do? To everybody? Well, now that sounds real nice.

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It's a fuddy, ain't it?

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Now, you just tell Mr. Bradley I'm here. Now, you just tell him sugar is here.

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He'll remember. No, not Miss Sugar.

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Honestly, you northerners, too, who talk crazy.

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Now, you just pick up that phone, honey, and you just tell him I want to see him.

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And no, I did not say I fought in the Civil War.

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It was the war between the states. And I did not fight in that fight either.

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Now, don't you freak talk to me with that darling.

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I'm going in there myself, and don't you try and stop me, darling.

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Darling, that I never hurt so many darlings that sit in the north and curse me.

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Why, hello, Mr. Bradley, darling.

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Well, I told you you'd remember me, darling.

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Don't you remember you were in Alabama, Montgomery, darling?

19:22.000 --> 19:25.000
I came backstage to see you and we talked about my going to the theater,

19:25.000 --> 19:28.000
and you're the beautiful South and Robert E. Lee.

19:28.000 --> 19:31.000
No, I am not Robert Montgomery.

19:31.000 --> 19:35.000
Well, darling, I just thought I'd drop in and audition for your play, sugar.

19:35.000 --> 19:39.000
I mean, darling, experience.

19:39.000 --> 19:42.000
What do you mean by that crap?

19:42.000 --> 19:45.000
Oh, have I been on stage before?

19:45.000 --> 19:52.000
Well, not exactly on the stage, darling.

19:52.000 --> 19:56.000
I'm quite active in the little place you put on for charity down south.

19:56.000 --> 20:00.000
Well, I've always been in charge of selling tickets in the boos.

20:00.000 --> 20:02.000
Well, I've always wanted to be in the place,

20:02.000 --> 20:07.000
but the girl said I made such a nice appearance in the boos.

20:07.000 --> 20:12.000
No, I did not say that I appeared with boobs.

20:12.000 --> 20:14.000
Now, you don't care, Mr. Bradley.

20:14.000 --> 20:19.000
Now, listen, honey, I think it'd be real cozy if you took a personal interest in middle-old me.

20:19.000 --> 20:23.000
Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no.

20:23.000 --> 20:24.000
Oh, I'm just kidding.

20:24.000 --> 20:29.000
I just think you're just a man to please, Mr. Bradley.

20:29.000 --> 20:32.000
I know, Mr. Bradley, you misunderstood.

20:32.000 --> 20:35.000
Mr. Bradley.

20:35.000 --> 20:38.000
You're hurting my arms.

20:38.000 --> 20:40.000
Oh, now let go.

20:40.000 --> 20:42.000
Now, one of us is gonna get hurt.

20:42.000 --> 20:45.000
Now, Mr. Bradley, I'm warning you.

20:45.000 --> 20:48.000
Take your sweaty paws off me.

20:48.000 --> 20:52.000
Oh, I'm sorry, Mr. Bradley, did I hurt you, darling?

20:52.000 --> 20:57.000
Well, no, I would not be interested in making it too far out of frame.

20:57.000 --> 21:10.000
Well, Kahlula.

21:10.000 --> 21:11.000
Yes, darling?

21:11.000 --> 21:13.000
I see you're still wrestling with show business.

21:13.000 --> 21:21.000
Arre, bolga, my darling.

21:21.000 --> 21:25.000
Ladies and gentlemen, you are now in for a real treat.

21:25.000 --> 21:30.000
Here beside me now is Broadway's most sensational dancing comedian.

21:30.000 --> 21:32.000
Over the past three years, he's danced,

21:32.000 --> 21:36.000
done and clowned his way into the hearts of every New Yorker who has seen Square Charlie.

21:36.000 --> 21:38.000
Opening again at the Broadway Theater.

21:38.000 --> 21:40.000
Opening again at the Broadway Theater.

21:40.000 --> 21:42.000
Fifty-third and Broadway.

21:42.000 --> 21:44.000
Fifty-third and Broadway.

21:44.000 --> 21:46.000
Tomorrow night to 29th of January.

21:46.000 --> 21:49.000
Tomorrow night to 29th of January.

21:49.000 --> 21:52.000
And I personally am buying 50 tickets for the opening.

21:52.000 --> 21:56.000
Then I personally am getting in on the part.

21:56.000 --> 21:58.000
After commercial like that, I should.

21:58.000 --> 22:00.000
You can be my guest, Kahlula.

22:00.000 --> 22:03.000
Thanks for the use of your microphone to plug where's Charlie.

22:03.000 --> 22:06.000
And good night, darling.

22:06.000 --> 22:07.000
Oh, no, you don't, Ray.

22:07.000 --> 22:08.000
Now, you're not getting off that easily.

22:08.000 --> 22:10.000
We have a lot for you to do on the show,

22:10.000 --> 22:15.000
but the first thing I want you to do is that wonderful song Amy.

22:15.000 --> 22:18.000
Will you ask the audience to sing along with you?

22:18.000 --> 22:20.000
Well, I never ask the audience to sing.

22:20.000 --> 22:22.000
You see, they love Amy as much as I do.

22:22.000 --> 22:24.000
That's why they sing.

22:24.000 --> 22:26.000
Do you think your audience will sing along with me?

22:26.000 --> 22:28.000
Oh, will they sing?

22:28.000 --> 22:30.000
They've been listening to me sing for 12 weeks.

22:30.000 --> 22:32.000
They're dying to get back at me.

22:32.000 --> 22:36.000
Ladies and gentlemen, the one and only Ray Bowser

22:36.000 --> 22:40.000
and once in love with Amy.

22:40.000 --> 23:06.000
Once in love with Amy, always in love with Amy.

23:06.000 --> 23:15.000
Fascinated by her, set your heart on fire, she said.

23:15.000 --> 23:27.000
Once you kissed my aim, tear up your lips, he said.

23:27.000 --> 23:34.000
Fly her with bonbons, poetry, and flowers.

23:34.000 --> 23:40.000
Moon a million hours away.

23:40.000 --> 23:46.000
You might be quite the pickle-hearted rover.

23:46.000 --> 23:54.000
So came Pink and Boat, who loved the girl and later

23:54.000 --> 24:04.000
think they're all over, then just quit.

24:04.000 --> 24:11.000
Come on, I want you out with Amy.

24:11.000 --> 24:17.000
Always in love with Amy.

24:17.000 --> 24:29.000
And ever sweetly romantic, trouble is the answer will be.

24:29.000 --> 24:36.000
Amy'd rather stay in love with me.

24:36.000 --> 24:41.000
Oh, I want you out with Amy.

24:41.000 --> 24:47.000
Oh, I'm so happy.

24:47.000 --> 24:49.000
I want everybody to sing with me.

24:49.000 --> 24:53.000
Meredith, once you're kissed by Amy, tear up your lips,

24:53.000 --> 24:54.000
says Amy.

24:54.000 --> 24:57.000
Fly her with bonbons, poetry, and flowers.

24:57.000 --> 24:59.000
Moon a million hours away.

24:59.000 --> 25:05.000
Once you're kissed by Amy, tear up your lips,

25:05.000 --> 25:06.000
says Amy.

25:06.000 --> 25:11.000
Fly her with bonbons, poetry, and flowers.

25:11.000 --> 25:16.000
Fly her with bonbons, poetry, and flowers.

25:16.000 --> 25:21.000
Moon a million hours away.

25:21.000 --> 25:29.000
You might be quite the pickle-hearted rover.

25:29.000 --> 25:34.000
So came Pink and Boat.

25:34.000 --> 25:41.000
Who loved the girl and later think they're all over,

25:41.000 --> 25:45.000
then just quit.

25:45.000 --> 25:48.000
Come on, everybody sing.

25:48.000 --> 25:52.000
Once in love with Amy.

25:52.000 --> 25:54.000
Always in love with Amy.

25:54.000 --> 25:58.000
Always in love with Amy.

25:58.000 --> 26:04.000
Ever and ever sweetly you'll romance her.

26:04.000 --> 26:06.000
Sweetly you'll romance her.

26:06.000 --> 26:08.000
Trouble is the answer will be.

26:08.000 --> 26:12.000
Trouble is the answer will be.

26:12.000 --> 26:13.000
Ha ha ha ha.

26:13.000 --> 26:17.000
He's had it out of say.

26:17.000 --> 26:21.000
In love with me.

26:21.000 --> 26:24.000
Ha ha ha ha.

26:24.000 --> 26:39.000
Ha ha ha ha.

26:39.000 --> 26:54.000
Ring ding dong dong, my little heart goes boom when I hear this melody play.

26:54.000 --> 27:00.000
Ring ding dong dong, a little tip of tune, who cares what the words may be saying.

27:00.000 --> 27:07.000
Ring ding dong dong, you'll hear it once and soon, you'll find that your heart begins to fling.

27:07.000 --> 27:14.000
It's more than a wall, more after it holds, it lingers with you night and day.

27:14.000 --> 27:21.000
And this song it might just come on, you'll find, ding ding and zoom zoom away.

27:21.000 --> 27:28.000
Ding ding ding, zoom zoom zoom, ding ding ding, zoom zoom, we'll sing, we'll zoom, we'll fill the room with the

27:28.000 --> 27:32.000
ding ding and a zoom zoom and a sing hum and a song.

27:32.000 --> 27:38.000
Ding ding ding, zoom zoom, my little heart goes boom when I hear this melody play.

27:38.000 --> 27:45.000
Ding ding ding, zoom zoom, ding ding ding, you'll hear what the words may be saying.

27:45.000 --> 27:53.000
Ding ding dong dong, you'll hear it once and soon, you'll find that your heart begins to fling.

27:53.000 --> 28:00.000
And ladies you can get home and you can go to your master for a little dance.

28:00.000 --> 28:07.000
And this song it might just come on, you'll find that this thing has some grossly joy.

28:07.000 --> 28:18.000
That was Meredith Wilson and his orchestra, and we'll be back in a moment just as soon as I ring my time.

28:18.000 --> 28:40.000
This is NBC, the National Broadcasting Company.

28:40.000 --> 28:49.000
The big show. This is the National Broadcasting Company Sunday Extravaganza with the most intimidating personalities in show business.

28:49.000 --> 28:58.000
The big show. The Sunday night feature of NBC's All Star Festival is brought to you by RCA Victor, world leader in radio,

28:58.000 --> 29:04.000
first in recorded music, first in television, and by the makers of Anison for fast relief from the pain of headaches,

29:04.000 --> 29:12.000
urethanas, and uralgia. The big stars of this program are Ray Bolger, Gary Cooper, Danny Kaye, the Delta Rhythm Boys,

29:12.000 --> 29:18.000
Maxi Rosenblum, Rudy Valli, Julie Wilson, Meredith Wilson, and the big show orchestra and chorus.

29:18.000 --> 29:25.000
And every week, your hostess, the glamorous, unpredictable, Deluna Bankhead.

29:25.000 --> 29:45.000
Well, darling, I want to say a first thank you for the wonderful thousands of letters you've been writing.

29:45.000 --> 29:50.000
I thank you, and especially my maid thank you, because of the wonderful mail you've been sending,

29:50.000 --> 29:56.000
she doesn't have to write all those fan letters to me anymore. Well, in recent weeks, the mail has been particularly big,

29:56.000 --> 30:04.000
but NBC has never let me see any of it, so I sent them a very short note saying that I'd like to see some of that big mail.

30:04.000 --> 30:10.000
Well, this week, they sent me some of the biggest mail you ever saw.

30:10.000 --> 30:17.000
Gary Cooper, Maxi Rosenblum, Rudy Valli, Ray Bolger, the Delta Rhythm Boys, and Danny Kaye.

30:17.000 --> 30:30.000
I mention Danny Kaye last because I want to introduce him first. Danny Kaye!

30:30.000 --> 30:35.000
Well, Danny, darling, let's get it over with. I suppose you come on the show to plug something you're going to do,

30:35.000 --> 30:39.000
a picture, a show, whatever it is. Let's get it over with right away.

30:39.000 --> 30:43.000
Oh, no, no, no, not me, Deluna. I'm not plugging anything. I'm here on a two-week quiet vacation.

30:43.000 --> 30:50.000
Oh, no, darling, that's nice of you, but where are you spending your quiet vacation in New York?

30:50.000 --> 30:56.000
On the stage of the Roxy Theatre, four shows a day, starting this Wednesday.

30:56.000 --> 31:02.000
My pretty country around the Roxy. And I'm sure things will be very quiet while you're there.

31:02.000 --> 31:05.000
Well, if they're not, I can always come here and sleep Sunday nights.

31:05.000 --> 31:07.000
Dear Lord, have mercy, please.

31:07.000 --> 31:12.000
You know, your audience here is so well-behaved, Toulouse. At the Roxy, you know, they keep moving around all the time.

31:12.000 --> 31:15.000
Kids wandering up and down the aisle are always...

31:15.000 --> 31:18.000
I asked one of those little kids one day, I said, Hey, Sonny, where are you going?

31:18.000 --> 31:20.000
Never mind where the kid was going.

31:20.000 --> 31:22.000
And he told me.

31:22.000 --> 31:27.000
Ah, you're at the living, Danny. Now, where are you going after you finish at that...

31:27.000 --> 31:29.000
Club, dear, dear. I'm going back to England.

31:29.000 --> 31:31.000
London, Danny.

31:31.000 --> 31:33.000
Naturally.

31:33.000 --> 31:39.000
But I shan't be able to go until my New York tailor finishes some suits for me, you see.

31:39.000 --> 31:43.000
Do you have an appointment with my tailor in London before I open at the playroom over there?

31:43.000 --> 31:46.000
But I don't understand, Danny. Why do you have a suit made here?

31:46.000 --> 31:48.000
You haven't made an eno's, my dear.

31:48.000 --> 31:50.000
Good heavens, are you serious?

31:52.000 --> 31:54.000
I say, that's rather ridiculous at the moment.

31:54.000 --> 32:00.000
I couldn't possibly walk into my tailor's in London looking as though I needed a new suit.

32:00.000 --> 32:02.000
I know exactly what you mean, darling.

32:02.000 --> 32:06.000
It's a matter of, I always clean my apartment before the maid comes in to clean up.

32:06.000 --> 32:10.000
Oh, that's a frightfully good witticism.

32:10.000 --> 32:14.000
You see, this is rather jolly stout girls.

32:14.000 --> 32:16.000
Watch it, Butcher.

32:18.000 --> 32:20.000
Well, I'm terribly sorry, old girl.

32:20.000 --> 32:22.000
And watch that too.

32:22.000 --> 32:25.000
I beg your pardon, so sorry, old boy.

32:25.000 --> 32:28.000
Lost my head, you know, carried away and all that sort of thing.

32:28.000 --> 32:31.000
Deeply sorry. I'm very desperately sorry. Carry on, my dear.

32:31.000 --> 32:33.000
No, thank you. Now, Danny, tell me.

32:33.000 --> 32:36.000
I say, oh, oh, oh, oh.

32:36.000 --> 32:40.000
Oh, oh, sorry. I had a little left early, you know.

32:40.000 --> 32:44.000
Sense of humor always gets the best of me. What?

32:44.000 --> 32:46.000
Yeah, Danny, that's a wonderful image, actually.

32:46.000 --> 32:49.000
Especially good for a boy who was born and raised right here in New York.

32:49.000 --> 32:52.000
Watch your language, cute thing.

32:52.000 --> 32:54.000
Why are you in New York? It's Brooklyn.

32:54.000 --> 32:56.000
Oh, you come from Brooklyn?

32:56.000 --> 33:01.000
Well, I come from Brooklyn, born on the corner of Abraham and Seville.

33:01.000 --> 33:04.440
Do you know Brooklyn?

33:04.440 --> 33:06.040
Bushwicky Avenue?

33:06.040 --> 33:07.800
DeKalb Avenue?

33:07.800 --> 33:08.800
Brighton Beach?

33:09.740 --> 33:11.040
You ever been to Brooklyn?

33:12.080 --> 33:15.240
Well, I've been thinking of getting up a safari any day now.

33:15.240 --> 33:20.520
What kind of safari?

33:20.520 --> 33:21.880
Why don't you take a subway?

33:23.220 --> 33:24.460
I would rather drive.

33:26.120 --> 33:28.220
What kind of drive?

33:28.220 --> 33:30.520
You take the IRT or the BMC?

33:30.520 --> 33:32.000
I'd rather take DTG.

33:32.000 --> 33:34.900
Oh, a wise guy, huh?

33:34.900 --> 33:36.840
So don't come to Brooklyn, who needs you?

33:38.000 --> 33:39.840
We got ever steal home of the Dodgers

33:39.840 --> 33:41.740
where Bankhead is the name of a pitcher.

33:41.740 --> 33:46.740
All right, Danny, let's get out of Brooklyn

33:46.740 --> 33:47.980
and back to the Dodge.

33:47.980 --> 33:49.680
Ha ha ha ha ha.

33:49.680 --> 33:50.880
Flip that in.

33:50.880 --> 33:52.880
While you were in England, did you stay in London

33:52.880 --> 33:54.720
or did you visit the continent too?

33:54.720 --> 33:57.220
Oh, je les parle en sauteur, les plaies en fleurs.

33:57.220 --> 33:58.920
Oh, how nice.

33:58.920 --> 34:00.660
Did you visit Spain?

34:00.660 --> 34:05.260
No, no, no, no, that is not Spain.

34:05.260 --> 34:09.700
It is La Belle France, Paris, Guy Paris.

34:09.700 --> 34:11.840
I've met so many of my French friends

34:11.840 --> 34:15.300
who I have known for love for so many years.

34:15.300 --> 34:20.400
Jean Sablon, Jean Gabin, Georges Carpentier,

34:20.400 --> 34:25.420
Lucien Boyet, Charles Trenet, and Sugar Ray Robinson.

34:25.420 --> 34:30.420
And my very good friend, Maurice Chevalier.

34:30.420 --> 34:32.420
Oh, yes, yes, Maurice.

34:32.420 --> 34:33.920
How is Maurice?

34:33.920 --> 34:36.420
Keeping us kiffed for lower lifts, I suppose.

34:36.420 --> 34:37.920
Oh, he's doing very well.

34:37.920 --> 34:39.420
I hear from him quite often.

34:39.420 --> 34:42.160
He sends me long letters in French.

34:42.160 --> 34:44.440
I would be much happier with a postcard.

34:44.440 --> 34:51.940
But while I was there, I sang for him a song,

34:51.940 --> 34:53.440
a song called Enver Rubiere,

34:53.440 --> 34:56.380
which is from my new 20th Century Fox,

34:56.380 --> 34:58.880
technical, a picture of the same name.

34:58.880 --> 35:01.380
Look.

35:01.380 --> 35:03.380
But I would like to sing it for you.

35:03.380 --> 35:04.380
May I?

35:04.380 --> 35:05.380
Eh, oui.

35:05.380 --> 35:08.380
No, no, I will sing it myself.

35:08.380 --> 35:11.400
I have heard you sing before, Monsieur.

35:11.400 --> 35:12.400
Eh, eh.

35:12.400 --> 35:15.400
Oh, it's good.

35:15.400 --> 35:21.400
Chef d'orchestre, donnez-moi un downbeat, Sylvia, please.

35:21.400 --> 35:28.400
If you look, you see the people from Paris playing on the Riviera.

35:28.400 --> 35:35.420
When there's ice and snow, it's nice to need to go where the moon, clair de lune, is clearer.

35:35.420 --> 35:42.420
All the girls are gay, and they parle français anytime, anyplace, anyway.

35:42.420 --> 35:49.420
If you want another kiss, but you don't think that you should on the Riviera, oh, you would.

35:49.420 --> 35:57.440
If you're just out to bust out and see what life can give the place to live, here's the Riviera.

35:57.440 --> 36:02.440
You know, I remember when I was a little boy, my father always told me the best place to go.

36:02.440 --> 36:03.440
Riviera.

36:03.440 --> 36:04.440
Yes.

36:04.440 --> 36:09.440
Well, I remember I was no more than five years old, and he said to me, really, André,

36:09.440 --> 36:17.460
one time we all the girls are gay, and they parle français anytime, anyplace, anyway.

36:17.460 --> 36:24.460
If today you have a million and tomorrow you broke on the Riviera, oh, did you?

36:24.460 --> 36:31.460
If you're just out to bust out and see what life can give the place to live, here's the Riviera.

36:31.460 --> 36:59.480
Riviera, Riviera, Riviera, Riviera, Riviera, here's the Riviera.

36:59.480 --> 37:01.180
Here's a word from RCA Victor.

37:01.180 --> 37:03.080
For you people who are buying television now,

37:03.080 --> 37:04.580
that word is combination.

37:04.580 --> 37:06.440
Yes, an RCA Victor combination,

37:06.440 --> 37:08.320
which brings you AM and FM radio,

37:08.320 --> 37:10.160
recorded music in all three speeds,

37:10.160 --> 37:13.160
and famous RCA Victor million proof television.

37:13.160 --> 37:15.520
Now you can have all these in one beautiful cabinet

37:15.520 --> 37:17.320
for one beautiful price.

37:17.320 --> 37:19.460
Ask your RCA Victor dealer to introduce you

37:19.460 --> 37:22.900
to the kingly RCA Victor combination, the Rutland.

37:22.900 --> 37:24.440
With its doors closed,

37:24.440 --> 37:26.400
the Rutland looks like a furniture masterpiece,

37:26.400 --> 37:28.200
straight out of the 18th century.

37:28.200 --> 37:31.040
With its doors open, it is like an electronic masterpiece,

37:31.040 --> 37:33.040
straight out of the 21st century.

37:33.040 --> 37:35.280
So superb are its RCA Victor features.

37:35.280 --> 37:38.180
AM and FM radio, two automatic record changers,

37:38.180 --> 37:39.780
play all record speeds,

37:39.780 --> 37:42.380
and exciting RCA Victor million proof television,

37:42.380 --> 37:44.860
proved in well over a million American homes.

37:44.860 --> 37:46.720
Yet all these great instruments combined

37:46.720 --> 37:48.360
actually cost you much less

37:48.360 --> 37:51.560
than comparable console instruments would cost separately.

37:51.560 --> 37:54.600
Yes, with an RCA Victor Rutland, wonders never cease.

37:54.600 --> 37:58.060
But go on, pouring out show after show, record after record,

37:58.060 --> 38:01.440
not just for one person, but for the whole family.

38:01.440 --> 38:05.180
["The Star-Spangled Banner"]

38:12.980 --> 38:16.420
It is now time, darling, for us to pay our respects

38:16.420 --> 38:18.980
to that very tall, very handsome,

38:18.980 --> 38:21.220
very distinguished caller from the West,

38:21.220 --> 38:22.620
Mr. Gary Cooper.

38:22.620 --> 38:28.120
["The Star-Spangled Banner"]

38:33.640 --> 38:36.640
Gary and I are privileged to play for you tonight

38:36.640 --> 38:37.900
on the big show,

38:37.900 --> 38:40.880
some scenes from an enduring American classic,

38:40.880 --> 38:43.180
Ernest Hemingway's famed novel,

38:43.180 --> 38:44.840
Farewell to Arms.

38:44.840 --> 38:52.860
["Farewell to Arms"]

39:04.500 --> 39:08.040
Farewell to Arms is the story of another time,

39:08.040 --> 39:10.780
of another world conflagration,

39:10.780 --> 39:14.200
of two people who meet, who love,

39:14.200 --> 39:16.380
and who lose their war.

39:16.380 --> 39:18.680
This is the story of Frederick Henry,

39:18.680 --> 39:22.220
an American ambulance driver attached to the Italian army,

39:22.220 --> 39:24.960
and Catherine Barkley, an English nurse.

39:24.960 --> 39:28.360
Our story opens in a place where it ends,

39:28.360 --> 39:30.100
a cafe,

39:30.100 --> 39:32.420
Lausanne, Switzerland,

39:32.420 --> 39:33.720
fall,

39:33.720 --> 39:35.460
1918.

39:35.460 --> 39:39.460
["Farewell to Arms"]

39:39.460 --> 39:41.960
Yes.

39:41.960 --> 39:45.000
Monsieur, you think he would have the Italian wine?

39:45.000 --> 39:46.360
Huh?

39:46.360 --> 39:48.260
Yes, yes.

39:48.260 --> 39:51.700
Chianti, all we have, but a good vintage, Monsieur.

39:51.700 --> 39:53.040
Just leave it.

39:53.040 --> 39:54.240
Yes.

39:54.240 --> 39:55.900
You are very wet.

39:55.900 --> 39:57.680
Shall I hang up your coat?

39:57.680 --> 39:58.840
No.

39:58.840 --> 40:00.880
Perhaps a little cheese with the wine?

40:00.880 --> 40:03.380
No, nothing.

40:03.380 --> 40:05.020
An unseasonable storm,

40:05.020 --> 40:07.380
but the rain will surely turn to snow.

40:07.380 --> 40:10.220
What do you think to hear thunder this late in the season?

40:10.220 --> 40:11.860
Thunder?

40:11.860 --> 40:13.460
I thought it was gunfire.

40:13.460 --> 40:15.620
Oh, well, Monsieur knows.

40:15.620 --> 40:17.660
Monsieur was in the war, perhaps?

40:17.660 --> 40:20.600
Yes, Monsieur was in the war.

40:20.600 --> 40:24.260
One hears much talk, one almost dares to believe,

40:24.260 --> 40:27.740
this time that there might be peace.

40:27.740 --> 40:29.800
Have you more of this Chianti?

40:29.800 --> 40:30.940
Oh, yes.

40:30.940 --> 40:32.040
Good.

40:32.040 --> 40:34.340
Monsieur, forgive me,

40:34.340 --> 40:36.820
but the dear one, the hospital, the food-wise,

40:36.820 --> 40:39.780
the babies, they are where?

40:39.780 --> 40:41.520
Dead.

40:41.520 --> 40:43.320
Both dead.

40:43.320 --> 40:44.380
All dead.

40:44.380 --> 40:47.320
Oh, oh, Monsieur.

40:47.320 --> 40:50.960
Monsieur, but what is there to say?

40:50.960 --> 40:52.860
Just go away.

40:52.860 --> 40:55.160
Watch the wine.

40:55.160 --> 41:07.580
When it's gone, bring more.

41:07.580 --> 41:10.120
There was thunder the night I met Catherine.

41:10.120 --> 41:12.780
Very seasonable thunder of guns up at the mountains

41:12.780 --> 41:17.320
where the Austrians were.

41:17.320 --> 41:20.900
It would really be quite romantic, this old garden,

41:20.900 --> 41:24.560
new moon shining, but the guns, the guns.

41:24.560 --> 41:26.900
They're not bad when you get used to them.

41:26.900 --> 41:29.260
You know, I think it's quite odd,

41:29.260 --> 41:31.300
you own a medicine in the Italian Army.

41:31.300 --> 41:34.580
Well, it's not really the Army, it's only the Ambulance Corps.

41:34.580 --> 41:36.100
I think it's odd.

41:36.100 --> 41:39.280
There's no odder than me finding you here, a British,

41:39.280 --> 41:42.580
a beautiful English girl, posing as a nurse.

41:42.580 --> 41:45.520
Little rough, but just as cold.

41:45.520 --> 41:47.120
I guess it is at that.

41:47.120 --> 41:49.120
Well, I shouldn't be sitting out here with you.

41:49.120 --> 41:51.160
I'd better be getting back to the hospital.

41:51.160 --> 41:53.060
The head nurse will be looking for me.

41:53.060 --> 41:54.820
Don't go.

41:54.820 --> 41:56.620
There might be an offensive start at any moment,

41:56.620 --> 41:58.100
then I'd have to go.

41:58.100 --> 42:00.440
I might never see you again.

42:00.440 --> 42:04.860
Oh, well, I'll stay a little while longer.

42:04.860 --> 42:07.480
You really are quite close to the front, aren't you?

42:07.480 --> 42:08.740
Yes.

42:08.740 --> 42:11.640
Do you suppose this war will go on our way?

42:11.640 --> 42:12.840
No.

42:12.840 --> 42:14.240
What's the stoppage?

42:14.240 --> 42:16.080
It'll crack somewhere.

42:16.080 --> 42:18.280
I wonder what peace will be like.

42:18.280 --> 42:22.680
It could be you, me, but let's drop the lure.

42:22.680 --> 42:25.120
Oh, that'll be very hard.

42:25.120 --> 42:26.320
There's no place to drop it.

42:26.320 --> 42:27.960
Well, let's drop it anyway.

42:27.960 --> 42:29.660
All right.

42:29.660 --> 42:31.260
No, please don't do that.

42:31.260 --> 42:32.160
No, please don't do that.

42:32.160 --> 42:33.060
Don't.

42:33.060 --> 42:34.140
I only want to kiss you.

42:37.200 --> 42:39.140
I apologize, Miss Sparkley.

42:39.140 --> 42:41.340
I'm so sorry, really.

42:41.340 --> 42:43.340
I thought I had a certain thought.

42:43.340 --> 42:45.980
Well, you were quite right, Nurse Sparkley.

42:45.980 --> 42:49.680
But you are very beautiful, and I am only lonely.

42:49.680 --> 42:51.080
You don't need to say that of nonsense.

42:51.080 --> 42:52.480
I said I was sorry.

42:52.480 --> 42:53.280
Well, I'm not.

42:53.280 --> 42:55.720
I enjoyed kissing you.

42:55.720 --> 42:57.260
Well, we do get along.

42:57.260 --> 43:00.400
We have got away from the war.

43:00.400 --> 43:01.600
You are sweet.

43:01.600 --> 43:02.800
No, I'm not.

43:02.800 --> 43:04.120
Yes, you are.

43:04.120 --> 43:05.760
You're dear.

43:05.760 --> 43:10.700
I, I, I'd be glad to kiss you, if you don't mind.

43:10.700 --> 43:12.340
Yes, ma'am.

43:12.340 --> 43:13.900
Oh, Catherine.

43:13.900 --> 43:15.500
Oh, my dear.

43:15.500 --> 43:18.240
I don't think I can bear to let you go now.

43:18.240 --> 43:18.840
Oh, me.

43:18.840 --> 43:20.780
Oh, my darling.

43:20.780 --> 43:24.020
Oh, my darling, I was afraid of you.

43:24.020 --> 43:25.620
Yes.

43:25.620 --> 43:26.960
You know?

43:26.960 --> 43:27.680
Yes.

43:27.680 --> 43:30.220
You know, it doesn't really take time.

43:30.220 --> 43:32.560
That's a moment.

43:32.560 --> 43:33.960
A moment.

43:33.960 --> 43:36.100
It's as big as an eternity.

43:36.100 --> 43:37.300
Yes.

43:37.300 --> 43:40.760
Oh, darling, you will be good to me, won't you?

43:40.760 --> 43:41.760
Mm-hmm.

43:41.760 --> 43:43.560
You will, won't you?

43:43.560 --> 43:47.100
Because we're going to have a strange life.

43:47.100 --> 43:51.040
A very strange life.

43:51.040 --> 43:59.620
You were right, Catherine.

43:59.620 --> 44:05.320
It was strange and wonderful and terrible, too.

44:05.320 --> 44:07.960
Wars have a way of getting out of hand.

44:07.960 --> 44:12.300
Our quiet, nice, orderly little war was in the mountains,

44:12.300 --> 44:13.860
blew up in our faces.

44:13.860 --> 44:16.900
Suddenly, there was a lot of movement, a lot of tension.

44:16.900 --> 44:18.340
And we were ordered up.

44:18.340 --> 44:19.600
I knew something big was simmering,

44:19.600 --> 44:22.600
and I couldn't go without seeing Catherine.

44:22.600 --> 44:24.980
I had that last-time feeling.

44:28.420 --> 44:29.780
Miss Barkley, please.

44:29.780 --> 44:30.480
Oh, don't bother.

44:30.480 --> 44:30.980
Thank you.

44:30.980 --> 44:31.480
There she is.

44:31.480 --> 44:32.280
Miss Barkley.

44:32.280 --> 44:33.320
Barry, what's the matter?

44:33.320 --> 44:34.020
What is it?

44:34.020 --> 44:35.160
I had to see you.

44:35.160 --> 44:36.780
My driver's waiting outside.

44:36.780 --> 44:39.520
Something is brewing up in the hills, something big.

44:39.520 --> 44:41.960
We've heard nothing but rumors all day.

44:41.960 --> 44:44.320
This is no place to say what I want to say, Catherine.

44:44.320 --> 44:45.620
I know, darling, I know.

44:45.620 --> 44:47.800
But we'll be back tomorrow night.

44:47.800 --> 44:49.200
Sure.

44:49.200 --> 44:51.940
Here, darling, I have something for you.

44:51.940 --> 44:53.840
It's a Saint Anthony.

44:53.840 --> 44:55.300
You're not a Catholic, are you?

44:55.300 --> 44:59.140
No, but they say that a Saint Anthony is very useful.

44:59.140 --> 45:01.180
Well, I'll take care of him for you.

45:01.180 --> 45:04.420
Catherine, isn't there some place, any place at all,

45:04.420 --> 45:06.380
except that it's busy for you?

45:06.380 --> 45:08.620
Well, there's a balcony there outside the windows,

45:08.620 --> 45:11.220
but it's raining so hard.

45:11.220 --> 45:12.060
We won't melt.

45:12.060 --> 45:18.820
Come on.

45:18.820 --> 45:19.900
Well?

45:19.900 --> 45:21.660
Oh, darling.

45:21.660 --> 45:23.760
I don't know where this little adventure up there

45:23.760 --> 45:25.600
is going to finish, Catherine.

45:25.600 --> 45:29.100
If things get unstuck, where will I find you?

45:29.100 --> 45:30.540
Milan.

45:30.540 --> 45:31.540
Milan.

45:31.540 --> 45:33.700
Let's talk removing us to Milan, Frederick.

45:33.700 --> 45:35.140
Nothing's going to happen.

45:35.140 --> 45:35.640
It won't.

45:35.640 --> 45:37.140
Nothing must happen to you.

45:37.140 --> 45:37.820
It won't.

45:37.820 --> 45:38.540
Come on.

45:38.540 --> 45:40.480
Let's drop the war.

45:40.480 --> 45:41.720
Right.

45:41.720 --> 45:43.220
It's dark.

45:43.220 --> 45:44.680
Look at it rain.

45:44.680 --> 45:46.180
Yeah.

45:46.180 --> 45:48.060
And you'll always love me, won't you?

45:48.060 --> 45:49.120
Of course.

45:49.120 --> 45:51.560
And the rain won't make any difference.

45:51.560 --> 45:53.200
No.

45:53.200 --> 45:55.700
That's because I'm afraid of the rain.

45:55.700 --> 45:57.140
Why?

45:57.140 --> 45:59.140
I've always been afraid of the rain.

45:59.140 --> 45:59.640
Nonsense.

45:59.640 --> 46:00.800
It's part of the war.

46:00.800 --> 46:03.000
I like walking in it.

46:03.000 --> 46:04.940
But it's hard to make love in the rain.

46:04.940 --> 46:05.740
Oh, no, no.

46:05.740 --> 46:07.900
Not if you try real hard, Catherine.

46:07.900 --> 46:09.700
I'll love you always.

46:09.700 --> 46:13.840
In the rain, the snow, the hail.

46:13.840 --> 46:15.520
Always.

46:15.520 --> 46:19.180
And I'll love you no matter how it is.

46:19.180 --> 46:21.720
You're really not afraid of the rain, are you?

46:21.720 --> 46:23.760
Not when I'm with you.

46:23.760 --> 46:25.220
Why are you afraid of it?

46:25.220 --> 46:25.720
I don't know.

46:25.720 --> 46:26.720
I don't know.

46:26.720 --> 46:27.220
Come on.

46:27.220 --> 46:27.720
Come on.

46:27.720 --> 46:29.020
Tell me.

46:29.020 --> 46:30.700
All right.

46:30.700 --> 46:35.140
I'm afraid of the rain because sometimes I see you dead in it.

46:35.140 --> 46:36.440
No.

46:36.440 --> 46:39.540
And sometimes I see you dead in it.

46:39.540 --> 46:41.440
So that's more likely.

46:41.440 --> 46:42.940
But I'm not afraid of the rain.

46:42.940 --> 46:44.440
I'm not.

46:44.440 --> 46:45.920
Oh, I wish I were.

46:50.920 --> 46:51.920
That's it.

46:51.920 --> 46:53.420
My boys want to move along.

46:53.420 --> 46:54.920
Sit up, Catherine.

46:54.920 --> 46:57.420
Remember, I have St. Anthony to see me through.

46:57.420 --> 47:02.760
And don't forget, if anything does go badly,

47:02.760 --> 47:04.160
I'll see you in the land.

47:04.160 --> 47:05.140
Yes, my darling.

47:05.140 --> 47:09.640
I'll be waiting in the land.

47:09.640 --> 47:23.620
You were saying, Monsieur?

47:23.620 --> 47:25.120
What?

47:25.120 --> 47:26.620
What was I saying?

47:26.620 --> 47:30.120
It sounded like Caporetto.

47:30.120 --> 47:31.620
Did it?

47:31.620 --> 47:32.620
The wine is gone.

47:32.620 --> 47:34.120
I thought more.

47:34.120 --> 47:36.200
There you are.

47:36.200 --> 47:38.120
Says nothing.

47:38.120 --> 47:40.100
No.

47:44.780 --> 47:45.780
No Nothing.

47:45.780 --> 47:47.280
Even nothing.

47:47.280 --> 47:53.280
It's 47 degrees along the coast.

47:53.280 --> 47:57.460
Or even more below the 우리�ines.

47:57.460 --> 47:47.300
Not even over the

47:47.300 --> 47:49.860
Caporetto but another retreat.

47:49.860 --> 47:53.560
Scared men cursing, wounded men screaming,

47:53.560 --> 47:56.340
dead men getting in the way.

47:56.340 --> 47:57.940
Something went bad all right.

47:57.940 --> 48:00.660
It was very bad at Caporetto.

48:00.660 --> 48:02.980
Catherine, I'll never know exactly

48:02.980 --> 48:05.260
how I got through to you in Midland,

48:05.260 --> 48:09.960
but this much I knew, for you and me the war was over.

48:09.960 --> 48:13.460
It was time for us to bid farewell to arms.

48:13.460 --> 48:15.460
Frederick, oh my darling.

48:15.460 --> 48:16.900
You haven't much time, Catherine.

48:16.900 --> 48:18.940
Oh, thank God you're alive.

48:18.940 --> 48:21.400
Oh, Frederick, let me look at you, darling.

48:21.400 --> 48:23.700
Oh, you do look badly.

48:23.700 --> 48:25.400
You're not wearing a uniform.

48:25.400 --> 48:26.400
No.

48:26.400 --> 48:27.400
But if they catch you.

48:27.400 --> 48:28.400
They won't.

48:28.400 --> 48:29.700
You don't expect us to go on with the war

48:29.700 --> 48:31.200
after the letter you wrote me.

48:31.200 --> 48:33.200
Oh, oh.

48:33.200 --> 48:34.200
Are you unhappy?

48:34.200 --> 48:35.700
Are you angry with me?

48:35.700 --> 48:37.200
Angry?

48:37.200 --> 48:39.700
I'm going to be the proudest father in the world.

48:39.700 --> 48:42.200
I wouldn't mind going it alone.

48:42.200 --> 48:43.700
I'll get along somehow.

48:43.700 --> 48:45.200
For you, darling.

48:45.200 --> 48:46.200
No, you won't.

48:46.200 --> 48:47.700
You'll never walk alone again.

48:47.700 --> 48:49.200
But they'll be looking for you, won't they?

48:49.200 --> 48:50.700
I mean, won't they arrest you?

48:50.700 --> 48:51.700
No, they'll probably shoot me.

48:51.700 --> 48:52.700
Then we'll not stay here.

48:52.700 --> 48:54.200
We'll get out of the country.

48:54.200 --> 48:56.700
Yes, Switzerland is down the lake.

48:56.700 --> 48:57.700
We're going there.

48:57.700 --> 48:59.700
That'll be lovely.

48:59.700 --> 49:02.200
They don't appreciate what a fine watch you have.

49:02.200 --> 49:03.700
I don't care.

49:03.700 --> 49:06.200
I'll get you some place where they can't arrest you

49:06.200 --> 49:09.700
and then we'll have another trip.

49:09.700 --> 49:12.200
They're here. They're here.

49:12.200 --> 49:13.200
No, no, that's Emilio.

49:13.200 --> 49:15.200
He's going to row us across the lake.

49:15.200 --> 49:16.700
And it's Tom?

49:16.700 --> 49:18.200
Will you take a chance?

49:18.200 --> 49:19.200
Of course.

49:19.200 --> 49:20.700
I'm ready if you are.

49:20.700 --> 49:22.200
Well, let's go.

49:22.200 --> 49:24.200
Everything is going to be all right.

49:24.200 --> 49:44.700
We, Henrys, are going to sign their own treaty of peace.

49:44.700 --> 49:47.700
Monsieur Henrys, please.

49:47.700 --> 49:50.700
I do not wish to impose the details of me inside

49:50.700 --> 49:52.700
to have to watch you.

49:52.700 --> 49:54.700
Just sitting there hour after hour,

49:54.700 --> 49:57.700
drinking and feeling nothing of the wine.

49:57.700 --> 49:58.700
Please.

49:58.700 --> 50:01.700
You said the wife and the child.

50:01.700 --> 50:04.700
Please, it is not good to sit alone like this.

50:04.700 --> 50:06.700
Perhaps if you would talk, please,

50:06.700 --> 50:11.700
if you would confide in me.

50:11.700 --> 50:15.700
It was raining like this when I got her to the hospital.

50:15.700 --> 50:19.700
It rained all day, all night.

50:19.700 --> 50:24.700
And it rained when the baby was born, when it died.

50:24.700 --> 50:27.700
And it rained hour after hour as I waited for them

50:27.700 --> 50:29.700
to let me into her.

50:29.700 --> 50:31.700
It rained as I did the first time she told me

50:31.700 --> 50:34.700
that she saw death in the rain.

50:34.700 --> 50:36.700
And it rained as I stood by the bed

50:36.700 --> 50:38.700
and held her hand in my hand.

50:38.700 --> 50:52.700
And it rained as I stood by the bed and held her hand in my hand.

50:52.700 --> 50:54.700
Poor darling.

50:54.700 --> 50:56.700
Poor darling.

50:56.700 --> 50:57.700
You're all right, Catherine.

50:57.700 --> 50:59.700
You're going to be all right.

50:59.700 --> 51:01.700
The baby.

51:01.700 --> 51:03.700
The baby's gone.

51:03.700 --> 51:04.700
Can he?

51:04.700 --> 51:05.700
Yes, Catherine.

51:05.700 --> 51:07.700
But you're going to be all right.

51:07.700 --> 51:09.700
I'm going to die.

51:09.700 --> 51:10.700
I hate it.

51:10.700 --> 51:12.700
You're going to be all right.

51:12.700 --> 51:13.700
I knew it.

51:13.700 --> 51:20.700
I meant to write you a letter to have it been me.

51:20.700 --> 51:21.700
But I didn't do it.

51:21.700 --> 51:23.700
He wasn't, he wasn't talking so much.

51:23.700 --> 51:25.700
Oh, I'm, I'm not afraid.

51:25.700 --> 51:29.700
I, I just hate it so.

51:29.700 --> 51:30.700
Please, darling.

51:30.700 --> 51:32.700
All right, all right.

51:32.700 --> 51:34.700
Just hold my hand.

51:34.700 --> 51:40.700
You, you won't feel the same way about none.

51:40.700 --> 51:43.700
You won't say the same thing to her.

51:43.700 --> 51:44.700
Never.

51:44.700 --> 51:46.700
I want you to have girls, though.

51:46.700 --> 51:48.700
I don't want them.

51:48.700 --> 51:50.700
Don't be lonely.

51:50.700 --> 51:52.700
I'll come.

51:52.700 --> 51:55.700
I'll, I'll be with you tonight.

51:55.700 --> 51:57.700
Don't stop it, darling.

51:57.700 --> 51:59.700
Don't cry.

51:59.700 --> 52:02.700
You mustn't cry.

52:02.700 --> 52:04.700
I'm not afraid.

52:04.700 --> 52:07.700
I'm not afraid.

52:07.700 --> 52:13.700
I said you're not a kid.

52:13.700 --> 52:15.700
Catherine.

52:15.700 --> 52:18.700
Hello, Catherine.

52:18.700 --> 52:43.700
We will share this new bottle of wine, monsieur.

52:43.700 --> 52:44.700
Yes.

52:44.700 --> 52:45.700
Good.

52:45.700 --> 52:46.700
What has happened?

52:46.700 --> 52:48.700
Hmm, happened.

52:48.700 --> 52:50.700
Oh, did the storm pass over?

52:50.700 --> 52:52.700
I mean, the bell.

52:52.700 --> 52:54.700
Oh, that, that's the church bell.

52:54.700 --> 52:56.700
They're ringing it because it's come.

52:56.700 --> 52:57.700
What?

52:57.700 --> 52:58.700
Peace, monsieur.

52:58.700 --> 53:00.700
Peace?

53:00.700 --> 53:02.700
No.

53:02.700 --> 53:04.700
No.

53:04.700 --> 53:23.700
For me, there is no peace.

53:23.700 --> 53:50.700
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53:50.700 --> 53:54.700
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53:59.700 --> 54:01.700
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54:01.700 --> 54:06.700
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54:06.700 --> 54:08.700
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54:08.700 --> 54:15.700
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54:15.700 --> 54:18.700
For your own sake, try Anisyn.

54:18.700 --> 54:21.700
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54:21.700 --> 54:26.700
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54:26.700 --> 54:30.700
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54:30.700 --> 54:33.700
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54:33.700 --> 54:41.700
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54:41.700 --> 54:51.700
Oh, Gary, Gary Cooper, darling, come over here.

54:51.700 --> 54:53.700
You're so divine, darling.

54:53.700 --> 54:55.700
I'd like to talk to you a little.

54:55.700 --> 55:00.700
But before you do, Tallulah, I want to say that this portion of the program is brought to you by

55:00.700 --> 55:06.700
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55:06.700 --> 55:11.700
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55:11.700 --> 55:13.700
And now it's time for you to ring your chime.

55:13.700 --> 55:15.700
That's right, Ed, darling.

55:15.700 --> 55:17.700
We'll have our little chat in a moment, Gary.

55:17.700 --> 55:21.700
And after that, Danny Kaye has a surprise for the audience.

55:21.700 --> 55:23.700
Now I'd like to ring my chime, darling.

55:23.700 --> 55:33.700
This is NBC, the national broadcasting company.

55:33.700 --> 55:40.700
This is the big show where Tallulah Bankhead is about to have a cozy chat with Gary Cooper.

55:40.700 --> 55:46.700
Gary, Gary, darling, I want to congratulate you on your touching, moving, dramatic performance

55:46.700 --> 55:48.700
in Farewell's Arms a few moments ago.

55:48.700 --> 55:52.700
You know, people forget that you have appeared in a great variety of motion pictures and think of

55:52.700 --> 55:57.700
you only as these thoughtful and slow-talking westerners.

55:57.700 --> 56:02.700
Well, you're not that way at all, are you, Gary?

56:02.700 --> 56:07.700
Nope.

56:07.700 --> 56:10.700
Of course not, darling, but that's Hollywood.

56:10.700 --> 56:14.700
You know, once you've played one part, that's the only part they think you can play.

56:14.700 --> 56:19.700
Now, now, for the sake of me, now since my first play, I've been typed as a high-spun,

56:19.700 --> 56:24.700
temperamental, excitable woman who screams at people at the top of her voice and can only

56:24.700 --> 56:31.700
say the most cutting, devastating things, but everyone knows I'm not that type at all.

56:31.700 --> 56:39.700
Why, I can be as sweet and gentle and lovable as June Allison.

56:39.700 --> 56:46.700
Don't you think so, Gary, darling?

56:46.700 --> 56:50.700
Yep.

56:50.700 --> 56:56.700
Well, darling, I hate to rush you, but I think it would expedite matters a little if instead of

56:56.700 --> 57:01.700
saying, yep, nope, you just nodded your head. Could you do that, darling?

57:01.700 --> 57:02.700
Oh, Kaluna.

57:02.700 --> 57:03.700
Yes, my boo, yeah?

57:03.700 --> 57:07.700
After watching you and Gary in that dramatic sketch, I got to thinking.

57:07.700 --> 57:12.700
That looks like a pretty easy work compared to what I do, dancing all the time, and I

57:12.700 --> 57:16.700
think there ought to be a place for me as a dramatic actor.

57:16.700 --> 57:19.700
Some people say I ought to stick to my dancing. You don't think so, do you?

57:19.700 --> 57:22.700
Yep.

57:22.700 --> 57:24.700
Wait a minute, Gary, what do you mean, yep?

57:24.700 --> 57:32.700
Well, that yep was just answering that question that Kaluna asked me, if I could nod my head.

57:32.700 --> 57:41.700
Oh, I'm terribly sorry, Gary, darling. What was the answer?

57:41.700 --> 57:43.700
Yep.

57:43.700 --> 57:46.700
Now I've forgotten what the question was.

57:46.700 --> 57:51.700
What do you think, Kaluna? Do you think I'll have to go on dancing for the rest of my life?

57:51.700 --> 57:57.700
I'm getting sick of dancing all the time, coming home with my feet calloused and blistered.

57:57.700 --> 58:04.700
I'm like a chain, like sitting in a saddle. The question was, could I nod my head?

58:04.700 --> 58:09.700
No, yes, Gary, I remember now, but tell me, darling, what do you think about Ray? Do you

58:09.700 --> 58:17.700
think he could play a cowboy? Do you, darling, think he could play a cowboy?

58:17.700 --> 58:19.700
Maybe.

58:19.700 --> 58:29.700
Well, at least he didn't say no, Ray. That's encouraging, isn't it, darling?

58:29.700 --> 58:32.700
Yep.

58:32.700 --> 58:38.700
I could be rereading Gone with the Wind. Now tell me, Ray, have you had any experience playing

58:38.700 --> 58:39.700
western pop?

58:39.700 --> 58:49.700
Well, I could learn. All it takes is...time.

58:49.700 --> 58:54.700
Yeah, you should have learned it right there. Have you ever ridden a horse, a rope this

58:54.700 --> 58:56.700
here, or broken a bronc?

58:56.700 --> 58:59.700
Oh, I used to ride all the time down in South America.

58:59.700 --> 59:01.700
Really? What country down there?

59:01.700 --> 59:07.700
Down in...

59:07.700 --> 59:11.700
Argentina.

59:11.700 --> 59:12.700
Argentina?

59:12.700 --> 59:17.700
It all sounds very easy to me. It sounds as if you're just both taking a lot of time.

59:17.700 --> 59:24.700
How much time can you take, Ray?

59:24.700 --> 59:35.700
Oh, I can take as much time as the next fella.

59:35.700 --> 59:46.700
Hello, Ray.

59:46.700 --> 59:48.700
Yep.

59:48.700 --> 59:52.700
This must be what they mean by the wide open fizzies.

59:52.700 --> 59:53.700
Oh, saluda.

59:53.700 --> 59:54.700
Oh, yeah, do it about it.

59:54.700 --> 59:58.700
May I pause here a moment?

59:58.700 --> 01:00:00.700
Yep.

01:00:00.700 --> 01:00:06.700
Hi-ho, everybody. Hi, Gary. Ho, Ray.

01:00:06.700 --> 01:00:07.700
Hi.

01:00:07.700 --> 01:00:08.700
Here we go again.

01:00:08.700 --> 01:00:14.700
Hello, fellas. Hi, Gary. Ray. Rudy.

01:00:14.700 --> 01:00:15.700
Hi.

01:00:15.700 --> 01:00:17.700
Hi.

01:00:17.700 --> 01:00:21.700
A cup goes with that one.

01:00:21.700 --> 01:00:23.700
Well, what's going on here, saluda?

01:00:23.700 --> 01:00:25.700
What's going on here, saluda?

01:00:25.700 --> 01:00:26.700
That was his line.

01:00:26.700 --> 01:00:30.700
Nothin'.

01:00:30.700 --> 01:00:32.700
Somebody forgot a yuck.

01:00:32.700 --> 01:00:34.700
What's going on here, saluda?

01:00:34.700 --> 01:00:38.700
Why, nothin', honey-chai. I'm on a jawn. It's Maxie, Road and Blue.

01:00:38.700 --> 01:00:45.700
Yeah. Hi, Gary. Ray. Rudy. Danny.

01:00:45.700 --> 01:00:47.700
Hi.

01:00:47.700 --> 01:00:50.700
See you guys take a long count.

01:00:50.700 --> 01:00:53.700
Oh, this has got to stop someplace. I wonder if the audience is still with us.

01:00:53.700 --> 01:00:59.700
Are you still with us, darlings?

01:00:59.700 --> 01:01:01.700
Yeah.

01:01:01.700 --> 01:01:03.700
Wow.

01:01:03.700 --> 01:01:06.700
You did the time it very well, darlings.

01:01:06.700 --> 01:01:07.700
Well, thanks for that.

01:01:07.700 --> 01:01:19.700
Well, now that I've got you all together, which one of you strong pilot men is taking me to dinner tonight?

01:01:19.700 --> 01:01:28.700
The next act, ladies and gentlemen, the famous Delta Rhythm Boys singing one of their great record hits, the song they made famous, Dry Bones.

01:01:28.700 --> 01:01:32.700
Are you ready, darlings?

01:01:32.700 --> 01:01:34.700
Yup.

01:01:34.700 --> 01:01:51.700
Dry Bones.

01:02:34.700 --> 01:02:37.660
Black bone your backbone connected to you.

01:02:37.660 --> 01:02:41.100
Shoulder bone your shoulder bone connected to you.

01:02:41.100 --> 01:02:44.480
Neck bone you neck bone connected to you.

01:02:44.480 --> 01:02:48.180
Head bone I hear the word of the Lord.

01:02:48.180 --> 01:02:54.920
Our limb bones limb bones gonna walk around our limb bones limb bones gonna

01:02:54.920 --> 01:02:58.200
Walk around our limb bones limb bones gonna

01:04:28.200 --> 01:04:30.200
And I'll see you soon...

01:04:30.200 --> 01:04:32.200
...with a new song.

01:04:32.200 --> 01:04:34.200
That was wonderful, boy!

01:04:34.200 --> 01:04:36.200
How'd you like that, Gary?

01:04:36.200 --> 01:04:38.200
Very good, aren't they, darling?

01:04:38.200 --> 01:04:40.200
Yep.

01:04:40.200 --> 01:04:42.200
Danny K.,

01:04:42.200 --> 01:04:44.200
while we were waiting

01:04:44.200 --> 01:04:46.200
for Gary Cooper's answer,

01:04:46.200 --> 01:04:48.200
we had a wonderful

01:04:48.200 --> 01:04:50.200
little show

01:04:50.200 --> 01:04:52.200
with a very good

01:04:52.200 --> 01:04:54.200
very good

01:04:54.200 --> 01:04:56.200
performance.

01:04:56.200 --> 01:04:58.200
While we were waiting for Gary Cooper's answer,

01:04:58.200 --> 01:05:00.200
would you sing for us now?

01:05:00.200 --> 01:05:02.200
I'll be glad to.

01:05:02.200 --> 01:05:04.200
That's a wonderful song from one of your pictures. I'd love to hear it.

01:05:04.200 --> 01:05:06.200
I'll be glad to.

01:05:06.200 --> 01:05:08.200
It's the only thing I'll ever ask of you, darling.

01:05:08.200 --> 01:05:10.200
Please sing that song for me.

01:05:10.200 --> 01:05:12.200
I'll be glad to.

01:05:12.200 --> 01:05:14.200
This woman only listens when she's talking.

01:05:14.200 --> 01:05:17.200
After all we got you on this program

01:05:17.200 --> 01:05:19.200
here you sing. Why won't you?

01:05:19.200 --> 01:05:21.200
I know this line backwards now.

01:05:21.200 --> 01:05:23.200
Too glad, B.I.L.

01:05:23.200 --> 01:05:27.200
Well, I'll just never forget tonight

01:05:27.200 --> 01:05:29.200
I went to see you in that picture, Danny.

01:05:29.200 --> 01:05:31.200
How that audience

01:05:31.200 --> 01:05:33.200
were proud of that song.

01:05:33.200 --> 01:05:35.200
Now if you sing it on this show, it'll be just

01:05:35.200 --> 01:05:37.200
what we need at this point.

01:05:37.200 --> 01:05:39.200
Look, no script. I'll be glad to.

01:05:39.200 --> 01:05:41.200
Oh, Danny, I'm going to tell you what happened

01:05:41.200 --> 01:05:43.200
the night I went to the movie theater

01:05:43.200 --> 01:05:45.200
to see your picture.

01:05:45.200 --> 01:05:47.200
I'll be glad to.

01:05:47.200 --> 01:05:49.200
Well, Danny, darling, you know, there was a double feature that night

01:05:49.200 --> 01:05:51.200
and I came in during the other picture.

01:05:51.200 --> 01:05:53.200
Well, I don't know whether that other picture was an A picture

01:05:53.200 --> 01:05:55.200
or a B picture,

01:05:55.200 --> 01:05:57.200
but I'm sure if the Phoenicians had seen it

01:05:57.200 --> 01:05:59.200
they would have invented a new letter.

01:05:59.200 --> 01:06:01.200
Well, I got so mad

01:06:01.200 --> 01:06:03.200
it would have been such a waste of time, darling.

01:06:03.200 --> 01:06:05.200
I was just burning up in some

01:06:05.200 --> 01:06:07.200
caloesha.

01:06:07.200 --> 01:06:09.200
Came over to me and said, no

01:06:09.200 --> 01:06:11.200
smoking.

01:06:11.200 --> 01:06:13.200
Well, I could have just kicked.

01:06:13.200 --> 01:06:15.200
Only I couldn't find my shoes.

01:06:15.200 --> 01:06:17.200
So I said to him,

01:06:17.200 --> 01:06:19.200
why don't you beat it? So he said to me,

01:06:19.200 --> 01:06:21.200
madam, you're attracting attention.

01:06:21.200 --> 01:06:23.200
And I said, well, that's

01:06:23.200 --> 01:06:25.200
more than that picture up there is doing.

01:06:25.200 --> 01:06:27.200
So he called the manager.

01:06:27.200 --> 01:06:29.200
Only I knew he wasn't really the manager

01:06:29.200 --> 01:06:31.200
because he wasn't wearing a tuxedo.

01:06:31.200 --> 01:06:33.200
And this over-eager

01:06:33.200 --> 01:06:35.200
underling had me

01:06:35.200 --> 01:06:37.200
appr-us-tory

01:06:37.200 --> 01:06:39.200
to say to me that he would have me

01:06:39.200 --> 01:06:41.200
ejected from the theater.

01:06:41.200 --> 01:06:43.200
Eject me from the theater.

01:06:43.200 --> 01:06:45.200
Yes.

01:06:45.200 --> 01:06:47.200
You can imagine

01:06:47.200 --> 01:06:49.200
what I had called the manager.

01:06:53.200 --> 01:06:55.200
So Danny, darling, would you sing

01:06:55.200 --> 01:06:57.200
the song for me now? I never got to

01:06:57.200 --> 01:06:59.200
see the picture.

01:06:59.200 --> 01:07:01.200
I've been trying to sing it for five minutes.

01:07:01.200 --> 01:07:03.200
Oh, you did?

01:07:03.200 --> 01:07:05.200
Oh, well, thank you, darling.

01:07:05.200 --> 01:07:07.200
You were just lovely listening to it.

01:07:07.200 --> 01:07:09.200
But I didn't sing it yet.

01:07:09.200 --> 01:07:11.200
Oh, dear.

01:07:11.200 --> 01:07:13.200
Oh, dear.

01:07:13.200 --> 01:07:15.200
Oh, dear.

01:07:15.200 --> 01:07:17.200
Oh, you didn't?

01:07:17.200 --> 01:07:19.200
Well, sing it now, darling.

01:07:19.200 --> 01:07:21.200
You're waiting.

01:07:21.200 --> 01:07:23.200
This boy is so confused.

01:07:25.200 --> 01:07:27.200
What you have to go through on this program

01:07:27.200 --> 01:07:29.200
is sing one little song.

01:07:29.200 --> 01:07:31.200
We had a song we did in the picture called

01:07:31.200 --> 01:07:33.200
Inspector General, and it's rather an unusual

01:07:33.200 --> 01:07:35.200
story. This one's the story of an unsuccessful

01:07:35.200 --> 01:07:37.200
gypsy. And in the picture,

01:07:37.200 --> 01:07:39.200
I play the part of the unsuccessful-

01:07:39.200 --> 01:07:41.200
unsuccessful-

01:07:41.200 --> 01:07:43.200
unsuccessful-

01:07:43.200 --> 01:07:45.200
unsuccessful-

01:07:45.200 --> 01:07:47.200
unsuccessful-

01:07:47.200 --> 01:07:49.200
That's hard to say, you know?

01:07:49.200 --> 01:07:51.200
I play the gypsy who is

01:07:51.200 --> 01:07:53.200
unemployed.

01:07:59.200 --> 01:08:01.200
Whisking through the whispering woods

01:08:01.200 --> 01:08:03.200
in a wild romany pony, with a

01:08:03.200 --> 01:08:05.200
yack-yack-yack and a yack-a-drock and a yack-a-drock to donate.

01:08:05.200 --> 01:08:07.200
I'm the gypsy, the gypsy,

01:08:07.200 --> 01:08:09.200
the gypsy,

01:08:09.200 --> 01:08:11.200
the gypsy, the gypsy,

01:08:11.200 --> 01:08:13.200
the gypsy, the gypsy, the gypsy, the gypsy, the gypsy.

01:08:15.200 --> 01:08:17.200
The world thinks

01:08:17.200 --> 01:08:19.200
him tipsy and careless

01:08:19.200 --> 01:08:21.200
and free,

01:08:21.200 --> 01:08:23.200
but oh, the poor gypsy,

01:08:25.200 --> 01:08:27.200
his lot is not

01:08:27.200 --> 01:08:29.200
what it ought to be for.

01:08:29.200 --> 01:08:31.200
Night and day and day

01:08:31.200 --> 01:08:33.200
and night, there's a man there sick of obeying

01:08:33.200 --> 01:08:35.200
with a whip

01:08:35.200 --> 01:08:37.200
in his hand.

01:08:37.200 --> 01:08:39.200
Oh, the gypsy he stands

01:08:39.200 --> 01:08:41.200
and this is what

01:08:41.200 --> 01:08:43.200
he is saying.

01:08:43.200 --> 01:08:51.200
Hum, hum, hum.

01:08:51.200 --> 01:08:53.200
Play gypsy

01:08:53.200 --> 01:08:55.200
sing, gypsy dance,

01:08:55.200 --> 01:08:57.200
gypsy laugh, gypsy cry,

01:08:57.200 --> 01:08:59.200
gypsy live, gypsy die, gypsy drink.

01:08:59.200 --> 01:09:01.200
Gypsy

01:09:01.200 --> 01:09:03.200
drink to goodbyes

01:09:03.200 --> 01:09:05.200
and drink to hellos, drink to

01:09:05.200 --> 01:09:07.200
the open, drink to the close.

01:09:07.200 --> 01:09:09.200
Drink to me only

01:09:09.200 --> 01:09:11.200
with thine eyes and I will

01:09:11.200 --> 01:09:13.200
drink with my nose.

01:09:13.200 --> 01:09:15.200
And so

01:09:15.200 --> 01:09:17.200
we dance. But first

01:09:17.200 --> 01:09:19.200
we sing. Oh, I

01:09:19.200 --> 01:09:21.200
forgot, ladies and gentlemen, how can you sing a gypsy song

01:09:21.200 --> 01:09:23.200
without a gypsy chorus that has never been

01:09:23.200 --> 01:09:25.200
done before in the history of gypsies.

01:09:25.200 --> 01:09:27.200
I would like to ask you all to do me a favor.

01:09:27.200 --> 01:09:29.200
Instead of you being the audience this evening,

01:09:29.200 --> 01:09:31.200
I would like you to be for me

01:09:31.200 --> 01:09:33.200
gypsies.

01:09:33.200 --> 01:09:35.200
So it's very simple really.

01:09:35.200 --> 01:09:37.200
We divide the theater into three grouts.

01:09:37.200 --> 01:09:39.200
One, two,

01:09:39.200 --> 01:09:41.200
three. Now the first grout from here over.

01:09:41.200 --> 01:09:43.200
You see, when I make a beat you sing for me like this.

01:09:43.200 --> 01:09:45.200
Zoom.

01:09:45.200 --> 01:09:47.200
Everybody with me, please.

01:09:47.200 --> 01:09:49.200
Wow.

01:09:49.200 --> 01:09:51.200
Wow.

01:09:51.200 --> 01:09:53.200
Wow.

01:09:53.200 --> 01:09:55.200
Wow.

01:09:55.200 --> 01:09:57.200
Three gypsies.

01:09:57.200 --> 01:09:59.200
Everybody

01:09:59.200 --> 01:10:01.200
put an earring in your ear and make me a nice zoom.

01:10:01.200 --> 01:10:03.200
Everybody with me, please.

01:10:03.200 --> 01:10:05.200
Ah.

01:10:05.200 --> 01:10:07.200
The center section here up and down.

01:10:07.200 --> 01:10:09.200
When I make a beat you sing for me like this.

01:10:09.200 --> 01:10:11.200
Stock stock.

01:10:11.200 --> 01:10:13.200
Stock stock.

01:10:13.200 --> 01:10:15.200
Everybody with me.

01:10:15.200 --> 01:10:17.200
Stock stock.

01:10:17.200 --> 01:10:19.200
Very nice.

01:10:19.200 --> 01:10:21.200
Stock stock.

01:10:21.200 --> 01:10:23.200
Stock stock.

01:10:23.200 --> 01:10:25.200
Stock stock.

01:10:25.200 --> 01:10:27.200
This grout here, when I make a beat you sing for me like this.

01:10:27.200 --> 01:10:29.200
Ha ha ha.

01:10:29.200 --> 01:10:31.200
Not yet, I will give you.

01:10:31.200 --> 01:10:33.200
Everybody with me.

01:10:33.200 --> 01:10:35.200
Ha ha ha.

01:10:35.200 --> 01:10:37.200
Thank you, Adam.

01:10:37.200 --> 01:10:39.200
Let me hear the stock stock.

01:10:39.200 --> 01:10:41.200
Stock stock.

01:10:41.200 --> 01:10:43.200
Ha ha ha.

01:10:43.200 --> 01:10:45.200
You see who zooms you.

01:10:45.200 --> 01:10:47.200
One big zoom.

01:10:47.200 --> 01:10:49.200
Everybody, please.

01:10:53.200 --> 01:10:55.200
Now we sing gypsy songs.

01:10:55.200 --> 01:10:57.200
Alright.

01:10:57.200 --> 01:10:59.200
Ah.

01:10:59.200 --> 01:11:01.200
The tremor's an o.

01:11:01.200 --> 01:11:03.200
O.

01:11:03.200 --> 01:11:05.200
Isn't that beautiful.

01:11:05.200 --> 01:11:07.200
Now we go to the top of the class a little bit.

01:11:07.200 --> 01:11:09.200
You see I will sing the tremor's a roach and you will sing zoom.

01:11:09.200 --> 01:11:11.200
Zoom.

01:11:11.200 --> 01:11:13.200
Zoom.

01:11:13.200 --> 01:11:15.200
Zoom.

01:11:15.200 --> 01:11:17.200
Zoom.

01:11:17.200 --> 01:11:19.200
We do the notes a little bit, alright.

01:11:19.200 --> 01:11:21.200
The tremor's an o.

01:11:21.200 --> 01:11:23.200
O.

01:11:23.200 --> 01:11:25.200
I like it, I like it.

01:11:25.200 --> 01:11:27.200
I like it.

01:11:27.200 --> 01:11:29.200
I like it.

01:11:29.200 --> 01:11:31.200
I like it.

01:11:31.200 --> 01:11:33.200
But what happens to the stock?

01:11:33.200 --> 01:11:35.200
Stock stock.

01:11:35.200 --> 01:11:37.200
Stock stock.

01:11:37.200 --> 01:11:39.200
Stock stock.

01:11:39.200 --> 01:11:41.200
Stock stock.

01:11:41.200 --> 01:11:43.200
Please don't disappoint me stocky.

01:11:43.200 --> 01:11:45.200
Let me have two nice stocks please.

01:11:45.200 --> 01:11:47.200
Stock stock.

01:11:47.200 --> 01:11:49.200
I like it.

01:11:49.200 --> 01:11:51.200
Stock stock.

01:11:51.200 --> 01:11:53.200
Very strong.

01:11:53.200 --> 01:11:55.200
Stock stock.

01:11:55.200 --> 01:11:57.200
Very good.

01:11:57.200 --> 01:11:59.200
Yeah, I'll be good.

01:11:59.200 --> 01:12:01.200
I didn't make it.

01:12:07.200 --> 01:12:09.200
I'll have to wait till I give you the beat.

01:12:13.200 --> 01:12:15.200
Yeah, I'll be good.

01:12:15.200 --> 01:12:17.200
You are late.

01:12:17.200 --> 01:12:19.200
I'll be good.

01:12:21.200 --> 01:12:23.200
Yeah, I'll be good.

01:12:23.200 --> 01:12:25.200
With me?

01:12:31.200 --> 01:12:33.200
Are you a zoom or a stock stock?

01:12:37.200 --> 01:12:39.200
Yes, right now.

01:12:39.200 --> 01:12:41.200
Now we all sing together.

01:12:41.200 --> 01:12:43.200
We go.

01:12:43.200 --> 01:12:45.200
Zoom stock stock.

01:12:45.200 --> 01:12:47.200
Stock stock.

01:12:47.200 --> 01:12:49.200
Stock stock is late.

01:12:49.200 --> 01:12:51.200
Faster.

01:12:51.200 --> 01:12:53.200
Faster.

01:12:53.200 --> 01:12:55.200
Faster.

01:12:55.200 --> 01:13:17.200
Faster.

01:13:25.200 --> 01:13:27.200
The winner!

01:13:33.200 --> 01:13:35.200
The winner!

01:13:37.200 --> 01:13:39.200
That was wonderful fun Daddy.

01:13:39.200 --> 01:13:41.200
What a great performance.

01:13:41.200 --> 01:13:43.200
I enjoy it.

01:13:43.200 --> 01:13:45.200
Thank you very much.

01:13:45.200 --> 01:13:47.200
Watch your stubborn, Rosenblum.

01:13:47.200 --> 01:13:49.200
I forgot the line.

01:13:49.200 --> 01:13:51.200
Oh yeah.

01:13:51.200 --> 01:13:53.200
What is it Maxie?

01:13:53.200 --> 01:13:55.200
What is it Maxie?

01:13:55.200 --> 01:13:57.200
I hate to appear hereditary.

01:13:57.200 --> 01:13:59.200
Oops.

01:13:59.200 --> 01:14:01.200
Sit down.

01:14:01.200 --> 01:14:03.200
Just for a minute.

01:14:03.200 --> 01:14:05.200
I hate to appear hereditary.

01:14:05.200 --> 01:14:07.200
Or subdued or

01:14:07.200 --> 01:14:09.200
but I've got a feeling I've seen you

01:14:09.200 --> 01:14:11.200
someplace.

01:14:11.200 --> 01:14:13.200
Well, naturally darling, I've been the steeler for some time.

01:14:13.200 --> 01:14:15.200
No, no, you look exactly like a guy

01:14:15.200 --> 01:14:17.200
I fought in Milwaukee.

01:14:17.200 --> 01:14:19.200
How did I do?

01:14:19.200 --> 01:14:21.200
I was robbed.

01:14:21.200 --> 01:14:23.200
You fight with all the likes.

01:14:23.200 --> 01:14:25.200
When you lose your job, you're just a bum.

01:14:25.200 --> 01:14:27.200
Please, don't say that.

01:14:27.200 --> 01:14:29.200
I'm an artist.

01:14:29.200 --> 01:14:31.200
Just like you are. You're the bum.

01:14:31.200 --> 01:14:33.200
I'm sitting in the cinema.

01:14:33.200 --> 01:14:35.200
You're the cinema bum.

01:14:35.200 --> 01:14:41.200
I always say that when you see my new picture.

01:14:41.200 --> 01:14:43.200
Skip along Rosenblum.

01:14:43.200 --> 01:14:47.200
No Maxie, I'd like to see you in a fight with Joe Lewis.

01:14:47.200 --> 01:14:49.200
You don't like me, huh Rudy?

01:14:49.200 --> 01:14:51.200
I certainly do like you.

01:14:51.200 --> 01:14:53.200
I'm willing to wage you that if you ever got in a ring with Joe Lewis, you could beat him.

01:14:53.200 --> 01:14:55.200
I'll bet he can too. I'll bet a hundred dollars he can.

01:14:55.200 --> 01:14:57.200
I'll bet a hundred dollars on Maxie. How about you, Salou?

01:14:57.200 --> 01:14:59.200
No, not me.

01:14:59.200 --> 01:15:01.200
Joe Lewis could knock him out over the telephone.

01:15:01.200 --> 01:15:03.200
Not long distance.

01:15:03.200 --> 01:15:05.200
I'll bet on Maxie.

01:15:05.200 --> 01:15:07.200
How about you, Gary? You want to bet on him?

01:15:07.200 --> 01:15:09.200
Oh, don't bother Gary Cooper, darling.

01:15:09.200 --> 01:15:11.200
He's still working on that other question.

01:15:11.200 --> 01:15:13.200
Well, we're all betting on Maxie.

01:15:13.200 --> 01:15:15.200
Who are we going to get to cover the bet?

01:15:15.200 --> 01:15:17.200
Don't go away, Gary.

01:15:17.200 --> 01:15:19.200
I'll take the whole bet myself.

01:15:19.200 --> 01:15:21.200
And now we're about to hear a special achievement arrangement

01:15:21.200 --> 01:15:23.200
that only Meredith Wilson can whip it up.

01:15:23.200 --> 01:15:25.200
The song, Yesterday.

01:15:25.200 --> 01:15:27.200
And here is Meredith Wilson with the Big Show orchestra and chorus.

01:15:27.200 --> 01:15:29.200
Meredith, darling, if you please.

01:15:29.200 --> 01:15:47.200
Meredith, darling, if you please.

01:15:47.200 --> 01:16:07.200
Meredith, darling, if you please.

01:16:07.200 --> 01:16:27.200
Meredith, darling, if you please.

01:16:27.200 --> 01:16:47.200
Meredith, darling, if you please.

01:16:47.200 --> 01:17:07.200
Meredith, darling, if you please.

01:17:07.200 --> 01:17:27.200
Meredith, darling, if you please.

01:17:27.200 --> 01:17:47.200
Meredith, darling, if you please.

01:17:47.200 --> 01:18:07.200
Meredith, darling, if you please.

01:18:07.200 --> 01:18:19.200
Meredith, darling, if you please.

01:18:19.200 --> 01:18:37.200
For today I'm dreaming of my yesterday.

01:18:37.200 --> 01:18:57.200
I'm dreaming of yesterday.

01:18:57.200 --> 01:18:59.200
Meredith, that was as usual divine.

01:18:59.200 --> 01:19:03.200
But I want to speak to you on a very, very important subject, darling.

01:19:03.200 --> 01:19:05.200
Now you come here a minute. Meredith Wilson.

01:19:05.200 --> 01:19:09.200
Yes, Miss Bankhead.

01:19:09.200 --> 01:19:13.200
Now, Meredith, you're in charge of deciding who gets to sing the songs on this show.

01:19:13.200 --> 01:19:15.200
Is that correct?

01:19:15.200 --> 01:19:22.200
Well, sir, Miss Bankhead, I try to see that, you know, everybody who sings on the show gets a song to do.

01:19:22.200 --> 01:19:23.200
Is that so?

01:19:23.200 --> 01:19:24.200
Uh-huh.

01:19:24.200 --> 01:19:25.200
Well, that's very interesting.

01:19:25.200 --> 01:19:28.200
Now let me see. Rudy Ballet sang. Correct?

01:19:28.200 --> 01:19:29.200
Correct.

01:19:29.200 --> 01:19:30.200
Julie Wilson sang.

01:19:30.200 --> 01:19:31.200
Correct.

01:19:31.200 --> 01:19:32.200
Vin Ray Bosa sang.

01:19:32.200 --> 01:19:33.200
Correct.

01:19:33.200 --> 01:19:35.200
And Vigel who Rhythm Boys sang.

01:19:35.200 --> 01:19:36.200
Correct.

01:19:36.200 --> 01:19:38.200
And Danny K. sang twice.

01:19:38.200 --> 01:19:40.200
And I see he has another song coming up. Right?

01:19:40.200 --> 01:19:41.200
Correct.

01:19:41.200 --> 01:19:47.200
So I'm going to sing my song right now. Correct?

01:19:47.200 --> 01:19:49.200
I knew that check would bounce.

01:19:49.200 --> 01:19:51.200
I think you've got a legitimate beat.

01:19:51.200 --> 01:19:52.200
Oh, darling.

01:19:52.200 --> 01:19:57.200
I really do. And if they don't give you a song to do alone, I'll be glad to share my next song with you.

01:19:57.200 --> 01:20:00.200
Oh, darling, that's very sweet of you.

01:20:00.200 --> 01:20:03.200
Very sweet of you. Marry me some music.

01:20:03.200 --> 01:20:06.200
Danny and I are sharing a song together.

01:20:06.200 --> 01:20:08.200
Separate checks, of course.

01:20:08.200 --> 01:20:15.200
Yes. And separate keys, too, Mary.

01:20:15.200 --> 01:20:21.200
How can you believe me when I said I love you when you know I've been a liar all my life?

01:20:21.200 --> 01:20:24.200
You had that reputation, thank you, oh you.

01:20:24.200 --> 01:20:27.200
I must have been insane to think you'd tell me the truth.

01:20:27.200 --> 01:20:34.200
How can you believe me when I said we'd marry when you know I'd rather hang than have a wife?

01:20:34.200 --> 01:20:37.200
I know you said I'll make you mine.

01:20:37.200 --> 01:20:40.200
But who would know that you would go for that old line?

01:20:40.200 --> 01:20:47.200
How can you believe me when I said I love you when you know I've been a liar?

01:20:47.200 --> 01:20:49.200
Nothing but a liar.

01:20:49.200 --> 01:20:50.200
Nothing but a liar.

01:20:50.200 --> 01:20:56.200
All my talk gone cheated.

01:20:56.200 --> 01:20:59.200
You said you wouldn't love me at all.

01:20:59.200 --> 01:21:01.200
That's what I said.

01:21:01.200 --> 01:21:03.200
And never would you be gone.

01:21:03.200 --> 01:21:05.200
Talk to me, Prudu, talk to me.

01:21:05.200 --> 01:21:09.200
Hey, cause you don't wake me.

01:21:09.200 --> 01:21:18.200
Oh, no, baby, you must be lonely to trust a lover who's not like me.

01:21:18.200 --> 01:21:21.200
You said I'd have everything.

01:21:21.200 --> 01:21:23.200
What could I say?

01:21:23.200 --> 01:21:26.200
You're a beautiful diary.

01:21:26.200 --> 01:21:31.200
I bet I'll see you once upon a lullaby.

01:21:31.200 --> 01:21:38.200
You're really naive to ever believe a fool of a lonely phony like me.

01:21:38.200 --> 01:21:41.200
Now, wait a minute, I've got something on my mind.

01:21:41.200 --> 01:21:43.200
How about the time you went to Indiana?

01:21:43.200 --> 01:21:46.200
I was lying, I was down in Alapair.

01:21:46.200 --> 01:21:50.200
You said you had some business you had to complete.

01:21:50.200 --> 01:21:53.200
If I was doing it, I would be a bad cookie.

01:21:53.200 --> 01:21:56.200
And what about the evenings you were with your mother?

01:21:56.200 --> 01:21:59.200
I was romping with the heat of the honey lamb.

01:21:59.200 --> 01:22:03.200
Two things you swore our love was real.

01:22:03.200 --> 01:22:06.200
But baby, leave it not forget, I'm also a heel.

01:22:06.200 --> 01:22:13.200
How can you believe me when I said I'd love you when you know I've been a liar?

01:22:13.200 --> 01:22:16.200
Nothing but a liar.

01:22:16.200 --> 01:22:24.200
All my no good, good, bad, bad lies.

01:22:24.200 --> 01:22:35.200
Applause

01:22:35.200 --> 01:22:40.200
Well, darling, darling, darling, darling, this about does it for the night.

01:22:40.200 --> 01:22:42.200
And I only want to say, oh...

01:22:42.200 --> 01:22:43.200
Oh, Chalula.

01:22:43.200 --> 01:22:44.200
Yes, darling, Gary.

01:22:44.200 --> 01:22:47.200
I have a question, whether I like the delta rhythm or...

01:22:47.200 --> 01:22:50.200
I just want to say that I think they're one of the finest quartets.

01:22:50.200 --> 01:22:51.200
It's been my pleasure to hear.

01:22:51.200 --> 01:22:54.200
And their rendition of that song was one of the most beautifully arranged

01:22:54.200 --> 01:22:57.200
and delightfully executed that I've ever heard in my...

01:22:57.200 --> 01:22:59.200
Well, Gary, won't you please stop?

01:22:59.200 --> 01:23:02.200
You've done nothing all evening but talk, talk, talk, talk, talk, talk, talk.

01:23:02.200 --> 01:23:06.200
Also, I'm sorry, darling, but it's time now for me to tell our audience

01:23:06.200 --> 01:23:10.200
that I guess next week will be Fred Allen, Robert Cummings, Lorraine Day,

01:23:10.200 --> 01:23:14.200
David Durante, Leo DeRosia, Portland Hoffer, Judy Holliday, Frankie Lane,

01:23:14.200 --> 01:23:19.200
Jane Pickens, and others, and of course, our very own Mary Wilson

01:23:19.200 --> 01:23:21.200
and his Big Show Chorus and Officer.

01:23:21.200 --> 01:23:26.200
Until then, may the good Lord bless and keep you.

01:23:26.200 --> 01:23:30.200
Whether near or far away, Julie.

01:23:30.200 --> 01:23:39.200
May you find back all my waited golden days today.

01:23:39.200 --> 01:23:44.200
May your troubles all be small ones.

01:23:44.200 --> 01:23:49.200
And your fortunes ten times ten, taxi.

01:23:49.200 --> 01:23:53.200
May the good Lord bless and keep you.

01:23:53.200 --> 01:23:58.200
Till we meet again, Danny.

01:23:58.200 --> 01:24:03.200
May you walk with sunlight shining

01:24:03.200 --> 01:24:07.200
And a bluebird in every tree.

01:24:07.200 --> 01:24:12.200
May there be a silver lining

01:24:12.200 --> 01:24:17.200
Back of every cloud you see, Rudy.

01:24:17.200 --> 01:24:21.200
Fill your dreams with sweet tomorrow.

01:24:21.200 --> 01:24:26.200
Never mind what might have been, Gary.

01:24:26.200 --> 01:24:30.200
May the good Lord bless and keep you.

01:24:30.200 --> 01:24:35.200
Till we meet again.

01:24:35.200 --> 01:24:37.200
The Delta Rhythm, boys.

01:24:37.200 --> 01:24:42.200
May you long recall each rainbow.

01:24:42.200 --> 01:24:47.200
Then you'll soon forget the rain.

01:24:47.200 --> 01:24:52.200
May the warm and tender memories

01:24:52.200 --> 01:24:58.200
Be the ones that will remain.

01:24:58.200 --> 01:25:03.200
Fill your dreams with sweet tomorrow.

01:25:03.200 --> 01:25:09.200
Never mind what might have been.

01:25:09.200 --> 01:25:13.200
May the good Lord bless and keep you.

01:25:13.200 --> 01:25:18.200
Until we meet again.

01:25:18.200 --> 01:25:24.200
May the good Lord bless and keep you.

01:25:24.200 --> 01:25:44.200
Till we meet, till we meet again.

01:25:44.200 --> 01:25:46.200
Good night, darling.

01:25:46.200 --> 01:25:51.200
Applause

01:25:51.200 --> 01:25:54.200
Coming up, Phil Harris and Alice Faye.

01:25:54.200 --> 01:26:23.200
Time to make good times on NBC.