Stage Door Canteen (1943) Movie Script

[MUSIC PLAYING]

-You guys who are writing

letters, hurry up.

It looks like this

will be our last stop.

-Hey look, Sarge.

My girl lives in

Jersey City, see.

And I was wondering if maybe

we might be headed for-- what

I mean is, is it still

a military secret?

Or do you know

where we're going?

SERGEANT: I sure do, Jersey.

-Yeah?

-We're to win a war.

-You know, something

tells me this is probably

the last letter you're going to

have to write to Mamie for me,

Dakota.

So finish it off hot,

you know, romantic.

Something she can

keep under her pillow.

-Well how about saying,

Mamie, sweetheart,

this will probably be my last

letter from American soil.

But wherever we're going, I'll

take the memory of your kisses

and your arms around me.

Is that hot enough

for you, Jersey?

-Mamie wrote me she sure didn't

know she could kiss me as

good as you said

she could, Dakota.

But she sure was

glad to hear it.

-Gee.

I guess I've been

missing something.

I haven't ever

even kissed a girl.

-Go on.

I bet you even try

to improve on Dakota.

Dakota says we may unload

right onto a transport.

So, so maybe this'll

be my last letter.

I just want you to know

that whatever happens to me,

I hope you'll be as proud

of me, dad, as I am of you.

Sorry for butting

in, California.

-That's OK, Jersey.

I haven't got a

girl to write to.

-Holy smoke!

Look, guy, a girl?

[COMMOTION]

-Cigarettes, boys.

Compliments of Greenfield, Ohio.

-Thanks, miss.

We're fresh out of smokes.

-Thank you.

-Any letters you want mailed?

-Oh, we sure have.

-Looks like you boys

are on your way.

-Yes, ma'am.

We sure hope so.

-Don't burn your

fingers on this one.

It's to my girl.

--[INAUDIBLE] Texas boy

is going to be a hero.

[TRAIN WHISTLE]

CALIFORNIA: I've been

wondering, Dakota.

You're always helping

us guys write letters.

But you never

write any yourself.

-Well, you see I lost

my mother and father

when I was still a kid.

-But haven't you got a girl?

-Nah.

I'm [INAUDIBLE] off

women for the duration.

-Well, if you'd like to

get letters from somebody,

I know my dad would be mighty

pleased to write to you.

-Thanks, did.

I might take your

dad up on that.

Sometimes a fellow feels like

he'd like to write somebody.

CALIFORNIA: I've been thinking

about those letters you've

been making up

for Jersey's girl.

Kind of makes a guy

wish he had a nice girl

he could kiss goodbye himself.

-It's not always

easy for a fellow

to meet a nice girl, kid.

-I know.

I was just thinking.

-You stick to just thinking.

It's cheaper, and

almost as much fun.

[BUGLE CALL]

-I guess the question

you men want answered is,

are we climbing a

gangplank this morning?

Well, you're going

to get a break.

You've got 24 hours leave.

Probably most of you have

never seen New York City.

Well, this is your chance.

You'll find that

your uniform is a key

to the hospitality of New York.

Don't abuse that uniform,

or the hospitality.

Report here for

reveille and orders

tomorrow morning at 6:00.

Meanwhile, you might

store up a few memories

to take with you

wherever we're going.

Company.

-[INAUDIBLE].

-Attention!

First Sergeant.

Dismiss the company.

-Attention.

And lock.

[INAUDIBLE]

Dismissed!

[CHEERING]

-All I hope is the

cens who read Mamie's

letters don't beat

me to her house.

-What do you say we get rid

of these field uniforms,

and give New York a once over?

-Yeah, maybe meet a nice girl.

-Wow.

Two bucks for a steak?

-Well, we won't have much

use for American money

where we're going.

Wonder what you

have to do to get

a waiter in this

richie restaurant.

Join the [INAUDIBLE] core?

-Hey, Dakota, look!

-Well, hello, Ms. V.

-Hello, Mac.

You know [INAUDIBLE], don't you?

-How do you do, Mr. [INAUDIBLE]?

Hello, [INAUDIBLE].

-Will you come this way, please?

Well, here we are.

It's all set up for you.

-I'm the man for the

turkey and the gravy.

-I've come for the ham

-No relation, I hope.

-[INAUDIBLE] all right.

The last time I saw her

she was dressed different.

-The boss volunteers the food.

And those famous

people volunteer

to pick it up for the

Stage Door Canteen.

You boys are chumps to

waste your dough here

when you can eat our

stuff down there for free.

Opens at 5:00.

-We just came in

for a look around.

-Yes, sir.

-Sure hope we meet

some pretty girls.

-See your cards, girls please.

Thanks.

Hello.

-Hello, how are you.

-Hello there.

How are you.

[INAUDIBLE], oh Lillian,

Selena Royal wants to see you.

-What about?

-I don't know.

She's off until day.

See your cards, girls, please.

LILLIAN: Want to

see me, Ms. Royal?

-Oh, oh yes, Lillian.

Come in.

Close the door.

Lillian, did you make a date

with a soldier in the canteen

last night?

-Why yes I did, Ms. Royal.

-Did you go out

with him afterwards?

-Yes.

-But you know the rules.

You know no girl

is supposed to make

a date with a soldier

she meets here.

-Oh, yes, Ms. Royal.

But he was such a nice boy.

I felt awfully sorry for him.

He was so lonesome, and

he didn't know a soul.

We only went over to Roseland

for a couple of dances,

and then the

[INAUDIBLE] for a bite.

I was in by two o'clock.

-I know, dear.

But these rules are

made for a good reason.

And we've got to be

strict with violations.

-I won't do it again.

-I'm afraid you won't

have an opportunity.

Because I've got to

pick up your pass.

-Does-- does that

mean I won't be able

to come down here

and help anymore?

-Yes.

I'm afraid it means just that.

-Oh please, Ms. Royal.

You're one of the

co-chairmen of the canteen.

Couldn't you please speak

to Ms. Cowell about it?

Can I have another chance?

Makes me feel like I'm

doing something to help.

And, because just like the

boys who come down here,

no matter how blue I

am, I get cheered up.

-I know just how you feel, dear.

But, well, there's

nothing I can do about it.

I've got to pick up your pass.

LILLIAN: It was just

that he was so homesick.

-You know [INAUDIBLE]?

I'll bet my folks would just

about swoon if they knew

I was entertaining Yankee

soldiers night after night.

--[INAUDIBLE], you

got Alabama dripping

from those pretty lips of yours.

I can hear it from here.

-Well, I declare, a

southern gentleman

amongst all these Yankees.

-Hello.

-Hey, kids, hurry up.

We're going to be late.

-Uh, my name's Ella Sue.

I'll see you later.

-I sure hope some of the

big stars and producers

are here tonight.

-Oh, they all come down

one time or another.

Every night there's

a different shift.

Come on, Ella Sue.

-I think I'm going to like this.

I just hope the place

isn't too fancy.

Do you think those

girls are actresses?

-Well, they're pretty enough.

-Thanks, fellows.

Your passes, [INAUDIBLE]

identification, OK.

-Here, food chip.

-Dog tags, fellows, please.

-Did you hear?

-Hear what?

-About Lillian.

They picked up her card.

-Oh, then she did go out

with that kid from Iowa.

-Hello, Peggy.

-Hello.

-Hello, Anne.

How are you?

-Hello.

-Hello, Vera.

-Hello, dear.

-Vera, this is our

roommate, Eileen Burke.

It's her first night

at the canteen.

-Hello, Eileen.

Hang your coat over there, and

pick up your apron over here.

And I hope your feet hold out.

-Thank you.

-Eileen, if you forget

any of the rules,

just ask Ella Sue or me.

-And suppose I meet a wolf?

-They won't make any

passes at you honey.

All you've got to do is just be

fun, but in a cute sort of way.

-Hmm.

Soldiers and sailors on

leave want something more

than somebody to talk to.

Hey, didn't I see your boss

cleaning tables out there?

-Mr. Pemberton?

Yes.

Why?

-How's for an introduction.

He's casting a new

play, isn't he?

-Now let's skip that

career for tonight, cutie.

You're here to show

the boys a good time.

And Mr. Pemberton isn't

here as a producer.

He's here to keep

the tables clean.

-Why couldn't I help him

clean up a table or two?

Give me a chance to show

him my press clippings.

-Oh, Eileen, forget yourself.

You just wait.

You'll find it

gets in your blood.

I've taken to counting

soldiers instead

of sheep to put me to sleep.

-What I'm wondering

is how I'm going

to say yes and no to that

southern boy at the same time.

-Ed Wynn, gee, we didn't

expect to see you here.

-Oh, nobody did.

As a matter of fact, when I

told those boys [INAUDIBLE]

I mean the biggest dignitaries

in the moving picture business,

when I told them that

I was coming here,

I walked into their room,

they got right on their knees.

What a reception.

What a tribute.

What a crap game.

[LAUGHTER]

-My goodness.

[INAUDIBLE]

Oh, you're in the Navy.

I can see that.

Here you are.

A male [INAUDIBLE],

for heaven's sake.

First one I ever saw.

Check your hat?

[INAUDIBLE]

-Hey, Dakota, isn't that Alan

Mowbray emptying ash trays?

-Yeah.

Imagine Alan Mowbray having

to get a job as a busboy.

I thought he was doing

all right in pictures.

-I say, old boy,

jolly party, isn't it?

-What did you say?

-A jolly party, isn't it?

-Foreigner.

-Say, George, you've been

having a lot of rainy weather

out in California

lately, haven't you?

-Oh, I wouldn't say that, Bill.

Just two feet of dew.

-Two feet of dew.

-Here you are, [INAUDIBLE].

-OK, George.

-Say George, tell me.

You've been taking

a lot of fighters

around to the Army camps for

the entertainment of the boys.

What's the greatest fighter

that you've ever seen?

-Pound for pound,

Henry Armstrong.

He's the only fighter

that held three

world's titles at the same time.

-You're right there.

How about these

Brooklyn Dodgers.

You're always rooting

for the Dodgers.

Think Brooklyn's going to

win the pennant this year?

-Well, I wouldn't know

anything about that.

But I know one team

that can't lose.

-Whose is that?

-That team there.

-How much for a ham

sandwich, please?

-There's no charge.

-Not for the chocolate

cake, either?

-No.

Here's some with icing.

-It's been a long time.

Are those oranges for us, ma'am?

-Of course they are.

-I haven't seen

one in two years.

Blimey.

It's just like

Christmas, ain't it?

Just like Christmas.

-Thank you.

-You're welcome.

-You're Katharine

Cornell, aren't you?

-Yes, how'd you know?

-Oh, our dramatic coach at

school has your picture.

He said we hadn't lived until

we'd seen you play Juliet.

See, we put it on.

And I was Romeo.

-You were?

What scene did you like best?

-You where Romeo

swears by the moonbeam?

Lady, by yonder

blessed moon, I swear,

that tips with silver all

these fruit-tree tops--

-Oh swear not by the

moon, the inconstant moon

the monthly changes

in her circled orb,

lest that thy love

prove likewise variable.

-What shall I swear by?

-Do not swear at all.

Or if thou wilt, swear

by thy gracious self,

which is the god of my idolatry.

And I'll believe thee.

-If my heart's dear love--

-Well, do not swear.

Though I joy in thee, I have no

joy in this contract tonight.

It is too rash, too

unadvised, to sudden,

too like the lightning that has

ceased to be ere one can say it

lightens.

Sweet, good night.

Parting is such

sweet sorrow that I

shall say goodnight

til it be morrow.

-Hey, what's

holding up the line.

-A little unrationed

ham being served.

For holding up the works, Romeo.

-I'll never eat

this orange, Juliet.

I'll just keep it to remember.

-Any of you guys seen a

little bit of Alabama sugar?

-You come along with me

to a table, southern boy.

I want you all to myself.

-I'm sure you boys

will pardon my absence.

-Hello.

-Are you going to be my girl?

-Why yes, I'll be your

girl while you're here.

What's your name.

-Well, the fellows

call me California.

But my real name is Jack Gilman.

-I like California best.

My name is Tina.

-How old are you?

-Oh, I'm not telling.

-Go on, please.

It's important.

-You name it, California.

-You're 18.

-Oh, gee, thanks.

You want me to hold your hand

while you drink your milk?

-You got nothing to

worry about, Eileen.

They're all gents or bashful.

See that tough Sergeant,

I bumped into him.

And I said, what do you do?

And he said I'm a chorus girl

in the Irving Berlin show.

--[LAUGHING] You give me lots

of assurance, Mr. Demarest.

-Where do you get that

Mr. Demarest stuff?

You know my name is Bill.

Don't be so nervous.

You act like this was

a first night opening.

Take it easy.

-Hello, Eileen.

-Well, hello, Ms. Scott.

-Well, how nice to see you.

What have you been doing

since the play closed?

-Well, nothing yet.

But I have prospects.

-Well, this is your first

night at the canteen, isn't it?

-Yes.

Are you one of the hostesses?

-Mhmm.

-I don't know how to start.

I've, I've got kind

of a sinking feeling.

-Well, if you're

going to sink, Miss,

you might pick this

chair right here.

-There's your answer, Eileen.

See you later.

-Please, I saved it for you.

Can I get you something to eat?

-No thanks.

We can't eat the food here.

-What's the matter with it?

It looks mighty good to m.

-It's a rule.

It was donated for

you to eat, not us.

-Where do you live.

-That's another rule.

Even if I wanted to,

I couldn't tell you.

-Sort of a civilian secret, huh?

Look, my name's Ed Smith.

And we're going to--

-Oh, that's another rule against

telling us where you're going.

-You get me wrong.

I don't know where I'm going.

I was just going to say--

-Oh, first we're supposed to

ask you where you're from.

-Sioux Falls, South Dakota.

-Then I think we're

supposed to ask

to see your

sweetheart's picture.

And we talk about

how nice she is.

-I haven't got a sweetheart.

I'm sort of between girls.

-Why Walter Winchell

had it that Ed Smith

and the belle of Sioux

Falls were sizzling.

-Well, I guess we

sizzle some at that.

-I'll never forget.

When the last war

was over, my captain

paid me the swellest compliment.

He said, Private Kennedy,

you are now and always

will be the perfect non-entity.

He always thought a lot of me.

-Hey Ed, didn't you start your

stage career in Vaudeville?

-Oh sure.

I came from a famous

Vaudeville family.

My uncle with Rajah,

Rajah and his Lions.

Did you ever see that act?

15 years my uncle

was in Vaudeville.

He used to open

the lion's mouth,

and put his whole head

right in the lion's mouth.

But one day the darnedest

thing happened-- [LAUGHING].

And-- hello, uncle.

[LAUGHTER]

[CHEERING]

-Listen, everybody.

This is Bert Lytell, your MC.

Fellows, I'm only

home for 10 seconds

to make an announcement.

You've heard it said that you

can't get blood out of a stone.

Well, you can't get it out

of our next guest, either.

Charlie McCarthy

and Edgar Bergen.

[APPLAUSE]

EDGAR BERGEN: Good evening,

ladies and gentleman.

I bring you greetings

from the mystic East.

And now with your

kind indulgence,

I shall delve into the mysteries

of supernatural and the occult.

-Hey Bergen?

-Yeah?

-Well, uh, what's the racket?

-Racket?

-Yeah.

-Young man, I

happen to be gifted.

-Say not so.

-Yes, indeed.

-I'll be darned.

-I'm a student of occultism.

-Of occult-usm?

-No, not tusm.

-No?

-No.

-What?

-Ism, ism, ism.

-Ism what?

-Aw.

[LAUGHTER]

-I am the seventh son of the

seventh son of the seventh son.

-Well come on, seven.

Do something.

Well, what, what's the,

what's the globule for?

-You mean this?

-Yeah, the bowling ball?

-Well, do you know what I

see when I look into that?

-Goldfish?

-No, no, no.

-Wh-what's it for?

-Well, you see it helps

me to focus my attention.

-Is that so?

-Yes.

When I gaze into the

crystal, a vision appears.

-Is that right?

-Yes.

-[INAUDIBLE] a vision.

Yeah.

Well, what's a vision?

-A vision?

-Yeah.

-What is a vision?

-No, I asked you first.

-Yes, I know you did.

Well, a vision, well it's

very much like a mirage.

-Oh, it's like a mirage.

-Yes.

-Oh, so that's what

it is. [INAUDIBLE].

What's a mirage?

-A mirage?

-Yeah.

-Well that's very

much like a vision.

-Yeah.

Oh, it's nice, like

a vision, I see.

Shall we go around again?

-No, no.

[LAUGHTER]

-Go ahead, professor.

Give out [INAUDIBLE].

-All right.

I will.

Now of course, in order

for me to do this,

I will have to go into a trance.

-Well, I'll wait here.

-Yes.

All right.

-Well, what is a trance?

-A trance?

-Yes.

-Well, it's a state of

semi-consciousness or sleep.

-Oh, is that so?

You haven't far to go.

-All right.

Now of course I must

have absolute quiet.

-Oh, you certainly should.

Yes.

-Yes.

-You think you can make it?

-Oh, I'll make it.

-[MUTTERING]

-[MIMICKING EDGAR]

-No, please.

-You think you--

-Shh.

-(WHISPERING) What did you say?

-Shh.

-Sounds like a puncture.

-All right.

Now shall I read

your past first?

-Do you think you can?

-I don't think.

I know.

-I don't think you know either.

-All right.

Shall I go back to where

you were seven years old?

-Oh it isn't necessary.

Nothing really happened

before I was 12.

-12, I see.

The name of Bessie appears here.

-Oh, it does.

Good old Bessie.

Whatever became of her?

She sat in front of

me in history class.

-I see.

Did you learn much

about history?

-Well not as much as I

learned about Bessie.

-You, uh, you were

very fond of Bessie?

-Yes, you can say that.

-You, uh, were you

in love with her?

-Oh, I wouldn't go so

far as to say that, no.

-But it was, it was more

than a speaking acquaintance?

-Oh you're darn right it was.

Yeah.

Tell me more.

-Yes.

All right.

I see you still don't believe.

-Frankly, no.

Very well then, I am

forced to employ hypnotism.

-Is he out of work again?

-No, no.

I want you to gaze into

my eyes, and concentrate.

Pfft, pfft.

-Are you, are you hypnotizing,

or are you watering the lawn?

-I'm concentrating.

Close your eyes.

Pfft.

-Aw, if you do that again, so

help me, I'll slug you, Bergen.

-All right.

Now at the count of

three, you'll be asleep.

One, two--

-Uh huh.

-Three.

Pfft.

-Aw, that does it.

[HOCKING LOUGIE]

-Hey.

-I'll do it, Bergen.

I'll do it.

--[INAUDIBLE] let us

return to the crystal,

and see what the

future holds for you.

-All right.

Let's return, yes.

What's in there.

-Well now, let me see.

Mhmm.

-Uh oh.

[HUMMING] [PANTING] [LAUGHING]

-I see a lot of trouble

ahead for you, Charlie.

-Yeah, but I think

it's worth it.

-Oh, Mr. Bergen, oh Mr. Bergen.

EDGAR BERGEN: Well,

Mortimer Snerd.

-Aw.

-Well, well.

Well, Mortimer.

Say, you look pretty

handsome in that hat.

-[HYUKING] That's right, yeah.

-Well, why don't you

smile at all the girls,

and show them your dimples.

Aw, come on, now.

Isn't that a pretty

girl down there?

-Oh yeah.

-Well now, why don't

you wink at her?

-No.

-She won't bite you.

-Oh, I wish she would Oh!

-Well, tell me, what

are you doing here?

-Well, I, I brought

you this case.

-Oh, you brought this in?

-Yeah.

-Well, isn't that a pretty

box for you to bring in?

-Well, that was easy, as

easy as AB, uh, AB, uh?

-ABC?

-Uh, yeah, yeah.

That's the one.

I always forget the other one.

-How old are you, Mortimer?

-Oh, I'm a, oh, I'm

a boy about my age.

-About your age, yes.

Where do you live?

-With grandpa on the farm.

-Oh, on the farm.

Is your mother living yet?

-Uh no, no.

-I see.

-Not yet.

--[LAUGHING] You want me

to open this up for you?

-No, no, [INAUDIBLE].

What's there in the box?

-Well, it says

it's full of fish.

-No, no.

Where does it say that?

-Right there.

Cod.

-Oh, that's not cod.

-No?

-No.

That's C-O-D.

-[INAUDIBLE]?

Can't believe what

you read, can you?

-No.

-Shall I open it up?

-I opened the box magically.

-No.

-Yes.

-Well, let's see it.

-Abracadabra candelabra.

-Oh!

-[INAUDIBLE].

-Hello, Edgar.

Hiya men.

[CHEERING]

-(SINGING) Listen, America,

and you'll hear the story

of a boy who deserves a cheer.

I tip my lip to a Yankee

kid for this is what he did.

Three Jap planes

were up in the sky,

looking for trouble

while flying high.

Along came a Yank

and what did he do?

Ha!

And there were two.

Two Jap planes that used to be

three thought they'd get even.

But suddenly the Yank turned

around and gave them the gun.

Ha!

Then there was one.

He clipped their wings

with the greatest skill,

just like a barber.

He did these things to prove he

still remembered Pearl Harbor.

The one Jap plane leaped

leapt in the shoal.

Thought he'd be safer in Tokyo.

But the Yank kept on

until the job was done.

Ha!

Then there were none.

[APPLAUSE]

-Now what about making these

[INAUDIBLE] noises with me

lads?

Are you ready? [WHISTLING]

[APPLAUSE]

-(SINGING) Three Jap

planes were up in the sky,

looking for trouble

while flying high.

Along came a Yank

and what did he do?

-[INAUDIBLE]

-(SINGING) Then there were two.

Two Jap planes, there used to be

three, thought they'd get even.

But suddenly the Yank turned

around and gave them the gun.

-[INAUDIBLE].

-(SINGING) Then there was one.

He clipped their wings

with the greatest skill,

just like a barber.

He did these things to prove he

still remembered Pearl Harbor.

The one Jap plane still

leaped in the shoal.

Thought he'd be safer in Tokyo.

But the Yank kept on

til the job was done.

-[INAUDIBLE]

-Then there were none.

[APPLAUSE]

-Now boys, a sailor

has specially

asked me to sing

the Lord's Prayer.

(SINGING) Our Father, which

art in heaven, hallowed be they

name.

Thy kingdom come.

Thy will be done in

earth as it is in heaven.

Give us this day

our daily bread.

And forgive us our

trespasses, as we

forgive them who

trespass against us.

And lead us not into temptation.

But deliver us from evil.

For thine is the

kingdom, and the power,

and the glory forever Amen.

-Oh, thanks, [INAUDIBLE].

That was like a

breath from home.

-I'm glad you enjoyed it.

[INTERPOSING VOICES]

-You know, that, that's

my mother's favorite.

-Really?

-Well, lads, there's

somebody else

has to work for the living.

I've got to say toodle-oo

and god bless you.

Cheerio.

-Cheerio!

[APPLAUSE]

-Hey mac, ain't you Ray Bolger?

-You want to make

something out of it?

-All I asked him was,

was he Ray Bolger?

-Oh, there's Brock Pemberton.

He's putting on a new play here.

-Oh, you in the show business?

-Everybody here is,

one way or another.

-Where are you from?

-Oswego, New York.

But I studied

drama in Rochester.

-Oh, then you are an actress.

-Well, that's what it

says in my clippings.

-You don't look like an actress.

I mean, you look just like

the girls back in Sioux Falls.

Did you said they wrote

you up in the newspaper?

Got any clippings with you?

-Only amateurs carry

their clippings around.

-Aw, come on.

Let's see what they say.

-Well, sometimes you

might bump into a producer

like Mr. Pemberton.

So I do carry one, just in case.

-Eileen Burke, had four

lines as the insane sister.

Is that you?

But her portrayal of

tragic and growing insanity

impressed the audience.

You went nuts in a play?

-Yes.

-Show me how you looked

when you went nuts.

Oh, oh, what's the matter?

It's just that I've never

been out with an actress.

-Well, so far as

I'm concerned, this

is as far out with an actress

as you're going to get.

-Aw.

I was only kidding.

[APPLAUSE]

-Evening folks.

How are y'all?

[APPLAUSE]

-Hey, thanks for

listening to Sully Mason,

Harry Babbitt, Julie

Conway, Trudy Erwin.

Jack and Max and the whole Gang,

and "A Rookie and His Rhythm."

OK, come on.

Let's do it.

[MUSIC - "A ROOKIE AND HIS

RHYTHM"]

-(SINGING) There he goes,

a rookie and his rhythm.

Who's he with?

He's with a little whack.

What's he got, this

rookie and his rhythm?

-(SINGING) He's got one

commission officer's life.

-(SINGING) Aw, here he is,

a private who can jive it.

Here he is, a

private second class.

The gals prefer a

private who can jive it.

-(SINGING) He'll surpass

the Colonel making a pass.

-(SINGING) Though he's

new in the service,

with a gun he's still nervous.

And we need him to preserve us.

-(SINGING) He improves

the morale of a gal.

-(SINGING) Majors may

be very necessary.

-(SINGING) Strictly

in the military way.

-(SINGING) But give to me

a rookie and his rhythm.

-(SINGING) [INAUDIBLE] and

let the orchestra play.

Hip, hip, hip, hip,

one, two, three four.

Play it boys.

[INAUDIBLE] and let

the orchestra play.

[MUSIC - "A ROOKIE AND HIS

RHYTHM"]

[CHEERING]

-Oh no, gee.

You've been swell, fellows.

But I can see it in your eyes

that you want to get going.

So come on, gentlemen.

Let's dance.

[APPLAUSE]

[PLAYING MUSIC]

-(SINGING) Sleep, baby, sleep.

-This will give you

an idea how tight

they'll pack us

on the transport.

-I, I guess if a girl falls

in love with a fellow here,

it's really love.

Because we can't

spend anything on you.

-First time in

the canteen, boys?

Would you like to dance?

-Yes, ma'am.

And I want a blonde, five

feet three inches tall.

-I like a brunette,

five feet two.

-Virginia.

VIRGINIA: Yes?

-One blonde five

feet three inches.

One brunette five feet

two for these gentlemen.

-Say lady, how far can

we go with these girls.

-Just as far as

the door, sailor.

-Say, isn't that Helen Hayes?

-That's right.

She's one of the first

ladies of the theater.

-Sure.

I saw her play

Queen Victoria once.

-Could I have the honor of

dancing with you, Ms. Hayes?

-With all these young

girls, why would you

want to dance with me?

-So I could tell

my grandchildren

I once danced with

Queen Victoria.

-The honor is mine, young man.

-Hey, mac, all I wanted to ask

you was, was you Ray Bolger.

-What time you

through here, Eileen?

-12:00.

-What do you do when you leave?

-Why don't you try and meet

some of the other girls

before the evening's over?

-Oh, I get it.

-Well, how are you

doing at this table?

Getting everything you want?

-Not yet, ma'am.

But I'm trying hard.

-Hey, look, mac.

I want to get one

thing straight.

Are you Ray Bolger or ain't you?

-Take off that coat.

[BELL DINGS]

[APPLAUSE]

-Now fellows, now

comes a wistful

wag of stage and screen.

He spends most of his time

at the canteen, and looks it.

When he was a small boy

he got a double hot foot,

and he never got over it.

Here he comes, By

Jupiter, Ray Bolger.

[APPLAUSE]

-Fellows, I, I, I, I'd like

to tell you about my girl.

She's a beaut.

(SINGING) She has hair that

she wears like Veronica Lake.

So that 50% of her is blind.

She is known to her daddy

as mother's mistake.

She's the girl I

love to leave behind.

She is silly for soldiers

and mad for Marines.

And she can't get the

Coast Guard off her mind.

She keeps doing the cancan

in all the canteens.

She's a girl I love

to leave behind.

After dancing around the floor,

it's a pleasure to go to war.

Oh she giggles and gurgles

and rattles around.

Lou Costello is

slightly more refined.

While I fight in a tank,

or the plane in a Jeep,

she's the girl I

love to leave behind!

[APPLAUSE]

[MUSIC PLAYING]

-And halt.

One, two, three, four.

Oh!

[LAUGHTER]

-Right dress.

Front.

[INAUDIBLE]

Right shoulder arm.

[GRUNTING] Left shoulder arm.

[GRUNTING] hi, hello!

Order!

One beer.

Order, arm.

Oh, two, three, four.

Present arm.

Port.

Arm.

Right shoulder arm.

[GRUNTING] three.

Right face.

Left face.

About-- four or five

years ago, when I--

[LAUGHTER]

-About face.

About face.

Orders for the day.

[INAUDIBLE] first command, first

platoon, right [INAUDIBLE] ho!

Sir, would you

repeat the orders?

Yes, sir.

I'll peel them right

after this drill.

[INAUDIBLE] ho!

[MUSIC PLAYING]

-Hey soldier!

-[SCAT SINGING]

[MUSIC PLAYING]

[APPLAUSE]

-Hey Ray, how about

your autograph?

-OK.

[LAUGHTER]

-Excuse me, boys.

I've got to turn

on the phonograph.

-Do you theater people

have these canteens

all over the country?

-Oh sure we do.

We've got canteens--

why they have

one canteen in Washington DC.

It's the darnedest

thing you ever saw.

They don't have famous actors

waiting on the soldiers

like they do here.

Down in Washington,

Congressmen wait on the boys.

Those boys will starve to death

down there, you mark my words.

-Why, Mr. Wynn?

-Well, you know

how long it takes

a Congressman to pass anything.

[LAUGHTER]

-You wait and see.

[MUSIC PLAYING]

-This music means

good night, soldier.

-Well, good night, Eileen.

And goodbye two, I guess.

Are you coming here

tomorrow night?

-Why?

-Well, with me gone,

I thought maybe

you'd come and really

enjoy yourself.

-You know, Jeanne, you have

given me my happiest moment

since I joined the service.

-Oh, I'm glad.

-I hope you don't

sail, California.

I hope you'll be back.

Because I'd like to

be your girl again.

-I--

-Something wrong

with your throat?

-Yeah.

There's a lump in it.

-My feet's beat, beat

right down to my socks.

I'm soaking wet.

-That sailor I was with

danced like he was seasick.

And my last pair of nylons.

-Gee, I wish this war was over.

My feet hurt so.

-That little old boy from

Texas danced a pound off me.

He's the sweetest thing.

-The one I drew threw

cracks at me all evening.

-From where I sat,

it seemed like you

were throwing a few yourself.

-How'd you like it, Eileen?

-So-so.

Didn't even meet

Brock Pemberton.

-Oh, the way my

boy said good night

made me want it

to last all night.

-Mine used a shaving lotion

that made my knees weak.

-The boy I was with is on

his way home from Australia.

He said it's the first time

he's seen a girl in six months.

He was only 19.

-Some of them are awfully young.

-Some party, wasn't it, Dakota?

-Sure was, Romeo.

-I thought you said it

was hard for a fellow

to meet a nice girl in New York.

-I've been wrong before.

-I'm under the impression

that Yankee gal

didn't fall for

your charms, Dakota.

Why, I thought you

had a way with women.

-I guess I lost my touch.

CALIFORNIA: Dakota?

-Yes, kid?

-On our way home

tonight, you said

there was something

about Eileen.

What did you mean?

-Nothing.

I was only thinking.

CALIFORNIA: What?

-I was only thinking that

if we weren't sailing

I'd like to find out

what she's really like.

CALIFORNIA: But

you said you were

off women for the duration.

-I know.

Good night, kid.

-Good night.

I wonder how Jersey's

making out with his Mamie.

-Probably trying his darnedest

to live up to those letters

Dakota wrote for him.

-You think he'll get

in before reveille?

-I guess that's up to

his little old Mamie.

-Go on, private [INAUDIBLE].

-Well, sir, I ask myself.

Suppose something happens

to me across the water?

But then I says to myself,

suppose I don't marry Mamie,

and something happens to me?

Look what I'll miss.

-What about your intended bride,

if something happens to you?

-Well, I figured

that out too, sir.

I says to myself, Jersey,

if you get conked off,

Mamie will get your

insurance anyway.

Well anyway, sir, we got our

application to get married.

The rest is up to you, sir.

-How long have you been

going with this girl?

-Oh steady, sir, two years.

-Oh, then it isn't one of

those before shoving off

marital urges.

-Oh no, sir.

Me and Mamie fit together

like an old shoe.

-Well, I see no reason

why I shouldn't give you

permission to marry

the young lady.

Except, first, in order to

comply with the marriage laws,

you couldn't get married

until tomorrow anyway.

And second, by that

time you'll probably

be out on the Atlantic Ocean.

-You mean Mamie will have

to sleep on our intention

to wed for the duration, sir?

[PHONE RINGING]

-Captain Robertson speaking.

Why yes, Colonel Wright.

Very well, sir.

Private Wallace?

-Yes, sir?

-Looks like you're going to got

a consolation prize at least.

I can't promise the wedding.

But you and the men are going

to get another 24 hours leave.

-Oh thank you, sir.

Me and Mamie will sure know how

to use every hour of it, sir.

Thank you, sir.

Oh, pardon me, sir.

-Give my regards

to the young lady.

-Thank you, sir.

-Sergeant, issue 24-hour

passes to the company.

-Yes sir.

-I would like some

spread, please.

-Some what?

-Spread, for the bread.

-No more spread for the bread.

All out.

-No spread?

-Give me some corned

beef, will you?

-No more corned beef.

-I know, but I got

40 hungry soldiers

out there that want corned beef.

-Can I make corned beef?

-No, but I gotta have

corned-- don't stand there.

Do something.

Call somebody up, will you?

The OPA, the OPI, the OPX.

-Where?

-Washington, yes.

[INTERPOSING VOICES]

-Hello, I want to get

Washington DC, yes.

[INAUDIBLE]

Talk to somebody about

the food situation.

See, I'll get you

[INTERPOSING VOICES]

-Oh, hello, Washington.

I want to do something

about this food situation.

It's awful.

We have no corned beef.

And we have no ketchup to

put on the corned beef.

If I was admin of Washington,

I'd fire you immediately.

MAN (ON PHONE): Do

you know who this is?

-No, and I don't care.

Who is it?

MAN (ON PHONE): This is the

head of the draft board.

-Do you know who this is?

MAN (ON PHONE): No.

-Goodbye.

-I do say it myself.

I can flirt up a

pretty sandwich.

This is for my darling.

-Well, thank you, my dear.

-Oh, it's not for you.

It's for that adorable

sailor from Savannah.

-Oh, is that the boy who

came up to me the other day

and said, thank you

Mr. [INAUDIBLE]?

And I said, you're

welcome, but what for?

And he said, I'm having so

much fun with your wife.

-Oh no, no.

That boy came from Norfolk.

-Oh, you do get

around, don't you?

-I don't, but the sailors do.

Coffee?

-If you please, ma'am.

I heard your recording of

"The White Cliffs of Dover,"

[INAUDIBLE].

-You did?

-I come from Dover.

-Oh, you do.

-I think it was magnificent.

-Oh, thank you very much.

I loved making the record.

-[INAUDIBLE]?

-I know you.

I've seen you act.

-Well, [INAUDIBLE].

Can it be that my personality

survives tray scraping?

-Aren't you Alfred Fontaine?

Isn't he?

-Yes.

Have another.

-Mr. [INAUDIBLE], my

career on the stage

won't be complete until

I've worked with you.

-Well, my boy,

now's your chance.

You walk this garbage pail

right up to [INAUDIBLE].

-Yes, Mr. [INAUDIBLE].

-Joanie, bring some more plates.

-All right, Ms. Fontaine.

-My goodness but

it's hot in here.

It's beastly hot.

I'm suffocating.

-That's what I say.

Now I feel natural.

-Oh my what a chest.

[MAKING TARZAN CRY] [COUGHING]

-Enjoying yourselves, boys?

Well, I mean, are you

getting enough to eat?

[INTERPOSING VOICES IN SPANISH]

-I hope so.

-Mrs. Kennish?

How are you, Mrs. Kennish?

It's Georgie Jessel.

Say, Mrs. Kennish, I wonder

if you wouldn't do me a favor.

It's such a lovely night out.

Would you mind walking up

four flights to my mother's

new apartment, and getting

her down to your phone?

Yeah.

No, unfortunately we

can't use our phone.

We got something is wrong.

We got with a bill, something.

I don't know.

Who knows what it is.

They sent up two men,

unscrewed the whole phone,

and took everything out.

The book they left, yes.

Oh, that's what it

is, Mrs. Kennish.

Yes, it's [INAUDIBLE]

in the downtown office.

Oh you say my mother is

there in your apartment?

Well, well that

is a coincidence.

I say it's good

that she's there.

You shouldn't r up

the stairs. yeah.

Would you put my

mother on the phone?

Say, soldier, would you tell

them I'll be right there?

-Sure.

-Thank you.

Hello?

Mom?

Georgie, your son, from

the money every week.

How are you, dear?

Oh, I'm fine.

I'm down here in the canteen.

You know, I go on in a minute.

No I, I can't talk

about the landlord now.

This will wait, like

always with the landlord.

No, you see Ethel

Merman, the star

of "Something for the

Boys" is going on.

Then I follow her.

-(SINGING) We'll be

singing hallelujah,

marching through Berlin.

We'll be singing hallelujah

marching through Berlin.

The devil put on

a different face.

He came to plague

the human race.

We'll put that old

devil back in his place.

Sing hallelujah.

Everybody clap hounds.

Shout hooray.

All their troubles

be carried away.

That Hitler man will

meet his judgement day.

Sing hallelujah!

We'll be singing hallelujah

marching through Berlin.

We'll be singing hallelujah

marching through Berlin.

When we get there,

we're gonna see

the world has peace and liberty.

That's the way it's

gotta be. 'Cause man's

no good unless he's free.

We'll be singing hallelujah

marching through Berlin.

We'll be singing

hallelujah marching

through Berlin,

marching through Berlin.

[CHEERING]

-I want to thank you girls

for filling in for us tonight.

I know how hard it is

in shoes and stockings.

-Oh, we wouldn't mind

coming every night.

-You got a letter

from cousin Milford.

All right.

What does he say?

He's in the Army three months.

He's already a

Brigadier General?

Yeah, [INAUDIBLE]

three months, you

couldn't be a Brigadier General.

Read the letter again.

He's generally in the brig.

This I thought.

Yeah.

Well all right, look.

I can't talk about

it anymore now.

Because I gotta

follow Xavier Cugat.

That's the Rumba King.

Xavier.

Stop saying gesundheit.

That's the man's

name, Xavier Cugat.

[APPLAUSE]

--[SPEAKING SPANISH] "The

Bombshell from Brooklyn."

You know, I've been

practicing on my accent

so much that it's

becoming perfect.

[LAUGHTER]

[MUSIC - "BOMBSHELL FROM

BROOKLYN"]

-(SINGING) She's a

bombshell of Brazilian

who has yet to see Brazil.

If I ever had a million,

I would [INAUDIBLE].

-(SINGING) She's a

bombshell from the Pampas.

She's a lady who has

been through the mill.

Just a bombshell from

Brooklyn, and not from Brazil.

And her accent is atrocious.

She's a senorita with

beans to spill, a bombshell

from Brooklyn, and

not from Brazil.

The only thing Brazilian

about her is her bump.

It makes your heart

begin to jump.

And though she talks of

haciendas to a chump,

she made her debut in

his Coney Island dump.

She is known as Belladonna.

But her birth

certificate says McGill.

She's a bombshell from

Brooklyn, and not from Brazil.

[MUSIC - "BOMBSHELL FROM

BROOKLYN"]

[APPLAUSE]

[MUSIC PLAYING]

-Well, I guess we better start

circulating ourselves, Eileen.

-Beg your pardon, miss.

But, uh, are you taken?

-Am I what?

-Are you taken for this dance?

-Oh, no.

-Any of our boys told you what

Australian beer is made of?

-No.

-It's made of,

uh, kangaroo hops.

-I'm going to wind

up a commando.

-You sure will.

-Not bad.

Cut the rug, Judy.

-Oh, is that so?

-Yeah.

-Oh.

-If she's cutting at all,

she's cut with me, see.

-Well, I'm cutting in, see.

-Well we wasn't dancing, see.

The lady was just showing

me a couple of steps.

-Well, I'll show her a

couple of steps, see.

-Maybe I can show you

a couple of steps.

-Now, now, now just between

us, boys, look here now.

There are rules in this joint.

You can't fight, you

can't dance together,

and I can't dance with you,

because I'm a senior hostess,

see?

-Who's yous?

-Mes?

Oh!

-Miss, uh, Ms. Ina Claire, may

I have your autograph please?

-Ah, a soldier and a gentleman.

Yous.

Here.

-All right.

All right.

Put Sister Erna on.

Hello, Erna.

Look, honey, I know this

isn't the time or a place

to say such things to you.

But what's going to be with

that fellow, for heaven's sake?

You're engaged now

33 years, Erna.

When he gets a job?

But he wouldn't get a job.

Any fellow who gets fired

from five and 10 cent store

because he can't

remember the prices, such

a fellow-- I'll be

there, [INAUDIBLE].

I'll be there.

Hello.

-What are you sticking

your neck out for?

Food or gals?

-Gals, sir.

-And I hope we find our own.

-Oh, you've been here before.

-Oh yes, sir.

We know our way around.

[LAUGHING]

-Before I joined up,

I was an engineer

on a banana plantation.

-An engineer on a

banana plantation?

-That's right.

I had charge of the machine

that bends the bananas.

[LAUGHING]

-She show you her

clippings, saucy?

She tell you how

she went nuts better

than anybody ever

went nuts before?

-Yes, but I thought

you went out.

I didn't know you was

having a private war.

Takes me back to

the sands of Egypt.

Take over, matey.

I held her for you.

-Thanks, pal.

-Look what we found, Dakota.

A little old Yankee gal, and

a daughter of the Confederacy.

-You want to dance?

-I just finished, thanks.

-I thought you weren't

coming tonight.

-I thought you were

on the high seas.

-Otherwise you wouldn't

have come, huh?

-Nice of that Australian

to look out for me for you.

-Oh, he knows you interest me.

-Oh, how chummy.

I suppose you talked me over.

-Sure.

He's stationed near

us over in Jersey.

He said if he got here before I

did, he'd rope you off for me.

I told him to look for the

prettiest girl in the place.

That's how he identified you.

-Hey, uh, you ever been

in this place before?

-Yeah, sure.

Well, look.

I've been in both

these here wars.

And, uh, I've been

pretty joints.

But I just can't

figure this one out.

-What do you mean, Sarge?

-Well, you come in.

You get free chow, free

entertainment, free dancing.

And with dames that come

right up and ask you to.

What I'd like to know is,

uh, when do we get clipped?

-Relax, Sergeant.

You don't.

It's on the level.

-What?

You mean we don't even

get rolled afterwards?

DAKOTA: Why no.

Let's see your hand, Eileen.

-Looks like you've

already got it.

-Mm, I thought so.

I'd never have guessed it.

-Guessed what?

-That you've got a lot

of emotion, and stuff.

And look at your

mountain of the sun.

You're going to be famous.

-On the stage?

-Didn't say where, just famous.

And look at your heart line.

You're going to meet

a guy in your 20s.

This fellow's going

away for awhile.

Says here he's coming back.

-Does it say I'll be gone

when he does come back?

-Yes.

He'll have to find you.

-Since I'm going to

be famous, I guess

he'll just have to look in

the headlines, won't he?

-Just one thing to

look out for, it says.

Not to be too ambitious or

cold-blooded about letting

your head guide you

more than your heart.

LOUDSPEAKER:

Attention, attention,

attention, everybody.

Attention.

Men attached to

the following unit

will report back their

post immediately.

This is an official order

from your commanding officer.

All men from the first

battalion 28 Marines

will report for duty at once.

-Goodbye, Helen.

This is it.

-So long, Jim, for

a little while.

-I sure hope so.

[ALL SINGING]

-Oh boy.

For a while I thought it

was going to be our outfit.

-I did too, for a minute.

I thought they were

going to call your name.

-Well, I didn't even

know you remembered it.

-Smith, Private Smith, isn't it.

-That's right.

-What's the matter with you two?

Haven't you been

properly introduced?

-We got to know each other

pretty well, Ms. Anderson.

-As they say in Madison

Square Garden, ma'am,

this is a return engagement.

--[LAUGHING] Well, I'll bet

two to one on the soldier.

Knock out in the second round.

-I like your friend,

Ms. Anderson.

-You and a few million others.

-What?

She famous?

-Are you kidding?

-Oh, she's Judith Anderson.

Why sure.

She played Mrs.

Danvers in "Rebeca."

-Oh, they do have

movies in Sioux Falls.

-We're not that

deep in the sticks.

I guess I'm not very

good company for you.

I must seem like a sap to you.

-Gordon said last night he'd

lost his touch with women.

-I'd like to give her a

quick kick in the you know.

-[CHUCKLING]

-I guess I'll head back to camp.

So long.

I'll see you and California

back at the barrack.

-Anything wrong?

-Yeah, with me.

-Uh, could I please

talk to you a minute?

You see, you see my wife's

having a baby back home.

She's in the hospital tonight.

And I can't be with her.

Gee, I'd sure love

to talk to somebody.

-Why certainly.

[LAUGHING]

-OK, boys.

Run along and have a good time.

If you want anything,

just holler.

-You're a swell

fellow, Tallulah.

-Thanks, Ms. Bankhead.

-You're not so bad yourself.

-I didn't know it was this late.

I'd better get going.

Mizpah.

-Mizpah?

What does that mean?

-Where did you get that

expression, young man?

-Oh, that's a little something

between me and my wife.

Instead of saying goodbye,

we always say mizpah.

-Well, what does it mean?

-It's a word from the Bible.

It's beautiful.

It means the Lord

watches between me

and thee while we are

absent one from another.

Well, soldier, you'll do your

job well under that sign.

And don't forget

we're going to do

our job well too,

under the same sign.

Mizpah, soldier.

-Mizpah.

-Ah ah ah ah.

Take it easy, sailor.

Don't go overboard.

-And now, everybody,

Guy Lombardo,

playing "Sleep, Baby

Sleep, in Your Jeep."

[MUSIC - "SLEEP, BABY, SLEEP, IN

YOUR JEEP"]

-(SINGING) Out 'neath the

[INAUDIBLE] sky where you lie,

I hope that you

hear this lullaby.

Sleep, baby, sleep in

your Jeep far away,

across the deep blue sea.

May you dream of me.

May angels care for

my boy over there,

and my prayer shall [INAUDIBLE].

May you dream of me.

You're just a babe

in my arms, a kid

on my knee, a wee little

tot nearly six foot three.

So sleep, baby,

sleep in your Jeep

while the blue shadows creep.

And then dream of me again.

-What's the matter?

-I asked him what his girl

had that I didn't have,

and he told me.

The rat.

[MUSIC - "SLEEP, BABY, SLEEP, IN

YOUR JEEP"]

[APPLAUSE]

-You know what?

-No, what?

-I've never even kissed a girl.

-Didn't you ever even

play post office?

-Oh yes.

But I never had the

nerve to collect

anything that a

girl sent for me.

Know what I've been wondering?

-Mhmm, I think so.

Would you like me to be

your number one kiss?

I'd be honored, California.

Of course, I, I wouldn't

dream of breaking

the rules down here.

But I'll bend them

a little for you.

You just pick your moment

when the lights are down

a little bit, and the

music's just right.

-(SINGING) So I'll say

good night sweetheart.

Until we meet tomorrow.

Good night sweetheart.

Sleep will [INAUDIBLE] sorrow.

Tears and parting

may make us forlorn.

But with the dawn

a new day's born.

-This music's just

right for-- you know.

SINGER: (SINGING) Though

I'm not beside you.

-Of course, the lights

are pretty bright.

-Want me to close my eyes?

SINGER: (SINGING) Sweetheart.

Still my love will guide you.

Dreams enfold you in--

-That isn't any old

phonograph record.

That's Kenny Baker singing.

-(SINGING) Good

night sweetheart.

Good night.

-I guess there are too

many people around.

-I'm sorry, California.

-So am I, Jeanne.

-Good night.

-California asked me how

old I was again tonight.

-What did you tell him, honey?

-A lie.

-Texas says that kid loads

their anti-tank gun faster

than any man in the

whole [INAUDIBLE].

-Oh girls, I had a

call from Gilbert

Miller Office for his new play.

And the part's a peach.

-Well, if it isn't

the life of the party.

-I'd be ashamed

of myself, Eileen,

treating Dakota like dirt.

-You certainly were an

all around heel tonight.

-The way you walked out on him.

-Who walked out on who?

I had to talk to a soldier

who was going to have a baby.

The way you two

jump on me, you'd

think he was General MacArthur.

-Well not yet, sugar.

But Texas does say he's

the best gunner there is.

-Oh, is that what he does?

-My goodness.

You've certainly been

showing a mighty lack

of interest in that young man.

-Did you know Dakota

turned out Sergeant stripes

just so he could

stick with his pals?

No, he's not General

MacArthur, but the boys

swear by him just the same.

-Dakota's a sweet boy, a lot

sweeter than he gets treated.

-He gets back what he gives out.

-Ever occur to you that if you

gave out with something nice,

that's what you'd get back?

-I sure do like the taste

of this new toothpaste.

Reminds me of mint juleps.

Now I'm going to read

my mail in comfort.

Texas says he feels out of place

[INAUDIBLE] canteen, Jeanne.

He wishes we could have

been back down South

under a little

old magnolia tree.

I kind of wish the same thing.

He's right cute.

-Darn it.

I, I wish California

had kissed me

tonight when nobody was looking.

I left myself wide open.

I kept think they'll

sail away without anybody

ever kissing him.

And it would be my fault, too.

I was sort of his last chance.

-Here's letter for you,

Jeanne, mixed up in mine.

It looks like it's

from your brother.

-Oh, Marine Corps, it is!

-That cute, handsome,

[INAUDIBLE].

Does he know Mary's

had her baby?

-Mhmm.

Mary wrote him.

The letter's on its way.

It's a boy.

-What's the matter?

Something wrong?

-No, but, just listen to this.

Dear sis, I'm still waiting to

hear from Mary about whether we

have a son or a

daughter or both.

By the time you receive

this, you and the folks

may have read about

us in the newspapers.

You know how censorship is.

I just want you to know, sis,

that I'm not afraid of anything

that may be ahead, and

assure you that we are all

anxious to do our utmost in

any engagement we might have.

We know our weapons

and equipment

are superior to theirs.

And in addition, each one of

us knows that man for man,

a Marine can out-shoot,

out-bayonet, outlast,

and if necessary kill

any blankety-blank Jap

he has seen so far

with his bare hands.

They can talk all they want

about the Japs' jiujitsu.

But a Marine will tell

you it doesn't work

against a roundhouse

right to the jaw.

Though neither I nor none of

you have mentioned it before,

there's naturally

a chance that I

may not come back from this war.

And of course I still

don't think folks

or Mary should be

reminded of it.

However, sis, I'd like

you, more than anyone,

to know my feelings.

Dad and mom always

did everything

a son could wish for.

You've been the perfect sister.

And I certainly consider myself

the luckiest man in the world

in having Mary for my wife.

Certainly no one in

this world has a greater

claim to happiness than I have.

I remember what dad

said when we all

had dinner before I shoved off.

He said that other

things may not matter,

but that I could never

live down a failure

in my country's service.

And I won't fail dad,

whatever happens.

Just as I remember always how

lucky I am to have a kid sister

like you.

Bill.

-He'll come back, honey.

-I know.

But I'll say my

prayers just the same.

Kind of gets you, though,

kids like Bill and California,

Dakota, and Texas.

-I guess this is as

good a time as any

to realize what

a heel I've been.

Good night, kids.

-Goodnight, honey.

-Night, Ella Sue.

-Night, y'all.

-Roll out, men.

On your feet, Tex.

Nobody ever won a medal in bed.

-Anybody ever did it

would be little old me.

-Gee, do you guys realize my

Mamie is only a couple of miles

away?

-Uh, mister?

Come here.

Um, you know Jersey Wallace?

-No, ma'am.

-We're going to get

married this morning

if he doesn't have

to go someplace.

-We've been going

together two years.

So his captain

gave him permission

[INAUDIBLE] you know.

-Yes, miss.

I know.

I hope you make it.

-Jersey and me figured

if it means we'll only

have the net 24 hours

together as man and wife,

it'll be worth it.

It's too bad you

don't know Jersey.

You'd be crazy about

him, like I am.

You ought to read the

beautiful letters he writes me.

I carry them with

me every place.

I like to read them over

while I eat my lunch.

Oh, the suspense is killing me.

JERSEY: Hey, Mamie, we're in!

24 hours.

Aww gee, honey.

We've got another

24 hours, baby.

Meet my best men.

This is Dakota.

This is Texas.

-Hello, Mamie.

-Hello.

-Well, you're right

pretty for a Yankee.

-[INAUDIBLE].

Oh, here's California.

He'll be your bridesmaid.

-Hello, Mamie.

-Oh gee, Jersey.

Being married to you is going

to be the most wonderful

thing that ever happened to me.

-Did you pick out

a marriage chapel?

-Yeah.

I got this one.

We'll get everything

for $10, including

the fellow who plays the organ.

-Oh gee.

That's swell.

Come on, guys.

Let's go.

[ORGAN MUSIC]

OFFICIANT: [INAUDIBLE] this man

to thy wedded husband, to live

together after God's

ordinance in the holiest

state of matrimony?

-I will.

-Well-- oh, yes.

Who gives this

woman in marriage?

-I guess I do, your honor.

-You will love each other,

and comfort each other?

-We will.

-Repeat these words after me.

-In sickness and in health.

-Until death us do part.

-As long as you both shall live.

-As long as we both shall live.

-Well, [CHUCKLING] nice of

you guys to escort us here.

[CHUCKLING] So long.

-Aren't you going

to invite us in?

-Well--

-Um, don't we get

to kiss the bride?

-Oh yeah, yeah help yourself,

now that I've signed her up.

-Uh, I've sort of promised my

first kiss to somebody else.

But I know you'll like

being married to Jersey.

I've been eating across

from him for six months.

He doesn't look so

good in the mornings,

but you get sort

of used to that.

[LAUGHTER]

-Uh, well, uh--

-Just what I was thinking.

Let's go, guys.

-OK.

Goodbye.

-Bye.

-See you later, fellows.

-(SINGING) How can I leave thee?

How can I from thee part?

You only have my heart--

-What are you guys going to do

between now and five o'clock

until the old canteen opens?

-I'm not going to

the canteen tonight.

-What else you guys want to do?

-Let's bowl.

-Oh, I'd rather go back

to the canteen, Dakota.

-Well, you run along

with Tex, then.

-No, I'll stick with you.

-Aw, who wants to bowl?

Besides, we don't

need the exercise.

We're getting plenty of

it where we're going.

I'll take in the

canteen tonight.

See you guys later.

-I wonder if Jeanne

will be there tonight.

-OK, kid.

We'll bowl this

afternoon, and go back

to the canteen tonight

for another fling.

-Thanks, Dakota.

-I should be envious of

you, Eileen, but I'm not.

You deserve it.

You read the lines beautifully.

-Thank you.

-Congratulations.

-What a break, playing

opposite Paul Muni.

-Bye.

I

-See you at rehearsal.

-So long.

And thanks.

It's funny.

This is the day I've

been waiting for.

But somehow I'm, I'm not

getting the kick out of it

that I thought I would.

-I know what's bothering you.

You're still thinking

of Dakota, aren't you?

Oh, come on.

Forget it.

He's, he's probably

forgotten you by now.

-Sure he has.

And he certainly took away

a fine impression of me,

didn't he?

-Oh, snap out of it.

-Hello, Eileen.

I hear you're in.

Good girl.

-Thanks, Mr. Muni.

Oh, this is my

friend, Ms. Ruble.

[INTERPOSING VOICES]

-Say, we're going over

for a little dinner

to celebrate, over

at the Algonquin.

Nothing elaborate,

just something quiet.

How about you two

joining us, eh?

-Oh, I'd love to, Mr. Muni.

But I--

-But I, But I. Come, come.

I won't take no for an answer.

See you over there, both of you.

Bye.

-Bye.

-Elsa, Elsa, I'd

like to be a giraffe.

-Why a giraffe?

So I could get in a

little extra necking.

[LAUGHTER]

-I'd like to be a skunk.

A skunk?

Why?

-So I could choose

my own friends.

[LAUGHTER]

-The boys are far too good.

I think we've got to

give he girls a chance.

Girls, $10 for the best answer.

If you could be any woman,

what woman would you be?

-Hitler's widow!

[CHEERS]

-Fellows, Ms. Ethel Waters

and the famous Count

Basie and his orchestra.

[APPLAUSE]

[PLAYING MUSIC]

-(SINGING) When you

sang your love song,

you used to make me sigh.

I listened.

When you call me, I

followed and followed

you til I was

swallowed by quicksand.

It was the devil who

brought you to me.

Now I'm caught in

those quicksands

that keep dragging me down.

Quicksands.

I knew your love couldn't last.

Here am I, sinking fast,

in those quicksands

that keep on dragging me down.

It was [INAUDIBLE].

I was walking with

you [INAUDIBLE].

How can our feet

ever carry my heart?

It's so [INAUDIBLE].

I heard those beautiful lies

with my eyes toward the skies.

Then those quicksands

started pulling

me down, down, way down.

Quicksand, you keep

on dragging me down.

[APPLAUSE]

-This is my last night at

the canteen, Ms. Skinner.

I'm joining the WAC tomorrow.

-Good girl, Patsy.

-Oh, fun.

-Dr. Kirsten, Mr. Hirshel.

-I'm from California.

And I've always--

-So am I.

-Excuse me, Mr.

Hirschl, but we're

trying to get some

friends in here.

-Well, bring them right in.

-Well, you see, we met them at

a bowling alley this afternoon.

-They're Russian sailors.

-All the more reason.

-One of them is a girl.

-Are they in uniform?

-Not all of them.

-Well, those without

uniform can go over

to our Merchant Marine canteen.

-Well, they don't understand

English very well except one.

He's the guide.

I think they'll have

to stick together.

-Well, as long as they're

here, why shouldn't we

at least let them look around?

-Certainly, Gene.

You can bring them in

as your personal guests.

I'm sure the boys

would love to see them.

-Uh, is there anybody here

who can speak Russian?

-Sam Jap.

He's a busboy tonight.

He's our man.

-Good.

-I'll get him.

-Bring in your friends.

[INTERPOSING VOICES]

-You haven't missed

one time, have you?

Wonderful.

-Hold everything.

Settle down for a second.

This young lady and these

men are our fighting allies.

They're Russian warriors.

All five of them

have been in battle.

This man here has been

wounded three times,

was discharged, and joined

the fleet as a volunteer,

believe it or not to recuperate.

[LAUGHTER]

-[SPEAKING RUSSIAN]

-Oh, he's not afraid

of submarines.

He's been torpedoed three times.

-Are you a fighter?

-What is that, fighter?

-[MIMICKING AUTOMATIC WEAPON]

-Yes.

I seen battle.

-Many times?

-Yes, many times.

-What position do

you hold on the boat?

-I don't understand you.

-[SPEAKING RUSSIAN]

-I am assistant of captain.

go back to me yes you have any

romance of them I may have been

going so where is your baby

we want to know you need and

of Germans in occupied Russia.

-Then I can imagine what you

would do if you me a Nazi.

-Yes, my hand would not tremble.

[CHEERING]

-These people represent

the flesh and blood

that stopped the

Germans at Stalingrad.

Did I say stopped?

I meant exterminated.

Yes, we're all in the

same fight together.

Now go ahead and

have a good time.

[CHEERING]

-Boys, quiet for a moment.

You're going to meet an eminent

authoress, a lady of letters,

a young writer who went

from without rags to riches.

Also star of Star and Garter,

our own Gypsy Rose Lee.

[CHEERING]

-Have you the faintest

idea about the private life

of an exotic dancer?

Well, up until a

few years ago, it

was New York's second

largest industry.

Now the fan dancer's

education requires

years of concentration.

And for the sake of

explanation, take a look at me.

I began at the age of

three, learning ballet

at the Royal Imperial

School in Moscow.

Oh, I suffered and

suffered for my art.

Then of course, sweet briar.

Oh, dear college days.

And after four years of

psychology, zoology, biology,

and anthropology, my

education was complete.

And I was ready to make

my professional debut

for the Minsky's on 14th Street.

Now the things that go

on in a fan dancer's mind

would give you no

end of surprise.

But if you're

psychologically inclined,

there's more to see

than meets the eyes.

For an example, when I

lower my gown a fraction,

and expose a patch

of shoulder, I'm

not interested in your

reaction, or in the bareness

of my shoulder.

I'm thinking of some

painting, by van Gogh

or by Cezanne, or

the charm I found

in reading "Lady

Windermere's Fan."

When I lower the other side,

expose my other shoulder,

do you think I take

the slightest pride

in the whiteness

of that shoulder?

I'm thinking of

my country house,

or the jolly funny shooting--

[CHEERING]

-Have you the faintest

idea about the private life

an exotic dancer?

Well, up with a

few years ago, it

was New York's second

largest industry.

Now a fan dancer's

education requires

years of concentration.

And for the sake of

explanation, take a look at me.

I began at the age of

three, learning ballet

at the Royal Imperial

School in Moscow.

Oh, I suffered and

suffered for my art.

Then of course, sweet briar.

Oh dear college days.

And after four years of

psychology, zoology, biology,

and anthropology, my

education was complete.

And I was ready to make

my professional debut

for the Minsky's on 14th Street.

Now the things that go

in a fan dancer's mind

would give you no

end of surprise.

But if you're

psychologically inclined,

there's more to see

than meets the eyes.

For an example, when I

lower my gown a fraction,

and expose a patch

of shoulder, I'm

not interested in your

reaction, on in the bareness

of my shoulder.

I'm thinking of some

painting, by van Gogh

or by Cezanne, or

the charm I found

in reading "Lady

Windermere's Fan."

When I lower the other side,

expose my other shoulder,

do you think I take

the slightest pride

in the whiteness

of that shoulder?

I'm thinking of

my country house,

or the jolly funny

shooting grouse.

[MUSIC PLAYING]

-There's the music.

And that's my cue.

There's only one

thing left to do.

So I do it.

[MUSIC PLAYING]

-And when I raise my skirts,

with slyness and dexterity,

I'm mentally computing just

how much I'll give to charity.

And the white stockings I have

revealed, and just a bit of me

remains concealed.

I'm thinking of [INAUDIBLE] or

the third chapter of "All This,

and Heaven, Too,"

and none of those men

whose minds are obscene.

Ooh!

They leave me apathetic.

I prefer the more aesthetic,

thins like dramas by Rossini.

-Aww!

[MUSIC PLAYING]

[LAUGHTER]

[MUSIC PLAYING]

[LAUGHTER]

[MUSIC PLAYING]

[LAUGHTER]

-And then I take

the last thing off.

[GROANING]

-Well, practically.

And stand there shyly,

looking demurely at every man.

Do you believe for one moment

that I'm thinking of art?

MEN: No!

-Well, I certainly had am.

[CHEERING]

-That's all there is.

There isn't anymore.

-Do it like you did

in Star and Garter.

-Oh, boys, I couldn't.

I'd catch cold!

[CHEERING]

-Don't you ever

smile, Mr. Sparks?

-I'm smiling now.

-Well, uh, tell me, sir.

How did your face get that way?

-Don't you know where

everything is frozen these days?

-So that's the last

I saw of Egypt.

-Yes, well, I'd like you

to meet a pal of mine

who's maybe going

where you've been.

Dakota, meet Johnny Jones, a

real fighting man fresh and hot

from Australia.

-Oh, how was it down there?

-All kind of exciting spots.

I'm itching to get back.

-What's that you got

on your chest, Johnny?

-Oh, just a ribbon.

-Yeah, but it comes with a

Distinguished Service Cross.

-It's been a

pleasure meeting you.

I hope we meet again,

maybe down there.

-Right.

[INTERPOSING VOICES]

-What is it, boys? s there

something you wanted to ask me?

-How did you know?

-Oh, I've had this

experience before.

You just flew over, and

you want your English pound

notes changed into

American dollars.

Am I right about that?

-We want to do the town

before we take off.

-Good.

-We don't want to

short change you.

-Oh, don't you worry about that.

-[INAUDIBLE].

-Oh, yes, Johnny.

Here I am.

-Our MC isn't back yet.

He had to go to his radio show.

Would you please

introduce Freddy Martin?

-Oh, yes, of course.

Where is he?

-He's on stage already.

-All right.

I'll be right there.

-Thank you.

-Goodbye again, boys.

Good luck.

And happy landing.

[INTERPOSING VOICES]

[APPLAUSE]

-There's no need of introducing

Freddy Martin to you,

because I see that

you all know him.

[PLAYING MUSIC]

-(SINGING) Hurry home and get

yourself a comb and toothbrush.

Pack a pillow full of

dreams that may come true.

-(SINGING) In a little place

they call Don't Worry Island,

we can lease a piece

of paradise for two.

-(SINGING) There's a chipper

skipper on the moonlight

flipper who will stow away

your troubles in the sea.

-(SINGING) It's been said he's

heading for Don't Worry Island.

And if that's where he

is going, so are we.

-(SINGING) Concerning clothes,

I would advise a pair of lips,

a pair of eyes.

Outside of those,

take all the charm

that you can put into my arms.

-(SINGING) You can

reach right out

and pick a peach for breakfast.

You can shake your

dinner off an apple tree.

To a little place they call

Don't Worry Island, take along

your blue sarong,

and come with me.

-Gee, I wish Jeanne were here.

-[INAUDIBLE].

-How are you?

-Hello, boys.

Gotta get our aprons on.

-Hello.

-Hello, sugar.

-Hi, honey.

-Oh, where's Eileen?

-Looks like she's

gone and got a part

in Gilbert Miller's new show.

Guess she's off celebrating.

-Hear that you guys, Eileen's

landed a part in a show.

Isn't that great?

-Yeah.

And I bet you're

wondering why she isn't

doing her celebrating down here.

-Why sure.

We celebrate good.

-Are you here all the

way from [INAUDIBLE]?

-Yes.

-I'm one of the

Chinese Air Cadets

who came here to earn our wings.

-Too bad we haven't any chop

suey here for you Chinese boys,

I reckon.

-I'm thinking of introducing

chop suey in China when I get

back as the latest

American novelty.

-You sure do talk

funny for an Air Cadet

all the way from China.

-Well, and you sure

talk funny for a man

from the United States.

-Hey, aren't those

wings you're wearing?

-Yes.

We won them today.

And we're leaving

for China tonight.

You see, we are

rather anxious to try

our wings on those

sons of-- heaven.

--[INAUDIBLE] they

just won their wings,

and they're heading home

for a crack at Hirohito.

-The Chinese fighting march.

[PLAYING MUSIC]

-The commanding officer

of these new pilots

has asked me to speak for him.

He wants me to thank you boys

for your warm demonstration

of our feeling for them.

Don't you think it is

we who should thank them

and all the Chinese people

for their magnificent courage

and steadfastness?

It is like a light to guide

the free peoples of the world.

[APPLAUSE]

-Yes, that's a small

indication of how we feel.

And now, their

officer regrets having

to take them away so early.

But it seems they have some

work to do across the Pacific.

[CHEERING]

[MUSIC - "AULD LANG SYNE"]

-I want to thank you

boys for your friendship.

And I hope we meet again.

-So long, friend.

-Goodbye.

And don't forget to send

me a postcard from Tokyo.

-You bet I will Ms. Lang.

And thanks for your kindness.

-[INAUDIBLE].

[MUSIC - "AULD LANG SYNE"]

[CHEERING]

-Thank you very much.

Thank you, [INAUDIBLE].

We won't forget.

-Good luck.

Did you hear that, Dame May?

They were thanking us?

-Yes, I heard.

-What, eating alone, soldier?

-Yes.

Eileen isn't here

tonight, Ms. Anderson.

-Oh, well, do you want me to

introduce you to another girl?

-No thanks.

If it's the same Ms. Anderson,

I guess I'll just sit here.

And I, I want to apologize

for not knowing who you were.

-No apologies necessary.

I didn't know who

you were, either.

-Attention.

[APPLAUSE]

-[INAUDIBLE].

-(SINGING) A pair

of little people,

their biggest moment comes.

She says goodbye.

His soft reply is

heard above the drums.

In dreams we'll

always be together.

Beneath the moonlight sky,

we mustn't say goodbye.

Each night, I'll push

aside the mountains.

I'll drain the ocean dry.

We mustn't say goodbye.

I promise you that when

the postman rings, my heart

will be inside the

envelope he brings.

Oh don't you know the memories

we gather can never, never die?

We mustn't say goodbye.

I promise you that when

the postman rings, my heart

will be inside the

envelope he brings.

Oh don't you know the memories

we gather can never, never die?

We mustn't say goodbye.

[APPLAUSE]

-Hello.

-Well, you're all dressed up

to celebrate the new part?

-The girl tell you?

-Yeah.

Good luck.

I hope you're a hit.

-Well, thanks, Dakota.

-Well, there's no sense

in keeping the guy you're

going to celebrate with waiting.

-Don't you want me to stay here?

I had my hair done and

wore this dress for you.

-Yeah, I'll bet.

You said to yourself,

I'll bet Dakota

would like my hair

fixed this way.

But we'll probably never

see each other again.

I don't mean anything to you.

And--

-And I don't mean

anything to you.

Is that what you

were going to say?

-Oh, I was.

I couldn't finish it.

[APPLAUSE]

-And now, here's

something for the cats.

I'm going to bring you a clanky

brawl by a sharpie who plays

a licorice stick that's

out of this world.

The guy who knocked

them off their seats,

and rolled them into a

groove, Benny Goodman.

[CHEERING]

[PLAYING MUSIC]

-(SINGING) You had

plenty money, 1922.

You let other women

make a fool of you.

Why don't you do right,

like some other men do?

Get out of here, and

get me some money, too.

[PLAYING MUSIC]

-(SINGING) If you had

prepared 20 years ago,

you wouldn't be a-wandering

now from door to door.

Why don't you do right,

like some other men do?

Get out of here, and

get me some money, too.

[PLAYING MUSIC]

-(SINGING) Why don't you do

right, like some other men do?

Like some other men do.

[CHEERING]

[PLAYING MUSIC]

-OK, sugar.

Come on.

Give me some skin.

-What's that?

-Don't you jump?

-Huh?

-Jitter?

-Oh, not so good.

-Oh, well come on, honey.

I'll teach you.

[PLAYING MUSIC]

-Do your eyes

bother you, Jeanne?

-No, California.

Why?

-Well, they're killing me.

--[LAUGHING] Oh California,

you're my dream man.

How about it?

Do you want to hold

me while you dance?

-Mhmm.

[MUSIC PLAYING]

[CHEERING]

-Hello?

[HONKING]

-Hello!

[HONKING]

-[SCREAMING]

[HONKING]

-Hey.

Take your hat off.

Can't you see the ladies?

[HONK]

-Come on.

Take it off.

[LAUGHTER]

-Oh!

[LAUGHTER]

-Quiet, quiet everybody, please.

There comes a time

in everyone's life

when a moment of

seriousness is appreciated.

We offer you that

moment tonight.

It is my pleasure and privilege

to introduce one of the world's

great concert

violinists, Mr. Menuhin.

[APPLAUSE]

-I would like to play for

you, Schubert's "Ave Maria."

[MUSIC - "AVE MARIA"]

[APPLAUSE AND CHEERS]

-And now for the

first insect that's

ever been in the

Stage Door Canteen--

the "Flight of the Bumblebee."

[LAUGHTER]

[MUSIC - "FLIGHT OF THE

BUMBLEBEE"]

[APPLAUSE AND CHEERS]

-It's funny.

It wasn't hard to find

things to say when

we were taking

cracks at each other.

Now I--

-You've run out of words?

-No.

I'm just trying to

find the right ones.

We've wasted a lot

of time, haven't we?

Things keep coming to my mind.

And I feel like talking.

But we haven't any more time.

-I like this song.

But it seems like they

always play it too soon.

[MUSIC PLAYING]

-I'm going to make

it tonight, you know.

-I know.

And I'll be ready and waiting.

[MUSIC PLAYING]

-Pass the ammunition.

[MUSIC PLAYING]

-I know.

I'd love to meet you afterwards.

But you know the

rules too, Dakota.

I can't.

-Please, just for

a little while.

You realize we've never

been alone together.

-They'd pick up my pass.

I wouldn't want that to happen.

-Nobody need know.

-It's like the honor

system at school.

Even your best friends

have to report you.

-Suppose I were just anybody

who wanted to be with you,

and I just happened to see you.

That wouldn't make me a date.

-I just can't tell you the

subway station where I get off.

It's against the rules.

But the girls,

they live with me.

And they got off at

Washington Square.

-Goodnight, honey.

-Good night, sugar.

-Good night, California.

-Good night.

-I'll see you later.

-Hey, Dakota.

Why don't we stop off and

see "The Honeymooners?"

-I'll see you guys

at the barracks.

-Ah ah ah ah ah ah ah ah.

-[CHUCKLING] Coffee, yeah.

Lost my ration book.

Been a long time, you know?

[CHUCKLING] Ugh, FBI, huh?

-And Texas says he doesn't

like glamour girls.

He likes girls that

don't [INAUDIBLE].

Tex is awfully smooth.

He never says what

he's thinking.

-Who's got a key tonight?

I must have left mine

in my other purse.

-I've got mine.

If they go to

Egypt, do you think

they'll fall for those Egyptian

women with the [INAUDIBLE]?

-Oh, Ella Sua, are you sure you

locked the front door after us?

-Oh, no.

I'm not right sure.

-Well, I won't be able to

sleep until I make certain.

-Shucks, honey.

It was my fault.

I'll go.

-Oh no, no.

I'll go!

I didn't know what to do.

I was afraid that

they'd find out.

That's all the courage I need.

-Hello, Eileen.

-Hello.

-Well, hello.

-They're from the canteen.

They'll have to report me.

Oh, Dakota.

The stairs inside keep

going right up to the roof.

As soon as I make sure

the girls are asleep,

I'll join you there.

Say something, so everybody

won't hear my heart beating.

Yours is bouncing

around a bit, too.

Boom, boom, boom, boom.

It's a wonder they'd

let you in the army

with a heart like that.

You're skipping beats.

-If I'd kissed you before

I took my examination,

I'd still be in Dakota.

-My knees are shaking,

what with everything.

-Well, shall we sit down?

-There's so much for us to

find out about each other.

I wonder if we like

the same things.

-Like what?

-Well, like, like rainy weather.

-I like [INAUDIBLE].

We never got enough back home.

-I do too.

I like everything there

is about it-- the way

it makes the roof shine

at night, walking in it,

breathing deep.

Say, how do you

look out of uniform?

-Pretty naked.

[LAUGHING]

-What kind of clothes

do you like best?

-Uh, old ones,

baggy, [INAUDIBLE].

-I like that.

-Do you like dogs?

I had to leave my

dogs at the station.

Couldn't take the to camp.

I got a letter from

the old station master

saying they stayed there.

They wouldn't go home with

the folks I gave them to.

The old boy said he'd

keep them for me,

and let them live in the

baggage room when I got back.

I, uh, I miss those pups.

-Maybe someday we'll, we'll

walk with them in the rain.

-Would you mind if I had a

workshop in the basement?

-No.

I, I like the smell of

shavings, and the way

they crackle in the fireplace,

the smell of wood smoke.

And us sitting like this.

-Maybe it's evening.

I've just come home from work.

And we just had dinner.

We're sitting by that fireplace.

-I like nice hot baths on cold

nights before I go to bed.

-I'm a shower man myself.

-And I'm a tub girl.

We wouldn't fight over

anything, would we?

I've never proposed to another

boy in all my life, honest.

-It wouldn't be

fair to you, Eileen.

-I'm yours if you want me.

It's up to you.

And I'd love to get letters

addressed to Mrs. Dakota Smith.

-Suppose you were

the greatest star

on Broadway when I came back.

And I was only, well,

maybe a Sergeant.

-Then I'd have them

put Mrs. Sergeant

Smith up in lights,

five feet high.

We'll get some sleep.

I'll go to my rehearsal.

And I could be ready by five.

-It's dawn.

Where will I meet the bride?

-The same place we met--

Stage Door Canteen.

[PHONE RINGING]

-If that's a job for me,

don't ask any questions.

Just say yes.

-I will.

Hello?

Yes.

Oh, why that's ridiculous.

She didn't have a date

with a soldier last night.

She came home with us.

-Tell them I had a date with

the dearest, most adorable guy.

-Yes, she said she had a date

with the dears, most adorable--

what?

-You might as well

go on inside, girls.

I'll let you know when he comes.

-Hello, Eileen, what

are you doing out here?

-They took my card away,

so I can't go inside.

-Why?

-Oh, it's alright Ms. Royal.

I'm, I'm going to

be married today.

-You are full of surprises.

Congratulations.

-And mine, Eileen.

-Congratulations and good luck.

-Thank you.

-Have you ever broken

any rules, Selena?

-Gosh, you're right.

Shall we make an

exception in her case?

-Why don't we make

up a rule of our own?

The brides don't have

to wait on sidewalks.

-I'll get her.

Eileen.

-Here they come, girls.

Start circulating.

-She knows.

I told her.

I'll wait in the dressing room.

-Yes, ad I think it's wonderful.

The groom will probably

arrive with his entire company

to get her.

-Thanks, Ellen.

That's very sweet of you.

-OK, Ralph.

-I wonder many boys

will be in tonight.

-Oh, the usual number, I guess.

6,000 were here

over the weekend.

-Still keeps up.

Isn't it wonderful?

-Wonderful.

-Oh, first time at

the canteen, eh?

-Yes, ma'am.

-Well now would you rather

eat first or dance first?

-Eat first, I think, ma'am.

Virginia, show this boy

the ropes [INAUDIBLE].

This is Virginia Gray.

What's your name?

-Don Brandy.

Hello, Virginia.

-Hello, Don.

On second thought, I think

I'd like to dance first.

-Well, come on.

[MUSIC PLAYING]

-Thanks just the same.

But we won't dance

anymore for a while.

-I declare, just

look at the time.

It's getting awfully late.

-Oh, Eileen, you're

wanted in the foyer

with Ella Sue and Jeanne.

[MUSIC PLAYING]

-Oh, uh, I, uh, promised

to find you ladies.

Your [CLEARING THROAT],

your boys

sailed off to the

war this morning.

But they each gave

me something to say.

So I wrote it down

so I wouldn't forget.

The lad from the

South, miss, he, he

said he hoped he'd find you're

sitting in a little old hammock

under a magnolia tree

when he comes back.

The young lad from

California, miss, he, he

said to thank you for

making him feel like a man.

Dakota, miss, Dakota sends

you his, his dearest love.

He seemed a bit wrought

up, don't you know?

He said he hoped you'd

still be his misses

if-- when he comes back.

He said he'd love

you all his life.

-All his life.

He's got to live.

He's got to come back.

-He'll come back.

-Dear God, [INAUDIBLE] love

someone as much as I love him,

he's just about got to.

It isn't fair.

-You bet it isn't fair.

But it's happening.

-Oh, Ms. Hepner, I just heard--

-Yes, I know.

He sent you his

dearest love, and said

he hoped you'd be his

misses when he got back.

-I can't stand it.

I've got to get out of here.

-Wait a minute.

Why'd you volunteer

for this work?

-Because I wanted to help.

-Help what?

-I wanted to help my country.

-Why do you think your

country needs your help?

-We're In a war.

And we've got to win.

-Yes, that's right.

We're in a war.

And we've got to win.

And we're going to win.

And that's why the boy you

love is going overseas.

And isn't that maybe why you're

going to go back in there,

and get on your job?

Look, you're a good kid.

I don't wonder he loves you.

He knows what he's finding for.

He's fighting the kind of

world in which you and he can

live together in happiness,

and peace, and love.

Don't ever think about quitting.

Don't ever stop for a minute

working, fighting, praying,

until we've got that

kind of world for you,

for him, for your children,

for the whole human race, days

without end, amen.

NARRATOR: Tonight, every

night until victory,

thousands, millions of lads

like California, Tex, and Dakota

will find momentary escape from

the war, from homesickness.

Tonight, every night

until victory, this light

will be gleaming, offering them

laughter, music, friendship,

beauty, and something

to remember.

[MUSIC PLAYING]

Stage Door Canteen (1943) - full transcript