Strike Up the Band (1940) - full transcript

James Connors,
you are not Cab Calloway.

We are trying to play
"The National Emblem,"

not "My Heart Belongs to Daddy."

Yes, ma'am.

Well, I guess that's all
we can do for tonight.

I think you'd better go home.

Rehearsal's dismissed.

Turn your music in to Willie.

Willie. Here, Willie.

You know, Jimmy,
I'm getting to hate these rehearsals.

The same thing--



-...every time.
-Yeah.

Say, Phil, would you like to stick around
and play records?

I'd like to, last time we did,
didn't get home until 12.

My dad was pretty burned up.

We'll knock out a few and get home early.
What do you say?

That's what you said last time.
I've been in the bullpen ever since.

Well, we're just practicing.

Yeah, but my folks think
I practice better at home.

Anyway, Annie's waiting for me.

-Oh, you're dead.
-Yeah. Goodnight.

Say,Booper,
like to try a little classical swing?

Can't do it.

My family's out of sympathy with
these night sessions you been having.

See you tomorrow, Jimmy.



So long,Boop.

Is that you, Jimmy?

Yes, Mom.

What time is it, dear?

Gosh, Mom, I--I don't know. It, uh...

it must be close to 11.

Goodnight, son.

Goodnight, Mom.

-How was I doing?
-Swell.

Say, I'm glad you're here, Mary,
'cause I wanna talk to you.

-Okay.
-Well --

You know, I don't go around
steaming people up.

Oh, no, of course not.

We--well, anyway. Remember once
I told you that someday

we might have our own dance orchestra?

-Yes.
-Well, the dog is barking.

What do you mean?

I've been thinking it over in my mind.

And, well, a fellow doesn't wanna play

with a broken-down
brass band anymore.

You know, the same:

He gets tired of that.

Instead of the school having
a band play the concert once a year,

why, we could have our own
great modern dance orchestra.

We've got everything
we need right here.

We've got the brass, the piano,
the reeds and you and--

Me?

Sure, you could handle all the vocals.

Oh, that sounds
wonderful, Jimmy.

It is wonderful.
We could make our own arrangements

and specialties
and play for all the dances.

Mary, we could put
Riverwood High School on the map.

Now, all we gotta do
is to get the school behind us.

Do you think we could
sell the idea to Mr. Judd?

-Mr. Judd, the principal?
-Yeah.

I thought the last time
you saw him--

Well, no, I-I don't think he'd hold
my past against me. This is big.

Will you go down
to see him with me, Mary?

-Maybe say tonight?
-Sure, I'll go.

-It's a date.
-All right.

Be right there, Jimmy.

All right, Mary.

I won't be gone long.

-Hello, Jimmy.
-Hello, Mrs. Holden.

I told mother about the band.
She thinks it's wonderful.

You do?

Of course.
I think it's splendid.

Doesn't your mother think so too?

Oh, uh, yes, ma'am.
She--she thinks it's great.

I guess we'd better be going.

Goodnight, Mother.

Goodnight, Mrs. Holden.

Good luck with Mr. Judd.

Thanks.

That was a fib,
what you said about your mother.

Yeah.

Why'd you say it?

I don't know.

You didn't even tell your mother.

-No.
-Why?

Well, I guess I'm afraid to.

Afraid to tell your mother?

Mary, it isn't as easy as you think.

It's not just telling her

that we're gonna have a band,
have fun, a lot of laughs.

Don't you see that I've gotta tell her--

I've gotta tell her
that this is it, music.

It's my future.
It's the thing I want most.

-Maybe she'd understand.
-No, I don't think she would.

She wants me to be a doctor like Dad.

But, Mary, look at me.
Do I look like a doctor?

-No, I guess you don't.
-No, of course I don't.

But ever since
I can remember,

she's always talked to me about it.

Well, I've agreed with her because it--

I saw that it made her happy, but...

now I can't even do that.

Jimmy, are you sure
you wanna be a drummer?

Mary, I was never more sure
of anything in my life.

You've got to be really sure.

Why don't you wait and
see what Mr. Judd says

about you organizing this school band?

If he says it's all right,
and the first school dance is a success,

and you know that
that's what you wanna do,

well, go to her and tell her then.
She'll understand.

Because she'd realize that your ambition
is strong and sincere.

Oh, mothers are like that, Jimmy.

Gee, I never thought of it
that way before.

But you're right, Mary,
and I'll do it.

Oh, you know,
you're so wonderful.

Gosh, it's a great comfort
to have somebody

you can tell your troubles to.

You're always so wonderful
about putting me on the right track.

-Yeah?
-Yeah.

You know, you're gonna make
some man a fine wife.

-Yeah?
-Yeah.

And, well, I'm gonna envy
the guy that gets you too.

-Yeah?
-Yeah.

And, I'll never forget what
a great pal you've been to me.

-Yeah?
-Yeah!

Straight from the shoulder,
a real pal.

Reminds me of a song.

What song?

"Oh! What a Pal Was Mary."

Yeah!

Yeah.

Jimmy,
the band has been a big disappointment.

-Are the boys losing interest?
-No, sir, not in the music.

There are awfully fine musicians
in that outfit.

They're just not interested
in the stuff they're playing.

When you start playing anything,
you've gotta be hopping inside.

Oh, it's wonderful for parades
and Memorial Day, but...

people don't wanna sit around

and listen to that kind of stuff anymore.

Jimmy, I've been giving it
a lot of thought lately,

and I'm glad you told me.

The band has cost the school
a lot of money.

Maybe we better disorganize it
and call the whole thing off.

We're already enough in debt.

Mr. Judd, you just give me
60 seconds of your time

and I'll brush that whole burden
right off your shoulders.

Go ahead, Jimmy.
It would be a pleasure.

Well, I've been talking to the fellows
and

we'd like to organize our own dance band.

Dance orchestra?

Certainly. Instead of a brass band,

we'd like to have
a modern dance orchestra.

-Yes...
-Well, you let us go ahead

and form this particular type of band

and give a high school dance
instead of the concert,

and I'll guarantee you
that within one night,

we'll wipe out that whole debt.

I know it!

I've been thinking it over
for a long time.

If we don't bring ins as many people
at the dance

as we have at the concerts
in the past 10 years,

we'll forget about the whole thing.

Just a minute.

You're going to organize
a dance orchestra, ready to play--

Not only are we gonna have
a great dance orchestra, Mr. Judd,

but we're also gonna have
a great singer too.

Oh, I see.

You're going to arrange
for the whole thing?

Yes, sir.

Publicity,

selling tickets,

paying off the debt of the band.

The whole thing,
all in three weeks?

-In a breeze.
-In a breeze?

You've taken on
a pretty large order, Jimmy.

-I don't believe you can do it.
-He can do it.

-I know he can do it.
-I'm--I'm sure I can do it,

if you'll only give me the chance,
Mr. Judd.

All right.
I'll buy the first ticket.

Oh, thanks, Mr. Judd.

Mary, the principal shook hands with me.

-We certainly slipped it to him.
-We certainly did.

-There's a great old guy.
-He's a great old guy.

Vision. That's what he's got.

There's a man that can see
over the transom.

-Yes sir, he's gonna go places.
-He sure is.

-You know what that was, Mary?
-What?

That was a springboard and he just
launched

the biggest ship that ever sailed down
the streets of Riverwood.

You're absolutely right.

-Let's take a shortcut.
-Okay.

You know, Mary,
I misjudged that man.

Heart, that's what he's got.
A lot of heart.

Here, I'll help you.

Something's been troubling me lately.

What?

Well, w--do you think "Our Love Affair"
has enough punch in it?

-Hm?
-"Our Love Affair."

Oh, well,
now that you mentioned it, Jimmy--

Because I've got
a new arrangement on it.

Oh.

Oh, it's a dynamite love song
just made-to-order for you.

I'll play it.

Wait till you get a load of this intro.

I've got some chords
that are really out of this world.

Listen.

It starts off a little flairy.

Are you listening to me?

Then it softens down here.

It's violins, you know.

Then the orchestra
sneaks back in for the vocal.

♪ Our love affair will be such fun ♪

♪ We'll be the envy of everyone ♪

♪ Those famous lovers
we'll make them forget ♪

♪ From Adam and Eve ♪

♪ To Scarlett and Rhett ♪

With flutes and oboes.

♪ When youth has had
its merry fling ♪

♪ We'll spend our evenings
remembering ♪

♪ Two happy people
who say on the square ♪

With fiddles.

♪ Isn't ours a lovely love affair? ♪

Come on, sit down. Try it.

Jimmy, are you sure you want me to sing
with the band? You're not just--

Of course not. We need you, Mary.

You're as important to me
as the brass section.

-That's pretty important.
-Try the verse.

♪ Here we are ♪

♪ Two very bewildered people ♪

♪ Here we are ♪

♪ Two babes that are lost in the wood ♪

♪ We're not quite certain
what has happened to us ♪

♪ This lovely thing
that's so marvelous ♪

♪ But right from here ♪

♪ The future looks awfully good ♪

♪ Our love affair was meant to be ♪

♪ It's me for you, clear ♪

♪ And you for me ♪

♪ We'll fuss, we'll quarrel ♪

♪ And tears start to brew ♪

♪ But after the tears ♪

♪ Our love will smile through ♪

♪ I'm sure that I ♪

♪ Could never hide ♪

♪ The thrill I get ♪

♪ When you're by my side ♪

♪ And when we're older ♪

♪ We'll proudly declare ♪

♪ Wasn't ours a lovely love affair? ♪

♪ I'll learn to bake a chocolate cake ♪

♪ The kind of cake Mother used to make ♪

-You hungry?
-Uh-huh.

Come on, let's see if we can
find some of that cake.

Swell.

I hope there's some left,
if Daddy hasn't eaten it all up.

You know, Mary,

I'd never be satisfied
with a small band.

I want a great big one.

A symphony.

Why, I wanna make American music

just as important
as any other country's music.

Look at George Gershwin, why
his music is as good as

Beethoven or Bach, better maybe.

Best of all, it's American.

You like grapes
and strawberries?

Mm-hm.

Like, can you imagine me conducting
a concert at Carnegie Hall?

Oh, boy, what a thrill.
On my left, I'd have 50 fiddles.

Fifty? That's a lot of strings.

And on my right,
I'd have the Violas and the cellos.

Oh, wonderful.

And right in front of me,

I'd have the saxes and the clarinets.

You know, the woodwind is
the real body to an orchestra.

- Yeah.
- And right in back of them,

I'd have the brass section.

Over in the back,
I'd have the bass fiddles.

-Ten of 'em.
-Ten?

Sure, you gotta have a good beat.

Then I'd have the drums
and the timps. Over here.

You've gotta have
those drums in there, Mary.

Yeah.

Then, over in the back,
I'd have a piano on a platform.

-Piano.
-Make it two pianos.

-Two pianos.
-Oh, I just love pianos.

-Oh. And a harp?
-Yeah.

Then the lights would dim down,
and I'd come out.

Here, this is me.

I'd tap on my stand for order.

I'd get ready
to give them the downbeat.

I'd give the timps
a downbeat like this:

Ha-ha!
There you are, Mary.

Oh, that's wonderful, Jimmy.

Oh, that's the way
it's gonna be, success.

-Only--
-Only what?

There's just one thing that
it lacks to make it perfect.

Yeah, just one thing.

What's that, Jimmy?

Oh, you'd think I was silly
if I was to mention it.

Oh, no, I wouldn't.

Really, I wouldn't.
What is it?

- Well--
-Oh, Mary?

Yes, Daddy.

Where is my tobacco pouch?

It's on the desk, Daddy.

Oh.

Well, it's a little late, isn't it?

Um, it's just about that time.

I was just going.

Goodnight, Mr. Holden.
Goodnight.

-Jimmy.
-Yeah?

-What is it?
-What?

You know,
what you were gonna say in there.

The only thing you needed
to make it all perfect.

Huh?

Ch, 3 xylophone.

Oh.

- Goodnight, Mary.
- Goodnight.

♪ Isn't this ♪

♪ A lovely love affair? ♪

Wait a minute.
Hold it!

Hold it, everybody!

Come on, fellas,
now let's get together!

Dick, you and Leonard
have been introduced to each other.

You don't have to start taking off
on a solo flight.

We gotta play for a dance tonight.

People are paying money!

Okay, Jimmy, we'll get it.

All right, then, let's get it.

Everybody, right from the bridge,
let's take it again.

Here we go. One, two.

How you doing, honey?

Oh, I don't know, Annie.
I'm discouraged.

You know, it does something
to a girl's spirit

to keep on fighting a losing battle
to a snare drum.

Well, just keep holding out, Mary.

You'll win.

Gee, Mary, if I were Jimmy Connors,

I'd tell the whole world
you were my girl.

Well, that's why
all the girls love you, Willie.

But who wants all the girls?

Oh, that's great, fellas.

You play it like that tonight
and we can't miss.

That's all, everybody.
Leave your music on the stands.

Don't forget, eight o'clock sharp,
and everybody with a clean shirt.

Hey, Jimmy,
I-I can't make it at eight o'clock.

I have to pick up Annie.

You have to pick up Annie?

W-well, gee, Jimmy, I promised her
and it's a big night.

Look, Phil, are you gonna play
a saxophone or keep your mind on the gals?

I'm gonna--it's only that Annie--

Somebody else is gonna have to
pick her up.

I can't take any chances on that, Jimmy,
I may lose her.

Phil, we're playing for big stakes now,

and if we wanna get anywhere,
everybody's gotta hang in there.

Well, they tell me that
we've just sold our 257th ticket.

Oh, it's wonderful.
You see, Phil?

Now, if we only had a good orchestra.

That's what I meant, Phil.
A female mind.

-Why--
-Look, Annie, come here a minute

and sit down here.
I wanna tell you something. Uh...

Now, now, Annie, I've, uh--

I've got something
kind of hard to tell you.

But I'm not worrying about it

'cause I know you're
big enough to understand.

Uh-oh. Here comes the business.

Now, now, Annie, I'm--

I'm not gonna be able to bring you
to the dance tonight.

-Oh, heck.
-Oh, don't worry about it.

'Cause I'm--I'm getting a friend of mine.

He's not very good-looking
but he's loyal.

-Can he rumba?
-Rumba?

Rumba, why, he made it up.

Mm-hm.

-Here you are, Mary.
-Thanks, Willie.

Hey, Mary, I've gotta get here
early tonight and help set up

so I won't be able to stop by for you.

-Oh.
-How about it, Willie?

Will you bring Mary for me?

Well, yeah, sure.

You don't mind coming with Willie, do you?

-No, of course not.
-Oh, swell, see you tonight.

Yeah, so long.

I always have a wonderful time
when I'm with Willie.

Don't I?

Yeah.

And I always wind up
with a pat on the head.

Hey, Phil.

It's a swell gate, isn't it?

Gee, Mary, I feel dandy.

Couldn't we go someplace
where we could,

well, sort of be alone?

Oh, now, Willie,
you be a good boy.

Remember what I told you.

You know, Mary,
I was studying up on Napoleon.

Did you know he was a very short man?

Oh, Willie.

Hey, Booper, who are you waving at?

Annie, you ought to strike oil any minute.

Thank you very kindly,
ladies and gentlemen.

And now, we'd like to do our
special number for you.

It's called the "La Conga."

Oh, yeah, and the vocal will be done
by Miss Mary Holden.

♪ In Havana ♪

♪ Every Cubana ♪

♪ Shakes her bandana to ♪

♪ The La Conga ♪

♪ It's a new dance ♪

♪ Something new to dance ♪

♪ Wait until you dance to ♪

♪ The La Conga ♪

♪ Wait till you hear the beat ♪

♪ Of the bonga ♪

♪ Just get that beat ♪

♪ And you'll get the conga ♪

♪ It delights you ♪

♪ And it excites you ♪

♪ And it invites you to ♪

♪ Do the La Conga ♪

♪ In Buenos Aires ♪

♪ In London and Paris they tango ♪

♪ In old Vienna ♪

♪ Their favorite has long been a waltz ♪

♪ In Guayaquil ♪

♪ In Madrid and Seville they fandango ♪

♪ But in Havana ♪

♪ All the natives go ♪

♪ One, two, three, boom ♪

♪ One, two, three, boom ♪

♪ One, two, three, boom ♪

♪ One, two, three, boom ♪

♪ In Hava-vana ♪

♪ Every Cubana ♪

♪ Shakes her bandana to ♪

♪ Gotta shake around
watch how to do ♪

-♪ The La Conga ♪
-♪ One, two, three, boom ♪

♪ One, two and three, boom ♪

♪ It's a new dance ♪

♪ Something new to dance ♪

♪ Wait until you dance to ♪

-♪ The La Conga ♪
-♪ One, two, three, boom ♪

♪ One, two and three, boom ♪

-♪ Wait till you hear the beat ♪
-♪ The La Conga ♪

♪ Of the bonga ♪

♪ Conga ♪

♪ La, la, la, la, la, la ♪

♪ Just get the beat ♪

♪ And you'll get the Conga ♪

♪ Doc-rah, doc-rah,
rah-rah-da, da-doota-doo ♪

♪ Conga ♪

♪ It delights you ♪

♪ And it excites you ♪

♪ As it invites you ♪

♪ To do the La Conga ♪

♪ Conga ♪

♪ Conga ♪

♪ Now you know ♪

♪ The La Conga ♪

One.

-Two.
-Three.

Boom.

Yahoo! Come on!

Yahoo!

Yoo-ha-hi!

Yahoo!

-♪ Come on ♪
-♪ Do La Conga ♪

-♪ Come on ♪
-♪ Do La Conga ♪

-♪ Come on ♪
-♪ Do La Conga ♪

♪ And now you know ♪

♪ The La Conga ♪

♪ Conga ♪

♪ Boom ♪

Say, wasn't that
a swell dance last night?

It certainly was, son.

You should've heard
what Mr. Judd said about the band.

He said,
"We are very proud

of the Riverwood High School's
achievements."

Oh, he's a swell guy.

Did you ever
think he wasn't?

I always kind of thought
he was a little on the old fashioned side.

Mm-hm.

Oh.

Jimmy, careful.

You know,
you've been nearly dropping that thing

ever since you were six years old.

Listen, Mom, I've come
much closer to it than that.

-Uh, Mom?
-Yes, dear?

When do mothers stop thinking about

their sons as being a little boy?

I guess never, Jimmy.

That's the fun of being a mother.

Mom, look, someday
whenever you want anything,

all's you're gonna have to do is just
ask for it.

No worries,
no landlords, no store.

I'm never gonna stop until
you have 10 days of happiness

for every one
of those tough ones.

You know, Jimmy,
parents live through their children.

When you're happy, I'm happy.

When you're successful,
then I'll be a success.

I guess then I just
gotta be a great man.

I always thought
you would be, Jimmy.

But remember, a great man

is only the reflection of a great boy.

In a larger mirror.

Mom.

You're worried about me, aren't you?

Look, you don't have to worry about me.

Because a lot of times
a guy does things

that people can't understand.

Things crawl around inside of him

that nobody in the whole world
can understand.

What is it, Jimmy?

Mom...you and Dad,
you wanted me to be a doctor.

And after we lost him,

you wanted it even more so.

Oh, I know what you've done,
I know what you've had to give up

to try to help me
to be one like Dad.

That's why it makes it so tough
for me to tell you that--

that I can't.

I'm so sorry I could almost bawl inside.

But it's just not there.

Why, Dad loved medicine.

He loved every little part about it.

That's why he was such a fine doctor.

And the way he loved medicine,

that's the way I love music.

Why, when I'm sitting there
at the drums, I--

I feel as though I'm in the right place.
I feel as though I belong there.

That's what I wanna do.

You want to be a drummer

in an orchestra?

Well, that's part of music, Mom.
It's rhythm and--

Oh, gee, it's been beating around
in my mind ever since I can remember.

Oh, I'm sure you'd understand
if you'd thought about it as much--

Oh, if you only knew, Jimmy,
how much we've thought about it.

Why, since before
you were born it started.

Your father and I prayed
you'd be a boy just for that reason.

And when you came,

I don't believe I've ever seen
a prouder man.

And to the very end he'd clung
to that ideal for you to heal.

And that's such
a wonderful thing, Jimmy,

in a world that's sick and suffering.

I know, Mom.

I-I've thought a lot about that too.

But it's the same way in music.

When the music's happy,
it makes the people happy.

And...and when it's sad,

they take things out of
their lives that made them sad

and lose them in music.

And then they feel better afterwards.

In a way, Mom,

isn't that sort of like healing too?

Isn't it?

All right, Mom.

I'll be a doctor.

And I'll be a good doctor.

Jimmy?

Yes, Mom?

I was wrong
when I said that a mother

never stops thinking
of her son as a little boy.

Why, there's always that time

when a mother sees
her son before her

with a mind of his own,

a will of his own,

and a heart of his own.

And it's then that she realizes

whether she's made a success or a failure

of her son as a boy.

Just now I saw it.

And I knew that I was proud of my boy.

You could be a doctor, Jimmy.

A good doctor.

I know that now.

But if deep down inside of you,

your ambition to make people
happy with your music

is as sincere and honest
as I think it is,

why, that's all that matters.

I'm satisfied.

Oh.

You're the most wonderful mom
that ever lived.

But remember, son,

the top of the ladder is very appealing,

and for my sake,

be careful how you climb that ladder.

Because that's very important too.

I will, Mom. I will.

And when I get there,
nothing they could cook up

would be too good for you.

You know what, Mom?

What, Jimmy?

I'm gonna make you a queen.

Ooh, wait a minute,
you're eating too fast.

You're gonna get sick.

Yes, you are, you darling.

Hey, Mary!

Yahoo! Hey, Mary.

Give me a mountain,
I'll crush it into a molehill.

Who's been feeding you vitamins?

Remember how I was worried about Mom?

We had a long talk and everything's fixed,
Mom and me are just like that.

Oh, that's wonderful, Jimmy.

And I've got the greatest hunk of news
since the invention of the wheel.

You have?

And I'm gonna give it to you straight
from the eyebrows.

-All right.
-I found this in the newspaper

and it's been burning a hole
in my pocket ever since. Listen to this.

"Paul Whiteman,
America's number one band leader,

now on tour through the key cities
of the country,

has decided,
due to the great wave of interest

among the youth of America
in modern music,

to give auditions
to high school dance orchestras

in the various cities
he is now playing."

Now, this is the important part.

"Mr. Whiteman's final selection

will be guest-starred
on his weekly radio program

on June 29th from Chicago."

Oh, that is something.

Oh, gosh, just think what it would mean
if our band made that program.

It'd put Riverwood High School

on the front page of every newspaper
in the world.

You bet it would.

Mary, suppose we got
to Chicago on the 28th

and we gave Mr. Whiteman the audition.

We could stay over till the next day and
play on the radio program.

Oh, Jimmy, it would cost a fortune to get
that whole band to Chicago.

No, I've figured it out.

To get the band
there and back by bus,

and two days in Chicago,
it'll cost about 200 dollars.

That's if nobody eats heavy.

Oh, Jimmy, that's an awful lot
of money even if we have it.

Yeah, it is quite a bundle.

But it's not impossible.

When's bank night?

You're pressing.

Say, uh...

suppose we went over
and we had a little talk with--

Mr. Judd.

And the school board'll
do anything he says.

Besides, he was crazy about our band
last night.

Well, we oughta get him
while he's in a good humor.

What are we waiting for?

I'm sorry.

And I'm still sorrier
to have to disappoint you.

But I couldn't give my consent.

It would be impossible for the school

to finance a venture of this kind.

But, Mr. Judd, if you'd only tell 'em
what it would mean.

The publicity for
Riverwood High School

and how big it was.

That's one of the troubles.

I'm afraid they think
it's too big already.

I might as well tell you, Jimmy.

There have been some complaints from
the parents of the boys in the band.

Interfering with studies,
late hours.

No, I'll have to veto this, Jimmy.
Definitely.

Well, I'm sorry
to have bothered you, Mr. Judd.

That's perfectly all right, Jimmy.

You come to see me
any time you want.

-Goodbye, Mr. Judd.
-Goodbye, Mary.

-Jimmy.
-Goodbye.

Thanks.

Well, he was nice about it, anyway.

Yeah, but a kind heart
will never get us to Chicago.

Well, Phil, there's more than one way
of spinning a top.

Yeah.

Maybe the school board is content
with having Riverwood

remain a little red dot
on an auto map, but not me.

Why, we packed 'em in last night.

We gave 'em a good time
after we got 'em in, too, didn't we?

-Yeah.
-All right.

I've been thinking over all day
ever since we left Mr. Judd's house

how we can raise 200 dollars.

-Yeah.
-We've got a terrific band.

It's hot merchandise.

Oh, we'll get to Chicago
if we have to crawl on our hands and knees

and blow out every lamp on the way.

I think Annie's good and sore.

Yeah, she's really burned up, all right.

Annie. Annie. Annie!
Is that all I get out of you, is Annie?

-Aren't you interested in the band?
-Oh, sure, Jimmy, I--

Don't you realize we've only got six weeks

to raise the money
to get the kids to Chicago?

This is a terrific thing.
There's bands from all over the country.

-This isn't just baby talk.
-I'm with you, Jimmy.

-All the way, you know that.
-All right, all right.

So we've got to raise 200 dollars.
How we gonna do it?

How about some punchboards?

Punchboards, sure, sure.

-And we'll give Annie away as a prize.
-Yeah.

All right, if you're gonna be a wise guy--

Oh, I was only kidding, Phil.

We got--I mean,
we got to keep in there punching.

Wait a minute.

Why couldn't we make a deal
with the Elks Club

to give a dance
at their Milk Fund Bazaar?

Well, it's only a month away.

Oh, they don't give dances at any...

Say, that's not a bad idea.

We could put on our own show.
That'd be different.

We could make up our own specialties,

and sketches, and dance routine.

Great, I like it already.

Say, what's the number one Elk?

Who is he?
The whatchamacallit?

Mr. Mollison.
And he owes my dad money.

That's our man.

-I'll get after it right away.
-Mr. Mollison, huh?

Gotta make a list down here,
we gotta get costumes.

Got Mollison. Mollison.

You know what, Jimmy?

What?

I think I oughta call Annie.

You're still making Valentines again.

When Annie's sore at me,
it throws me all off-key.

Oh, I can't stand talking to a guy
with a one-track mind.

Well, wait'll you're
in love with somebody.

You'll know what I'm going through.

Ah, women to me are just...people.

Oh, Miss Hodges,
I'm sorry to disturb you.

It's perfectly all right, Mr. Judd.

I'd like you to meet
our new student,

Barbara Frances Morgan.

How do you do,
Barbara Frances?

I'm delighted to know you, Ms. Hodges.

My, what a nice, bright classroom.

Mr. Morgan wants Barbara Frances

to finish out the term here.

I've selected this as her home room.

We're happy to have her.

I'm sure you won't have any difficulty

getting into the swing of things.

I'm sure I won't.

Thank you, Miss Hodges.

Don't mention it.

Now, let me see.
Where shall we put you?

Oh, yes. Suppose you sit
in that empty chair over there.

Thank you.

And if you're happy there,
you may keep it permanently.

I'm sure I will be.

She's touched it up.

Yeah.

Oh, James, I wonder
if you'd take Barbara Frances

to the supply room and
help her with her textbooks.

Would it inconvenience you, terribly?

No. Not at all.

Have you traveled very much?

Uh, me, travel?

Yes, travel.

Well, a little.

Uh, that is,
my uncle took me to Chicago

three years ago
to see the World Series.

Oh, no. I mean the continent.

Which one?

Oh, you must see the Riviera.

Must I?

Cannes, Nice, Saint-Raphael,
Juan-les-Pins.

Juan-les-Pins is simply wild.

-It is, huh?
-Mm-hm.

I met the most wonderful man there.

Almost too beautiful.

But he turned out to be a duke,
and you know what they are.

Yeah, you...you've gotta
watch those dukes.

Oh. There goes the bell.

We're gonna be late for our classes.

Oh, dear.

And we were just
getting to know each other.

You're cute.

Are you going right home now, Mary?

No, honey, I have to work
at the library today.

Hey, Jimmy.
I had a talk with my dad this noontime

and he thinks maybe he can fix
an appointment

-with Mr. Mollison for us.
-He can?

Oh, gee, that's swell.
Good work, Phil.

Well, I've gotta meet Annie. So long.

Annie. So long.

Oh, Jimmy, Jimmy.

Looking for me?

Well, no, not exactly.

Come on, jump in.
NI drive you home.

Thanks, anyway, Barbara,
I don't think I--

Oh, come on, jump in.

Stuck.

Hey, Jimmy,
how's the weather down there?

Get a load of that.

Say, that Barbara Frances doesn't waste
any time, does she?

How about Jimmy?
He's doing all right.

Just give me the word, Mary,
and I'll slug him.

Oh, the county fair. Wonderful.

Huh?

The fair, are you going?

Oh, yeah, sure.
I never miss the fair.

I wish I could go.

Well, why can't you?

Well, I don't know many young people,

and a girl can't very well
go there alone.

Oh. I wouldn't worry
about that if I were you,

somebody'll ask ya.

Oh, Jimmy,
isn't that sweet of you?

Oh, no, no, well, I can't--

You're really a dear.

You have the cutest way
of saying things.

Hello, Mary.

Hello, Jimmy.

Whatcha doin'?

Just putting these books away.

Gosh, there's an awful lot
of 'em, aren't there?

Yeah.

You read 'em all?

Only up to here.

Mary, about that fair, uh...

Oh. What about it?

Well, I--I thought that you
and I we had an understanding

that we were going together
to the fair.

Yes.

Well, I got myself all tied up
and...and...

Oh.

Oh. Oh, there was really
no definite understanding

that we were going together.

Besides, I'm pretty busy.

And fairs, they're just--
just a bunch of livestock

and a merry-go-round.

I've seen all that.

Besides, they're really for children.

Oh, you wouldn't like
anything like that, huh?

Oh, I'd like it all right, but...

there are a lot more
important things in life

than going to fairs with people.

Sure, sure, sure, there are.

Well, I--I guess
I'd better get going.

I just thought I'd drop in
and explain it to you.

I knew that you'd understand.

Oh, sure, I understand.

You can always count on me, Jimmy.

Just the same
as you could your own cousin.

Yeah, and I--I appreciate it too.

Well, well, so long.

So long...pal.

Mary, where can I find
a copy of Romeo and Juliet?

It's right back there with
the rest of the Shakespeare,

-on the last shelf.
-Thanks.

Where's Antony and Cleopatra?

Right back there,
leaning on Romeo and Juliet.

Mary, have you
ever heard of a book

called Indian Love Lyrics?

Yes.

Well, I want to read it.

Well, it's all yours.

It's over there in the Poetry section.

I beg your pardon, miss.

I wonder if you could help me find a book.

What is it?

The Decline and Fall
of the Roman Empire.

Thanks, brother.

It's right over there
in the History section.

Thank you.

Oh.

♪ All the big professors state ♪

♪ That everything
should have a mate ♪

♪ Birds and bees
and flowers and trees ♪

♪ All have romantic tendencies ♪

♪ So far I have missed the he ♪

♪ That fate decreed
was meant for me ♪

♪ I'm just living in a lull ♪

♪ And I'll confess it's mighty dull ♪

♪ Romeo had Juliet ♪

♪ And Louis XVI had Antoinette ♪

♪ But I ain't got nobody ♪

♪ And nobody's got me ♪

♪ Pelléas had Mélisande ♪

♪ And Isabella had Ferdinand ♪

♪ But I ain't got nobody ♪

♪ And nobody's got me ♪

♪ Welch Grape Juice has Irene Rich ♪

♪ Minneapolis has Saint Paul ♪

♪ Abercrombie has his Fitch ♪

♪ But here I am crying and sitting ♪

♪ And sighing with no one at all ♪

♪ Hans had Gretel by his side ♪

♪ And Dr. Jekyll had Mr. Hyde ♪

♪ But I ain't got nobody ♪

♪ And nobody's got me ♪

Closing time?

How did you guess?

Aren't they wonderful?

-Who?
-Antony and Cleo--

Yes, yes.

"Romeo!

Wherefore art thou, Romeo?"

Scram, Juliet.

♪ Lancelot had fair Elaine ♪

♪ And Mr. Lunt
has Miss Lynn Fontanne ♪

♪ But I ain't got nobody ♪

♪ And nobody's got me ♪

♪ Frédéric Chopin had George Sand ♪

♪ And Alexander
had his Ragtime Band ♪

♪ But I ain't got nobo... ♪

♪ Nobody's got me ♪

♪ Barbasol has Singin' Sam ♪

♪ Metro-Goldwyn has Mayer ♪

♪ Mary has her little lamb ♪

♪ But here I am hoping and mumbling ♪

♪ And moping with no one to care ♪

Gobs have sweethearts
on the wharves ♪

♪ And even Snow White
had seven dwarves ♪

♪ But I ain't got nobody ♪

♪ And nobody's got me ♪

♪ Nobody ♪

♪ Nobody's got me ♪

All right,
buy your tickets for the midway.

We have 52 attractions on the inside.

There you are. Two, madam.
Thank you very much.

Two more, sir. There you are, sir.

We have Jo-Jo the Dog-Faced Boy...

Uh, two, please.

Two? Yes, sir. There you are.

Change out of five dollars, please.

Five dollars?

That's the biggest bill I've seen here
this afternoon.

There's one, two, three, four.

-Thank you.
-Change in the five.

As I said before we have a...

He was coming down the street in
an awful hurry when I stopped him and

told him we gotta see Mr. Mollison
in an hour and he turns and says,

"Phillip, you'll have to take over

I've got some awfully important business
this afternoon."

"Important business,"
the guy's gone stark, raving mad.

Nothing's gonna keep us from
getting the band to Chicago.

We'll see Mr. Mollison ourselves, today.

That won't do any good.

Jimmy's the only one who can tell him
the kinda show we're gonna put on.

If we could only
get him away from that fair.

I'll get him away.

You'll get him away.
Just when everything--

I can get him to leave the fair.

You can get him to leave the fair?

How, Willie, how?

He'd have to, if he ran out of money,
wouldn't he?

All right, folks.
Come on, now. Who's next?

Ha-ha! You've gotta do
better than that.

Missed me again.

That curve's not working at all.

Oh, yeah? Well, give me six more
and keep track of 'em.

Thattaboy, Jimmy.
You can hit him.

-Hold my coat, Willie.
-Sure.

All right, folks! All right, come on, son.

Do better than you did last time.

Oh, no, you missed him again.
Try again.

Oh, no.
You've gotta come much closer than that.

You're too far away.

Here, would you like to hold this
for a second?

Oh, sure.

Son, I got a mosquito in my back yard
that hits harder than that.

How much do I owe you?

A dollar and a quarter.

Soon as I get my wallet.

Where's my wallet?

Are you kidding?

Now I'm gonna get that wallet routine?

Honest, mister,
I had it right here in my pocket.

-Willie! Where's Willie?
-He was here a minute ago.

Hey, Willie!

-Okay, we can handle guys like you!
-Hey, wait a minute.

Wait a minute, mister.
I've got the money.

Jimmy Connors.

Jimmy! Jimmy, where are ya?

Here. Here! Here I am!

Get me outta here!

-Come on in, and start pitching.
-Give him room, folks.

Look out.
Hey, don't do that!

Oh! Ow, look out!

Hey, Jimmy.
The Elks Club is gonna give us a tryout.

They are? When?

Tomorrow, right after school!

Oh, boy. That's wonderful.

Hello.

Hello.

Can I see you for a minute?

All right.

Are you very mad?

Yes, I'm pretty mad.

Well, I--I don't blame you, I...

I'm sorry, Mary.

Are you very sorry?

Yeah.

She didn't hit you
on the head, did she?

It wasn't a she, it was a--

uh, accident.

Oh.

But--but look, Phil told me
how great you were

with Mr. Mollison
and the Elks Committee.

Well, we had to do it today.

You weren't here.

No, I wasn't here.

I was supposed to take you to the fair,
but no, I don't do that.

I take five dollars I saved up
to buy music with

and I throw it away
like I was a millionaire.

I want a great band.

I want 'em to be a success
more than anything in the world

and I go rolling off like a rubber tire
just when they need me.

Why do I do things like that?

Because you're stubborn,
that's why.

Just because you got a pair of long pants
on, you think you know everything.

But you don't have to go around
doing things like that.

-Well, why don't you tell me when I--
-Me?

Look, you're gonna have to figure out
your own problems.

After all, you can't carry somebody around
for the rest of your life

to keep telling you
when you're off the track.

Can you?

No, I can't do anything like that.

It's just that, I thought
maybe you and me could work

in a closer cooperation
with each other, that's all.

You mean, sort of like a pal?

No, it's--

it's a little more than just a pal.

Well, what I mean is that--

well, Mary,
couldn't you be my girl without--

without us getting silly about it?

Oh, you're--

you're gonna have to work out
your own personal problems.

I've got more important things
to think about.

You don't wanna be my girl?

Look, from now on,
we're business partners.

And whatever work we do together
is for the success of the band.

But, let's keep very impersonal
about the whole thing.

Sure. Sure, if that's the way
you want it, Mary.

-Then, we gotta move fast.
-Yeah.

You remember the day
we were up in the attic

looking at all those old-fashioned clothes
my mother and dad used to wear?

Oh, yeah,
with the high silk toppers,

the long dresses
and the puffed sleeves?

Yes. Well, remember you thought it'd be
a good idea to use 'em in a show?

And we went down and talked to my dad,
and he told us about all old melodramas?

Yeah, he told us how
the actors used to ham it up

with the broad gestures
and the asides to the audience

and the business with the cape.

Oh, but he said that was
really acting in those days.

Remember that melodrama
we wrote with old things in it,

but we never got a chance to put it on?

-Sure, I remember.
-Well, that's it,

that's the show I told Mr. Mollison about.

You did? What'd he say?

He thought it was great.

-That's wonderful.
-It's more than wonderful, Jimmy,

because Mr. Mollison wasn't just
being nice.

He was sold on the idea.

I know if we do well
in the tryout tomorrow,

we can get the Elks Club
to furnish scenery and costumes.

Gosh.
You think we could?

We gotta knock 'em off their feet.

Why, it's laying right in our lap.
You could play Nell.

And you play Mr. Goodpenny,
the one who falls in love with me.

Of course, he's supposed to be handsome
but you could always use a little makeup.

-Sure.
-Who's gonna play the villain?

-The what?
-The villain.

Uh...

I know.

Phillip, with that trick laugh of his.
You know, "Bwah-hah."

Why, he'd be a natural
for Squire Poultice.

That'll be great.

And who and we gonna get
to May La Belle Francais'?

La Belle Francais...

-She has to be blonde and giggly.
-Yeah.

Kind of a glamour girl.

Thinks all the men in the world
are madly in love with her?

-That's it.
-What's the matter with Barbara Frances?

No. No, no.
Not in my show.

Wait a minute, fella. Our show.

Look, she's just the type.
She's gonna play the part.

-She is, huh?
-Yes.

All right, but it's gonna
be awfully embarrassing.

Oh, Jimmy.
This is a show we're putting on.

It's gotta be the greatest thing
that ever hit Riverwood.

You're right, Mary.

We've gotta have a great show
with a million laughs and color.

And a lot of lights to make it sparkle.
And songs.

Wonderful songs, with you out there
selling them.

Oh, it'll be wonderful.

And after we get the people in that hall

we gotta start them laughing right away.

Can't you just see it, Mary?
The people are just packing in.

Why, there's not
a seat left in the house.

Why, the overture's starting,

the house lights are going down.

-We're ready to go.
-On stage.

-Lights. Music.
-Curtain!

♪ Let's be gay in the way they were gay ♪

♪ In the dear gay '90s ♪

♪ Be naive, wear your heart
on your sleeve ♪

♪ For the golden days ♪

♪ When life was gay and charming ♪

♪ But with great propriety ♪

♪ Great propriety ♪

♪ And grandmamma was horrified ♪

♪ If grandpa saw her knee ♪

♪ Men should never see a knee ♪

♪ Give a cheer for each dear souvenir ♪

♪ Of the clear gay '90s ♪

♪ Drink a toast to the ghost ♪

♪ Of the most delightful years ♪

♪ When home sweet home
didn't know discord ♪

♪ And a cad was someone
to be abhorred ♪

♪ And virtue was its own reward ♪

♪ In the gay, gay, the terribly gay ♪

♪ The horribly gay, gay '90s ♪

♪ Walking down Broadway ♪

♪ The festive gay Broadway ♪

♪ The okay thing on Saturday ♪

♪ Is walking down Broadway ♪

♪ The lady on your arm ♪

♪ Is full of grace and charm ♪

♪ And life is very, very gay ♪

♪ While walking down Broad-- ♪

Stop. Do not make fun
of this simple country lassie.

She may be somebody's mother.

Or somebody's sister.

Or somebody's...

Stop. You're just as cruel.

And even though
I may have erred in my ways...

♪ I am more to be pitied than censured ♪

♪ I am more to be helped than despised ♪

♪ I am only a lassie who ventured ♪

♪ On life's stormy path ill-advised ♪

♪ Do not scorn me with words
fierce and bitter ♪

♪ Do not laugh at my shame
and downfall ♪

♪ For a moment just stop
and consider ♪

♪ That a man was the cause ♪

♪ Of it all ♪

I beg your humble forgiveness, miss.

Never again shall I insult
a lady when she is down.

Adieu.

Alas, this is the end.

Why, it's Miss Nelly
from New Rochelle-y.

Fancy meeting you here,
my dear child.

Oh. Squire Poultice.
Fancy meeting you here.

And even though I know
you may be a villain,

'tis still warming
to see a friendly face

from my old home town.

New York is indeed a cruel
and unfriendly city.

Alas, I have not eaten for five days.

What a pity, my child.

Come with me.

What you need
is some champagne and caviar.

Merciful fate,
guide me in this crucial crisis.

Methinks there is something
rotten in Denmark.

The old codger has intentions on
the poor child

which are not altogether honorable.

I shall be on the qui vive
for foul play.

And now, my pretty pet,

do you not feel better?

Oh, I have misjudged you,
Squire Poultice.

You are indeed a very kind man.

Shall,uh,

shall we have a demitasse?

A demitasse?
I might have known.

Nelly, I love you.

Stand back, villain, go your way.

For I will no longer stay.

♪ And face the vile temptations
that you hurl ♪

♪ You may tempt the upper classes ♪

♪ With your villainous demitasses ♪

♪ But heaven will protect ♪

♪ The working girl ♪

Nelly. Nelly. I love you.

Oh, no. No. 1,000 times, no.

Help, help! Save me!

Curse you, Merriwether Goodpenny.

My hero, how can I ever repay you?

By forgiving me for being a cad.

I do forgive you, a thousandfold.

My heart is bounding
like the surging sea.

Wait.

Would she think me impetuous
if I asked her for a tryst?

I'll risk it.

Miss Nelly, may I hope to see
you again on the morrow?

Silly headstrong youth.

Shall we say the park?
At three?

Till three, then, at the park.

Adieu. Adieu.

-Adieu.
-Adieu.

♪ But heaven will protect ♪

♪ The working girl ♪

♪ The working girl ♪

It has been three years since
Merriwether and I were made one.

And fate has blessed us
with this lovely child.

I thank you, kind fate,

for having guided my footsteps
from the gutters of ignominy.

Oh, baby.

Nelly. My wife.

My husband.

Oh, why do you
hang your head in shame?

Would that I could die here,

I sullied her pretty brow
with such sordid news.

Nelly, the mortgage is due,
and alas, I have no money.

Oh, shame! Oh, agony!

'Tis the squire, Nelly.
Be brave.

Well, my pretty doves,
we meet again.

'Tis the end.

No, Merriwether. No. Not yet.

Where there's life, there's hope.

Here, take this ring and pawn it.

No, Nelly, 'tis your wedding ring.

Oh, this is no time for sentiment.

Run, Merriwether.

And now, Squire Poultice,
until this house belongs to you,

you are not welcome in it. Scram.

Curse you, Nelly Newcombe.

But you've not heard the last of me.

I'll get you yet.

♪ Ta-ra-ra ♪

♪ Boom-ta-re... ♪

Here's your lemonade, sir.
Mighty nice of you, Squire,

to invite me in for
a little refreshment on such a hot day.

Little does he know.

Ah, this lassie, awfully clever.

This will work the trick.

♪ Ta-ra-ra ♪

♪ Boom-ta-re ♪

♪ Ta-ra-ra boom-ta-re ♪

♪ Ta-ra-ra boom-ta-re ♪

♪ Ta-ra-ra boom-ta-re ♪

♪ Ta-ra-ra ♪

♪ Boom-ta-re ♪

♪ Ta-ra-ra boom-ta-re ♪

♪ Ta-ra-ra boom-ta-re ♪

♪ Ta-ra-ra boom-ta-re ♪

Good. Good.

Come on, Squire Wire, old boy,

let's have another little drink, huh?

Merriwether!

It's my wife.

♪ Father, dear Father,
come home with me now ♪

♪ The clock in the steeple strikes ♪

♪ One. ♪

♪ You said you were coming
right home with the dough ♪

♪ As soon as Ma's ring
you did pawn ♪

♪ Come home, come home, come home ♪

My baby.

♪ Please, Father, dear Father ♪

My boy, Squire.

♪ Come home ♪

My little boy.

My--my baby.

So!

You've been spying on me, huh?

Merriwether,
you've been gone for two years.

Where is the money?

Money?
What money are you talking about, Nelly?

The money for the mortgage.

What happened to the money
for the mortgage?

Your husband's bought rum
with the money, madame.

Oh! Then all is lost.

Now,

I'll teach you to meddle in my affairs.

Benny, my child. Benny.
You brute. You brute.

-No, Nelly. Wait a minute.
-To strike our baby--

Wait a minute.
Where's he going?

Benny, my child.

Oh!

You killed our baby.

Oh, unkind fate,

this is too unfortunate. Oh!

Oh. Look. Go on.
Get out of here, Nelly.

Go on, Nelly! Get out of here.

Agh!

What have I done?
My wife gone.

My little baby gone.
My home gone.

Oh, shame, shame.

How about a slug
of white lightning, partner?

Well, I don't mind if I do, Miss--

No! Take that vile stuff
out of my sight forever.

I must redeem myself
in the light of heaven,

and save my Nelly
from a fate worse than death.

You fiend incarnate.
You snake in the snow.

Now, Miss Nelly.

I have come to help you.

If you will marry me,
I can give you the niceties of life

that you so richly deserve.

Perhaps 'twould would be
better than suicide.

But I do not love you.

My riches will make you love me.

Now, uh, just sit down here,
my pretty pigeon,

and, uh, sign this paper.

Sign.

Hark. Methinks I hear dog barks.

Hold those dogs.

Just in the nick of time.

Stop, Nelly.
Do not sign those papers.

The old fox is up to his old tricks.

-My husband.
-My wife.

Curses. Curses.
Foiled again.

But no. Not yet.

Quasimodo!

Tie them up and make sure
the pretty doves can't get away.

Mr. Goodpenny has an engagement
at the sawmill.

Oh! Oh, mercy, Squire. Have mercy!

Will you marry me?
No. I'd rather die.

Then die you will, my pretty pet,

on the railroad tracks.

The railroad tracks?
Oh! This is the end.

♪ Father, dear Father,
come home with me now ♪

♪ The clock in the steeple strikes ♪

♪ Two ♪

♪ Mother is tied to the railroad tracks ♪

♪ And the sawmill is going to get you ♪

Save me. Oh, save me.

Save me.

My boy, you've saved my life.
Where's your mother?

Tied to the railroad tracks.

Oh, then we must be off!

Oh!

There they go. After them.

I gotta be going, Dad.

I got a date with a dream. So long.

So long,son.

Help. Help. Save me!

Help.

-Help me! Save me!
-I'll save you.

Save me.

I'll save you, my dear.

Oh! Here comes the train.

There. You're free. You're free.

My hero.

Love triumphs over all.

Hey, let me down.

Hey, we forgot Willie.

Hurry up. Let me down.

-Hey, it's Willie up there!
-Pull him down.

Weren't they splendid?

Wonderful. You know,
I don't know how they've done it.

You're coming back with me
and help with the refreshments.

Why, I wouldn't miss it
for the world.

Hurry up, will you, Phil?

I'm hurrying. Hold still.

-Hold still.
-Oh. Ooh.

What's the matter?

I socked my arm when
they pulled me up the last time.

They yanked the line too hard I felt like
I was like going through the wall.

-Here, let me take a look.
-No. Leave it alone.

It's okay.

Just a little sore, that's all.

-You were great, Mary.
-Thanks, you were swell too.

-Thanks.
-You're coming over to the house?

I'd like to.
If you're not too tired?

-Oh, no.
-You gotta take care of yourself.

I will.

Hey, Jimmy.
Have you seen Mr. Mollison yet?

Oh, no.
Don't worry about it.

I won't leave till I get the 150 dollars.

Thattaboy. Oh, great,
Barbara Frances. Terrific.

Yeah, you were very good,
Barbara.

Thank you. You're so very kind.

I have my car.
Could I drive you home?

We were all
going over to Mary's and--

Fine. Then I'll drop you off.

Oh, but you don't have to--

- Hey, Jimmy. Jimmy Connors.
- Oh, here I am, sir.

Here's your check for 150 dollars.
And you certainly deserve it.

This was the finest show
we've had in Riverwood.

Thanks, Mr. Mollison.
We appreciate it.

Looks like we're on
our way to Chicago.

You bet we are.

If we can get 50 dollars more,
Mr. Whiteman, here we come!

Well, goodnight, Barbara Frances.
I'm sorry you can't come in.

We won't be very late.
We're only having a few refreshments.

Thank you,
but I'm expecting my mother and father

back from New York, so I must run.

I'm sorry. Good night.

-Good night.
-Good night, Barbara.

Oh, Jimmy, could I see you a minute?

Dad's giving me a party
at the country club next Saturday night.

Will you come?

Uh...why, I'd--

I'd love to.
That's if I'm gonna be in town.

Oh, I'm so glad.
The only trouble is,

I haven't been able to make up
my mind about the music.

You haven't hired a band yet?

No, but I must decide
before I see my father.

Oh, sure, you do.

Well, uh, maybe
I could help you decide.

You might drive home with me
and talk to Dad. He'll be there.

I'd hate to spoil your evening--

Oh, no, no. Not at all.
Hey, kids! I'll see you later.

I've got some important business
to attend to.

Hey, Willie, take care of Mary,
will you? Slide over.

But, Jimmy.

Some birds just gotta be shot
twice before they stop flying.

I knew that blond was a Jonah
the moment I saw her.

Phil, would you and Annie
go on inside?

I got something I wanna say to Mary.

What's the big secret?

Come on, Squire,
let's have a demitasse.

Mary?

What is it, Willie?

There's something I've wanted to ask
you for an awful long time.

Yes?

Whenever I had the opportunity,
I never had the courage.

Whenever I had the courage,
I never had the opportunity.

Now I got both.

Willie, what is it?

Will you marry me?

Huh?

I don't expect you
to give me an answer right away.

Oh. But Willie--

It isn't as if I just met you.

I remember the first day I saw you.

You were wearing gym bloomers.

I was just getting out
of Julius Caesar

and you were laughing.

Oh, Willie, you're the cutest--

Oh, I know I'm not
the best-looking guy in town,

but I'll always love you
and I'll be true to you

and I won't go out with other girls.

Oh, Willie.

That's the nicest thing

anyone's ever said to me
in my whole life.

And I'm very grateful.

But...

I'm--I'm much too young
to think of getting married.

Of course I'm not in any particular hurry.

Willie, how old are you?

Thirteen going on 14.

-Willie.
-Yes, ma'am?

Your mother phoned and
wants you to come home.

She says it's time for you to go to bed.

Good night, Willie.

Night.

This is my favorite room in the house.

It is?

Someday, I'm gonna have
an enormous yacht.

Wouldn't you love to go to the South Seas?

Yeah, it might be nice in the wintertime.

There aren't very many
good-looking boys in this town,

are there?

Here, Jimmy, drink this.

All right now?

Yeah.

Just got my pipes tangled up.

You know, Jimmy,

when I look back and remember
the thousands of dates I've had

with so many different boys.

When I think of the time I've wasted,
the empty hours.

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

James.

Do you really want to kiss me?

Huh?

Oh, Barbara?

Who--who's that?

Oh, it's Mother and Dad.
They're back.

-Oh, hello, darling.
-Hello, Mother.

-My dear.
-Hello, Dad.

Hello. Well, what's this?
Another young man?

Dad and Mom, I want you to meet
a very talented musician

and one of my dearest friends,
James Connors.

-How are you?
-How do you do, Mr. Morgan?

-How do you do?
-Mrs. Morgan.

What do you play, young man?

I kinda mess around
with the drums a bit.

James has the most wonderful
orchestra in the whole world.

And he's volunteered to play
for my birthday party

for only 50 dollars.
Isn't that wonderful?

Well, that's very nice of you,
Mr. Connors.

But, uh, Barbara, I wish
I'd known about this before.

- Why, Dad?
- Well, I'm afraid

I've made other arrangements.

But, Dad, I promised James.

We play fine music, Mr. Morgan.

We do an awfully good job.

I'm sure of that, son.

But, uh, I've already signed
the contract.

Oh, I see.

But we want you to come to the party.

Especially if you're a musician,

then you can bring
your whole orchestra.

That's kind of you. Mrs. Morgan.

I don't know if we can make it or not,
but we'll try

- I hope so.
- How about a Coke?

Thanks.

We'll get to your band.
The market's going up.

Going to have a lot of parties.

-Sure.
-Now, don't you worry about it.

We want to have you try and be there.

It isn't every day you get
a chance to hear Paul Whiteman.

-Paul Whiteman?
-Oh, yes.

He'll be winding up his tour
near here and, uh--

Paul Whiteman, here?

Yes. We had a hard job getting him.

But, I have a lot of good friends.

Paul Whiteman in Riverwood?

Oh, thanks. Thanks.
We'll--We'll be there.

Just try and keep us away.
Ha-ha!

Paul Whiteman! Paul Whiteman!
Well, goodbye, every--

Oh, pardon me.

Glad to have met you,
Mrs. Morgan.

You too, Mr. Morgan.
I mean, Mrs. Morgan.

You know what I mean anyway.
Ha! Oh! Oh!

Sorry. Thank you.
Thanks a lot. Ha-ha!

Goodbye.
And we'll be there too.

Yes, sir! Ha-ha!

In behalf of Mrs. Morgan and myself,

I want to welcome all
of Barbara Frances' friends

to her 18th birthday party.

We also want to welcome
Mr. Whiteman and his band.

And tell them we are glad
to have them with us.

Oh, ho-ho! Oh!

Thank you and
we're mighty glad to be here too.

And now, I want you to have
the very best of good times.

Paul, it's all yours.

Say, your old man's all right.

What did you expect him to be?

How about this dance,
Mary, huh?

Thanks, I'm kind of
wondering about Willie.

You haven't seen him dancing,
have you?

No. The last time I saw him,
he was hanging around the porch.

Oh, Thanks.
I--I think, I'd better go find him.

He's kind of shy, you know.

We want him to have a good time, don't we?

Oh--oh, sure we do.

They certainly are swell.

We've got just as good a brass section.

Just as loud anyhow.

Yeah, only they push the valves
down at the same time.

Hello, Willie.
What are you doing out here?

Nothing.

Well, come on inside and let's dance.

No, thanks.

Willie, you've acted awfully funny

ever since the night of the show.

Is there anything wrong?

I got things on my mind.

Oh.

Well, I won't bother you then.

Willie,
you're not mad at anything, are you?

Oh, no, I'm not mad.

-Oh, well, that's swell.
-Ooh!

Willie, what's wrong?

It's just my arm.
It hurts something awful.

-Your arm?
-Don't, please.

Don't touch it.

Willie, maybe you should go home.

I don't wanna miss all the fun.

Have you seen a doctor?

They don't know nothing.

Oh, Willie, that's very foolish.

If there's something wrong,
you should have it looked at.

Promise me you'll go see
a doctor tomorrow morning.

Okay, I'll go,
but it won't do any good.

But nevertheless, you promised.

Yeah.

Well, let's go on inside
and watch, huh?

Come on.

Hey, kids.
I just met Paul Whiteman!

-You did?
-Oh, wow! Swell, Phil.

Jimmy, take a load of that tenor sax.

No wonder he can make it moan.

Yeah, and he didn't win
that clarinet at a raffle either.

Gosh, I'd sure like to take
a feel of those sticks.

It wouldn't hurt anybody, would it?

No, go ahead, Jimmy.

Go ahead. Sure. Go on.

Oh, gee,
do you think he should?

Sure. It can't do any harm.

Oh, I don't know.

Oh!

Hey, Leonard, what a set of skins.

Yeah.

Gosh, with a set of drums like these,

a guy could get in the White House.

Boy, if I owned this, I'd--

I'd just sit around all day
and look at it.

Beauty.

Just as easy.

Look, Jimmy.
Isn't this a honey?

Gosh, it sure is.

Gee, I never felt more in the mood.

-Me neither.
-Yeah!

Say, it wouldn't do any harm
to knock out a couple?

No. I don't think so.

Then what are we waiting for?

-Just a downbeat.
-Well, all right then.

Let's get ready.
Sid, get over at the piano.

One, two.

♪ There's a boy
down on our street ♪

♪ Plays the drums with such a beat ♪

♪ You cannot control your feet ♪

♪ When you hear the drummer boy ♪

♪ In the morning when you wake ♪

♪ You can hear him take a break ♪

♪ Soon the whole street starts to shake ♪

♪ When they hear the drummer boy ♪

♪ Bing bang ding dang ♪

♪ He's so nimble on the cymbal ♪

♪ Bing bong ding dong ♪

♪ When he plays 'em,
he just slays 'em ♪

♪ All your troubles fly away ♪

♪ Every day's a happy day ♪

♪ Everything will be okay ♪

♪ When you hear
the drummer boy play ♪

Say, it looks like somebody's
kind of taken over here.

Yeah, and not bad either, Pop.

Yeah, you're telling me.

♪ Gather 'round all you chums ♪

♪ Watch this cat spin those drums ♪

♪ Swing it, brother, beat that hide ♪

♪ Take us on a jivin' ride ♪

♪ This is what the doc prescribes ♪

♪ For a case of jibs and jibes ♪

♪ Drummer boy, please
give out on those vibes ♪

♪ Ooh-ooh ♪

♪ Hear that drummer boy play ♪

Goldie, you boys go on ahead.

-Meet you at the hotel.
-Right, Pop.

Come in.

You wanted to see me?

Sure. Come on in.

My name's Connors.

I know. Mine's Whiteman.

Yeah.

-Won't you sit down?
-Thank you.

I guess I ought to apologize

for barging up
and taking over like that,

but we wanted to give you
an audition for your contest.

It was a good audition.

How long you playing the drums?

Oh, ever since I was a kid.

Well, you're through school?

Yes, sir.
I've just graduated.

Well,
I bet you're mighty happy about that.

Well, I--I made it,
but I had to slide.

-What are you gonna do next?
-Keep on pounding the drums

as long as anybody will listen to me.

Jimmy,
you're a mighty talented young fellow.

I think I ought to do something about it.

One of my boys,
a swell saxophone player

and a mighty fine fellow,
is starting his own band in New York.

They open Thursday.
The drum spot's open.

How'd you like to have that job?

Oh, you're kidding me.

They open Thursday. You'll have to
be there if you want the job.

If I want the--

New York.

Yeah.

Yeah, why, I--I could go home
and pack right now.

Wait a minute, Jimmy.
Don't get excited.

I--I'm not excited.
Who's excited, Mr. Whiteman?

Think it over
and let me know in the morning.

-I'm at the Wentworth.
-The--the Wentworth.

Well, I don't have to think it over.

Why, I'd just have to tell my mom

and I could phone you in the morning.

Say, about 7:30?

That's okay, but
I do think 10 would be better.

Ten o'clock. Oh, gosh.

Thanks a lot, Mr. Whiteman. Gee.

You're on the level?

I'm on the level, Jimmy.

Oh, gosh. Well, thanks.

I'll phone you the first thing
in the morning.

Good night.

Hey, Mom. Mom!

Mom. Mom, you awake?

Jimmy, what on earth--?

Mom, it's happened.
I told you.

We're on our way. I've got a job.

Job? Why, Jimmy, what do you mean?

Mr. Whiteman heard our band tonight.
Paul Whiteman, Mom!

He's offered me a regular job
with an orchestra in New York.

-All of our troubles are over.
-Oh, Jimmy!

I'm so glad for you, son,
and I'm so proud.

Oh, gosh, Mom,
just think of it. New York.

Oh, that's right.

You said you'd be going
to New York right away.

Yeah.

Have you told Mary and Phillip?

Well, I thought I'd wait
until I got the whole thing set.

I've gotta see Mr. Whiteman
tomorrow morning.

I wonder what they'll say.

Why, they'll...

-Why?
-And the band.

Everybody's looking forward so
to going to Chicago.

Everybody's been working so hard.

Working for the whole group.

I--I know what
you're thinking but--

Do you?

I remember when you started the band.

When you told me
that they believed in you,

had faith in you to stick by you.

And what suddenly happens to them now?

They're the same people.

But this is my one big chance.

I...I can't give it up.
Don't ask me to.

You'd be climbing
the first rung of the ladder

by walking out on your friends.

Yeah, I...

I know it now.

I guess I just didn't stop to think.

I thought it'd be wonderful
for both of us.

And so it can be, Jimmy.

But not quite so fast.

Where are you going, son?

You know where I'm going.

So I'm afraid I won't be able
to accept the job, Mr. Whiteman.

I thought I could, but...

I just got through
talking to my mother and...

well, she straightened me out
on a few things.

Mothers have a knack at
that sort of thing, don't they, Jimmy?

Yes, sir.

You know, ever since
you made that announcement

about a guest appearance
on your broadcast, why--

why, that's been our ambition.

We played dates.

We even gave a show to raise money

to get to Chicago to give an audition.

But that's before we knew
you were coming here.

Jimmy, did you form that band?

Yes, sir.

I kind of cooked it up.

But I can't very well
pull out on them now.

That's good enough for me.

Jimmy, let me tell you something.

When I started to be a musician, a band
was a bunch of boys with instruments

who got together
and kind of beat out rhythm

for the rest of folks to dance to.

But now it's a profession,
and a mighty important one.

Take the big bandleader of today.

He's almost a household word.

He's as well-known as
your biggest picture actor

or your most popular baseball player.

Fred Waring,
Kay Kyser, Glenn Miller.

All very popular.

But once they were a little guy
called Jimmy Connors who...

just sort of cooked things up.

But with this popularity
comes a great responsibility.

Rhythm can either excite the worst in us,

or bring out the best.

Take that little fellow on the street,
Jimmy.

Teach him to blow a horn
and he'll never blow a safe.

You know,
rhythm is really a wonderful thing.

Sometimes I think
rhythm almost runs the world.

In a little baby, the first thing
that starts is his rhythm.

His little heart starts to beat.

And every different city
has a different kind of rhythm.

And in your car, if the engine's
missing and jerking

or you feel the bump of a flat tire,

it's the rhythm that tells you
something's wrong.

And if you call a doctor,

the first thing he does
is check your rhythm.

He feels your pulse
to find if your rhythm is solid

and your beat's strong.

80, Jimmy, when we get to
the last eight bars of the big tune and

the old ticker
kind of slows down,

no matter what's wrong with us,

the last thing to stop is our rhythm.

Jimmy, after listening to a lot of
young bands all over the country,

I don't think it'd be fair
to select one band

and give them
the guest spot on that show.

No, there's too many good ones.

I've put up a 500 dollar prize

and I'm gonna devote
my whole program

for a high school band contest.

And Jimmy, I'm gonna play it safe.

I'm gonna let the public
worry about who's best.

Gosh, that sounds terrific,
Mr. Whiteman.

I've already selected three bands, but...

I think I'll make it four.

Do you want to try?

Oh, do we?

Chicago, Saturday night.
Will you be there?

Why--why, you couldn't keep us away.

Oh.

What's the matter, Jimmy?

Oh, I...

I forgot, Mr. Whiteman.

It's gonna cost us 200 dollars
to get the band to Chicago.

I've figured it out.
We've only got 150.

Mr. Whiteman, do you think
you could see your way clear

to give me a loan of 50 dollars?

I'll give you my personal note.

What have you got
for collateral, Jimmy?

Well, I...
I could put up my drums.

And they mean more to me
than anything in the world.

You'd really do that, Jimmy?

Yes, I would, Mr. Whiteman.

-It's a deal.
-Oh.

-There you are.
-Oh, gosh.

Thanks. Gee,
you won't have to wait long for this,

not if there's a 500 dollar prize.

I wouldn't be too confident, Jimmy.
You might get a little competition.

Oh, we're not afraid of a bunch
of kids from high school.

Hurry up, you're late.
Is everybody here?

-Yeah, but music hasn't been passed.
-Where's Willie?

-He isn't here.
-I'll scalp that midget.

-Run over the old ones and I'll get him.
-Okay.

Jimmy! Mrs. Brewster phoned,
Willie's terribly sick.

The doctor's there and
she wants us to come over right away.

What? Let's get going.

Oh. I'm so glad you've come.

I'll call the doctor.

Oh, I'm afraid it's awfully serious.

I hope not.
What's the matter, doctor?

From what I gather,
he must have injured his arm

when he was swung up on that wire
during your show at the Elks Cub.

-His arm.
-Of course, it's perfectly possible

for him to have gone around
all this time

without knowing
the arm was broken.

That often happens,
you know.

Unfortunately,
what was a simple fracture then

has developed
into a serious complication now.

And it is serious.
He's had that injury for over a week.

What are you doing for him?

There's not much that I can do, Jimmy.

It calls for an operation
by someone who is an expert.

-Or else...
-Or else what?

Unless that boy is operated on
within the next few hours, I...

Well, I can't be responsible for him.

Oh, no.

Well, we've gotta do something.

You're right, son.

I've phoned the best orthopedic man
I know.

Dr. Ganglin at
the General Hospital in Chicago.

But he's operating today,
and can't possibly get away.

That leaves us
only one alternative.

We've got to get Willie to Chicago.

Well, all right,
let's get him there.

Yes, get him there.

But we've got to get him
there immediately.

Well, couldn't we charter a plane?

That would cost
a lot of money Mary, and,

I'm afraid Mrs. Brewster
could hardly afford that.

How much would it cost, doctor?

About 200 dollars.

Call the airport.
We have the money.

Two hundred dollars?

Well, what are you waiting for?

All right, I'll take care of it.

Doctor,
could we see Willie now, please?

Yes, I think you should.

Oh, Mrs. Brewster,
could I see you a moment?

Hello, shortstop.

I heard you. I'm not going.

Going where?

In that airplane.

Oh, but you've gotta go.

I know where you're getting the money.

And you're not gonna spend it on me.

What's money?

It's like corny saxophone players,

you can shake it out of trees.

Look, Willie, I'm your friend, aren't I?

Yeah.

And Jimmy's your friend too, isn't he?

Yeah.

Well, have we ever asked you
to do anything

that wasn't good for you?

Look, Willie.
Jimmy's the boss.

And the only reason
we've gotten anywhere with the band

is because we've listened to him.

And everybody's always done
what he's asked us to.

Even hard things.

Things that we
sometimes didn't agree with.

But the only reason
the band has done anything, the--

the show and the play and the dance.

Well, those were little things.

And now, don't you see, Willie?

You're giving us a chance
to do a big thing.

Why, to Jimmy and me
and every person in the band,

you're more important than
all the broadcasts in the world.

We've got the rest of our lives
to do broadcasts.

I know you'll do it because
I know you won't let us down.

You'll do it, won't you, Willie?

I always wanted to ride in an airplane.

-Mr. Connors is here, sir.
-Well, show him in.

Yes, sir.

This way, please.

Thank you.

-Hello, Jimmy.
-Hello, Mr. Morgan.

Had your breakfast?

No, thanks.
I don't care for anything to eat.

-Well, sit down.
-Thank you, sir.

What time is that
Whiteman broadcast tonight?

Oh, eight o'clock.

Well, think you could win
that contest?

I know we could,
if we were there.

How long would it take you to get
your band together and get out of town?

L-like that.

Well, that's too long.

There's a special train
pulling into the yard

in three quarters of an hour.
And I want you to be on it.

Oh. We'll be on it.
But will it get us there in time?

Well, this train will.

I've been connected
to that railroad for 20 years.

This is the first time
I've ever had any fun of it.

Now, get going
and strike up the band.

D-do--do you mean it?
You ain't kidding us, huh?

Oh, thanks, Mr. Morgan.

Johnson, if you're looking for
that pension,

you'd better get this train in on time.

Don't worry, Mr. Morgan.
This one's got to be in on time.

Well, hello, everybody.
Here we are.

Hurry up.
Hurry up, Barbara.

-Goodbye.
-Goodbye, my dear.

-Hurry up. Hurry up, Barbara.
-Well, here we go.

-Goodbye now. Good luck.
-Goodbye.

-Goodbye.
-Goodbye.

Hurry up, Mary.
Well, goodbye, Mom.

-Do you think we'll be the best?
-Everybody in Riverwood thinks so.

Oh, I don't know, this is the big leagues,
now, everybody will be listening in.

New York, Chicago,
all over the country.

But they all came from Riverwood.

-Yeah.
-Anyway, I think you're the best.

And your father,
he'd be so proud of you.

Well, then we're gonna win.

-You know what, Mom?
-What, Jimmy?

I'm gonna make you a queen.

Goodbye.

Goodbye, everybody.

Goodbye, Jimmy.

Good luck.

Time's about up.
Three seconds to go.

-Are you ready?
-Almost.

-That's it.
-There you are.

Connect me with the stage.
I have the winner.

Come on, girls.
You can see from here.

Thank you,
ladies and gentlemen, for listening,

and for your wonderful reaction
to our program.

I'd also like to thank you
for your votes

by phone and telegram
from all parts of the nation,

which has helped us
pick the winner of this contest.

Which only goes to prove
that this country

not only has a genuine love for music,

but is happy to acclaim
the youth of America.

This wonderful enthusiasm
and fine musicianship

demonstrated here tonight

makes me feel quite safe in saying

that we need have no fear

for the future of American music.

And now for the winner,

a name you're probably hearing
for the first time tonight,

but which may in the future
become a musical byword,

Jimmy Connors and his Band.

Thank you, sir.
Thank you.

Jimmy, it's wonderful.

Gosh, aren't you thrilled, Mary?

Thank you.

Here. It's for you.

-Me?
-Uh- huh.

Oh, Jimmy.

And now for our final number,
performed by a combination

of all our contesting bands
and glee clubs.

The honor of leading this finale

goes to our young winner,
Jimmy Connors.

I'm sure Jimmy's got
a few tricks up his sleeve

that he hasn't told me about.

-Oh, maybe.
-Mr. Connors, the stick.

Thank you, Mr. Whiteman.

Ladies and gentlemen...

Well, I--I guess this is it.

I don't have to tell you how I feel.

If I felt any better,
gosh, I couldn't stand it.

When something wonderful
like this happens to anybody,

I suppose you ought to thank somebody.

They're not here,
but I know they're listening in.

Mr. Judd,

I was all wrong about you.

You'll always be a swell guy

with us because you said,

"I'll buy the first ticket."

And as for you, Willie,
you little shortstop,

even though you're in love with my girl,

I want you to know that
we're thinking about you

and we want you to hurry up
and get out of bed

because we all need you.

And of all the people
throughout the United States

who might be listening
to this program,

there's only one thing I'd like to say...

to the most important one of all.

Mom.

I don't know
what I was thinking about

when I said that someday
I'd make you a queen.

Because if...

if you hadn't been
a queen all the time,

I'd never be here now.

Well, here it comes, Mom.

♪ We must have music in the land ♪

♪ Ba-ba-da-da-ba-ba ♪

♪ For everybody loves a band ♪

♪ Ba-ba-da-da-ba-ba ♪

♪ A good old rousing melody
is a joy and inspiration ♪

♪ A hundred million folks agree
that a tune can stir a nation ♪

♪ So, music master,
take command ♪

♪ Ba-ba-da-da-ba-ba ♪

♪ Our hearts will beat
to beat the band ♪

♪ Ba-ba-da-da-ba-ba ♪

♪ Let the drums roll out,
let the trumpet call ♪

-♪ While the people shout ♪
- ♪ Hooray ♪

Strike up the band ♪

♪ Hear the cymbals ring,
calling one and all ♪

♪ To that happy swing ♪

Strike up the band ♪

♪ Yankee doo doodle-co doodle-co ♪

♪ We'll come through,
Yankee doo, doodle-oo ♪

♪ For the red, white, and blue doodle-oo ♪

♪ Lend a hand ♪

♪ With the flag unfurled
we can face the world ♪

♪ Hey, leader,
strike up the band ♪

♪ Let the drums roll out ♪

♪ Let the trumpet call ♪

♪ While the people shout ♪

♪ Strike up the band ♪

♪ Hear the cymbals ring ♪

♪ Calling one and all ♪

♪ To that martial swing ♪

♪ Strike up the band ♪

♪ And we'll all give the cheer
as we stand ♪

♪ To the man with the stick
in his hand ♪

♪ He's the man whose command
of the band ♪

♪ Makes the band grand ♪

♪ And you can't go wrong
with a happy song ♪

♪ Hey, leader ♪

♪ Say, leader ♪

♪ Hey leader,
strike up the band ♪

♪ Mister leader,
we all want to dance, sir ♪

♪ Give our feet a chance, sir ♪

♪ And say you'll play
the "La Conga" A"

♪ Rhythm is frantic ♪

♪ We feel romantic ♪

♪ Play a song of love ♪

♪ Our love affair ♪

♪ Was meant to be ♪

♪ It's me for you, clear ♪

♪ And you for me ♪

♪ We'll fuss and quarrel ♪

♪ And tears start to brew ♪

♪ But after the tears ♪

♪ Our love will smile through ♪

♪ When youth has had ♪

♪ Its merry fling ♪

♪ We'll spend our evenings ♪

♪ Remembering ♪

♪ Two happy people ♪

♪ Who say on the square ♪

♪ Isn't ours a lovely ♪

♪ Love affair ♪

♪ If you feel you need a kick ♪

♪ Rhythm ought to do the trick ♪

♪ Mister leader,
shake that stick ♪

♪ Let 'em hear
the drummer boy play ♪

♪ With our flags unfurled ♪

♪ We can face the world ♪

♪ Hey, leader,
strike up the band ♪