Welcome to Subterranean Cinema , The perfect place to watch classic movies originating from PBS Fort Wayne.

I'm your host, Kris Hensler.

And tonight, I'm joined by a guy that probably needs no introduction.

But hey, we're going to go ahead and do it anyway.

On my right is none other than our very own general manager, Bruce Haines.

Say hi, Bruce.

Hi.

And you know, it's been a while since I've been down here and I like what you've done with the place.

I just hope that the door didn't like behind me on my way down.

Yeah, me too.

Because, well, either way, let's get the projector warmed up and watch ourselves for movie.

I think it's going to be fun.

Thanks, Bruce.

And as a reminder, Subterranean Cinema is our very own version of classic movie night.

And it's also something that viewers have been requesting for quite a while.

So here we are broadcasting classic movies from right here in the basement at PBS Fort Wayne.

And so far it's been a lot of fun and it all starts off on Saturday at 8 p.m. on our Explore channel and then again at midnight on the main channel.

And then finally on Sunday afternoon at 2 p.m.. Also on the main channel.

So Kris, let's get into tonight's film.

Absolutely.

This is the 1938 film St Martin's Lane .

this British drama features Charles Laughton as street performer Charles Stagger, who teams up with a gifted pickpocket Libby played here by Vivien Leigh.

The plot in this movie gets a little complicated, but Libby joins a street performing group headed by Charles and ends up picking the pocket of a successful songwriter Harley Prentiss, played here by Rex Harrison.

Then she gets invited to a party by the same guy whose pocket she just picked.

Then, with the help of Prentiss and his wealthy friends, Libby ends up on a path to stardom.

But I'd hate to spoil all the fun, so let's leave it right there for now.

There are some usually interesting side stories that come with these classic movies.

This one is no exception.

For instance, the tall busker in this film is played by Tyrone Guthrie, who was in fact a well-known theater director, who would later be knighted and go on to become artistic director of Canada's famous Stratford Festival and founder of the Guthrie Theater in Minneapolis.

And this film has three alternate titles.

Sidewalks of London, London After Dark and Partners of the Night.

That is a lot to keep track of.

You know, it sure is.

So before we forget what movie we're even watching, let's get out the popcorn, pour some drinks and settle in for a night at the movies with St Martin' Lane, starring Charles Laughton and Vivien Leigh.

And don't forget, you're watching Subterranean Cinema only on PBS Fort Wayne.

(projector shutter clicking) (bright music) ♪ Gather near and you'll hear a London love song ♪ ♪ Come and juke to the big town rhapsody ♪ ♪ Feet dancin' on park lane ♪ Feet shufflin' along some hum drum dark lane ♪ ♪ They all go through the flow of London sidewalks ♪ (man shouting) All the winners and prizes!

♪ Come on along ♪ Men swingin' and crowds singin' that old London love song ♪ ♪ Gather near and you'll hear a London, a London love song ♪ She's the star of the show.

♪ Come and juke to the big town rhapsody ♪ Jan Duchesi.

Good evening, Mr. Duchesi.

Evening, Mr. Duchesi.

Here, Mr. Duchesi.

♪ Feet shufflin' along >> Nice fella.

>> Nice fella.

Nice fella.

Please do mine.

>> Do mine, do mine.

>> Thank you.

Oh, someone give me a pencil, quick, quick.

Well, you're making me very late, you know.

No more, no more tonight.

Goodbye.

♪ Feet shufflin' along >> Did you get it?

>> No.

One Duchesi autograph, miss.

I got one for two shillings.

You have mine, miss, only one of nine.

I have both.

It ain't fair.

♪ Come on along ♪ Men swingin' and crowds singin' ♪ ♪ That old, old London love song ♪ Ladies and gentlemen, I will now recite to you a poem first made famous by Mr. Bransby Williams, since recited on various occasions by Sir John Martin- Harvey, Mr. John Gielgud, and myself.

"The Green Eye of the Little Yellow God" by Milton Hayes.

There's a one- eyed yellow idol...

Blind, thank you.

Thank you.

Blind, please.

There's a broken-hearted woman tends the grave of Mad Carew, and that yellow god forever gazes down.

He's always muscling in, but what can you do?

He has the sympathy of the public.

He was known as Mad Carew, by the subs of Kathmandu.

He was hotter than they felt inclined to tell.

But for all his foolish pranks, he was worshiped in the ranks and the colonel's daughter smiled on him as well.

He had loved her all along with the passion of the strong and that she returned his love was plain to all.

She was nearly 21 and the arrangements were begun to celebrate her birthday with a ball.

On the night before the dance, Mad Carew seemed in a trance, and they chaffed him as they puffed at their cigars.

But for once he failed to smile and he sat alone a while, then went out into the night beneath the stars.

He returned before the dawn- >> Where's Biddy?

With his shirt and tunic- >> Biddy?

Bread and cheese, please.

He bade her search the pockets, saying, "That's from Mad Carew," and she found the little green eye of the god.

Where is that dog?

That's no good, he's waiting for a cue.

She thought of him and hastened to his room.

You keep out of that bar.

Tend to your business.

We follow his act.

She could hear the dreamy air of a waltz tune softly stealing through the gloom- Thank you, sir.

His door was open wide with silver moonlight shining through.

The place was wet and slippery where she trod.

Hey, look at that.

>> Hand it over.

>> Let me go.

Not me- >> An ugly knife lay buried in the heart of Mad Carew.

It was the vengeance of the little yellow god.

Ladies and gentlemen, I must ask you to excuse this slight fracas.

I do not stand here for my own enjoyment, so I will ask my friend Gentry here to collect any small tribute you might feel inclined to bestow.

A golden sovereign being out of the question, these cruel, hard times, two pence will be always acceptable.

Thank you.

Thank you.

Ladies and gentlemen, with your kind permission and attention, a new conception of London's latest song success.

(upbeat music) Hello Charlie, how goes it?

It's gone.

Well, it takes a bit of getting anyway.

Yes, you're right.

(indistinct) >> Hello Doggie.

>> Hello.

I'll have a coffee, please, Doggie.

>> What with?

>> Ah, I got a sixpence.

>> I've got a sixpence.

>> It's a change.

And I'll have, uh, I'll have, uh, two doorsteps.

>> Doorsteps?

>> Big slabs of bread and butter.

Here.

Who are they?

That one with the funny hat, he's an American newspaper man.

He's showing the Englishman a bit of London.

And the other one?

Oh, he's got a smile, hasn't he?

What's his wonderful name?

His name is Prentiss.

I think it's Harley Prentiss, the songwriter.

Here, you're a songwriter?

Yes.

Ever sold anything?

Yes.

Who are you?

Libby, from Liberty, from the Statue of Liberty in New York Harbor.

What'd you do?

I'm a dancer, I am, and I recite.

Like to hear me?

There's a one-eyed yellow monster to the north of Kathmandu, there's a little something cross below the town.

There's a broken-hearted woman tends the grave of Mad Carew, and a little god forever gazes down.

He returned before the dawn with his shirt and trousers torn, and a gash across his temple dripping red.

He was patched up right away and he slept all through the day while the colonel's daughter watched beside his bed.

As she crossed the village square, she could hear the dreamy air of a waltz- Oi, you and me's gonna have a talk.

>> Here, no scrapping here.

>> What's she done to you?

What she's done or what she's not done is my affair, see?

>> Yeah.

>> Now you look here.

>> Look here.

>> Now look here.

What?

Look here to me.

I don't stand for interference, not from nobody I don't, see?

Now look here, what's the trouble here?

Just argument.

Well, keep it quieter, see?

>> Sorry, sir.

>> And don't call me sir.

Sorry, mate.

Doggie, look after your customers.

Right, sir.

Now look here, young woman.

We've all looked everywhere.

Let's just relax and have a cigarette.

You smoke?

Very kind of you, sir.

Have a cup of coffee, please, Doggie.

And have it with me.

Thank you, sir, thank you, thank you.

Cigarette?

Don't mind if I do.

Give us a light.

Yes, rather.

Come on, Harley, let's scram.

Now, no passion please, just wait till I pay the bill.

>> Take it from this, will you?

>> Yes.

Including the doorsteps and the coffee.

Thank you very much.

Oh, thank you, sir.

Ah, where are you going to take me to now?

I suggest a stroll up Bond Street.

And I suggest a taxi.

Well, I, uh, I've got to go now.

Good night all.

Wait.

Allow me to take the liberty.

Oh, thank you, sir.

Good night, all.

Did anyone happen to see what I saw?

See what?

Good night, all.

(frantic music) Aha.

(woman humming) Oh, I see.

Hey.

Sorry to interrupt your rehearsal, but I'll have that cigarette case, please.

I'd be obliged if you'd explain what you're talking about.

Dramatic, aren't you?

It's a good pose, yes, you've got the right idea, but you keep that for an audience, see?

Come on, hand it over.

Oh, go to... No, you're hurting.

You don't say?

Thank God he's got his name in it.

After the reward, I see.

You got a nasty, cheap little mind, haven't you?

Well, so long.

And when the cops get onto all this, don't call on me as a witness to character.

Just a minute, look here, mister, who does this lovely world belong to, eh?

To the people who live on it, you see?

Well, I'm one of them, and I got just the same taste as all the rest.

You'd be surprised, I get hungry, I get thirsty, I get cold.

I enjoy a smoke and a permanent wave and whatever I can get in the way of extras, and why shouldn't I have them?

Because you haven't earned them.

Anyone ever give me the chance?

An orphanage brought me up and got me a job washing dishes, but I cleared out of that in double time, and why?

'Cause it ruins the hands, see?

And I have as much right to a manicure as the next.

Don't talk foolish.

Why not?

Why not?

Oh gosh, why not?

Can't you answer?

There ain't no answer.

You're after justice and logic.

There ain't no justice and there ain't no logic, the world ain't made that way.

Everything's luck, see?

And good temper.

And if you can take a joke, the whole of life's a joke.

A joke?

That is a joke I can't take, see?

I can't take it, I can't take it.

I can't take it.

Now, now, now, now, now.

Hysterics don't help.

Don't you touch me.

That's the second time you've lemmed into me, and I don't like it, see?

So stop it, you hear me, stop it?

I'll have the law on you, I will!

I'll tell them what you've done.

>> Hey!

>> You let me go!

>> Hey!

>> Let me go!

Hey!

Let me go!

Stop it, you hear me?

Stop it.

Cops!

Come on.

Oops, me beret.

This door.

>> It's stuck.

>> Smash it.

Ooh, dear.

Come on upstairs, second floor.

Let's not make a noise, everybody's asleep.

How many more flights?

>> You hear that, Ma?

>> Hear what?

An heavy tread and a female voice.

Ah, you and your voices.

Go to sleep, you'll wake the children.

Though through pleasures and palaces wheresoever I roam- Careful.

We're all right now.

♪ Be it ever so humble Well, there is no place like it, is there?

I'm snug in here.

Maybe you can tell me what I do now, you're so clever.

You take the high road and I'll take the low road.

I asked you what I was to do.

And I answered.

Sleep on it.

And turn out the gas when you're done, if not before.

I'll consider your problem in the morning.

Pleasant dreams, sweet repose.

And don't snore, see?

I don't snore, see?

Well, don't then.

(bright music) Well, pussy, hello.

Good morning.

Do you want to come in?

I owe you with last night.

Pussy, come on in.

Hey, don't make a noise.

Sit down and- Ma, look at her.

Ah, come, Mildred, (indistinct) and go and sit down.

And I'll thank you to stop Julian from meddling into my wireless.

Julian, leave that wireless alone and sit down there for your breakfast.

Can we begin?

To be sure you can.

Manners?

You wait, my lovely, your father's finished shaving.

Ah, let the children have their breakfast.

Sure, they're starvin'.

Pussy.

Hello, puss.

Pussy.

Morning.

Sleep all right?

Don't know yet.

Well, find out, will ya?

And you want to wash and brush up?

We've had one, haven't we, pussy?

Come on downstairs, go and get the morning milk.

Get up.

Daddy, can I get down?

You sit quiet till your brother's done.

I am done.

You be quiet and wipe your nose.

>> Come here.

>> The kettle's boilin' over.

Oh, turn it out.

Turn it out yourself, lazy bones.

Hey, I haven't finished.

Hiccups?

I've never seen a man do sewing before.

You see a lot of things in the Navy you haven't seen before.

Navy cut?

That's me.

What we need now is the table cleared.

All right, Julian.

What do you want, Julian?

Ma says have you turned her skirt up yet?

Come back in half an hour, silly, see?

Can I see your little boy?

Oh no, he's asleep now.

Hey, what's the matter?

>> Ow.

>> What have you done?

Cut my finger.

>> Come on, come here.

>> Hm.

All right, let's have a look.

Bread and the cups all over the place.

I want to see your little boy.

Off it, sonny.

What did he mean your little boy?

Oh, he means Robert, lives over there.

I used to be a ventriloquist before I took up the classics.

Good morning, Grandfather.

I'm not your grandfather.

Liar!

Charlie's young lady's cut her hand.

What young lady?

The young lady what he's having breakfast with.

Oh, so he's got a woman in his room, has he?

You mean to say you ever managed to pull an audience with ventriloquy?

Ah, they aren't all as smart as you.

You're right.

Never let anyone fool me yet.

Never mind those things.

Come on.

I'll leave the skirt with Ma on our way.

On our way where?

Police station.

Oh!

What's that?

You couldn't be such a rotten sneak, not after letting me sleep here and giving me breakfast and me believing in you.

You couldn't.

Here, what'll I do?

Now what's all the excitement?

What?

What do you mean?

What do you mean?

Aren't you going to turn me in?

Can't fool you, can I?

Oh no, you silly little thing.

Only going to hand it in at the station like as if we'd found it.

Oh.

Take you in proper, right?

But what did you do it for?

No offense, mind you, but I thought you needed a lesson.

Can't have you constantly pinching cigarette cases, you know.

Come on.

How long has this woman been here, may I ask?

Here, who are you calling "woman?"

I'll not have it, nor my wife won't have it, and I'll thank you to hand over her skirt.

He'll hand it over when he's been paid for his work, see?

Now Libby, this has nothing to do with you.

Nothing to do with me?

Poking his own nose into our affairs?

Look here, young woman, I- Look here, old man.

Can't have a brawl in front of a lady.

>> A lady.

>> That's what he said, lady.

I'll have you ejected.

Oh, you will, will you?

Yeah.

How dare you say that of me!

Sorry.

Let me out!

Hey there!

Let me out of here!

Let me out!

Let me out, let me out!

What is it now?

He had a woman in his room.

Oh yes, oh yes, and I shall have.

Look here, Ma, have you ever known me do the Don Juan act?

No, well, then, what I got in there is my new leading lady.

You can blow or top it till you're blue in the face.

She sings like a robin, she dances a treat.

Not over my head, she won't.

Ma, dear old Ma.

Well, maybe I could put her in with one of the children until I have a room free.

You do that for me, Ma, and I'll give Julian elocution lessons.

Other people teach people lessons, too.

See?

I see.

Oh well.

Trouble about education is it comes expensive.

Here.

What's up?

>> Where's my beret?

>> Now look here.

Going to get my beret.

Now you don't want the beret.

Go away.

Oh.

Silly little colt, aren't you?

I never did.

Come on now, stop it.

You're grown up, you are, got to behave, you know?

Oh.

Hey.

Stop hugging me.

What's the matter now?

I'm sorry I broke your things.

I'm sorry I stole your sixpence.

I'm sorry I made a mock of you.

I'm sorry, you silly fool.

I'm sorry.

All right, then you're sorry.

Hey, now stop it, see?

Hey, you'll cry yourself all puffy.

Got a mirror?

Got a frying pan.

Come here.

I don't use that one, I keep it for shaving purposes.

You see yourself?

That's more like it.

Oh, like what?

More like my leading lady.

Your leading lady?

What do you mean?

Well, say, I've seen you dance, I've heard you give an imitation of me.

I don't mind sayin' I consider you promising.

We have the experience, you have the temperament.

All we want now's a new turn.

C-H-A-R-L-E-S.

There, I wonder if I did that right.

How many Ps in "Happy"?

Ah, who cares?

"Many happy returns to Charles."

And many of them.

No room, gotta put his age.

(indistinct), come out of that.

What were you doing in there?

Take that cake and be off with ya.

Why, a nice lot of children I have got.

Holy St. Patrick, the state you're in.

Come out of here, come out.

Come out.

Come out of there, you young givin', you hear, and look at the mess you're getting on your clean pinafore.

Hey, I don't hold with clean pinafores.

Oh!

He'll be in before the cake!

Hey!

Hey, take it easy, Charles.

Hey, hey, here, I say.

What are you up to?

Don't come in till I call you, see?

What are you up to in there?

Oi, when can I come in?

Oi, I'm getting cold out here.

Open the door!

You can come in now.

I should hope so.

Many happy returns.

Oh, no.

I'm not 40, I'm 39.

How did you know it was my birthday?

I was looking through your papers, found your birth certificate.

Oh.

Much obliged, I'm sure.

Oh.

Very nice.

Thank you.

Put it on?

All right.

Here, give it to me.

Hold still!

Makes me look a bit yellow.

You've been looking yellow lately.

You haven't had a Saturday off since I've been working with you.

It's time you had a holiday.

So long as you come.

I hate and detest the country.

I could make you like it.

Ever heard the Nightingale?

(whistles) Pretty.

You must have a Sunday off soon.

I should like to see your face the first time you hear one.

Any admittance?

Hello!

It's my birthday.

Oh, happy returns, Charlie.

Thank you very much, Arthur.

I never knew, anyone else would have given anyone else the lowdown.

If you'd only let Charles get to his own cake.

Come on, everybody, sit down, that's right.

What a cake, hey, what a cake, what a cake.

What a cake for Jubilee Terrace.

>> Lovely.

>> I must say.

40, you?

Oh, you're getting a little age, you really are.

I ain't 40, I'm 39.

I'll roll the old sleeve up.

One, two, three!

Hey, cut it careful!

You can all sit there looking as stuffed as you like, but it'll be a sensation.

I feel it in me bones.

Quiet, old boy, but my individuality may be swamped in an ensemble.

Nowadays, the individual's washed up.

Cooperation, that's the stuff, so I says to meself, "This young Gentry on his own and poor old Arthur on his own-" >> I've got Biddy.

>> Maybe you have got Biddy.

But you and Biddy, you're a duet, you ain't a troupe.

Oi, what I'm feeling after is a troupe.

>> Tell them my idea.

>> You tell 'em.

Well, we form a quartet, and we do a big production number.

We thought we'd call ourselves the Cooperators.

Julian.

What about music?

>> Diner?

>> Bicycle Made For Two?

>> Tipperary?

>> No, no, those are classics.

Can't we have something modern, something with a swing to it?

Well, tell them your idea.

Well, I had thought of a little composition of my own.

Oh, you want la la la la la la la la That's right!

♪ La la la la la la la Oi!

I think we got something there.

♪ La la la la la, la la la la la ♪ ♪ La la la la la la la la la One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

One, two, three, four.

♪ I love you I'll get it all mixed up, (indistinct).

One, two, three, four.

One, two, three, four.

One, two, three, four.

Round, two, three, four, five, six, seven, eight.

One, two, three, four, five, six, seven, eight.

Hey, what's all this?

Is this a respectable front entrance, or is it the BBC?

They're making a new turn.

Well, I won't have it.

Here, pass along, there please, pass along.

Doesn't Mr.

Staggers live here?

>> Mr. Charles Staggers?

>> He does indeed.

Not long, he won't, if he don't shut his windows.

Three, four.

One, two, three, four.

Charles, you already have run this side now.

Arthur, give me the guitar and show Charles how do to the step.

Gentry, come on.

Come on, Charlie, don't lose heart.

You'll see, it's only a knack.

Ready?

One, two, three, four.

(upbeat music) Charlie, you're not doing it right!

I know I'm not, but I can't do that ta-ta going that way.

Just a minute.

Charlie, come here, I want you.

There's a gentleman to see you.

Carry on.

Oh.

Oh, uh, why, uh, Mr. Prentiss, ain't it?

Yes.

Who, uh, lost a cigarette case.

Oh, well, I'll be bidding you good day.

Thank you so much.

I'm awfully sorry to break in like this, but I only got back yesterday, and I, uh, found you returned my cigarette case.

Just wanted to thank you.

Would you wonder not hearing from me before?

Oh, no, no, sir, people don't trouble, gloves and such.

I had to leave this address for my bona fides.

Oh, yes.

Well, now.

I'd rather not, sir.

I mean, there are circumstances.

>> The girl?

>> The girl, sir?

Don't quite take your meaning.

Your cigarette case was found under the counter, sir.

After you left.

No reason to refuse a reward, is there?

Very good of you, sir, I'd rather not, sir.

Oh, sorry.

I'm sorry, too, sir.

In fact, uh, I'm only sorry the whole thing happened.

Come on, Charles, I got new steps.

Oh, did you...

It's all right, Miss Liberty.

Oh.

Oh, pleased to meet you again.

I came to thank Mr.

Staggers for returning my cigarette case.

Oh, had you dropped it?

Won't you come in?

We're rehearsing.

Mustn't, uh, waste Mr. Prentiss' time, Libby.

It's a pity you didn't bring your journalist friend along.

Now, now, Libby, Libby.

Well, he might have given us a write-up.

So might I.

What?

You don't mean to say you could use an interview?

Charles, he wants an interview, now who's to give it, you or me?

Come on in!

Ever since my early childhood, I had an intense desire to express myself.

I was still hesitating in which direction to develop my career when I had the good fortune to meet Mr. Charles Staggers, one of the leading street artists of the day.

We joined forces with Mr. Arthurs here, Mr., what's your real name, Gentry?

I'd rather not say.

Well, anyway, we never looked back.

We're hoping to put on a new show at the Holborn Empire next Monday.

Monday?

I'll be there.

Libby, the gentleman don't understand.

We're outside, not inside.

He knows, but he didn't put that down.

Libby, you didn't ought to sit on the arm of that chair, you know it ain't safe.

Go on.

Miss Liberty... Liberty what?

Just Liberty.

Like Garbo, see?

Looks better on a billboard.

First I've heard of all this.

"Liberty, as she prefers to be called, will not always be content with a life of the streets."

>> Is that the line?

>> That's the line.

My ambition is to dance in every capital in Europe, starting with the Holborn Empire.

(upbeat music) Wait here, driver, will you?

I'll bring them over when they're finished.

♪ Every night and day, you can hear them saying ♪ ♪ I love you ♪ La la la la la la la la ♪ Bum tiddly-push ♪ Every night and day, you can hear them saying ♪ ♪ I love you Hey!

Thank you.

Pretty good, aren't they?

Pathetically funny.

That girl can dance, anyway.

Thank you very much.

Thank you, sir.

Thank you.

Thank you, sir.

Hello, Mr.

Staggers.

Oh, how do you do, sir, how do you do?

Libby, Libby, Mr. Prentiss is here.

Would you excuse me, sir?

>> Hello, Libby.

>> How do you do?

>> Loved your show.

>> Oh, lovely.

Those people want to meet you.

Yes, yes.

Charles, people want to meet us.

Come on, here you are.

Miss Liberty, Mr.

Staggers, Lady Selina.

>> How do you do?

>> Ms. Fallingbridge.

How do you do, miss-madame-uh-miss- honored, I'm sure.

Would you excuse me?

I, thank you.

Thank you, madam.

Thank you.

Pass along there, you've been here long enough.

All right, I was just finishing.

You want me to run you in?

Look here.

That's all right, sir, we know them.

Now, hop it, you.

No, it's entirely my fault, constable.

We can't allow obstruction, sir.

Do they always push 'em around like that?

Well, after all, Della's right.

Busking's only an excuse for begging.

Cut it out, boys.

They don't give you a chance.

Make it snippy.

Go to it, boys, but look out.

He's an awkward sort here tonight.

We'll take a chance.

Run along.

I'm awfully sorry about that.

You go on inside.

You got the money and you got the right.

>> No, Libby.

>> You heard him move us on.

Look, I'm giving a party tonight, I want you to come and dance for us.

What, for you and your fine friends to mock it?

>> Thank you for nothing.

>> Listen, you snob.

I'm asking you to give a professional entertainment.

Professional?

Ah!

Come on, old lady.

Coming!

We'll be there!

Bye!

Well, what'd you think of that?

Never mind, old lady, we made out fine.

All close on twelve bob, come on.

We're all right.

Happy days, happy days.

But taking it by and large, I wouldn't ask for better support from a better company.

As for Libby, we all know the new turn was her idea.

I remodeled it, of course.

Now, the last word has to lie with the producer, my girl.

Well, here's to busking, past, present, and future.

Gentleman, gentleman, lady, gentleman.

Shall I tell you something?

You may.

In 10 years from today, there won't be a busker on the street.

What do you mean?

Just because you took 12 bob, you think everything's lovely.

Well, it's not, see?

How do you suppose it means, this everlasting moving you on and bylaws and charged with obstruction if you so much as sneeze.

I tell you, they're trying to get us off the streets altogether.

Yeah, I'd like to see 'em.

You'll have your wish.

Nobody wants us really.

They laugh at us.

You hold your noise!

She's right.

What are you talking about?

My family sold flowers in the old streets of London for the old Queen's coronation, but the hansoms have gone, and the Aussies have gone, and soon, now, we'll have to go.

Well, tonight's cured me.

You heard Old Maud and you heard that catty minx.

"An excuse for begging," she said, and she was right.

I'm off.

Coming?

I'm the manager, you're a member of my troupe, sit down!

Goodnight, all.

Insubordination.

I see.

Yes, madam?

Mr. Prentiss asked me.

What name, madam?

Uh, Liberty.

Oh, yes, he's expecting you.

Will you come in, please?

Right inside, please.

May I take your things?

Thank you.

And your, um, hat?

Thank you.

This way, please.

Miss Liberty.

Here you are at last, I'm so glad.

Did you bring Mr.

Staggers?

No, no.

He stopped behind to make a speech.

Oh, I'm so sorry.

Well, come and meet everybody.

Nonsense, wait until they're finished.

Come and have a drink.

>> Hi, Ma.

>> Hello, Charlie.

Late, aren't ya?

How did the new turn go?

Didn't Libby tell you?

No.

I'm going to bed.

Goodnight.

She ain't home yet?

Nope.

Well, of course, it's early yet.

She'll be in later.

You and Libby didn't have words, did you, Charlie?

No, no, no, she told me she might not be in yet a while.

She couldn't say.

Oh, it is good, what is it?

Don't tell us you never tasted champagne before.

I do tell you, I never tasted champagne before.

Try some of my cooking, Miss Liberty.

Oh.

Much obliged.

Sausages and mint I don't get her.

I don't get any of you.

You will.

Go to bed, Ma, dear.

After all, it's my job to wait up for her.

And why is it your job, Charlie?

Why?

Well, I mean, she has to have some man to look after her, hasn't she?

Of course, she has.

Some young fellow of her own age who'll take her about to dances and parties and things.

Why shouldn't I sit up for her?

Oh, you know well enough, Ma.

I'm here wrapped up in the kitter.

That's why.

A man of 40 ought to have more sense.

I ain't 40.

I'm 39.

(bright music) How old?

18, 19.

(audience applauding) >> They liked me!

>> I knew they would.

Anybody looking after you, Miss Liberty?

>> He is.

>> He is.

>> Oh.

>> Uh-uh.

>> I want it!

>> I'm sure you do, but you're going to be removed from temptation, Libby.

But the party's hardly begun.

You'll have plenty of parties later on.

You come and see me, and I'll fix you up.

Why should I come and see you?

Hackett's a big theatrical agent.

Oh, I'll come tomorrow!

What time?

(Libby laughing) Oh, well.

We're here.

I'm afraid I can't ask you in.

All right.

Goodnight and congratulations.

For what?

Success story, chapter one.

So what?

So what?

Oh.

All right, then.

Hello, old Charles.

Where have you been?

Dancing.

Quiet, they'll hear you.

They, they.

You don't get out of it like that, you don't.

What do you mean by stopping up till all hours, keeping Ma up and me up?

Who asked you to sit up?

I never asked you to sit up.

A light woman, that's what you're turning into.

But I won't have it, see?

Even if I have to lock you in.

Oh, shut up.

What's up?

What's up?

We got to have a talk.

I'll talk to you in the morning.

It is morning.

Look here, see.

You're drunk.

I ain't drunk, and I'll clear out when I know where you've been.

I've only been with Mr. Prentiss.

I'm sorry you sat up, really I am, but he asked me to his party and I thought, "Well, I'd-" Yes, you'll try another.

What do you mean?

Party me eye.

Party of two.

You say that to me again, I'll smack your face.

Libby, are you telling me the truth?

Why, old Charles, of course.

I'm sorry.

But you didn't ought to have gone off like that.

Libby, all that stuff you talked, and then walking out on me.

I mean, it's more than flesh and blood can stand.

But I've been out late before.

It's the last time, we've got to have a totally new arrangement.

You in this room and me up there, well, that ain't sense.

You know, I lay awake at night, it all goes around in me mind, the new turn and you, and you and the new turn.

Charles, there ain't going to be any more new turns.

I'm going on the stage.

The agent of Mr. Prentiss is fixing it all up.

I told you I'd get there, I told you!

What happens to me and Arthur and Gentry?

You hadn't thought of that, had you?

Well, why should you?

Look here, Charles.

You always said I could act.

Now, don't stand in my way now I see the chance of a real job.

After all, busking's only fooling.

Are you telling me I spend my life making a fool of myself?

Well in a way.

You see, old lad, if we were any good, we'd be in the theaters, not outside them cadging for coppers.

Better than pinching 'em.

You throw that up at me?

How long have I been working with you?

Ever know me to cheat you once since?

How can I be sure?

Get out, get out!

>> I won't get out.

>> Get out!

I have a right to be here.

>> Get out!

>> Listen, you.

>> I'm telling you.

>> I told Ma!

I told you (indistinct).

I tell you I didn't mean it.

I won't have you going away.

You'll stay here.

Ma!

Stop it, you little fool.

I wasn't hurting you.

Listen, will you!

I want to marry you.

Will you get that?

What?

That's it.

Marry, you see.

Have you gone out of your mind?

I mean, you better look in the frying pan.

And at you.

Ma!

Ma, Ma!

He come barging into my room, the things he said.

I think he must be loony.

Charles, you ought to come along with us.

That's it, Charlie.

Come and have a good rest.

Now we have got it clear.

First I'm drunk, then I'm loony, then I'm told to lay down and hush, because it seems I'm only a beggar, so it don't really count what I say or do!

Partnership's off, Gentry.

That goes for you, too, Arthur.

Off, smashed, finished, washed up.

We'll all starve, and who cares?

Our leading lady's got a new job, so I'll get a new job outside busking.

You think I can't do a man's day, I'll show ya.

I'm a man, I am.

Some of you think it funny.

I have to say so.

I think it funny myself.

I'm fed up with the humor of it.

"Dear old Charles, good old Charles."

Yeah, he's good enough to fetch and carry, good enough to feed the cat when the rest of you can't spare the time, but when it comes to give and take, work and play, man and woman, then it's "Good morning to ya, Charles.

Keep on your own side of the street, the gutter side."

All right.

But it's I who's saying good morning, see?

Good morning!

Good morning to you all!

(woman vocalizing) (upbeat music) What's the matter with it?

He means it's frightfully, awfully bad.

Oh, I can't get it, it doesn't work.

Still a great title.

Oh, shut up, if you've got any constructive criticism to give, give it; if not, clear out.

That's right, darling, you tell them where they get on.

You all sit around and you fuss him and you worry him, how do you expect him to work?

Darling, let's hear what you've got.

And hurry, 'cause Duchesi will be here in a minute.

I'm not ready for Duchesi.

Oh, now, let me hear it then.

All right, darling.

(upbeat music) It may be right for Duchesi, but I can't dance to that.

You want something like- (upbeat music) Who is he?

Oh, excuse me, Dan Constantine.

He's good!

I ought to know, I used to dance with a man who played the mouth organ.

Do you remember that tune I used to dance to?

How did it go?

Oh, you mean... (upbeat music) Wait, I've got it.

I've got it!

One, two, three, four.

One, two, three, four, five, six, seven, eight.

One, two, three, four, five, six... (upbeat music continues) ♪ Wear the straw hat in the rain ♪ ♪ Just to show you'll not complain ♪ ♪ Laugh when it rains ♪ If you're unlucky in the rain ♪ ♪ You are bound to rise above it ♪ ♪ Love that you love it ♪ Be sure that you're in line when Lady Fortune knocks ♪ ♪ Till then, your hands are tied ♪ ♪ Your heart will sing out in the rain ♪ ♪ Everybody will see your hat ♪ Just wear a straw hat in the rain ♪ >> For Miss Liberty.

>> Thank you.

Yes, ever since early childhood, I had a desire- To express myself.

When Mr. Prentiss discovered me, it was like a fairytale, thank you, Miriam.

Of course, I owe everything to Mr. Prentiss, and to Mr. Hackett, and, of course, to our backer, Mr. Temperley.

>> T-E-M-P-E-R-L-E-Y.

>> He's been wonderful.

>> Wonderful.

And how do you like playing with Mr. Duchesi?

>> Oh, he's wonderful.

>> Wonderful.

Be quiet.

It doesn't occur to you that I've got nerves, and I might like my dressing room to myself.

Oh, I didn't mean you.

I'm so glad you came, thank you so much.

I do hope you'll enjoy the show.

>> Tell Thomas for me.

>> We will.

Just say she's wonderful, boys.

Good luck, babe.

Think you're clever, don't you?

Get me all worked up on my first night.

Good thing, you were flat enough at rehearsals.

Catch me going all out at rehearsals, just because you want to hear your own songs sung over, over, and over again.

That's the trouble, I never can.

Not even in the middle of the stalls.

Oh well, it might interest you to know that I've had Jack Temperley at the back of the gallery for the last nine rehearsals, and he says that- You're wonderful.

Well, anyway, where would the show be without Temperley?

Trouble with you is you've got no sense of gratitude.

Quarter-hour, please!

Well, good luck, Libby.

You want to know the one person in this show who is wonderful?

Oh, darling!

Quarter-hour, please.

Oh, that's you, well, God bless.

Bye-bye.

Come on, Miriam, quick.

All right, dearie, you've got a full 20 minutes before your entrance.

Oh, by the way these are from me.

Oh, it's hot in here.

Open the window, dear.

Mind your voice, dearie.

Miriam, I'm inside.

Who's a good dog?

Go back to Arthur.

Go back to Arthur!

Get out of the way, go on, get out.

Get out of here, get out of here.

Green Eye!

Charlie, come here, Charlie.

Charlie, just a minute, Charlie, Charlie!

Just a minute, Charlie, that was Charlie.

Thank you, thank you very much.

Gave me the go, boss, same as last time.

Go home, have pity, do go home.

Okay, go home or I'll cut your tail off.

Hey, look-look.

There's Arthur, see, there's Arthur, go on!

Second act coming up, Miss Liberty!

Oh, I can't do that, hold it, hold it.

How much time we got?

Hurry, come on dear, hurry.

Come on.

Careful, darling.

You were marvelous!

Schwartzbein's in the third row.

And he's crazy about it.

You pleased with me?

I told you, you were wonderful.

Wonderful!

She doesn't know how wonderful she was.

Do they like me in front?

They're crazy about it.

Do you like me?

Like, why, don't you know?

I love my present.

My darling, I'm so glad.

It's absolutely beautiful.

Not nearly as beautiful as you are.

And the next, please?

Give us an autograph, Liberty.

In the front row, we was.

Oh, were you?

Did you enjoy it?

Libby!

Libby?

Libby!

Libby, Libby, Libby!

You let me through.

Libby!

Libby!

What do you think you're doing?

She wants to see me, I know she does.

Libby!

Libby!

What's wrong here?

He's drunk.

You come along with me.

I was only trying to talk to her!

You can say all that inside.

I ain't gonna sing!

I'll have you up for assault.

Now then, what's all this?

Drunken assault, sergeant.

It's a barefaced lie!

We'll see about that, come on.

Come again tomorrow!

Please, just one more!

Libby!

(phone ringing) It was a success, wasn't it?

Hm, who cares?

Success makes a difference.

If you let success make a difference to you, you're not a success.

Oh shall we take it off, or shall we let her ring?

Let who ring?

Oh, success.

Hello?

Oh, hello, Jack.

Temperley.

I'm not here, I'm not here!

What, Libby?

No, I took her home.

She didn't want to break the party up, so we stepped away quietly.

No, I wouldn't ring her, she's pretty tired.

Oh, he's got all the notices!

Has he?

Ask him what the Times said, did you hear me, the Times!

Shut up, what?

Yes yes, that sounds very satisfactory.

Said they're all wonderful.

Hollywood, already?

Isn't it a bit quick?

Give it to me, give it to me!

I'll ring you later.

You greedy little fool.

Do you want Temperley to know you're here?

Oh, what do I care about Temperley if it's Hollywood?

Take away Temperley, take away all of us- Can't you tell me what he said?

Schwartzbein wants you for Hollywood.

I knew he would.

Ooh!

Oh, you're superior, aren't you?

>> Laughing at me.

>> I'm laughing at both of us.

I suppose you're sorry I've got a success.

Oughtn't I to be, if it takes you to Hollywood?

Well, not if you come too.

Oh oh, I'm to come too.

But of course.

We get married, and then- I'm not gonna marry you, Libby.

Oh.

Aren't you?

Can you give me one reason why I should?

Because you're in love with me.

>> I'm in love with you, but- >> But what?

I don't propose to be the next Charles.

Charles?

Why, what on Earth put him into your head?

Oh, poor old Charles.

Charles?

Well.

Okay.

Gentry?

What do you want?

Where's Charles?

I don't know what you mean by barging, if I may say so, into a fellow's bedroom.

Where is Charles?

I don't know how you have the nerve to ask me.

What do you mean, nerve?

Don't you know what nerve is?

Then I'll tell you.

Nerve is what you've done to Charles.

First, you pinch his pitch, then, when he turns soft and lets you come along with us like as if you was a stray cat, and cuts the word for you, then what?

Then you pinch his ideas, then you get between him and his friends, then off you go without a word, except a couple of picture postcards to Ma from Scarborough.

Look here.

I don't need to, I took your measurements the first time I seen you.

Anything more to say?

Well, sir, not to trouble you with my life history.

I was born in this circus, but I preferred the classics.

I'm a professional reciter, see?

Would you like to hear me?

What'll you have, Hamlet, Green Eye, "If"?

"If you can keep your edge when all about you are losing theirs and blaming it on you."

That's enough.

Would that smart bona fides, Your Worship.

Is anything known about him?

>> Well, sir- >> Well, sir, there is no denying it, convictions have mounted up something awful.

24, all told.

Only 19, Your Worship.

Only 19?

Oh, I see, you're not reckoning the admonisheds.

(jury laughs) Quiet.

Have you any explanation to give as to why you were hanging about the theater, drunk?

Well, sir, why not?

I mean, there she was, inside, and there I was, outside.

Course, I knew she had it in her from the start, for all her swank.

So I came back at the end, just to watch her.

Watching 'er, I realized for the first time I'd lost my joie de vivre.

So I hit out.

I'm sorry I hit him, but it done me good at the time.

Mm.

You'll have to go to prison for four months.

Four months?

I'm giving you four months, partly to let you have a chance of thinking things over.

Try and do better when you come out.

Do better?

I will!

I'll go in for a new job altogether!

Can't you see where you're going?

Oh, I say, I'm awfully sorry.

My fault, really.

Thanks very much sir, thank you.

Whoa ho.

Thank you.

>> Buy a match, please.

>> Steady, old man, this way.

Thank you.

Taxi!

Won't keep you a minute, madam.

Buy a match, lady?

Charles!

Oh, I say, Libby, what a getup!

What are you... Charles, how dare you?

Your taxi, madam.

Take care, my man, take care- can't you see the poor fellow's blind?

Blind, my foot!

In you get, go on, get in.

You'll get us to St. Martin Lane.

I'm ashamed of you, that's what I am.

What do I find, a bilker, whining for change?

I didn't, I wasn't.

Today was the first time.

That's your story.

Miriam, stockings, come on, dear.

I tell you, I did it for a lark.

I only come out last week.

Out of what, hospital?

Clink.

Prison?

You?

Oh so you couldn't even fool the police, eh?

You haven't got it right.

I have got it right.

Here, I slave in order to do you credit, and what sort of credit do you do me, here.

>> You look at yourself in- >> In the frying pan.

I ain't forgot.

Time you did that, now look at yourself in a proper glass.

Here you're a jailbird, you ain't shaved but a week, you've been holding up at the public, and you've been drinking.

You didn't leave me much else to do, did you?

You proved to me I was a washout.

How can you tell such wicked lies?

You did, Libby.

Charles, dear.

Oh, Charles, what have you got into your fat head?

I never said it, and I never thought it.

You did, Libby.

Oh well, and if I did, it was 'cause I lost my temper (indistinct), Miriam, come on.

Just gonna pay you back in your own coin and leave poor old Arthur and poor old Gentry stranded.

Turn your back on the home and the cat, and respectability, all to satisfy a wicked pride.

And as for me, why, I might have dropped dead into the gutter, for all you cared.

Oh, never thought that I'd be worried, did you?

I tell you, when I see you playacting with your poor, silly old face, oh, there I go, spotting my makeup, and I've got to rehearse in a few minutes.

Oh, Charles.

You paid me out, now ease up.

Come back to your own job and be Charles again.

Libby, could I have a small drink?

Oh, how long has this been going on?

How long has what been going on?

These small drinks of yours.

Dunno.

Well, it's got to stop, see?

You can have this one, but no more.

Charles, Charlie!

Charlie, turn around and talk to me.

Charlie, there's a couple of small parts going in the new show.

If you can play a blind man good enough to fool me for half a second it- You own it, do you?

Yeah, yeah-what about coming down to rehearsal and showing them all what you can do, eh?

Eh?

Oh can't think of anything I could do, not suitable.

Of course there is, here, what about Green Eye?

I'm off Green Eye.

What about "If," Charles?

Dear old Charlie, what about "If"?

Well, I haven't done "If" for a long time.

Why, believe me, I know it.

"If you can keep your head when all about you are losing theirs and blaming it on you, if"- Easy, easy, that ain't the way to do it, my girl.

You gotta get 'em in the mood from the first word, see?

You want attack!

"If you can keep your head when all about you are losing theirs and blaming it on you, if you can trust yourself when all men doubt you."

He's gotta have a part, see, or I'll walk out.

That's all right, darling, we'll fix it.

"But not be tired by waiting, or being lied about.

Don't deal in lies, or being hated.

Don't give way to hating, and yet, don't look too good, nor talk too wise."

Order, please.

"If you can dream, and not make dreams your master, if you can think and not make thoughts your aim.

If you can meet with triumph and disaster, and treat those two impostors just the same."

He's not too bad, is he?

Darling, he's a blight.

"Twisted by knaves to make a trap for fools, or watch the things you gave your life to, broken."

Oh, "and still build 'em up with worn-out tools.

If you can make one heap of all your winnings and risk it at one turn of pitch and toss"- Tommy, bring me a cup of coffee.

Governor, be quiet, I won't have him interrupted.

Quiet back there.

What do they know about anything anyway?

Go on, Charles, go on.

"And lose... and lose."

"And start again."

What?

"And start again."

"And start again," Charles.

"Start again at your beginnings, and never breathe a word about your loss.

If you can force your heart and nerve and sinew to serve their turn long after they are gone, and so hold on when there is nothing in you except the will which says to them, 'Hold on.'"

Charlie.

Well, it isn't any good, darling, you can't make an actor out of me.

Oh, I've been outside too long.

Why, I'm a busker, see?

It's all right, don't worry about me.

I'm all right.

Charles!

Charlie!

Here, Charlie, wait.

Charlie, wait for me.

Charlie, Charlie!

'Scuse me, 'scuse me.

Charles!

Charles!

Charles!

Charles, please don't go, please.

Autograph, Libby.

Oh, you're a silly little coot, aren't you, you always was.

Stop hugging me.

Now, you've got to behave, you know.

Oh, autograph, Libby, please!

(somber music) ♪ When Lady Fortune knocks ♪ Spread your winning spate of cards ♪ Charlie!

Charles!

I ain't sure it wasn't a welcome time for me.

We'll start it now, Charlie.

Ladies, and gentlemen, I will now recite to you a ballad first made famous by Mr. Bransby Williams, since recited on various occasions by Sir John Martin Harvey, Mr. John Gielgud, and myself.

(bright music)