(gentle music) (film clicking) (dramatic music) (bright upbeat music) (gentle orchestral music) (gentle orchestral music) (gentle orchestral music) (bright music) (gentle music) (gentle music) >> Narrator: Edinburgh, the royal burgh, capital of Scotland, whose ancient castle stands guard over its historical city of commerce and tradition.

Once a year, travelers from the four corners of the world come to watch and thrill at the impressive opening of the Edinburgh Festival, which is dedicated to the highest and purest ideals in art.

But occasionally, well, something like this slips in.

(bright music) (triumphant music) (bright playful music) (suspenseful music) (dramatic music) (suspenseful music) (bright playful music) (dramatic music) (bright excited music) (knuckles rapping) (dramatic music) (upbeat music) >> Charlie.

>> Yes, Mr.

Frost?

>> Are they applauding, or am I deaf?

>> Maybe we're both deaf.

>> For once, I hope you're right.

♪ At the Macintosh's wedding, McKruggles was hot ♪ ♪ The groom could not escape me, although he ran fast ♪ ♪ He stopped for a breather and get him in the rack ♪ (dramatic music) ♪ Oh, ay-ay-ay ♪ (upbeat music) (bright mysterious music) (dramatic music) (bright music) (triumphant music) >> Say something.

>> What'll I say?

>> Go on.

Tell them anything.

I don't care.

>> Uh, ladies and gentlemen, will you permit me- >> We want Frost!

>> Where's Mr.

Frost!

>> Get Frost out here!

>> Woman: It's Frost we want!

>> Crowd: We want Frost!

We want Frost!

We want Frost!

We want Frost!

We want Frost!

We want Frost!

We want Frost!

We want Frost!

>> Thank you, thank you.

I'm deeply honored.

I, in fact, I'm at a loss for words.

>> And we're at a loss for money.

Our money.

>> Now please, please.

I know that I haven't paid a few small bills, but- >> Listen to me, Frost.

There are two men back there loading up my scenery into a van.

And unless they get the money, away it goes.

>> Now, Mr. Jonskill, if you take back your scenery, I can't open.

And if I can't open, no one will be paid.

Now your only chance, all of you, is to let me open.

>> It isn't the money, Mr.

Frost.

It's the principle.

>> Man: Aye.

The principle.

>> You, uh, you don't want the money?

>> No.

>> Yes!

>> Eh, the government will get most of it anybody.

>> A noble sentiment, Mr. Jonskill.

That's just my point.

Now look at these poor little girls.

oh, (laughs) open up, Charlie!

>> Come on, Patch.

Open 'em up.

>> Now, ladies and gentlemen, these are all hard-working young girls, each one an artist, a star in the making.

Think of their careers!

My creditors, I appeal to you.

I came from America to add my humble talents to your magnificent festival.

From all over the world people are flocking to this wonderful city.

Do you think they will dare to miss "Frolics To You"?

Hm?

>> What a performance.

>> It gets better and better.

>> Please, I beg of you, give me more time.

>> How much time do you want?

>> Uh, give me three days.

>> Three days.

>> No, no.

>> Right.

>> No.

>> Right.

We'll give you 48 hours.

>> My creditors, I love you.

Thank you, thank you, thank you!

London party!

Thank you, thank you!

You're wonderful.

Thank you.

All right, kids.

Rehearsal at 10 o'clock tomorrow morning.

Half of you dance like you were flat-footed.

Now go on, get out of here.

All of you.

>> It's lack of food.

>> Food?

Artists don't think of food.

>> I hate to be sordid, Mr.

Frost, but we've been on rehearsal pay since- >> Have you no faith?

>> Oh, sure.

I have faith.

But not much hope.

>> Mr.

Frost, could I speak to you- >> Yeah, tomorrow, dear, tomorrow.

Charlie?

>> Yes, Mr.

Frost?

>> Stop them from loading that scenery.

Get it back.

>> Yes, sir.

>> You all loaded?

>> Aye, we are.

>> Good.

Mr. Jonskill says take it back in again.

>> Phyllis: And none of your outbursts of charm.

I'm through.

>> But Phyllis, please!

>> No money, no opening date, no system!

Nothing but chaos, chaos, chaos!

>> Now, honey, calm yourself.

>> Oh, you can find another star.

>> But Phyllis, you're going too far.

>> On the contrary, I haven't gone far enough!

>> No!

wait a minute!

Charlie!

>> Charlie: Something wrong, Mr.

Frost?

>> Now we haven't got a star!

>> Now we haven't got a star.

>> What are you, a parrot?

I'm gonna open this show, with or without a star, and with or without money.

>> For that, we need a miracle.

>> Well, remember Dunkirk.

>> Yeah.

But they had boats.

>> Yeah.

(gentle music) (suspenseful music) (door clicks) >> Good evening, ladies.

>> Oh, hello, Mrs. Urquhart.

>> Feet hurt?

>> Oh, no.

We just didn't want to wake everybody up.

>> That's very considerate of you.

And while you're being considerate, there's just a little matter of two weeks' rent.

>> Oh, we'll pay you, Mrs. Urquhart.

>> Haven't you any faith?

>> Now listen, you two.

I was in show business before you were born.

I've crept up more stairs then you'll ever creep up.

But this is stressing Anglo-American relations too far.

>> Look, here are a couple of tickets.

They're for opening night.

>> Thanks.

You've already given me half the first row.

>> Mrs. Urquhart, we appeal to your loyalty to Edinburgh.

From all over the world, people are flocking to this wonderful city.

Do you think they will dare to miss "Frolics To You"?

>> All, right.

You win.

Go on, now.

Ooh, I forgot.

You got a visitor sittin' outside your door.

>> Visitor?

>> A visitor?

>> Who?

>> Woman from the dressmaker.

She's after her money.

Come with me.

My old man used to sneak in this way after a night with the boys.

(bright music) >> All I can say is Mr. Urquhart is a very lucky man.

>> He is.

He's been dead 10 years.

Now, quick, up the fire escape.

>> I shouldn't wait if I was you.

I've just heard the girls may not be back.

They're having a dress rehearsal.

>> My orders are to stay here until I get my 10 pounds from Ms. Janet Jones.

And here I stay.

>> Sleep well.

(dramatic music) >> Mae!

Mae, wake up.

Wake up.

We'll be late.

(Mae sighs) Mae, Mae.

Get up!

(bright music) Look at the time.

(dramatic music) (suspenseful music) (door clicks) (bottle crashes) (knuckles rapping) >> Assistant: Open this door immediately!

I know you're in there!

>> You better go down the fire escape.

>> Tuck in my skit.

>> Let me in!

You better!

(knuckles rapping) >> Happy to beg.

My gloves, in the drawer.

But you've gotta hurry, too.

(knuckles rapping) >> Open this door immediately!

>> Good morning.

Why all the noise?

>> Noise!

I'm entitled to noise.

10 pounds worth.

Where's Ms. Jones?

>> She left for the theater.

Didn't you see her go?

>> Don't tell me that.

She's here.

I know it.

>> Why don't you look under the bed?

>> Please, my lassie.

I was told not to come back without the money.

>> She's not here, I told you.

She's gone to the theater.

We've got a rehearsal at 9:30.

I've very late myself.

(bright music) >> Did you signal me?

>> Janet: Yes, I did.

I hope you don't mind.

Only I'm awfully late.

>> Not a bit.

Get in.

American, aren't you?

>> Janet: Why, yes.

How did you know?

>> You used this so gracefully.

(upbeat music) >> This is very nice of you, Mister, uh- >> Bates is the name.

>> I'm Janet Jones.

>> You say you work at the Mercury Theater?

>> Not if we don't get there in 15 minutes.

>> We'll do it in 10.

(bright music) >> This would have to happen.

I'll never get to the theater on time.

Can't we go around them?

>> We shouldn't.

But I will.

(engine revving) >> Bye, thanks.

Morning, Max.

(upbeat music) >> Nah, that's no good.

Who told you to finish facing up there?

>> You did.

>> Me?

Never.

It's no use appealing to the cheap seats.

Go on your knees for the expensive ones, like this.

And play it down there.

That's where the dough comes from.

All right, let's try it once more.

Okay.

Hit it.

(bright upbeat music) (shoes tapping) >> It's about time.

Where have you been?

>> Now, Charlie, you're not going to tell on me.

>> Now, listen, my duties as stage manager- >> And the best stage manager in the business.

>> My duty as the stage manager- >> Is to see that Mr.

Frost doesn't have any more worries than he's got already.

And you're doing it wonderfully.

You're a sweet little lamb.

(bright upbeat music) (shoes tapping) I'm sorry, Mr.

Frost.

I thought you said it this way.

>> That was yesterday.

>> She didn't know you'd changed it.

>> Of course she didn't.

And shut up!

You just came in.

I saw you.

>> I had an accident.

>> Yes, you certainly did.

You ended up this way instead of this way!

>> I'm sorry.

>> I'm sorry for you.

You spend your life being just a halfway-good chorus girl.

And that goes for all of you!

How do you suppose I got into the position I'm in today?

Well, I'll tell you.

Through grit, determination, and punctuality.

>> It's just that our alarm clock didn't go off this morning- >> Alarm clocks.

Stars aren't made by alarm clocks.

Stars are made by talent.

That's why you'll never get out of the chorus.

>> That's where you're wrong, Mr.

Frost.

Because I am out.

I quit!

>> Hey, wait a minute.

Nobody quits on John Frost.

You're fired!

>> It's a pleasure.

>> All right, everybody.

Take a 15 minute break.

>> Back in a minute, Mac.

>> I want to see Ms. Janet Jones, please.

>> I'm sorry.

You'll have to wait.

>> May I see Ms. Janet Jones, please?

>> Not now.

She's rehearsing.

>> You just take your turn.

I have a prior claim on Ms. Jones.

>> I only want to return her bag.

She left it in the car.

>> No one sees anyone until rehearsal is over.

>> Any calls for me, Mac?

>> No, my dear.

>> Oh.

Oh, are you Mr. Drummond's chauffeur?

>> No, I'm Mr. Bruno's.

>> Not Mr. B.G.

Bruno, the greeting card manufacturer?

>> The very same.

>> Oh, yes.

Didn't send you here for me, did he?

Betty Summers?

>> I'm afraid not.

I'm waiting for Ms. Jones.

>> Janet Jones?

>> Are you a friend of hers?

>> Yes.

>> Well, would you do me a favor, Miss?

Give her this bag.

She left it in the car.

>> Why, of course.

And give my love to Mr. Bruno.

>> Somehow I don't think he'd appreciate it.

>> Hm.

Janet Jones.

>> Well, well.

I don't think I'll wait, after all.

Please don't bother to tell Ms. Jones I was here.

>> Oh, I'm sorry, Mr.

Frost.

I didn't see you.

>> If you put as much energy into your dancing as you do into running blindfold down passages, we might have a show.

>> Yes, Mr.

Frost.

>> What have you got there?

>> A bag.

Janet Jones' bag.

She's B.G.

Bruno's girlfriend.

>> So is that any reason to go... She's whose girlfriend?

>> B.G.

Bruno.

>> B.G.

Bruno's one of the richest men in Scotland.

>> That's right.

He's a millionaire.

>> He's five millionaires.

I looked him up.

So he's going around with one of our girls, eh?

Well, what do you know?

What's your name?

>> Betty Summers.

I'm the girl that wanted to talk to you about- >> Not now, not now, Betsy.

>> Betty.

>> Yes, yes.

Well, I'll see that Janet Jones gets the bag.

>> Oh yes.

But it'll just be a few minutes, and- >> I'll give you much more than that.

I'll give you a raise.

Next time I pay you.

>> Oh.

>> Charlie!

>> Yes, Mr.

Frost.

>> Don't do that.

I gotta talk to you.

>> Who does he think he is?

Telling me I'd never get out of the chorus.

>> Listen, you'll never get out of town if you don't earn some money.

>> You're going straight up to Frosty and play the prodigal daughter.

>> I am not.

After those insults.

Why should I?

>> Several reasons.

One dress bill.

Two weeks' rent in arrears.

Shall I go on?

>> No.

>> Charlie, Charlie, you can't be that dumb.

Janet Jones, one of our girls, is going with B.G.

Bruno.

He's her fiance.

Does that ring a bell?

>> B.G.

Bruno, the millionaire?

>> Multi, Charlie.

Multi.

He's with $5 million, maybe six!

>> Janet Jones and the millionaire.

What a pity.

>> Why a pity?

She's a wonderful girl!

The greatest!

Go and get her, quick.

>> Janet isn't with the show anymore.

>> Don't argue.

We're saved.

If B.G.

Bruno loves her... What do you mean, she's not in the show anymore?

>> Well, don't you remember?

She quit at rehearsal.

>> Oh, so that's the little... We'll star her, that's what we'll do.

Where does she live?

>> I don't know.

>> Well, why don't you know?

Am I asking the impossible?

(both groaning) What's Janet Jones' address?

>> Who, sir?

>> Everyone gives me an argument!

What letter do you file J under?

Here, look through these.

Find Janet Jones' address.

Well don't stand there.

Do something!

Why aren't things filed right?

All I want is one address with a simple name of Jones.

Not Crimbojin or Sabisco, but Jones!

J-O-N-E-S!

In a real office they'd find it like that!

Trouble is there's no system around here, no initiative.

Do I have to teach you how to file, too?

>> Excuse me, Mr.

Frost.

>> Not now, later!

Can't you see I'm busy?

Don't we have a list of the cast?

Don't we know where they live?

Suppose somebody got sick, what would you do?

>> Call a doctor.

>> Oh, call a doctor!

>> I only wanted to ask- >> Here, you might as well help too.

Look through these.

Who are you?

>> Janet Jones.

>> Well, don't stand there making idle talk.

Look for the address!

>> Whose address are we looking for?

>> Janet Jones!

Who did you say you were?

>> Janet Jones.

>> Oh.

Charlie!

Janet Jones.

You see, I have to do everything!

Well, Ms. Jones, where have you been?

We've been looking all over for you.

Come in, please.

Right this way.

I'm sorry you walked in on such a mess, but we were trying to find- >> Mr.

Frost, I came here to apologize for my behavior on the stage.

I guess I lost my temper.

>> And why shouldn't you?

If there's one thing I like, it's a girl with spirit.

Oh, here's your bag.

>> But where did you- >> Now, there's no time to discuss that.

We've got to discuss you and the show.

Get me a standard contract.

>> I really can dance, you know.

I don't think you've ever seen me do a real solo.

>> Well, I don't have to, darling.

I don't have to.

I suppose now you can't even find a simple contract.

>> Look, Mr.

Frost.

It's a piece of paper this size.

A baby could find it!

Yeah, that's wonderful, honey.

We'll work out some great routines.

>> I can acrobatic, too.

>> Why do I have to do everything?

>> But Mr.

Frost, I can't even- >> There, you see how simple it is?

(furniture crashing) Oh, no.

Are you hurt?

>> No >> Oh, thank heavens.

Here, sign this.

>> I can sing, too.

>> Yeah, yeah.

Sign it.

(bright playful music) >> Hi, Joe.

They're gonna star me in the show!

>> Oh!

>> Mae!

>> Oh, wait a minute.

Wait a minute!

>> Mae!

Mae, I, oh.

>> Oh, Ms. Jones, I do hope you don't mind us coming in- >> Ah, it is Ms. Jones.

Bonjour, Mademoiselle.

>> Now, Madame Amanda, I've already told you why I can't pay you until Friday.

>> Pay?

Oh, Mademoiselle, please, do not mention such a thing.

(speaking in foreign language) It's for you to try on.

>> Try on?

>> Yes.

Please take hold.

>> The first we call Blue Moonlight.

>> Claire de lune.

Isn't it wonderful?

>> Beautiful.

>> Try it on.

(speaking in foreign language) And mademoiselle has just the figure.

It wants the waist, step out, please.

Don't you think she has the figure for it?

>> Oh, yes, Madame.

>> Of course, there are others.

But you can try them on at your leisure.

Step in, please.

Eh, Ms. Penfold?

>> Yes, Madame?

>> You have not forgotten to bring the (speaking in foreign language), the rose chiffon, and the (speaking in foreign language)?

>> I beg your pardon?

>> The red poppy.

Ah, c'est magnifique!

Oh, mademoiselle is so chic!

(madame speaking in foreign language) And the color goes so well with your complexion.

Now, now, oh, you have not got a mirror.

Ah.

You can see yourself from here.

From the waist up.

Now, what do you think of that?

>> Oh, it's perfectly beautiful.

>> Oh, (speaking in foreign language) >> Wonderful.

But you don't understand-- >> Yeah, yeah.

So you take it.

With the compliments of Madame Amanda.

It is every necessary.

>> Madame Amanda, I'll never be able to- >> Oh, but I'd rather see you in a silver mink.

It is what I have been asking myself all this morning.

>> Ms. Jones could have the silver mink, too.

>> Ms. Penfold, (speaking in foreign language)!

You are brilliant.

But of course mademoiselle can have the silver mink, too.

Viola.

(speaking in foreign language) Not a word.

All I ask is that you look at the other trifles.

>> Madame Amanda, did Mr.

Frost tell you- (Madame speaking in foreign language) >> Let us not worry who tell me anything.

It is our little secret, (speaking in foreign language).

Finish up, Ms. Penfold.

Mademoiselle must be tired.

And if there is anything else you want, call the telephone.

(madame speaking in foreign language) Promise you will telephone me.

>> I promise.

(madame speaking in foreign language) >> Come, Ms. Penfold.

(bright upbeat music) (door thuds) >> Pardon me, duchess.

>> Oh, Mae, am I glad to see you.

Now take a deep breath and listen.

>> I'm listening.

But I got no breath.

>> Frosty's given me a contract.

And Madame Amanda gave me all this.

>> And where are you stabling your racehorses?

>> Mae, please, you've got to be serious.

Somebody in Edinburgh's got to keep their sanity.

What does all this mean?

>> You don't know?

>> Well of course I don't!

>> Janet Jones, I think you're a stinker.

>> Janet: Oh, Mae, don't you start acting crazy, too.

Well, while you cool off I'll slip out of this dress.

>> I would, too, if I were you.

>> Janet: I don't know what you're so huffy about.

>> Well, you could at least tell your best friend.

>> Well, I'm trying to tell you, if you'll listen a minute.

>> All right, then.

Tell me something about B.G.

Bruno.

>> Who's B.G.

Bruno?

>> Who's B.G.

Bruno?

He's only your fiance.

>> You're mad.

>> I suppose everybody at the theater's mad, too.

I suppose you think it's nice for me, your best friend, to be the last to hear the news.

>> What news?

I don't know what you're talking about.

>> Do you mean you're still going to deny it?

>> Of course I deny it.

>> Then I repeat.

Janet Jones, I think you're a stinker.

>> The whole world's gone mad.

>> Why do you think Frosty's starring you in the show?

An old Amanda gave you this lot, why?

>> Well, why?

>> B.G.

Bruno.

>> Look, will you please tell me, who is this B.G.

Bruno?

>> He happens to have made millions out of greeting cards.

Furthermore, he happens to be the richest man in Scotland.

>> He still doesn't mean a thing to me.

>> He doesn't mean a thing to her.

Listen to me, Janet Jones.

Will you take an oath on all you hold dear that you aren't engaged to B.G.

Bruno?

>> Engaged to him?

I don't even know him.

(Mae laughs) Well what's so funny?

Will you please tell me what you're laughing at?

>> Well, don't you think it's funny you get dressed and starred on account of a man you don't even know?

>> I think it's horrible.

>> Listen, Frosty thinks he's pulling a fast one.

Star the girl, and the fiance will put money in the show.

>> You don't honestly think- >> Why not?

It's been done before.

Want me to name a few stars who started that way?

>> No.

(knuckles rapping) Come in.

>> Ms. Jones.

>> Yes?

>> Will you sign here, please?

>> Well blow me down.

They're from Frosty.

>> Then you can take them right back.

>> Uh, just a minute.

I'll take those.

Look, how long have you said your prayers for a break?

Well, you've got it.

>> I don't want a break this way.

>> Oh, what difference which way?

If you make the grade you can always tell them afterwards.

You didn't tell Frosty you were engaged to old moneybags, did you?

>> No, but I- >> And you didn't tell old Madame Guillotine you had money, did you?

>> No.

>> Well, come on, girl.

Let's live a little.

(gentle music) (dramatic music) >> Well.

It's a mistake.

>> Well, it does say B.G.

Bruno.

>> Whatever it says, you know and I know, it's a mistake.

(knuckles tapping) >> And when I heard that this young woman had actually visited you here, during office hours, in the Easter Room, well, quite frankly, Harold, I was flabbergasted.

I don't want this to happen again.

>> No, well, yes, Mr. Bruno.

>> We have a staff outing once a year for that sort of thing.

>> Harold: Yes, Mr. Bruno.

>> Well, Harold, I have no wish to pry into other people's private lives, but here in Bruno House I will not have the members of my... What is this?

>> It seems to be some sort of a bill, sir.

>> I will not have the members of my staff mixing business and pleasure.

There are certain standards of decorum, of decorum which I insist upon being observed.

You may go, Harold.

>> Yes, Mr. Bruno.

>> Now what is all this about?

Amanda?

Princess Street?

Why is this addressed to me?

>> Well, that's what I was wondering, sir.

>> Ms. Janet Jones, Mercury Theater, silver mink stole, ermine wrap, satin negligee?

Well, this is monstrous.

Preposterous.

I've never been near the Mercury Theater.

I never heard of Janet Jones.

You deal with this.

What are you looking at me like that for?

>> Like what, sir?

>> You surely don't think that I have anything to do with this?

>> You, Mr. Bruno?

Why, of course not, sir.

>> Of course not.

>> I knew there must have been some mistake.

>> Why must have been?

>> Well, sir, I knew that you couldn't.

>> What do you mean, I couldn't?

>> Well, sir, I mean that you wouldn't.

>> Well, I should hope not, Mr. Dodds.

(phone ringing) Answer the telephone.

>> Mr. Bruno's office.

What?

The Mercury Theater, sir.

For you.

>> Hello?

>> I have wonderful news for you, Mr. Bruno.

Yes, for you.

We're going to star Ms. Janet Jones.

>> This is B.G.

Bruno, ltd.

There's some mistake.

>> Oh, no, there's no mistake.

I've had my eye on her for some time.

We're going to build a show around her.

>> Look, is this a practical joke, or something?

I tell you, I've never heard of Janet Jones.

>> (laughs) I quite understand, Mr. Bruno.

But don't worry.

Your little secret is in good hands with me.

Well, now do you believe me?

>> Yeah.

(phone clattering) >> There you go again.

>> What, sir?

>> Looking at me in that surreptitious way.

I tell you, I've never heard of this girl.

>> Of course not, Mr. Bruno.

>> Whole thing's a practical joke, or something worse.

>> If I were you, sir, I should get in touch with the police.

>> And have the firm involved in the scandal?

Oh, no.

I shall deal with this in my own way.

>> Frost: Now, we're going to do the number again, and this time we're going to do it from the beginning right through to the finish.

Everybody take their positions.

Okay, Joe.

Hit it.

(dramatic music) (suspenseful music) (bright playful music) (mysterious music) (bright music) (gentle music) (bright playful music) (dramatic music) (upbeat music) ♪ One, two, three, one, two ♪ ♪ Three, oh, it's too heavenly ♪ ♪ One, two, three, one, two, three, sends me in ecstasy ♪ ♪ One, two, three, one, two, three, one, two, three ♪ ♪ Rhythm of charm and mystery ♪ ♪ One, two, three, one, two, three, keeps me perpetually ♪ ♪ One, two, three, one, two, three, busy and dizzy ♪ ♪ And in my dreams I hear the scenes ♪ ♪ In perfect harmony ♪ ♪ One, two, three ♪ ♪ She misses the rhythm for you and me ♪ ♪ For young and old ♪ ♪ It's soft, it's bold ♪ ♪ Its rhythm goes straight to the sea ♪ ♪ The music, so lovely and sweet ♪ ♪ The timing's so perfect discreet ♪ ♪ It's singing and swinging, it's happiness bringing ♪ ♪ It's take me right up the bye and bye ♪ ♪ While we're dancing and romancing ♪ ♪ I'll step to a happier day ♪ (gentle music) ♪ One, two, three ♪ (bright upbeat music) (bright music) (dramatic music) (bright playful music) (gentle music) ♪ One, two, three ♪ (bright playful music) (gentle music) (bright playful music) (dramatic music) >> Give your boys a rest, Joe.

That was a good dress rehearsal, kids.

Now get into your practice clothes.

That was fine, Janet.

You're wonderful.

There are one or two things we can polish up later.

>> Thank you, Mr.

Frost.

I'm still having a little trouble with the downstage spins, but I'll get them.

>> You'd bet you'll get them.

Now go and have that new costume fitted.

>> Hello, Mac.

I have an appointment with Janet Jones.

>> That's right, Mr. Tracy.

She's expecting you.

Go on in.

>> Okay.

>> Oh, Mr. Tracy.

It should make a grand story for you, eh?

From chorus girl to star in one jump.

>> Aye.

I hope you're right.

(bright music) (knuckles rapping) >> Janet: Who is it?

>> Paul Tracy, "Morning Express."

>> Oh, hello.

Would you mind waiting a minute?

>> Sure, that's okay.

No hurry.

(upbeat music) >> Well, Tracy, my boy.

How nice to see you.

Come and have a drink.

>> I will after.

But Ms. Jones- >> Oh, you've got a minute.

She just went in to change her costume, anyway.

Come on.

>> Yes, sir.

>> I want to speak to Ms. Janet Jones.

>> I'm afraid she's busy at the moment.

What name?

>> Mr. Bruno.

>> B.G.

Bruno?

>> That is correct.

>> Oh, certainly, sir.

Please walk right in, Mr. Bruno.

Through the screen door, first passage on the right.

Room number one.

>> Thank you.

>> Thank you, sir.

(gentle music) (knuckles rapping) >> All right.

You may come in now.

That's fine, Maggie.

I'll send it up to you later.

>> It's all fixed.

Mind the pins when you take it off.

>> Yes, ma'am.

I'm sorry you caught me like this.

How do you do?

>> How do you do?

>> I didn't mean to keep you waiting.

Won't you sit down?

>> Ms. Jones, I have come here to get to the bottom of a certain matter.

>> Yes?

>> Which, to put it frankly, and not to beat about the, are you Janet Jones?

>> Why, yes.

Am I a disappointment?

>> Oh, no.

No, I just pictured something rather different, that's all.

>> Oh, I see.

Please sit down.

And you won't mind if I change this, will you?

>> Oh no.

Oh, no, look, I'll wait outside.

>> No, I can talk from behind here.

You know, I thought you'd be quite different, too.

>> Me?

You mean you were expecting me?

>> Of course.

>> Then you know what I've come about.

>> Janet: Naturally.

(gentle music) >> Why did you do it?

>> Janet: Well, I always wanted to.

Ever since I was a child.

My father was dead against it.

>> I should hope so, too.

>> On the other hand, my mother encouraged me.

>> Your mother encouraged you to practice a deception that- >> Oh, there was no deception.

I merely said I wanted to go on the stage.

And I went.

>> Ms. Jones, that is not the explanation I require.

>> Oh, I know.

You want something more colorful.

You know, I can't get over you.

When they told me Paul Tracy was coming to interview me, I expected some hard, fast-talking movie newspaperman.

But you're not- >> Ms. Jones, this name of Paul Tracy- >> Oh, it's probably not your real name at all.

Anyway, I find you most comfortable to talk to.

>> Oh.

You do?

Well, as a matter of fact, I don't find you as uncomfortable as I expected, either.

>> Oh?

>> No, you're very, you've got a, hm.

What a charming room this is.

>> Thank you.

I'm glad you like it.

I've only been in here since this morning.

But gay drapes and flowers always help, don't they?

>> Do they?

>> Why, certainly.

Well, shall I begin at the beginning?

>> Yes, please do.

>> Well, let's sit down.

Would you like to know where I was born?

>> Yes, I, I'd love to.

>> Well, I was born on a little farm in Virginia.

>> That's amazing.

So was I.

>> What?

>> Oh, not on the same farm.

No, ours was Devonshire.

Then I went to school at Harrow.

I left when I was 16, because I couldn't stand it any longer.

But my father had very definite ideas about how life should be lived.

And he said- >> Uh, pardon me, but who is interviewing whom?

>> (laughs) Oh, I'm sorry.

I forgot.

Please go on.

>> Well, it was a little rose-covered cottage, nestled among the magnolia trees, down near a lake.

And every morning I used to get up very early and milk all the cows.

>> How many cows?

>> 50.

What are you smiling at?

>> Oh, nothing.

Please go on.

>> You don't believe me?

>> Oh, it's just that I know about farmers.

I've got some.

>> You have?

>> I mean, I've got some relatives and things that live on farms, and I know what they are.

>> Oh, you do.

All right.

It was a plain brick house, with no roses.

Not a tree or a cow for miles.

>> And it wasn't in Virginia.

>> Hoboken, New Jersey.

(B.G.

laughs) >> She was born on a tuna fishing boat off the coast of Mexico.

Her mother was a former Ziegfeld girl.

She met Janet's father and gave up her career.

She loved him that much.

He was a deep sea diver on the side.

>> How much is Bruno putting into the show?

>> Now get this for real drama.

Her mother taught her everything she knew, and when a storm wrecked the boat and they didn't have a dime, what do you think the poor kid did?

>> Went off and met B.G.

Bruno.

>> Why don't you give him a drink?

>> And bingo, out of the blue I got this break.

>> Wonderful.

How did you get it?

>> Well, I- >> Was it hard work, or influence, or what?

>> What exactly do you mean by that remark?

>> Well, I wondered if perhaps there was someone with some pull who- >> Were you thinking of anyone in particular?

>> I understand that a certain Mr. Bruno- >> I thought so.

I wondered when we'd get around to that.

>> I simply wanted to find out if there- >> There is absolutely nothing between myself and B.G.

Bruno.

I don't suppose you believe that, either.

>> Oh, yes, I do believe that.

>> I'm getting sick and tired of these stupid fables about me and B.G.

Bruno.

>> You are?

I'm so glad.

Where did you meet him?

>> What?

Oh.

We met at a party last winter.

>> I understand he was in Egypt last winter.

>> Oh, well, Cairo is in Egypt, isn't it?

>> Well, yes.

It's been there a long time.

>> Well, that's where we met.

On the pyramids.

>> On the pyramids?

>> I mean, near the pyramids.

Just a little to the left.

>> (laughs) Little to the, to the left.

>> It was in Hawaii that Janet met B.G.

Bruno, on the beach at Waikiki.

It was love at first sight.

>> Was she wearing a grass skirt?

>> Well, I did, look, I'm trying to give you a great story.

You're not even taking notes.

>> Oh, I can remember it.

And what I can't remember I can make up, too.

>> Please don't be angry, Ms. Jones, but I had to find out about you and this Bruno fellow.

>> Oh, I know.

You've got your job to do, the same as me.

I don't suppose you really like digging up facts about some paunchy old millionaire.

>> Paunchy?

>> Oh, yes.

And he wears thick bifocals.

>> He does?

(knuckles rapping) >> Manager: You're wanted on the stage, Ms. Jones.

>> Coming now.

I'll have to get into my rehearsal clothes.

>> B.G.

: Oh, wait, I haven't got half the material I need.

Will you meet me again tomorrow?

Have lunch at the Aperitif.

>> Janet: The Aperitif?

Who do you think you are, B.G.

Bruno?

>> Oh, it's all right.

I've, I've been saving up.

>> You don't have to take me to lunch anywhere.

Would you please zip me up?

But if you'd like, we could have a bite at that little place across from the theater.

>> Janet, you're on!

>> Shh.

>> Oh.

Pardon me!

>> Coming.

(laughs) One o'clock.

>> One o'clock.

>> Oh, promise you won't mention anything about Bruno in your article.

>> I promise.

>> It wouldn't be quite, quite- >> Quite.

>> Janet, you're on.

>> Oh, bye.

>> Goodbye.

(bright music) (gentle music) Hm!

Hm.

(upbeat music) Good morning, Frasier.

>> Good morning, sir.

>> For you.

>> Thank you, sir.

>> Good morning.

Good morning.

Good morning.

Good morning.

Good morning, Mr. Dodds, old man.

How's your paunch today?

You must watch that.

And how's your, oh.

Good morning to you.

Mr. Dodds, I want to talk to you.

Mr. Dodds, has it ever occurred to you that this office lacks something?

>> No, Mr. Bruno.

>> Well, it does.

It lacks charm.

Everything about it lacks charm.

You lack charm.

>> Why, I'm sure I'm extremely sorry, sir.

>> Don't apologize.

It's not your fault.

But we must brighten it up.

Life, Mr. Dodds, is a sunny thing.

You can't expect people to work in cold, drab surroundings.

Look at them.

We need something over there.

And over there.

And all over there.

Flowers.

That's what we need.

Lots and lots of flowers.

>> Flowers, Mr. Bruno?

>> Certainly.

Gay drapes and flowers always help, don't they?

>> Do they?

>> We've all gotten into a rut, that's the trouble.

This place is like a morgue.

We've gotta do something about this.

And this.

And that.

>> It's a lucky year for Janet Jones of the Mercury Theater.

Yesterday a chorus girl, today a star, tomorrow a probable bride.

(girls chattering) We mustn't say who the lucky millionaire is, but it looks like greeting cards all the way for Janet.

>> Oh!

>> Give me that!

>> Well!

(girls chattering) >> (laughs) When John Frost does something, he does it properly.

Get a load of that.

Isn't it beautiful?

Well, look at it!

>> Yes.

What's it for.

>> It's for you and yours.

>> Me and mine?

>> Yes, it's the model for your new number.

Specially designed for B.G's little lady.

Oughta make him happy, don't you think?

>> It oughta make him delirious.

>> Look, Mr.

Frost, I think that I'd better tell you that- >> Oh, now, honey.

Not now.

Later, eh?

We'll talk about it tonight.

Over dinner.

Will you have dinner with me?

>> Oh, I'd love to, but- >> Oh, now, whatever the but is, cancel it.

And bring Bruno, I mean, Mr. Bruno, along.

>> Oh.

Mr. Bruno- >> Yes.

I want to talk about the show.

Oh, you can come, too.

Stops it from being an odd number.

>> Charmingly put.

>> Oh, I'm sure Mr. Bruno would love to come, but he's out of town today.

>> Well, okay.

Tomorrow, then.

>> All right.

If he's back.

>> Oh, fine, wonderful.

Well, little man has a busy day.

Goodbye now.

I'll see you later.

(both groaning) Do you live under my feet?

>> Oh, I'm sorry, Mr.

Frost.

Oh, could I speak to you?

It's very important- >> Yeah, yeah.

Tomorrow, honey.

Tomorrow.

Now which way are you going?

>> That way.

>> Good.

(people chattering) >> Only half an hour late.

That's what I call being punctual.

>> And that's what I call being contemptible.

>> Oh, you mean the, the new housing scheme.

>> You know very well what I mean.

Your column.

>> My, oh, yes.

My column.

>> I might have known that your promise not to print something meant just about as much as your phony charm.

>> I didn't write this.

>> Then who did?

>> Well, it could have been anybody.

From the editor down.

>> You swear it wasn't you?

>> I swear.

>> Oh, I'm so glad.

I couldn't believe you'd do a thing like that.

>> Couldn't you?

>> Well, no.

I thought you were rather nice.

>> That's a coincidence.

>> Sal: Good morning, miss.

What would you like?

Your usual?

>> Oh, yes.

Thank you, Sal.

>> Sal: And you, sir?

(gentle music) >> She's talking to you.

>> Oh.

I'll have the same as the lady, please.

>> Sal: Do you wish to share one, sir?

>> I do.

>> Anything to drink, sir?

>> Champagne.

>> Tea, Sally.

Well, shall we finish the interview?

>> The inter, oh, yes.

The interview.

Now, um, (throat clearing) tell me, have you, do you, a ring.

Do you wear a ring?

>> I'm not engaged, if that's what you mean.

>> Congratulations.

Um, not engaged.

>> I started in the chorus when I was 16.

But last winter I couldn't get a job, so for three months I worked as a waitress.

>> Last winter?

>> Mm-hmm.

>> Was that before or after you went to Egypt?

>> Before.

>> And you met Mr. B.G.

Bruno and he fell in love with you at first sight.

>> Oh, he did nothing of the sort.

>> Must be mad.

As well as old and paunchy.

>> Would you like to know how I got my first stage job?

>> What does the B.G.

stand for?

>> Oh, the B. G?

Oh, he doesn't like me to say.

He's rather touchy about it.

>> Touchy?

Old?

Mad?

Paunchy?

We're getting quite a picture of Mr. Bruno, aren't we?

>> Oh, he's really a very nice person.

>> That's good.

Where does he live?

>> I walked into my first audition and I had this piece of music in my hand- >> Where does he live?

>> Who?

Oh, B.G.

Oh, I never can remember the address.

He always sends one of his cars for me.

>> He does?

>> Yes.

(traffic puttering) Oh, I had no idea it was so late.

There's his car now.

I must be going.

>> Uh, that's- >> Janet: B.G.

's car.

I mustn't keep him waiting.

>> Please, I have a lot of things to ask you.

Especially now.

>> I'm sorry.

>> Can you meet me here tomorrow, same time, Ms. Janet?

>> All right.

Same time, Mr. Paul.

>> You may talk, Bates.

>> Well, sir, I, uh- >> You picked up a strange young woman in Mr. Bruno's car.

>> Yes, sir.

She was terribly late and afraid of losing her job, sir.

>> So you gave her a lift.

A strange female who, for all you know to the contrary, might have been a doubtful character.

And probably was, since she was so willing to ride in a stranger's car.

>> Mr. Dodds, I see no reason to indulge in personalities about a young lady we, um, we don't know.

>> As a matter of fact she was a very nice young lady.

And very attractive.

>> (laughs) I'm quite sure of it.

And I don't doubt that you made the most of your opportunities.

>> Mr. Dodds, I strongly resent your inferences.

>> I'm sorry, sir.

I was only putting two and two together.

>> Bates has already told us that she was a very nice young lady, and I know she was.

I'm sure she was.

>> I'm sure you'd have done the same thing, sir, in the circumstances.

>> Quite right, Bates.

All I asked you to do is to find out from Bates just why he was outside the stage door of the Mercury Theater yesterday afternoon.

>> It was about the summons, sir.

The young lady said she'd come to court as a witness.

>> Oh.

Oh, I see.

>> You used Mr. Bruno's car for your own purpose.

You've concealed facts and given lifts to strange women.

I must tell you, Bates, that Mr. Bruno takes a very grave view of the matter.

Hm?

>> Yes, this is a serious business, Bates.

And I don't like to feel that my employees are deceiving me.

>> And therefore, Bates, I think I am voicing Mr. Bruno's views when I tell you that we must regretfully terminate your- (knuckles rapping) >> Excuse me, Mr. Dodds.

The auditors are here.

>> Oh.

Oh, thank you.

Excuse me a moment.

>> Yes, Bates.

This is a grave breach of trust.

And I feel impelled, I feel impelled, in fact, I insist on doubling your salary.

>> I forgot my papers.

>> So let that be a lesson to you, Bates.

>> But Mr. Bruno- >> Not another word.

My decision is final.

>> Thank you, Mr. Bruno.

>> Charlie!

>> Thank heaven you're here.

>> Oh, gentlemen, wait a minute, please.

We open tomorrow.

You said you'd give me time.

>> Your time's up.

And you've broken your word, as usual.

>> But you don't understand.

I've got the richest man in Edinburgh behind me.

Haven't I?

>> Yeah.

>> It's too late.

We are finished with all your lies and excuses.

>> What do you mean, lies?

>> It's a question of complete lack of ethics, Mr.

Frost.

>> But you heard me phone Bruno, didn't you?

I'm starring his girl.

Isn't that ethics?

Well, isn't it?

Find Janet.

Send her to my office right away.

>> Then why don't we see our money?

>> Well, these things take time and documents and lawyers.

You know how it is.

I want to show you something.

Just come to my office for a minute, please.

Just a moment.

Come along.

(knuckles rapping) >> Janet?

Mr.

Frost wants to see you in his office.

>> I'll be right with you.

>> Now, this is the new number I'm putting in the show.

Can't you just imagine the scope you'll have, Mr. Jonskill, when you build that set?

>> When I build it?

>> But of course.

You don't think I'd be ungrateful enough to give it to someone else now that I have unlimited backing.

>> You stand there and ask me to build another set for you when I'm here to take my scenery out?

>> Well, certainly.

I'm not the one to bear any malice.

>> Well, you'll get no costumes out of me.

>> Did you want to see me, Mr.

Frost.

>> Oh, Janet, my dear.

This is Mr. Jonskill and, friends.

I was just telling them about our plans and, uh, how we're dining tonight with your fiance.

>> With my- >> Yes.

How we're going to discuss the finer details of the show.

>> Oh.

Yes.

Yes, that's right.

>> May I ask where you're having your dinner?

>> Oh, uh, at the Bolivar.

>> We'll make a point of being there, Mr.

Frost.

>> Well, good.

Now can I have my scenery back?

>> At the moment I see no reason why not.

I hope I feel the same way tonight.

Good day to you.

>> Good day.

And thank you.

Oh, wait a minute.

You can't build a set without the model.

>> Oh, thank you.

>> Thank you.

And goodbye.

Go get the scenery back again.

(laughs) We're on our way, honey, we're on our way.

>> Uh, Mr.

Frost, I'm afraid it's just impossible- >> Listen, Janet.

I'm giving you your big break, am I not?

Now, there's something I want you to do for me.

Get B.G.

Bruno to have dinner with us tonight.

>> But I can't, Mr.

Frost.

He's, uh, he's out of town.

>> Oh, he's back.

I read his chauffeur was in court yesterday.

Oh, Janet, you'll be saving the show.

Your whole career depends on it.

>> Well, I can't.

I just can't do it.

>> But you must.

Everything I have is at stake.

Think of all those poor kids depending on the opening of the show.

>> Yes- >> Oh, Janet, you're a sweet girl.

You're a sweet girl.

I knew you wouldn't let us down.

Now go on home and call up B.G.

Bruno, right away.

Hurry up now.

>> How about Reginald?

Do you think he'd pass as a millionaire?

>> It's no use, Mae.

I can't go through with it.

>> Now, look.

If you promised to produce B.G.

Bruno tonight, you've gotta produce something.

>> I'm gonna tell Frosty the truth.

>> And lose your break?

Over my dead body.

Now relax and come and choose your fiance.

>> But we don't even know what he looks like.

>> He's 35 with a mustache.

>> How do you know?

>> Elementary, my dear Watson.

I rang his secretary.

Said I was doing an article on famous men and their pastimes.

>> And what is his pastime?

>> His work.

>> Oh.

Pardon me.

Then we'd need a serious-looking gentleman.

How about this one?

He looks very rich.

>> He's just gone bankrupt.

>> Oh.

Looks pretty hopeless, doesn't it?

(knuckles rapping) (gentle music) Hello, Paul!

>> Hey, I brought you a few flowers.

>> A few.

Oh, Paul, they're beautiful.

>> How do you do?

>> How do you do?

>> Oh, of course.

You two haven't met.

Paul, this is Mae.

Mae, this is Paul Tracy.

>> Hello there.

I've never seen so many flowers.

Where'd you get them?

>> In a shop.

>> What did you do, snitch them?

>> Snitch?

I don't understand.

>> Don't ever take any notice of Mae.

Be a dear and put these in some water, hm?

Paul you mustn't waste your pennies on things like that.

It's sweet of you, but it isn't necessary.

>> Well, I just saw them in the winder as I was going down the street.

They were in a big, uh...

Anyway, I.

(gentle music) >> B.G.

Bruno.

How do you do, Mr. Bruno.

>> Mae, you're mad.

We couldn't ask Paul to- >> Why not?

Are you ready to save Janet's career?

>> Oh, of course.

But how did you know about- >> Do you think you could pretend to be B.G.

Bruno?

>> Pretend- >> No, Paul, I won't allow it.

Why, we could get into terrible trouble.

>> Why should we?

It's perfectly simple.

All you have to do is have supper with Janet and Mr.

Frost and me.

>> Well, what could be nicer?

Oh, then I'm supposed to be Bruno.

>> You see, Mr.

Frost wants to meet B. G, and unfortunately he's out of town.

>> Oh, he's out of town.

Where is he this time?

In Cairo again?

>> No.

Monte Carlo.

>> Monte Carlo!

He really gets around, doesn't he?

>> Will you do it >> Of course.

>> But Paul, it isn't easy, you know, pretending to be someone else.

Especially a millionaire.

Do you think you could get away with it?

>> I could try.

>> Being a little practical, do you have a dinner jacket?

>> Yes.

>> Is it all right?

I mean, it isn't one of those shiny green ones- >> No, it's rather smart.

It has a- >> Right.

You're hired.

Now then, come and sit down.

You've gotta be briefed.

You'll sit here.

First of all, as Bruno, you must pretend to know everything about the social world.

>> Keep talking about your villa at Monte Carlo, and your yacht- >> Do I have a yacht?

>> Two.

And remember, you're a wealthy man.

Don't act like you.

Act, uh, cynical, and- >> Sort of blase.

>> Exactly.

Oh, and you better buy a cigar.

>> Oh, I don't smoke cigars.

>> You don't?

Oh, but all millionaires smoke cigars.

>> All the time.

>> Well, I'll try.

I just hope I'm not sick.

>> Paul, it's very sweet of you to do this for me.

>> Oh, Janet, I'd do anything for you.

>> Now come along, you two.

There's not time for that.

We've gotta get ready for zero hour.

>> All right.

What time do we go into action?

>> Pick us up here about 10:00.

You better go.

We have to hurry.

>> Operation Bruno is on the move.

>> And from now until then, keep saying to yourself, I'm not Paul Tracy, I'm B.G.

Bruno.

>> I'm not Paul Tracy.

I'm B.G.

Bruno.

>> Oh, that's terrible.

Go home and practice.

You know something?

I think we've made a great mistake.

>> Why?

>> He's the most unconvincing B.G.

Bruno we could have picked.

>> I'm B.G.

Bruno.

I'm B.G.

Bruno.

I'm, I'm B.G.

Bruno.

(bright music) Or am I?

>> I still think we made a great mistake.

>> Good evening- >> Good evening.

Mr.

Frost has a table, I believe.

>> Yes, sir.

This way, sir.

(gentle music) (people chattering) This is Mr.

Frost's table.

>> When he arrives you might tell him where we're sitting.

>> Certainly, mister- >> Thank you.

>> You did that very well.

>> I thought so, too.

(audience applauding) >> Mae: Oh, no.

Look!

>> Good evening, Mr.

Frost.

>> Good evening.

>> This way, please.

>> Thank you.

>> Now, remember.

There's nothing to be nervous about.

>> And don't talk too much or you'll give everything away.

>> And don't forget, you're B.G.

Bruno.

>> I'm B.G.

Bruno.

>> Well, well, Mr. Bruno.

No, don't get up.

Just wanted to show you how I feel about Scotland.

When in Rome, do what the Romans do.

Wear kilts!

>> Very pleased to meet you, Mr.

Frost.

I've heard a lot about you.

>> Well, I've been most anxious to meet you.

(gentle music) >> B.G.

just got back from Monte Carlo.

On his yacht.

>> Oh.

>> Hm?

Oh, yes.

On my yacht.

>> Mae: Cigarettes, B. G?

Aren't you smoking your usual cigar?

>> I forgot them.

>> He's a dreadful one for cigars.

>> Well, try one of mine.

>> No, no, thank you.

No.

>> Oh.

There you are, darling.

>> Oh, Maurice?

>> Yes.

>> Menu, please.

Thank you.

Well, what shall we have?

Uh, to start with, how about some caviar?

>> Wonderful.

Caviar.

>> No, not for me, thank you.

I don't like it.

>> You don't?

>> No, I think it's very overrated, and much too expensive.

>> You don't have to worry about that.

Being a millionaire.

>> Well, uh, how about some oysters?

>> I'd like some soup.

>> Soup?

>> He's joking.

He adores oysters.

Don't you, darling?

>> Mae: He's even got his own oyster beds.

>> Isn't he silly?

He's so rich, he doesn't know what he has got.

>> Well, what'll we have to follow?

Sole, lobster?

Roast duck?

>> Might I have a plain omelet?

>> An omelet?

>> B.G., will you stop joking?

You order, Mr.

Frost.

B.G.

and I want to dance.

This is our favorite tune.

Isn't it, darling?

Excuse us.

(upbeat music) >> They make a perfect couple.

>> Honestly, Paul, you're not even trying.

>> Oh, I am trying.

You know what the trouble is, don't you?

>> No, what?

>> You keep on calling me darling.

>> Oh, Paul.

You just keep your mind on your job.

And remember, you're B.G.

Bruno.

>> I am B.G.

Bruno.

>> We'll finish off with crepes suzette.

And bring some champagne.

Bottles of it.

>> Waiter: Certainly, Monsieur Frost.

>> He's a charming man, Mr. Bruno.

>> Charming.

>> To look at him you'd never know he was a millionaire.

>> Ever.

(fingers snapping) >> Sir.

>> Who's the other gentleman dining at Mr.

Frost's table?

He's dancing at the moment with a young lady in a blue dress.

>> Oh.

That's Mr. B.G.

Bruno, sir.

>> Thank you.

>> Not at all, sir.

>> A moral reformation.

Mr.

Frost has told the truth.

(audience applauding) >> Now, Paul, please try and say and do the right things.

>> I'd do anything for you, Janet.

>> Just concentrate on being Bruno.

>> Right.

>> Everything's working out beautifully.

Jonskill's impressed.

I can see it.

You know something very amusing, Mr. Bruno?

There's three friends of mine sitting over there.

And seeing us dining together, I'll bet they think you're putting money in my show.

>> As a matter of fact, I've often thought of putting a few thousands pounds into a show.

>> Oh, well, uh- >> Darling, this is our other favorite tune.

We've simply got to dance.

You'll excuse us, won't you?

>> A fine moment to take him dancing.

>> Mr.

Frost, I don't think you should try to get B.G.

to put any money in the show.

>> Why not?

>> Well, he doesn't understand show business.

>> Listen, by the time this meal is over, Mr. B.G.

Bruno will Mr. Showbusiness himself.

>> I was just trying to live the part.

>> All right, but you overplayed it.

>> I'm sorry.

>> You're very sweet, Paul.

And I'm really grateful for what you're doing.

It's just that you're completely wrong.

You're nothing like a millionaire.

>> (laughs) Maybe I should have worn a beard, or something.

>> It isn't how you look.

It's, it's the things you say and do.

>> I'll do anything you say.

I'll even smoke one of Frost's cigars.

>> Let's sit down.

>> Here they come now.

If she asks him to dance again, grab him.

Quite an orchestra they have here, eh?

>> Yes, makes you want to keep on dancing.

>> Well, it isn't good to overdo it.

Oh, hello, boys.

Are you off?

>> I thought we'd stop and say hello.

>> Before you said goodbye, eh?

(laughs) Oh, may I present Mr. B.G.

Bruno.

>> How do you do?

I hear you're taking an interest in our wee show, Mr. Bruno.

>> Yes, yes.

Great interest.

>> Then we'll be seeing more of you around the theater.

>> I hope so.

>> Well, we mustn't keep you from your dinner.

>> And don't you worry about a thing, John.

>> My boys'll work all night on the new scenery.

>> Oh, that's fine, Mr. Jonskill.

Thanks very much.

Goodnight.

>> Goodnight.

>> Goodnight.

>> Goodnight.

>> Well, you don't know how pleased I am to hear you say that you're interested in our little show.

>> Oh, I am.

Believe me.

>> If you'd care to come to my office tomorrow I'm sure I could interest you much more.

>> My dear B. G, how are you?

>> B.G.

: Hello, Elizabeth.

>> I've been trying to catch your eye all evening, but you absolutely refuse to look in my direction.

>> May I introduce Ms. Jones.

>> How do you do?

>> Ms. Thompson.

And Mr. John Frost.

Lady Martin.

>> Well, how do you do?

>> How do you do?

>> John Frost?

Don't I know that name?

>> Well, I wouldn't be surprised.

Do you read "Variety" much?

>> "Variety"?

>> She's broke.

I gave her a couple of pounds to do this.

>> Is that a new magazine?

>> Well, it all depends on what you call new.

(laughs) >> Mr.

Frost is in the theatrical business.

He has a new show opening at the Mercury Theater.

Do you want to see it, Elizabeth?

>> Yes.

And bring the duke.

>> You must call us up, sometime, B.G.

>> She's a phony.

Paul gave her two pounds to do this.

>> Been so nice to see you again.

>> Well, I must be going.

It's been delightful meeting you all.

Goodnight.

Really!

>> And Frost in a kilt.

>> Poor old Frosty.

He really tries, doesn't he?

>> Yes, he does.

(gentle music) Look, suppose I really had money.

I mean, lots of it.

Would you like me to let Frost have some?

>> Hm, I think so.

I'd like to see him get a break.

Besides, it's my break, too.

At least, it will be for one night.

His creditors will probably close him up when they find out he's pulled a fast one.

(B.G.

laughs) >> I want to ask you something about B.G.

Bruno.

>> Oh, don't let's talk about him.

Here, help me down.

>> I want to talk about him.

It's important.

>> Oh, no.

Please, we, we've had a row.

>> A row?

You and Bruno?

>> Yes.

>> What about?

>> About you.

>> Me?

>> B.G.

's very jealous of you.

>> But that's ridiculous.

I'll go and see him tomorrow and tell him.

>> No you won't, Paul.

Please.

Thanks for helping out tonight.

>> Surely I could call him up and explain.

>> Paul, would you be very angry if I told you that, something I've been wanting to tell you.

I don't know B.G.

Bruno at all.

I've never met him in my life.

Please understand.

(gentle music) >> Oh, Janet!

Janet, look!

There's something I want to tell you, too.

Janet, Janet, look.

Ever since I met you, I wanted to dance and sing and climb trees.

And I got sparks in front of my eyes, and, Janet?

Hello, are you still there?

Look, look.

I must tell you.

Janet, listen.

Oh I'm just.

(laughs) Just fixing a few things.

Nice evening.

(people chattering) (traffic puttering) (horns honking) >> I've told you 100 times, I do not want to speak to the bank.

What do I have to do, tell you in scotch?

>> Mr. Bruno, sir.

>> My dear Mr. Bruno.

How nice of you to drop in.

Sit down, please.

>> Well, I can only stay a minute.

>> It's a very funny thing.

I was just thinking about you.

I was going through my accounts- >> Then you started thinking about me?

>> Yes.

No, no, no.

I didn't mean that.

It's just that, uh, I took quite a liking to you last night.

There's something about you.

>> I wonder what that could be?

>> Well, I don't know.

But there it is.

And I said to myself, no matter inconvenience to me, I'd like to let you put some money in my show.

>> Well, that's very kind of you.

>> Mr. Bruno, you have no idea of what a gilt-edge investment this show is.

It's so simple compared to your business.

No paper to buy, no greetings to write, no cards to print.

You just sell seats.

>> Well, as a matter of fact- >> Now, if you'd care to invest a small sum- >> No, I wouldn't.

>> Say, 3,000 pounds.

>> No, no.

>> Well, 2,000.

>> No, no.

>> Or 1,000.

I couldn't let you in for less than a thousand.

>> Mr.

Frost, my mind is made up.

>> Mr. Bruno, look at this book.

I worked it out that we can make this amount every week.

Clear profit.

And then there's the television rights and the film rights and records.

And, and- >> Mr.

Frost, once my mind is made up, my decision is final.

>> This'll make you laugh.

You know what I thought that was, looking at it quickly?

A check for 10,000 pounds.

>> (laughs) It is.

(Frost gasping) Mr.

Frost, there's one condition attached to that.

Janet must never know about this.

Just between you and me.

Is that agreed?

>> Mr. Bruno, as far as I'm concerned, I've forgotten you ever gave it to me.

>> Thank you.

>> And as far as you're concerned, you can forget it, too.

>> (laughs) Yes.

(upbeat music) >> Paul.

>> Oh, hello.

>> What are you doing here?

>> Well, I, I can't stop.

I've got a press reception.

Goodbye.

Good luck.

>> Janet: Paul.

>> Hello, get me the bank.

I want to talk to the manager.

What?

Yes, I said the bank.

Well, so times change.

(laughs) (knuckles rapping) Come in.

Oh, Janet, my dear.

Come right in.

>> Mr.

Frost, what was Paul, Mr. Bruno doing in here?

>> Well, now, what does a millionaire do best.

Oh, I'd forgot.

(laughs) Oh, get Charlie for me.

I want him to go to the bank.

>> Mr.

Frost, I demand to know.

Did the man who just left here give you that check?

>> Uh, Mr. Bruno and I have a little understanding, Janet.

And you're not suppose- >> But he's not Mr. Bruno.

>> Oh, now, Janet, my dear- >> You called me?

>> Oh, yes, Charlie.

Do me a favor.

Take this check to the bank.

And tell them to put extra guards around the vault.

>> 10,000 pounds!

>> Uh-huh.

>> Yes, sir.

>> You mustn't take that to the bank.

>> Oh, now, Janet.

>> You can't.

He'll be arrested for forgery.

>> Who, me?

>> That man wasn't B.G.

Bruno.

He's just a newspaperman, a friend of mine.

I don't even know B.G.

Bruno.

>> Say that again, will you?

But this time give it to me slow.

>> I've never set eyes on B.G.

Bruno.

But when you insisted that I bring him to dinner, I, I just had to find someone else.

I'm so sorry, Mr.

Frost.

>> That's all right, Janet.

>> Will you ever forgive me?

>> Huh?

Oh.

Forget it now.

Go on back and get ready for rehearsal.

Well, don't stand there!

Call Scotland Yard!

>> Scotland Yard?

That's in London.

>> Well, that could do you in London!

I want that guy arrested!

>> On what charges?

>> All of them!

Impersonation, forgery, mayhem- >> Mr.

Frost, could I- >> No!

Fraud, slander, libel, arson!

Well, go on!

Get out of here!

Oh, stabbed in the back!

(dramatic music) (dramatic music) (bright upbeat music) (dramatic music) (upbeat playful music) (dramatic music) (tense dramatic music) (suspenseful music) (playful music) (shoes tapping) (quiet playful music) (upbeat playful music) (shoes tapping) (gentle upbeat music) (bright upbeat music) (shoes tapping) (gentle playful music) (dramatic music) (dramatic mysterious music) (bright jazzy music) (fingers snapping) (bright jazzy music) (dramatic music) (upbeat jazzy music) (dramatic music) (dramatic suspenseful music) (dark dramatic music) (gentle music) (bright upbeat music) (gentle music) (gentle yearning music) (gentle music) (sweet gentle music) (triumphant music) (audience applauding) >> Mr.

Frost, that phony millionaire is here in the theater.

Up in the box.

Look.

(gentle music) >> Well, how do you like the nerve of that guy.

Go tell the police, quick.

>> Police?

Where are they?

>> Where are they?

They're all over the theater.

Do you want a map?

Go on.

>> Mr.

Frost, what are you going to do?

>> Don't you worry your little head about that.

>> But you don't understand.

>> Yes, I understand, all right.

Now hurry up.

Change your clothes.

You'll be late.

(dramatic frantic music) >> Where are we going?

>> Don't ask questions.

Just come on.

(dramatic music) >> That was exhilarating.

>> Paul, you must be mad coming here like this.

>> Why?

Anything the matter?

>> You've gotta get away from here, quickly.

>> What for?

>> Frost: But he's gotta be here someplace.

There's a cop at every exit!

>> Do you hear that?

He's looking for you.

Hurry.

Out the window.

Well, go on.

It's all right.

It drops into an alley.

>> But I don't want to drop into an alley.

>> He just couldn't fly out of that box.

Why do I have to do everything?

>> Here are the keys to my apartment.

Go there and lie low.

>> Well, that's very sweet, but I'd like to stay for the rest of the show.

>> Oh, don't you realize that half the police in Scotland are after you?

>> B.G.

: Why are they after me?

>> For giving Frosty that phony check.

(window clicking) (gentle music) (dramatic music) (women screaming) >> It's all right, kids.

He's a friend of mine.

What are you doing here?

>> I'm, I'm trying to get back into the theater.

>> Trying to get back in?

Are you crazy?

You've gotta get back out.

>> Girls, girls.

Come along, now.

Get out of your dressing gowns and get into your costumes.

Why, why, what's the matter with you?

Quickly, do as I tell you and get into your costumes.

Aye.

That's better.

>> You've gotta get out of here fast.

>> Can't I get out the other way?

>> Come on.

(women chattering) (women laughing) (dramatic music) >> Officer: Get Henderson here.

You better come backstage with me.

(dramatic music) >> There he is!

Charlie!

(dramatic music) Charlie!

>> I don't want to be a bore, but there's something I must get straightened out.

>> Paul!

But you- >> That wasn't a phony check that I gave Frost, because I am B.G.

Bruno.

>> Now, listen to me, Paul Tracy, I've been trying to help you.

If you don't want my help, all right.

But at least have a little consideration for me.

This is my opening night!

>> I know, I am sorry.

But it's true.

I can prove it.

Open the door.

Have me arrested.

>> You know I can't do that.

>> Why not?

>> Because I love you, you lunatic.

>> Say that again.

>> Officer: Search every room in this corridor.

>> Paul, please, please, will you do as I ask?

>> All right.

But you do know I'm Bruno.

>> Oh, will you get out of that window?

>> If I get out of the window I shall go right back in the box and see the rest of the show.

>> Hey, sergeant.

>> And after the show I want to hear all that again about, about me begin a lunatic.

(whistle shrilling) Wait a minute!

>> I'm afraid I'll have to ask you to come down to the station with us, sir.

>> But sergeant, I can explain everything.

>> I'm sorry, miss.

Orders are orders.

>> Nice work, boys.

Lock him up!

>> Good evening, inspector.

>> Oh, Mr. Bruno.

I'm very sorry about this.

>> Now, don't you start!

This isn't Bruno!

>> Oh, but it is.

>> Of course it's Mr. Bruno.

I've known him for years.

>> You mean you're really you?

Well, then, the check, it's- >> It certainly is.

>> Where is it?

It's gone.

The check, I've lost it.

>> You better find it.

>> Charlie!

Charlie!

(men laughing) >> B.G.

: Now do you believe me?

>> Oh, Paul- >> Janet, you're on!

>> But Mae, this is terrible.

Paul is B.G.

Bruno.

>> Oh, who cares?

You've got a number to do.

>> Oh, Mr.

Frost!

>> Don't bother me.

Go away.

>> Yes, sir.

Only I found this, and I thought- >> My check!

Oh, you divine, wonderful girl!

>> Oh!

>> You must have a reward.

Anything you want.

Just ask for it.

>> Well, I'd like a few words with you.

>> You can have a hundred words!

Start talking.

>> Well, you see, Mr.

Frost, my father is very disappointed.

He has a lot of excess profit, and he's been wanted to invest some in the show.

>> Oh, fine.

(laughs) I don't feel very well.

Let's sit down.

(gentle music) (women humming) ♪ Would you, could you, love me ♪ ♪ Love me as I really wish you would ♪ ♪ Would your, could your, love be ♪ ♪ Lovely as I know it really could ♪ ♪ If only ♪ ♪ You would, you could, kiss me ♪ ♪ 'Cause a kiss would make it understood ♪ ♪ Then there'd be no would you, could you ♪ ♪ I'd tell the neighborhood ♪ ♪ You love me ♪ ♪ As I love you ♪ (women humming) (upbeat hopeful music) ♪ Love you, love you, love you ♪ (triumphant music) ♪ Love you ♪ >> (laughs) Frost and that check.

Did you see his face when he thought he'd lost it?

>> Poor Frosty.

Got so excited.

But then, it was opening night.

>> You're miles away, aren't you?

Where are you, Hoboken, New Jersey?

>> Mm-mm.

>> Virginia, milking all those cows?

>> No.

>> On the pyramid.

>> Near the pyramid.

Just a little to the left.

>> Oh, yes.

Where you met that chap with the big paunch and the bifocals.

>> That's right.

I want to ask you something about B.G.

Bruno.

>> Don't let's talk about him.

>> But I must.

There's something I want to know.

>> What?

>> What does the B.G.

stand for?

>> Paul.

(gentle music) (triumphant music) (bright playful music) (gentle music)