Anchors Aweigh Page #8

Synopsis: Two sailors, one naive, the other experienced in the ways of the world, on liberty in Los Angeles, is the setting for this movie musical.
Director(s): George Sidney
Production: MGM Home Entertainment
  Won 1 Oscar. Another 4 nominations.
 
IMDB:
7.2
Rotten Tomatoes:
62%
PASSED
Year:
1945
140 min
551 Views


and start singing. Look.

I'm her.

I'm just finishing dinner,

toying with my coffee.

The fellas are beating

their brains out playing soft music.

I'm looking at you

you're looking at me.

Okay, take it.

Gee, you're swell.

Gee, thanks.

That's right, that's the way.

The charm of you

Is comparable to

A Christmas tree with toys

With little girls and boys

When first they see

The tree

The thrill of you

Is comparable to

The thrill I felt when I

First learned the heart could sigh

And you were the reason why

And yet, and yet

If we two had never met

I'd know your grace

That warms the face

That only the angels get

And so comparing you

With all of these things is all

That I can do

Because they add up to

The charm of you

Gee, I'd give a month's tips

to have somebody sing

words like that to me.

Somebody will, Brooklyn.

What do you bet?

Some girls, when a fella comes

to see her, he brings flowers

orchids even.

I'm the other type girl.

Me, a fella brings four bottles of beer.

What's the sense of kidding myself?

What are you talking yourself down for?

You're a terrific girl.

Oh, go on.

- I'd better get working.

- Hey, Brooklyn. Hey, I think you're...

Oh, hello, Clarence.

I hope you haven't been waiting long.

- Well, I...

- What did you say?

I didn't say anything.

I didn't say a word.

Did you have a nice time

with Mr. Iturbi today?

I... I saw Joe at the studio

and he said you were there.

You know, Clarence

I feel as though Saturday

will never come. I can hardly wait.

Well, it's natural, I guess.

Until I'm doing it, I...

I just can't believe that

I'm really going to sing for Mr. Iturbi.

Susan, look,

there's something I've got to tell you.

It may make a difference in the way

you feel about seeing me, even.

But I've got to tell you.

Well, please, Clarence,

don't tell me now.

I like you very much

but we haven't known

each other very long

and sometimes it's a mistake

to say things too soon.

- Do you think so?

- Oh, yes, I do.

Now I feel better.

I was afraid to tell you anyway.

By the way, where is Joe tonight?

Joe probably has a date with Lola.

He's crazy about her.

I mean, she's crazy about him,

and he doesn't seem to mind it.

That's just to hold you.

Now, don't forget,

I got one wish coming.

Let's keep the whole thing quiet, huh?

Clarence, you're wonderful.

You know, Clarence, I can't begin

to tell you how grateful I am.

Oh, gee, Aunt Susan,

it's really nothing, I...

But I've waited all my life

for a chance like this.

- Oh, mister, I'm so sorry.

- That's all right. It hardly touched me.

Wanna come to the kitchen?

Couple minutes next to that oven

and you'll be dry.

Yes, Clarence,

you'd better go ahead. Hurry.

So I says to myself,

"Half of every year for 18 years

your feet get cold,

hands get chapped, nose gets blue.

Get smart, get out of town," I said.

So here I come to sunny California.

Sure, my nose don't get blue anymore,

but the rest of me is blue all the time.

You're homesick, that's what.

Yeah.

I guess you're dry, I guess.

I guess.

Well...

She's gone.

No kidding?

Don't worry, she must have gone up

to her dressing room to change.

She'll be back in a minute.

You know something?

With you around, even with

the palm trees and this stuff

this feels like Brooklyn.

Gee, thanks.

You're welcome.

The customers are sitting in the inside

and the waitress sits outside.

- Hiya, Joe.

- Oh, hi.

- What are you doing here?

- I wanted to see you. You having fun?

- Oh, I'm having a swell time.

- Sure. All you needed was a girl.

- Yeah.

- Say, you'd better get back to her.

What are you doing out here, anyway?

Listen, Joe, it's kind of tough

what with the excitement and all

about her audition.

Don't you think I'd better tell her?

Oh, that's what I came down

to see you about.

I thought not getting to Iturbi

might cramp your style with Susie

so I found out where we could see him.

Tomorrow, the first thing,

at the Hollywood Bowl.

So don't worry, everything's gonna be

okay with you and Susan.

- Thanks, Joe.

- Yeah.

- Hollywood Bowl.

- Yeah, Hollywood Bowl.

- Mr. Iturbi is in there, isn't he?

- Yes, he is.

We're friends of his,

we'd like to see him.

I'm sorry, boys,

I wish I could let you in, but I can't.

Nobody is allowed in there

during rehearsals.

I got a dream I dream all the time,

I go up to a cop and he says:

"Glad to see you, come right in."

- So we give up, huh?

- So we don't give up, huh.

Come on, we got him cornered.

- Goodbye.

- Goodbye, all. Goodbye.

- Goodbye, goodbye.

- Hey, where's Iturbi?

Oh, he just left.

And he's eight minutes late. Oh, dear.

Hey.

Even you can be late, Joe.

We just tell Susan the truth.

That's all there is to do.

Okay, I'll go.

Joe?

I'll tell her.

It's up to me to do it, not you.

Now, look, I'll go out to the studio

and tell her it's all a phony.

She'll be good and sore,

but at me, right?

I'll tell her how I pulled you into it

and how it all happened

because you're crazy about her.

What's the use, Joe? We're due

back in San Diego tomorrow

- and our leave is up.

- What difference does that make?

Susan's not a girl just for a leave.

Well...

She's the kind you come home to and...

- Well, this will do it.

- Joe?

Yeah?

There's something I've been...

Yeah, yeah,

I guess you're right. Okay.

I'll meet you at that little barn

near Susie's house about 6.

That way I can tell you

how she took it.

Unless you wanna come with me.

Are you just gonna sit here?

Yeah, yeah, I'm tired.

I fall in love

Too easily

I fall in love

Too fast

I fall in love

Too terribly hard

For love to ever last

My heart should be well-schooled

'Cause I've been fooled

In the past

And still I fall in love too easily

I fall in love

Too fast

Brooklyn, I love you.

Oh, no. No, you love Susie.

I did, but I don't.

I know it's awful, but I can't help it.

I love you.

I don't think it's so terrible.

Yes, it is.

There is Joe, off telling Susie

that I want to come home to her

and here I want to come home to you.

Gee, I got a feeling I'm...

I got a feeling I'm fickle.

You're gonna marry me, aren't you?

But, Brooklyn...

Before I say for sure,

there's something I gotta tell you.

So that everything will be

on the level, see?

No, no. Whatever happened

before you met me, it doesn't count.

But this was after I met you.

It was?

I don't care.

You still don't have to tell me.

But I wanna. I gotta.

Well, last night, when I dropped

the soup on you by accident

it wasn't no accident.

I didn't want you

to sit there with her.

Why, Brooklyn

that's just about the nicest thing

that anyone has ever done for me.

Imagine, you were jealous.

But, honey, you better tell your pal

to stop fixing it up with Susan.

- Yeah. Yeah, I guess you're right.

- Yeah.

Because bigamy, I don't believe in.

Everybody on the set for the morning

at 9:
00 sharp.

Susie.

Can I speak to you for a minute?

Rate this script:4.7 / 10 votes

Isobel Lennart

Isobel Lennart (May 18, 1915 - January 25, 1971) was an American screenwriter and playwright. A native of Brooklyn, New York, Lennart moved to Hollywood, where she was hired to work in the MGM mail room, a job she lost when she attempted to organize a union. She joined the Communist Party in 1939 but left five years later. Lennart's first script, The Affairs of Martha, an original comedy about the residents of a wealthy community who fear their secrets are about to be revealed in an exposé written by one of their maids, was filmed in 1942 with Spring Byington, Marjorie Main, and Richard Carlson. This was followed in quick succession by A Stranger in Town, Anchors Aweigh, and It Happened in Brooklyn. In 1947, the House Un-American Activities Committee (HUAC) began an investigation into the motion picture industry. Although she was never blacklisted, Lennart, a former member of the Young Communist League, testified to HUAC in 1952 to avoid being blacklisted. She later regretted this decision. Lennart's later screen credits include A Life of Her Own, Love Me or Leave Me, Merry Andrew, The Inn of the Sixth Happiness, Please Don't Eat the Daisies, The Sundowners, and Two for the Seesaw. In 1964, Lennart wrote the book for the Broadway musical Funny Girl, based on the life and career of Fanny Brice and her tempestuous relationship with gambler Nicky Arnstein. It catapulted Barbra Streisand to fame and earned her a Tony Award nomination. In 1968, Lennart wrote the screen adaptation, which won her a Writers Guild of America award for Best Screenplay. It proved to be her last work. Three years later, she was killed in an automobile accident in Hemet, California. Lennart married actor/writer John Harding in Las Vegas, Nevada in 1945. They had two children, Joshua Lennart Harding (December 27, 1947 - August 4, 1971) and Sarah Elizabeth Harding (born November 24, 1951). more…

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Submitted on August 05, 2018

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