The Broadway Melody Page #7

Synopsis: Harriet and Queenie Mahoney, a vaudeville act, come to Broadway, where their friend Eddie Kerns needs them for his number in one of Francis Zanfield's shows. Eddie was in love with Harriet, but when he meets Queenie, he falls in love to her, but she is courted by Jock Warriner, a member of the New Yorker high society. It takes a while till Queenie recognizes, that she is for Jock nothing more than a toy, and it also takes a while till Harriet recognizes, that Eddie is in love with Queenie.
Director(s): Harry Beaumont
Production: MGM Home Entertainment
  Won 1 Oscar. Another 2 nominations.
 
IMDB:
6.2
Rotten Tomatoes:
35%
PASSED
Year:
1929
100 min
437 Views


- No, I won't.

You will give it to me.

Queenie.

Queenie, you mustn't go.

Queenie, you can't go.

Eddie, stop her.

Do something, will you?

- Queenie, just a moment, Queenie.

- Get your hands off me.

You're not gonna leave

except with me and Hank.

- You get out of my way.

- You heard what I said.

You can't get away with it.

I'll kill that guy just as sure as anything.

I'll make him suffer the way

he's making me suffer.

Shut up!

- I'm going.

- You can't go, Queenie.

Gonna stay right here. No.

Let go of me.

I've heard all I'm gonna hear from

either of you. You've said enough.

- I'd like to see you kill anybody.

- Queenie.

You dirty, cheap little songwriter, you.

I hate you, I hate you, I hate you!

Queenie, Queenie!

- Say, what kind of a sap are you, anyway?

- What do you mean?

You gonna let a john like that steal her from

you because he's got a little more jack?

Well, if you do, all I can say

is you're a rotten quitter.

You love her, don't you?

Oh, don't lie to me. I know you do.

Say, if I loved a girl

like you do Queenie...

...l'd fight for her. What's the

matter with you? Where's your nerve?

- But, Hank, you don't...

- Oh, don't pass the buck to me.

What do you think I've been meaning all

along? I was on the level with this thing?

That I was in love with you?

That's a hot one.

I just been playing you for all

I could get out of you for the act.

- You been kidding me all the time?

- Sure, I been kidding you.

Say, I wouldn't marry you

if you was the last man on earth.

And at that, I ain't so sure

you're the right guy for her.

You're a coward.

You're afraid of Jock Warriner,

or you'd go out and fight for her.

- But you're just yellow.

- You think I'm yellow?

- Sure, you're yellow.

- I'll show you how much I'm yellow.

You're yellow. You hear me?

You're yellow.

- I'm yellow?

- Yes, you are. You're yellow!

You're yellow. Do you hear me?

Oh, Eddie, you're not yellow.

You're white.

Murray Hill-8400. Yes, please.

Hello.

Hello, Uncle Jed?

It's Hank.

Say, I've decided

to take those 30 weeks.

You can team me up with that blond.

I'm breathless.

Oh, I don't know what to say.

It's wonderful.

Oh, I can't thank you enough.

It's not half good enough for you.

I want you to have

everything in the world.

Thank you.

- Hello, Eddie.

- Where's Queenie?

I want you to meet my girlfriend.

- Come on, let's go back to the party.

- Oh, Queenie, not yet.

Why, I haven't had you

to myself for a moment tonight.

Oh, but I'd rather go back, please.

Wait, Queenie.

I have so many things

I want to tell you alone.

Oh, well, you can tell me out there.

Wait a minute, Queenie.

I've done all these things for you.

Aren't you going to be nice to me?

- Oh, Jock, let me go.

- Why should I let you go?

- Please let me go, please.

- No, I won't let you go.

You're going to stay right here with me.

- No, I'm not gonna stay here with you.

- Yes, you are.

- No, I'm not.

- I will keep you here.

You won't keep me here,

do you hear me? You won't.

- Let me go.

- I won't let you go.

I won't stay with you another minute.

- Let me go.

- I told you not to come here.

- Why did you come?

- Oh, Eddie, take me away.

What do you mean

coming in here? Get out.

- I won't before I'm finished with you.

- Oh, Eddie, let's go.

- I've been looking for you.

- Now that you've found me...

...what do you want?

- I'll show you what I want.

Oh, Eddie.

What's the matter?

Oh, darling, let me see you.

Oh, Eddie. Have they

hurt you, sweetheart?

Have they?

You just hit him again if you dare.

Just try it, that's all.

- Eddie, let me see you.

- Queenie, Queenie.

You don't realize what you're doing.

You let me go. And you can take

your jewelry and your presents...

...and everything. I don't want

anything to do with you.

Let me get a sock at that guy.

- No, Eddie don't...

- Let me get at him, just let me get at him.

- I wanna get at that guy.

- Throw him out.

- Out he goes.

- No, don't.

Don't let them. They're going to kill him.

Oh, Eddie. Don't you do that to him.

And stay out.

What do you know about that guy?

Got rid of that guy anyhow.

Oh, Eddie. Eddie, dear.

You dirty bums, you.

- Oh, Eddie, have they hurt you?

- What do you think?

- Oh, I'm sorry.

- I'll bet you are.

I am.

I don't know why you feel

sorry for anybody like me.

I'm no good.

I can't even scrap a little.

I let a heel like that take a sock

at me and get away with it.

Well, Eddie, he's bigger than you are.

- Yeah, a little bigger.

- And he's awfully strong.

I suppose you found

that out from his hugs.

Well, if you couldn't stop

them from throwing you out...

...how could I stop him from hugging me?

Well, there's something in that.

I guess you'd better go home.

Oh, Eddie, aren't you

gonna take me home?

- I'll take you home.

- Don't you like me anymore?

Like you? Why, Queenie, l...

Oh, what is it? They've

hurt you, I know they have.

Oh, I'm all right, Queenie.

Come on, let's go.

Now understand, it took

six of them to throw me out.

Yes, Eddie.

Oh, what is it?

Oh, they'll be here any minute.

What does it...? What does it...?

Read it.

"Arriving 2:
30, wonderful honeymoon.

See you the minute we get in.

Love to our Hank, Queenie and Eddie."

Oh, I'm so excited. What time is it?

- 12:
00 last night.

- It's what?

Well, what's the matter with this thing?

See who that is.

- Hello, Jed.

- Hank!

Oh, gee.

- Hello, Eddie.

- Hello, Hank.

Oh, come here.

Well, well, Queenie. Congratu...

- How are you?

- Oh, fine, Uncle Jed. How are you?

Oh, I'm great. What's it going to be

in the electric lights this time?

Queenie Kearns and Company?

No, sirree.

I'm only gonna be connected

with the stage by marriage.

Oh, Hank, we found the cutest

little home down on Long Island.

- Yeah?

- Where Eddie can work.

And say, when you're finished with

this tour, you're coming to live with us.

Oh, nothing doing. Hotels for mine,

where I can get service.

- I'd be all out of step in a real home.

- What do you mean?

- You're coming to live with us, all right.

- I should say she is.

Just like a trouper.

Troupers are all tramps.

Here today and gone tomorrow.

No home, no nothing.

Hank, you're just a born trouper.

Doggone this weather. It certainly

is tough on colds, isn't it?

Well, say, I want Queenie

and Eddie to see the act.

Say, where is that blond, anyway?

I don't know. She's always late.

Hank, you're a sight for sore eyes.

- Hello, Uncle Jed.

- Oh, hello, Flo.

- You know everybody, don't you?

- Hello, darling.

- Oh, Eddie.

- Hello, Flo.

Oh, Eddie, tell me, did you have

a good time on your honeymoon?

Yeah, great.

Oh, Eddie, when you

open your new show...

...gonna give me a job, aren't you?

- Why, certainly.

Oh, you're grand.

Say, come on, stupid.

Let's run through the act for them.

Okay.

But, say, you know something?

She's a born trouper.

We're gonna break in the act

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Edmund Goulding

Edmund Goulding (20 March 1891 – 24 December 1959) was a British film writer and director. As an actor early in his career he was one of the 'Ghosts' in the 1922 British made Paramount silent Three Live Ghosts alongside Norman Kerry and Cyril Chadwick. Also in the early 1920s he wrote several screenplays for star Mae Murray for films directed by her then husband Robert Z. Leonard. Goulding is best remembered for directing cultured dramas such as Love (1927), Grand Hotel (1932) with Greta Garbo and Joan Crawford, Dark Victory (1939) with Bette Davis, and The Razor's Edge (1946) with Gene Tierney and Tyrone Power. He also directed the classic film noir Nightmare Alley (1947) with Tyrone Power and Joan Blondell, and the action drama The Dawn Patrol. He was also a successful songwriter, composer, and producer. more…

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Submitted on August 05, 2018

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    "The Broadway Melody" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/the_broadway_melody_4715>.

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