Singin In The Rain Script - Dialogue Transcript

Voila! Finally, the Singin In The Rain script is here for all you quotes spouting fans of the Gene Kelly movie.  This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of Singin In The Rain. I know, I know, I still need to get the cast names in there and I'll be eternally tweaking it, so if you have any corrections, feel free to drop me a line. You won't hurt my feelings. Honest.

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Singin In The Rain Script



Singin ' in the rain

Just singin ' in the rain



What a glorious feelin '

We're happy again



We'll walk down the lane



With a happy refrain



And singin '

Just singin ' in the rain



This is Dora Bailey...



... talking to you from the Chinese

Theater in Hollywood.



What a night, ladies and gentlemen.



Every star is here. . .



. . .for the premiere of The Royal Rascal

the outstanding event of      .



Everyone breathlessly awaits. . .



. . .the arrival of Lina Lamont

and Don Lockwood.



Look who's arriving now.



lt's that famous ''zip'' girl

of the screen. . .



. . .the darling of the flapper set,

Zelda Zanders!



Zelda! Oh, Zelda!



Her new red-hot pash,

J. Cumberland Spendrill lll. . .



. . .that well-known eligible bachelor.



Zelda's had so much unhappiness,

l hope this time it's really love.



And here comes that

exotic star, Olga Mara!



And her new husband,

the Baron de la Bonnet de la Toulon.



They've been married two months already,

but still as happy as newlyweds.



Well, well, well.

lt's Cosmo Brown!



Cosmo is Don's best friend.



He plays piano on the set

for Don and Lina. . .



. . .to get them into

those romantic moods!



Oh, folks, this is it!



The stars of the picture,

those romantic lovers of the screen. . .



. . .Don Lockwood and Lina Lamont!



Ladies and gentlemen,

when you look at this couple. . .



. . .it's no wonder

they're a household name.



Like ''bacon and eggs. ''



''Lockwood and Lamont. ''



Don, tell me confidentially,

are these rumors true. . .



. . .that wedding bells will ring

for you two?



Lina and l have no statement

to make now. We're just good friends.



You've come a long way together.

Tell us how it happened.



Lina and l have made

many pictures together--



Oh, no, Don.

l want your story from the beginning.



Dora, not in front of all these people!



The story of your success

is an inspiration. . .



. . .to people all over the world.






Well, any story of my career. . .



. . .would have to include

my lifelong friend, Cosmo Brown.



We grew up together,

worked together.






Well, Dora, l've had one motto

which l've always lived by:



''Dignity. Always dignity. ''



This was instilled in me by Mum and Dad

from the very beginning.



They sent me to fine schools,

including dancing school. . .



. . .where l first met Cosmo.



And with him, l used to perform

for Mum and Dad's society friends.



They used to make such a fuss over me.



If I was good, I was allowed

to accompany Mum and Dad to the theater.



They brought me up on Shaw...



...Molière, the finest

of the classics.



To this was added rigorous

musical training. . .



. . .at the Conservatory of Fine Arts.



We rounded out our apprenticeship

at an exclusive dramatics academy.



And at all times...



... the motto remained:






Always dignity. ''



In a few years, we were ready

to embark on a dance concert tour.



We played the finest

symphonic halls in the country.



Fit as a fiddle and ready for love

I can jump over the moon up above



Fit as a fiddle

And ready for love



Haven 't a worry

Haven 't a care



Feelin ' like a feather

That's floatin ' on air



Fit as a fiddle

And ready for love



Soon the church bells will be ringin '

And a march with Ma and Pa



How the church bells will be ringin '



With a hey-nonny-nonny

And a hot-cha-cha



Hi diddle diddle

My baby's okay



Ask me a riddle

And what does she say?



Fit as a fiddle

And ready for love



Audiences everywhere adored us.



Get out of here!



Finally we decided to come

to sunny California.



We were stranded--

We were resting up...



... when movie studio offers

started pouring in.



We sorted them out and decided

to favor Monumental Pictures.



Lina, you hate him. Resist.

Keep the mood music going.



Now, Phil, come in.

Keep on grinding.



Now you see her. Now here's the bit,

Bert, where you get it on the jaw.



Cut! No, no!

That wasn't right!



You're supposed to go over the bar

and crash into the glasses! Again!



Okay, Bert? Bert!

Oh, that's swell, just swell.



Take him away, fellas!



We've lost

more stuntmen on these pictures!



lt'll take hours to get

a new one from casting.



Mr. Dexter, l can do that.



-You're a musician.

-That's a moot point.



No kidding!

What's your name?



Don Lockwood, but people

call me Donald.



Wise guy, huh?

Okay, l'll try you.



Get this guy into Bert's suit!



And remember, Lockwood, you might be

trading that fiddle in for a harp.






Phil, come in. Now you see him.

That's it.



Here's where you get it

on the jaw.




That was wonderful!



-Got any more chores you want done?







My roles in these films were urbane...



...sophisticated, suave.



And of course,

all through those pictures. . .



. . .Lina was, as always,

an inspiration to me.



Warm and helpful.



A real lady.



Hello, Miss Lamont.

l'm Don Lockwood, the stuntman.



lt was a thrill working

with you, Miss Lamont.



Hey, Don.



Meet the producer

of the picture, R.F. Simpson.



l saw some rushes and asked Dexter

who the stuntmen were.



He said they were all you. l'm putting

you and Lina together in a picture.



Come by later

to discuss a contract.



Thanks, Mr. Simpson!



Are you doing anything tonight,

Miss Lamont?



That's funny.



l'm busy.



Lina and I have had the same

wonderful relationship ever since.



But most important of all,

l continue living up to my motto:






Always dignity. ''



Thank you, Don.



And l'm sure you and Lina will continue

making movie history tonight. . .



. . .in your greatest picture,

The Royal Rascal.



Get enough, boys?



She's so refined. . .



. . .l think l'll kill myself.



Thank you, ladies and gentlemen.

Thank you, thank you.



We're thrilled at your response

to The Royal Rascal.



We had fun making it, and we hope

you had fun seeing it tonight.



We screen actors aren't much good

at speaking in public.



So we'll just act out our thanks.



-lt's a smash!

-Don, Lina, you were gorgeous!



-Lina, you looked good for a girl.

-What's the big idea?



Can't a girl get a word in edgewise?

They're my public too!



The publicity department. . .



. . .thought it'd be better

if Don made all the speeches.






You're beautiful. Audiences think

your voice matches.



We gotta keep our stars

from looking bad at any cost.



-No one's got that much money.

-What's wrong with how l talk?



Am l dumb or something?



No, but Don's had

so much more experience--



Next time, write me out a speech.

l could memorize it.



Sure. Why don't you recite

the Gettysburg Address?



What do you know about it,

you piano player? Are you anybody?



Donnie, how can you let him talk

to me like that, your fiancée?



My fia--



Lina, you've been reading

those fan magazines again.



Look, you shouldn't believe

all that banana oil. . .



. . .that Dora Bailey dishes out.



Now, try to get this straight:

There is nothing between us.



There has never been

anything between us.



-Just air.

-Oh, Donnie, you don't mean that.



We'll be late for R.F.'s party.



Better go in separate cars

to break up the mobs. Come on.



Ta-ta, Donnie! See you there!



''Donnie. ''



Can't that girl take a gentle hint?



Haven't you heard? She's irresistible.

She said so.



l can't get her out of my hair.

This romance for publicity. . . .



The price of fame. You've got glory.

Little heartaches go with it.



Look at me. l got no glory.

l got no fame. l got no mansions.



l got no money. But l've got--



-What have l got?

-l don't know.



l gotta get out of here.



Don't tell me. lt's a flat tire.



This car hasn't given me trouble

in nearly six hours.



-Hey, there's Don Lockwood!

-Hey, give me an autograph!



-Give me your autograph!

-l want a souvenir!



l want a souvenir too!



You're playing rough here!

You're tearing my--!



Hey, Cos, do something!

Call me a cab!



You're a cab.



Thanks a lot!



-Keep driving.

-Get out!



-Everything's all right!

-l'll call a cop!



-Just a few blocks.

-Don't hurt me!



-l'm not a criminal.

-l don't care--



You are a criminal!

l've seen that face. You're a gangster!



l've seen your picture in the paper

or in the post office. Officer!



-This man jumped in my car and--

-Why, it's Don Lockwood!



-Don Lockwood?

-How are you? Out for a ride?



Just a lift. My car broke down.

l got surrounded by--



-You're a lucky lady. Anything wrong?




-No, l should think not. Good night.

-Good night, officer.



Thanks for saving my life.

l'll get out now.



l'm driving to Beverly Hills.

Can l drop you someplace?



l'd like to get out of this suit

if you're going by Camden and Sunset.



Yes, l am.



l'd like to know whose

hospitality l'm enjoying.



Selden. Kathy Selden.



Enchanted, Miss Selden.



l'm sorry l frightened you.



l was getting a little

too much love from my fans.



That's what you were

running away from.



They did that to you?

That's terrible!



Yes. Yes, it is, isn't it?



lt is terrible.



Well, we movie stars get the glory. . .



. . .we have to take

the little heartaches that go with it.



People think we lead lives

of glamour and romance. . .



. . .but we're really lonely.



Terribly lonely.



l can't tell you how sorry l am

about taking you for a criminal.



But it was understandable, under

the circumstances. l knew l'd seen you.



Which of my pictures have you seen?



l don't remember. l saw one once.



-You saw one once?

-You were dueling.



And there was a girl. Lina Lamont.

l don't go to the movies much.



lf you've seen one,

you've seen them all.



-Thank you.

-Oh, no offense.



Movies are entertaining enough. . .



. . .but the screen personalities

don't impress me.



They don't talk or act.

They just make a lot of dumb show.



Well, you know.



Like that.



You mean, like what l do.



Well, yes.



Here we are, Sunset and Camden.



Wait, you mean l'm not an actor?



-Pantomime isn't acting?

-Of course not.



Acting means great parts,

wonderful lines, words.



Shakespeare. lbsen.



What's your lofty mission in life that

lets you sneer at my humble profession?



-l'm an actress. On the stage.

-Oh, on the stage.



l'd like to see you.

What are you in?



l could brush up on my English

or bring an interpreter.



lf they'd let in a movie actor.



l'm not in a play now.

But l'm going to New York--



You're going to New York,

and someday we'll all hear of you.



Kathy Selden as Juliet,

as Lady Macbeth, as King Lear!



You'll have to wear a beard!



At least the stage

is a dignified profession.



Why are you so conceited?



You're nothing but a shadow on film.

You're not flesh and blood.




-What can l do? l'm only a shadow.



Keep away from me! Just because

you're a big movie star. . .



. . .you expect girls to faint

at your feet. Don't touch me!



Fear not, sweet lady.

l will not molest you.



l am but a humble jester. And you?

You are too far above me.



Farewell, Ethel Barrymore.



l must tear myself from your side.



ls this R.F. Simpson's house?

l'm one of the Coconut Grove girls.



-Yes, the floor show. Around the back.

-Oh, l see. Thank you.



-Nice party, R.F.

-Thanks, Roscoe.



You really think

you can get me in the movies?



-l should think so.




-Hello, Don. The picture's great.

-l loved your picture.



-Did you come by way of Australia?

-Hello, Cos. Excuse me.



Cos, tell me the truth.

Am l a good actor?



While l work for Monumental,

you're great.



-No kidding. You can tell me.

-What's the matter? You're good.



Keep telling me from time to time.

l feel a little shaken.



The new Don Lockwood.



-Hi, R.F.

-lt's colossal. Where have you been?



There you are. Where were you?

l was lonely.



-Hello, Lina.

-Okay, fellas. Hold it.



Together again, my two little stars,

Don and Lina.



No kidding, folks, aren't they great?



All right, open that screen.



-A movie? We just saw one.

-Gotta show one at a party. lt's a law.



Everybody, l've got

a few surprises for you.



All right, sit down, sit down.



This'll make you laugh.



There's a madman coming

into my office for months--



-You got that gadget working?

-All set.



Okay, let her go.






This is a demonstration

of a talking picture.



Notice, it is a picture of me

and I am talking.



Note how my lips

and the sound issuing from them...



...are synchronized together...


            perfect unison.



-Who's that?

-Somebody's behind that screen.



-Come out, Mr. Simpson.

-Oh, no. l'm right here.



My voice has been recorded

on a record.



A talking picture.



Thank you. Goodbye.






-lt's just a toy.

-lt's a scream!



-lt's vulgar.

-You think they'll ever use it?



l doubt it. Warners is making

a picture with it, The Jazz Singer.



-They'll lose their shirts.

-lt won't amount to a thing.



They said that about

the horseless carriage.



Let's get on with it.

Okay, boys.



Come on, my little starlets.



l have a surprise.

A special cake.



l want you kids

to have the first piece.



Well! lf it isn't Ethel Barrymore!



l do hope you'll favor us with something

special. Say, Hamlet's soliloquy. . .



. . .or a scene from Romeo and Juliet?

Don't be shy.



You make about the prettiest Juliet

l've ever seen. Really.



All I do is dream of you

The whole night through



With the dawn I still go on

Dreaming of you



You're every thought

You're everything



You're every song I ever sing

Summer, winter, autumn and spring



And were there more than

Twenty-four hours a day



They'd be spent in sweet content

Dreaming away



When skies are gray

When skies are blue



Morning, noon and nighttime too



All I do the whole day through

Is dream of you



It's the cat's meow!



All I do the whole day through

Is dream of you



l had to tell you how good you were.



Now that l know where you live,

l'd like to see you home.



-Listen, Mr. Lockwood--

-Say, who is this dame anyway?



Someone lofty and far above us all.



She couldn't learn anything from

the movies. She's a stage actress.



Here's one thing l've learned

from the movies!



-l'll kill her!

-Lina, she was aiming at me!



-You never looked lovelier.

-lt was an accident.



-lt happens to me six times a day.

-Where is she?






Excuse me.

Where'd Miss Selden go?



She grabbed her things and bolted.

Anything l can do?



Sorry. l don't have time to find out.



Kathy! Hey, Kathy!



Keep it going.

More steam in the kettle!



More action, boys. More rhythm.

More steam and more water.



-Hi, Maxie.

-Hi, Don.



Good morning, fellas.



Did you read Variety today?



'' The Jazz Singer.

All-time smash in the first week. ''



-All-time flop in the second.

-We start today.



-Good luck.




l'm now Count Pierre de Battaille,

the Duelling Cavalier.



-What's it about?

-The French Revolution.



You're an aristocrat.



She's a girl of the people

and won't give you a tumble.



Well, it's a living.



Good morning.



Keep the background moving. Hit him.

Knock him down!



Get up there and hit him again.




Why bother?

Release the old one under a new title.



You've seen one, you've seen them all.



-Why'd you say that?




That's what that Kathy Selden

said to me.



That's three weeks ago.

Still thinking about that?



-l can't get her out of my mind.

-How could you?



She's the first dame

not to fall for you in ages.



-She's on my conscience.

-lt's not your fault she was fired.



-l've got to find her.

-You've been trying to.



Short of sending out bloodhounds.



Come on, snap out of it.

Don't let this get you down.



You're Don Lockwood.

And he's an actor, isn't he?



What does an actor learn?



''The show must go on, come rain,

come shine, come snow, come sleet! ''



The world's so full

Of a number of things



I'm sure we should all

Be as happy as--



But are we? No

Definitely, no



Positively, no

Decidedly, no



Short people have long faces



Long people have short faces



Big people have little humor

Little people have no humor at all



In the words of that immortal bard

Samuel J. Snodgrass



As he was being led

To the guillotine



Make 'em laugh

Make 'em laugh



Don 't you know everyone wants to laugh



My dad said, ''Be an actor, my son



But be a comical one''



They'll be standin ' in lines



For those old honky-tonk monkeyshines



Now you could study Shakespeare

And be quite elite



And you could charm the critics

And have nothing to eat



Just slip on a banana peel

The world's at your feet



Make 'em laugh

Make 'em laugh



Make 'em laugh




Make 'em laugh



Don 't you know everyone wants to laugh?



My grandpa said,

''Go out and tell 'em a joke



But give it plenty of hoke''



Make 'em roar

Make 'em scream



Take a fall, butt a wall

Split a seam



You start off by pretending

You're a dancer with grace



You wiggle till they're giggling

All over the place



And then you get

A great big custard pie in the face



Make 'em laugh

Make 'em laugh



Make 'em laugh



Make 'em laugh



Don 't ya--?

All the--






My Dad--



They'll be standing in lines



For those old honky-tonk monkeyshines



Make 'em laugh

Make 'em laugh



Don 't you know everyone--?



Make 'em laugh



Make 'em laugh



Make 'em laugh



Make 'em laugh

Make 'em laugh



Make 'em laugh



Ready, Don?



-All set.

-Here we go again.



-We have another smash here.

-l hope so.



-You're darn tootin' .

-Where's Lina?



Here she is, Mr. Dexter.



Well! Here comes our

lovely leading lady now.



This wig weighs a ton.

Who'd wear a thing like this?



-Everybody wore them.

-Then everybody was a dope.



-You look beautiful.

-You look great. Let's get to the set.



Thanks, Joe.



l looked for you at Wally Ray's party.

Where were you?



l've been busy.



l know you've been busy.

Looking for that girl.



-As a matter of fact, yes.




-l've been worried about her.

-You should've worried about me.



l'm the one who got

whipped cream in the kisser.



But you didn't lose your job.

She did.



Darn tootin' she did.

l arranged it.






They weren't gonna fire her,

so l told them to.




-Don, now remember.



You're in love with her

and have to overcome her shyness.



Cosmo, mood music.



Roll 'em!



Okay, Don.



Now enter.



You see her.



Run to her!



Why, you rattlesnake, you.

You got that poor kid fired.



That's not all l'm gonna do

if l ever get my hands on her.



l never heard of anything so low.



Fine. Looks great.



What did you do it for?



Because you liked her. l could tell.



So that's it.



Believe me, l don't like her

half as much as l hate you.



You reptile.



Sticks and stones may break my bones.



l'd like to break every bone

in your body.



You and who else, you big lummox?



Now kiss her, Don.



That's it. More.



Great! Cut!



You couldn't kiss me like that and

not mean it a teensy-weensy bit.



Meet a great actor.

l'd rather kiss a tarantula!



-You don't mean that!

-l don't--?



Joe, bring me a tarantula.




Stop that, lovebirds.



-Let's get another take.

-Hold it!



Hello, Mr. Simpson.



-We're really rolling.

-You can stop rolling at once.



-All right, everybody! Save it!

-Save it? We're shutting down.



Well, tell them!



Go home until further notice!

What is this?



-What's the matter?

-The Jazz Singer, that's what.



Oh, my darling little mammy

Down in Alabamy



lt's no joke. lt's a sensation.

The public wants more.



-More what?

-Talking pictures.



-lt's just a freak.

-We should have such a freak.



l told you talking pictures

were a menace.



We're going to make The Duelling

Cavalier into a talking picture.



l'm out of a job. l can start

suffering and write a symphony.



We'll make you head

of the music department.



Then l can stop suffering

and write a symphony.



Wait! Talking pictures!

You should wait--



Every studio's doing it. All the theaters

are putting in sound equipment.



-We know nothing about it.

-What's to know?



You do what you always did.

Just add talking.



Believe me, it'll be a sensation.

''Lamont and Lockwood. They talk! ''



Well, of course we talk.

Don't everybody?



I got a feeling

You're fooling



I got a feeling

You're havin ' fun



I get the go-by

When you are done foolin ' with me



It's a holiday, today's

The Wedding of the Painted Doll



It's a jolly day

The news--



Should I reveal exactly how I feel?



Should I confess--?



I got a feeling you're fooling

I got a feeling you're--



It's a holiday, today's--



Should I reveal



Exactly how I feel?



Beautiful girl

You're a lovely picture



Beautiful girl

You're a gorgeous mixture



Who's that? She looks familiar.



l've featured her in nightclub shows.

She'd be good as Zelda's sister.



Excuse me.



There may be blonds and brunettes

That are hard to resist



You surpass them like a queen



You've got those lips

That were meant to be kissed



And you're over sweet    



Beautiful girl

What a gorgeous creature



Beautiful girl

Let me call a preacher



What can I do



But give my heart to you?



A beautiful girl

Is like a great work of art



She's stylish

She's chic



And she also is smart



For lounging in her boudoir



This simple plain pajama



Her cloak is trimmed with monkey fur



To lend a dash of drama



Anyone for tennis?



Well, this will make them cringe



And you'll knock 'em dead at dinner



If your gown just drips with fringe



You simply can 't be too modest

At the beach or by the pool



And in summertime, it's organdy



That'll keep you fresh and cool



You'd never guess what loud applause



This cunning hat receives



And you'd never dream the things

That you could hide



Within these sleeves



A string of pearls with a suit of tweed



It's started quite a riot



And if you must wear fox to the opera



Dame Fashion says, ''Dye it''



Black is best when you're in court



The judge will be impressed



But white is right when you're a bride



And you want to be well-dressed



Beautiful girl



For you I've got a passion



Beautiful girl



You're my queen of fashion



I'm in a whirl






My beautiful girl



-That's stupendous!

-Thanks. Kathy, come here.



This will start a trend

in musicals.



Mr. Simpson might cast you

as Zelda's sister.



That's wonderful!



-Hey, Kathy! That's Kathy Selden.

-Thanks anyway. lt was nice of you.



-Wait a minute.

-That's okay.



Before Mr. Lockwood

refreshes your memory. . .



. . .l hit Miss Lamont with the cake.

lt was meant for Mr. Lockwood.



l'm sorry.

l should've told you.



Wait. What's this all about?



We were gonna use her, but if

it'd make you unhappy--



-Unhappy? lt's wonderful.

-He's been looking for her!



Do you speak for Lina too?



The Coconut Grove's owner

may do what Lina says. . .



-. . .but you're the head of this studio.

-Yes, l am. She's hired.



Don't let Lina know she's here.

Take care of that.



Thank you!



l'm glad you turned up. We've looked

inside every cake in town.



-ls it okay for you to be seen with me?

-Lofty star with humble player?



Not exactly. Don't you usually

have lunch with Miss Lamont?



Look, Kathy. All that stuff

about Lina and me is publicity.



Oh? Certainly seems more than that. . .



. . .from what l've read in all

those articles in the fan magazines.



Oh, you read the fan magazines?



l pick them up in the beauty parlor

or at the dentist, just like anybody.






-l buy four or five a month.

-You buy four or five. . .?



To get back to the point. . .



. . .you achieve an intimacy

in all your pictures--



Did you say all my pictures?



l guess l've seen

eight or nine of them.



Eight or nine. lt seems to me

l remember someone saying:



''lf you've seen one,

you've seen them all. ''



l did say some awful things

that night, didn't l?



No, l deserved them.



Of course, l must admit

l was pretty much upset by them.



So upset that l haven't been able

to think of anything but you ever since.









-l've been pretty upset too.

-Kathy, look, l. . . .



Kathy, seeing you again now that l. . . .



l'm trying to say

something to you, but l. . . .



l'm such a ham.



l'm not able to

without the proper setting.



-What do you mean?

-Well. . . .



Come here.



This is the proper setting.



-Why, it's just an empty stage.

-At first glance, yes.



But wait a second.



A beautiful sunset.



Mist from the distant mountains.



Colored lights in a garden.



Milady is standing on her balcony,

in a rose-trellised bower. . .



. . .flooded with moonlight.



We add        kilowatts of stardust.



A soft summer breeze.



You sure look lovely

in the moonlight, Kathy.



Now that you have the proper setting,

can you say it?



l'll try.



Life was a song



You came along



I've laid awake

The whole night through



If I but dared



To think you cared



This is what



I'd say to you



You were meant for me



And I was meant for you



Nature patterned you



And when she was done



You were all the sweet things



Rolled up in one



You're like



A plaintive melody



That never lets me free



But I'm content



The angels must have sent you



And they meant you



Just for me



But I'm content



The angels must have sent you



And they meant you



Just for me



Now. . . .



Ta, te, ti, toe, too.



Ta, te, ti, toe, too.



No, no, Miss Lamont. . .



. . .round tones, round tones.



Now let me hear you read your line.



''And l can't stan' 'im. ''



And l can't stand him.



And l can't stan' 'im.















Can't. Can't.



Very good. Now:



''Around the rocks

the rugged rascal ran. ''



-Around the rocks the rugged--

-No, no. Rocks. Rocks.



Around the rocks

the rugged rascal ran.



-Very good.

-Hi, Don.



-Shall l continue?

-Don't mind me.




''Sinful Caesar sipped his snifter. . .



. . .seized his knees and sneezed. ''



-Sinful Caesar snipped his sifter--

-Sipped his snifter.



Sipped his snifter.



Oh, thank you.



Sinful Caesar sipped his snifter,

seized his knees and sneezed.







Here is a good one.



''Chester chooses chestnuts,

cheddar cheese with chewy chives.



He chews them and he chooses them.

He chooses them and he chews them. . .



. . .those chestnuts, cheddar cheese

and chives in cheery, charming chunks. ''



-Wonderful! Do another one.

-Thank you.



''Moses supposes his toeses

are roses. . .



. . .but Moses supposes erroneously.



Moses, he knowses

his toeses aren't roses. . .



. . .as Moses supposes his toeses to be. ''



''Moses supposes his toeses are roses,

but Moses supposes erroneously. ''



But Moses, he knowses

his toes aren't roses. . .



. . .as Moses supposes his toeses to be.



Moses supposes his toeses are roses,

but Moses supposes erroneously.



A mose is a mose.



A rose is a rose.



A toes is a toes.



Moses supposes his toeses are roses



But Moses supposes erroneously



Moses, he knowses

His toeses aren 't roses



As Moses supposes his toeses to be



Moses supposes his toeses are roses



But Moses supposes erroneously



For Moses knowses

His toeses aren 't roses



As Moses supposes his toeses to be



A rose is a rose

Is a rose is a rose is



A rose is what Moses

Supposes his toes is



Couldn 't be a lily

Or a taffy daffy dilly



It's gotta be a rose

'Cause it rhymes with ''mose''












''A ''



All right, here we go.






Roll 'em!



Oh, Pierre. You shouldn 't have come.



She's gotta talk into the mike.

l can't pick it up.






-What's the matter?

-lt's Lina.



Look, Lina, don't you remember?

l told you.



There's a microphone right there. . .



. . .in the bush.



You have to talk into it.



l was talking.

Wasn't l, Miss Dinsmore?



Yes, my dear. But please remember,

round tones.



''Pierre, you shouldn't have come. ''



Pierre, you shouldn't have come.



-That's much better--

-Hold it a second.



Now, Lina, look.



Here's the mike.



Right here in the bush.



Now, you talk towards it.



The sound goes through the cable

to the box.



A man records it

on a big record in wax. . .



. . .but you have to talk

into the mike first.



ln the bush!



Now try it again.



-Gee, this is dumb.

-She'll get it. Don't worry.



We're all nervous the first day.

lt'll be okay.



You know the scene where l say,

''lmperious princess of the night''?



l don't like those lines.

Can l say what l always do?



''l love you. l love you. l love you. ''



Sure. Any way it's comfortable.



But into the bush!



Again! Quiet!



Roll 'em!



Cut! We're missing

every other word.



You've got to talk into the mike!



Well, l can't make love to a bush!



All right, all right.



We'll have to think of something else.



What are you doing?



-You're being wired for sound.




Watch out for those dentalized D's

and T's and those flat A's.



-Everybody's picking on me.

-Okay, now look at this flower, see?



The mike is in there.



That's it.



The sound will run from it. . .



. . .through this wire, onto the record.



lt'll catch whatever you say.



Now let's hear how it sounds, Lina.



Okay, quiet!



Roll 'em!



Oh, Pierre, you shouldn 't have come.



You're flirting with danger.



-What's that?

-lt's picking up her heartbeat.









That's right. That should do it.



Now, don't forget.



The mike is on your shoulder.



Whatever you say goes

through the wire onto the record.



Now, please, Lina, talk into the mike.



Don't make any quick movements or you

might disconnect it. Okay, let's go.






Roll 'em.



Oh, Pierre, you shouldn't have come.

You're flirting--



What's this doing here?

lt's dangerous.



-You'd better not go in together.

-Lina's probably right inside the door.



-Oh, how l wish--

-Don't worry.



l'll lead the cheers in the balcony.

Good luck.



-Mr. Lockwood.




-What's that? The storm outside?

-lt's those pearls, Mr. Simpson.



I am the noblest lady of the court,

second only to the queen.



Yet I am the saddest

of mortals in France.



-What is the matter, milady?

-I can 't stand the baron.



He's such a catch.



All the ladies of the court

wish they were in your shoes.



My heart belongs to another.



Sounds good and loud, huh?



Oh, Pierre!



You shouldn 't have come.



You're flirting with danger.



They will surely find you out.



Your head is much too valuable.



She never could remember

where the microphone was.



'Tis Cupid himself

that called me here...



...and I...



...smitten by his arrow...



...must fly to your side...



...despite the threats

of Madame Guillotine.



But the night is full of our enemies.



You hitting him with a blackjack?



Imperious princess of the night...



...I love you.



I love you.



I love you. I love you. I love you.

I love you....



Somebody got paid for writing that?



Sounds like a comedy.



-lt's a Lockwood-Lamont talkie.




This is terrible.



-What's that?

-The sound is out of synchronization!



-Tell them to fix it.

-Yes, sir.



What's this? Yvonne?



Captured by Rouge Noir

of the Purple Terror?



Oh, my sword!



I must fly to her side!



Yvonne, Yvonne...





Pierre will save me. Pierre!



Pierre is miles away, you witch.



No, no, no.



Yes, yes, yes.



-No, no, no.

-Yes, yes, yes.



-This is a scream.

-Give me The Jazz Singer.



''l love you, l love you,

l love you. . . . ''



-We're all ruined.

-You can't release this.



We're booked to open

in six weeks all over.



But you're such big stars,

we might get by.



l never wanna see

Lockwood and Lamont again.



-Wasn't it awful?

-This is the worst picture ever made.



l liked it.



Well, take a last look at it.



-lt'll be up for auction tomorrow.

-You're out of your mind.



No bank will foreclose

until Monday.



-lt wasn't so bad.

-That's what l said.



There's no kidding myself.



Once they release The Duelling

Cavalier, we're through.



The picture's a museum piece.

l'm a museum piece.



-lf you just get the technical end--

-No, it wasn't that.



This is sweet of both of you, but l--



Something happened to me tonight.



Everything you said

about me is true.



l'm no actor.



l never was.

Just a lot of dumb show.



l know that now.



At least you're taking it lying down.



No kidding. Did you ever see anything

as dumb as me on that screen?



Yeah. How about Lina?



l ran her a close second.



Maybe it was a photo finish.

l'm through.



You're not through.



Of course not. With your looks,

you could drive an ice wagon.



-Or shine shoes. Sell pencils.

-Block hats. Dig ditches.



Or go back into vaudeville.



Fit as a fiddle and ready for love

I could jump over the moon up above



Fit as a fiddle and ready for love



Too bad l didn't do that

in Duelling Cavalier.



-Why don't you?




-Make a musical.

-A musical?



Sure. Make a musical.



The new Don Lockwood.

He jumps about to music.



The only trouble is,

after Duelling Cavalier...



. . .nobody'd come to see me jump off

a building into a damp rag.



Turn The Duelling Cavalier

into a musical.



-Duelling Cavalier?




There's six weeks before

it's released.



Add songs, trim bad scenes,

add new ones.



And you got it.



-Hey, l think it'll work.

-Of course!



lt may be crazy, but we'll do it.

The Duelling Cavalier is now a musical.



-Hot dog!




Whoopee! Fellas, l feel this is

my lucky day, March   .



-Your lucky day's the   th.




lt's   :   already.

lt's morning!



Yes. And what a lovely morning!



Good mornin '



-Good mornin '

-We've talked the whole night through



-Good mornin '

-Good mornin ' to you



Good mornin ', good mornin '

It's great to stay up late



Good mornin '

Good mornin ' to you



When the band began to play

The stars were shining bright



Now the milkman 's on his way

It's too late to say good night



So good mornin '

Good mornin '



Sunbeams will soon smile through



Good mornin '

Good mornin ' to you



And you and you and you



Good mornin ', good mornin '

We've gabbed the whole night through



Good mornin '

Good mornin ' to you



Nothing could be grander

Than to be in Louisiana



In the mornin '

In the mornin '



It's great to stay up late



Good mornin '

Good mornin ' to you



Might be just as zippy

If we was in Mississippi



When we left the movie show

The future wasn 't bright



But came the dawn, the show goes on

And I don 't wanna say good night



So say good mornin '



Good mornin '



Rainbows are shinin ' through



-Good mornin '

-Good mornin '







-Buenos días!

-Muchas frías!



-Buon giorno!

-A ritorno!



-Guten Morgen!

-Guten Morgen!



Good mornin ' to you









-Hey, we can't make this a musical.

-What do you mean?






She can't act, she can't sing

and she can't dance. A triple threat.



-What's so funny?

-l was just thinking.



l liked her best when the sound went

off and she said, ''Yes, yes, yes. ''



''No, no, no. ''



''Yes, yes, yes. ''



''No, no--''



Wait a minute.

l am just about to be brilliant.



Come here, Kathy. Come here.

Now, sing.



l said sing.



Good mornin '

Good mornin '



Don, keep your eyes

riveted on my face.



Good mornin '

Good mornin ' to you



Watch my mouth.



Good mornin ', good mornin '

It's great to stay up late



Good mornin '

Good mornin ' to you



Well, convincing?



Enchanting. What?



Don't you get it?

Use Kathy's voice.



Lina moves her mouth

and Kathy sings for her.






-l couldn't let you do it.

-Why not?



You'd be throwing away

your own career.



lt's not about my career.

lt's only for this picture.



The important thing is to save

The Duelling Cavalier. . .



. . .save Lockwood and Lamont.



Well, all right, if it's only

for this one picture, but. . . .



-You think it'll get by?

-lt's simple to work the numbers.



Just dance around Lina

and teach her how to bow.



We'll spring it on R.F.

in the morning.



Don, you're a genius.



l'm glad you thought of it.



Oh, Cosmo.



Good night, Kathy. See you tomorrow.



Good night, Don.

Take care of that throat.



You're a big singing star now, remember?



This dew is just a little heavier

than usual.






From where l stand, the sun is shining

all over the place.



I'm singin ' in the rain



Just singin ' in the rain



What a glorious feelin '



I'm happy again



I'm laughin ' at clouds



So dark up above



The sun 's in my heart



And I'm ready for love



Let the stormy clouds chase



Everyone from the place



Come on with the rain



I've a smile on my face



I'll walk down the lane



With a happy refrain



Just singin '



Singin ' in the rain



Dancin ' in the rain



I'm happy again



I'm singin '



And dancin ' in the rain



I'm dancin '



And singin '



In the rain



Why, that's wonderful!



We'll keep it secret until release. . .



. . .in case it doesn't come off.

l'm worried about Lina.



-She doesn't like Miss Selden.

-Lina won't even know she's on the lot.



Boys, this is great.



The Duelling Cavalier can be saved.



Now, let's see.

The Duelling Cavalier with music.



The title. . . .



The title's not right.

We need a musical title. Cosmo?



The Duelling Mammy.



l've got it.



-The Dancing Cavalier!

-That's it. The Dancing Cavalier.



-Remind me to make you a writer.

-Thanks. Have a cigar.






Now, what about the story?



We need modern musical numbers.



We throw a modern section in.

The hero's a hoofer on Broadway.



He sings and dances.



One night, he's reading Tale of

Two Cities. A sandbag hits him.



He dreams he's in

the French Revolution.



This way, we get in

the modern dancing.



But in the dream,

we still use the costumes.



Sensational! Cosmo,

remind me to give you a raise.



Give me a raise.



He holds her in his arms



Would you?



Would you?



He tells her of her charms



Would you?



Would you?



They met as you and I



And they were only friends



But before



The story ends



He'll kiss her with a sigh



Would you?



Would you?



And if the girl were I



Would you?



And would you dare to say



Let's do the same



As they



I would



Would you?



And would you dare to say



Let's do the same



As they



I would



Would you?



Perfect! That Selden girl is great.

l'm gonna give her a big buildup.




-How much is left?



-One number.

-What number?



lt's a new one. For the modern part,

called ''Broadway Melody. ''



lt's the story of a hoofer

who comes to New York.



First, we set the stage with a song.

lt goes like this.



Don 't bring a frown to old Broadway



You gotta clown on Broadway



Your troubles there



They're out of style



For Broadway always wears a smile



A million lights



They flicker there



A million hearts beat quicker there



No skies of gray

On that Great White Way



That's the Broadway






Gotta dance



Gotta dance



Gotta dance



-Gotta dance

-Gotta dance



Gotta dance

Gotta dance



Broadway rhythm

It's got me



Everybody dance



Broadway rhythm

It's got me



Everybody dance



Out on that Gay White Way

And each merry café



Orchestras play

Taking your breath away



Broadway rhythm

It's got me



Everybody sing and dance



Oh, that Broadway rhythm



Oh, that Broadway rhythm



When I hear that happy beat



Feel like dancin ' down the street



To that Broadway rhythm



Writhing, beating






Gotta dance



Gotta dance



When I hear that happy beat



Feel like dancin ' down the street



When I hear that happy beat



Feel like dancin ' down the street



When I hear that happy beat



Feel like dancing down the street



Gotta dance



Gotta dance



Gotta dance



That's the Broadway






That's the idea.

What do you think?



l'll have to see it on film first.



-On film, it'll be better.

-Don't forget.



Have Selden re-record

Lina's dialogue.



-lt's all set up.

-And remember, don't let Lina know!



All set in there?



Nothing can keep us apart.



Our love will last

till the stars turn cold.



All right, Kathy. Go ahead.



Nothing can keep us apart.



Our love will last

till the stars turn cold.



That's great! Perfect. Cut.



Till the stars turn cold.



Oh, Kathy, l love you.



l can't wait till this picture's finished.

l'm gonna let Lina and everyone know.



Your fans will be

bitterly disappointed.



From now on, there's only

one fan l'm worried about.






-What did l tell you?

-Thanks, Zelda. You're a pal.



l want that girl off the lot!

She ain't gonna be my voice.



Zelda told me everything.



-Thanks, Zelda. You're a real pal.




Look, Don and l--



Don! Don't you dare call him Don!



l was calling him Don

before you were born.



l mean--

You were kissing him!



l was kissing her.

l happen to be in love with her.



That's ridiculous! Everybody knows

you're in love with me.



Now look, Lina.

Try and understand this.



l'm going to marry her.



Silly boy.

She ain't the marrying kind.



She's a flirt trying

to get ahead by using you.



l'll put a stop to that!

l'm gonna go up and see R.F. right now!



The picture's finished. lf she weren't

in it, you'd be finished too.



She's the only one who's finished.

Who'll hear of her?



Everybody. Why do you think

Zelda's in such a sweat?



-Kathy nearly stole the picture.

-She's only doing you a favor.



And she's getting

full screen credit for it too.



lt'll say on the screen

l don't talk and sing for myself?



Of course. What do you think?



-They can't do that.

-lt's done.



-There's a publicity campaign planned.




They can't make a laughingstock

out of Lina Lamont.



What do they think l am,

dumb or something?



Why, l make more money. . .



. . .than Calvin Coolidge. . .



. . .put together!



''Monumental Pictures enthusiastic

over Lina's singing pipes. ''



l never said that.



''Premiere tomorrow to reveal

Lina Lamont big musical talent. ''



You can't pull a switch

like this on us.



We were prepared for Selden.

Now this. At least keep us informed!



Wait. l don't know anything

about this.



-What are we gonna do?




Absolutely nothing.



You wouldn't wanna call the papers

and say Lina Lamont is a big fat liar.



Did you send this out?



l gave an exclusive story

to every paper in town.



Rod, call the papers back.



-l wouldn't do that if l were you.

-Don't tell me what to do.



What do you think l am,

dumb or something?



-l had my lawyer go over my contract.




And l control my publicity, not you.



The studio is responsible

for every word printed about me.



lf l don't like it, l can sue.






l can sue.



lf you tell the papers

about Kathy Selden. . .



. . .it would be ''detrimental

and deleterious'' to my career.



l could sue you for the whole studio.



-That's a lot of nonsense.

-Says so.



Right here.



Contract dated June        

paragraph    subdivision letter A.



''The party of the first part--''



-That's me.

-You win, Lina.



-We better take Kathy's credit off.

-All right, go ahead.



Let's just get this premiere over with.




There's just one little thing more.



Want me to change the studio's name

to Lamont Pictures, lnc.?



R.F., you're cute.



Now, l was just thinking.



You've given her a part

in Zelda's picture. . .



. . .and she'll get

a bigger one in the next.



-So what?

-So. . . .



lf she's done such a grand job

doubling my voice. . .



. . .don't you think she ought to

go on doing just that?



-And nothing else.

-You're crazy.



l'm more important

to the studio than she is.



l wouldn't do that to her.



You'd take her career away.

People don't do that.






l ain't people.



l am a. . . .



''A shimmering, glowing star

in the cinema firmament. ''



lt says so. . .



. . .right there.



Oh, Pierre, Pierre, my darling.

At last, I've found you.



Pierre, you're hurt.

Speak to me, speak to me.



I'll kiss her with a sigh



Would you?



Would you?



And if the girl were I



Would you?



Would you?



Oh, Pierre, hold me

in your arms always.



-Lockwood's a sensation.

-Yes, but Lamont! What a voice!



lt's going over wonderfully, isn't it?



Our love will last

till the stars turn cold.



And would you dare to say



Let's do the same as they



I would



Would you?



R.F., it's a smash!



-Congratulations. We owe you a lot.




-We made it!

-lt's a miracle!



lt's great, just great.



You were fabulous.

You sang as well as Kathy.



-And l'm gonna for a long time.

-What do you mean by that?



l mean she's gonna go

right on singing for me.



Listen, Lina.



l thought something was cooking

beneath those curls.



Kathy has got a career.

This is the only time.



That's what you think.



-Come on, come on.

-Lina's getting carried away.



Listen, you boa constrictor.

Don't get any fancy ideas. Tell her!



Never mind! Listen to that applause.

Wait till the money rolls in.



You won't give that up because

a nobody don't wanna be my voice.



-She's got something. lt's a gold mine.

-Part of that choice is mine.



And l won't do it.



You've got a contract.

You'll do what R.F. says.



Why don't you tell her off?



This thing is so big--



-They're tearing the house apart.

-Take a curtain call.



Can l have my cigar back?



Listen! l'm an avalanche!

Selden, you're stuck.



lf this happens, get a new boy.

l won't stand for it.



They'd come see me

if l played opposite a monkey!



Don's a smash too. l'll say

a few words. l still run the studio.



l'm not so sure!



You're Mr. Producer,

running things, running me.



From now on, as far as l'm concerned,

l'm running things.



Lina Lamont Pictures, lnc., huh?

You've gone a little too far.



-They're yelling for a speech.

-A speech?



Everybody always makes

speeches for me.



Tonight, l'm gonna do my own talking.

l'm gonna make the speech!



-No, please!

-Wait a minute. Wait a minute.



This is Lina's big night

and she's entitled to do the talking.







Ladies and gentlemen.



l can't tell you how thrilled we are

at your reception. . .



. . .for The Dancing Cavalier,

our first musical picture together.



lf we bring a little joy

into your humdrum lives. . .



. . .we feel as though our hard work

ain't been in vain for nothing.



Bless you all.



-She didn't sound that way.

-Cut the talk, Lina. Sing!



l got an idea. Come here.

Now, listen.



What am l gonna do?



We've got it. Get a mike

back of that curtain.



Kathy! Kathy will stand back

from there and sing.



She'll be back singing, and l'll be

in front. . .like in the picture?




-You've gotta do it. lt's too big.



She's got a five-year contract with me.

Get over to that mike.



You heard him, Kathy. Now do it!



l'll do it, Don.

But l never want to see you again. . .



. . .on or off the screen.



Now, come on, Lina.



What are you gonna sing?



-''Singing in the Rain. ''

-''Singing in the Rain. ''



''Singing in the Rain. '' ln what key?









I'm singin ' in the rain

Just singin ' in the rain



What a glorious feelin '

I'm happy again



I'm laughin ' at clouds

So dark up above



The sun 's in my heart

And I'm ready for love



Let the stormy clouds chase



Everyone from the place



Come on with the rain

I've a smile on my face



I'll walk down the lane

With a happy refrain



And singin '

Just singin ' in the rain



I'm singin ' in the rain

Just singin ' in the rain



What a glorious feelin '

I'm happy again



I'm laughin ' at clouds

So dark up above



The sun 's in my heart

And I'm ready for love



Stop that girl!

That girl running up the aisle!



That's the girl whose voice

you heard!



She's the real star of the picture,

Kathy Selden!



You are



My lucky star



I saw you



From afar



Two lovely eyes

At me they were gleaming






I was starstruck



You're all



My lucky charms



I'm lucky



In your arms



You've opened heaven 's portal



Here on earth for this poor mortal






Are my



Lucky star




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