Ive Got Your Number (Warner Bros.) (1934)

pecial Radio Sketch MARIE (Joan Blondell): anything but a nitwit. FOUR CHARACTERS Telephone operator who is LORETTA (Renee Whitney): Marie's side-kick at the switchboard. TERRY (Pat O'Brien): Swaggering trouble-man from the Telephone Company. JOHN (Allen Jenkins): afraid of the ladies. Terry's rough-neck helper, Regular Station Announcement followed by— ANNOUNCER: We now offer for your entertainment, ladies and gentlemen, flashes of the happy-go-lucky humor of “I’ve Got Your Number,” the Warner Bros. picture which comes to the: ./.. «.. Theatres; . «,.inext, featuring Pat O’Brien, Joan Blondell, Allen Jenkins, Eugene Pallette, Hobart Cavanaugh, Henry O’Neill, Gordon Westcott, Glenda Farrell and many others. “ve Got Your Number” was directed by Ray Enright. Mr. (name of narrator) will give you a brief summary of the story up to the opening of the sketch. NARRATOR: Thank you (name of announcer). The rollicking love story of blonde Marie, telephone operator at the Eden Hotel—begins the moment that rough-neck Terry kiley, trouble-man, comes to see what is wrong with the wires. When the sketch opens he has not yet come, and Marie and her sidekick, Loretta, are at the switchboard. They are interrupted by the arrival of Nicky, a shady character whom Marie has not seen for some time. He persuades her into switching a call to him—by making her think it’s all a gag to get a girl-friend going. It is in reality a trick to get a tip on the races. Marie is quite innocent of the object Nicky has in view. Here the girls are at the switchboard: GIRLS: (Marie’s voice is bluff and genial—Loretta, her partner, has a shrill and rather whining tone. Their talk into the receivers is ad lib and is heard as background through the scene) Mr. John Lang left word he would meet you at the golf course... Office—Yes, Mr. Channing ... We have no Mr. Curtis Holt registered here... Miss Namack does not answer. Any message? .. . Long Ditance—Hotel Eden calling—I want Detroit, James Bradley Finkelstein — One moment, ple-ase! NICKY (his rather disagreeably oily voice interrupts): Say, Marie! Park your plugs a minute and slip me the little old voice-with-the-smile. MARIE: (pleasantly enough) Hello, Nicky. NICKY: Here’s a little package I found in a drug store. (slyly) It had your name on it. LORETTA: (shrilly) Gee, chawklets—watta ya know! MARIE (kiddingly) What is it about me you find so irresistible ? NICKY: That’s a long, long story, beautiful. But there’s one thing about you— MARIE: Watch your step now— NICKY: Wanna help out on a gag? MARIE: Sure! Anything for a laugh! NICKY: Come over here a minute then— MARIE: (still at switchboard) Wait a minute. (in phone) Hotel Eden speaking— (pause) Just a minute.—There you are. (to Loretta) Say, watch it a minute, will you, Loretta ? LORETTA (shrilly) Sure—if ya split the loot—(giggles). NICKY: (off) Over here, kiddo — Say — listen, Marie. George Talley in Room 419 is a pal of mine, see? Now he’s goin’ to get a call at two o’clock. When it comes, see, plug me in instead of Talley! MARIE: (mot — suspicious) What’s the pay-off ? NICKY: (disarmingly) Oh, that’s the joke, see, Marie. A dame he met last night is calling him. I want to pass him in the traffic, see? It’ll burn him up! Page Six dames, I suppose! MARIE: (clowning) And me a jealous woman! NICKY: I wish you were. LORETTA: (off, whining shrilly) Hey! — Marie — I’m swamped! MARIE: Coming! NICKY: You'll help out? MARIE: Why not? NICKY: It’s on the stroke of two now. I’ll be up in my room. Mind, I’ll be waiting for the call, bright eyes! (off) So long! LORETTA: (high pitched) Eden Hotel—yes, ma’am—(to Marie) You watch that guy, Nicky—I don’t like his map. (phone) Eden Hotel — Hello, hello—I’m_ sorry, Madam—but will you call the trouble department—Michigan ni-en thousand —(to Marie) Mind what I tell ya, Marie — that guy’s so crooked he— MARIE (in phone) Hello— Hotel Eden—Mr. TALLEY? Just a moment—please—There you are! _ LORETTA: Watta you laughing at, Marie? For gosh sakes —you act like you was—(Cin phone) Hotel Eden—Yes—Just a moment—lI’ll give you the supervisor—Miss. Banks, will you take this call? MARIE: (in phone) Hotel Eden—(voice trailing off) Madison 6-3500—Yes, madam—I’ll give you time service—Hotel Eden— NARRATOR: Marie hasn’t the slightest idea of the trouble she has started. The real Mr. Talley, missing his call—hails the manager—the manager— trusting his operators—calls the telephone company to send a man to see what’s wrong with the wires. The trouble man is none other than that divil-widthe-ladies, Terry Riley—We see him now, in his working togs and carrying his tool-kit, staring down at Marie over the switchboard. His good looks give Loretta quite a thrill. He says to Marie with agreeable insolence: TERRY: (manner of a man sure of his prowess) Well, sister, they tell me that either you or the switchboard have gone haywire—So they sent old Doe Terry Riley—and his partner— John Doe here—on exhibition at my left—to examine the connections? How about it? MARIE (amused but annoyed) Try examining the back of the board. TERRY: Run along upstairs, Johnny, to that fellow Talley’s room, and look over that end. I’ll knock this off here! JOHNNY: (deep gruff voice, injured tone) Oh, yeah? More Listen, bo, some day we’re gonna get a call where they ain’t no dames. It may take years—and I may be an old guy wid a beard—but we’re gonna get it! TERRY: Beat it, dope! Marie) Say, duchess, Room 623? MARIE: (curtly) Right next to 622. ¢ TERRY (fresh) And I'll bet 624 is right onthe other side of it! Well! Well! : ‘ MARIE: (coldly) Odd, isn’t it? (to where’s TERRY: Remarkable. This switchboard must’ve been built by a mathematician? MARIE: Where’d you get that word? (in phone) Eden Hotel—yes, Madam— TERRY: Say, girlie, to listen to you, anyone» would think you didn’t like me. — MARIE: I don’t like fresh eggs either. (phone) Madison 6-58-ni-en-4! TERRY: Don’t you worry, duchess. I grow on people! MARIE: TERRY: Score one for the duchess. Say, who’s your friend here ? LORETTA: (high, giggly whine) What’s it to ya, wise guy? TERRY: I was just gonna say, bet I know why you’re so fat. Bet it’s because the duchess here keeps you laughin’ all the while. Right? LORETTA: Yeah, she’s a scream mosta the time, Marie is —but don’t mind her givin’ ya the glassy stare—she’s been kinda upset lately—(Cin phone) Eden Hotel—just one moment ple-ase— So do carbuncles! TERRY: So you’re upset, are ya, Murrie? MARIE: Miss Lawson to you! TERRY: So y’re upset! Tch —tch—tch—That’s the trouble wid goodlooking dames—some guy always comes along and upsets ’em! MARIE: (in phone) Just a minute, Mrs. Peters—I can’t hear you—there’s so much noise down here! TERRY: Strike one! Say, don’t seem to be anything wrong here, with the switchboard. Guess Ill go round in back! MARIE: You’ll find the hotel exit back there, too. TERRY: (off) Okay, Murrie! LORETTA: Gee, he’s cute, ain’t he! MARIE: (as if to herself) So’s a baby hippopotamus. (in phone) Hotel Eden— TERRY: (his voice heard off—disguised, through phone, distant sound) Hello! I want a room with a bath. MARIE: (in phone) I’ll give you the room clerk, sir. TERRY: (off—gruff voice) I don’t want the room clerk. I want a bath. MARIE: (sweetly) The room clerk will attend to you, ple-ase. TERRY: (still over phone) I’m old enough to take care of myself—I want a bath because it’s Saturday night. My name is Cornelius McGonnyswaggle— will you give me a bath (changing to own voice, pleading) Will ya, Murrie? MARIE: Oh, it’s YOU, is it? LORETTA: Who? MARIE: He’s cut in on the wire— LORETTA: Ain’t he the buttinsky! TERRY: (before the switchboard) Just testing! MARIE (coldly) Oh, yeah? D’you know I once had a kid brother who was just like you —but we found out he was an idiot—and drowned him — (in phone) Hotel Eden—just one moment—ple-ase!— TERRY: Did he have a toe missing on his left foot? MARIE: (answering in spite of herself) No. TERRY: I once knew a boy who didn’t have any toes missing. MARIE: Beat it, will you— or P’l— TERRY: Madam! LORETTA: Oh, I love him, don’t you, Marie? (off) Certainly, MARIE: (in phone) Hello, operator— TERRY: (own voice over phone, heard off) How about a date tonight? (All through scene Loretta’s calls should be heard as background.) MARIE: NO! Now leave me alone. (in phone) Hotel Eden —one moment, ple-ase! TERRY: (over phone) Hello, baby. How about it? MARIE: (in phone) Listen, half-wit, will you stop annoying me? (to Loretta) J’ll kill that bozo!—(phone) Hotel Eden— LORETTA: Was that him again? Was it? Ain’t he just too cute! TERRY: (in person again) Don’t people complain about that kind of service? MARIE: (in phone, apologetically) Oh, I’m terribly sorry, sir. Will you excuse it, ple-ase. (pause) I’m terribly sorry— there’s been a mixup on the line—Yes, sir— TERRY: (wheedling injured voice) Say, Murrié, do we go on and on like this—or do we have a date tonight? MARIE: (enraged) One more trick like that and—and—I’ll call the manager! (phone) Hotel Eden—yes, Madam— TERRY: Now that the resistance has crumbled a bit— how about that date? MARIE: NO!!! TERRY: Tell you what-—lI’ll bet you a buck we have a date tonight. MARIE: BET!—And I'll give you a hundred to one we don’t! TERRY: (suavely) Why should I take advantage of you? —It’s even money. MARIE: Good BYE!—Hotel Eden—I’ll call his room— TERRY (off gaily) So long till tonight—baby! JOHN: (the gruff helper) Everything upstairs is on the level. How’d you find things here ? TERRY: (enthusiastically) Everything here is just ducky! JOHN: (deep-voiced drawl) All the same, let’s get outa here! TERRY: Wait a minute— gotta give beautiful another buzz as we’re on the way out! JOHN: Always another dame —gee wizz—! TERRY: (voices of Marie and Loretta at switchboard heard more clearly—their remarks ad lib—“Hotel Eden,” etc., etc.) Excuse me, Murrie! Just wanted to remind ya to have that dollar ready— MARIE: Get out, before I— (phone) Hotel Eden—(Cvoices of girls fade) TERRY: (off) Bye bye, beautiful— JOHN: You know, Riley, I’d be scared to take chances wit all them women—like you do—! TERRY: Oh yeah? Listen, boy—Dames all over this town breaks up their phones regular —just so I’ll come and fix ’em— JOHN: Okay—Go to it!—But don’t blame me when one of them dames puts you on the spot—! (Music as desired) NARRATOR: Terry Riley never starts what he can’t finish—at least that is his boast. So that very evening he tricks himself out in his nattiest—and rings up Marie from the Telephone Company. When she answers he rings off and repeats the act several times. When she finally calls up the troubleservice—he sees to it that he, and nobody else, is sent to her flat — to fix the line. She is at her prettiest, flitting from kitchenette to living room setting the small table for her solitary supper, when the door-bell rings. She hurries to open the door—(sound of opening door). TERRY: (brusquely) Troubleman! Maybe this ain’t service, ma’am! MARIE: (angrily) Oh — it would be you, wouldn’t it! TERRY: (mock earnestness) I understand you’ve got ringing in your ears. Maybe it’s the phone. (pause) No answer, eh? That is bad! I guess I’d better go over your apparatus. Maybe you ain’t hooked up right!— Say, madam, (sniffing) somethin’s burnin’, if you ask me! MARIE: (screaming) My chops! (off) That’s your fault, you big— ; TERRY: Oh, madam, madam, them’s hard words! MARIE: (off) Burned to a crisp! TERRY: Gee, that’s a shame. (Louder) Oh, say, madam—lI’ll say you are in trouble. MARIE: (off) I sure am! TERRY: You ought to have more company—service. There’s a lot you need. I got here just in the nick a time! MARIE: (off) Well, hurry up and do your work—and get out of here the same way. I’m gonna eat my supper though—you or . no you! TERRY: Right! Go to it— (sudden crash as of table going ever and dishes smashing). Msi: as (screaming) Oh— oO — TERRY: (apparently deeply contrite). Gee, babe, I sure am sorry! Musta been them cords —I was pullin’ ’em up from me kit, see—and over went the darn table! I never even seen the table till there it was! 3 MARIE: (speechless with anger) You—you—you—(nearly crying) All my good dishes— too—and— TERRY: Aw, duchess.—Don’t take on like that.—At that—you didn’t have any consomme or fish. Tell ya what I’ll DO! MARIE: DO! You’d better! You’ve done enough! You did it on purpose, too, you know you did— TERRY: On purpose? Gee, kid—you wouldn’t accuse your old buddy, Terrence Riley, of a trick like that— . MARIE: Buddy? MHah! I think you’re the—most— TERRY: No you don’t. Tell you what I’ll do—I’ll take you out an’ buy you the best dinner in town! MARIE: Oh, you will, will you—I think you’re the lowest —most contemptible— TERRY: Oh, that’s all right —don’t bother to thank me! WHERE’S YOUR HAT? MARIE: (mad at herself for weakening) I’d like to slap your face! TERRY: Come, come, young woman—you’re not going bareheaded, are you? MARIE: (knowing she will) I’m not going at all! TERRY: All right. TLL get your hat! MARIE: Never mind, I can get my own hat, if I want it. TERRY: Murrie—you’re the stubbornest dame I ever met! MARIE: And you're the stupidest jackass—so there! TERRY: (flattering himself) Which means you’ve finally fallen for me. Swell! MARIE: Oh, is that SO! TERRY: Yes, that’s But step on it, will ya! STARVIN’! MARIE: STARVE! TERRY: Say, girlie, you look swell in that sky-piece! You sure do! MARIE: Oh, shut up— TERRY: Well, are we ready ? —(heard opening door). So! em MARIE: |. Now listen, fresh SUY = TERRY: Fresh? Aw, no— babe— , MARIE: I’m letting you pay for my dinner for only one reason— TERRY: Oh, yeah? the ‘one reason? MARIE: Because you deliberately wrecked mine! TERRY: Deliberately ? Wrecked ately—no! MARIE: I’m going to eat dinner with you but— TERRY: What did I tell you? MARIE: But AFTER dinner. Get this, now: AFTER dinner we’re STRANGERS—so far as I’m -concerned— TERRY: Oh, yeah? (door bangs). (Music if desired) NARRATOR: And this, my friends, is but a hint of the comedy of “I’ve Got Your Number” — not of the crackling drama which is so big a part of the story. How Nicky’s trick loses Marie her job—how Terry gets her another—how Nicky again involves her in a bond robbery—and how Terry gets the loot back—nabs Nicky—and baffles his fierce boss at the Telephone Company—are but a few of the tense situations which go to make “I’ve Got Your Number” a play after your own heart. Warner Bros. have really got your number, whoever you are, in this one—and so until... . next, Good-bye and GOOD LUCK! THE END What’s No! it—yes—but deliber