All language subtitles for The.Fabulous.Dorseys.1947.1080p.BluRay.x264.AAC-[YTS.MX]

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This is our home
in shenandoah, Pennsylvania

where pop works
in the coal mine.

- Not very good, homer.

You keep flatting.

- Maybe I should
give up, Mr. Dorsey.

- I told your father I
was going to teach you

how to play a musical
instrument, and that I am.

That's not a musical
instrument, homer,

and what you just
played is not music.

Now pay attention.

Good afternoon.

- Hi, pop.

- I thought I told you two
to get to your practicing.

- Jimmy and I was just
gettin' a breath of air, pop.

- Get back into the house
and put some of that air

into your horns.

Come on, in here.

You know where you're wanted.

Come on, off, off
with your shoes.

- Excuse me, Mr. Dorsey,
I'll be getting along now.

- Yes, homer, same
time tomorrow.

That'll do, homer, that'll do.

Now mind.

- Gee, pop, we already rehearsed
two hours this afternoon.

- You put in another two
hours, you get your shoes back.

Why is it you two always got
to outsmart your old man?

- Other kids don't have
to practice all the time.

- And most of 'em don't
even take music lessons.

- Gimme their names, I'll speak
to their parents about them.

- I don't see why I gotta
play saxophone anyhow.

I'm the only kid in shenandoah

who has to lug one of
these things around.

- That's why I picked
it for you, Jimmy.

Nobody else plays it.

You got a chance to make
a name for yourself.

Same with Tommy's trombone.

Come on, right now,
get your trombone.

And no flatting,
mind, no flatting.

Ready?

One, two.

J' they'll soon be
running home for dinner j“

- here are the
apples, Mrs. Dorsey.

- Thank you, Janie, and
tell your mother thanks too.

- Could I stay a
while, Mrs. Dorsey?

- Sure, Janie, always
glad to have you.

But the boys still have
some practicing to do.

- I'd like to listen.

You may call
that music, but I don't.

Now take it again
from the beginning.

- Aw, pop, from the beginning?
- Breaks me heart

- the way he keeps after them.
- But the beginning was right.

You heard me.

When it comes to music,
I'll have none of your lip.

When it comes to music,

I'll have none of your lip.

Hey, pop, you're a comedian.

- A comedian am I?

What are you sniffling about?

- I'm next, ain't I?

- Now, Tom, they're but lads.

If you children let your
father get along down

to the mine yard, I'll
take a hand to you myself.

And no backtalk from you either.

And don't act like you
learned to play the coronet

in one lesson.

- Well, you two
keep right at it.

- Oh sure, pop.

- We will.

Make sure that they
keep up their practicing.

I will, don't worry.

- Bye, Tess.

- Bye, Tom.

Janie, would you watch
the pies a minute

while I run next door?

They're nearly done.

- Sure, Mrs. Dorsey,
I'll watch 'em.

- There you go again.

Why don't you play it
the way pop told you?

- How about when you take off?

- I'm older.

Now listen, this is the
way it's supposed to go.

- And what's wrong with
playing it this way?

- Wouldn't play it that
way if pop was around.

- Couldn't be you're
getting too big

for your britches,
Mr. Conductor.

- You wanna make
somethin' of it?

- Sure.

- All right, outside.

- Tommy, Jimmy!
- You wanna fight?

Ouch!

- Stop it!

Mrs. Dorsey!

- You asked for it.

Not the lip.

You'll listen to me and like it.

Not if I can help it.

You'll play like me.

- Stop it.

All right, you both stop.

There are two pies in the oven,

and I'll just stand
here and let them burn.

Apple pie!

I'll just stand here and
let those apple pies burn.

- Apple pies, Tommy.

- Well, who played
it wrong this time?

- You want something, mom?

- I ought to chide the
both of you, but I won't.

You been practicing
enough for one day.

Which hand do you take?

- The left.
- The right, mom.

- Clean up now and get along
down to the picture show,

and take Jane with you.

- Thanks, mom.

- Thanks, mom.
- It's on me,

but remember not a
word to your father

or he'll kill the lot of us.

- Oh, we won't.

Come on, Jimmy.

- The pies are all right, Janie.

You did a good job
of peacemaking.

- They weren't really
fighting, Mrs. Dorsey.

Just arguing hard.

- I know, they're Irish.

Jane, there's only one thing
worse than being Irish,

and that's not being Irish.

Come along with the boys now.

Surely Tom mix must have
caught the rustlers early.

Tom, what's happened?

- Bad news, Tess, we've all
been laid off at the mine.

Every last one of us.

- Oh, Tom, and just when things
were looking up a little.

Will it be for long?

- Long enough to
stay broke, Tess.

Those rates ain't getting
out-priced I guess.

Any coffee left?

- You poor fella,
of course there is.

It'll do you good to
have a nice, hot supper

at home for once.

- Where's the boys, Tess?

- Why, I let them
go out for a minute.

- So that's all this
talk about Tom mix?

- It's my fault, Tom.

I packed them off
to the pictures.

The poor little tykes
never have any fun.

- They'll have a lot less
when they get home, Tess.

- Don't talk like that.

You're that strict with 'em,

people wouldn't believe
how much you love them.

- Tess, if you knew how
much music needs them.

But Tom dear-

- you want them growing up
to be coal miners I suppose.

Oh, no sir, they've got
to get their chance, Tess.

And it's nowhere
around this coal town

with less and less
work each year.

I've got to give
them more than that.

- But dear-

- Tess, I want our
boys to get somewhere.

Music's the only thing I know.

They've got me to
teach 'em that.

I didn't have nobody.

And they're going
to learn music.

If I do nothing else for
them, Tess, I'll do that.

You don't want them
growing up like me, Tess?

- Tom, I couldn't ask more
than they grow up like you.

Afiner man never lived.

- There's more than love
in this world, Tess.

It takes more.

- What are you gonna
use for groceries?

- I'll take the order
and then get some credit

just like a regular store.

Gosh, with pop out of
work, we sure gotta help.

- I know the boys are
a bit young, Tess,

but I think it would be
a good thing for them.

- Well, I guess
you know best, Tom.

- Hey, pop's gone.

- Yes, but mom's here.

All right, get to it.

You'll excuse us, Jane.

- Now mom, you're not
gonna start treating us

like little kids.

- From now on, if your pop
says you're gonna practice,

I'm going to see that
you do just that.

Maybe I've been too easy
with you for your own good.

- Gosh, mom, you're not lettin'
pop put ideas in your head.

- You ever raise a family of
your own, you'll find out.

Anyhow, I want you to
do as your father says.

- Sure, mom, if it
means that much to you.

- Sure, we promise.

- Oh, just to be on the
safe side, off with them.

- But mom, we promise.

- You wouldn't be me
own flesh and blood

if you didn't want a
little fun now and then,

so don't be making
promises you can't keep.

Off with them.

- Oh boy, mom's getting
smarter all the time.

- But Tom, I always get
my bands from out of town.

Been doing it for years.

- But that's just it, I'm
offering you something fresh.

My band's got a trombone
and a saxophone.

- A saxophone, what's that?

- Something new for a dance
band like the calling of angels.

You'll like it.

- But Tom, you're asking
me five dollars more

than I usually pay.

- I'm only asking
you to give us a try.

- Well, it might have
sort of a local appeal.

Okay, give me their names.

- Oh, they're all good men.

- Sure, but I gotta have a list.

- Well, on the
drums is Chris mack.

Got a great sense of rhythm.

On the fiddle, wennburg.

On the trumpet, that's meself.

Also the conductor.

On the other trumpet,
Tom jeffries.

On the piano, Eddie hall.

Both good men if you must know.

On the saxophone, James dorsey.

- Your brother?

- On the trombone,
Thomas dorsey.

- Thomas dorsey?

- Junior.

- Now wait a minute,
not those little kids.

Not those two sons of yours.

Now hold on, Tom dorsey.

And I agreed to pay you $5 more.

- Because you are going
to double your business,

and you will.

- With those two kids up there
hitting a lot of flat notes?

Why the people would...

Besides, they're
always scrappin'.

- Sure, they scrap.

Maybe I like me kids
to be full of scrap

because they have to fight
for everything they get,

and they may as well
get used to it now.

That's got nothing
to do with it.

Up there on the bandstand,
they do their job.

And don't be afraid
of any flat notes.

They're both fine musicians.

I raised them to be.

Eddie, give us a try.

And if you don't like
us, you don't pay us.

Not a dime, not a thin red cent.

- Okay, fair enough,
that's your promise.

Aw, but those two kids.

- They'll pay for-
- Tom, Tom, Tom, Tom.

Have a glass of beer,
cool yourself down.

- Anything wrong?

- No, but there will be

if you don't dance just once
with your wife.

The boys sound real good, Tom.

- In an orchestra like this,
anybody sounds real good.

They are good, Tess.

So good I have trouble
keeping up with them myself.

You better not let them know it.

They do well side by
side, they really balance.

- That they do.

If they just stick together,
they can lick the world.

I'm not so sure about gorman.

He's dead set against the boys.

Seems to think I
can't turn my back

without them always scraping.

- Now, Tom.

You said they were good.

Now let 'em prove it
all by themselves.

- By golly, I will.

- Well, I think it's a disgrace.

- Shh, there's Mrs. Dorsey now.

She'll hear you.

- I don't care if she does.

They ought to be told.

Mrs. Dorsey, maybe with
your husband a musician,

your way of life is
different from ours.

- Now, Kate.
- But it's going to be

all over town tomorrow
that those two

poor little helpless
boys were forced to make

a public exhibition
of themselves,

playing in a dance
band in gorman's hall.

- And what's wrong
with gorman's hall?

- What's wrong?

Well, in a town like
ours, Mrs. Dorsey,

a public dance hall is hardly
regarded as a place in which

an average mother would want
her children to grow up.

- And whoever told
you I was average?

I'm so different
from most women,

I even go around
minding me own business.

- I told you it wouldn't
do any good, Kate.

- Why, those old busy-bodies.

Don't cry, mom.

- Aw, mom, you're not gonna let

those two old
buttinskies upset you?

- Of course not.

I'm proud of you now, and I
know I'll always feel that way

about the both of you.

- That's right, mom.

We'll show 'em, won't we, Tommy?

- You bet your life we will.

They were in earnest,

and the boys meant
every word they said.

The years flew by and
the first thing I knew

they were men starting out
with their own jazz band.

Janie Howard went
along as their singer,

and it was like a part
of my life had ended.

Oh, there it goes.

Jane, why don't you keep
your foot on the gas?

- Well, I did, Tommy.

- Well, try it again.

Oh, I can't figure it out.

- I wonder what'd happen if
you press down on that gimmick?

- You get your
weight, your fortune,

and a picture of
the wild canaries.

- Find out anything, Jimmy?

- A farmer back there
said there's a town

two miles further on.

- What is it this time?

- Oh, I don't know,
it just won't go.

- Well, we guessed
that when it stopped.

- Oh, 50, 60 bucks will
fix it up like new.

- 50, 60 dollars, eh?

Just like that.

- Don't worry,
we'll get the dough.

- What are we, the dorsey
brothers or the James boys?

- Why don't you
laughing boys lay off?

- Yeah, just because it's
a little tough right now

don't mean it's
gonna stay that way.

- A little tough?

I remember in Indianapolis
we lasted four days.

- That's all we were booked for.

In
Steubenville, we lasted one day.

- Who'd stay there any longer?

- Remember fellas, into
each life some rain must...

- You're not saying very much.

- Looks like the boys
have said it all.

Now that we convinced 'em

we're all better off
back in the mines.

- Oh, anotherjoy boy.

- It's about time somebody
around here made some sense.

- What's the matter,

doesn't his royalness like
the way I'm running things?

- No, I don't.
- Oh, you don't.

- Tommy, Jimmy.

Hey, it's running.

- Hurry up.
- Come on, get in.

- Hurry up.

Just got hot.

Grand hotel, I
wonder if they're kidding?

Better than that trap

we stayed in last night.

Lobby looks nice.

- We'll only stay
here overnight,

then head for Jefferson city.

- Evening.
- Good evening.

- Got any rooms?
- Orchestra, huh?

- Sticks and stones
may break our bones,

but names will never harm us.

- Let's see,
there's seven of us.

- Seven.

- I know there's a train
out of here for Chicago

in about an hour.

I'm taking it while
I still got the fare.

- Now wait a minute, Joe, you
can't walk on us like this.

- Who's gonna play piano for me?

- I know how you feel, Joe,
but we've got a booking

in Jefferson city tomorrow
night, and a date is a date.

- All of Jane's arrangements
are built around you, Joe.

- We gotta have you on piano.

- I'm sorry, Jimmy,
but my mind's made up.

So long, fellas.

- So long, Joe.

- Anybody else?

- We are due in Jefferson city
tomorrow night, aren't we?

- Sure.

- So we stay.

- Well, that's a relief.

- We still don't
have a piano player.

Say, mister, know anybody in
this town that plays piano?

- In the dining room there
we've got a player piano.

No, this is a small band,
we couldn't carry it.

- Well, there's,
oh, but he's dead.

- Hell, he belongs with-
- quiet.

- There's a fella down
at the movie house

plays for the pictures.

That's just down the street.

- Is he a young fella?
- Yeah.

- Foggy, check us in and
take care of the instruments.

Jane, you come along with us.

- Moral support.

- A little bait for the hook.

- He's not bad.

- Do you think we can sell him?

- What do you mean we?

- Well, you can help
us make a pitch.

- Are you gonna go through
life doing this sort of thing?

- What's it to you?

- It hurts here the way you're
throwing away your talent.

- How would you like to
join a red-hot jazz combo?

- I do all right.

- We're a professional
outfit, fella,

headed right up the ladder
of fame and fortune.

- No stops till we hit the sky.

Boy, what a future.

- They mean New York,
bright lights, you know.

- Tell you the truth, I don't.

- She means the big time
where this outfit's headed.

You'll be with a band
that's going places.

- Shh!

- Give him another pitch.

- I'm helping.

- Well, smile at him.

- What time do you
get through tonight?

- About a half an hour.

Well, I have to
put up the seats.

- Well, the boys would
be very glad to help you.

- Excuse me, this is the chase.

- You'll love the gang, Bob.

Swell bunch of fellas.

- What I've seen so far is okay.

- Boys, meet our new
piano player, Bob Burton.

- All right, Bob.
- Hello, Bob.

- One rehearsal and we're
all set for Jefferson city.

- You can forget about Jefferson
city, the date's canceled.

- Canceled?

- That's right, we just
talked to them on the phone.

- Uh oh, here we go again.

- I don't know what we've got,

but they sure can
leave it alone.

- Oh, well, what's a
canceled date or two?

Every new band has
its ups and downs.

- Oh, sure.

- I'll wire Artie tonight,
he won't let us down.

He'll have us booked
by tomorrow morning.

I'll check with you then, Bob.

I'm sure we'll have some news.

- Oh, wait a minute.

Bob, it looks like we've
built you up to a letdown.

Date's been canceled
and all we have left

is hope and a prayer.

Maybe you ought to go
back to that steady job.

- Yeah, I guess he's right, Bob.

Not that we wouldn't
like to have you with us.

- Well, if you
don't mind, fellas,

I think I'd like
to stick around.

I have some great
ideas for miss Howard.

Oh, in the line of song
arrangement, I mean.

- Oh, sure, sure.

Sure, you can rehearse tomorrow.

- Fine, good night.

- Good night.
- Good night.

- Good night.

In this part, you'll work
with the piano alone.

It'll, well, it'll sort
of give the number a lift.

I wrote this song with
someone like you in mind.

- Well, I do hope I do
itjustice, Mr. Burton.

- Oh, you will, I'll
be coaching you.

- Jane, as long as you're
not doing anything,

would you wash out a
couple of things for me?

It's only some socks.

- Sure, Eddie,
put it over there.

Glamorous isn't it?

Now look, come in this way.

When the trombone picks up the-

- hey, Jane, do you mind?
It's just a few handkerchiefs and things,

as long as you're not busy.

- What do they mean as
long as you're not busy?

Not doing anything.

- Are you any good at ironing?

- I'm simply devastating
at Afghans and doilies.

Just try me sometime.

If you don't mind,
let's get back to work.

- Well, well, a little
close Harmony, huh?

- How's it going?
- Oh, fine, fine.

- I knew you two
would get along.

By the way, have you seen Tommy?

- Oh, he's down at
the telegraph office

checking on any
answer from Artie.

- Oh yes.

Say, Jane, as long as
you've got a few minutes,

I've got some shirts-

- oh, absolutely,
bring 'em right down.

Just pile 'em over there.

- Thanks.
- Don't mention it.

Shut the door on the way out.

- Okay.

- Let's see if we can
get all the way through

this thing just once.

J'to mej'

j' you're the Rose on a rosary j'

j“ the rise of a rising sea j“

j“ the glow of a star j“

j'to mej'

j“ you're the core
of a coral sky j“

j“ the lull of a lullaby j“

j' you know that you are j“

j“ to you I'm a mask
in a masquerade j“

j“ one of the
unfinished symphonies j“

j“ that's never been played j“

j“ still, to me j“

j“ you're the Rose of a rosary j“

j“ you are and you'll always be j“

j“ so precious to me j“

- Did you like it?

- It's nice, Bob, very nice.

- No bookings for wild
canaries now or in future.

Have jobs for you and brother
with Paul whiteman band

if you come immediately.

Answer, Artie.

- Paul whiteman, huh?

Gee, that's a break
for you and Jimmy.

I know a lot of guys
who'd give their right arm

to play with whiteman.

I'd give both.

Oh, but that means I'd have to
play the banjo with my feet.

- Sure, working
with Paul whiteman

might be the chance
of a lifetime.

But my brother and I want a
band of our own, not just a job.

Look, foggy, not a word of this.

No talk.

Compared to me, the sphinx
is a chatterbox.

- Pardon me, you're the
fellow with the orchestra,

aren't you, dorsey?

- I've been looking for you.

- Let me handle this, Tommy.

Let's see your warrant.

- Do I need a warrant
to talk to you fellas?

This is about a radio date.

You ever heard of radio?

- Oh, you mean that
thing without wires

that makes like.

- You'd be surprised
how it's developed.

You can hear 50 or 60 miles.

Anyway, we want to try
a little experiment.

Put an orchestra on the air.

It's never been done before,
not around here anyway.

- Oh, haven't you
got something else?

- Thanks, chum, but when
we work, we get paid.

- Oh, we pay all right, $50.

Oh, of course it's not much,

but then there's no telling
how far you might go.

- I don't know how the
fellas will take it.

- See, we're professionals,
we got a reputation.

- Well, you don't have
to use your right name.

Nobody will hear you anyway,
that is nobody important.

- Well, where do you
want us and when?

- Bannock bulding.

That's in cedar Springs about
10 miles down, 8:30 tonight.

- Okay, mister... de witt.

- The band will be there.

I'll have to break
it to them gently.

- I don't understand Artie
booking us into a spot like this.

- Well, it's like Tommy
said, a job is a job.

What do we care as
long as we get paid?

- This is so important, I've
added two men to the band.

I want to make it big.

- But they've never
rehearsed with us.

- Oh, don't worry,
these fellas read music.

Now when I give you the
signal through the glass,

that's when you start playing.

And above all, don't forget
this is the microphone.

With that, you'll be
heard all over two states.

- Two states?

We better play loud.

- Yeah, especially you
fellas in the back.

- Don't forget in this spot

you'll play alone
with the piano.

- Maestro, it shall be done.

- Thank you.

Get ready.

-Loudenlouden

What's that?

I can't hear you.

Tone it down.

- What's the matter with you?

- Who told you you
could take a solo?

- I felt like it.

Nobody else is trying a solo.

Tommy, Jimmy.

- We're gonna need
windshields and earmuffs

if you don't lay
off that loud stuff.

You're blowing us all down.

- Gentlemen, gentlemen, please.

Do you realize that
everything you're doing

is going over the air?

- Okay, okay, let's hit it boys.

And this time get in
your cyclone cellar.

- Oh, is that so?
- Yeah.

- Help, police!

Pull them out,
pull them all out.

- Get your hands off my brother.

Stop it, stop it!

Help, police!

- Hey you.

- My mic, my poor mic.

- Oh, go away.

- Help, police!

That's all, folks.

- Hey, what about our dough?

We were promised a half
a c-note, 50 bucks.

- You blow hard enough, you
ought to get a half a c-note

out of this musical pretzel.

- Well, how do you like that?

Where's Eddie and Phil?

- They told me to tell
you they're through.

- Oh, let 'em go.

We'll round up two more guys,

and we'll be rolling
again in no time.

- Look, I've got a
suggestion for you.

Makes sense, so you'll
probably pay no attention.

Why don't we all head
for New York right now?

- And give up this tourjust
when we're beginning to click?

Why that wire from Artie
raved about our prospects.

That's nice to know.

By the way, here's a little
something you dropped

during our last bang-up job.

A little reference
to Paul whiteman.

Also no bookings or no prospects
of bookings, signed Artie.

- Reading my mail, huh?

- Uh oh, they're arguing
again, I guess I'd better-

- are you always in the
middle of those two guys?

Artie's a bring-down,

a third degree gloom-peddler.

- Oh, let's face it, we
started before we were ready.

We'll do better the next try.

In the meantime, you and I can
be working for Paul whiteman

and helping the other fellas
until they can get something.

Just let it go at that.

- He's right, Tommy.

Remember what mom said,
she wants you two together.

- Okay, you win.

But we'll click with
our own band yet.

- Sure we will, Tommy.

- I'm sorry the way
things turned out.

Maybe later on when we
get started again, we-

- I thought I got started.

Come on, let's go home.

They went into New York then.

Radio was just beginning to
take hold and the big new bands

were taking hold with it,
the vallees, the lombardos,

and the king of them all.

- What'd you find out, Artie?

- That's what I came
over to tell you.

Now I haven't got any word yet,

but you know how it
is with any new band.

- Look, Artie, you've gotta
book that sands point date.

We're ready now,
let's get goin'.

- I'm working on it.

After all, you
ain't whiteman yet.

Oh here, song pluggers loaded
me down with some new numbers.

You might as well look
them overjust in case.

- Just in case, as if we didn't
have enough of this stuff.

J'to mej'

j“ you're the Rose of a rosary j“

j“ the rise of a rising sea j“

j“ the glow of a star j“

j'to mej'

j“ you're the core
of a coral sky j“

j“ the lull of a lullaby j“

j' you know that you are j“

j'to you j“

j“ I'm a mask in a masquerade j“

j“ one of the
unfinished symphonies j“

j“ that's never been played j“

j“ still, to me j“

j“ you're the Rose of a rosary j“

j“ you are and you'll always be j“

j“ so precious to me j“

- You're in splendid voice
tonight, miss Howard.

- Ah, thank you, maestro.

It must be that new gargle.

- Oh, that's a very
unromantic remark.

I had hoped that that lovely try

was due to a certain
stirring of the heartstrings.

- Yes, it must be the gargle.

- You too were in lovely
voice tonight, gertie, dear

since Tommy and I got you out
of uncle's three Bali hotel.

Come, we must go serenade a bat.

- I don't mean this to be
a guardian angel routine,

but don't you think
you're wasting your talent

in ajoint like this?

Why don't we take
that Chicago offer?

- Oh, did they call back?

- Sure, they still want us.

It goes well, it could
lead to something big.

- Yes, I know, Bob, but
well you see it's just that-

- it's just that you don't
wanna leave Tommy and Jimmy.

We've all been patient,

but you can't wait
forever, Janie.

- Oh, the boys are bound
to get started again soon.

And they'll need me,
they'll need us, Bob.

- You sure think a lot
of those two, don't you?

- Gosh, we grew up together.

They're like my own brothers.

I want them to be a big success.

And when they are, we'll
share that success.

Ah, good evening, James.

- Good evening.

Madame never looked lovelier.

- I'll thank you to keep
a civil tongue, James.

- It's not on the
menu, your excellency.

- Oh, too bad, too bad.

Well, perhaps shall
we start with caviar

and mock turtle soup for two?

- Oh, that would
be too, too divine.

- Yes, it would.

- How is the pressed
duck this evening?

- Oh, it has a beautiful crease.

- No, no, I think I would like

the roast Guinea
hen under glass.

- Under glass, hm.

And do you have any wild rice?

- No, we only have tamed rice,

but we can irritate some.

- I'll have the
creased, or pressed duck

and pygmy artichokes
in caper dressing.

For dessert, pie
with fresh strawberry

and a demitasse with
just a dash of Brandy.

- Yes.

- In other words,
the same as usual.

- Two hamburgers with
all the works, hm.

- You know, Janie, just
because you were brought up

with those two... Bob, you know,

before I forget about it,

I wanna tell you about that
phrase in the "to me" number.

You know where I, well,
pardon me if I'm boring you.

- Oh no, go ahead,
I'm listening.

- Well, as I started to say-

Okay, maestro, let's
make this a duet.

Janie, do that again.

- What?
- Please, please, I'm serious.

Do it again in the same order.

- What is this, a
command performance?

- To think that I've
been staying awake nights

digging for that phrase.

- Well, I'm thrilled,

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

- Well, if you must know,
I'm writing a concerto.

- Aconcerto?
- Uh huh.

- Oh, Bob, that's wonderful,

but I didn't know you
were interested in-

- serious music?
- Yes.

- Janie, don't you know
that every comedian

has a hankering
to play "Hamlet"?

- A very profound
observation, Mr. Burton,

and all too wonderful,
but you mean to tell me

that my water glass
serenade actually helped?

- Oh, it sure did.

You know how it is
when you're a genius.

You get your inspiration
where you find it.

I wrote this part
for trombone and sax.

It's modern and
thoroughly American.

- Oh, it's beautiful, Bob.

And you must stick with it.

- Right down to the last bar.

Tell me now, aren't
you a little surprised?

- Why should I be?

You do beautiful
things with music, Bob.

And there's no reason why you
shouldn't continue to do them

on a higher plane.

- I think maybe I could if...

- If what?

- If I had you
around permanently.

- Hold the onions!

- Even in Joe's that was
moonlight and orchids.

- You know you'd make
a beautiful bride?

This is the season for it.

I love you, Janie.

No echo?

- I'd like to, Bob, really but-

- I know, Tommy and Jimmy.

You know, if we went to Chicago-

- Jane, Bob, we're
in, we made it.

I just talked to
Jimmy on the phone.

We open at sands point
next week, all of us.

- Oh, wonderful.

Oh, Bob, isn't that marvelous?

- I wonder.

- Pardon me, I
forgot the onions.

This time, well,
it was the right time.

They called themselves the
dorsey brothers orchestra,

and sands point was
just a stepping stone to

the island casino where they
had their first real success.

It should have stayed that way.

- What is this, a wake?

Let's get a little
life in this thing.

Now look, fellas, we're
gonna get this right

if it takes all night.

- You mean all morning.

- Yes, all morning.

Let's take it again,
here we go, one, two.

You're still not
playing it right.

- It's too fast.

- That's the way the
number should be played.

- That's the way you think
the number should be played.

When it's your turn to lead,

you can do it your way.

- Well, I think I'll
take over right now.

- Look, you've been
arguing bout this one

ever since you
first rehearsed it.

Now why not drop it
all together, Tommy?

- Okay, rehearsal
tomorrow at 12:00.

- Make it three o'clock, fellas.

We been working too hard.

The band's getting stale.

It's my band too, you know.

- Hey, are you guys gonna
take me to the jam session

at art Tatum's
tonight or aren't you?

- All right, I guess we are
getting a little groggy.

Let's go hear a real musician.

- I don't like to say anything,

but I thought you said you
were going to the onyx with me.

- Oh yes, I did, Bob.

But well, you see how it
is with Tommy and Jimmy.

I had to say something
to stop them.

- One of these days, we're gonna
get to go out by ourselves.

- Oh Bob, I'm so
worried about the boys.

They're fighting
about everything now.

I hate to see them throw
away all the things

they've worked so hard to get.

- Just a minute, please.

Tommy, Jimmy, you're
wanted on the phone.

It's long distance, shenandoah.

- Well, it must be
mom, Mrs. Dorsey.

- Mrs. Dorsey?
- M-hm.

- Hello, mom, this is Janie.

- Hello, Jane.

We're fine, and you?

That's good.

Yes, pop's right here.

And how are my boys?

- Oh, they couldn't be better.

Mom.

- Hello, mom, you all right?

That's good.

Say, what are you and
pop doing up so late?

- Well, we wanted to
thank you and Tommy

for this beautiful
anniversary present.

We've been playing
the machine for hours.

- And we don't allow
anything on it but records

by the dorsey
brothers orchestra.

- Jimmy, Jimmy, wasn't
it awfully expensive?

- She says it's
awfully expensive.

- Don't worry about
what it cost, mom,

just go ahead and enjoy it.

Oh, hello, pop.

- Say, son, I don't
like to mention it,

but on a couple of those
records I noticed the tone

was just a shade off
on the lower notes.

- That's right, pop.

Pop wants you.

- Yes, pop.

- If you take my advice,

you put in four hours of
solid practice every day.

- Okay, pop.

Yes, pop.

- Bear that in mind.

Good night.

Of course I wouldn't
tell them, but the boys

are getting so they execute
better all the time.

Just once more.

- Oh, but you've been
playing it for hours.

- Just once.

- You know, Tom.

A mother couldn't ask for more.

We've been so lucky
that sometimes,

sometimes it kind of scares me.

Oh sure, sure, but we
haven't got anything

to worry about anymore, Tess.

You know, I've been thinking
about a surprise for the boys.

Something we've put
off for too long.

Oh, you'll like it,
expense or no expense.

- But I don't understand.

- Hope you're not angry because
I brought you here tonight.

- No, but I sorta wish
we could've been alone.

I had something I
wanted to tell you.

- What?

- I finished the concerto.

- Oh, Bob, that's wonderful.

- I hope that's what
the critics say.

- Have you shown
it to anyone yet?

- No, it needs a
little touching up.

Besides, I wanted to
play it for you first.

You know, it was
written for you.

I got an idea for
the title page too.

I'd like to say Jane, my wife.

How about it, Jane?

- I guess I should
make up my mind.

- Been on that
doorstep a long time.

Oh, I know you're worried
about those two guys,

but darling you can't do
anything more for them.

They're tops now.

You do love me, don't you?

Well?

- Now that title page.

- To my wife?

- M-hm, be sure and
spell the name right.

- Barnet, come on!

J' the object of my affection
can change my complexion j'

j“ from white to rosy red j“

- good evening, sir.
- Evening.

- Don't you think we
should've told the boys

we were coming?

- It's more fun
to surprise them.

J'and tells me that he's mine j“

j“ there are many
boys who thrill me j“

j“ some who can fill me
with dreams of happiness j“

j“ but I know I'll never rest
until he says he's mine j'

j“ now I'm not afraid
that he'll leave me j“

j“ 'cause he's not the
kind who'll be unfair j“

j“ but instead I trust
him implicitly j“

j“ he can go where he wants to
go, do what he wants to do j“

j“ I don't care j“

j' the object of my affection
can change my complexion j'

j“ from white to rosy red j“

j' any time he holds my hand j'

j'and tells me that he's mine j“

- Tommy, how about
playing "never say never"?

- Please, Mr. Dorsey.

- The customer wants
"never say never."

- But Tommy,
remember in rehearsal

we never did finish that number.

- Oh, let's do it, but
don't kick it off too fast.

- "Never say never," boys.

What was that for?

- That's for
playing it too fast.

- No musician can do
that to me in public,

not even my own brother.

Why don't you lead
the band right for a change?

When it comes to leading a band,

I don't need any
advice from you.

- What's the matter?

- I don't know.

- Look, let's play the numbers
right or not play 'em at all.

- All right, we won't
play 'em at all.

- If you walk out
now, it's for good.

- Okay, for good.

- Tommy.

Tommy.

- Pardon me, please.

Jimmy.

- Stay here, or this is
gonna go on all our lives.

- I got to catch Tommy.

- Janie, please listen to me.

Look, they were bound
to have a showdown,

and this might as well be it.

- Let 'em have it out.
- Let me go, Bob.

-All right, we might as
well have a showdown then.

If you can't stay out of this
thing, you'll never be able

to stay out of anything that
has to do with the dorseys.

And whether you were
raised with them or not,

I've had about all of that
that one man can take.

If you go now, we're
through too for good.

- Pop, I'm sorry you were here.

- Now listen to me, Jimmy.

- I know what you're gonna say,

and there's no
point in saying it.

Nothing will make a
bit of difference.

There's no use.

- You've got to go after him.

- No, pop, I've got
to conduct this band.

- When I get those two together-

- oh, pop, believe me,

not even your strap
will help this time.

The boys just don't think
alike, they don't act alike.

Well, they don't
even play alike.

All they've got is
the same temper.

No, I think this is the finish.

- But our boys
can't just break up.

- Jane, isn't there
something you can do?

- Well, mom, I guess
I'll go with Tommy.

I think he'll need me more.

- I wanted the boys
to have spirit, Tess,

but I never expected this.

- Tom, Tom dear.

Still pasting things
in the scrapbook, Tom?

- It's a proud collection.

Just look at the newest.

Dorseys in tie for top place.

Remember how worried we were

thinking they'd never get
along without each other?

And now look at them,
sitting on top of the world.

- It is nice.

- I'm very pleased,
Tess, very pleased.

They're so big now
a lot of papers

are just calling them by
their initials, td and jd

like usa.

- Are you about ready
for dinner, Tom?

- Something bothering you, Tess?

Are you not happy
about the boys?

- Can't say I'm not
happy about them,

but I'm not happy about us.

Tom, maybe it's something
that only a mother

would be that
bothered by, but well,

the boys and the success,

I can't help feeling
the family's a failure.

- But Tess, they've got
everything in the world.

They're the biggest thing
there is in dance bands.

Both of them, they-

- yes, yes, yes, I know.

But can I have them
home for dinner?

Can I walk down the street
with both my sons beside me?

When Tommy's at home,
Jimmy won't come.

And when Jimmy's at
home, Tommy won't come.

And if it's a birthday or
anniversary or Christmas, well,

we get phone calls and
messages and presents.

The nicest present a mother can
have, her family around her.

Tom, it just isn't
a family anymore.

- Yes, Tess.

I feel just the same.

Didn't want to say it to you.

- I'll put the
things on the table.

- Tess, where did you say
the boys are playing now?

It's in the letter, Tom.

J“ your green eyes with
their soft light j“

j“ your eyes that
promise sweet night j“

j“ bring to my soul a longing j“

j“ a thirst for love divine j“

j“ in dreams I seem to hold you j“

j“ to find you and enfold you j“

j“ our lips meet and
our hearts too j“

j“ with a thrill so sublime j“

j“ those cool and
limpid green eyes j“

j“ a pool wherein my love lies j“

j“ so deep that in my searching j“

j“ for happiness I fear j“

j“ that they will ever haunt me j“

j'aii through my life
they'll taunt me j“

j“ but will they ever want me j“

j“ green eyes, make
my dream come true j'

J' soft lights and eyes
that promise sweet nights j“

j“ bring to my soul a longing j“

j“ a thirst for love divine j“

j“ in dreams I seem to hold you j“

j“ to find you and enfold you j“

j“ our lips meet and
our hearts too j“

j“ with a thrill so sublime j“

j“ those cool and
limpid green eyes j“

j“ a pool wherein our love lies j“

j“ so deep that in my searching j“

j“ for happiness I fear j“

j“ that they will ever haunt me j“

j'aii through my life
they'll taunt me j“

j“ but will they ever want me j“

j“ green eyes, I love you j“

- Pretty good, lad.

- Did you like it, pop?

Make you think of gorman's hall?

- Gorman's hall you
had to be a musician.

Boy, if you and Tommy
could get together-

- look, pop, let's not
go into that again.

I still can't get over your
coming up here without mom.

How's she doing?

- Better than I am, I hope.

J“ oh Marie, 'tis true j“

j“ the dawn is breaking j“

j“ just break for me j“

j“ girl of my dreams j“

j' you'll soon be j'

j“ I want you, I need you j“

j“ have a little faith in me j“

j' your heart is aching j'

j'tra la la la la j“

j“and tears will fall j“

j“ there you go crying again j“

j“as you recall the moon j“

j“ on a night like this j“

j“ in all its splendor j“

j“ we don't let men park j“

j“a kiss j“

j“ oh the way I like it so j“

j“ you're the world j“

j“ spoken as I came to speak j“

j“ will you surrender, Marie j“

j“ living in a great
big way, mama j“

- That, ladies and gentlemen,
winds up another broadcast

of Tommy dorsey, that
sentimental gentleman of swing.

Until next week,

this is frank Robinson
brown saying good night.

- Are you ready to eat, mom?

Did you ever know
me when I wasn't ready to eat?

-That a girl.

- Tommy, I don't want
to begin all over again.

But if you and Jimmy would only-

- mom, I'll meet you back
here just as soon as I change.

- You don't have to tell me.

Didn't get anyplace.

- No, Jane, the
minute you mention it,

they just shut off their ears.

- You know, mom, the
trouble is the boys

are too used to
saying no to you.

You're the old folks.

They love you and there isn't
anything they wouldn't do

for you, but well, you know.

Maybe what we need is a
completely different approach.

- But we can't even get them
together in the same room.

- Yes, I know, and I've
been thinking about that.

And I believe I know
how it might be done.

Hello, Eddie.

- Jane, of all people.

Gee, I'm glad to see you.

How you been? Come on in.

Bob just went out.

- He just now go?

- But he'll be right back.

He went out to get his laundry.

- Oh, then in that case
we haven't much time.

Look, Eddie, I need
your help very badly.

You remember Bob's concerto?

- M-hm.
- Well, I've go to have

a copy of it right away.

You know what he's done with it?

- I haven't seen anything
of it since, well,

he put it away
somewhere and you know.

- Well, we must find it.

Where does he keep his music?

- Well, seems as though
I have seen it somewhere

at the bottom of something.

You look through
the desk over there,

and I'll check through
the closet and things.

- There's nothing here.
- Have you found anything?

- Not yet.

Try the clothes
closet next to you.

Sometimes he keeps
papers in there.

I've got it.

Here it is.

- Oh, wonderful, Eddie.

Now look, I'm going to try
to do something with this,

but Bob mustn't know
anything about it, promise?

- I won't say anything.

But I'm not so sure
about Bob not knowing.

After all, he's the composer.

You won't be able to do
much without his say-so.

- Oh, well that's all right.

I'll change the name on
it to Smith or something.

And thanks again, Eddie.

If what I have in mind comes
off, I'll send you a ticket.

- Uh huh.

Who?

Paul whiteman?

Hello, Paul, long time no hear.

How have you been?

What's that?

- I'm conducting
the annual concert

for the musician sick fund.

Want to introduce some new
American music, it's a concerto.

Oh, I think it's gonna
be a very exciting night.

And you're just the fella
to play that concerto.

- Well, Paul, if it's
good enough for whiteman,

it's good enough for me.

- Oh, that's wonderful, Tommy.

It'll be so swell
seeing you again.

Well, looks like
we're doing all right.

We got one.

- Oh, thank you, Mr. Whiteman.

I didn't think
he'd say no to you.

- How do you like that?

A concerto.

Wouldn't pop get a
kick out of that?

- Yeah, a whiteman concerto.

That's tops in the
trade, brother.

Hey, do you suppose he'll
be asking Jimmy too?

- Are you kiddin'?

Whiteman knows better.

Jimmy will end up
leading his band.

- Yes.

Uh-huh.

Oh hello, Paul, you
want a job with my band?

Uh-huh.

Sure, even if! Have to
cancel a date for that.

Right.

Well, what do you know?

Whiteman would like me
to help him introduce

the new American concerto.

- American concerto.

I had ambitions myself
along that line once.

- Yeah?

- Say, you don't think he'd
want your brother too, do you?

- Not if whiteman wants
to keep his Baton.

Oh, not a chance.

Mr. Whiteman around?

- He'll be along any minute.

Oh, you must be
Mr. Jimmy dorsey.

I'm Walter, his concert master.

Won't you sit down?

- Thank you.

- Oh, Tommy, just before
we start on bar 29,

you'll find that passage
has been changed.

- M-hm.

- I think you'll find
it'll play smoothly.

- Okay, I'll make that
change right now, Paul.

- Like to have the score?

- Thank you.

- Hi, Jimmy.

Gee, it was swell
of you to come.

How you feeling, partner?

- Fine, Paul.

It's kinda chilly in here.

- It'll warm up.

- Say, Paul, is this right?

- That's right, Tommy.

- Well, that change
makes this bar

straight trombone and clarinet.

- That's right, Tommy.

- Who's on the clarinet?

- The clarinet?

As a matter of fact,
your brother, Jimmy.

- I'm sorry, Paul,
but that's out.

I said we'd never play together
again, and it still goes.

- I'm glad he said that,
Paul, it saved me the trouble.

- Oh look, boys, it's
such a worthy cause.

Let's not let personal
differences interfere.

You're too big for that.

- Paul, I'd like to do you this
favor, but trying to get us

to play together again
is something different.

You know we've always
disagreed over interpretation.

- Hey, you boys
forget I'm conducting.

And when it comes
to interpretation,

I'm kind of a double dorsey.

- Thanks, Paul, but I think
you'll find a double dorsey

is just one too many.

If you'll excuse me, I'll go.

Jimmy.

- Never mind, I'll go.

Tommy.

- Hey, Tommy, Tommy-

- now look, foggy,
don't you start in too.

- No, Tommy, I been trying
to reach you for an hour.

This is about your father.

- Pop, what's wrong with him?

- Well, he's pretty
sick in the hospital.

Your mother called, she
wants you to come right away.

- I'll leave right away.

- I called the airport,

and there's a plane
leaving in half an hour.

If you hurry, you can make it.

- My brother's in there,
you better tell him too.

By the time the
boys reached the hospital,

pop was too weak to talk,

but he saw Tommy and
Jimmy standing together.

He smiled and then
closed his eyes.

- Hey, mom.

- You can't do
anything now, mom.

None of us can.

- If I could only be
sure he hadn't suffered.

- He didn't suffer.

- Nothing much you
can say, is there?

He gave us kids
everything we've got.

- He gave us all
everything we've got.

40 years I've been wondering
what this day would be like,

and now I know.

Now I know.

- Mom.

- There's just one last
thing your father wanted,

and only you boys
could give it to him.

- We know, mom.

- You don't have to ask us.

- Gee, mom, I'm happy
you could be here.

- Yes, Jane, thanks
for everything.

- Hello, I didn't know
you were coming tonight.

Eddie gave me this seat.

Somebody sent it to him.

That sounds like my concerto.

- It does?

- It is my concerto.

Look at that, look at
the composer, d.H. Smith.

He's a thief.

- Why that's outrageous.

- I've got to find him.

- Wait a minute, Bob.

- I've got to find
this d.H. Smith.

- Would you mind?

We're trying to hear the music.

- What?

- So you see, Mr. Burton,
you are now Mr. Smith.

But that's all right,

Mr. Smith will be Mr. Burton
in the papers tomorrow morning.

- What about Mrs. Smith?

- Well, she prefers Burton.