All language subtitles for The.Danny.Thomas.Show.S09E04.The.Trumpet.Player.1080p.AMZN.WEB-DL.DD2.0.H.264_track3_[eng]

[theme music]

I'm coming.

Hi, Charley.

Hi, Kathy.

Oh, Kathy.

Kathy, am I glad to be here.

Aw.

These flowers are for you.

Oh, for me?

For what?

For having a nice,
quiet, peaceful house.

For that I get flowers?

You do in my book.

Oh, Kathy, you should hear
what's happening at my place.

Kathy, take my advice.

Don't ever remodel.

Since 7 o'clock this morning,
the carpenter, the painter,

the decorator, they've
been there banging

and drilling and pounding.

And then my mother-in-law,
bossing everybody around,

and the decorator is
yelling at the painter,

I told you I want egg shell.

Why don't you give me egg shell?

And the painter yells,
I gave you egg shell.

The decorator said, no, I
meant white eggs, not brown.

There was so much
noise, I tell you,

I almost couldn't
hear my mother-in-law.

But, Kathy, all I want
to do is sit down and get

the noise out of my ears.

Well, Charley,
you just sit down

and relax for a little while.

How would you like
a cup of coffee?

Oh, bless you.

You are a wonderful human being.

Well, I'll get
you one right away.

CHARLEY: Oh, bless you.

You just relax for a while.

- Hi, Uncle Charley.
- Hi, Russ.

Hi.

[screams]

Charley, what are
you doing down there?

If you're smart,
you'll get down here too.

Too?

What's the matter with you?
Why?

Why?
We're being attacked.

Come on.

Oh, [inaudible] ridiculous.

Get up here.

Boy, I'm glad you're here.

I'm not.
I'm not.

What do you mean you're not?

You're just in
time to hear Rusty.

He's going to give
us a drum concert.

Does he-- does he have to?

Yeah, he has to.

He's got to practice.

He's got to practice?

Yeah.

You mean with the drums?

Yeah.

He's going to
b-- he's going to--

with the sticks, uh,
and then the cymbals,

uh, and the-- and the--

[CRYING] no, no, no, Danny.

No, no, [inaudible] bother
nobody, get up this morning.

Everything happens [inaudible].
- Charley.

- Charley, come on.
- Come back.

What's the matter with him?

Oh, honey, they're
remodeling at his place,

and it's so noisy,
and he came over

here for some peace and quiet.

Oh, well, what's
more peaceful and quiet

than nice, soothing music.

Uncle Charley, I'm
going to audition

for the band at the YMCA.

Yeah, he's auditioning today.

He's going to--

well, look, Rusty,
I tell you what.

If you're going
to audition today,

maybe you shouldn't
play the drums now.

Save your energy.

I mean, you don't
want to go down

there with pooped drumsticks.

Oh, [inaudible]
Put it on, baby.

I'll put it on
the flip side first.

The flip side will be fine.

Which side's the flip side?

Put on the record.

[big band music]

Yeah.

Charley.

Oh, it's over?

Yeah, it's over.

Well, did you
like it, Charley?

Well, no, no, it was good.

It was very good.

Lot of heart.

Like it.

Wish I didn't have to run.

I could listen to more.

Oh, it was real nice.

[plays out of time]

[inaudible]

I sort of made a mistake.

Yeah, I know you
lost your place,

but you did much better
than you did the last time.

You almost caught up.

OK, boys, let's
try it again, huh?

Mr. Norman?

Yes, Roger.

May, I be excused
for a minute, please?

Well, just in a moment.

We're going to try it once more.

The whole thing?

Yes, the whole thing.

Mr. Norman, I think I'll
have to be excused right now.

OK, [inaudible]
Take five, fellas.

We'll wait a little while.

We'll take a break here.

Oh, how do you do?
May I help you?

Yes, I'm Rusty Williams.

I talked to you on the phone.
- Oh, how are you, Rusty?

Fine.
This is my father.

Danny Williams.
How are you sir?

Oh, the nightclub entertainer.

Well, pleased to meet you.

I'm Larry Norman.

Oh, really?

Are you the-- the conductor?

Yeah, the conductor,
the basketball coach,

the swimming instructor,
the counselor, the--

well, the substitute
father, and what have you.

Well, I came to
talk to you about my--

Mr Norman, I got my shoe off,
but I can't get it back on.

The knot's stuck.

Well, let's see if
we can't unstuck it.

As I was saying, I thought--
my son says that he talked

to you on the phone
and that he'd like

to audition for the band.

Well, we'd be very
glad to have him.

Sure.
MR. NORMAN: Fine.

Hey, Mr. Norman?

Yes, George.

Can I take the clarinet
home with me tonight?

Is it your turn?

No, it's Freddie's, but he's
willing to swap nights with me.

Monday night's the only
night I can practice.

Well, why is that?

That's the only night
my father goes out.

Well, OK, George.

You take it home and practice,
but you really practice hard.

And I want you to have
a tired lip tomorrow.

GEORGE: Yes, sir.

OK.

The kids have to
share the instruments?

All except Ronnie here.
He has his own.

Oh.

His father supplied
all the instruments.

Oh, does he have a music shop?

No, pawn shop.

He's been a big help to
us, but we still need

quite a few more instruments.

Oh, maybe I can give you a
little assist on that score.

Why don't you stop by the
Copa Club some afternoon.

We have the band rehearsing
almost every day.

Fellas have a lot of extra
instruments in the locker room.

Maybe they'd loan you some.

Really?

Sure.

Well, that would be wonderful.

Why, with some more trumpets and
trombones and a few clarinets,

well, I'd have
enough instruments

to equip the boys in the
St. Patrick's Day parade.

This band in the St.
Patrick's Day parade?

Well, sure.

You got something
against the Irish?

I realize they don't have much
of a professional sound yet,

but they have enthusiasm.

I want to tell you
something, Mr. Norman,

if this band plays in the
St. Patrick's Day parade,

they'll need more
than enthusiasm.

They'll need combat helmets.

Well, I know you're a
very busy man, Mr. Williams,

and if your boy would
like to audition,

I think we ought
to get on with it.

What's his instrument?

He plays the drums, and
wait till you hear him.

- The drums?
- He's pretty good, yeah.

Hey, well, that's fine.
We need an alternate drummer.

Roger here works three days
a week in the supermarket.

- Oh.
- Roger, this is Rusty.

You want to let him
play a tune with us?

OK, Rusty, sit right down.

OK, son.

Show him what you can do now.

All right, boys.

From the top, "Ach
Du Lieber Augustin."

What did you just say?

"Ach Du Liber Augustin."

"Ach Du Lieber Augustin"?

That's what we're
going to play.

Oh no, wait a minute.

How do you expect the kid to
show off with a tune like that?

I mean, give him something
that he can show his talent.

Give them a little sample
of what you can do, son.

Go ahead.

Kid really goes, doesn't he?

He goes, all right.

But it's not the
way we're going.

I don't understand.

Well, you see, my approach
to music with these boys

is quite basic.

I try to teach them
the fundamentals.

Musically speaking,
they must learn

to walk before they try to run.

Well, yeah, but if you
got a kid that can run,

well, let him go.

He'll make the band sound
good and put a lot of oomph

in the oompahs.

No.

No, that's not the way
I want it, Mr. Williams.

Ah.

No, you see, we
teach teamwork.

Yeah.

Whether it's on the basketball
court or here in the band,

we all pull together.

That's nice.

And Rusty will just have to
play along with our group--

- Sure.
- --the way we play.

Swell.

"Ach Du Lieber Augustin,"
boys, from the top.

[rusty playing out of time]

No, Rusty, you see,
this is a waltz.

It's rum, dum-dum,
rum, dum-dum, you know?

Three quarter time.

OK, let's try it again.

All right, boys from the top.

And.

[rusty playing out of time]

Sshh.
Hold on, boys.

Hold on.

Hold on, just a minute.

He seems to be having a little
trouble with his rhythm.

What makes you say that?

Well, you see,
he should be going,

rum, dum-dum, rum, dum-dum.

But he's going rubatubadumdum,
rum, rubatubadumdum.

He's putting his
dums where he should

put his rums and his rums
where he should put his dums.

What's the difference
where he puts his rums

and where he puts his dums as
long as he gets them in there?

Well, you see, it makes a lot
of difference to a musician.

Now I don't know
who taught Rusty,

but whoever did knew nothing
about the fundamentals

of music.

Evidently, he was just someone
who wanted to teach him a bunch

of trashy and flashy work.

Oh, by the way, who
was his teacher?

Me.

Oh.

Well, I'm sorry for the
way I sounded, but--

well, you see that
just proves my point.

Teaching music should be left
to people associated with music.

What do you think
I'm associated with,

chicken plucking?

Oh, I realize that you
use musicians when you sing,

but that's different.

You see, you're not one of them.

Maybe I'm not one of them,
but I know enough about music

to know that "Ach Du
Lieber Augustin" dropped

out of the top 10
a long time ago.

Well, that may be true,
but you'll have to admit,

it's lasted a lot
longer than "You're

Nothing but a Hound Dog."

Very clever ad lib.

And anyway, as long as I'm
the director of the band,

why, Rusty will have to play
in the style that we set.

Or not at all.

Or not at all.

Well, look, what makes
you such an authority

on the subject?

What are you, the Stravinsky
of the sweatshirt shed?

No, I--

What instrument do you play?

Well, I'd prefer one of the
brass instruments, the trumpet.

Oh, I'll bet you
blow a mean cadenza.

Yeah, I played
a bit [inaudible]..

I'll bet.

With some of the
best bands, no doubt.

Yes, yes, I could have.

- You could have.
- Uh-huh.

DANNY THOMAS: Oh, really?

What bands, Harry James?

Benny Goodman?

As a matter of fact, I did
have an offer from Goodman.

You had an offer,
but you turned it down.

Yes, I turned it down.

How do you like
that for a guess?

Look, Clyde, you can give this
kind of jazz to these kids,

but you can't feed
that propaganda to me.

I know a little bit better.

Come on, Rusty, let's
get out of here.

But I was--

I'll get you to
play with an orchestra

that sounds like an orchestra.

But I want to stay here.

I like the way these guys sound.

You like the way they sound?

Yes, and I want to stay here.

OK, you can stay
after we come back.

Where are we going?

Have your ears examined.

But--

[SINGING] From this moment
on, you for me, dear.

Only two for tea, dear,
from this moment on.

From this happy day,
no more blues songs.

Only hooptie-doo songs,
from this moment on.

I've got the skin
I love to touch.

You got the charms
I need so much.

You got the arms to hold me
tight, got the sweet to kiss me

goodnight.

From this moment
on, you and I, babe.

We'll be flying high, babe.

Every care is gone, from this
moment, this happy moment,

from this moment on.

Just like that.

It'll be perfect right
after the second line of it.

Charley, I-- why are you
always covering your ears?

Will you cut it out?

Now, look, Charley--

Charles, as I was saying--

what's that?

Cotton in your ears?

Look, I got work to do,
and I can't stand the noise.

Yeah?

Well, take your cotton pickin'
ears, and go into your office

then.
That's fine.

Here.
Goodbye.

- Wait a minute--
- Take your work somewhere else.

Get out of here.
- This is my club.

I own the club.
[inaudible] work here.

Here's another piece
of cotton for you.

- I like the light here.
- Goodbye.

[inaudible] the light.
[inaudible]

Fellas, let's take
that And [inaudible]

arrangement that we had.

Wait, hold on, hold on.

Hold on a second, please.

Hi, Mr. Williams.

What'd you do, stop
by for a jam session?

Well, no.

You see, you said
something about loaning

us some instruments.

And well, I know you were kind
of mad at me when you left,

and well, I didn't want you
to take it out on the boys.

I thought maybe I could pick
up the instruments today.

Certainly.

I won't let a little
thing like hating

each other penalize the boys.

But first, I want the
fellas to meet you.

Guys, this is a musician,
a professional musician.

Works in a gymnasium.

- Larry Norman.
- Norman.

Larry Norman.

Real good musician.
- Hi, guys.

[interposing voices]

Plays the glockenspiel, is it?

The triangle, wasn't it?

Trumpet.

Oh, the trumpet.

Frank, let me-- loan me your
trumpet a sec, will you, kid?

Let me have that trumpet.

Thank you very much.

Here.

How about jamming it with
the boys a little bit?

No, I--

I mean, they'd love
to-- wouldn't you

guys like to play with a fella
that played with Benny Goodman?

I mean, he turned down Benny
Goodman, believe it or not.

You guys know "Ach
Du Liber Augustin"?

That's his big number.

[inaudible] Here
you are, go ahead.

No, I shouldn't--

Go on.

I dare you.

Look, I stopped taking
dares when I grew up.

I'll bet you did.

Look, it wasn't easy for
me to come down here today.

I had a big argument
with myself about it,

and well, the question was,
do I let these kids suffer

and struggle along
without their instruments,

or do I swallow my
pride and come here

to you with my hat in my hands.

Well, here I am.

Look, guys, if some of you
got some extra instruments

in the lockers you
can spare them,

this man can put
them to good use.

He's got a little band at the
Y. You see what you can find?

[interposing voices]
- Thanks.

- --anybody that has?
- All right.

Go ahead.

[inaudible] Go ahead.

Thanks, Mr. Williams.

I'll wait over here till you
get through with your rehearsal.

Look, Norman, pay no
attention to me here.

I don't usually pick on people.

I just got a little
hot around the collar,

that's all, because
you criticized

my son's drum playing.

That wouldn't have been
too bad, except you

criticized his teacher.

Anyway, you got a job to do,
and you do it as you see fit.

I just want to say I'm sorry.

Are we friends?

- Friends.
- Friends.

Thank you.
That's is.

Oh, here.
Oh, that's great.

That's great.
How about this.

Oh, that's wonderful.

A [inaudible] clarinet.

Fine, gee, thank you very much.

I appreciate it, boys.

Thank you very much.

That's real nice of you.

Hey, the kids will
really appreciate these.

Fine.

By the way, I'm
sorry I embarrassed

you in front of the band.

Oh, that's OK.

That doesn't matter.

I mean, after all,
what's the difference

if you can play trumpet or
if you can't play trumpet.

- What's the difference?
- Of course.

Fine.

I mean, some people were born
to play in Carnegie Hall.

Others were born to
play it the Y, right?

[playing expertly]

Hey, more.

More.

He's right in here.

Oh, hi, Mr. Williams.

Oh, don't give me
any, hi, Mr. Williams.

Go ahead.

Let me have it, one good Ach
Du Liber right in my Augustin.

Come on, give me a kick.

What for?

Because I said you didn't
know how to play the trumpet.

Oh, was I wrong.
Go ahead.

Kick me.

- Oh, I couldn't.
- I could.

Ya-pa-pa.

Larry, I just come over to
apologize to you before I

go in for my operation.

Operation?

Yeah, I'm having my foot
removed from my mouth.

Very good.

[laughs]

Well, now that we've
buried the hatchet,

any time Rusty
would like to come

back and play with our group,
why the door's wide open.

Well, Rusty,
will certainly come

back to play with the
group, but the new director

can handle that.

You won't have to
worry about Rusty.

Yeah, because you see, I
don't like the trumpeter,

the star trumpeter at the Copa
Lounge, doing anything else.

He's got to be exclusive.

DANNY THOMAS: That's right.

Did you hear what he said?

The Copa Lounge, buddy.

You mean you're offering
me a job in the Copa?

- That's right.
- Yep.

Copa Lounge.

Yes, sir, with your
own swinging combo.

We want your signature
on the bottom

after you read the
figures on the top.

Sign right there.

And if you don't
like those figures,

we could always make
them a little bigger.

We could-- Danny, please.

Please.

I know this is the
YMCA, but let's

not carry brotherhood too far.

Well, the offer is
very flattering, but--

What are you talking about?

Anybody blows the horn
like you deserves it.

And that's not all.

This is just the beginning.

I called my agent, Phil Brokaw.

He says he can get you
the Flamingo Lounge

and the Chez Paris in Chicago.

How about that for starters?
- Oh, well, wait a minute.

You got to play for me first.
- That's right.

That's right.
You owe it to Charley.

You got to play
it for him first.

Oh, I don't know.
I--

What you mean you don't know?
You got to play for me first.

You owe it.

I mean, after all, there
is such a thing as loyalty

among old friends and--

That's right.

--we've been lifelong
friends since yesterday.

No, no, look, it isn't
a question of whether I'd

play for you first.

It's more of a question of
whether I'd play at all.

What?

Well, you see, I
have a job, right here.

Here?

You're comparing this job
at the Y with the Copa?

Well, he's offering
you five times as much

as you're getting
here just to start.

Oh, look, if you fellas
want a band in your club,

and if I can't take the job, you
can get another trumpet player,

can't you?

Well, sure, but what's
that got to do with it?

Well, don't you see,
that's easy for you

to get another
trumpet player, right?

Yeah.

But it's not easy
for the YMCA to get

another fella to take my job.

Now look, Larry, this
is a career for you.

This is important.

So is the work I'm
doing here important.

And so are the boys
that I look after.

Wait a minute.

You mean you'd rather work
here than at the Copa?

But I'm willing to pay you
enough to start your own Y,

or and X or a Z. Pick
any letter, any of them.

Don't you know
that a man can be

paid with other things besides
money for a job he does?

Do you think there's a price
tag on the satisfaction you get

from knowing that you're
keeping some of these kids

off the street and
out of trouble?

Yeah, but you're
not being practical.

Practical?

Do you think it's practical
to avoid the responsibility

to the next generation?

Is it practical to let them
grow up without guidance

and without help?

Oh, I'm a very practical
man doing a very practical

job, molding good citizens.

You know, I remember
when I was a kid.

One afternoon I
passed by the YMCA,

and I heard a band playing.

"Ach Du Lieber Augustin"?

Yes.

"Ach Du Lieber Augustin."

But you know, I went inside,
and the director of the band

invited me to sit in,
and he gave me a horn.

And from then on,
instead of being

out on the street
breaking windows,

I was playing in the band.

That kind of started
the three-way love

affair between me and
the trumpet and the Y.

That man kind of helped
me to find myself,

and any time I can
help some kid to find

himself, well, I kind of feel
like I'm paying back a debt.

I don't want to
get on a soapbox,

and I really do appreciate your
offer, but I can't accept it.

Of course, you can't.

We understand.

We sure do.

Thanks.

Well, if you change
your mind, there's

always a job at the Copa.

Thank you, Mr. Williams.

Yeah, and so you shouldn't
be insulted I'll pay you even

less than you're making here.

I'll make the sacrifice.

I--

See ya, Larry.

Wonderful.

That was way out cool, man.

Yeah, way out cool, man.

Great music, isn't it, Dan?

Certainly is.

That was great, Rusty, but you
must remember that this music

is for personal kicks only.

Now shall we try it the way
we're going to do it at the Y.

You-- you mean--

From the top.

[PLAYING "ACH DU LIEBER
AUGUSTIN"]

[theme music]