All language subtitles for Specter of the Rose 1946

(dramatic music)

(upbeat music)

(upbeat music)

(upbeat music)

- Oh, the smell of art,

the lovely smell of art.

Only you have preserved

it in the world, myself.

- I heard you in town.

- Yes, nobody has hugged me, kissed me,

nobody said, "Polly,

you wonderful creature,

"I am happy to see you again."

But, I'm back in town anyway.

- Passé, balance all around and stretch.

- Darling, I love you.

- What do you want?

- From you I have no secrets.

I am completely broke.

The whole world hates

me, Billy Rose has fired me

and he was right.

I was a dreadful stage manager.

Those tall blondes, they drive you crazy.

I did everything wrong,

including I lost two trunks

of costumes between

Kenosha and Milwaukie.

So, I have come back to put on a badder,

something miles and brilliant.

- I haven't got a

bean, Polly, and if I had,

I wouldn't give it to you.

- My beautiful darling,

I don't need your money.

- I have courage, genius, a

great idea, and Mrs. Kellogg.

- That hag.

- She will finance.

- She's nothing but a bag of wind.

- Putty bat more in front and back.

- She's mad about Polly.

- Always pouncing on artists with a

checkbook in one hand.

You can't buy love with money, you know,

except possibly yours.

- You are being terribly cold, Mrs. Hill.

You hurt me terribly.

Whatever you've got

against me, tell me frankly.

- Some people have a genius

for failure, you're one of them.

- Only where money is concerned,

because I hate commercial things.

When I'm doing something commercial,

I'm working secretly to make it flop.

But with art, nobody can touch me.

- Art or selling

bananas, you're always a flop.

- Why don't you face it?

- What a man must

feel before he succeeds.

- Nonsense, I was a sensation of 18.

- But how many love selves are there?

You came into the world

like a Venus with wings.

You are the only brilliant genius

of dancing England has ever produced.

People still speak about you as something

that took their breath away.

- Yes, I was a good dancer.

- It's enough of that

nonsense, enough limbering up.

Hi, dear, go get your beat.

What are you limping about, come here?

- I practiced five hours yesterday

and must have pulled something.

- Let me see that ankle.

Now, delicate, much too delicate.

- They're a little small,

but I've read where possible

his ankles were even smaller.

And please, Madam

Listeld, call me Kuznetsova.

- You're perfectly right, my dear.

Forgive me, Kuznetsova.

A gorgeous creature.

- Can she dance?

- Oh, they're all alike, full of

delusions and bruises.

I hate weak ankles.

What are you doing here?

- Darling, lover,

mama, save me, I need you.

- What is Mrs. Callahan going

to finance these lame ducks?

- Saneen, Andre Saneen.

What has happened, has happened.

Fate we can't undo.

But think, three nights in that

broken-down theater,

that fish trap, and they were already

calling him Nyshinsky.

If we put him on

again, it's the goldmine.

This can noth I couldn't sleep.

La Selph, we are in on

the ground floor of art.

Nobody knows, except

you and me and that fool,

Mrs. Callahan, that Andre Saneen

is the greatest dancer

alive in the world today.

- He's sick.

- Nerves, I never believed

in his sickness last year.

I don't believe in it now.

Nothing but imagination.

- Run like act two.

- Sweetheart, you must go

with me to Andre Saneen.

- Forget Andre Saneen, he's mental.

- How long can a man

suffer over a dead wife?

A week, two weeks, but seven months.

That's completely ridiculous.

Children, please.

This is a very dingy hall.

There are no lights,

there is no orchestra.

Only a cranky old woman watching you.

But when you dance, you must dance always

as if it were an opening

night with a house sold out.

All the beautiful

people in the world out front

will learn yet.

Go on now, perform.

(soft piano music)

(soft piano music)

- Lassif, you were Saneen's teacher.

But you can't let him

throw away his adorable genius

while the world is

waiting for him on its knees.

When the music plays, I

just can't see him flying.

Always like a bird, a

magic bird when he dances.

- He doesn't dance.

He lies in a bed staring,

he hasn't moved for months.

Jimmy's been taking care of him.

He doesn't know if it's day or night.

- Oh, boy, he's as mad as a loon.

- Oh, madam, that's not fair.

He's moody.

But it's just as charming as ever.

- This poor child brings him soup,

like little red riding hood.

He never even looks at her.

- How sweet of you.

As long as one woman still adores a man,

he's not mad, not sick,

he's sane as the

president of the United States.

From the look of primitive rapture

on the face of Miss Heidi,

I should imagine that

you're speaking of Andre Sineen.

Your body, Onimph, is

an exclamation point

after the word beauty.

May I present Mr. Spex Macfarlane,

the celebrated policeman.

- How do you do, sir?

My name is Polikov, Max Polikov.

- A wilted carnation in

the Broadway buttonhole.

- And this is Madame La Silph,

the remains of a pirouette.

- How do you do?

- And this is the sad little factory

where dancing toys are made.

What are you knitting so

desperately, Madame La Silph?

Is shroud for yesterday?

- I asked you not to hang around here.

- I always hang around

the breath places of beauty,

even when they smell

like a herring barrel.

But I am keeping Polikov Macfarlane

from his fascinating duties.

- I'm a no-rice.

- What is this?

It is not enough you write

the most debatable

poetry in the whole world.

You have to annoy people with policemen.

- The indignation of

fools is my favorite crown.

- What is it you want, officer?

- Well, I'd like to ask a few questions.

As soon as you're at leisure.

- Questions about what, officer?

- I suggest we go to your office.

- My dear man, this is

a studio for artists.

Allow me to tell you that you are

interfering with art.

- The only art Polikov

Macfarlane likes to interfere with

is the art of murder.

Ain't that right, specs?

- I'd like to ask a few questions

about a dancer you

know called Andrew Saneen.

- What kind of bed luck is this?

What is the method

with Andrew Saneen now?

- Polikov Macfarlane

has the capricious notion

that Madame Saneen did

not die a natural death.

- I never heard

anything so absurd in my life.

- But that she was

murdered in cold blood.

I had devoted husband, Andrew Saneen.

Oh boy.

- But this is absolutely fantastic.

I was there in the winds

and I saw the entire debacle.

The third night of our run, sold out

and she dropped dead

two feet away from me.

Nobody even gave her a push.

Officer, are you acquainted with this

specter of the rose?

- No sir, it's a ballet.

The ballerina falls asleep in a chair

with a rose in her hand.

She has been to the pool, she's tired,

she's in love with love and she dreams

that the rose is her lover.

The rose comes to life and

makes love to her beautifully,

exclusively.

You follow me?

- Go on.

- That's how Mrs. Saneen

died while she was dreaming.

The look of absolute bliss on her face.

Nothing like that has ever happened

in the history of the ballet.

- Mr. Polyakov is right.

The ballet is an imbi-sh bore.

- Nina died of a heart attack, officer.

The doctors all agreed.

There's nothing mysterious about it.

She'd been carrying on

about her heart for years.

- I'm sorry ma'am, I

can't agree with you.

We've been getting a lot

of reports about this case.

It seems this fella

Saneen has been telling

a lot of people he killed his wife.

Any of you ever heard him say that?

Did any of you ever hear

Saneen make such a statement?

- No, of course we've all heard it.

That's part of his sickness,

that's what makes him mental.

He's just full of

idiotic ideas, the poor boy,

it's such a pity.

- He's a man who says

he killed his wife, eh?

- It is like a baby talk.

It is stupid to even repeat such a thing.

Every great artist goes

through a period like this

when he don't make sense.

What do you expect?

- The lunacy of great artists usually

produces masterpieces,

not murders, at least that

is my personal experience.

- Then we mustn't listen to this hobo.

- This fella Saneen may be

a great artist to you folks,

but the Homicide Bureau

has another name for men

who talk about murdering people.

We don't like to wait till they live up

to their statements.

- Gibby, that's enough.

My dear officer, of

course you must talk to Andre,

it's your duty.

Polly, Gibby, come along, we're going

with this intelligent

officer you don't mind, do you?

We'll be very quiet and

promised not to interfere at all.

- I don't know, you

see. - Thank you, officer.

- This is the most horrible scandal

at police when they're

arresting Andreessen.

- Quiet, children, there's

some ginger beer in my office.

Five bottles, have a little

party, but leave one for me.

- See you later, Heidi.

- You horrible fool.

You told him, you told that policeman,

because you want to hurt

Andre, and account of me,

because you know I

love him, you told him.

- Your devotion to Andre is unreal.

He is not a man, Andre

is a shadow on the wall

that flickers when the music plays.

- I love him, I adore him.

I worship him, do you hear I worship him?

And I don't want you hanging around me.

- But you were afraid to go with him to a

studio, weren't you?

You mustn't be afraid of a man you adore.

I'll take you over and protect you

from your prancing Romeo.

- Oh, you're a monster.

I love you, I just love you.

- I didn't think you could cry.

I often cry at night,

then I think of you,

and the night becomes

full of young words,

all dancing for you.

And I pretend I'm not

a monster, but a poet.

And on this delusion

I live, till morning.

- Let's get this

straight, I didn't kill her.

I suppose I'm screwier than a bedbug

because I've been

convinced I killed her, so help me.

I guess that's because I hated her so.

That widget face did something to me.

She had a kind of a rhythm, a chord,

a dance of death chord, bong!

It always set me off.

- How true that is, we artists suffer so.

You remember Varevsky, don't you, Polly?

- Oh, horrible.

He was always trying to shoot himself.

Why?

Because he thought he

was his own father in law.

- My hallucinations take

the form of music mostly.

First I hear the

violins and harps way up high.

That's the envelope.

Inside it is the idea of revenge.

Dance it with a knife, you know?

- The fall of the knife.

Is that one of the

characters you play on the stage?

- You're pretty smart.

You put your finger almost on it.

That's where the trouble

begins with that stage character.

It's a dance called

the spectre of the rose.

I've danced it a hundred times normally.

But that night the

dance got mixed up, bong!

And it's all different and

it's been that way ever since.

You're wide awake and

you keep hearing the music.

Here or in the street,

the music that was playing when she died.

You dreamed you're killing her.

- With a knife?

Officer, what husband

did you ever hear of

who has not wanted to kill his wife?

With a knife, with an X,

that sort of feeling is

definitely a part of marriage.

- Daydreams, all artists have them.

- I haven't heard those screwy violins

or harps for some time or seen things

that oughtn't be there.

I'm no bargain mentally, I

guess, not much education.

My real name is Paul Dixon.

I came here from Indiana.

Ran away from my father.

Used to wail a tar to me

with a strap soaked in vinegar.

He wanted me to be a harp player.

There you have Andre Saneen.

No prize package, but a

little bit too clever to go nuts.

I've been lying here,

listening and hollering

and going on a giant swing

and it hasn't been much fun.

I tried to talk myself

out of it a thousand times,

but talking doesn't do it.

Wait, I'll show you.

Jibby, play it.

- No, Mrs. Saneen.

I don't think I ought to.

- Not the specter of the rose, boy.

- Play it.

(upbeat music)

- Oh, what do you know?

I've graduated.

It's nothing but a waltz.

Hey, I'd take it back about

being screwy to your mind.

I've been lurking in this room

with that tune chasing

me up and down the waltz.

It's just a waltz.

Unhand me, officer.

I didn't kill her, I

know what Albert keeps.

I'm sorry, I had no

idea what Albert mumbling.

- Ladies and gentlemen,

this is an historic moment.

We are witnessing the

comeback of a genius.

- Everything seems quite normal.

The windows and the waltz.

- Of course, it's normal.

You have had your

vacation, now you're home,

back in your own head.

All you have to do is to dance again

as if nothing has happened.

- That's right.

I would like to dance again.

- I'm going to get so drunk tonight

that five people will

have to put me to bed

in your honor under my wonderful voice.

We'll build the entire

ballast he's now on you.

Scenery by Kerpotkin, he's wonderful.

Better than Picasso.

And a full orchestra, 45 pieces.

And you do your own

choreography like you always wanted.

Something new, brilliant,

without driving the audience crazy

and the press, we must make a campaign.

The whole city will be

covered with your pictures.

I will handle everything.

- Lazin, you are my associate.

The best ballet girls.

No brewery horses,

but gorgeous creatures.

Here, to you, Andre, my wonderful genius.

May you dance forever.

- I wouldn't dance now, Gloria.

- I want to.

- I know, but you

haven't moved for months.

You must warm up first.

- I'm always warmed up.

I've been dancing all the

time I was lying there in bed.

I danced in my head.

(upbeat music)

(upbeat music)

(upbeat music)

He's really in fine shape.

No, not smiles.

(upbeat music)

(upbeat music)

- What's Edgar Allan Poe doing here?

- Admiring your

twinkling feet, Mr. Sinne.

You dance very well, for a murderer.

- I'm not a murderer yet.

- Congratulations.

- Or I'll take your rhyme off her.

- Is this a lesson in etiquette?

- Take your rhyme off.

- Come on, dance, I want to talk to you.

- I dislike being intimidated by a

jitterbug with bare feet.

- Nevermind getting

tough, this is my party.

Thanks for cooperating, Mr. Sinne.

I'll drop in again

sometimes if you don't mind.

- Sure, anytime you like.

- That's fine.

Better met you.

Bye, folks.

- Forgive me, O'Nimph,

for touching a dream.

- You're looking very well.

- Thank heaven they're gone.

Both of them.

Ah, dreadful pair.

- Gibby, I'd like you to stay.

I need some music.

I want to work with her.

- Sure.

- Well, thanks for your

visit and all your favors.

You can go home now and

stop brooding about me.

I want to borrow your little pupil.

- No, not here, boy.

You can practice tomorrow at my studio.

- Sorry, Mommy, she's

working with me right now.

- What's the matter with you, sweetheart?

And there is under a

moment as many as he does

what he wants always.

- Gibby, you will bring Heidi back to me

no matter what time.

Take care, boy.

- Good bye, my darling boy.

You have made us all very happy,

gorgeously happy, a big kiss.

- Hello.

Thanks for all that noodle soup

and for being so beautiful.

It's nice waking up and

finding somebody beautiful around.

You don't mind working now?

- No, I'd love to.

- You'll go right into it.

Please dance if her best, you know how.

It's important to me.

- Yes, of course.

Madame Nacile says we must

always give a performance.

As if we were before an audience.

- You don't dance for audiences.

They just happen to

be there watching you,

if they're lucky.

- I can't dance in these shoes.

- Lots of shoes here.

Nina's, Nina's shoes.

How good are you?

- I'm very good.

- You got a name?

- Kuznetzova.

- From Moscow or Brooklyn?

- Jersey City.

- Go on, you'll find some

of Nina's costumes in there

in that closet.

You're the same size as Nina.

Only she was hard to lift.

She had bad elevation.

How's yours?

- I'm very light.

Is this all right?

- Put it on.

- Here's something very nice for you,

just as you like it, medium.

No, no, no, Sosmezong.

- Sosmezong?

- I can get him a napkin, Charles.

- Yes, sir.

- You're a good widow, baby.

You stay here too, Mommy.

Get this back.

It's very fashionable here.

Call it Club 19.

I wonder why.

- You quit rubbering at those zombies.

You wanna know how you make me feel?

As if there were a

fire engine in my stomach

going lickety split.

You know with me,

love isn't all spring

mornings and gold hats.

- Are you using them?

- No, thank you.

- The hat here are really remarkable.

- I made this one myself.

- I hope Mrs. Callahan

won't think it's all wrong.

- Who cares about Mrs. Callahan?

Look at those women trying to walk.

You know what's the matter with them?

They don't walk with their bodies.

They're just pushing dresses around,

showing off bargains.

I could tell you walk

among a million women.

You walk with your legs, hips, torso,

with every muscle in your beautiful body.

- Shh, please not so loud.

- Excuse me, are you Mr. Sunin?

- Speaking.

- Mr. Polikov telephoned

that he and Mrs. Callahan

would be 15 minutes late

for you to have a drink.

- I don't want one.

How about you, business owner?

- What?

Oh no, I never drink, thank you.

- Have it your way.

- Maybe we should have taken them

and held them till Polly comes.

If they were paid for, I mean.

It's a strange place to

come and talk business.

I suppose Mrs. Callahan

doesn't go anyplace else.

- You know what I did

last night after you left?

I walked to 180th

Street and back without,

pardon me, I walked to 180th Street

and back without stopping.

That's what you do to me.

I'd like to pick you up right now

and hold you till you are tattooed on me.

- I feel as if I were

flying upside down in the wind.

- Hug me with your eyes.

- I am.

- Harder.

- Holding you as hard as I can.

- Don't stop, I'm blissful.

- Me too.

Do you suppose anyone

ever talked like that

in a place like this?

- Do you know why I need you?

- Why?

- Because a man's got

to belong to somebody.

You can't just drift

around with nobody to own you.

How about it?

I'd like you for my boss.

Do you want this bargain?

- It's just heaven, what you're saying.

- Done and done.

- It's funny.

How can I be your boss

when you're so wonderful,

so much superior to me?

- Yeah, Nedward,

you're worth 100,000, Maize.

- Oh, don't talk like

that, I'll faint right here.

I won't be able to eat or anything.

- Put your arms around me.

- Yes.

- Just as hard as you can.

- I am.

- Children, forgive me

for keeping you waiting.

Mrs. Callahan will be here in a minute.

She's talked with a friend.

Everything is settled.

Salaries, bookings, contracts.

What an adorable hat.

Adorable.

Beautiful.

You look stunning, both of you.

Come.

Mrs. Callahan will be right with us.

Come.

- I'm not here to holler

or threaten Madam Wassel.

As an artist representative,

I'm interested in more than my 10%.

I'm interested in basic justice.

My client, Mr. Kropotkin, has to eat.

He's a great painter.

They don't come any

greater than Mr. Kropotkin,

but he can't paint unless he's got more

in his belly than promises.

He's done four sets for your ballet,

and that's already his third poster.

- Oh, it's a beautiful thing, Mr. Jones.

I must admit that.

Reminds me of Lautrec.

I knew him in Paris, you know.

Nasty little hunchback in a silk hat.

But a marvelous artist.

- My client has been

working day and night

without sleep for three

weeks and is yet to see a dime.

I have to buy him a cup

of coffee every afternoon

to keep him going.

That isn't fair, Madam.

We'd like to have a

little something on account.

Not the whole 3,000 Mr. Polikov promised,

but enough for a meal.

One square meal, Madam.

- But I'm sure Mr. Polikov will see you

and listen to any

complaint you have to make.

- My client is not making any complaints.

He hasn't got the strength.

He's starving to

death on his feet, Madam.

Polikov is not producing a ballet.

He's conducting a pogrom.

- That dim, ever-too-slow is Kropotkin.

My favorite genius.

How are you, my darling?

I'm so happy to see you.

You are looking wonderful.

Younger than ever.

How do you do it?

- Thank you.

The sets are better than

anything I ever dreamed.

Pure beauty, dynamic, exotic.

I'm absolutely enchanted with them.

Oh!

The new poster.

It is only perfect.

Kropotkin will love you.

A big kiss.

It's nice there.

I could look at it forever.

- Thank you.

- I can't tear myself away from it.

- Well, Mr. Polikov,

as soon as you're through

panting over my client's genius,

I'd like to talk a little business.

- There is nothing to discuss, Mr. Jones.

I put a check in the mail this morning.

- Yeah?

- Yes.

$100 in the United

States mail on account.

As I promised you in our last conference.

It is this minute in the

post office being delivered.

But you could have handed it to me.

I'm downstairs one flight.

I am very sorry.

I don't do business that

way running up in downstairs.

- Where did you send it?

- To Mr. Kropotkin Studio Network.

- I can't believe a fellow

would lie about the US mail.

- Please, it's all right.

- It has been an honor and

a pleasure to work with you.

A thousand times more

than I ever can tell you.

- Thank you.

I like work for people who appreciate.

- Oh, it's only the beginning.

You're going to climb the heights.

- Thank you.

Thank you very much.

Thank you.

- At this moment, my

client and I are going to climb

the heights to a studio

to wait for that check.

- Goodbye, my dear friends.

Goodbye.

- And you'll be hearing from me

in case the US mail breaks down.

- Goodbye.

- Yes.

Do you know how much it

hurts me to lie like that?

It makes me sick all over.

To 50 people a day, the same story,

the check is in the mail.

No wonder I'm a nose wreck.

- I thought you were

getting the money today.

- Now you are going to start up.

- I refuse to listen to any more nugging.

I have been with Mrs. Callahan

since eight o'clock this morning.

Dancers?

- Yes, Mr. Polikov.

- Who sent you?

- Madame Vigarney.

- Toph, they won't be any good, I'm sure.

Madame Vigarney is too

modern to teach dancing.

She teaches wig wagging.

- Very interesting faces.

Legs without bumps on them.

- Go in, get ready.

I will audition you.

- I expected it.

- Excuse me, I wasn't listening.

What did you expect?

- That Mrs. Callahan

would refuse to put up.

- She did not refuse, my darling.

She's holding out a little.

- Holding out for what?

- Darling lover, I will handle her.

- Mrs. Callahan, it's my department.

You can't forget about her.

- Holding out for Sanin.

- You are absolutely

crazy on that subject.

Believe me, you are doing that poor woman

a terrible injustice.

- I know that bean pole.

Always taking vitamins and for what?

- You are the most

unreasonable creature who ever was.

- She'll never get him.

- She does not want him.

- And she won't put up a dime.

Now they're all alike.

- I knew a woman in

Vienna once who was a vampire.

Drank human blood to keep herself alive.

She was captured in a

forest with a little boy, 13.

She had him in a sack.

- Mrs. Callahan is not a vampire.

She's a lover of art.

And she wants nothing but

to help create a beautiful

belly with her own money.

- Where is it?

- She's holding out as I told you.

But you don't listen,

you only scream and holler.

She's holding out for

billing nothing else.

- Billing is what, Dracula?

- Billing in the program.

Max Polikov and Laura Callahan present.

Max, it would be amusing

if it were not so horrible.

- How much are you in debt so far?

- Why do you have to pound on that?

I don't want to think about that.

I have to keep my mind open for art.

I beg you, leave me alone.

I'm on the verge of collapse.

What have you got to show me?

- It's a ballet called Lights of the City

composed by Alexis Bloom.

- I'm supposed to be in the uniform

of a street car conductor.

The young ladies are the skyscrapers.

It is half past five in the afternoon.

- I understand perfectly.

Go ahead.

- Orchestra, please.

(piano music)

- I wish you hadn't

started this whole production.

I don't think Andres well enough.

I have a feeling it's dangerous.

- You are torturing me.

Mrs. Callahan is no more

dangerous than a fly-sho.

- Women have always driven him crazy.

Doesn't do any good to blind oneself.

He had a dreadful time with Nina.

He tried to burn her up a number of times

by setting fire to her bed.

- Temperament, she loved her.

I know Andres and Ian.

- What are you trying to do to me?

Frighten me?

What do you want me to do?

Handsome in over to the police.

Tell them he'll take him.

He's a crazy man.

He wants to kill people.

Is that the way to treat a great artist?

Answer me.

- He doesn't do any harm to face facts.

A real impresario always does.

- What facts?

What facts give me a face?

- Nina lived in constant terror of him.

- Madam Lessif.

- Saneen is not going

to butcher Mrs. Geller.

- No.

And she's going to start signing checks

as soon as I convince her

that she will be making an absolutely

idiot out of herself

by putting her name on the program.

That's the whole situation.

Nothing else.

No blood drinking, no

love, no butcher business.

Just billing.

- There's no use your hanging around.

Heidi isn't here.

- I am grimly aware of

Miss Heidi's absence.

Oh, keeper of the Pakenals.

- I'm busy producing a belly.

I don't want crazy

people hanging around me.

- Your grubby little

wishes, Mr. Palakoff,

are exquisitely unimportant to me.

I have the honor to inform you, Madam,

that Miss Heidi was married an hour ago

to Mr. Saneen in the city hall.

The nuptials were

performed by a fritive puritan

in an alpaca coat.

Where are they?

- The newlyweds are

spending their fresh hours of bliss

on the upper deck of a ferry

boat called the Susquehanna.

There is no extra charge

for looking at the sunset.

They waved goodbye to me

as their craft slid away.

The bride blew me a kiss

and my heart performed

a minuet in an ash can.

- This is the most dreadful thing that

could have happened.

- No, no, darling, no, it's miles.

- Horrible news.

- Jimmy, some water, Jimmy.

- I am arranging the wedding dinner

at Giovanni's restaurant for 930 Sharp.

You are cordially invited.

Come and bring your

less repulsive friends.

- Darling, no, what is it?

- That is sick.

Jimmy, quick, some water

for Madam, she's fainting.

- That's the full routine, Mr. Palakoff.

Of course, it looks much

better with drums and cymbals

than the proper costumes.

- Don't talk to me.

Can't you see I'm busy?

My best friend is dying.

- I'm sorry, is there anything I can do?

- Go away.

- Are you better?

- Go away.

Are you connected with the casting?

- No, I am connected only

with a clumsy institution

called Life, which has just

gone out of business for me.

Forgive me, I have certain

duties to perform as a ghost.

♪ I care for the sugar

bowl, we have my cup of coffee ♪

♪ Are you with a woman ♪

♪ She is only partly human ♪

♪ She will swear to be true ♪

♪ And she'll love

you back and through ♪

♪ But her every thank

you is a minus I need you ♪

♪ But can I do with a woman ♪

♪ She is only partly human ♪

♪ Love her heart, love her bones ♪

♪ Take her to your right, a wrong ♪

♪ Miss the Mrs.

Peter kisses and a song ♪

(crowd cheering) - A beautiful wedding cake,

a beautiful bride and girl.

(crowd cheering)

- A toast to Papa

Giovanni's wedding cake.

- Pull on your head, everybody.

The poet's loose again.

- Adention, please,

attention for the toast.

- We greet you a wedding cake.

Welcome to our wistful

stomachs, oh cake of dreams.

There are three things

that are always white.

A flag of truce, the lining of

a coffin, and a wedding cake.

- Let's have Acha Charnia.

- No, no, no, no, no,

no, no, no, no, no, no, no.

- Play Acha Charnia, Acha Charnia.

- What do you think this

is, a Billy Rose wedding?

(laughing)

- We are the ladies. -

Ladies and gentlemen.

- Shh, ladies and gentlemen.

Next on the program I

have a speaker to offer,

a gentleman out of the fairy tale called,

who pays the check.

- What check?

I was invited here as a guest.

- You may all have been

wondering who was going to pay

for this overwhelming feast,

which I blindly seem to

have invited half of Manhattan.

- That's right, everybody in

the kitchen has been wondering.

Ladies and gentlemen, meet your host,

Mr. Fred Lyons of Lyons and Bosfogle,

everything in the linen line,

Wilmer's coats,

tablecloths, and winding sheets.

- Excuse me, please,

only cloaks and suits.

(laughing)

- All right, Lyons and Bosfogle.

- Shut up!

- Let me get a seat.

- Shut up!

- Please, I'm quiet. - Oh, I'm sorry.

- I wish to first extend my blessings

on the lovely couple who are here tonight

as man and wife, and may they be together

until death do them part, amen.

I don't know any of you people here,

except that celebrated poet whom we all

know and appreciate.

I refer to Lionel Gans,

whom I've had the

privilege of knowing in person.

As I said before, I don't know you,

but I love art and I love artists.

I have 500 phonograph records in my home

and a collection of

genuine George Washington letters

that I started when I was a poor boy

struggling to get ahead.

It's people like you who

have always inspired me,

because, for example,

without art, what are we?

So I wish to say my

congratulations to all you artists,

and may you always be an inspiration.

So please, everybody,

eat, drink, and be merry.

The check is on Fred Land.

(laughing) (speaking foreign language)

- And here's the knife for the cake.

- Oh, thank you.

Here, Andre, you cut it first.

- I know I'd like it

better if the bride cut it.

- Oh, please.

- Attention, Andre, my

adorable genius, you must dance.

Ladies and gentlemen, I give you the

greatest living dancer,

Andre Sunnies.

- Oh, I can't resist that, Billy.

Come on, Heidi, we'll give it to you.

- Attention, a full

orchestra for the ballet.

So what are you violin?

Get your violin.

Jibby the piano.

- What do you have, Andre?

- A play-a-can can.

- Mr. and Mrs. Sunnies, in

their new dance creation,

the blissful salar band of the newlyweds.

(upbeat music)

(upbeat music)

(upbeat music)

(upbeat music)

- You've got the key.

What's the matter?

- The music.

- I don't hear anything.

- You're lucky.

Finally, it should come back.

- Does your head hurt?

Is something bad?

- Let me, you're

turning it the wrong way.

(upbeat music)

Andre, where are you, Andre?

Oh, shh.

I've bumped my knee.

- Did it hurt?

- Oh no.

Look, it isn't even scratched.

- You've got wonderful knees.

Most girls' knees look

like plumber's fittings.

- It was really a very exciting dinner.

I was so proud.

Wasn't Polly funny?

And the little man who loved art?

Oh, the whole thing was like a ballet.

And it ended just right

when you picked me up.

(upbeat music)

- The blissful syrup

end of the newlyweds.

I like that fella, he's quite a boy.

- Who, Lana?

Oh, let's not talk about him.

Even he couldn't spoil it.

- You're supposed to look around.

See the flowers I

sent you into a gavotte.

- Where?

- State's direction on the piano.

- Oh, Andre.

They're the most

beautiful roses I ever saw.

- They're guaranteed not to come to life.

(upbeat music)

- I've been in love with

you ever since I was 15.

- When I first saw you

at Lassels' practicing.

The year before last

when you danced Petrushka.

I used to stand in the wings

and watch you all the time.

Once you smiled at me

and I nearly passed out.

The first time you spoke to me,

my knees were so weak I

could hardly stand up.

And now we're married.

- Excuse me, I'm very sorry.

Music, it sounds like devil screeching.

- Music?

- It's for me, it's for me to dance to.

- Oh, Andre, what is it?

What can I do?

- Tell you how it is

and you ought to know.

When that music plays I've got to dance.

Only it's not me who's

dancing a phantom of,

a fellow with my face dances.

- It's nothing.

Nothing's going to

happen, I won't let it.

- I know it's nothing.

Long as I know it's him

that's dancing and not me,

as long as I don't get mixed up.

- There's nobody.

- Yes, there is.

- Oh, I love you.

Do you hear I love you?

- I hear.

- Then answer me.

Say you love me too, say it.

- I love you, Nina.

- Nina.

Oh, Andre, Andre's not Nina, it's Heidi.

- Nina?

Nina?

- Listen to me, it's Heidi.

Oh, I'm afraid.

- Oh, I don't know.

I don't know, I had to

start up again and...

I don't know.

I thought it was all gone.

Oh, I hated her so.

- Oh yes, I know.

We must be awfully hate

like that, but she's dead now.

- You see, two people die.

Sometime they stay in here.

Sweet face, you're

crying, you're crying for me.

Don't cry, you cured me.

I don't hear a thing

anymore, see anything.

Aren't you glad?

- I'm glad.

- I need you.

I know it now more than ever.

You'll never run away, will you?

- Me?

- I'll never harm you, Heidi.

- Harm me?

How can you say such a thing?

- Because I'll never harm you.

- Oh, don't say that.

- You were afraid of me.

- Oh, I wasn't.

You're my happiness my whole life.

There's nothing else,

only you in the world.

- You're happy you

make me your lovely face,

your sweet hands are part of me.

- My heart beats inside you.

I love you, that's my promise.

You know I can just see everything,

how it's going to be,

the days and the nights,

our own table, those

crazy little restaurants.

No more loneliness ever.

It's going to be like a fairy tale.

You and I dancing

together, and they're so, so proud,

and Polly and everyone who loves you,

and a stage full of flowers.

Oh, Andra, you can teach

me all the things you love.

I'll do as if you can.

(dramatic music)

- This is an een dove

coat, one more flight.

My brother, you're

suffering, I'm sad for you.

At the wedding we laughed, but this

morning is different.

- The morning is an old laundry man,

who's forgotten my address.

- Lying a little uncle.

- You're only one man suffering.

When the masses suffer,

then the suffering counts.

The suffering of the

masses is a minor phenomenon

beside one man's tears.

- Excuse me, I don't think so.

My advice to you is

you should lose yourself

in the holy cause of

the people, like Faustoy.

- Kindly omit Mr. Faustoy.

When the eagle grows weary of flying,

he dreams of retiring

to the chicken coop.

- So much for Mr. Faustoy.

- You think we're welcome guests here?

Maybe they don't want us.

- Nobody asks you to come with me,

which makes you doubly unwelcome.

- I'm here as your brother.

- And I am here as a rejected manuscript,

dropped by a mysterious postman.

- Maybe they're sleeping yet.

- They won't be sleeping long.

- Why is it no way he's home?

- I'm not a dummy

etiquette of honeymoons.

- I'm very thirsty.

- Now you're talking.

- Maybe they are moving out already.

No, my brother.

- Faustoy cannot be omitted so quick.

- This paradise looks a bit dismantled.

- The eagle, yes.

- The chicken coop, no.

- Excuse me.

You will ask me what I'm talking about,

and I will answer you.

I am talking about something.

- Cannot refer to the great Faustoy's

political philosophy

as a chicken coop.

- The trouble with the world

is that it has been seduced

into listening to

politicians instead of poets.

Politics is the crude one that gains

people in the Beatles.

It removes their souls and

substitutes newspaper handles.

They said dreaming about

everything in the world

except themselves, about the

government of China, Russia,

and a correct thing for all

other Beatles to do or think.

This amateur confusion is

called social consciousness.

Oh, forgive the intrusion, Mrs. Snead.

- For goodness sake,

what are you doing here?

- He's checking up on the

progress of our marriage

in his own subtle way.

- You read my mind with

nimble accuracy, Mr. Sinead.

- Well, I guess we're lucky

you didn't bring that policeman with you.

- I don't believe in policemen.

They belong in the world of pros.

- How is that sleuth still after me?

- He has an incurable

passion for law and order,

which keeps him stupid.

- He's no worse than you.

- Well, we snoop with different noses.

Mine is a wistful nose,

last worn by Serenoff.

- Excuse us.

- We're only here because he suffered.

- You're both welcome.

- Thank you.

- Hey, take a look at this.

You pay $10 down and

the rest on installments

which the company never collects.

They're too big.

- Isn't this beautiful?

I got enough for

curtains and a slip cover.

- The design is very rhythmic.

I congratulate you.

- It's a bargain, 75 cents a yard cash.

Come on, Heidi, let's see a soap.

- Oh, there are a million

things to do before you soap.

You've got to measure

everything first so it fits.

And the ruffles, I have to

figure them out carefully.

- Hey, what do I do?

- You just sit down and don't mix me up.

I'm an expert.

- Say, that's quite an

object to lug around.

What's in it?

- Very little.

My soul and an extra can of tobacco.

For your failure information,

this contains every

poem I've ever written,

including a tender

outcry I wrote last night

as a wedding present for Mrs. Sinine.

I intend to read it aloud.

- I had the honor of

hearing it already twice.

Very important for evolution.

You see, the masses

would never get married

if the poets did not tell

them how beautiful it was.

- Yes, your marriage, Mrs. Sinine,

is a little silver boat

with a sunflower for a sail.

I shall watch it glittering through

the hurricanes of mediocrity.

And I shall sing about it from the shore.

- True, Heidi, you wear a wreath of

skylox around your eye.

- Oh, what treasures!

Oh, my heaven, this one is wonderful.

- I dug them out of my

trunk and hung them up for you.

- The laces and feathers and pearls.

They're like the

constellations in the sky.

But this one must be

the queen of summertime.

- My past selves.

Folded wings.

I've kept them as carefully as I could.

I wonder if they remember me.

That was my dress in Ramonda.

Abderham the villain was finally slain

and I married the prince I truly loved

and Glazunov's music played.

Oh, Alessia.

- How beautiful you must have been.

- Try some of them on so I can tell

Cropotkin what suits you.

- The blue lace, the

black with the pearls.

- The blue.

I danced in it for Manzotti in Rome.

The great Luigi Manzotti.

He was old then and I was young.

- It's so rich.

- The great artists of the

world designed everything I wore.

We ballerinas didn't run around then

in sweaters and skirts

like jiggly little mice.

We lived in a poem as Byron wrote

in fountains and on flowers.

- You talk like Andre.

- Oh, Alessia.

- We're so happy.

So happy.

We're working hard on every step.

The slightest movement is important.

- Oh, and he's taught

me so much about dancing.

Things you can't read

or find out anywhere

except for the genius.

Oh, it's only a dream, that's all.

Oh, Lestil, how nice of you.

How beautiful of you to do this for me.

- It's not half bad.

Nevermind trying the others on.

I didn't bring you

here to show them to you.

- I brought you here because...

Child, you must leave Andre.

- What?

- Leave him, divorce him, run away.

- I don't wanna listen to you.

- Oh, my poor little

Heidi, you must listen to me.

- I can't even discuss Andre with you.

- Oh yes, yes, I know.

He's your great love, your dear love.

My poor child, the truth about love is,

yuck, I've had it dozens of times.

Everlasting love, it comes and goes.

It's a seasonal thing among artists.

There's something much more important in

your life than love.

Your husband is a madman.

- I wish you hadn't said that.

- Andre killed Nina.

He'll kill you if I let him.

- You're cruel and evil.

I don't wanna listen to you.

- You will listen.

He attacked her

viciously in the dressing room

a half an hour before

she died on the stage.

Her screams brought me in.

I saved her life for

one last performance.

He had a knife in his hand

and she was fighting him off

with a chair when I came in.

I took the knife away

from him and Nina painted.

I brought her too.

I made up the bruises with grease paint.

She was bleeding, I

sewed her into her costume.

She went out and danced.

She died from the blows she had taken.

Her heart was always weak,

but she was killed by him.

He meant to murder her and he did it.

Do you think I'd lie to you?

You've got to go away and leave him.

I thought he'd change, but he hasn't.

His head's hurting him again.

That's the way the

trouble started with Nina.

I've watched him at

rehearsal, that same queer,

anxious look in his eyes.

You've got to go away

and save yourself and him.

- Hello, baby.

Hello, Larcelle.

- I'm surprised.

The headache's gone.

I didn't want to tell

her how really bad it was.

I was afraid it would

spoil the style show.

I was just lying there

thinking I'd have to call rehearsal

off and buying it, left it.

Come on, Kiznetelka,

we'll have some lunch

and put in our afternoon's work.

Want to join us, Mama?

- No, thank you.

I shall need any lunch.

- Well, what's up, teacher?

Been scrolling you, Heidi?

- Oh no, Madame Lasso was wonderful.

She showed me these beautiful costumes

made by the great artists of the world

and recited from Byron

and told me about the dances

she loved, Rhymondah and

the Queen of Shamakhan.

But most of all, she

remembered how wonderful it was

to be in love and be

loved like you and me.

- Come on, let's go.

Goodbye, Mommy.

- Goodbye.

(dramatic music)

(dramatic music)

- I'm very sorry, but

this sign means what it says.

- Have you something for tomorrow night?

- We have two tickets left.

- Well, pass the money to the gentleman.

- Get away from that

window and stop selling tickets.

These gentlemen are much more important.

- It's eight o'clock in half

an hour, the curtain arises.

- No, I don't.

- Gentlemen, you cannot do

this to me on the opening night.

Tomorrow, we will discuss everything.

- It's no pleasure for me, I assure you,

and I'm very sorry to do it,

but that orchestra is not

going into that pit tonight.

- Gentlemen, don't

even make such a statement

even as an argument, I beg you.

- We ain't making any arguments.

You're gonna have no

musicians in this theater tonight.

- Please.

- No music for your ballet tonight.

That's the decision of Local 243,

and those decisions,

as you know, are final.

- My decision is also final.

I shoot myself if this

happens, Mr. Jalonikov.

- You're gonna have to shoot yourself.

All you gotta do is pay up the musicians

for what you owe them.

Two weeks' rehearsal time.

- I'll shoot myself.

- We've given you

every leeway, Mr. Palikov.

Is that right, Mr. Lamont?

- I'm going to pay, I'm

going to pay every cent.

- You haven't shown that

disposition whatsoever,

Mr. Palikov.

You've took in $7,000 at the box office.

You could have paid out of that.

- I took it, I took it nothing.

This man took in Mrs.

Callahan's representative.

There he sits with the

written agreement between me

and Mrs. Callahan that I have not to

touch any of the money.

- And he's got a gun in his pocket.

- I'm asking.

- Well, that's your problem,

and it ain't under my jurisdiction.

Is that right, Mr. Lamont?

- What are you, stones?

Creatures without human feelings?

Take my arms off me, my

legs, but my musicians never.

In the name of the holy

cause of art, I appeal to you.

Let me open tonight.

Either I open tonight or you have a

corpse on your hands.

Call to Max Palikov,

corpse with a broken heart.

- What about Mrs. Callahan?

- Yeah, there's an idea, Mr. Palikov.

She's your backer, ain't she?

Well, get her on the phone

and let her hear the situation.

- I can't, I cannot

call out Mrs. Callahan.

- Why not?

- Because I have double-crossed her.

You force me to tell you,

I have completely double-crossed that

woman behind your back.

What more can I say?

- That's an interesting

admission, Mr. Lamont,

under the present circumstances.

- What do you mean

you double-crossed her?

- I demand an explanation.

- Look at the marquee, the

lobby, the whole theater.

Sunning and Palikov, Palikov and Sunning.

Do you see Mrs. Laura

Callahan's name any place?

This is my explanation.

- You told me she'd agreed to no billing?

- I lied to you.

- You told me she didn't want any billing

on account of her young son?

- Lies, lies.

- He lied to you, huh?

- No, I lied to her, to everybody,

from morning till night, lies, lies.

- You told me.

- Oh, I have already confessed.

Why keep on tormenting me?

- Well, Mr. Lamont,

I think we covered the

situation in full, don't you?

The boy that is, no orchestra.

We'll go back and notify the men.

- No, wait.

There's no sense of prolonging the agony.

- No, wait.

For, I ask for 25 minutes.

- We'll be outside.

- No, no, he is sit

where you are for 25 minutes.

Something must happen.

- Something good, something sweet.

What do you expect, a miracle?

- I doubt it.

Art itself is a miracle.

What else is genius

but a constant miracle?

We who bring beauty to the world

manage to keep alive only by miracles.

(knocking)

- Oh, dear.

You, Quateron.

- A lawyer.

We've got to have a lawyer.

Is there a lawyer in the house?

- What are you doing here?

- Protecting my client, Mr. Kropotkin.

A man works hard, paints himself,

and gets a whole

legged mitts all from Dixie.

There's a cop backstage,

wants to arrest Celine.

- Is that so?

- Has anything happened?

- Hohenheimer,

Blitzenheimer, Zitzenheimer.

What's the name of that mouthpiece

that sprung those Brooklyn boys?

- You know this policeman's name?

- Macfarlane of the Homicide Squad.

A lawyer with a gray suit and glasses.

- I'll go and speak

to Officer Macfarlane.

Things of this sort always

happen on an opening night.

I remember once in St. Petersburg,

somebody tried to blow up

the czar during the overture,

but the curtain rose on time.

Stay here, Polly, and hold the thought.

- Polikov presents what?

- Did you come in here?

- Can't you come in here?

- Here, here, here.

Wait a minute!

Now, if you people will just

behave in a lonely fashion,

nothing's gonna happen.

But if you keep on

trying to interfere with me,

I'll run you all in.

- What's going on?

- What happened?

- You are

distinguishing yourself as an idiot,

Mr. Macfarlane.

- What's the matter with you?

I know you don't like

this guy any more than I do.

- If you arrested all the people

I didn't like Mr. Macfarlane,

the world would become a pensive vacuum.

- Look here, Gans.

I'm not here to arrest anybody.

I'm here because I gotta

hunt something might happen.

That guy went crazy

the last time he danced.

Let loonies like him have a way of

repeating themselves.

(all chattering)

- I'll start your

dressing rooms immediately.

And you, Officer, I must ask

you to leave the backstage.

This is an opening night.

If you wish to see the

valley without paying admission,

you might ask for a

pass in a decent manner.

- You know I am here.

You know what Sineen is as well as I do.

- Andre Sineen is a confused little poem

that adds a brief moment of

beauty to the ugliness of time.

(woman screaming)

- Oh, those stupid

girls fighting downstairs.

- It wasn't downstairs, it was here.

Open this door.

Open up or I'll push it in.

What's going on in here?

Somebody screamed here, where is he?

- Somebody screamed here?

- Where's your wife?

- My wife?

Please get out, I gotta...

- Yes, we were calling.

I screamed, I couldn't help it.

Please leave us alone.

Oh, my sib.

- What's going on here?

Come on, you remember what happened.

What'd you do?

- Darling, everything's all right.

Pull yourself together.

There, there.

- The course of true

love never runs smoothly,

Mr. McFarlane.

Your grief sharpens

its claws on my heart.

- Listen, I know this isn't very pretty,

but I'm all right now.

After the show, you can hit

me in the head with a board

if you want to.

And now you've gotta

leave me alone, I'm dancing.

- You're perfectly right, boy.

Come along, Lionel.

Chin up, Christmas over.

You had a knife.

- You kept it a secret from me.

- It was a secret from myself.

Stop trembling, I love you.

Do you hear?

Please, darling, don't

hide your eyes from me.

Look at me, I love you.

- I love you too.

I'm sorry.

- I did that, I hurt you.

- You make me cry in my makeup.

- I'm no good, I'm just

some muscles that can dance,

but the rest of me is

rubbish, broken glass and rubbish.

- Darling, my adorable genius,

they are going to play all

of them, the whole orchestra.

Come in, come in.

For you they play, Saneen, for you.

Despite everything, despite local to 43,

despite I give them no money,

for you they play

because you are an artist,

because you are

marvelous and magnificent.

- Let me explain the

situation, Mr. Saneen.

The members here

present voted unanimously

that musicians are artists and idealists,

and owe it to your genius

to remain at their posts.

- Gentlemen, I love you.

What time do you want

to over-deter my sir,

before you go?

- We are ready.

- We are waiting.

- Okay, we'll go right at the pit.

- Yes, everybody, to the pit.

Come on, boys, everybody back.

I'm pretty good.

(orchestral music)

(orchestral music)

- What is it?

Paper rose?

What is it?

What has she got in her hand?

A paper flower.

Shh, I want living

flower, not dead flower.

The story is a girl dream

of a rose who comes to life.

So what do we have,

this piece of dirty paper?

Shh.

(orchestral music)

(orchestral music)

(orchestral music)

(orchestral music) (orchestral music)

(orchestral music)

(orchestral music)

(audience applauding)

(audience applauding)

(orchestral music)

(orchestral music)

(orchestral music)

(orchestral music)

(orchestral music)

(orchestral music) (orchestral music)

(audience applauding)

- Sonny, is he here yet?

- No.

- It's fantastic, it's impossible.

Eight minutes to nine.

- My full house, 50 centis.

He cannot do this to me.

Heidi, why isn't she telephoning?

Where is she?

- I don't know.

- What kind of manners is this?

What kind of unbearable, miserable

manners not to telephone?

To do this tonight to me, tonight,

when I'm celebrating with Mrs. Callahan.

At last a banquet for me, Polikov.

- No dice, his apartment doesn't answer.

I call the police, no

record of any accidents.

- What accident?

You think she was run over?

- I call the hospitals.

No reports in the receiving rooms.

- Use your brains.

One can get run over, but

two, how can two get run over?

- Don't tell me what to do.

I've handled hundreds of disasters.

- Put Fadrov in his place.

Fadrov, wait that

worthless fellow, Fadrov.

- I try to track down that poet.

He ain't anywhere either.

- Fadrov dances for Sonny tonight.

What are you standing here?

Make the change I will

announce to the audience.

- They haven't come to see Pederlev.

- What are you trying to do, ruin me?

- I've called them any

longer, it's nine o'clock.

Go out and tell them the

performance is called off.

They can have their money back.

- Their money back?

- Yes, I've come to

see Sanin, nobody else.

- We will wait five more minutes.

- He won't be here.

- The biggest house we have ever had.

- Go out and make the announcement.

- Like wild animals.

Here, hold it for me.

My new, old pet.

(crowd cheering)

- Adi Andri.

- Why didn't you answer the telephone?

Where are they?

- They're gone.

- Where?

- Stop that, where are they?

- All right, son,

let's know what happened.

- They're gone.

She took him away.

- Well, where'd they go?

- I don't know.

She was scared of the

doctors coming after him

and taking him away.

- She didn't want any doctor seeing him.

- That foolish child,

that blind, lovesick child.

Obviously you must find

them before it's too late.

Gibby, you were here.

You must know something about them.

- He was in trouble.

- You better talk up.

We're trying to stop a murder.

- How bad was he?

- Pretty bad.

(dramatic music)

(crowd cheering)

(sirens blaring)

- Did you open the window?

I got some rolls in milk.

They were just closing up.

The man said they'd

have some pastry tomorrow,

the kind you like.

Darling, eat something.

Eat something now, darling.

You probably had anything for three days.

- They were gone?

- Only to get this milk.

Oh, you spill it.

I thought you were better.

Poor Andre.

You seem so much better this afternoon.

(dramatic music)

I saw a newspaper downstairs.

It says they closed the ballet.

Poor Pa.

Well, that can't be helped.

They'll have to wait till you're better.

(dramatic music)

(crowd cheering)

I stopped in at the drugstore.

They won't give you any sleeping pills

without a doctor's prescription.

I didn't call any

doctor, don't be afraid.

I wouldn't call anybody, baby.

I love you.

I'll make you well, I know I will.

I'll cure you.

I love you so, I love you so.

Andre, talk to me.

You talk to me, I can keep awake better.

I can keep awake.

I did it for three

nights, I can do it some more.

Andre, don't be flying, darling.

I won't go away, I won't go to sleep.

I'm here watching you.

I hate you.

I'm a dancer, not a

crazy man lying in a bed.

I'm a dancer.

A dancer, dance.

Don't start like that,

Andre, don't do it again.

My name is Paul Dixon.

I'm Paul Dixon.

I'm Paul Dixon, you don't know me.

Sleep.

Go on.

I'm asleep.

Go on, sleep. (dramatic music)

You're awake.

Don't be frightened of watching you.

There's no one there.

- Why does he keep on?

- No one there.

- Well, let me alone,

he's there, he's waiting.

- Should I turn the

light on in the corner again?

- Floats through doors.

Climb's windows, he's always

smiling in his jacket of roses

because he wants to steal my face.

- I'm not asleep.

There's the water.

It's cool.

You and me.

We look nice.

- Oh, how beautiful, how beautiful I was.

- Nina.

Nina.

- No, no, no, no.

I'm tired.

Can't keep awake anymore.

Go to sleep, Andre.

- You were gone.

You escaped, I warned you.

I warned you not to come back, Nina.

Nina, Nina!

- Darling.

- We're over there in the corner,

but I'm here with different people.

It's you who dances

with the night mutton.

It's not me.

- You're here.

- The rose has a knife.

The rose has a thorn.

The rose that hates you.

And dances round you till you die.

Nina, we dance.

(dramatic music)

- Oliver, find me a hiding.

- Oliver, how can you save each other?

- Because I'll never find me.

- Oh, don't say that.

- You weren't afraid of me.

- Oh, it wasn't.

- You're my happiness.

My whole life, there's nothing

with only you and the world.

(dramatic music)

(dramatic music)

- Oliver, find me a hiding.

Oliver, find me a hiding.

Oliver, find me a hiding.

Oliver, find me a hiding.

Oliver, find me a hiding.

Oliver, find me a hiding.

(dramatic music)

(glass shattering)

(dramatic music)

(soft music)

- My darling, I tried to telephone you,

but nobody answers, nobody.

Five, 10 times I have called you.

The telephone is disconnected.

- Oh, but sweetheart, that's awful.

Lucky I came, I said to myself,

you can't go away without saying goodbye

to darling herself, no

matter how busy you are.

- Where are you going?

- Sweetheart, where can I go?

On the road, with

those tall, crazy blondes.

Billy Rose gave me back

the job he has fired me off.

So, I go again with the

trunks, the hair pulling,

and the medley of songs from old Vienna.

- It's better than begging.

Moon Lake Act Two.

- I would like to say goodbye to Heidi.

- Heidi, Heidi.

- How is she facing

the tragedy, poor child?

- Cried for a month at

the top of her voice.

- To lose such a man.

We all lost him.

- I'm leaving.

- I heard you were.

- You are dancing well again.

- Now, her stomach needs a lot of work.

It's soft, putty.

- Yes, Andre always

hated flapping his face.

- But of course he did.

Muscles are the

important thing, tone and muscle.

He had perfect

muscles, superb coordination,

absolute control.

- Magic.

- He was magic.

- I'm sorry to cry.

It's stupid to keep on crying.

I don't cry when I'm dancing.

When I dance, it comes back to me.

- You are beautiful.

You have a soul worthy

of him and of his memory.

My darling, work hard, learn, learn.

- I will.

- I'll be back in the spring

and we will start all over again.

I'll put on a new ballet.

- Some miles, bring that you

make the whole world happy.

My wonderful darling,

we'll get somebody to find us.

We'll produce together.

You and I, Polico and Lusse present 5050,

the greatest, the most

beautiful of productions.

Wait for me.

Wait for me.

I'll be back in the spring.

To everybody, a big kiss.

Napoleon's farewell to

his troops, very touching.

- Must you hang around here constantly?

Haven't you any other place to go?

- I prefer your little

battlefield, Madam Lusse.

I have been sitting in the

foxholes of art a long time.

With your permission, I

shall sit in them forever.

I take up very little room.

- Out of our endless tears,

we make our little songs and dances.

- Children, please.

This is a very dingy hall.

There are no lights,

there is no orchestra.

Only a cranky old woman watching you.

But when you dance,

you must dance always.

As if it were an opening night.

The house sold out.

And all the beautiful

people in the world out front.

Bolognese.

Go on now.

Perform.