All language subtitles for Greenwich.Village.1944.1080p.WEBRip.x265-RARBG

♪♪[Tack Piano: Up-tempo]

[ Man]
Your attention, ladies and gentlemen.

You are now in the heart of New York's
famous art colony, Greenwich Village...

known the world over as
the Latin Quarter of America.

It was once the haunt of such famous artists
as George Gershwin, Noël Coward...

Isadora Duncan, Eugene O'Neill,
Thomas Benton...

and many others whose names
will go down in history.

It is the melting pot of genius, folks.

A world of long-haired men
and short-haired women.

An atmospheric world
where people are free-

free-living, free-thinking.

You owe it to yourself, my friends,
to see its interesting little streets...

its shops, its colorful cafés.

♪♪[Continues]

[ Horn Honking]

Hey, mister.

Uh, could I, uh,
interest you in a youngster?

A youngster?

Yes, sir. Any one of these babies
will give you an awful lot of comfort.

[Chuckles]
Oh, no. I-

I'm afraid I'm not much
of a hand with, uh, children.

Aw, couldn't handle it, huh?
Well, maybe the next time. Good night, sir.

♪♪[Band: Lively]

♪ Oh, I'm just wild
about Harry ♪

♪ And Harry's wild about me ♪

♪ The heavenly blisses
of his kisses ♪

♪ It fill me with ecstasy ♪

♪ He's sweet like
peppermint candy ♪

♪ And just like honey
from the bee ♪

♪ Oh, I'm just wild
about Harry ♪

♪ And he just wild about
cannot do without ♪

♪ He just wild about me ♪
Say!

♪ Oh, I'm just wild about ♪

♪♪ [Singing In Portuguese]

♪ And Harry's wild about ♪

♪♪ [ Portuguese]

♪ The heav'nly blisses of his kisses
It fill me with ecsta– ♪

♪♪ [ Portuguese]

♪ He's sweet like
peppermint candy ♪

♪ And just like honey
from the bee– ♪

♪♪ [ Portuguese]

♪ I'm just wild about Harry ♪

♪♪ [ Portuguese]

♪ He just wild ♪

♪♪ [ Portuguese]

♪ He nuts
[ Portuguese] ♪

♪ About me ♪♪

[Audience Applauding]

♪♪ [ Ends]

I hope we get in.

- Hello, Broph.
- Friend of Danny's.

- Okay. Come on in.
- We did get in!

- [ Laughing]
- Now we're gonna have some fun.

- Hello, Broph.
- Who are you?

- A friend of Danny's.
- Oh, no, you're not.

No, I'm not. But can I get in anyway?
I'm from out of town.

You gotta have a card to get in here.
This is a club for members only.

- You got a card?
- No, I haven't.

Bye.

Hey. Here's your card.

- ♪♪[Band Ends]
- [Audience Applauding]

♪♪[New Song: Up-tempo]

- Friend of Danny's.
- Come in.

Good evening.

Check your hat, sir?

- In there.
- [Knocking]

Straight ahead.
Friend of Danny's?

- I'm Danny, you dope.
- Excuse me, boss.

- I was lookin' the other way.
- Yeah, you always are.

If you hadn't been,
they couldn't have tacked this up.

- I didn't see nothin'.
- Well, keep your eyes open.

You know what this Ziegfeld's up to.
Keep 'em away.

- Don't even let Ziegfeld himself in.
- Okay, boss, I'll watch.

- Ah!
- How'd it go at the track today?

Putrid. I'm gonna lay off them horses
and try to raise the dough some other way.

- Hello, Betty. How are you this evening?
- I'm okay, Danny.

♪♪[Continues]

Superb, isn't it?

A masterpiece.

- ♪♪[Ends]
- [Audience Applauding]

- Thank you.
- ♪♪[New Song Begins]

What's this goin' on here?

What's that delicatessen guy
doing out there on the floor?

Don't you remember, boss?
They ain't doin' so good with their store.

They wanna get back in show business.
You promised he could try out some night.

- Maybe we could use him.
- Are you nuts? I can't do that.

- How much do we owe their delicatessen?
- About 300.

I can do it.

♪♪[Ends]

- ♪♪[New Song Begins]
- Say, they ain't bad at that.

I think I'll have a talk with 'em.

- Fortunes tell?
- Not tonight, thank you.

No?

Good evenings.
My name is Princess Querida.

I tell your fortunes.
What name is yours?

- Harvey. Kenneth Harvey.
- Oh, what good luck for you.

I am tonight make a special price
for everyone whose name begin with a "H."

Would you like to take
advantage of me?

Well, I've never had
my fortune told.

Oh, you never?
You don't know what you losing.

Don't rush me now.
I'll find a table right away.

Come on. Come on.
Come on. Clear up.

Removes. Removes.
Clear up. Clear up.

Sit down, please. Sit down.

- Well, that's one way of getting a table.
- Oh, they got no tables.

Danny lets them in free, for nothing.
They're what you call the "local colors."

Give me your hands.
I think I'll read your palms.

Mm-mmm. What big
and strong hands, huh?

These are hands that do things.
Do they do things?

Well, yes, they play the piano.

You see? I saw it.
There are hands of a genius, yes.

- I'll bet you live in New York, huh?
- No, the Middle West– Kansas.

You should let me finish.
I was going to say Middle West.

Did you say your name
was Princess Querida?

Yes, I did.
I am an Indian princess.

My father was a great
red chief of the Blackfoots.

Blackfoots?

Yes. I am what you call a
full-bleeded American Indian.

Oh, I see something very,
very goods for you.

Very, very goods.

I see you play before big,
big, big audience.

Are you sure you see me?

I don't play professionally.
I write music.

Oh, you make it, huh?

- Yeah.
- You're a composer?

- Well, yes, I guess you can call it that.
- Well, have no fears.

You will be a big, big success.
You see this big "M" here? Look. Big "M."

I means music, money.
Mucho money.

You are a cinch.
Don't be afraid.

That will be couple of books, please.
My special price.

- Uh, did you say a couple of books?
- That's right. Five dollars.

Oh. I don't know whether
I have a five-dollar bill or not.

Have you no moneys?

Well, I– I gave my last small bill
to the man on the bus.

- What is those?
- Hundred-dollar bills.

- I'm sorry.
- Sorry with so many?

- Uh, can you change one?
- We must go to Mr. O'Mara, the boss.

I have a hunch he'll want to meet you.

There's something
about you he will like it.

- Oh, really, I don't want to bother him.
- For him it will be a pleasure.

He'll greet you with open hands.

Well, then it's all settled.
You start tomorrow night.

Danny, quick, look.
This is Mr. Garvey.

- Mr. Danny O'Mara.
- How do you do?

Mr. Garvey's from Kansas.
You have to make a change for him.

He has nothing but a hundred-dollar's bill.
A big wallet's full.

Well, I'm certainly glad to know you.

Won't you sit down, Mr.,
uh, Garvey, was it?

No, Harvey is the name. Kenneth Harvey.
Just call me Ken.

Kennys is a lovely name, huh?

I have uncle once in Bulgaria,
his name is Kennys–

Princess, we'd love to have you join,

but we know this is
your busiest part of the evening.

Okay, I take a hints.
I don't have to fall in a house.

I bring your change, Kennys.

Well, Ken, how do you like my little club?
Cozy, ain't it?

- Yes, it is.
- Of course, this is only a sideline.

Confidentially, my real racket
is the theater.

You own one?

Oh, no. I ain't that big a sucker.
I rent 'em.

- I'm gonna put on a show.
- Oh, you're a producer?

That's me. I'm gonna give New York
somethin' new, somethin' artistic.

Yeah. Sounds interesting.

I'm callin' it
the Greenwich Village Gaieties...

and I go to bat as soon as I get my hands
on a few incidentals.

You know, talent, ideas, scenery.
Of course, the money.

I, uh, understand you have
lots of, uh, talent.

Well, I've written a concerto, and
the folks at home think it's pretty good.

- Written a what?
- A concerto.

- Uh, yeah. Sure.
- ♪♪[Ballad]

Oh, and speaking of talent,
here's the little girl

I'm gonna star in my show.

♪ Everybody hand in hand ♪

♪ Swingin' down the lane ♪

♪ Everybody feelin' grand ♪

♪ Swingin' down the lane ♪

♪ That's the time
I miss the bliss ♪

♪ That we might have known ♪

♪ Nights like this ♪

♪ When I'm all alone ♪

♪ When the moon is on the rise ♪

♪ Honey, I'm so blue ♪

♪ Watchin' lovers making eyes ♪

♪ Like we used to do ♪

♪ When the moon
is on the wane ♪

♪ Still I'm waiting all in vain ♪

♪ Should be swingin'
down the lane ♪

♪ With you ♪

♪ When the moon above
is on the rise ♪

♪ Honey, I'm so blue ♪

♪ Watchin' all those lovers
making eyes ♪

♪ Like we used to do ♪

♪ When the moon is on ♪

♪ The wane ♪

♪ Still I'm waiting ♪

♪ All in vain ♪

♪ Should be swingin'
down the lane ♪

♪ With you ♪♪

How do you like that?
Class, huh?

Yes, she's lovely.

Sit tight. I'll bring her over.

- ♪♪ [ Ends]
- Come on over here, sugar.
I want you to meet an old pal of mine.

Baby, shake hands with Ken Harvey,
the famous composer.

- This is Bonnie Watson.
- How do you do, Mr. Harvey?

I'm glad to know you, Miss Watson,
and I enjoyed the song very much.

- Thank you.
- Well, sit down. Sit down.

Yeah, the song was okay.
But I don't know, sug.

You weren't at your best tonight.

- No?
- No, you were only sensational.

Usually you kill the people.
[ Laughs]

I was telling Ken
about our new show.

I thought I might persuade him
to contribute some of his talent.

Skipper, could I see you
for a minute?

Okay.

Don't go away.
I'll be right back.

You know that guy
from the Ziegfeld office?

Yeah.

He's in again.

Thought I told you to keep
him out of here.

Yeah, boss.

He must have slipped
in behind some party.

- Where is he?
- Over there at the bar.

Hello, partner.

Hello, Danny. Just happened
to be down in the Village.

- Thought I'd drop in for a few laughs.
- Yeah, sure.

Come on over here.
I want to talk to you a minute.

- I thought we had this all settled.
- Now, look, Danny...

I didn't come down here
to talk to Bonnie.

Don't lie to me.

Listen, Bonnie don't want no part
of Ziegfeld, and that's that.

Danny, just because
you're stuck on her,

do you realize what you're
doing to this girl?

Look what happened when
you wouldn't let her go before.

Ziggy found another girl,
and today she's a big star.

Well, if he's got a star,
what does he want with Bonnie?

He's linin' up a new show.

What do you think I'm doing?

Anyway, what can Ziegfeld do
for her that I can't do?

Stick some feathers in her dome
and have her comin' down them steps–

♪ I am a prett– ♪
I'm gonna give 'em something different.

I got the best guys
in the business to help me.

Yeah, I know.
That's what you're telling her. But when?

When I'm good and ready, see?
I'm workin' on it right now.

But get this straight.
When Bonnie goes uptown, I'm takin' her.

All right, Danny.
Have it your own way.

Finish your drink and blow.

And the next time I catch you
hanging around trying to talk to her...

I'm gonna tuck your head
under your arm.

Well, where were we?

- Miss me, sugar?
- Dreadfully.

Where you stayin', Ken?
You live here in the Village?

No, I'm staying in
a little hotel uptown.

What for?

You ought to be down here
with the rest of us that's creatin'.

Hey, you people going to keep
Kennys talking all night?

Maybe he'd like to have some fun.
You like to dance, Kennys?

- Uh, well, yes. Certainly.
- Then come on. Let's do it.

Pardon us.

How's that for luck?

Guy's filthy with dough
and he falls right in our laps.

Then he's not an old friend?

No. Querida winged him
just a few minutes ago.

I wish you wouldn't do
things like this, Danny.

Like what?

- Promoting him. You don't have to–
- What do you mean promoting him?

Okay. I'm steering him
into a sound investment.

You believe in the show
we're gonna do, don't you?

That's not the point.

- It's the way you're going after him.
- [Cork Pops]

- Aha! We are Johnnies-on-the-spot, yes?
- You're gettin' better, Princess.

This is one time a guy pulled a cork
and you were here before the pop.

I don't want to come back,
but the music, she quit.

Get another glass, Joe.

Yes, sir.

If you don't mind, Danny,
I think I'll run along home.

I've learned it's a lot better
to have regrets

in the morning than a hangover.

I've learned that lesson too.
Could I walk home with you?

Thanks, but I haven't far to go.

I'm sure Mr. O'Mara wouldn't mind
if I take a rain check.

Of course I mind.
Sit down and finish your drink.

I'll see that Bonnie
gets home all right.

Well, that's nice of you, Danny.

But after all,
if Mr. Harvey wants to bother–

I insist. And I hope to see
you both again soon.

- Good night.
- Good night, Danny.

Oh, uh, pardon me.

Uh, Princess,
that hundred-dollar bill.

Oh, the foolish things of me.
My mind, she slips.

Ninety-five dollars.
You like to count him?

I'm sure that won't be necessary.
Good night.

Good night.

- Good night.
- Good night, Querida.

Good night.

I don't like this.
Why she take him away?

Yeah. I'm askin' myself
the same question.

- [Doorman] Good night.
- Good night, Brophy.

- Good night.
- Good night.

Well, which way?
Where do you live?

- Upstairs.
- Just upstairs?

Way up on the second floor.
I told you it wasn't far.

Well, it's, uh, getting kind of late.
Don't you think we better get started?

- Where did Danny say you were from?
- Wichita.

- That's in Kansas, isn't it?
- That's right.

Um, tell me something, will you?

Do all Kansas boys go around nightclubs
flashing hundred-dollar bills?

Oh, that. Oh, I just happened
to cash a check today.

Well, if I were you,
on your next sightseeing tour,

I'd carry some smaller ones...

and I'd flash them around
one at a time.

They'll last a lot longer.
So will you.

All right, I'll take your advice.
The next time you see me...

I'll have a pocket full of dimes.

Good night.

Thanks a lot for letting me
walk home with you.

It was sweet of you to be
so gallant, Mr. Harvey.

- Oh, you've got a piano.
- Why, yes.

I haven't played one since I've been
in New York. You don't mind, do you?

No. That's all right.

♪♪[Piano, Intro]

♪ Mmm, mmm ♪

♪ Swingin' down the lane ♪

♪ Everybody feelin' grand ♪

♪ Swingin' down the lane ♪♪

- Is that right?
- Very good.

It's a little out of your line
though, isn't it?

Still kidding me about
the classics, huh?

Look, I like popular music too.
I always sing when I'm in the shower.

Good. I'll have to drop by
the hotel someday and catch your act.

You don't think
I'm a longhair, do you...

just because I try to write something
a little more... lasting?

Good heavens, no.

When I first came to the Village
I had some pretty arty ideas myself.

I had visions of becoming
a great poetess.

You know,
a second Edna St. Vincent Millay.

Mmm.

That didn't last long.
You can't eat old rejection slips, you know.

- No.
- It's different with you.

You can afford to hold out.
You're wealthy.

Wealthy?

Well, aren't you?
Danny said you were.

Oh, that hundred-dollar bill
must've fooled him.

No. Truth is, I've saved
a few thousand dollars. That's all.

Teaching music in Kansas.

I was on the faculty of a college
you probably never heard of.

A professor?

Not that good, no.
I was just an instructor.

I've always wanted to come to New York,
and when I finished my concerto...

- I decided I'd make the plunge.
- Had any luck?

Oh, the publishers let me in, all right.
But the minute I mention "concerto"...

you'd be surprised how fast
I find myself out on the sidewalk again.

I'm beginning to feel like
an old Shakespearean actor.

You know, up and down Broadway
with a trusty music roll under my arm.

[ Laughs]

Sounds strangely familiar.
It's like that with poems too.

Yeah. I'm still trying though.

There's one man I think would like it,
if I can only get to him.

- Kavosky. Ever heard of him?
- The famous conductor?

- Yes.
- Of course.

I think he'd understand
what I'm trying to get at.

You didn't think you'd find him
at Danny's Den tonight, did you?

Oh, no, no. I was sort of seeing the town.
I just happened in there by chance.

I'm glad I did though.

Otherwise, I wouldn't have met you.

That's a very pretty speech.

[Knocking]

Excuse me.

I come, fair lady, bearing gifts.

[All]
Surprise!

- Hello, Bonnie. How are you?
- Can't have a party without–

[Chattering]

- How do you like this?
- Hello, Bonnie.

♪♪[Stride Piano, Up-tempo]

This wouldn't be your little idea
by any chance?

Who me? You're having a party, ain't ya?
That's what they told me.

- Who told you?
- Oh, I don't know. Just got around.

Your lights lit and playin'
the piano this late.

You know the Village better than that.

Hey, Bonnie, how about some glasses?
Some nice, big, tall ones?

Mr. O'Mara will assist you.

He seems to be in charge
of the arrangement committee.

- Oh, I'm sorry.
- Excuse me.

Oh, this will give you a faint idea of
the kind of privacy we enjoy down here.

Well, for this time of night–

[Clattering]

For this time of night,
isn't it a bit, uh, vigorous?

Oh, not for them.
They had one of these parties last week.

- The case comes up this Thursday.
- [Man] I'll get him.

Excuse me. I'd better get some plates.
They'll have food all over the place.

Hey, Princess, where's the absinthe?

Coming up. I got him.

Come on, Kennys.
You have a nice drink.

- Here, Brophy.
- That's the stuff, Princess.

One side!
Weapons comin' up.

Well, hello, Ken, old boy.
I didn't know you were here.

You and me got to have
a little talk later on.

This boy's got a
lot on the ball.

I've been thinkin'.

I'm liable to cut him in
on something big.

Yes, I know.
I'm way behind you.

- Princess, with my love.
- Thank you.

- Please mention it. You, sir.
- Give it to Ken. I'll get my own.

Oh, then to you, sir.

And now quaff to
your hearts' delight.

- Who is that?
- His name is Hofer. Lives upstairs.

He used to play in
some big orchestra.

He plays the fiddle.

[Clicks Tongue]

[Inhales, Exhales]

- Boy, that's good, huh?
- [Coughing]

♪ When you wore a tulip ♪

♪ A sweet, yellow tulip ♪

- ♪ And I wore a big, red rose ♪
- ♪ Big, red rose ♪

♪ When you caressed me ♪

♪ 'Twas then heaven blessed me ♪

- ♪ What a blessing no one knows ♪
- ♪ No one knows ♪

♪ You made me cheery ♪

♪ When you called me dearie ♪

- ♪ 'Twas down where the bluegrass grows ♪
- ♪ Bluegrass grows ♪

♪ Lips were sweeter than julep ♪

♪ When you wore a tulip ♪

♪ And I wore a big, red ♪

- ♪ Rose ♪
- ♪ I wore a big, red rose ♪

♪ Bum, bum, bum ♪♪
Come on. Let's drink.

Come on. Wow.

[Bonnie]
Hello, Querida? Did I wake you up?

I'm terribly worried
about Kenneth Harvey.

What happened to him?
Did he say good night to you?

No. I don't know what's happened.
He just disappears.

When I saw him last,
he was talking to Hofer.

You know, this fiddle player
who lives upstairs.

Yes, I saw them.
What was that all about?

Hofer was telling him he knew
this big conductor Kavosky.

Used to play in his orchestra.

He think maybe he can get Kavosky
to listen to Kenny's concerto.

Oh, that would be wonderful.
I hope he can.

Ken is so anxious to meet Kavosky.

Well, I hope he gets home all right.
That punch was a little strong.

Good night, Querida.

[Bell Tolling]

[Groans]

[Slurps]

[Jingling]

[Thuds]

♪ Good morning
Good morning ♪

♪ Oh, what a lovely morning ♪

♪ The sunshine has rolled
the clouds away ♪

♪ Good morning
Good morning ♪

♪ Oh, what a lovely feeling ♪

♪ Good morning
This is our lucky day ♪

[ Women]♪ Good morning
Good morning ♪

♪ Oh, what a lovely feeling ♪

♪ Good morning
This is our lucky day ♪

♪ This is our lucky day ♪

At last! At last! Drake! Bigelow!
It's happened. Hey!

- What is it? What happened?
- Good news from your publisher?

Good news? It's wonderful.
I've arrived. I'm a success.

Yes?

- My book has been banned in Boston.
- No!

- Really?
- [ Women]
♪ Good morning, Good morning ♪

♪ Oh, what a lovely morning ♪

- ♪ The sunshine has rolled
the clouds away, away, away ♪
- [Knocking]

♪ Good morning
Good morning ♪

♪ Oh, what a lovely feeling♪♪

- Querida.
- Like Hofer say last night...

I come wearing "giftis."

[ Laughs]
Oh, yours are much nicer. Come in.

What's happened?
You not hear from Kennys yet?

Not a word.

Sit down, Querida.
You're just in time for coffee.

I'll get another cup.

I hope we don't lose him.
He's a cutes fellow.

Say, you think you give him a jingles
on the phone, see if he gets lost?

I can't. I don't even know
where he's stopping.

He said he was at a hotel,
but he didn't say which one.

Mmm, I think maybe you like
Kennys a little, huh?

Well, he's certainly different.
I like him very much.

- Thanks.
- Ooh, you give me the goose pimples.

Well, for–
Have you been there all night?

- Oh, I'm afraid so.
- No wonder we couldn't find him.

- Come here. Sit down.
- Yes, sit here.

- Oh. Can I have some of that coffee?
- You certainly may.

Here. Take mine.
Last night you drunk too much gins, yes?

- Very little is too much for me.
- Yeah, I think so.

- [Knocking]
- [Danny] Bonnie, you up yet?

- [Bonnie] Come in!
- Morning, sugar.

- Hello, Danny.
- I've got the great– Good morning.

- Well, hello.
- [Chuckles]

Uh, Kennys and I just drop in
for breakfast.

Would you like some coffee?

Oh. Oh, no, no.
I just ate.

Come over.

I want you to hear a tune that's been
running through my head all mornin'.

How is this for a terrific love song
in a show?

♪ Da, da, da, dee, da
da, da, dee, da ♪

♪ Da, da, da, dee, da, da
I love you ♪

♪ Da, da, da, dee, da, da
da, da, da♪♪

- Like it?
- Oh, yes. Yes, I do.

I liked it last night
when I heard Ken play it.

That's from my concerto.

Yeah, sure. It's come back
to my brains now too.

You're crazy.
How could I play a concert-o?

See if you recognize this.

♪♪ [Same Melody With Harmonies
And Arpeggios]

All right, so they're alike.
It's a coincidence.

I still say it's a great number
for the show.

Now, look, Danny. It belongs to Ken
and we can't use it. So that's that.

Unless he has other tunes.

Yeah, how about that, Ken?
You must have some others up your sleeve.

Well, not right offhand, but I suppose
I could try to write something.

Yes, maybe we get something
out of your heads.

You don't have to worry about words.
We can get lyric writers.

The main thing is we gotta
get somethin' special for Bonnie.

I hope I can turn out something.
I'll certainly try.

- Oh, that would be wonderful.
- Good. Now you're talkin'.

I wish you didn't live so far uptown.
You oughta be down here closer to us.

Danny, how about Studio "X"
on the top floor?

No, no. Can't do that. Broph's up there
with the boys. That's their laboratory.

Let them use the basement.
I don't like them upstairs.

Why not?

Last week the gin blown up.

My apartment smells all day
like a dries martini.

- Wasn't gin. It was scotch.
- Gin or scotch, they both stinks.

What's that got to do with it? Studio "X"
is ideal for Ken. And you can use my piano.

- Well, thanks. That's very nice of you, but–
- There's no buts about it.

It's all settled.
Broph and the boys go to the basement.

It's dark down there. They'll probably
get the labels mixed, but who cares?

You said him. It all come from the same
bathtubs anyhows. Come on, Ken. Go and see.

I think you'll like it, Ken.
It's an awfully nice room.

I don't doubt it, but I was going to try
and see Kavosky this morning.

Well, go and see him. While you're gone,
we'll get your room all fixed up for you.

And, Kennys, for your windows I have
just the things. Gorgeous "drooperies."

"Drooperies"?

Mm-hmm. Yards of batik
from my native Samoa.

My grandmother,
she make with own hands.

- Oh, Samoa?
- Mm-hmm.

- Oh, today you're not an Indian, huh?
- No, no.

Last night I find
I make a big mistake.

Now that you're one of the family,
you might as well know.

Querida was born in Buffalo, New York.
Her mother was a Portuguese blacksmith.

- Her mother? A blacksmith?
- Mm-hmm. That's right.

"Under the spreading chest-a-nuts."

[ Knocking]

- Excuse me, Mr. Kavosky.
- Well, what is it?

There is a young gentleman at the door
to see you about some music he has written.

You know I am busy.
Why do you even bring his card in?

But it's a concerto, sir.
It's quite out of the ordinary.

Oh, it is, is it?
And who says so?

He does, sir.
He looks like a young–

Are you out of your mind?
Get rid of him!

Send him away.
And stop bothering me!

Yes, sir.

[Scoffs]

And now, to get back to you.

Naturally, I must refuse.

Oh, maestro, you do not understand
what this means to me.

A fee? Is that it?

Naturally, he'll have me
do the orchestration.

There will be the usual charge.

And may I point out to you, maestro,
that this will permit me...

to remove myself from
your charitable generosity.

In other words,
if I help you perpetrate a lie,

you would stop bothering
me for money.

Oh, not a lie, maestro.
Not a lie.

You will like it.
I know you will.

I only ask you to listen to him.

- What's the young man's name?
- Harvey. Kenneth Harvey, maestro.

- The man who was just here?
- Yes.

Uh, no, no. That is impossible.
He doesn't know where you live.

But this is his card, isn't it?

Didn't you hear me have
the butler order him away?

Oh! All the better.
You did, maestro.

Now he will be convinced that because
of your great affection for me...

you have consented to hear him play.

To hear him, mind you.
But not say I like it if I don't.

Oh, naturally, maestro. Naturally.

A thousand thanks.
A thousand thanks.

I will contact him and communicate with you.
[Chuckles]

Oh, did I say good-bye?

Yeah.
[ Muttering]

- Hello, Querida.
- Good morning.

- Hello, Bonnie.
- Well, Querida, what on earth is all that?

Haven't you hear? Danny's giving
a big costume ball at Webster Hall...

and this is my costume.

Well, what's the occasion?
Who's the ball for?

For himself.
Tickets $25 per couple.

And this way he make the money
to put on our show.

Oh, that sounds like
a wonderful idea.

You know, he make tons of money.
Everybody's come.

And for the best costume
he gives a prize– $1,000.

How can he make any money
if he gives away a thousand dollars?

Ah, this is where the rubs come in.

It's all fixed,
because I win the prize.

♪♪[Orchestra]

[ Brophy] ♪ It's all for art's sake
Remember that ♪

♪ Whatever we do
we only do for art's sake ♪

♪ Come in and see
the latest in apparel ♪

♪ One gal is wearin'
nothin' but a barrel ♪

[All]
♪ It's all for art's sake that we are here ♪

♪ Whatever the way we act
it's due to the simple fact ♪

♪ That whatever we do
we only do for art's sake ♪

♪ It's all for art's sake
Hooray for us ♪

♪ What money we make
we only take for art's sake ♪

♪ We're doing all right tonight
We'll have a great ball ♪

♪ Tomorrow we'll all be back
behind the eight ball ♪

♪ It's all for art's sake
that we are here ♪

♪ We have to have
the atmosphere ♪

♪ You probably think
the men are mollycoddles ♪

♪ But, brother, you only
have to ask the models ♪

♪ They only have one complaint
An artist prefers to paint ♪

♪ But whatever they do
they only do for art's sake ♪

♪ It's all for art's sake
Remember that ♪

♪ Oh, whatever we do
we only do for art's sake ♪

♪ That character in
the lavender tuxedo ♪

♪ Is really a soda jerker
from Toledo ♪

♪ It's all for art's sake ♪

- ♪ The goofy guys ♪
- ♪ The goofy guys ♪

- ♪ Who wear those ♪
- ♪ Flowing ♪

♪ Ties ♪

♪ Whenever you see
a wealthy looking mama ♪

♪ She's terribly interested
in the drama ♪

♪ She'll probably back a play
for the boy in the blue beret ♪

♪ But whatever she does
she only does for art ♪

♪ It's all for art's sake
It really is ♪

♪ We suffer a lot and all for what
For art's sake ♪

♪ Whenever we dance
it ain't for cash or glory ♪

♪ It's only because
we love our Terpsi-chore ♪

♪ It's all for art's sake
The girls who pose ♪

♪ In hardly any clothes ♪

♪ We're happy if we impress
the critics with our finesse ♪

♪ 'Cause whatever we do
we only do for art's sake ♪

♪ The lady who writes
a poem 'bout a valley ♪

♪ Is getting her inspiration
in an alley ♪

♪ Her publisher comes to tea
but the lady is 63 ♪

♪ So whatever she does
she only does for art's sake ♪♪

♪♪[Ends]

♪♪ [ Dance]

♪♪[Continues]

[ No Audible Dialogue]

[ No Audible Dialogue]

Uh, pardon me. May I have the pleasure
of this dance, Your Highness?

Why, certainly.
Delighted!

Excuse us.

You're new around here, ain't ya?
You don't dance like nobody I know.

Ha, I'm from Vienna...

and this gay music makes me so homesick
for my beloved Danube.

- Oh, is that so? Is that your husband?
- [Giggles]

You silly. You tickle me.

Oh, not here, queenie,
in front of all these people.

- I know a better place.
- Do you?

Yeah. Come on.

- [Crashing, Clattering]
- ♪♪[Dance Ends]

[Applauding]

Termites.

- ♪♪[March, Up-tempo]
- [Applauding]

♪♪[March Ends]

♪♪ [ Latin]

♪ I like to be loved by you
Oh, whoa-whoa-whoa-whoa ♪

♪ I like to be loved by you ♪

♪ You look at me
and, oh, by jingo ♪

♪ Like that, my heart
she hollers, bingo ♪

♪ I like to be kissed by you
Oh, yo-yo-yo-yo ♪

♪ I like to be kissed by you ♪

♪ When you do, I get
the most peculiar feeling ♪

♪ My brain is reeling
I hit the ceiling ♪

♪ Say, I don't know just what you've got
that's so appealing ♪

♪ But I only know
I got to fall for you ♪

♪ Oh, I get chills and fever
every time you speak to me ♪

♪ But you seem so indifferents
What can the troubles be ♪

♪ I could have had some other guys
some Harry, Dick or Tom ♪

♪ But all I want is you
you sweet incendiary bomb ♪

♪♪ [Samba Tempo]

♪♪ [ Men Vocalizing]

♪♪ [Vocalizing Continues]

♪ I like to be loved by you
You can bet your boots ♪

♪ I like to be loved by you ♪

♪ I thrill each time
I look you over ♪

♪ You cook with gas
you Gas-anova ♪

♪ Oh, I like to be kissed by you
[Imitates Kissing] ♪

♪ I like to be kissed by you ♪

♪ You have lots of charms
and I cannot resist 'em ♪

♪ Because you simply
got me goose-pimply ♪

♪ Besides, I think your arm
have unique heatin' system ♪

♪ So I hip-solutely must
be loved by you ♪

- ♪ Ba, ba, ba-ba, ba, ba, ba, ba ♪
- ♪♪ [ Men Vocalizing]

- ♪ Ba, ba, ba-ba, ba, ba, ba, ba ♪
- ♪♪ [ Repeat Vocalizing]

- ♪♪ [Vocalizing]
- ♪♪ [ Responding]

- ♪♪ [Vocalizing Softer]
- ♪♪ [ Responding Softer]

♪ Ba, ba, ba-ba, ba
Ba, ba, ba-ba, ba ♪♪

- ♪♪[Ends]
- [Applauding]

I can't understand why Ken didn't tell me
Kavosky wanted to hear it.

I would have told you myself, but I felt
that he surely would come to his senses.

Where did he go?

I left him up here
a few minutes ago.

- [Bonnie] Here he is.
- [Hofer] Yes.

Ken.

Oh, hello. Got kinda warm
for me in there.

Ken, I wanna talk to you.

Hofer just told me that Kavosky's anxious
to hear your concerto.

Yes. Yes, I know.
Let's invite him opening night.

Then he can hear you sing some of it.

You see? He's not only a great musician,
but a greater gentleman.

Now look, Ken.
We're not going to be heroic about this.

Naturally you're going to play
for Kavosky. You've got to.

What about the show?

Well, the show will have to
get along without your music.

Danny can get other writers.

Precisely. Hack writers of that type
are a dime a dozen.

Now may I phone Kavosky and tell him
we are going to be there in the morning?

I don't know what to say.

- After all, Bonnie, you've written lyrics–
- Nonsense. Forget it.

What do a few hours of mine matter?
It represents years of your work.

- Go phone Kavosky.
- Yes, I shall contact him immediately.

Bonnie, I don't feel right about this.

Oh, come on, Ken. Let's be practical.
Of course I want to sing your music...

but not when it means you're giving up
an opportunity like this.

Hey, Herbert, uh, please,
may I use your telephone?

All the pay booths are busy,
and it is very urgent.

Thank you very much.

Hey, no, no, no.
Use that one over there.

Oh. Sure, sure.

- I'll go see how Joe is doin'.
- Okay. - Uh, Cortland...

6263, please.

Well, what's the good news,
Herb? Got it figured?

Here's the total, Danny, and all except
the second window. He's still checking.

Wow! Fifteen grand and more to come!

Is that hitting the jackpots!

And we still got the dough
comin' in from the program ads.

- That sure puts the show on ice, huh, boss?
- You said it.

- Let me see.
- [Hofer] Hello? Mr. Kavosky, please.

Oh, it is you, maestro.

Excuse me for calling you up so late,
but I have great news for you.

Mr. Harvey accepts
your most cordial invitation...

and will play his concerto
for you tomorrow morning.

Oh, that's wonderful, maestro.
A thousand thanks.

We shall be there tomorrow
promptly at 11:00.

Good-bye, maestro.
[Chuckles]

♪♪ [ Humming]

Just a minute.
What's all this guff you're dishin' out?

Oh, have you not heard?

Thanks to the insistence of Kavosky...

Kenneth has withdrawn his composition
from your show...

and we are going to play it tomorrow
for the great maestro.

He's goin' nowhere.
He gave that music to us.

Sure he did.
We are in rehearsals.

I got too much dough sunk in this
to let anything stop me now.

I've even got a colored act
tryin' out tomorrow morning...

- and they're rehearsing with his music.
- [Scoffs]

If I have been instrumental
in saving his immortal music...

from such desecration...

then, already, I have been repaid.

Please.

Let me clock him, boss.

Leave him alone.
You stay here and finish checkin' up.

- I'll straighten this out.
- Okay, boss.

Now let me look at them books.

♪♪[Orchestra: Ken's Concerto]

♪♪ [ Humming Concerto Melody]

♪♪ [Vocalizing]

♪ Whispering while you ♪

♪ Cuddle near me ♪

♪ Whispering so no one ♪

♪ Can hear me ♪

♪ Each little whisper ♪

♪ Seems to cheer me ♪

♪ I know it's true ♪

♪ There's no one, dear but you ♪

♪ You're whispering ♪

♪ Why you'll never leave me ♪

♪ Whispering
why you'll never grieve me ♪

♪ Whisper and say ♪

♪ That you believe me ♪

♪ Whispering ♪

♪ That I love you ♪♪

♪♪[Orchestra Continues]

Well, do something.
Why you stand there?

Tell him he can't go
with this Hofer tomorrow.

No.

No, on second thought, I think Hofer's
a good idea. Let him go right ahead.

♪♪ [Classical, Expressive]

♪♪[Continues]

♪♪[Continues]

♪♪ [Continues Into "Whispering"]

♪♪ [ Modulating]

♪♪ [ New Theme In Minor Key]

♪♪[Theme Continues]

♪♪[Theme Continues
As Up-tempo Swing]

♪♪[Trumpet Phrase]

- ♪♪ [ Flourish]
- ♪♪[Trumpet Response]

- ♪♪ [ Flourish]
- ♪♪ [ Response]

♪ A funny trumpet blows ♪

♪ A funny trumpet blows ♪

♪ A funny trumpet blows ♪

- ♪ And it goes to your toes ♪
- ♪ And it goes to your toes ♪

♪♪ [Scatting]

♪ And why do you suppose ♪

♪ And why do you suppose ♪

♪ And why do you suppose ♪

♪ That it goes to your toes ♪

♪ A fella never
never knows ♪

♪ A fella never knows ♪

♪ A fella never knows
why it goes to your toes ♪

[ Band]
♪ But you forget your woes ♪

♪ But you forget your woes ♪

♪ But you forget your woes ♪

♪ When it goes
Yeah ♪

♪ To your toes ♪

[All]
♪ Blow, Mr. Trumpeter ♪

♪ Blow, Mr. Trumpeter ♪

♪ Blow, Mr. Trumpeter ♪

♪ Blow ♪

- ♪♪ [Glissando, Pause]
- ♪ It goes to your ♪

- ♪♪ [ Resumes, Ends]
- ♪ Toes ♪♪ Yeah!

That's it!
Great, boys. Great!

But, Danny, suppose Kavosky
likes the concerto.

You can't use that music.

Don't you worry about that.
We'll cross that bridge when we get to it.

Now, just like you did it, boys,
that's just the way we'll do it in the show.

That suits us.

Now hop over to the theater
and see Bert Hendricks, the director.

He knows all about ya.
I'll be over there in a few minutes.

[All] Yes, sir!

- Socko, ain't it?
- Absolutely the first words.

Bonnie! He likes it.

Kavosky likes my concerto.

Ken, that's wonderful!
I knew he would.

Look, I-I-I'm still shakin',
but I– I got through it all right.

You mean he listened...
to the whole thing?

From start to finish.

Course it needs some work,
a few changes,

but Hofer's gonna help me
as he orchestrates it.

Hofer, huh?
I could have told this.

Uh, what's the setup?
Is this guy Kavosky gonna put it on?

I hope so. He's waitin' now
to see the orchestration.

- And since he likes it that much, he will.
- Yeah, sure he will.

Danny, I'm sorry about the show.
I hate taking the music away.

Wouldn't have it any other way.

This calls for a celebration.
Why don't we go out, have lunch together?

Nah, you guys go ahead.
I gotta hop over to the theater.

Oh.

- Wait for me. I go too.
- All right, come on.

We celebrate later, we no have
not works to do, huh?

We'll get together tonight.

- Good-bye.
- Bye, Princess.

- [Ken] Thanks, Danny.
- Forget it.

Uh, you don't suppose
they're upset, do you?

Of course not.
They're as glad for you as I am.

It's just that they're both up to
their necks in the show. That's all.

- Now what you do? You have no music.
- Oh, we'll still use his music.

I'm gonna speed up rehearsals.
We may even open earlier, see?

How can you do this?

Are you gonna make it tough too?

Ain't I got enough trouble
with this Ziegfeld on my neck?

- [Knocking]
- Come in.

Excuse me, maestro.

Did I happen to leave some juniper juice
in your closet?

There's something in there.
I thought it was cleaning fluid.

Same thing. [ Laughs]

- ♪♪ [Classical Chords]
- Oh, here it is.

And how's the old concert-o
coming along? Good, huh?

Fine, fine. We finished
the first half this morning.

- Hofer's over at Kavosky's with it now.
- Yeah?

Well, good luck to you, pal.
Keep pluggin'.

- ♪♪[Chords]
- A miracle. A miracle!

It's fantastic.
It is unbelievable.

- H-He liked it?
- Liked it?

He worships it. Each note,
each passage, each– He was amazed.

- Ah! Oh, that is a load off my mind.
- Ah, Ken...

you should have come with me.

Your head would have been
in the clouds!

He begs that you permit him to make
all the arrangements at once.

Arrangements?

Yes– to play your concerto
at Carnegie Hall!

- Carnegie Hall?
- Mm-mmm.

Of c-course, you told him that–

Oh, I naturally accepted for you
and told him to proceed.

[Sighs] Hofer, you don't know
how grateful I am.

If it hadn't been for you–

Oh, don't give it another thought,
my friend.

I'm only too happy to be of service.

Oh! I forgot to show you
what he thinks of it. Here, look.

- The maestro's personal check of $3,500.
- What's that for?

Well, there– there seems to be
some nonsense about...

posting a bond
for the musicians' salary.

- Uh, it's just a deposit, you know. [Chuckles]
- Oh.

Of course, we will have
to raise a similar amount,

but after all,
it is so insignificant.

I'm sure we'll arrange it somehow.

As long as it's only a deposit,
I have that much I can put up.

Oh, I love this.

- It has life.
- Yeah, but, uh–

I beg your pardon?

I said I'll be glad to
put up the other 3,500.

Oh, that is very generous of you.

- It's a pure formality, you know that.
- Oh, of course.

- [Chuckles, Mutters]
- I'll write out a check.

Ah, this is superb.

Superb!
[ Kisses]

♪♪ [ Humming "Whispering"]

♪♪[Continues Humming]

- [Knocking]
- Come in.

Bonnie, Hofer just called me
from Carnegie Hall.

Kavosky ordered the first rehearsal
this morning.

The orchestra's there now.

He's not wasting any time!

Get your hat. I want you to be first
to hear it with orchestra.

Oh, Ken, I can't.
I'm due at the theater at 11:00.

Can't you get out of it somehow?

Rehearse this afternoon.

I don't see how I can now.
They've called everybody.

- But I'll certainly be pulling for you.
- Oh, I know you will.

But I do wish I had you
along for moral support.

Will you come when it's over?

I'll be so anxious
to know what happened.

All right, I will.

- I'll see you later.
- Ken!

- That's for luck.
- Oh, thanks. Now I can't miss.

Bye.

[Traffic Rumbling]

I don't know what to say, my friend.

It looks to me as if Hofer has, uh,
well, simply stolen your money.

But the orchestration.

He said you liked it,
thought it was excellent.

I have seen no orchestration.

I haven't even heard from Hofer
since the morning you played here.

Then obviously you weren't going
to conduct it at Carnegie Hall.

Of course not.

I know nothing about such a thing.

As a favor to Hofer,
I agreed to hear you play, yes.

I also told him, if I liked it
and could help you, I would.

- But that's as far as it went.
- I understand now.

It's all very clear.

I only hope you can find this Hofer.
I hope we both can.

I doubt it.

I've already tried to
reach him on the phone.

- Sorry to have bothered you, sir.
- Not at all.

♪♪ [Waltz]

Morning, Bert. Where's Danny?

I don't know.
He was here just a minute ago.

- Oh, I see him.
- Bonnie, don't be long, will you?

I want to work the boys with you
in the concerto number.

Okay.

- Concerto number?
- Yeah.

Aren't you mistaken?
That's out.

Out? If it is, Danny didn't say
anything to me about it.

He saw us rehearsing it
just a few minutes ago.

But that belongs to Ken Harvey.

We're not using any
of his music in the show.

Better speak to Danny about it.

Far as I know, it's still in.

I was over at your place this morning.
They're still paintin' on it.

Them arches ain't nearly as
wide as they are in this model.

[Bonnie] Danny.

- Oh, hello, sugar.
- Danny, I want to see you a minute.

Why, sure, honey.
Be right with you.

Look, follow through on this,
will ya, boys?

Our gals are never gonna get
through 'em with hoopskirts on.

Okay, we'll take care of it.

- We're fightin' time, you know.
- ♪♪[Piano: Classical, Expressive Theme]

- What's on your mind, sugar?
- Close the door.

What's the matter?
You act like you're mad or somethin'.

Not mad. Just a little confused.

Bert just told me Ken's concerto number
is still in the show.

That isn't true, is it?

Now look, sugar, why don't you
let me worry about them things?

Danny, you're not actually going
through with this? You can't.

Why not?

It would ruin Ken's chances with Kavosky.
He'd never play it at Carnegie Hall.

He won't anyway. Look, all this stuff
about Kavosky is just a lot of baloney.

He ain't seen none of Ken's music.

This guy Hofer's just
been stringin' him along.

And that's another thing.
I just saw Hofer sneaking off in a cab.

Sure. He was takin' a powder.

I knew he would as soon
as he got a hold of Ken's dough.

He got money from Ken?

- Not much– 3,500.Just about all he had.
- How do you know so much about this?

I had Brophy tailin' this guy Hofer,
watching every move he made.

You don't mean to say you knew
Hofer was gonna cheat Ken,

and you did nothing to stop it?

Why should I? Did he think of me
when he moved in and tried to break us up?

To get even, you let–

He was sap enough to be taken.
Why should I stop him?

Anyway, if Hofer hadn't have done it,
somebody else would've come along.

Look, Bonnie, it's better this way.
Now the guy'll go home where he belongs.

New York's no place for him.
Can't you see what I mean?

No, I don't see.

And if you're just trying to excuse
yourself, you're only making it worse.

Now wait, Bonnie.
Maybe what I did was wrong.

But you're forgetting something.
I happen to be in love with you, see?

I know I got a lot of faults.

I ain't exactly Fifth Avenue,
but I ain't a dumb lug either.

When somebody tries
to take you away,

I'm not gonna stand for it
without puttin' up a fight.

You know that, or I wouldn't be here now
tryin' to buck a guy like Ziegfeld.

Yes, Danny, and I appreciate it.
But you've done a terrible thing here.

Look, where I learned to fight,
there ain't no book of rules.

It's the results that count.

Results?
You may have gained your purpose.

Has it occurred to you
what you're doing to me?

I know you think you're
in love with him,

but you'll get over that
as soon as he's gone.

♪♪[Piano: "Whispering"]

No. I'll never get over it.
I love him way too much.

♪♪[Continues In Distance]

You do? You're sure?

Yes, Danny–very sure.

[ Exhales]

♪♪[Ends]

- Hey, did Broph get here yet?
- [All Laughing]

Comin', boss. I'm here!
Scuse me. See ya later, girls.

- What are you going to do?
- Get the guy's dough back for him.

What you want, boss?

I hear Hofer skipped.
You know where he went, don't you?

I got George tailin' him.
I can put my mitts on him anytime you want.

- Go grab him, bring him back to the joint.
- Okay, boss.

- Make sure he's got that dough on him.
- You bet, boss.

Thanks, Danny.

You would pick a day I didn't shave.

Let's go.

Here you are, buddy. Come on.

- [Danny] All right. Hand it over.
- [Hofer Muttering] Yes.

I-I-I had to spend a few dollars of it,
uh, for my room.

That'll be on me,
but the rest better be here.

It is. I give you my word.

- Okay. That'll be all for now.
- Uh, could I go out the back way, Danny?

I don't want to take any chances
on running into him.

- Let him out the back way.
- [Brophy] Okay, boss. Come on.

- It's all here. You take care of it.
- I'd better watch for him...

and try to see him before
he reports it to the police.

Yeah, that's a good idea.

Couple of kisses from you
and he'll forget the whole thing.

I hope so.

- But just the same, you'd better
be with me in case I need you.
- [Danny] Yeah, sure. Okay.

But wait for me, will ya, sugar?
I wanna see if I have any mail.

You know, Brophy,
I'm so sorry I did this–

so sorry... I did it so badly.

Good morning, Kennys.
You come to the theater today?

Oh, Kennys.

Kennys. Is something wrong, Kennys?
Why don't you speak to me?

You better not waste
your time, Querida.

They're downstairs.
Better go down and get your cut.

Who's cut? Somebody's hurt?
You cut somebody?

What's happened, Kennys?
Are you mad at something?

Not at all.

I'll just check the loss off to experience.
Probably cheap at that.

I don't understand.
Something go wrong with the concertos?

Plenty, and you know it.

I don't know anything.
I give you my honor!

Stop, Kennys. Talk to me.

There isn't anything to talk about.
Besides, I gotta catch a train.

But why you catch a train?
You go someplace?

Yeah. Home, where I belong.

But you can't go home now.

You going to miss the show.
She's opening Monday night.

Too bad to miss that, isn't it?

But why you go home?
Tell me, why you go home?

Have you talked to Bonnie
and Danny about this?

No, and I don't intend to!

Mornin', Princess.

I have no time to say
good mornings now.

Oh, Danny.

Oh, boy, where is Mr. O'Mara?
Did you see him?

Yeah. Him and Miss Watson
just went out.

Said somethin' about going down to
the subway station to watch for somebody.

Oh!
[Sighs]

Give me two bottles of scotch,
will you please?

What for? I–

Don't ask any questions. Gimme–
Gimme two bottles of scotch.

Okay.

Kennys, I don't know what's happened,
but take this with you. You are so upset.

Maybe you need a drink
on the train, yeah?

Thanks.

- Maybe.
- That's not a bad idea at that.

Yes.

O'Shea reportin'.

Faith and begor-r-ra, O'Shea.
The tops of the evening to ye.

What's this, Princess?
I didn't know you were Irish.

Sur-r-re. And would I be anything else,
born in the Count of Corks?

Look, O'Shea,
you see that man there

in the street with the bundles
under his arms?

- Mm-hmm. Yeah.
- He just tried sell m'some moonshines.

- Tried to sell you what?
- Moonshines. Whiskey. Scotch whiskey.

- He's a boots-legger.
- Are you sure?

Are sure as my name is Querida O'Tooles.
You arrest him quick.

Okay. I'll nab him.

This is a frame-up, I tell you.
The whole thing is a frame-up!

Those bottles were given to me.

I've been framed ever
since I got to this town!

Yes.

You can't do this to me! Do I look like
a bootlegger? Listen come back here.

I've got to get a lawyer!

[Bottles Clinking]

Hello, pal. Remember me?
The, uh, baby carriage?

- Yeah, I remember.
- I thought you would.

Uh–

Can I, uh, interest you, partner?

Yes! This time you can.

Good.
[Chuckles]

- [Crowd Chattering]
- [Traffic Humming]

♪♪ [Classical, Up-tempo]

- You see 'em?
- ♪♪[Continues]

No. No, they're not in their seats.

They must be there.
It's the eighth row. Let me look.

No, they ain't here yet.

- Danny, suppose Broph can't bail him out.
- No, it can't be that.

My lawyer fixed everything.

All Broph had to do was go down
there with the dough.

- [Man] On stage, everybody. On stage!
- Now stop worrying.

He'll be here if I have to go down
and get him myself.

Get set, sugar, and knock 'em dead.

I don't care why they did it.
It's the dirtiest trick I ever heard of.

That's the only thing they could do,
you were so bullheaded.

We got time to make the show.

Are you gonna feel
like cuttin' your throat.

Why? What makes you say that?

You're gonna hear your music,
gonna knock your ears off.

Oh, so that's why they pulled this,
so they could steal my music too, huh?

Well, they're not
gonna get away with it.

I'll stop them if I have to slap
an injunction on the whole show!

Come here, ya lug head!

♪♪[Orchestra: Overture, In Distance]

Hey, my fare!

♪♪[Overture Ends]

- [ Woman] Bravo!
- [Man] Bravo!

- Bravo!
- Bravo!

[Shouts Of "Bravo" Continue]

That's Kavosky.
That's Kavosky!

♪♪ [Classical, Dramatic, Slow]

♪♪ [Variations On
"It Goes To Your Toes" Theme]

♪♪ [Variations On "Whispering" Theme]

♪♪ ["Whispering" Theme Continues]

♪♪ [ Modulating]

♪♪ [ Band: Latin]

♪ Gimme, gimme, gimme ♪

♪ Give me a band
and a bandana ♪

♪ I want to dance ♪

♪ I want to shake my shoes
and go to town ♪

♪ Give me a band
and a bandana ♪

♪ I want to pick 'em up
and lay them down ♪

♪ I don't care for the hootchy-kootch
and I don't like the shimmy ♪

♪ Treat my feet to a tropic beat and gimme
gimme, gimme, gimme, gimme, gimme ♪

♪ Gimme a band
and a bandana ♪

♪ But I don't want a Romeo
I don't want a romance ♪

♪ No, I only want to da, da, da-da
da, da, da-da dance ♪

[Slowly, Freely]
♪ Da, da, da, da ♪

♪ Any band that is handy
can make me feel dandy ♪

♪ I don't need a brandy for kicks ♪
Ah-ah.

♪ Give me a rhythm that's Latin ♪

♪ And I'll show Manhattan ♪

[In Rhythm]
♪ My South American tricks ♪

- Samba!
- ♪♪ [ Latin Resumes]

- ♪♪ [ Men In Portuguese]
- ♪♪ [ Portuguese]

♪♪ [All Continue In Portuguese]

♪♪ [Continues In Portuguese]

♪♪ [ Band Pauses]

♪♪ [ Freely, In Portuguese]

- ♪♪ [In Rhythm]
- ♪♪ [ Band Resumes]

- ♪♪ [ Band Pauses]
- ♪♪ [ Freely]

- ♪♪ [In Rhythm]
- ♪♪ [ Band Resumes]

- ♪♪ [ Band Pauses]
- ♪♪ [ Freely] And that's why–

- ♪ I don't care for the hootchy-kootch ♪
- ♪♪[Orchestra]

♪ And I don't like the shimmy ♪

♪ Treat my feet to a tropic beat and gimme
gimme, gimme, gimme, gimme, gimme ♪

♪ Gimme a band
and a bandana ♪

♪ I want my hips to say
Hip, hip, hooray ♪

♪ Gimme a band
and a bandana ♪

♪ But I don't want a Romeo ♪

♪ I don't want a romance
No, I only want to dance ♪

♪ I don't care for a hootchy-kootch
and I don't like the shimmy ♪

- ♪ Treat my feet to a tropic beat and ♪
- ♪ Gimme, gimme, gimme, gimme ♪

♪ Gimme, gimme, gimme a band
and a bandana ♪

♪ Gimme, gimme, gimme a band ♪

- ♪ I don't want a Romeo ♪
- [Chorus] ♪ No, no, no ♪

- ♪ No, no, no, no romance ♪
- ♪ You mean there's not a chance ♪

- ♪ I don't want love ♪
- ♪ No ♪

- ♪ No ♪
- ♪ Why not ♪

Because–

- ♪ I only want to dance ♪
- ♪ Want to dance ♪

- ♪ Give me a band and a bandana ♪
- ♪ And a bandana ♪

♪ I want to dance ♪

- ♪ I love to dance ♪♪
- ♪♪[Ends]

- Danny.
- Where've you been?

Never mind. I saw some
of this number out front.

It's great, really.

- I told you it would, didn't I?
- But Kavosky– How did you work that?

Easy. He felt so bad over what happened
to you, he was tickled to death.

To cinch it, I made him a present
of the best oil paintin' in my collection.

Oh, thanks, Danny.
I owe you and Bonnie a lot.

She must be pretty disgusted
with me though.

Her dressing room's
on the other side.

Why don't you go over
and find out for yourself?

I'll do that.

- I'll see you later.
- [Audience Applauding]

♪♪[Introduction, Soft-shoe Tempo]

♪♪["Whispering"]

- ♪♪[Ballad]
- ♪ Whispering while you ♪

♪ Cuddle near me ♪

♪ Whispering so no one ♪

♪ Can hear me ♪

♪ Each little whisper ♪

♪ Seems to cheer me ♪

♪ I know it's true ♪

♪ There's no one, dear
but you ♪

- ♪ You're whispering why you'll never ♪
- ♪♪[Chorus Vocalizing]

- ♪ Leave me ♪
- ♪♪[ Vocalizing Continues]

♪ Whispering why you'll never ♪

♪ Grieve me ♪

♪ Whisper and say ♪

♪ That you believe me ♪

♪ Whispering of love ♪

♪ Under stars above ♪

♪ Whispering ♪

[With Chorus]
♪ That I love ♪

♪ You ♪♪

♪♪[Ends]

[Applauding Continues]