All language subtitles for Tonight.or.Never.1931.1080p.BluRay.REMUX.AVC.FLAC.2.0-EPSiLON

(film roll rattling)

(gentle orchestral music)

(gentle orchestral music continues)

(gentle orchestral music continues)

(gentle music)

(bell clanging)

(gentle music continues)

(man singing indistinctly)

(gentle orchestral music)

(woman singing indistinctly)

(gentle orchestral music)

(crowd clapping)

(crowd chattering)

And what a voice!

I Tell you it's crystal, pure crystal.

- Only colder.

Where is the feeling?

She will never be a great Prima Donna.

- Oh, it's the greatest thrill

I've had in the theater for years.

- Her technique is all right,

but no heart and no feeling.

- Oh, darling, don't be absurd.

Of course, there was feeling.

- Excuse me gentlemen, Madame
Vago will be here in a moment.

(crowd chattering)

- Magnificent, darling.

- Thank you so much.

(men chattering)

- Allow me to congratulate you my dear.

Splendid.

(men chattering)

- Silence, gentlemen.

Silence!

Please Madame, come right over here.

It won't take a second.

Signora and Signori.

You have just been
listening to the broadcast

of the opera "La Tosca."

We are now in the dressing
room of our guest star,

the lovely Nella Vago.

From the Royal Opera House in Budapest.

Perhaps she will say a few words to you.

If you would be so kind, Madame.

- Good evening everyone.

I wanna thank you for
my reception in Venice.

It's been lovely.

You've made me so very happy here.

Tomorrow, when I return to Budapest.

I shall carry with me the memory
of this night, and of you.

And your beautiful city of song and magic.

And eternal romance.

Au revoir.

(men cheering and chattering)

- Thank you, Madame.

Bravo, bravo, Madame.

Just one moment friends, just one moment.

We also have with us tonight,

His Excellency Count Albert Von Gronac.

One of the directors of The
Royal Opera in Budapest.

And the fiance of the
beautiful Nella Vago.

He will say a few words to you.

Please, Your Excellency.

(Albert giggles)

- Ladies and gentlemen.

Four years ago,

I was seated one beautiful
day in Budapest in my office.

And in came a little unknown girl

whose name was Nella Vago.

(door thuds)

(Albert giggles)

Of course, it takes a genius
to recognize an uncut diamond.

- Thank you, Your Excellency.

And in closing, please remember

this broadcast comes to
you through the courtesy

of the Compania Association,
Generale Frazellini

and Frantenini.

Whose motto is "My Spaghetti
Is Longer Than My Name."

Thank you, goodnight.

Goodnight gentlemen.

(doorbell buzzing)

- Good evening, Madame.

Good evening, Your Excellency.

- Good evening, Conrad.

- Good evening, Professor.

(door clicks)

- Calm her down.

- Mm.

- Calm her down.

- Yes.

- Calm her down.

- Calm her down.

- Calm her down.

- Calm her down.

- Calm her down!

Calm me down.

- Well, I see Albert.

He asked me to calm you down.

- What's wrong?

Am I raving?

Am I in hysterics?

- No, you're not even nervous.

- Of course I'm not.

Why should I be?

By the way, you might
congratulate me on my success.

- Oh, so sorry.

Congratulations.

- Was anything wrong with my singing?

- No.

- A malicious little beast.

That's what you are.

Always nagging.

- I'm your teacher.

- Teachers are never satisfied.

Well anyway, I had a success.

- Yes.

You are a success in Venice and Budapest.

That's something of course.

But, when will you sing in America?

- When will I sing in America?

When will I sing in America?

That's all I hear from
you, day in and day out.

You must have some pupils there.

- Until you are asked to sing

at the Metropolitan
Opera House in New York,

you are not the big
success you think you are.

- Your supper, Madame.

- A chicken sandwich on dried toast.

Oh, Conrad.

- Yes, Madame?

- How did you like my singing tonight?

- I'm sorry, Madame.

But I had to pack.

So I was unable to go to the opera.

- There you are.

Conrad, your own butler

who has been with you for years,

who pays your bills, watches your diet,

won't even go to hear you sing.

On the day that Conrad
applauds you in the opera,

I shall take off my hat to Nella Vago.

(crowd chattering)

- All alone, Excellency?

- Yes.

I stole away from Madame
Vago for a moment.

(men giggle)

- Well, come and have a drink with us.

- Thanks very much, but I can't stay long.

Women resent it, you know.

(men giggle)

- Now where would I be today,
if it weren't for Albert?

He's been very kind and generous.

Quite aside from putting
me in Grand Opera.

I'm very grateful to him.

I like him.

I love him.

(Rudig scoffs)

Yes, I love him.

- Oh, Madame.

Oh, Madame.

He's passing on the terrace again.

- Oh, you mean?

- Yes, Madame, the
handsome young gentleman,

he's walking by the window again.

The third time today.

- The third time?

Then he's doing it on purpose.

- Oh, be careful, Emma.

Don't let him see you.

He's good-looking, isn't he?

- I'll tell you in a minute.

- Oh, he's certainly attractive.

- There he walks.

But, oh, so slowly.

He just has to pass the window.

- Childish.

I wonder he doesn't turn cartwheels

or something to attract your attention.

- I think it's delightful.

It's romantic.

- Oh, pooh.

- Yes, Madame Vago.

It makes my heart beat.

- Oh, now he's at the bridge.

Oh, look, he wants to turn back.

Oh, he's gone.

Oh, he didn't have the courage.

- Maybe I can see him
from the bedroom window?

- Come away.

You act like a schoolgirl,
not like a great Prima-Donna.

- Oh.

So now I am a great Prima-Donna.

Forgot yourself, didn't you. (chuckles)

I wonder who he is.

- I know who he is.

- Yes, you would.

Tell me then.

Tell me then about this male streetwalker.

- I will.

But you won't be pleased.

- Oh, yes I will,

- I sat next to that young man

at the hotel restaurant, yesterday.

He was with a, a.

- A woman?

- Mm.

- Well, that's not a crime.

Was she pretty?

- The most famous beauty of Europe.

- What?

- And a very notorious one.

In her day.

- Well then, that's different.

- The Marchesa San Giovanni.

Once, a great Prima-Donna.

And the intimate friend
of every crowned head

on the continent.

The old girl's enormously rich.

- Oh, don't tell me about her.

Tell me about him.

- I'm coming to that.

My dear.

According to the doorman,

the head waiter and the hotel clerk,

he is her.

She is his.

Something or other, I forget what.

I think it was aunt.

- Aunt?

- At any rate, for the time being.

- I don't believe it.

- Why not?

No doubt, he's had dozens of aunts.

(Rudig chuckles)

- So, that good-looking
creature is nothing

in the world but a gigolo?

- Yes.

- And the old Marchesa supports him.

Why do you repeat such gossip to me?

- 'Cause you want to hear it.

- I don't.

- You do.
- I don't.

- You do.
- I don't.

- You do!

- I don't!

I don't.

(man singing in foreign language)

- He's only a simple gondolier.

No training in his voice.

But what a heart.

(man singing in foreign language)

You just listen.

This gondolier can tell
you more about success

than all the teachers in the world.

Goodnight, my dear.

(gentle music)

(gentle music continues)

(gentle music continues)

(gentle music continues)

(gentle music continues)

- Anything else, Madame?

- No, thank you, Emma.

Goodnight.

- Goodnight, Madame.

(gentle music)

(gentle music continues)

- Oh, darling, I'm so happy.

- You're beautiful, you're adorable.

To think that we're in love at last.

- Kiss me.

Kiss me.

- Hello?

Hello.

Hello.

Maitre d'hotel?

This is Miss Vago speaking.

Do you know any reason

why I should be kept awake at this hour?

No, it's in the next room.

Well, of course it's annoying.

I can't sleep.

Huh, what?

What?

Oh.

On their honeymoon?

Never mind.

Don't bother them.

- Isn't it wonderful?

- Wonderful?

Why, it's marvelous.

- I've never been so happy in all my life.

- Neither have I.

To think this love will
go on and on forever.

- I didn't think love could be like this.

Oh darling, more, more.

(phone buzzing)

- Hello?

Yes?

My dear, calm yourself.

You'll hurt your voice.

Eh?

Oh, oh.

(Conrad snoring)

(phone buzzing)

- Hello?

Yes, Madame.

(phone buzzing)

- Hello?

Yes, Madame.

Yes, yes, I'm coming right away.

(door clicks)

- Darling, you're not ill?

- Is there anything wrong Madame?

- What do you wish, Madame?

- Oh, no questions!

Go and get dressed.

I can't stand this climate.

We'll take the train tonight for Budapest.

- But we go to Budapest tomorrow.

- We're going to Budapest tonight!

(door thuds)

- I guess we go to Budapest tonight.

(train rattling)

- His Excellency's berth is ready.

- Excellency.

- Hey, what?

- Our berth is ready.

- Oh, thanks.

My, but I'm sleepy.

- You're always sleepy, Albert.

- Darling, I'm like Napoleon.

I can sleep at any time and any place.

Goodnight dear.

- Goodnight, Napoleon.

(Albert chuckles)

- Tell the waiter to bring me
some water and lots of ice.

- Yes, Your Excellency.

May I make up your berth, Madame?

- Yes, if you like.

- Oh, Madame, oh, Madame, I'm so excited.

He's on the train, he's on
the train, the gentleman.

(door clicks)

- Excuse me.

I beg your pardon.

- Marchesa San Giovanni.

Didn't I tell you?

The Marchesa's on the train too.

Excuse me.

Goodnight, goodnight.

- Goodnight, Emma.

- Goodnight, Madame.

(train rattling)

- You used to say,

"Don't ask questions my love.

You may get an answer."

(both giggle)

- Yes, but I want an answer.

After all, what have you against her?

You can't deny that she has a voice.

I tell you her voice is
an organ of the purest,

most supreme.

- And that is just the trouble.

It is nothing but an organ.

It is as cold and as passionless

as one of these American ice-boxes.

Let me tell you a secret.

No woman can ever be a
great artist without love,

without passion, without a
great inside flame in her heart.

If she were really an artist,

she would sing with more than her voice.

She would sing with her heart
and her soul and her body.

I did.

Sweet old King Constantine. (chuckles)

He used to say to me, "Bianca darling,

you are not singing with your voice,

you are singing with your, uh."

Well, never mind what he thought
it was I was singing with.

I was.

- Oh, you and your Kings.

- And that was the time
when Kings were men.

And that's what your Nella needs.

I don't mean a King.

- You know, you're a
very wicked old woman.

(Marchesa giggles)

- And do you know that you're
a very sweet, dear boy.

(Marchesa giggles)

You flatter me so.

(Jim giggles)

(knuckles rapping)

- Come in.

(door thuds)

- Rudig, why have I never had a lover?

- What?

- Answer me.

Don't all great artists have lovers?

- My dear, all great artists are lovers.

- Oh.

Men fall in love with me, don't they?

- But do you fall in love with men?

For an artist,

it is more important to
love than to be loved.

- To love.

Rudig, why do you think
such things and not tell me?

- I was afraid you might misunderstand.

You see, I'm a man.

Myself.

-You?

Oh, Rudig.

(Nella giggles)

(door rattles)

(Nella giggles)
(knuckles rapping)

-Who is it?

- The waiter with the
ice, Your Excellency.

- Come in.

(train rattling)

(Nella vocalizing)

- You'd better not sing "Tosca" tomorrow.

- Why?

♪ Why, why, why, why, why, why, why, why ♪

- You haven't been yourself since Venice.

No tone, no life.

Yesterday, you gave a
wretched performance.

You were off-pitch twice.

And I heard one very sour note.

(piano dings)

- You've never heard me sing
a sour note in your life.

You only want to devil me.

Why, you're angry because
I haven't asked you

for the latest gossip.

- I never gossip.

- No?

- Oh, by the way.

Schmitt-Krupps, the German baritone

and Frieda Isambard, from Berlin

have both been engaged
for the Metropolitan.

- What?

With all the singers they can choose from,

they've picked that hippopotamus
Isambard for New York?

- She's got the voice.

- But she can't get her
hips into a taxi-cab.

- Uh-uh.

- Not that I mean to be unkind.

How did she get the engagement?

- A young American manager signed her.

Fletcher is his name.

He's traveling about Europe,

picking up new stars for the Metropolitan.

He's in Berlin now.

- Juanitza, Schmitt-Krupps, Isambard.

Everybody but Vago.

Oh, well, what do I care?

Conrad.

- Yes, Madame?

- Would you like to hear me sing?

I'll sing just for you.

- I, assure you Madame,
it's a very great honor.

But I have some trades-people
waiting for me in the pantry.

So under the circumstances Madame,

I feel sure you realize they're waiting.

Thank you, but they are waiting, Madame.

Thank you.

(footsteps tapping)

(Rudig giggles)

(piano music)

(Nella vocalizing)

- Let's get to the first act.

(Nella giggles)

- All right, Rudig dear.

Come on, you give me my entrance.

Get me in the mood.

(piano music)

(Nella vocalizing)

- Madame!

- What is it now?

- Oh, Madame, he is
passing in front again.

- Well, close the window, and
don't disturb me every minute.

- Yes, Madame.

- That's what I'd call
a persistent gigolo.

It must be your jewels.

Oh, by the way.

Do you know that he's
living at the Hotel Regent

with the Marchesa?

They occupy the same apartment.

And she's still supposed to be his aunt.

(Rudig laughs)

- Oh, come on now, I
have to sing tomorrow.

- All right.

But this time,

with soul,

with feeling.

(piano music)

- Oh, I can't, I can't.

Do you know what that scene means?

It means that my lover is waiting for me.

For me.

It means that we're going to a villa.

We two all alone.

The moon is out, the stars are shining.

And the whole night smells of flowers.

And we're thrilled to our very souls.

- Yes.

It's an exquisite vision of love.

- Yes, but no-one ever
carries me off to a villa.

No-one makes love to me by moonlight

when the whole world smells of flowers.

I'm never in love with anyone.

I don't know anything about thrills.

How can I convey them?

Nothing ever happens to me.

Why, I'm the only woman in the theater

to whom nothing ever happens.

I might just as well be dead as alive.

I Think I'll get myself a gigolo.

- You have His Excellency to console you.

- If you think that Alfred
Von Gronac is any consolation,

you are mistaken.

Do you really believe that he's taught me

the depths of passion and heights of love?

- Well, of course I could
hardly be a judge of that.

But His Excellency is a man of the world.

He has seen everything.

- That's just it.

He's seen too much.

(door clicks)

- What dress shall I lay out, Madame?

- Oh, anything.

Something old.

Something black and dreary.

- Yes, Madame.

(door clicks)

- What's the matter?

- Oh, nothing.

- What's in that newspaper?

Give it to me.

- Don't read it, dear.

Don't read it.

- Hmm, Linden.

Linden goes to Berlin.

- Yes.

Maida Linden.

Our mezzo soprano goes to Berlin.

- But how, why?

- She will sing there, she says.

In the hope of being heard by Fletcher.

The American impresario I told you about.

- So she can't wait for
Fletcher to come here.

She can't go to Berlin.

She's singing with us next week.

- I believe she has
been granted a holiday.

- A holiday, Linden?

What for?

- His Excellency, as a personal favor.

- Rudig, you've tormented
me enough for one afternoon.

You with your silly old gossip.

And now you're going much too far.

- Very well, very well.

If you don't want to know

that Linden is having a
guest to dinner tonight.

One guest, only one.

- How do you know?

- My housekeeper and
Linden's maid are cousins.

And hmm, hmm.

- Did your cousin tell you

that Albert was dining with Linden?

- I don't want to gossip.

- Did she?

- Yes.

- It's a lie.

I'll be studying tonight.

Later, we'll go to the German Embassy.

- His Excellency, Madame.

- Good afternoon, good afternoon.

- Good afternoon, good afternoon.

- And how is my little songbird today?

- Fine.

- And the dear, faithful dog-friend.

How we getting along Fido?

- Thanks very much for your
gratifying interest, Excellency.

I manage to keep a kennel over my head.

- Good, good.

Pity me, dear child, I just
dropped in for a second.

To tell you how sorry I am

that I can't take you out tonight.

I have an important engagement
at the government office.

- If you'll excuse me, I'll hurry along.

I must get some dog-biscuits.

Excellency, goodbye.

- I think I must be hurrying along, too.

- Sit down, Albert.

I wanna talk to you.

- Has anything happened, darling?

- Albert, we've been
engaged for three years.

That's a long time.

- Patience, Nella.

A little more patience.

I can assure you I
respect you quite as much

as though you were my wife.

- You respect me so much,

that you're dining with
Maida Linden tonight.

Alone.

Albert, you're having an
affair with Maida Linden.

- Now, now, now.

Don't be angry.

Don't get angry.

Really, I must laugh you know.

(Albert giggles)

Who told.

Who told you this ridiculous gossip?

- It was Linden herself.

And she should know.

- Linden?

Impossible.

- Are you telling me that I'm lying?

Last night, she came to my dressing-room.

That's how I found out.

- Well, as one of the
directors of the Opera House,

I must take an interest in art, mustn't I?

- An interest in art?

So that's what you call it.

- Art, art?

Well, that's merely a word.

- Yes, and so is untrue a word,

and so is hypocrisy another word.

And so is liar.

- Look here, darling.

Let's talk this thing over
sensibly, as we always do.

We're grown-up people, aren't we?

Now darling, I'm not gonna lie to you.

Because that would only put
me in an undignified position.

Now, my dear child.

I will confess that my
acquaintance with Linden

has not been entirely official.

Now, there.

You see how frank I am?

How I trust you?

That should prove to you
how fond I am of you.

- And you dare to tell me all this?

- Oh, darling.

Look here, I adore you.

But three years?

That's a long time.

- Yes, it's three long years.

- It's the way of human
nature, that's all.

It's like, look here, darling.

Even if a man has a wonderful
French cook in his house.

Occasionally, he might like
to dine at a restaurant.

The food in the restaurant
is fine of course.

But he goes for, well,
shall we say, variety.

- Variety?

- Yes, especially when
he's become accustomed

to cold-cuts at home.

- Cold-cuts do very well for people

who have neither taste nor appetite.

- Oh.

(Nella grunts)

(footsteps tapping)

If you find yourself in a better mood,

you may call me tomorrow.

Good day.

(door thuds)

(can thudding)

(jar shatters)

- Madame, Madame!

That's genuine d'Orsay.

- You mean, it was.

- Please, Madame.

- A black gown?

You wouldn't dress me in
black on an evening like this.

- Madame, it's a beautiful dress.

You told me yourself I
should bring it to you.

You would wear it.

- Oh, Emma.

Lay out my new white satin.

And the wrap that goes with it.

- But Madame.

- I'll wear my emeralds and my earrings.

And all my bracelets.

Emma.

And my new French lingerie.

I must be all white, and glistening.

Conrad.

- Yes, Madame?

- I want the car at nine o'clock.

- Very well, Madame.

- Now wait a minute.

Order a taxi.

- Is Madame sure she wants a taxi?

- Quite sure.

- Yes, Madame.

- And call the German Embassy
and present my regrets.

I'm ill

Oh, and the florist Conrad.

Order a corsage of lilies.

No, no, that would be too much.

Order gardenias.

- Very well, Madame.

- I've had plenty of chicken
sandwiches on dry toast.

Tonight I will dine in a restaurant.

- Oh, Madame Vago's man speaking.

How much are gardenias?

- I want a dozen, I want two dozen.

I want a very large corsage.

- Gardenias are very expensive, Madame.

I ordered six.

- Six?

Here I am, starting for paradise

and you expect me to
economize on the trip.

- Send six gardenias.

Yes, that's the right number, six.

(gentle music)

- Where is that music coming from?

- Oh, it's that new gypsy orchestra

playing downstairs in the garden.

- You naughty boy.

- Hmm.

- You haven't sweetened it.

- Oh, dear.

Voila.

(Jim giggles)

- Delicious.

Close the window.

The music is too exciting for me.

(Jim giggles)

I know the real reason you're
not at the Opera tonight,

you know.

- Oh, you do?

Clever woman, suppose you tell me.

- Because Nella Vago is not singing.

Now come, own up.

That's true isn't it?

- There's no-one else

in this Opera House worth listening to.

- I cannot understand you.

You.

Usually so un-impressionable.

And now, what do you see in this woman?

- I don't know.

There's something about her
I can't put out of my mind.

- She leaves me absolutely unmoved.

She's always asleep.

Even when she's awake.

- Oh, yes, but if she'd only wake up.

If something or someone would,

would only rouse her, shake her.

- You'd like to be the
alarm clock, eh? (chuckles)

I know.

- Oh, can't I admire an artist
without an outburst from you?

- It's not the artist you're admiring.

It's the woman.

- Now don't be jealous, please.

- Jealous?

I?

(scoffs)

I'm never jealous.

- No.

Only every day, over every new face I see.

- Well, you have left me a
great deal alone, lately.

(gentle orchestral music)

(gentle orchestral music)

(gentle orchestral music continues)

(gentle orchestral music continues)

- Is that a new melody?

- Yes, Madame.

It's called "Tell me tonight."

- "Tell me tonight."

It's lovely.

Beautiful.

(gentle orchestral music continues)

(gentle orchestral music continues)

Thank you.

- The doctor tells me
to associate with young,

younger people.

Youthful interests, he calls it.

Of course.

My common-sense tells me
I could never be 16 again.

- I don't know.

With you, anything is possible.

(Jim giggles)

Goodnight.

- Well?

- Well?

- Well, don't I get one tiny, little kiss

before I go to bed?

- Of course you do.

(lips smack)

Sleep well.

And don't dream about
beautiful young women.

- I won't.

I'll dream about very,
very handsome young men.

Goodnight, dear.

- Goodnight, darling.

- Goodnight, dear.

- Goodnight.

(door thuds)

- Anything else, sir?

- No.

- Excuse me, sir.

- That's all.

I-

I think perhaps there is something

that you should know, sir.

- Oh, really, what is it?

- I'm afraid it may be a
little indiscreet, sir.

It's about a lady.

- Oh?

Well, don't so mysterious, let's hear it.

- If you please, sir.

This evening, a lady came into
the dining-room all alone.

- Well, go on.

What's this got to do with me?

What lady was it that.

- If you please sir, it,

it was Madame Nella Vago from the opera.

-Yes?

Well, get on with it.

- She asked me on what
floor is the apartment

of Madame Marchesa?

- This lady doesn't know the Marchesa.

And she wants to call
on her now, at night?

- Oh, no sir, it's not the
Marchesa she wishes to see.

It's you, sir.

- Me?

Madame Vago wants to see me?

- She wishes to see you alone, sir.

- Oh.

Oh, very well, I'll go down at once.

- Oh, no, sir, she wishes
to come up here to you, sir.

She.

She asked me to tell her when
the Marchesa went to bed, sir.

She told me not to mention
the matter to you sir, but,

but I thought perhaps I'd better.

- Oh, yes, yes of course.

- Of course, I could say that
you've gone to bed too sir,

if you like.

- Oh, no, don't do that, no.

Merely tell her that I'm alone.

- Yes, sir.

Oh.

If you could manage to be just a,

just a little bit surprised.

- Well, I am surprised.

Oh, waiter, just take the
latch off that outer door,

will you.

- Yes, sir.

(gentle music)

(knuckles rapping)

- Madame.

- Is Mrs. Jackson in?

- Mrs. Jackson?

- They live here.

- Oh, is Madame looking for
the American Consul's wife.

- Yes, this is their apartment, isn't it?

- Well, the Jacksons are
on the floor above, Madame.

- Oh, I'm so sorry.

I beg your pardon.

The elevator-boy let me off.

And I never looked.

I just rushed in.

Stupid of him.

- Yes, madam.

- Of course, if he had a
great deal of intelligence,

he wouldn't be an elevator boy.

Would he.

- No, Madame.

- And, uh, in a hotel.

All the floors look the same.

They do, don't they?

- Yes, Madame.

- Well then, I hope you'll
pardon my intrusion.

I suppose I'll have to
go up to the next floor.

- Mm.

- I'm on my way to see the Jacksons.

- Oh, really?

- Mm-hmm.

We're very good friends.

- Oh, indeed?

Then I'm surprised Madame doesn't know

that the Jacksons have gone away.

Yes, they've been in Paris for a week.

- Oh, really?

- Mm.

- Oh, this is dreadful.

Well, I must explain if you'll
pardon me for detaining you.

I came here for a little
supper, I often drop in.

I told my chauffeur to
call for me about 11:30.

I'm going to a ball
that begins rather late.

It's so lonely in the dining-room.

There isn't a soul there at this hour.

So, I thought I'd rush
up to see the Jacksons.

- Oh, really?

- Yes.

We're such good friends.

- Yes, so you said.

- I can't believe they would
go away without telling me.

Well.

Dear, dear.

I beg your pardon and

goodnight.

- Shall I have the
doorman ring for a taxi?

- Thank you, but don't trouble.

I'll wait in the hall.

It's rather drafty there.

But I dare say the time will pass.

Somehow.

- I dare say.

- Goodnight.

- Goodnight.

(knuckles rapping)

- I hate to bother you again,
but have you a cigarette?

- Oh, yes, of course.

- And a light.

- Oh, yes, a light.

- Thank you.

- Don't mention it.

- Goodnight.

- Goodnight.

(Nella sighs)

Oh,

your handkerchief.

- Oh, thank you again.

- Not at all.

Shall I ring for the elevator for you?

- No thank you.

But I wanna apologize once more for.

- Oh, please don't.

You've already apologized once.

- Oh, well then, well then,
I want to apologize twice.

I'm sure it's been an intrusion.

- Not at all.

- Goodnight.

- Goodnight.

Allow me.

- I am so sorry.

- It's quite alright.

- Goodnight.

- Goodnight.

(Jim giggling)

(door clicks)

(doorknob rattling)

(gentle music)

(gentle music continues)

(gentle music continues)

(Jim sighs)

(gentle music)

- Oh, I beg your pardon.

But I'm back.

- Oh.

Did, did Madame forget something?

- Oh, no, no, no.

No, it's just that I heard voices

as I was walking to the end of the hall.

I recognized one of the voices.

I knew that I'd be asked where I'd been.

And as it's not the Jackson
floor, what could I say?

- And they're not there anyway.

- Yes, and they're not there anyway.

I'm really ashamed to mention it

but this town is notorious for gossip.

I hope you don't misunderstand.

- Not at all.

- You see how awkward
it would be, don't you?

- Awkward?

- Why of course.

If I was seen coming out of
a strange gentleman's room

in a hotel, why, that
would be enough to, well.

- Oh, yes of course, it's quite clear now.

- Yes.

I waited to hear the
voices were going away,

but they were coming near.

So I was frightened and I
ventured to intrude again.

You do see how it happened, don't you?

- I understand perfectly, Madame.

- Would you mind closing the door?

Just until they've gone.

- Oh, no, not at all.

- Thank you.

- Won't you?

Be seated.

- Thank you.

- Just until they've gone.

- Oh, I'll only stay a second.

I'm terribly ashamed to
be imposing this way.

It seems a great impertinence
for an utter stranger

to keep dropping in
here in such a fashion.

- Well, you've said that so often Madame

it might be rude to contradict you.

- And I am so afraid you
are expecting someone.

- Not now.

- Well, the ante-room room
door wasn't even locked.

It was unlatched.

You don't want me to believe I hope

that you left it open accidentally?

- No, I didn't leave it open accidentally.

- Oh, for someone in particular?

- For you, Madame Vago.

- Why didn't you tell
me you knew who I was?

- Well, I was waiting for you to admit it.

- Of course.

I don't know your name.

- Well, my friends call me Jim.

- Jim?

Now we know each other.

- Yes.

That is, we.

We start to know each other.

- Would you mind please,
closing the window?

That music makes me feel
lonely all of a sudden.

Almost unhappy.

- Mm.

(gentle music)

I wonder if you know what
I'm thinking at this moment.

- No.

But I'd love to.

- Well, I was thinking that
you'd never found a man

who interested you.

Otherwise, you wouldn't be so
lonely and so unhappy tonight.

And not quite so reckless.

- I'm not lonely or unhappy, nor reckless.

- Mm.

Well, if you'll pardon me saying so,

you don't seem to value
your reputation very highly.

No, nor yourself either.

- How dare you.

- Well you've forgotten
to make the usual remark,

I thought you were a gentleman.

- No, no, I didn't think you were.

- Oh, you didn't?

Do you happen to know who I am?

- No, I don't want to know.

- Well, whether you want to know or not,

I'll explain something about myself.

- No, please don't explain.

It isn't necessary, and
I couldn't stand it.

You wouldn't tell the truth anyway.

- Why wouldn't I?

- You wouldn't, and I hate lies.

- Oh.

But I only wanted to tell you
something about my profession.

- Your profession?

- Hmm.

- It's a matter of perfect
indifference to me.

I don't even wanna speak of it.

- But why not?

- There are some things
that cannot be spoken of.

They are unmentionable.

- Do you mind telling
me what you think I am?

- I'll ask you something.

You can answer in one word.

But I want the truth.

- You shall have it.

- Is it true that you are living here

as the guest of the Marchesa?

- Oh, oh, yes, that's quite true.

- You share this apartment with her?

- Yes.

- Well, then.

How can you?

How can you do it?

- Oh, I see.

I understand.

Why did you put on all your lovely jewelry

if you were coming to see a?

A gigolo.

- Oh, I wasn't afraid.

- I'm surprised at you.

- Are you giving me a lesson in morality?

- Oh, no.

No, in risks.

Didn't you know that a gigolo

could take all your jewelry away from you?

Your lovely emeralds.

- Oh, I wouldn't fight for them.

They've never brought me any happiness.

- Still.

Women have been killed for less.

- Oh, you can't frighten
me, I shall get out.

- No, you could.

- Yes I could.

(Nella groaning)

(door clicks)

- Mm.

See how simple it is?

I lock the door and pocket the key.

Then I pick up a knife or anything.

I get hold of your hand,
you can't even move.

You.

Why you're trembling.

You do realize what you've done.

Are you scared?

- Please, I think I'll go now.

- You'll go when I tell
you to and not before.

- Please let go of me.

Take your hands off me.

Let me go.

Get away.

Please let me.

I wanna go home.

Please let me go home.

- You did everything in
the world to get in here.

Well, you are in, why can't you get out?

Sit down.

Sit down.

Sit.

Madame.

You knew very well

that I've been going
everywhere I could see you.

The concerts, the opera, your street.

You knew that I was in love with you.

Dead in love, didn't you?

- Oh, love.

There is no such thing for a man.

- All right, put it the other way then.

Say I wanted you?

- That's more like it.

That's all men think of.

It would be a lot better for women

if they all knew it and accepted it.

It would save tears.

- Yes, but I only wanted you.

- One at a time, of course.

- Oh, no, I wanted you, only you.

I couldn't wait to get
into my seat at the opera.

I couldn't bear to leave it.

Why, when you first came in here tonight

I hoped for a moment that
you had felt something too,

that perhaps you had caught the spark.

- A lot of other men can't
take their eyes off me

at the opera.

It doesn't mean anything.

- Oh, they don't count.

You're a public favorite.

It's their vanity, not love.

Women come after me in droves

but I don't flatter myself that.

- They come after you in droves?

(Nella giggles)

Women come after you in droves?

- Yes, women come after me in droves.

If you let me tell you why.

- I think you're shameless,
absolutely brazen.

- Well, just a minute, I will tell you.

- No you won't, I won't listen.

I don't wanna hear any more of
women come at you in droves.

But I don't wanna hear another word.

Not another word, I won't listen to you.

- And while I was
wondering how to meet you,

you came in here and spoiled it all.

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

- In another minute, I'm
going to take you in my arms.

- Oh, you're not!

- Yet I could kill you for coming here.

I wanna hunt my women, not
have them come after me.

- Oh.

- Oh, Nella.

Nella, why did you come here?

- Because I was lonely.

Something happened today.

And I made up my mind I wanted
to, to live, really live.

I wanted to meet someone who,

who I thought of you.

- So, you came here for no better reason

than curiosity, or to find a lover.

And you thought you'd choose me, huh?

A gigolo.

The Marchesa's gigolo.

Oh, what a thing to do.

- Well.

Perhaps I wanted a gigolo.

- Oh, you did, did you?

All right then, young lady.

You shan't leave here disappointed.

(Nella breathing heavily)

(Nella groaning)

- Oh, Jim.

How could you?

- Oh, so it's not a gigolo you want?

- No, you know I don't.

You were, you were horrible.

(Nella groans)

The way you grabbed me, look.

I'll be all marked up, I know I will.

I'll be black and blue and I'm
singing "Tosca" on Thursday.

Half naked.

- What a woman.

She's counting the spots.

(gentle music)

Do you like that better?

- And this one too.

- If you want me to be
good, why don't you help?

- No, no, no, no.

No, I'm afraid of you.

And I've changed my mind.

I don't want to love a man.

That is I do, but you'd get a hold on me

and I shouldn't be able to break it.

Why, I've only known you an hour.

You see what's happened already.

No, no, you're a man to stay away from.

Now let me get up.

Jim, I really don't want to get up but.

I don't want anything to do with a man

who will make me think as
he thinks and do as he does.

And sit by while he lives.

No, I want someone near me
who'll be kind and sympathetic.

A real friend.

- No lover was ever a real
friend, that's impossible.

- A man who will share my life with me

and we'll have some common interests.

- Hmm, what you want is a piano-player.

- Oh, no, no, no, no, I've
got one now, and he's enough.

Really, I'm serious.

I'm in earnest.

Love means, it means everything to me.

There is no inspiration in my life.

That's what I miss.

But I'm afraid of you.

Loving you might become
another kind of slavery.

I'll think it over.

Yes, I'd better.

I'll let you know tomorrow.

- Oh, no.

It's tonight

or never.

There's the key to the door.

It's just three minutes to 10.

I'll give you three minutes
to make up your mind.

- Three minutes to decide
something as important as this?

- Mm-hm.

- Oh, well, I couldn't.

- In three minutes, you
can send for a taxi.

I'll escort you downstairs,
put you in the car,

and you'll never see me again.

- But I can't make up my
mind in three minutes.

How impetuous you are.

Please give me a little longer.

- Mm-mm.

If you are here three minutes from now,

you will have to take the consequences.

- And what would the consequences be?

- You'd be held tight in my
arms and you'd never get out.

- Perhaps you had better send for a taxi.

- Certainly.

- Oh, just a minute.

How quick you are.

If I should stay, after all.

Of course I'm not going to.

- If you should, it would
mean forever for us.

Because I'd never let you
go from me to another man.

Make up your mind of that.

- You do like to bully a woman.

You take an awful lot
for granted don't you.

- Not unless I'm forced to.

- And you're so possessive.

- I'm very possessive.

And I adore you.

- You don't.

- Shall I show you whether I do or not?

- No, no.

- Then.

I'll call a taxi.

- Before I go.

Please kiss me, just once.

Sweetly, tenderly,

as if we really belonged to each other.

(bell clanging)

Please call a taxi.

- It's too late.

(bell clanging)

(Rudig vocalizing)

- Well, ha, she showed them
today that she can sing.

- Yes, I'm glad but Professor.

- Remarkable, that's all I can say.

It was remarkable strange.

- Yes, I can't understand it at all.

- Why not?

- Because she should have
been all tired out today.

- Why should she?

- Oh, Professor, I'm so glad you came.

I want to ask you something.

It's very important.

Did Madame wear her emerald
necklace at the matinee today?

- I didn't notice.

A crowd in the wings, a
crowd in her dressing-room.

I couldn't get near her.

17 curtain calls.

(Rudig humming)

- I can't find the emeralds.

- Nobody ever sang Tosca so.

The audience rose at her.

Bravos and tears.

She tore at their hearts.

Strange.

That's what it was, strange.

Something has happened.

Something has taught her how to cry.

And overnight.

- Yes, sir.

Many ladies learn how to cry.

Overnight.

- Why?

What do you mean?

- Madame, she.

I wonder if I should tell you.

- Your mistress has no secrets from me.

Come along now, what is it?

- Well then.

She was out all night.

- From the German Embassy?

- She wasn't there.

- Where was she then?

- I don't know.

But she came home at six this morning.

She slept the whole day.

She got up just before the performance.

And Professor,

she was singing in the bathtub.

I never heard her do it before.

- Stop there.

I don't like that singing
in the bath business.

And that's all you know?

- And I know that I
can't find the necklace.

- Well, my girl.

I wouldn't hire you as a detective.

No, I would not.

Why, my housekeeper would have
known everything, and more.

- I'll look once more in the safe.

- Good evening, Madame.

- Ah, here you are, at last.

(Rugid vocalizing)

17 curtain calls.

(Rugid humming)

I'm proud of you.

Aren't you happy?

- Of course I'm happy.

It was a wonderful afternoon.

- You don't seem at all excited.

When you sang like a lark.

No-one ever sang "Tosca" like that before.

Never.

Never.

- Really?

- Never.

- Madame, may I speak?

- Of course, Conrad.

- Your singing today,
pleased me very much.

- Conrad.

You.

You were at the opera this afternoon?

Oh, surely you didn't listen to me

through the whole of "Tosca?"

Not all through?

- I did, Madame.

I was wandering in, back of the scenes.

When I heard Madame's voice,

ring out as I have never heard it.

I sat down on a piece
of scenery to listen.

And Madame may not believe
me but at the end of the act,

I went to the front and
bought a seat in the balcony.

I never believed that
Madame had the divine spark.

I, I'm afraid I forgot myself.

I stood up and shouted with the crowd.

- Conrad.

I'd rather hear that from you

than have the praise of
all the Kings of Europe.

- Madame.

I will never miss another
opera, in which you sing.

May I be permitted to kiss
the hand of a great artist?

Madame.

- Now the world can come to an end.

- It already has, Rudig.

I received this this afternoon
after the performance.

(paper rustling)

- Fletcher.

The impresario Fletcher.

He's in Budapest.

He was at the opera.

A contract.

Well, you have only to sign it.

(Rudig humming)

We're going to America
where Juanitza sings.

♪ We're going to America ♪

♪ America, America ♪

♪ We're going to America ♪

♪ America, America ♪

- Professor.

Good evening, Madame.
- Evening, Emma.

Thank you.

- But Madame, your emeralds?

You don't have them on.

Where are they?

- Oh, in the safe.

- They are not in the safe.

They are gone, gone!

- Don't get excited.

I may have put them in some other place.

- But you don't put them in other places.

And I can't find them
anywhere in the house.

- I sold them, or I lost
them or I mislaid them.

I'm telling you I put them away.

- But Madame.
- I did.

- But Madame.
- I did!

- Yes, Madame.

(footsteps tapping)

(Nella sighs)

- Where are your emeralds?

- Oh, somewhere about.

None of your business anyway.

- Look at me.

You were out all night.

Where were you?

Is it possible?

Your emeralds.

They were stolen by that gigolo.

- How dare you!

He didn't steal them.

I gave them to him.

- You gave them to him?

My dear child,

how foolish to give a
whole necklace of emeralds

when the one on your finger
would have done just as well.

- You don't understand.

Oh, I don't wanna think about it.

- These gigolos.

How do they do it?

They write songs about them.

What's this man's name?

- I forgot to ask.

Oh, yes, it's Jim.

It's an odd name.

It's a beautiful name.

He isn't like anybody else.

He's a gentleman.

And he isn't a gentleman.

- He's a gentleman when he takes your hand

and a gigolo if he takes your emeralds.

- He knew nothing about the
emeralds when I left them.

- Really?

- No, he didn't.

- May ask why?

- He was asleep.

(door thuds)

- This is outrageous.

Don't you know who I am anymore?

- Certainly, Your Excellency.

But Madame is resting.

And Madame does not wish
to be disturbed by anyone.

- She didn't mean me.

You will announce me immediately.

- I'll try, Your Excellency.

His Excellency.

- His Excellency?

(door creaks)

His Excellency.

- His Excellency?

His Excellency.

- His Excellency?

He dares to call.

Rudig.

(door creaks)

(door thuds)

You like His Excellency, don't you, Rudig?

- Every time His Excellency
pats me on the shoulder,

and asks me, "How is the friendly dog?"

I have a daydream.

I dream that I'm a fullback
at a football match.

And that His Excellency is the ball.

- Rudig, you shall have your daydream.

I'm through with Albert.

It's all over.

You can tell His Excellency
that I'm going to America

and I never wanna see him again.

- As they say in America, "And how!"

(door thuds)

- His Excellency.

- Bravo, bravo, I congratulate you.

Well, well, where is the
capricious and wonderful lady?

- Excellency, I have
something to tell you.

It will surprise you.

Miss Nella and I, to make it
short, we are going to America.

We never want to see you again.

- Have you gone crazy, Fido?

Nella, Nella!

- Excellency.

I'm a friendly dog.

I don't bite, I don't even bark.

And I advise you not to bark either.

- You're fired!

Nella, Nella, Nella.

Bravo, bravo, I congratulate you.

You were marvelous.

I was bursting with pride.

From now on, you're the
greatest singer in Europe.

Oh.

Never done.

Yesterday you blamed me

because I wouldn't set
the date for our marriage.

Tonight, I've come to
ask you to set the date.

- Your Excellency is 24 hours late.

Today, I received a
contract to sing in America,

and I have accepted it.

As for our engagement,

you may consider yourself entirely free.

(door thuds)

- If you find yourself in a better mood

you may call me tomorrow.

(Rudig giggles)

- Excellency, who is fired now?

(Rudig giggles)

After you, Excellency.

After you, Excellency.

Always after you.

(car engine revving)

(car door thuds)

(Rudig vocalizing)

(Rudig vocalizing)

(door thuds)

- If you please, Madame.

-Yes?

- The young man, the walking young man.

- Is he walking again?

- No, he is in the house.

What shall we do?

- I'm sorry mister, mister?

- I didn't get your name, sir.

- No, I'm quite sure you didn't.

I haven't told it to you.

- I'm sorry sir, but Madame is resting.

And she never sees strangers.

(door clicks)

- Would you enter, sir?

Madame asks you to wait a few
seconds in the living-room.

- Thank you.

- Are you crazy, Conrad?

He's our new Excellency.

(footsteps tapping)

- Nella.

- Oh.

(Nella stammers)

Good evening, how do you do?

- Well, what's the matter?

- Is anything the matter?

- Well, haven't you anything to say to me?

- I said, "How do you do?"

- Oh.

How do you do?

- Oh, why did you come?

- You knew very well I'd come.

- I didn't wanna meet you again, ever.

- Well in that case,

you shouldn't have stayed
longer than three minutes.

- Is this visit going to be long?

- Mm-hmm.

Unless you put me out.

- I can't see why you
came, there was no reason.

- I came to return your call.

- Oh.

That's only polite, isn't it?

Oh, yes and something else.

Also to return these.

You must have forgotten them last night.

- Oh, please, no, I.

I had no intention of
hurting your feelings.

I only thought perhaps, that
you might like to keep them

as a souvenir.

- Oh, I see.

Well, I.

I'm afraid I can't accept your gift.

It's, it's too trifling.

- Trifling?

- Mm.
- My lovely emeralds?

What do you want from me?

- Something more.

- I'm not rich.

I haven't much to give.

- Oh, yes you have.

You can give me something
infinitely more precious.

Give me yourself.

- Jim.

- Oh, Nella, I know it wasn't love

that sent you to me last night, but today.

- No, no, it's impossible.

I've made my plans and I'm going away.

-You are?

- I'm going to America.

I shall be glad to leave this place.

And happy to forget everything.

- You want to forget?

- I must.

I shall never hear that song,
that I shan't think of you.

And your room.

Your sweet room, with its fragrance.

And all the things you said to me.

And your, your kisses.

- Oh, I love you terribly, sincerely.

- You showed me that I have a heart.

- I love you.

- You taught me to feel.

- I love you.

- Love.

- I love you.

- And I must go away.

- Oh, but Nella, how can you?

- Please don't.

Perhaps I shouldn't
have told you all this.

- But Nella darling.

- Please go, go.

There's nothing else
to be said between us.

Just go forever.

- You mean, you never
want to see me again?

Never?

- Never.

(gentle music)

- Very well.

Goodbye.

(footsteps tapping)

(door thuds)

(Nella sobs)

(door thuds)

- Is he gone?

- Of course he's gone.

I never want to see him
again, never, never.

Why should I bother my
head about this trifle?

I have my work.

I have my career, I have everything.

I'm happy.

Emma, do you hear me?

I'm happy!

I'll be a sensation in
America, I and I alone.

The world at my feet.

Nella Vago in "Tosca."

Nella Vago in "Carmen."

Nella Vago in "La Traviata."

Nella Vago.
- Nella Vago in love.

- Yes.

- Yes, we'll take the night train.

You can send for the
luggage in half an hour.

Thank you.

(knuckles rapping)

Come in.

You?

Will you kindly tell me why you came?

- I came to return your call.

Jim, I wanna ask you something.

Will you if I ask you,

will you give up your
profession for my sake?

- I will not.

I like my profession.

It's a very nice profession.

I'm proud of my profession.

Why it's just the same as if I asked you

to give up your profession for my sake.

What would you say?

- You'd never asked me.

- Well I do ask you.

Give up your profession.

Throw away your success.

Be mine, only mine.

There, I've asked you.

Well, what's your answer?

- Here's a contract for America.

(paper rustling)

- Oh, my darling.

- Oh, Jim, Jim, I want to.

Oh, congratulations.

I was at the opera.

You were great.

Did you sign her up, Jim?

- I did, but she's torn up the contract.

- Then give her more.

Give her anything she wants.

She will be the greatest
singer in the world.

- She doesn't know who I am.

- What?

You don't know that this is Jim Fletcher?

The impresario.

- Fl-Fl-Fletcher?

- I'm sorry I had to go around incognito.

But you see, I can't afford to be chased

by ambitious Butterflies
and Carmens and Aidas.

- And Toscas.

- And this is my aunt.

The Marchesa San Giovanni.

- Then you are his aunt?

His real aunt?

His own flesh-and-blood aunt?

- Dreadful, isn't it?

- Do you know my dear,
she thought that you were.

I mean that I was.

Oh, you know what I mean
that you and I were.

- You thought that he and I were?

Oh, what a compliment. (chuckles)

What a compliment.

Why, you darling.

You darling.

It's the greatest compliment

I've had since Alexander the 10th.

And you thought that Jim and I were?

That she mean that I. (chuckles)

Darling.

Jim.

What a compliment.

What a compliment.

- Come here.

Come here.

- Shall I call a taxi?

- It's too late.

(gentle orchestral music)