Original subtitles

CAPTIONING MADE POSSIBLE BY TURNER ENTERTAINMENT GROUP

[WOMAN SINGING ITALIAN OPERA]

[HITS A HIGH AND PROLONGED NOTE]

[SINGING HIGH, PROLONGED NOTE]

GOOD. THAT WAS VERY GOOD.

YOUR HIGH NOTES ARE IMPROVING,

PURE AND ROUND.

BUT YOUR BREATHING--

WHAT HAPPENS TO YOUR BREATHING?

EVERY NOW AND THEN, YOU TAKE A BREATH LIKE THIS...

AS THOUGH IT WERE YOUR LAST.

BREATHE EASILY.

ALWAYS BREATHE EASILY, FROM HERE.

NOW TAKE IT AGAIN, FROM...

[SPEAKING ITALIAN]

[PLAYS A NOTE]

UNCLE TITO, PLEASE, LET ME GO TO THE CARNIVAL.

I ALREADY TOLD YOU, TONIGHT YOU WILL WORK.

BUT I WORK EVERY NIGHT.

I WANT TO GO TO THE CARNIVAL AND DANCE...

AND MEET YOUNG MEN.

NEVER MIND ABOUT YOUNG MEN.

GOD HAS GIVEN YOU A VOICE,

AND I'M TRYING TO CULTIVATE IT

IN SPITE OF YOUR LAZINESS.

WHEN I WAS YOUR AGE, I WORKED DAY AND NIGHT.

THAT WAS MY LIFE. I WAS A SINGER!

BUT YOU--AH!

YOU WANT TO GO TO A STREET CARNIVAL AND DANCE.

IN THE NAME OF HEAVEN, DON'T YOU LIKE TO SING?

I LOVE TO SING, BUT--

WELL THEN, SING.

BUT I LIKE TO DANCE, TOO.

[SPEAKING ITALIAN]

[PLAYING PIANO]

[SINGING IN ITALIAN]

NO, NO, NO. AGAIN.

[REPEATS TUNE]

[FORCEFULLY] NO, NO, NO, AGAIN.

NO, I WON'T!

WHAT DID YOU SAY?

OH, UNCLE TITO, DON'T YOU SEE?

I WANT SOMETHING BESIDES SINGING.

I WANT TO HAVE SOME FUN.

QUIET.

I SEE NOW THAT I HAVE BEEN TOO LENIENT.

I HAVE BEEN TOO KIND, AND YOU HAVE TAKEN ADVANTAGE OF ME.

VERY WELL.

YOU KNOW WHAT I'M GOING TO DO?

I'M GOING TO SEND YOU TO THE CONVENT.

OH, NO, UNCLE TITO!

YES. YOU ARE GOING TO THE CONVENT,

AND YOU WILL STAY THERE. NO.

PERHAPS THE GOOD SISTERS

CAN BREAK YOUR SELFISH TEMPER.

PERHAPS THEY CAN TEACH YOU GRATITUDE.

OH, PLEASE, UNCLE TITO!

NO, NO, I'M THROUGH WITH YOU.

I'VE HAD ENOUGH.

YOU'RE GOING TO APPRECIATE WHAT I DO FOR YOU.

SO THERE IS ONLY ONE THING LEFT FOR YOU:

IN THE MORNING, YOU ARE GOING TO THE CONVENT.

[LIVELY MUSIC PLAYING IN THE DISTANCE]

[WHISTLING]

HEY, WAIT A MINUTE.

NO, PLEASE, LET ME GO.

IT'S NOT VERY POLITE.

FIRST YOU KNOCK ME DOWN,

THEN YOU START TO RUN AWAY.

IN AMERICA, PEOPLE ARE ARRESTED

FOR HIT-AND-RUN TACTICS.

ARRESTED? SURE.

AT LEAST YOU OUGHT TO STOP AND FIND OUT

IF I'VE BROKEN ANY FENDERS

OR SMASHED MY HEADLIGHTS.

MONSIEUR, I HOPE YOU HAVEN'T BROKEN YOUR FENDERS,

BUT I MUST GO.

YOU'RE A FUNNY KID. YOU LIVE AROUND HERE?

UP THERE.

THEN YOU WERE LEAVING HOME WHEN YOU CRACKED UP ON ME.

YES, MONSIEUR, I WAS GOING TO THE CARNIVAL.

NOT HAVING AN ESCORT, YOU JUMPED ON ME TO TAKE YOU.

OH, NO, MONSIEUR.

I DON'T WANT YOU TO TAKE ME.

WHY NOT? WHAT'S THE MATTER WITH ME?

WHY, NOTHING.

PERHAPS...

OK, TOOTS, LET'S GO.

[LIVELY MUSIC PLAYING]

HERE'S TO YOU.

BY THE WAY, WHAT'S YOUR NAME?

ANNETTE.

ANNETTE? THAT'S VERY NICE.

WHAT'S YOUR NAME?

JONATHAN-- JONATHAN STREET.

I'M A COMPOSER. I WRITE MUSIC.

SEE, THE MOMENT I FINISH MY OPERA,

I SHALL BE VERY FAMOUS.

IT'S JUST ABOUT ONE OF THE BEST OPERAS EVER WRITTEN.

I'M SURE IT IS.

ARE YOU REALLY?

YOU'RE ABSOLUTELY RIGHT.

[LAUGHTER]

Crowd: OH!

YAY! [MAN SPEAKS FRENCH]

[LAUGHTER AND APPLAUSE]

I'VE NEVER HAD SUCH A GOOD TIME IN MY LIFE.

OH, THIS IS NOTHING.

MY UNCLE TITO NEVER LETS ME GO ANYWHERE,

AND NOW HE'S GOING TO SEND ME TO A CONVENT.

OH, YOU WON'T HAVE ANY FUN THERE.

YOU OUGHT TO BE LIKE ME.

I WAS BORN IN MICHIGAN.

MICHIGAN?

YES, IN AMERICA.

OH, MICHIGAN.

NOW I LIVE IN PARIS, TOMORROW I MIGHT GO TO BUDAPEST,

MOROCCO-- I NEVER KNOW.

MUST BE WONDERFUL TO BE SO FREE.

IT'S THE ONLY WAY TO LIVE.

YOU HAVE SO MUCH MONEY.

SO MUCH MONEY?

YES, TO TRAVEL SO MUCH.

OH.

YES, YES, INDEED.

YOUR PRIZE, MAMSELLE.

THANK YOU.

IT'S GOOD FOR A MAN OF THE WORLD LIKE ME

TO SEE THE SIMPLE FOLK ENJOYING THEIR SIMPLE PLEASURES.

YOU'RE FLAT!

[BLOWS A LOUD, OFF-KEY NOTE]

[LAUGHTER]

THAT WOULD NEVER HAPPEN IN PARIS.

IN PARIS, THERE'S ALWAYS MORE WINE IN THE BOTTLE.

I'VE ALWAYS WANTED TO GO TO PARIS.

YOU'VE NEVER BEEN TO PARIS?

WELL, THAT'S TERRIBLE.

YOU KNOW, YOU SHOULD GET MARRIED.

SHOULD I?

I WAS NOT FLAT.

[TRUMPETER BEGINS A QUICK TUNE]

MARRY A TRAIN CONDUCTOR,

AND HE'LL TAKE YOU TO PARIS ALL THE TIME ON HIS TRAIN.

BUT I DON'T WANT TO MARRY A TRAIN CONDUCTOR.

COME ON, LET'S DANCE.

[LAUGHTER AND CROWD NOISE]

[CARNIVAL MUSIC PLAYING FAINTLY IN THE DISTANCE]

GOOD MORNING, JOHNNY.

I'M DREADFULLY SORRY.

IF THERE'S ANYTHING I CAN DO, ANY WAY I CAN HELP YOU...

WHAT'S THIS?

THAT'S OUR MARRIAGE CERTIFICATE.

MARRIAGE CERTIFICATE?

I DON'T REMEMBER GETTING MARRIED.

WE HAD TO DRIVE TO MONACO. DON'T YOU REMEMBER?

WE GOT THE MAYOR OUT OF BED,

AND HE COULDN'T FIND HIS SPECTACLES,

AND YOU SAID THAT YOU WOULD KILL YOURSELF

IF I DIDN'T MARRY YOU.

IT MADE ME SO HAPPY.

DON'T YOU REMEMBER?

BUT I DON'T WANT TO BE MARRIED.

IT'S IMPOSSIBLE.

I MUST BE FREE TO DO MY WORK,

TO GO WHEREVER I LIKE.

TIED TO A WOMAN, I COULDN'T WORK.

I COULDN'T BREATHE.

MY SOUL WOULD SHRIVEL UP LIKE A RABBIT.

FIRST THING YOU KNOW, THERE'D BE BABIES.

BABIES! WHOEVER HEARD OF A GREAT COMPOSER HAVING A BABY?

BESIDES, YOU'RE TOO SMALL.

A MAN DOESN'T WANT TO GET DOWN ON HIS KNEES

EVERY TIME HE KISSES HIS WIFE.

YOU'RE SKINNY, TOO.

I ALWAYS IMAGINED MY WIFE WOULD BE TALL AND...

YOU KNOW, A LITTLE BIT ROUND,

AND BLONDE, MAYBE.

DON'T YOU THINK YOU COULD STAND ME...

JUST FOR A LITTLE WHILE?

JUST SO I COULD GET AWAY FROM HERE?

I WOULD COOK FOR YOU AND MAKE YOUR BED AND...

AND I WOULD TRY TO PUT ON A LITTLE FAT.

NO, IT'S IMPOSSIBLE. I'D TREAT YOU VERY BADLY.

YOU'D INTERFERE WITH MY WORK,

AND I COULDN'T HAVE THAT.

I'D PROBABLY BEAT YOU.

OF COURSE, BUT I WOULDN'T CARE.

OH, PLEASE.

IF I KEPT HOUSE FOR YOU, I COULD SAVE YOU MONEY.

YOU WOULDN'T HAVE TO EAT IN A RESTAURANT.

IT WILL BE GOOD FOR YOUR STOMACH.

AND I WILL ALWAYS MAKE THE THINGS YOU LIKE BEST.

YOU KNOW HOW TO MAKE HASENPFEFFER?

OH, YES, VERY WELL.

I SOAK THE MEAT IN BRINE FOR TWO WHOLE DAYS

BEFORE I COOK IT.

THEN I BROWN IT IN HOT BUTTER

AND POUR THE SAUCE ON.

THAT'S IT?

THEN I PUT IN A CUPFUL OF SOUR CREAM,

BUT IT MUST BE GOAT'S CREAM.

SOME PEOPLE USE COW'S CREAM,

AND THAT'S WHY THEY DON'T MAKE GOOD HASENPFEFFER.

[NO AUDIO]

[PLAYING LIGHT TUNE]

DUCHESS. OH, DUCHESS.

YOU GOING TO SPEND ALL DAY IN YOUR BATH?

COME ON, NOW. WE MUST GET TO WORK.

YOU GAVE A VERY BAD PERFORMANCE YESTERDAY.

HOLD IT, HOLD IT. HOLD IT.

LAZY HUSSY.

OH, VERY WELL.

IF YOU WANT TO POUT, GO OVER IN THE CORNER AND DO IT.

[MAN BEGINS TUNE ON FLUTE]

[ANNETTE SINGS OPERATICALLY, REPEATING TUNE]

[REPEATS NOTES]

[FLUTE]

[REPEATS NOTES]

[SINGS]

OH, YOU THINK SO, DO YOU?

[SINGING AS MAN PLAYS]

[MUSIC PLAYING IN A LOW KEY]

DO I SMELL COFFEE?

IT'S ALL READY.

AND IT'S VERY GOOD, TOO.

WHY DO I HAVE TO GET UP?

BECAUSE THE COFFEE WILL GET COLD.

YOU'RE CERTAINLY DETERMINED

TO TAKE CARE OF ME, AREN'T YOU?

YES, I AM.

I THINK NO HAS TAKEN CARE OF YOU FOR A LONG TIME,

AND NOW I'M THE ONE TO DO IT.

GET UP.

IT'S NOT SO BAD BEING MARRIED TO YOU.

BUT I'M STILL SKINNY.

I KNOW, BUT YOU'RE VERY CUTE, AND YOU MAKE ME LAUGH.

BESIDES, A MAN DOESN'T WANT A WIFE SO BIG

HE CAN'T GET HIS ARMS AROUND HER.

AND YOU ARE NOT GOING TO BEAT ME?

OH, THAT'LL COME IN TIME.

JUST TO SHOW YOU WHO'S BOSS.

I KNOW WHO'S BOSS.

MMM, FISH. LOOKS VERY GOOD.

DOES IT?

AND VERY GOOD FISH IT IS.

I'M GLAD YOU LIKE IT.

WHAT'S THE MATTER, AREN'T YOU HUNGRY?

I--I HAD MINE.

AS SOON AS THE OPERA'S FINISHED, YOU WON'T EVEN HAVE TO COOK FOR ME.

WHEN THE OPERA'S PRODUCED,

I'LL BUY YOU ANYTHING YOU WANT.

I'D RATHER HAVE A BABY.

WHAT? OH, NO, YOU DON'T WANT A BABY.

THEY WIGGLE.

THEY MAKE TOO MUCH NOISE.

NOT IF YOU KEEP FEEDING THEM.

BESIDES, I'M TOO BUSY.

I HAVEN'T TIME TO HAVE A BABY.

I HAVE PLENTY OF TIME.

NOW, WAIT A MINUTE.

YOU MUSTN'T START HAVING A LOT OF CRAZY IDEAS.

I DON'T WANT TO HAVE ANY IDEAS. I WANT TO HAVE A BABY.

WHEN YOU HAVE TIME.

ANYWAY, I'VE GOT A LOT OF WORK TO DO TODAY,

AND I DON'T WANT TO BE DISTURBED.

OK, YOU'RE THE BOSS.

JOHNNY.

WELL.

THERE'S NO FOOD IN THE HOUSE FOR LUNCH.

WHY, DEAR, YOU MUST NEVER WORRY ABOUT THE NEXT MEAL

TILL THE LAST ONE'S DIGESTED.

I'M AFRAID I DIGEST VERY QUICKLY.

[JOHNNY PLAYING PIANO]

[SWEEPER SQUEAKING]

[THUMP]

[BANGS ON KEYS]

[SQUEAK SQUEAK]

HOW DO YOU EXPECT ME TO WORK IF YOU KEEP MAKING NOISE?

CAN'T YOU POSSIBLY...

[BARK]

WHAT IN THE W...

JOHNNY! DO YOU SUPPOSE WE CAN KEEP IT?

KEEP A SEAL?

DO YOU WANT TO DRIVE ME CRAZY?

OH, I'M SO SORRY.

AH, THERE YOU ARE, YOU MOODY BEAST.

HOW DO YOU DO, MADAM?

MY NAME'S JONATHAN STREET.

OH, ROGER BRIGGS,

AND THIS IS MY VAUDEVILLE PARTNER, THE DUCHESS.

DUCHESS IS REALLY VERY UNHAPPY THIS MORNING.

SOMEBODY PURLOINED HER BREAKFAST.

STOLE HER BREAKFAST?

WHY, THAT'S TERRIBLE.

YES, ISN'T IT?

YOU SEE, IT WAS A FISH, A BEAUTIFUL LITTLE SMELT.

WHY, WE HAD--

SOLE!

THAT WAS SOLE WE HAD FOR BREAKFAST, JOHNNY.

WHAT? UH, OH, YES. YES, OF COURSE.

UM, SOLE.

HE'S SO FUNNY.

HE DOESN'T KNOW ONE FISH FROM ANOTHER.

HMM. THE DUCHESS USUALLY CAN SMELL

A STOLEN FISH A MILE AWAY.

YOU STUPID CREATURE.

YOU'VE BEEN BARKING UP THE WRONG TREE.

[BARK]

EXCUSE OUR UNTIMELY INTRUSION.

COME ALONG, YOU NAUGHTY GIRL.

AFTER THIS, IF THERE'S ANY STEALING TO BE DONE,

I'LL DO IT.

IT WAS A LOVELY FISH.

NOW, NO MORE NOISE.

I DON'T WANT TO BE DISTURBED.

OK.

[HUMMING TO JOHNNY'S TUNE]

NO, JOHNNY.

THE WAY YOU PLAYED IT THE FIRST TIME IS BETTER.

WHAT?!

OH, I'M SORRY.

ALL RIGHT, BE QUIET AND LET ME WORK.

BUT I--I--

BUT WHAT?!

BUT I CAN'T JUST STAY HERE LIKE A STATUE!

THEN TAKE A WALK, RUN, SWIM, FISH!

DO ANYTHING YOU WANT, BUT, PLEASE,

IN HEAVEN'S NAME, LET ME WORK.

ANNETTE.

ANNETTE.

[CARNIVAL MUSIC PLAYING FAINTLY]

[ALL YELLING AT ONCE]

[BOISTEROUS LAUGHTER]

THERE, THERE.

WHAT ARE YOU CRYING FOR? YOU'RE NOT HURT.

OF COURSE NOT.

A BIG MAN LIKE YOU SHOULD NEVER CRY.

I'M NOT A BIG MAN.

[CRYING]

YOU'RE NOT HURT. OF COURSE NOT.

NO, YOU'RE NOT, NO, NO. IT'S ALL RIGHT...

WOULD YOU LIKE TO TAKE HIM FOR A RIDE

WITH THE COMPLIMENTS OF THE MANAGEMENT?

[MUFFLED] MMM. THANK YOU.

COME ALONG, LITTLE MAN.

I'M NOT A LITTLE MAN.

[CHILDREN LAUGHING AND SHOUTING]

[MERRY-GO-ROUND MUSIC PLAYS]

Boy: ♪ DEAN'S GOT A GIRL ♪

All: ♪ DEAN'S GOT A GIRL ♪

♪ DEAN'S GOT A GIRL ♪

[LAUGHTER]

I WANT MY MACAROONS.

I WANT MY MACAROONS!

NO, NO. NO.

YOU'RE NOT TO CRY LIKE THAT.

I WANT MY MACAROONS!

I WANT MY MACAROONS!

♪ LA LA LA LA DEE ♪

♪ DA DEE DEE LA LA LA ♪

♪ LA LA LA DEE DEE DEE ♪

♪ LA LA LA DEE DEE DEE ♪

♪ DEE DEE DEE DEE DEE ♪

♪ DA DEE LA LA LA ♪

♪ LA LA LA LA DEE DA DA DEE ♪

♪ DEE DEE ♪

[ANNETTE CONTINUES IN HER OPERATIC STYLE]

♪ LISTEN WHAT I'LL TELL YOU ♪

Men: ♪ THERE WAS NOT ONE WHO WOULD DOUBT ♪

♪ THE STORY ABOUT ♪

Together: ♪ THE LITTLE JOCKEY ON THE CAROUSEL ♪

♪ IT IS A STORY ♪

♪ THAT MY MAMA USED TO TELL ♪

♪ MY, MY, DON'T CRY ♪

♪ IT WAS MY LULLABY ♪

♪ AND THEN ♪

♪ WE ARE ALL ENCHANTED ♪

♪ WE'D GLADLY CRY FOR A YEAR ♪

♪ IF ONLY TO HEAR ♪

♪ THE STORY THAT YOUR MAMA USED TO TELL ♪

♪ AND WE WILL CRY UNTIL YOU TELL US ♪

♪ WHAT SHE SAID ♪

♪ ALL ABOUT THE JOCKEY ON THE CAROUSEL ♪

♪ HE WAS SO UNHAPPY ♪

♪ NEAR TO HIM, TIED TO A PRANCER ♪

♪ THERE WAS A DANCER ♪

♪ BEAUTIFUL AND VERY, VERY PROUD ♪

♪ SHE WAS AS DAINTY ♪

♪ AS A FLUFFY LITTLE CLOUD ♪

♪ HER TOE, JUST SO ♪

♪ WAS POINTED TO THE CROWD ♪

♪ OH, OH ♪

♪ OH, THE JOCKEY WHIPPED HIS HORSE ♪

♪ AND RODE AWAY ♪

♪ HE COULD NOT REACH HIS LOVE ♪

♪ HE NEVER SAW HER FACE ♪

♪ IF SHE RESEMBLED YOU, I'D BE A JOCKEY, TOO ♪

♪ HE WAS SAD, THE POOR LITTLE LAD ♪

♪ HE SWORE HE WAS EXHAUSTED ♪

♪ FROM THE CHASE ♪

♪ THAT NEVER GOT HIM ANY PLACE ♪

♪ MAMSELLE ♪

♪ IF I MAY CONTINUE ♪

♪ THIS JOCKEY WANTED TO BRING HIS DAMSEL A RING ♪

♪ AND REACHING FOR IT, SUDDENLY HE FELL ♪

♪ AND AS HE FELL, HE KISSED HER SLIPPER ♪

♪ IN FAREWELL ♪

♪ HE DIED FOR LOVE ♪

♪ THIS JOCKEY ON THE CAROUSEL ♪

♪ AND THAT'S THE STORY ♪

♪ THAT YOUR MAMA USED TO TELL ♪

♪ 'TIS SAD BUT TRUE ♪

♪ HIS POOR HEART BROKE IN TWO ♪

♪ NOW THE TALE IS ENDING ♪

♪ UNTIL THE VERY END... ♪

Together: ♪ THIS TALE IS ENDING ♪

♪ AH, AH, AH, AH ♪

[CHEERING AND APPLAUSE]

YOU HAVE A VOICE! YOU CAN SING!

YES, I CAN!

MY WIFE HAS A VOICE LIKE A NIGHTINGALE!

[LAUGHTER AND APPLAUSE]

NOBODY KNEW ABOUT IT UNTIL I CAME ALONG AND DISCOVERED IT.

WE'VE GOT TO DO SOMETHING ABOUT IT!

I'M GOING TO MAKE YOU FAMOUS!

FROM NOW ON, ALL YOUR TROUBLES ARE OVER.

BUT I HAVE NO TROUBLES.

I'M HAPPY JUST TO BE YOUR WIFE.

I'M GOING TO MAKE YOU THE GREATEST SINGER IN FRANCE.

HOW WOULD YOU LIKE THAT?

THAT WHAT YOU WANT ME TO BE?

AND SOMEDAY, MAYBE YOU CAN SING ONE OF MY OPERAS.

OH, JOHNNY, I ADORE THAT!

WE MUST GET A SINGING TEACHER.

THAT'LL COST MONEY.

I COULD GET A JOB.

DON'T BE ABSURD! NO WIFE OF MINE'S GOING TO WORK!

I'LL GET A JOB TOMORROW. BUT--

BUT YOUR OPERA!

MY OPERA CAN WAIT.

DON'T YOU SEE, IF I HAVE A JOB--

WOULDN'T YOU LIKE TO BE AN OPERA STAR?

YES, AND...

I'D LIKE SOME LUNCH, TOO.

LUNCH?

HERE. Man: HEY! STOP!

I CAN SEE IT NOW!

YOU'RE SINGING AT THE PARIS OPERA.

THIS IS VERY GOOD CARROT!

YOUR NAME IS IN LIGHTS ALL OVER PARIS--

ANNETTE MONARD.

YOU'RE THE GREAT ATTRACTION OF THE PARIS OPERA.

ECHO AND NARCISSUS--

THE SENSATIONAL NEW OPERA BY JONATHAN STREET,

WITH ANNETTE MONARD.

Street: TWO MASSIVE TOWERS CROWN THE PRINCIPLE FACADE.

ITS 3 DOORS ARE DECORATED WITH EARLY GOTHIC CARVING,

SURROUNDED BY A ROW OF FIGURES

REPRESENTING 28 KINGS OF ISRAEL AND JUDAH.

I CALL YOUR ATTENTION TO THE GARGOYLE.

IT'S A DETAIL TYPICAL TO THE BEST GOTHIC STYLE.

ALL RIGHT, BIG BOY. WHERE DO WE GO FROM HERE?

GWENDOLYN, IF YOU'D KEEP STILL ONE MINUTE

YOU MIGHT ACQUIRE SOME CULTURAL BACKGROUND.

I DON'T WANT ANY MORE CULTURE.

IT MAKES MY FEET HURT.

WE CAME OVER HERE TO HAVE SOME FUN.

WHAT ABOUT SEEING SOME OF THE NIGHTLIFE?

I'M SORRY, MR. DILLEY,

BUT THE PARIS NIGHTLIFE IS VERY PECULIAR.

IT DOESN'T START UNTIL AFTER DARK.

Boy: PAPA, WHERE DO WE GO FROM HERE?

Street: OF COURSE, YOU UNDERSTAND THAT I TAKE YOU TO THIS...

DIVE ON YOUR OWN RESPONSIBILITY.

IT'S, UH...PATRONIZED BY THE MOST DEPRAVED PEOPLE IN PARIS.

THAT'S EXACTLY WHAT I WANT TO SEE!

ME, TOO! HUBERT!

Street: OF COURSE, MOST OF THEM CARRY THEIR OWN STILETTOS.

I WANT YOU TO BE VERY CAREFUL WHEN THEY START THROWING THEIR KNIVES.

SO MANY TOURISTS GET HURT THAT WAY. HA HA!

Boy: KNIVES, PAPA! KNIVES!

[UPBEAT MUSIC PLAYS]

THERE YOU ARE.

Boy: PAPA, WHEN ARE THEY GOING TO THROW THE KNIVES?

DON'T LOOK LIKE MUCH TO ME.

WE'VE GOT A CHOP SUEY PLACE IN TULSA

THAT LOOKS JUST ABOUT THE SAME.

YOU SEE THAT LARGE MAN OVER THERE WITH THE UGLY FACE?

VICE KING OF THE PARIS UNDERWORLD.

MY HEAVENS!

AND THE LITTLE GIRL OVER THERE

SITTING WITH THE YOUNG BANK ROBBER?

A MURDERESS!

AND THAT LOVELY YOUNG THING OVER THERE?

POOR CHILD!

I SUPPOSE SHE'S LIKE ALL THE REST OF THEM.

PROBABLY A DOPE FIEND.

MOST OF THEM ARE.

Mrs. Dilley: LOOK! SHE'S GOING TO SING!

[ANNETTE SINGING INDISTINCTLY]

IT'S MY WIFE! ISN'T SHE MARVELOUS?

♪ ...I SHOULD SAY ♪

♪ AND IF I MAY ♪

♪ UNTIL TODAY ♪

♪ BUT NOW I AM POSITIVELY GAY ♪

♪ IF I WERE KING, I'D RUN TO AND HUNT TO ♪

♪ THE THINGS ONE CANNOT BUY ♪

♪ DO YOU KNOW WHY? ♪

♪ I GOT LOVE ♪

♪ YOU GOT YOUR PIECE OF MIND THAT I'VE GOT LOVE ♪

♪ IN SPITE OF ANY KIND OF LIFE I CHOOSE ♪

♪ I'LL WIN, CAN'T LOSE ♪

♪ I GOT LOVE ♪

♪ I GOT A LIST ♪

♪ OF ALL THE LOVELY THINGS I THOUGHT I'D MISS ♪

♪ BUT SINCE I KNOW THAT WITH YOUR BEATING KISS ♪

♪ DON'T TAKE THAT LIST ♪

♪ I GOT LOVE ♪

♪ I GOT A SONG ♪

♪ DESCRIBING WHAT I'VE BEEN DREAMING OF ♪

♪ A LOVE SONG, I'VE GOT LOVE ♪

♪ I'M UP ABOVE THE SKY ♪

Men: ♪ OVER THE SKY ♪

♪ I'M LOOKING DOWN AT THE MOON ♪

♪ DOWN AT THE MOON ♪

♪ IN ALL THE WORLD, I AM THE ONLY ONE ♪

♪ I HAVE FOUND THE SUN AT NOON ♪

♪ I GOT LOVE ♪

♪ YOU GET TO SLEEP AT NIGHT, BUT I'VE GOT LOVE ♪

♪ I LOST MY APPETITE ♪

♪ AND WON'T ADMIT ♪

♪ YOU NEED ♪

♪ I GAIN ♪

♪ I GOT LOVE ♪

♪ I LAUGH AND CRY ♪

♪ WHEN I SEE LITTLE CHILDREN DANCING BY ♪

♪ I WANT TO FEEL THAT WAY UNTIL I DIE ♪

♪ BECAUSE ♪

♪ 'CAUSE WHY? ♪

♪ I GOT LOVE ♪

♪ YOU KEEP YOUR... ♪

♪ YOU KEEP YOUR SLEEP AT NIGHT ♪

♪ YOU KEEP YOUR APPETITE ♪

♪ I'M GONNA BE ALL RIGHT ♪

♪ 'CAUSE I GOT LOVE ♪

Men: ♪ LOVE ♪

[APPLAUSE AND WHISTLING]

Chef: MAGNIFICENT!

NEVER HAVE I HEARD SUCH A VOICE!

Annette: JOHNNY!

YOU WERE MARVELOUS!

WHAT DO YOU MEAN BY SINGING A SONG LIKE THAT?

YOU'LL RUIN YOUR VOICE!

IT'S A VERY NICE SONG!

THE SAXOPHONE PLAYER TAUGHT ME.

IT'S A TERRIBLE SONG!

BUT I GET PAID FOR THIS!

I'M EARNING MONEY.

MONEY? CAN'T YOU LEAVE THAT TO ME?

YOU THINK I CAN'T SUPPORT YOU?

Man: OH, MONSIEUR D'ARCY.

WE HAVEN'T SEEN YOU IN A LONG WHILE.

DO YOU WANT YOUR REGULAR TABLE?

NO. FIRST I WANT TO TALK WITH FRANCOIS.

THE LAST TIME, HE PUT TOO MUCH GARLIC IN THE SNAILS.

TOO MUCH GARLIC?!

MONSIEUR D'ARCY!

I WILL KILL HIM MYSELF PERSONALLY!

NO, NO, JACQUES.

YOU MUST NEVER KILL AN ARTIST.

THE WORLD HAS TOO FEW OF THEM.

I WON'T GO HOME!

I HAVEN'T BEEN PAID YET!

ALL RIGHT. YOU WAIT HERE. I'LL GET YOUR MONEY.

Chef: AH, MONSIEUR!

IT IS FORTUNATE YOU HAVE COME TONIGHT!

I HAVE HEARD A VOICE--

I DON'T WANT A VOICE.

I WANT LESS GARLIC WITH MY SNAILS.

THERE WAS TOO MUCH LAST TIME.

TOO MUCH GARLIC, MONSIEUR?

THAT IS PRACTICALLY IMPOSSIBLE.

DID YOU HEAR THIS NEW SINGER OF OURS?

NOPE. I DIDN'T.

OH, MONSIEUR--

ARE THE SNAILS FRESH?

AH, PERFECTLY, MONSIEUR.

WAIT. I SHOW YOU.

[SOFTLY] THAT IS THE VOICE, OVER THERE.

YOU'RE PRETTY SMALL TO HAVE MUCH OF A VOICE, AREN'T YOU?

YES, I SUPPOSE I AM.

IN FACT, YOU DON'T LOOK LIKE A SINGER AT ALL.

DIDN'T YOU KNOW THAT SINGERS WERE SUPPOSED TO BE...

LARGE AND...HOMELY?

SORT OF LIKE A CHANNEL SWIMMER?

AAH!

OH!

[DISHES SHATTER]

DO YOU KNOW WHAT CAN HAPPEN TO YOU IN A PLACE LIKE THIS?

NOTHING HAPPENED TO ME! IT WAS A MOUSE!

OH, IT WAS, WAS IT?

IT LOOKED LIKE A NECKTIE SALESMAN TO ME!

Street: I KNOW WE NEED MONEY.

I'LL GET IT! LOTS OF IT! HOW?

WILL YOU PLEASE STOP ASKING QUESTIONS?

I WISH YOU'D FORGET ABOUT MY VOICE.

WE CAN'T AFFORD TO PAY FOR LESSONS!

WILL YOU BE QUIET?

YOU'VE GOT TO HAVE LESSONS!

YOU'RE GOING TO BE AN OPERA SINGER!

BUT I DON'T WANT TO BE AN OPERA SINGER!

I JUST WANT TO BE YOUR WIFE!

YOU THINK I CAN'T PAY FOR YOUR SINGING LESSONS!

WELL, YOU'RE WRONG!

I'M GOING TO GIVE YOU EVERYTHING YOU WANT,

WHETHER YOU LIKE IT OR NOT!

WILL YOU PLEASE STOP COMPLAINING!

[HEAVY BREATHING]

[LAUGHTER]

OH, JOHNNY! WE HAVEN'T LAUGHED LIKE THIS FOR DAYS!

DARLING!

[WHISPERING] Do you think the Duchess would mind?

SPRING ALWAYS MAKES HER RESTLESS.

YOU KNOW, THERE'S A GOOD BIT OF THE GYPSY IN HER.

I WISH JOHNNY WOULD COME.

WHERE IS HE?

LOOKING FOR A JOB.

HE LOST THE ONE HE HAD,

AND HE'S STILL TRYING TO PAY FOR MY LESSONS.

OH, HE'LL FIND SOMETHING.

THAT'S OUR GOOD CANDLESTICK!

YOUR CANDLESTICK IS IN THE BEST OF HANDS.

RAMSAY MacDONALD ONCE REMARKED

THAT THE DUCHESS COULD BALANCE ANYTHING BUT THE BRITISH BUDGET.

SHE'S AWFULLY CLEVER.

SHH. PLEASE DON'T FLATTER HER.

SHE'S ALREADY QUITE UNBEARABLE.

BUT SHE SEEMS SO HAPPY.

ON THE CONTRARY, SHE'S VERY UNHAPPY.

SHE HAS BEEN EVER SINCE HER HUSBAND LEFT HER.

I'D BE UNHAPPY, TOO...

IF MY HUSBAND LEFT ME.

I REMEMBER ONE TIME SHORTLY AFTER THE DUKE WAS GONE.

WE WERE PLAYING AT THE PALACE IN NEW YORK,

AND THE DUCHESS THOUGHT SHE SAW HER HUSBAND SITTING OUT FRONT,

SO SHE CLIMBED OVER THE FOOTLIGHTS AND KISSED

A BALDHEADED OLD GENTLEMAN SITTING IN THE THIRD ROW.

VERY EMBARRASSING FOR ME, YOU KNOW, BEING LEFT ALONE ON THE STAGE,

'CAUSE I CAN'T BALANCE A THING.

IF ONLY HE COULD GET HIS OPERA PRODUCED.

WELL, IT MAY BE A GOOD OPERA,

BUT IT WON'T GET PRODUCED LYING THERE ON THE PIANO.

THERE IS A MAN RIGHT IN PARIS WHO COULD DO IT...

IF HE WOULD.

PAUL D'ARCY.

PERHAPS I COULD SEND THE DUCHESS OVER WITH IT.

SHE HAS A WAY WITH MANAGERS.

I'M NOT AFRAID OF PAUL D'ARCY--

NOT A BIT AFRAID.

I WISH I HAD A NICE NEW HAT.

DO YOU KNOW WHAT HE LOOKS LIKE?

MM-MMM.

ROGER. HMM?

CAN YOU PRAY?

I...I HAVE.

THEN...PRAY FOR ME.

I BEG YOUR PARDON.

I HAVE A MANUSCRIPT--

AN OPERA BY JONATHAN STREET.

NOT REALLY.

YES. I BROUGHT IT FOR MONSIEUR D'ARCY.

I'M SORRY. YOU CAN'T SEE MONSIEUR D'ARCY.

I'LL WAIT.

[DIALING TELEPHONE]

Secretary: HELLO, HENRI?

THIS IS PAUL D'ARCY'S OFFICE.

I WANT TO ORDER LUNCH FOR MONSIEUR D'ARCY, TO BE SENT UP.

WILL YOU READ THE MENU, PLEASE?

Roger: SO SHE TOOK YOUR MANUSCRIPT UNDER HER ARM AND WENT OFF TO SEE HIM.

Secretary: I TRIED TO GET A DAY OFF LAST WEEK, AND HE WOULDN'T LET ME GO.

NO. OH, NO, I'M SURE I COULDN'T.

NEXT WEEK, MAYBE.

2, 3, 4...PAPRIKA!

NO, NO. REALLY, I CAN'T.

[DOOR CLOSES]

Secretary: FOR LUNCH? YES, I COULD DO THAT.

WHAT TIME?

ALL RIGHT, BUT I'LL HAVE TO BE BACK EARLY, BECAUSE--

ALL RIGHT, ABOUT 1:00.

I WENT OUT TO LUNCH FOR 2 HOURS YESTERDAY,

AND YOU SHOULD HAVE HEARD WHAT HE SAID TO ME...

WAIT A MINUTE.

I CAN'T EAT OFF THIS TRAY.

SAY, AREN'T YOU THE GIRL WHO...

YES, I AM.

I THOUGHT YOU WERE.

I...I HAVE AN OPERA HERE

BY JONATHAN STREET.

HE'S MY HUSBAND.

I KNOW YOU'LL WANT TO READ IT.

IS THAT SO?

THE NAME OF IT IS ECHO AND NARCISSUS.

DO YOU REALIZE THAT THE LAST TIME I TALKED TO YOU,

I GOT THIS?

YES. I REMEMBER VERY WELL.

SO DO I.

I DIDN'T KNOW YOU WERE PAUL D'ARCY WHEN JOHNNY KNOCKED YOU DOWN.

OH, I WOULD HAVE FAINTED.

THIS IS A VERY NICE OPERA. REALLY, IT IS.

I HOPE YOU READ IT RIGHT AWAY.

MY DEAR CHILD, IT'S IMPOSSIBLE. LOOK AT MY DESK.

OH, BUT YOU MUST READ IT.

MY HUSBAND SAYS YOU ARE VERY LUCKY TO GET IT.

DOES HE? REALLY?

YOU'VE GOT TO READ THIS.

I'LL--I'LL SCREAM!

DO AS YOU PLEASE ABOUT THAT.

IF I LISTENED TO THE MUSIC

OF EVERY UNKNOWN COMPOSER IN PARIS--

BUT ONE NUMBER.

IT WILL BE QUICKER THAN TO ARGUE WITH ME.

I'M AFRAID YOU'RE RIGHT.

BUT MIND YOU, I DO THIS ON ONE CONDITION--

THAT HEREAFTER YOU TRY AND ARRANGE YOUR LIFE

SO THAT WE NEVER MEET AGAIN.

I FIND YOU A VERY ANNOYING YOUNG WOMAN.

OH, THANK YOU!

THIS YOUNG LADY HAS SOME MUSIC SHE WANTS ME TO HEAR--

ONE NUMBER.

[SIGHS]

[PLAYING MELODY]

YOU WILL LIKE THIS. IT'S MY FAVORITE.

[BEGINS PLAYING]

OF COURSE, YOU REALLY CAN'T GET THE FULL EFFECT

JUST HEARING IT ON THE PIANO.

YOU SEE, IN THE OPERA, ECHO IS VERY UNHAPPY

BECAUSE NARCISSUS WON'T PAY ANY ATTENTION TO HER,

AND SHE SINGS THIS SONG.

[TELEPHONE RINGS]

YES?

OH, HELLO, MAURICE.

IS THAT SO?

D'Arcy: I KNOW, BUT I'M NOT GOING TO DO PELEUS THIS SEASON.

YES, I KNOW YOU'D LIKE TO SING IT, BUT I'M NOT GOING TO DO IT.

NO.

NOPE.

D'Arcy: I'M SORRY. I REALLY CAN'T--

YOU MIGHT AS WELL.

♪ AH ♪ NOT EVEN IF YOU--

NO.

NO.

Man, on telephone: BUT, D'ARCY,

I'VE WAITED FOR YEARS TO SING THAT ROLE.

YOU PROMISED ME LAST YEAR THAT YOU WOULD DO IT THIS SEASON.

DON'T YOU REMEMBER? YOU SAID THAT IF I COULD SING--

IF I COULD SING THAT ROLE, YOU WOULD--

♪ I'M THE ECHO MEANT TO ANSWER YOUR CALL ♪

♪ I'M THE SHADOW THAT YOU SEE ON YOUR WALL ♪

♪ THAT'S WHY I ADORE LIFE ♪

♪ BECAUSE I FOUND A PART OF YOUR LIFE ♪

♪ AND I REMEMBER I'M THE ECHO ♪

♪ YOU'RE THE SONG ♪

♪ AH AH AH AH AH ♪

♪ AH AH AH AH AH ♪

♪ AH AH AH AH AH ♪

♪ AH AH AH AH AH ♪

♪ AH ♪

MAGNIFICENT!

IT'S WONDERFUL MUSIC, ISN'T IT?

WELL, THE VOICE IS SUPERB! [SPEAKING ITALIAN]

I NEVER HEARD ANYTHING LIKE IT IN MY LIFE, AND NEITHER DID YOU.

[SPEAKING ITALIAN] [SPEAKING GERMAN]

WONDERFUL!

I DON'T UNDERSTAND IT. WHERE DOES IT ALL COME FROM?

[SPEAKING ITALIAN]

BUT THE MUSIC-- WHAT ABOUT THE MUSIC?

THE MUSIC? OH, A NICE TUNE, PERHAPS, BUT IT'S NOT OPERA.

COME, MY CHILD, MORE. I WANT TO HEAR MORE.

[CONTINUES PLAYING]

♪ I'M THE ECHO ♪

♪ YOU'RE THE SONG THAT I SING ♪

♪ SO WITHOUT YOU, I'M A PITIFUL THING ♪

[SINGING OPERATICALLY]

♪ I'M THE ECHO MEANT TO ANSWER YOUR CALL ♪

♪ I'M THE SHADOW THAT YOU SEE ON YOUR WALL ♪

♪ THAT'S WHY I ADORE LIFE ♪

♪ BECAUSE I FOUND A PART OF YOUR LIFE ♪

♪ AND I REMEMBER I'M THE ECHO ♪

♪ YOU'RE THE SONG ♪

♪ I'M THE ECHO ♪

♪ YOU'RE THE SONG THAT I SING ♪

♪ SO WITHOUT YOU, I'M A PITIFUL THING ♪

♪ WITHOUT YOU ♪

BRAVO! MAGNIFICENT! BRAVO!

I KNEW YOU'D LIKE IT. IT'S SUCH LOVELY MUSIC.

MY DEAR, I HAVE FOUND SOMETHING GREAT.

MONSIEUR D'ARCY, MY NAME IS STREET.

I'M TERRIBLY SORRY ABOUT YOUR EYE.

I THOUGHT YOU WERE A NECKTIE SALESMAN.

DID YOU REALLY?

IT'S VERY FUNNY.

I MEAN, YOUR LIKING MY MUSIC AFTER WHAT I DID TO YOU.

OF COURSE, MY WIFE SINGS VERY NICELY, BUT WHEN YOU HEAR IT SUNG BY--

YOUR WIFE HAS THE BEST VOICE THAT I'VE HEARD IN YEARS.

I WANT TO PUT HER UNDER CONTRACT.

I'M GOING TO GIVE HER THE FINEST MUSICAL TRAINING IN EUROPE--

PUT HER IN OPERA, WHERE SHE BELONGS.

IT'S A CRIME SHE HASN'T BEEN DISCOVERED BEFORE.

Man, on telephone: I'VE WAITED FOR THIS CHANCE ALL MY LIFE.

NOW, ARE YOU GOING TO LISTEN TO ME OR AREN'T YOU?

YES!

HELLO, TIRANDELLI?

PAUL D'ARCY.

VERY WELL, THANK YOU. HOW ARE YOU?

MY FRIEND, I HAVE DISCOVERED A VOICE.

BUT, MONSIEUR D'ARCY, THE MUSIC!

JOHNNY'S MUSIC.

D'Arcy: A YOUNG SOPRANO.

YOU MEAN, YOU DON'T WANT MY OPERA?

I'M GOING TO PLACE HER IN YOUR HANDS.

I WANT YOU TO GIVE HER THE FINEST MUSICAL TRAINING YOU CAN.

DARLING, I KNOW. I WON'T DO IT.

YOU'RE TO SPARE NO TIME AND NO EXPENSE.

OH, BUT YOU MUST. I WANT YOU TO.

I'LL GIVE YOU ANY AMOUNT OF MONEY THAT'S NECESSARY.

IF I BECOME SUCCESSFUL,

I COULD DO SOMETHING FOR YOUR OPERA.

D'Arcy: GOOD.

PERHAPS THEN... I COULD HELP YOU.

I'LL SEND HER OVER TO SEE YOU TOMORROW.

YES. PERHAPS YOU COULD. [HANGS UP TELEPHONE]

WELL, THAT'S THAT. YOU WILL STUDY WITH TIRANDELLI,

BUT YOU WILL BE UNDER MY PERSONAL MANAGEMENT, BECAUSE WE HAVE WORK TO DO.

BUT WAIT A MINUTE!

YOU'LL STUDY FOR A YEAR, THEN A SEASON IN THE PROVINCES--

A TOUR, PERHAPS-- AND FINALLY YOUR DEBUT AT THE PARIS OPERA.

BUT, UH, ONLY WHEN YOU'RE READY--

WHEN THE LITTLE COUNTRY GIRL HAS BECOME A WOMAN OF THE WORLD,

AFTER WE'VE CHANGED YOU COMPLETELY.

BUT I DON'T WANT MY WIFE CHANGED!

YOUR CLOTHES, YOUR MANNER, YOUR HAIR, THE WAY YOU TALK...

NO, NO! WHEN YOU ARE A PERFECT CREATION!

I TELL YOU, I DON'T WANT MY WIFE CHANGED!

[NO AUDIO]

[SINGING IN FRENCH]

[NOT AUDIBLE]

[SINGING IN FRENCH]

[SINGING IN BELL-LIKE TONES]

[MUSIC PAUSES, THEN BEGINS AGAIN]

[SINGING IN FRENCH]

[SINGING IN BELL-LIKE TONES]

[MUSIC ENDS, AUDIENCE APPLAUDS]

[ORCHESTRA PLAYING WALTZ]

[SILENTLY]

[CROWD MURMURS AND APPLAUDS]

WE HEARD YOU AT LA SCALA.

MARVELOUS, MADAME!

THANK YOU.

SO KIND OF YOU.

I'M SO SORRY. YOU HAVE TO EXCUSE ME.

YOU SANG BEAUTIFULLY TONIGHT, DARLING.

YOU LOOK VERY BEAUTIFUL, TOO.

OH, JOHNNY.

I SUPPOSE EVERYBODY'S TOLD YOU THAT BY THIS TIME.

THEY DON'T LEAVE ME ANYTHING TO SAY.

DON'T SAY ANYTHING.

YOU COULD DO BETTER THAN THAT IF YOU TRIED.

I WISH I COULD TELL YOU ALL THE THINGS I WANT TO SAY,

BUT ALL THOSE PEOPLE-- THEY MAKE ME FEEL SO FAR AWAY FROM YOU.

JUST TELL ME THAT YOU LOVE ME...

AND TRY TO LAUGH AS YOU DID WHEN YOU LIVED IN THE ATTIC.

I HAVEN'T FELT MUCH LIKE LAUGHING LATELY.

I KNOW, DARLING, BUT YOU WILL.

EVERYTHING WE PLANNED IS COMING TRUE.

IN A FEW WEEKS, I WILL SING YOUR OPERA IN MONTE CARLO.

I'VE WAITED A LONG TIME FOR THAT.

IT'S GOT TO BE A SUCCESS.

OF COURSE IT WILL BE A SUCCESS.

WE'LL BE ON TOP OF THE WORLD.

THINGS WILL BE DIFFERENT THEN, WON'T THEY, ANNETTE?

I MEAN...YOU WON'T HAVE TO FEEL ASHAMED OF ME ANY LONGER.

OH, JOHNNY.

DON'T EVER SAY THAT AGAIN.

PLEASE, DARLING.

DID I EVER REMEMBER TO TELL YOU THAT I LOVE YOU VERY MUCH?

THAT'S BETTER.

MUCH BETTER.

YOU, YOU'RE JUST A FUNNY LITTLE GIRL.

EVEN IF YOU BECOME THE MOST FAMOUS SINGER IN THE WORLD,

YOU'LL STILL BE JUST A FUNNY LITTLE GIRL.

[FOOTSTEPS]

OH, ANNETTE. THERE ARE SOME PEOPLE HERE THAT I WANT YOU TO MEET.

THEY'RE VERY IMPORTANT. COME IN, WON'T YOU, PLEASE? I'M SORRY, JOHNNY.

HORS D'OEUVRE, SIR?

ROGER!

JONATHAN!

HOW ARE YOU?

MISERABLE, THANKS. SIT DOWN.

WHAT ARE YOU DOING HERE?

I'VE BEEN SENT UP FROM THE DINING ROOM. I'M A WAITER NOW.

IT'S A SHOCKING PROFESSION.

ONE LEARNS HOW DANGEROUS EATING REALLY IS.

NOW, YOU TAKE THAT CAVIAR, FOR INSTANCE.

THAT'S PROBABLY TEEMING WITH PTOMAINE.

OH, BY THE WAY, JONATHAN, I WANT TO CONGRATULATE YOU UPON ANNETTE'S GREAT SUCCESS.

DON'T CONGRATULATE ME. I'M ONLY HER HUSBAND.

WHAT HAVE YOU BEEN DOING?

OH, IT'S A LONG STORY, AND I WON'T BORE YOU WITH IT.

YES, ON SECOND THOUGHT, I THINK I WILL BORE YOU WITH IT.

IT ALL STARTED WITH THE DUCHESS.

SHE, UH... SHE PASSED ON, YOU KNOW.

OH, I'M SORRY TO HEAR THAT.

DON'T TOUCH THOSE. THEY'RE TERRIBLY GREASY.

YES, SHE DIED IN MY ARMS. OH, IT WAS BEAUTIFUL.

HAVE YOU EVER HAD A SEAL DIE IN YOUR ARMS?

NO, I NEVER DID.

OH. WELL, YOU TAKE MY ADVICE.

IF EVER YOU GET A SEAL AND IT LOOKS LIKE DYING,

YOU HAVE IT TO DIE IN YOUR ARMS.

IT'S JUST BEAUTIFUL.

WAITER! I WANT SOME FOOD!

HE'S DRUNK. HAVE YOU EVER NOTICED

THAT WAITERS HAVE MUCH BETTER MANNERS THAN GUESTS?

WAITER!

I WANT SOMETHING TO DRINK!

Johnny: WHEN SHE'S GOT A SORE THROAT,

THEY ALL LOOK AT ME AS THOUGH I'D GIVEN IT TO HER.

A LOT OF TIMES, THEY DON'T EVEN LET ME SEE HER AT ALL.

THEY ALL MAKE ME FEEL SO USELESS.

I KNOW. IT MAKES ONE--

MAKES ONE FEEL LIKE AN EXTRA FLY IN THE OINTMENT.

WAITER!

I WANT SOMETHING TO DRINK!

AHH!

THESE ARE VERY GOOD, SIR.

[MUTTERS]

I WANT A DRINK!

NONSENSE. YOU HAD TOO MUCH ALREADY.

WHAT?! GIVE ME THAT GLASS.

NO, NO, SIR. THIS IS MINE.

GET ME THE HEADWAITER. I'LL HAVE YOU DISCHARGED!

I'LL THANK YOU, SIR, TO REMEMBER THAT YOU'RE A GENTLEMAN.

BUT HER LUCIA...

I SHOULD GO TO MONTE CARLO TO HEAR IT AGAIN.

MONTE CARLO? BUT SHE'S NOT SINGING LUCIA IN MONTE CARLO.

NO? NO.

SHE'S GOING THERE TO DO A NEW OPERA-- ECHO AND NARCISSUS.

WELL, IS IT A GOOD OPERA?

IT WAS REJECTED ALL OVER EUROPE.

WELL, HOW IN THE WORLD--

DIDN'T YOU KNOW?

THE COMPOSER IS HER HUSBAND.

BUT HOW DID SHE GET THEM TO--

SHE'S PAYING FOR THE PRODUCTION.

OH, I SEE-- FAMILY MATTER.

WELL, IN THAT CASE, I SHAN'T BOTHER TO GO TO MONTE CARLO.

WELL, JONATHAN, YOU LOOK LIKE THE END OF THE WORLD.

COME ALONG. ANNETTE'S READY TO SING.

SHE WANTS YOU TO ACCOMPANY HER.

YOU CAN TELL ANNETTE TO GO TO THE DEVIL.

I'M THROUGH.

WAIT A MINUTE.

YOU'RE A LITTLE BIT DRUNK, AREN'T YOU?

NO. I'M NOT DRUNK!

MAY I SPEAK WITH YOU FOR A MOMENT?

JOHNNY! WHAT ARE YOU DOING?

I'M GETTING OUT.

I'M TIRED OF BEING A LAP DOG FOR AN OPERA STAR.

JOHNNY, YOU'VE GONE CRAZY!

I'M NO GOOD TO YOU. YOU DON'T NEED ME.

I KNOW WHAT I AM. I'M A LAP DOG.

OH, JOHNNY, NO! YOU CAN'T LEAVE ME!

THINK OF THE THINGS WE PLANNED TOGETHER.

YOUR OPERA!

MY OPERA?

WHY DON'T YOU CALL IT YOUR OPERA?

YOU'RE PAYING FOR IT.

OH, DARLING, PLEASE! I--

I KNOW, I KNOW. "KEEP HIM HAPPY. TOSS HIM A BONE."

PEOPLE WOULD'VE HAD A GOOD LAUGH ABOUT THAT,

BUT THEY'RE NOT GOING TO LAUGH AT ME.

HERE, HOLD THAT.

JOHNNY...

WON'T YOU PLEASE TRY TO UNDERSTAND?

I UNDERSTAND, ALL RIGHT. GET AWAY FROM THERE.

YOU DON'T WANT ME TO AMOUNT TO ANYTHING.

YOU'D RATHER I HAD TO DEPEND ON YOU.

BUT I DON'T HAVE TO. NO, THANK YOU.

I HAVE A GREAT TALENT,

AND I WON'T HAVE IT CHEAPENED.

NO, THANK YOU.

[LATCH POPS OPEN]

THANK YOU. GO ON WITH YOUR SUCCESS.

GO HIGHER AND HIGHER AND HIGHER.

JOHNNY, WAIT!

I DON'T WANT SUCCESS!

I'LL NEVER SING AGAIN--NEVER!

OF COURSE YOU WANT SUCCESS, AND YOU'VE GOT IT.

BUT JUST REMEMBER ONE THING.

YOU CAN'T BUY ME WITH IT.

OH, JOHNNY!

[SOBBING]

OH, PAUL...

I WISH I'D NEVER SUNG A NOTE.

ANNETTE MONARD'S TRIUMPHAL RETURN TO THE PARIS OPERA--

FAINTING LIKE A SCHOOLGIRL.

ANOTHER INCIDENT LIKE THAT, AND YOUR CAREER WILL BE FINISHED.

WHAT OF IT? I DIDN'T WANT A CAREER.

I WAS PUSHED INTO IT.

I LOST EVERYTHING I REALLY WANTED.

IN HEAVEN'S NAME, WHAT IS IT THAT YOU DO WANT?

I DON'T KNOW ANYMORE.

[TELEPHONE RINGS]

I WANT SOME FUN.

I'M TIRED OF BEING COOPED UP LIKE A CANARY.

YOU'D BETTER LIE DOWN. YOU'RE SINGING TOMORROW NIGHT.

I WON'T LIE DOWN,

AND I WON'T SING TOMORROW NIGHT.

YES? LONDON?

WELL, PUT THEM ON.

I'M NEVER GOING TO SING AGAIN.

WILL YOU PLEASE KEEP QUIET?

I BEG YOUR PARDON.

YES. OH, SPEAKING.

HELLO!

SUE ME? FOR WHAT?

BUT THAT'S RIDICULOUS. OF COURSE SHE'S GOING TO SING TOMORROW NIGHT.

WHAT? JUST A MOMENT.

DID YOU WIRE LONDON THAT YOU'RE NOT GOING TO KEEP YOUR ENGAGEMENT THERE?

YES.

HAVE YOU GONE MAD?

YES, I HAVE, AND I LIKE IT.

HOLD THE WIRE.

ANNETTE, YOU CAN'T DO THIS TO ME.

YOU DON'T WANT TO SEE ME THROWN IN JAIL, DO YOU,

WITH NOTHING TO EAT BUT AN OLD PIECE OF BREAD?

YOU'LL SING, WON'T YOU, DEAR?

JUST FOR ME.

WELL...

JUST FOR YOU.

BUT NOT IN FRONT OF A LOT OF PEOPLE.

YOU'RE DRIVING ME CRAZY!

NO, NO, NOT YOU.

BUT YOU'RE NOT BEING MUCH HELP.

I KNOW, I KNOW. WAIT JUST ONE MOMENT, WILL YOU, PLEASE?

NOW, ANNETTE, YOU CAN'T LET ME DOWN LIKE THIS.

I PROMISED THEM A CONCERT. I'VE GOT TO GIVE IT TO THEM.

ALL RIGHT.

YOU PROMISED IT TO THEM, YOU SING.

SHE, UH...UM, I, UH...

[WHISPERING] What am I going to tell him?

Tell him...

Tell him I've got a run in my stockings,

and I can't leave the house.

GOOD-BYE, YOU BABOON.

NOW, WAIT A MINUTE. WHERE ARE YOU GOING?

YOUR CANARY IS FLYING THE COOP.

WAIT A MINUTE! DON'T BE A FOOL!

NO! ANNETTE!

WILL YOU WAIT JUST ONE MOMENT?

I ASSURE YOU THAT SHE WILL LEAVE

ON THE 7:00 TRAIN FOR LONDON TONIGHT!

[SPEAKING FRENCH]

WHERE TO, MADAME?

JOHNNY!

STOP THE CAB.

[CAR DOOR CLOSES]

THERE. THIS IS BETTER.

NOW WE CAN TALK.

OF COURSE, IF MADAME WISHES TO GO SLUMMING.

JOHNNY, STOP IT.

I WANT TO KNOW WHAT YOU'VE BEEN DOING.

DRIVING A TAXICAB.

ARE YOU... ARE YOU HAPPY, JOHNNY?

OF COURSE I'M HAPPY.

I'VE FOUND SOMETHING TO DO THAT SUITS MY TALENTS.

DO YOU LIKE DRIVING A TAXI?

OF COURSE I LIKE IT.

IT KEEPS ME OUT IN THE FRESH AIR.

YOU'RE ALWAYS...MEETING INTERESTING PEOPLE.

BEAUTIFUL WOMEN.

THERE'S ALWAYS SOMETHING DIFFERENT.

YOU'RE VERY HAPPY, I SUPPOSE.

HAPPY? YES, YES, OF COURSE.

THAT'S NICE.

NATURALLY I'M HAPPY.

I HAVE EVERYTHING I WANT. EVERYTHING.

LAST WEEK, A DUKE ASKED ME TO MARRY HIM.

WELL, WHY DIDN'T YOU?

BECAUSE I WAS TOO BUSY BEING HAPPY.

GLAD YOU'RE HAPPY.

AND BESIDES, I'M STILL MARRIED TO YOU.

I DON'T KNOW WHY I'M CRYING.

NEITHER DO I.

I GUESS I MUST BE ANGRY.

JOHNNY?

WILL YOU LET ME... TAKE YOU TO LUNCH?

WE COULD GO...TO THE CAFE DE PARIS OR SOMEPLACE?

THE CAFE DE PARIS?

THEY WOULDN'T LET ME IN.

IF YOU ASSOCIATE WITH TAXI DRIVERS,

YOU'VE GOT TO EAT WHERE THEY EAT.

OH! I'D LOVE TO!

[CHATTER]

[DOOR SLAMS]

[CHATTER STOPS]

[CHATTER RESUMES]

NOT MUCH LIKE THE CAFE DE PARIS, IS IT?

IT'S-- IT'S VERY NICE.

SO COZY.

[DISHES SHATTER]

[LAUGHTER]

IT'S QUITE A LOT, ISN'T IT?

BIGGEST MEAL IN FRANCE FOR 10 FRANCS.

IT'S VERY GOOD. NOT LIKE THAT.

THAT'S NOT THE WAY TAXI DRIVERS EAT. HERE, LIKE THIS.

FIRST YOU BREAK OFF A BIG PIECE OF BREAD,

AND YOU SWISH IT AROUND IN THE GRAVY LIKE THAT, SEE?

THEN YOU OPEN YOUR MOUTH VERY WIDE,

AS IF YOU WERE GOING TO SING E FLAT ABOVE HIGH C,

LIKE THIS,

AND THEN SHOVEL IT IN.

I'LL TRY.

HOW'S THAT? [LAUGHS]

YOU LOOK VERY FUNNY.

[THEY LAUGH]

THAT DUKE OUGHT TO SEE YOU NOW!

[THEY LAUGH HARD]

[CHOKING COUGH]

[STRETCHES AND GROANS]

[GROANS] MMM!

[LAUGHTER]

I'VE ALWAYS WANTED TO DRIVE A TAXI.

ALL RIGHT, YOU DRIVE, I'LL SING.

[CAR SQUEAKS]

[CAROUSEL MUSIC AND CHILDREN LAUGHING]

[CHILDREN CHATTERING]

[CHILDREN CHEERING]

All: COME ON! COME ON!

[LAUGHTER]

[JOHNNY AND ANNETTE LAUGH]

YOU LOOKED SO FUNNY FALLING OFF THAT POLICEMAN'S HORSE!

[LAUGHING] YOU KNOW, IT HURTS

TO FALL OFF A POLICEMAN'S HORSE.

[LAUGHTER]

I'VE BEEN TELEPHONING EVERY POLICE STATION IN PARIS.

HOW DID THEY GET WAY OUT HERE?

WHAT HAVE THEY DONE? TELL ME!

THESE PEOPLE ARE DESPERATE CRIMINALS.

OBVIOUSLY INSANE, IF YOU WANT MY OPINION.

WELL, WAS IT SO TERRIBLE?

IT MIGHT HAVE BEEN AN ACCIDENT, YOU KNOW.

ACCIDENT? HA!

THEY WERE FOUND WADING IN THE PUBLIC POND,

THE POND THAT IS RESERVED EXCLUSIVELY

FOR THE MUNICIPAL SWANS.

[LAUGHTER]

DON'T LOOK NOW, BUT THERE'S THAT MAN.

HELLO, PAUL! YOU REMEMBER MY HUSBAND, DON'T YOU?

SORRY WE CAN'T ASK YOU IN.

DO YOU REALIZE THAT OUR TRAIN LEAVES IN AN HOUR?

I'VE BEEN LOOKING FOR YOU ALL DAY!

BUT I TOLD YOU,

I'M NOT GOING TO LONDON.

OH, YES, YOU ARE!

I'M NEVER GOING TO SING AGAIN!

I'M GOING TO BE A TAXI DRIVER'S WIFE...

AND HAVE A BABY.

OPEN THE DOOR.

YES, SIR.

D'Arcy: I'VE ARRANGED FOR YOUR RELEASE.

NOW THEN, COME ALONG.

HEY!

[LAUGHING]

HEY, YOU--

GET THOSE! HURRY UP! HURRY UP!

IF I LOSE THEM NOW, I'LL NEVER SEE THEM AGAIN!

YES, SIR. COME ON! HURRY UP!

HURRY UP!

[JOHNNY AND ANNETTE LAUGHING]

IT'S--IT'S VERY NICE, JOHNNY!

OF COURSE, IT'S A LITTLE SMALL.

DON'T SIT THERE! THAT CHAIR IS BROKEN.

I USUALLY... SIT ON THE BED.

WE CAN FIX IT UP BEAUTIFULLY.

CURTAINS FOR THE WINDOWS, SOME FURNITURE.

WE'RE NOT GOING TO HAVE MUCH MONEY, YOU KNOW.

BUT I HAVE PLENTY OF MONEY, DARLING.

WE WON'T TALK ABOUT MONEY.

WE DON'T NEED MONEY.

WELL, THIS IS CHARMING.

CHARMING.

PAUL, GO AWAY!

AND LEAVE US ALONE!

YOU, UH, PLAN TO LIVE HERE, DO YOU?

Annette: YES.

DON'T YOU, UH, THINK IT WILL BE A LITTLE BIT CROWDED

WHEN MADAME GETS HER TRUNKS MOVED IN?

THERE ARE 14 OF THEM, YOU KNOW.

10 FOR CLOTHES, 2 FOR HATS, 2 FOR SHOES.

PAUL!

ONLY TRYING TO BE PRACTICAL, MY DEAR.

AND THERE'LL HARDLY BE ROOM TO RAISE MUCH OF A FAMILY, WILL THERE?

WILL YOU PLEASE GO NOW?

I'LL BE WAITING DOWNSTAIRS IN THE CAR.

OUR TRAIN LEAVES IN HALF AN HOUR.

HE'S RIGHT.

IT WON'T WORK.

DO YOU THINK I'D ALLOW MY WIFE

TO LIVE IN A PLACE LIKE THIS?

OF COURSE NOT.

IT'S ALL RIGHT FOR ME. I LIKE IT.

THEN I LIKE IT, TOO.

BESIDES, I DON'T WANT MY ROOM CLUTTERED UP

WITH A LOT OF TRUNKS AND SERVANTS.

WE'LL GET A LARGER PLACE.

PLEASE, DARLING.

I CAN'T AFFORD A LARGER PLACE,

AND I DON'T INTEND TO BE KEPT BY MY WIFE AGAIN.

JOHNNY.

YOU DON'T LOVE ME ENOUGH?

YES. THAT'S IT.

YOUR SILLY PRIDE IS MORE IMPORTANT TO YOU THAN I AM.

D'ARCY'S WAITING DOWNSTAIRS.

GO ON TO LONDON AND SING.

[STAMPING FOOT] WHAT DO I CARE ABOUT SINGING?

I NEVER WANTED TO BE A SINGER!

I JUST WANTED TO BE YOUR WIFE.

BUT YOU WON'T LET ME.

GOOD-BYE, JOHNNY.

THERE MUST BE SOMETHING I CAN DO.

HE NEEDS A LITTLE SUCCESS.

PAUL!

I'VE GOT AN IDEA!

IF I GO TO LONDON TONIGHT AND SING FOR YOU,

YOU'VE GOT TO DO SOMETHING FOR ME.

[REHEARSAL PIANO PLAYS AND GIRLS TAP]

[TAPS TO BEAT]

[CLAPPING] NO, NO, NO, NO, NO, NO, NO, NO!

FASTER! IT MUST GO FASTER!

THIS IS NOT AN OPERA.

IT'S MUSICAL COMEDY.

NOW, TRY IT AGAIN.

Man: ALL RIGHT, HIT IT.

JONATHAN WILL LOVE YOU FOR THIS.

HE'LL CUT YOU UP IN LITTLE BITS.

OH, NO. HE WON'T.

I HAD HIM PUT BACK IN JAIL.

LET ME OUT OF HERE!

LET ME OUT!

YOU CAN'T PUT ME IN HERE!

MONSIEUR.

I'VE JUST RECEIVED WORD.

THE CHARGES AGAINST YOU HAVE BEEN WITHDRAWN.

WILL I HAVE TIME TO MAKE THE PLANE FOR LONDON?

I BELIEVE SO.

I HOPE WE'LL SEE YOU AGAIN SOMETIME.

YOU'D BETTER SAVE ME A CELL.

I'M GOING TO LONDON TO MURDER MY WIFE!

[ORCHESTRA PLAYING]

Men: ♪ STARS FADE OUT OF THE SKIES ♪

♪ JUST TO REST IN HER EYES ♪

♪ HER STEP IS LIKE A SLENDER DAFFODIL SWAYING ♪

♪ HER VOICE IS LIKE A MUTED VIOLIN PLAYING ♪

♪ THE LIGHT WILL BLOOM AND QUITE DISPEL THE GLOOM ♪

♪ ON SIGHT OF HER WHO CAN CHARMINGLY GRACE A ROOM ♪

♪ YOU CANNOT GUESS WHAT LOVELINESS BELONGS TO YOU ♪

♪ IF YOU WOULD DANCE, WE'D HAVE A CHANCE TO SHARE IT, TOO ♪

Annette: ♪ I AM NOT GAY ENOUGH ♪

♪ TO SHARE A WALTZ ♪

♪ TONIGHT I BOAST ONE OF MY MOST UNHAPPY FAULTS ♪

♪ I DREAM TOO MUCH ♪

♪ BUT IF I DREAM TOO MUCH ♪

♪ I ONLY DREAM TO TOUCH ♪

♪ YOUR HEART AGAIN ♪

♪ I CLOSE MY EYES TO SEE YOUR HAND ♪

♪ YOUR SMILE, YOUR JOY IN LOVING ME ♪

♪ WE DANCE AND SING ♪

♪ WE STEAL A TOUCH OF SPRING ♪

♪ I DREAM OF EVERYTHING ♪

♪ WE TWO HAVE KNOWN ♪

♪ AND YET MY DREAMS HAVE SHOWN ♪

♪ PERHAPS I DREAM TOO MUCH ALONE ♪

All: ♪ I DREAM TOO MUCH ♪

♪ BUT IF I DREAM TOO MUCH ♪

♪ I ONLY DREAM TO TOUCH YOUR HEART AGAIN ♪

Annette, over others: ♪ I CLOSE MY EYES TO SEE ♪

♪ YOUR HAND, YOUR SMILE, YOUR JOY IN LOVING ME ♪

Chorus: ♪ WE DANCE AND SING ♪

♪ WE STEAL A TOUCH OF SPRING ♪

All: ♪ I DREAM OF EVERYTHING ♪

♪ WE'VE ALWAYS KNOWN ♪

Annette: ♪ AND YET MY DREAMS HAVE SHOWN ♪

♪ PERHAPS I DREAM ♪

♪ TOO MUCH ALONE ♪

Men: ♪ ALONE ♪

Women: ♪ IF I AM GAY ♪

♪ YOU'LL KNOW THE DAY ♪

♪ YOU CAME MY WAY ♪

Annette: ♪ I CAN'T DENY ♪

♪ THE REASON WHY ♪

Chorus: ♪ I DREAM TOO MUCH ♪

All: ♪ BUT IF I DREAM TOO MUCH ♪

♪ I ONLY DREAM TO TOUCH YOUR HEART AGAIN ♪

Annette: ♪ I CLOSE MY EYES TO SEE ♪

♪ YOUR HAND, YOUR SMILE,

All: ♪ YOUR JOY IN LOVING ME ♪

Chorus: ♪ WE DANCE AND SING ♪

♪ WE STEAL A TOUCH OF SPRING ♪

♪ I DREAM OF EVERYTHING WE TWO HAVE KNOWN ♪

Annette: ♪ AND YET MY DREAMS HAVE SHOWN ♪

♪ I DREAM TOO MUCH ♪

All: ♪ ALONE ♪

♪ AH-AH, AH-AH ♪

♪ AH-AH, AH-AH ♪

♪ AH-AH, AH-AH ♪

♪ AH-AH, AH-AH, AH ♪

♪ AH-AH, AH-AH, AH ♪

♪ AH-AH, AH, AH ♪

Women: ♪ I'M THE ECHO ♪

♪ I'M THE ECHO ♪

Men: ♪ I'M THE ECHO ♪

♪ YOU'RE THE SONG THAT I SING ♪

Annette: ♪ AH ♪

[APPLAUSE AND CHEERING]

JOHNNY, MY BOY! CONGRATULATIONS!

IT'S TREMENDOUS! YOUR FORTUNE'S MADE!

GO ON, LAUGH. IT'S VERY FUNNY, ISN'T IT?

BUT I TELL YOU, YOU'VE GOT A SMASH HIT!

20 MILLION PEOPLE WILL BE WHISTLING THOSE TUNES OF YOURS.

Man: MARVELOUS! Woman: BEAUTIFUL!

Second Man: EXCELLENT!

IS THIS THE COMPOSER?

CONGRATULATIONS, D'ARCY!

YOU'VE DISCOVERED A GREAT TALENT.

LADY WHITLEY, MAY I PRESENT

THE COMPOSER, MR. STREET.

HOW DO YOU DO? AND THE COUNT TRAGET, MR. STREET.

MR. STREET,

SUCH MARVELOUS MUSIC!

IT'S LIKE...WHY, IT'S LIKE SCHUBERT!

I DON'T KNOW HOW YOU DO IT!

WELL, IT'S NOTHING. NOTHING AT ALL.

YOU SEE, I... JUST TRY TO WRITE

THE KIND OF MUSIC THAT PEOPLE WANT,

TUNES THEY CAN WHISTLE.

AND YOUR WIFE GIVES SUCH A BEAUTIFUL PERFORMANCE.

SHE IS GOOD, ISN'T SHE?

[ALL MURMUR]

YOU KNOW, SHE SINGS MY SONGS

JUST THE WAY I WRITE THEM.

[PLAYING SLOW TUNE]

LISTEN TO THIS ONE.

"JONATHAN STREET, THE BRILLIANT NEW COMPOSER OF--"

ANNETTE, PLEASE. I'M WORKING.

UH, WHAT WAS THE REST OF IT?

"THE BRILLIANT NEW COMPOSER OF I DREAM TOO MUCH,

"THE MUSICAL COMEDY SENSATION OF LONDON,

NOW IN ITS SECOND YEAR--"

YOU KNOW, I'M SORRY YOU LEFT THE SHOW.

YOU WERE VERY GOOD.

WAS I, DARLING?

YOU WERE RIGHT TO RETIRE, THOUGH.

OF COURSE, YOU SANG VERY NICELY,

BUT AFTER ALL, GENIUS IS ANOTHER THING.

TO WRITE GREAT MELODIES,

TUNES THAT 20 MILLION PEOPLE WHISTLE,

YOU HAVE TO HAVE--

YES, DARLING.

AND YOU HAVE IT.

YOU KNOW WHAT I MEAN.

SOME PEOPLE ARE BORN TO GREATNESS.

YES, DEAR.

I KNOW WHAT YOU MEAN.

[PLAYS PIANO]

AND SOME PEOPLE...

ARE BORN TO HAVE A BABY.

[CAROUSEL MUSIC PLAYS]

♪ LISTEN WHAT I TELL YOU ♪

♪ AH-AH, AH-AH, AH-AH-AH ♪

♪ THE STORY ABOUT THE LITTLE JOCKEY ON THE CAROUSEL ♪

♪ IT WAS A STORY THAT MY MAMA USED TO TELL ♪

♪ WHEN I WOULD CRY ♪

♪ IT WAS MY LULLABY ♪

CAPTIONING MADE POSSIBLE BY TURNER ENTERTAINMENT GROUP

CAPTIONED BY THE NATIONAL CAPTIONING INSTITUTE --www.ncicap.org--