Original subtitles

(blues music)

- Goodbye Pittsburgh. Hello...

- Hello world!

- Hey, get this!

(tires squeal)

- This one's on me, I've had it

with these cookie drivers, too.

Now, listen here, oh I'm sorry.

- [Jennie] Please help me, I...

- [Buz] What can I do, I mean, can I call somebody or?

- [Jennie] Nobody. Got nobody.

- Hey Tod? Get to a phone, get an ambulance quick!

- My pill box, it's in my purse.

- How many do you take? One or two or?

Here ya go.

- Thank you, thank you so much.

- Are you alright? Are you in pain or something?

- It's goin' away.

How 'bout you? Yours gone yet?

That mad on you had when you opened the door. (laughs)

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

- You should have seen the sparks coming off you.

Fairly sizzling.

In fact, you looked like you could belt the whole universe.

- Well, I coulda.

- That music.

- Oh yeah, I'll turn it off.

- No, no, no sugar. It's pretty.

But I thought I was the only one hearing it.

But if you hear it too that means

I'll be around a while longer.

I think I'm goin' to faint.

Don't be frightened son, don't be frightened, it's alright.

If the Lord's callin' me home,

it's a good of way to go as any, with music.

- Tod! Hurry it up!

(melancholy music)

- [Jennie] Thank you, doctor!

- You're welcome Mrs. Henderson.

- Thank you. But isn't there anything else we can do?

- Nothing.

- But don't you think we could--

- Nothing. Just try to keep her happy.

Well, goodbye, doctor.

- Goodbye, doctor.

(door shuts)

- Wally?

- Yes, Jennie?

Well now, how does it feel

having the best cardiologist in town?

- What's the story?

- Well, the outlook is fair. Only fair.

Doctor Sigrist has studied your case very carefully

and he seems to feel that, well that...

- How long have I got?

- You don't put your questions very scientifically, Jennie.

- Then give me an unscientific answer.

How long have I got?

- I'm not evading, Jennie, it's just that,

I really can't say but this is your fourth attack

in the last year.

- A month?

- Oh sure.

- Could be a week. Or maybe the next minute, huh?

(melancholy music)

- Cora has your new medicine

and I'll drop back again tonight.

- Thank you. Goodbye now, Wally dear.

(upbeat jazz music)

- Well, that's a happy sound.

- Yeah, maybe it means she's okay.

- You can go in now, boys.

Goodbye, doctor.

- Goodbye, Cora.

(knocks)

- [Cora] Jennie? - Come on in.

Well, you two boys must be mind readers.

- How come?

- I was just laying here thinking

I wish I could find those two nice young men

to send them thank yous for their kindness.

- You don't have to thank us, Mrs. Henderson.

- You can call me that to my back, to my face it's Jennie.

- Okay, Jennie.

- And face to face, I do thank both of you.

- Well, what did the doctor say?

- The doctor? He said that I was doing fine.

I'm coming along just fine.

- I better straighten the kitchen.

- It's a great dixieland.

You know, there used to be a reed man

that used to play with the old bassy band,

had a sound just like that, name of Mobley.

- You a musician?

- Who me? No.

I'm just a buff.

- What's that in English?

- An aficionado.

- That's not English.

- A buff is a fan, a jazz hound. I dig the stuff.

- You do?

- Oh yeah, can't keep me away from it, right?

- Well, you may not be a musician,

but you sure got a musicians ear

cause that was Snooze Mobley.

- You're kidding. That's...

(laughs) I didn't know he played with the Dixieland group.

- Well son, that was the first job Snooze ever played.

In fact, it was everybody's first job in that band.

Mine too, I'm on the other side.

- (laughs) Yeah? Do you mind?

- Be my guest.

♪ I'm coming, Virginia

- Not bad. And if I look dreamy,

it's not because I'm sitting here pleased with myself,

but the pretty things them boys play behind my vocals,

oh it was something, how they played.

I better start talking about something else

or I'll be crying in a minute.

(snaps) Good for you.

- [Tod] What's the matter?

- I don't want you boys to think I'm rude,

but when I get to talking on jazz music I forget everything.

I don't even know your names.

- To my face they call me Murdock,

behind my back they call me Buz.

- Tod Stiles.

- Tod. Buz. You boys from around here?

- No, as a matter of fact, we were just leaving town when--

- When I almost creased you.

You know, maybe it wasn't just my bad driving.

Could've been the good Lord had it in mind

for us to meet today

and I'm thankful He saw fit to make it a near miss.

- Amen.

- Sit down.

You fellas travel a lot?

- That's what we do the most of,

at least until we hit the next job.

- What kind of job?

- Any kind, anything we can do.

- Sounds like easy come, easy go.

- Not exactly. You see, well,

we're sort of looking for a place where we really fit.

A kind of a niche for ourselves, you know?

But until then I guess we'll just

sorta keep looking and moving.

- Could be the Lords will at that.

Your family don't mind you traveling?

- No family.

- I know what you mean.

My husband, Charles, God rest his soul,

has been gone 12 years now.

No children. No relatives. Nobody.

Guess the only memory I have is Charlie's

and the six fellas that played in the band.

And it's been 30 years since I saw them.

- But they're still your family?

- Oh yes, precious, time has nothing to do with who you love

they've never left me.

The way they played and the spirit they had,

30 years, 300 years, I'll never forget them.

- [Buz] Who else was in that group?

- There was two you may have heard of,

two that've become famous that is.

Snooze Mobley and A.C. Graham.

- Was A.C. the drummer in that band?

- Yep. And I hear he's in New York now

goin' big in studios and television.

Yes, Snooze and A.C. have got it made.

- Snooze is a crazy name!

- Yeah, but it fits him.

He always looked like he was almost asleep.

- That's right. That's him.

That's a picture there on the mantle.

Will you get it for me, sugar?

- This one? - Uh-Huh.

- Which one was the leader?

- Leader? The trumpet man, his name was Lover Brown.

And was he ever woman simple.

- Real chaser, huh?

- Chaser? He didn't stop there.

He not only chased 'em, he married 'em! Lots of 'em!

And him, he was the scholar of the group, and for real,

name was Horace Wilson. He finally become a lawyer.

This one, he's now in Philly, he and his banjo.

And as far as I'm concerned Philly can have him.

- Why didn't you like him, Jennie?

- Oh well, I guess you can't get six outta six

and Hank Plummer was mean, just plain mean.

The only mean one in the group,

but when he was sitting in with the band

that's when he fit in

cause nobody could play a banjo like him.

And here, here's the King.

King Loomis was his name.

The only man I knew who couldn't play sittin' down.

He used to stand there like he was saying,

pay attention cause now I'm gonna show you

how this thing really should be played.

Then he'd point that horn to the moon and really go.

What a shame. Would you please?

Together we was like one big family.

It wasn't always goodie two shoes and sweetness and light,

cause we had our scraps and plenty of 'em,

but they were still my family

and, oh, wouldn't I love to see them all together again,

just one more time.

Boys, do you believe the Lord works in mysterious ways,

His wonders to perform?

I do. I believe it.

And I believe the Lord sent you two boys to me

to do something for me I couldn't do for myself,

but the two of you could.

- Now, what would that be?

- Would you boys help me bring my family together just once?

- You mean the band?

- That's right. I'm not asking favors, it's a job

and I'm willing to pay you what you ask.

- Uh, Jennie, wait a minute.

- Look it would, it would take a lot of money

to try to locate six musicians

who are scattered all over the country.

- Honey, I'm loaded.

I've saved my money and I haven't pampered myself until now.

The one thing I want most in this world

is to see these six guys right here in this room,

playing for me.

- There's 30 years, Jennie,

you know, who knows what's happened to them by now.

- Jennie, don't get your hopes up too high.

- Where would we start to look?

- I know where two of them are right now

and I have a few leads on the others.

Won't you do it for me, please?

(jazz music)

- Thank you! Thank you!

In one week from today--

- A week?

- A week? Jennie, that's not enough time!

- Of course it is!

Didn't the Lord make the heaven and earth in seven days?

Well, that's a lot of time.

I can't count on Him giving me more time than that.

And I know you can do it,

I just know both of you boys can do it.

Who needs that old record?

One week from today they're gonna be playing here for real

and I tell you, it's gonna be fabulous! (laughs)

(upbeat music)

(bar patrons chattering) (piano music)

- Excuse me?

- Wait a minute.

- I'm looking for Hank Plummer, he's a banjo man,

he's working somewhere on this street,

but I don't know where.

- Mike?

It's a friend of Hank Plummers.

- Wait a minute, I'm not a friend of his!

I don't even know what he looks like!

(music drowns out voice)

- More? Hey, Mike!

- Will ya wait a minute?

Look, Hank Plummer isn't a friend of mine,

I don't even know what he looks like!

I just have to find him.

- Hey, you see this? Hank Plummer, his mark,

that's why I hired Mike.

- Hits pretty good for an old man, huh?

- What?

- Look, you know where he is?

- Some joint in town. Where ever the mood hits him.

Is there anything else I can do for you?

- No. Thanks for everything, I'll do the rest myself.

(upbeat jazz music)

(patrons chatter)

- [Hank] Hey, Jack!

- Yeah?

- I hear you lookin' for somebody.

- That's right. Hank Plummer.

- What do you want with him?

- Well, it's personal. Do you know where I can find him?

- Yeah, he's right here. It's me.

- Oh no. He's a much older man, he used to play banjo

with the Memphis Naturals.

- That's my father. He's dead.

- Oh, I'm sorry. Well, that's that.

- Now what in the world do you want with him?

- Well, an old friend of his asked us to find him,

she's very sick, we're trying to put together the old group,

one last time.

- She? Is that Jennie?

- Well, how'd you know that?

- Is she still in Pittsburgh?

- That's right.

- Well, uh, okay. I'll send for my old man.

What's the matter with you?

- Just like that? - Yeah, just like that.

- It's too easy, I don't know.

- Well, when is this gig? - Next Friday.

- That's cool. Thanks for the message.

(upbeat music)

(fast paced swing music)

- Snooze! Snooze!

Hey, Snooze!

Did you talk to Ryan?

Gonna be able to make it Friday?

Crazy!

(rhythmic clapping)

- Well, let me see.

I have three dates on Friday and a film on Saturday.

Is she really bad?

- Yeah. - Oh. Hey, Saul?

- Yeah, Ace?

- Are you busy Friday and Saturday?

- I sure am. Promised the kids I'd take 'em fishing.

- Man you've got to cover some dates for me.

- What dates?

- Not for kicks, I have a friend that's very sick

and I have to be out of town.

- Oh, alright, you've got it.

- Thanks, buddy.

- If us drummers like, can't protect each other,

like, who will?

(drum sting)

- Solid. - That's great, Ace!

(knocks)

- Come in!

Do I know you?

- Well, you used to.

- When?

- It was a long time ago.

About that long ago.

- Little Hank?

- That's right.

I'm four days early for this gig,

and I drove all the way from Philly,

and I wanted to know if it was okay

if I sat in for my old man?

- You play banjo?

- Well, I used to, but I switched to guitar,

but I can switch back again.

- I thought I heard somebody come in.

- Hank, this is Cora. She lives next door.

- Hi. - Hello.

- What's the matter?

- Big Hank wouldn't come?

- He's gone, Jennie, five, six years ago.

He wouldn't have come if he was alive, you know that.

- Oh, you musn't talk ill of the dead.

- I don't go out of my way to,

but I've learned to call people as they are, dead or alive.

I know who my friends are, my father was no friend.

But you were.

- You was five years old the last time I saw you.

What do you remember?

- Everything. I've never forgotten you.

- Hey, don't tell me this boy was around

at the time of the Memphis Naturals?

- No, ten years after the band broke up.

His father, Big Hank, come to Pittsburgh

with this little boy under his arm.

- Where was your mother?

- I don't even remember.

I guess she stood the old man as long as she could

then she took off and my father,

like he wasn't there either, you know what I mean?

- Yes, he used to bring the boy to the club

with him when he was working.

Imagine a five year old running loose at that hour.

One night I trooped down and Big Hank, as usual,

was shooting dice with the other musicians

so I asked him if I could take the boy home with me

while he was playin' Pittsburgh and he said, oh sure.

- That wasn't what he said. I was there.

He said, don't bother me when I got the dice and I'm hot.

Didn't he?

So, Jennie took me home with her.

I stayed with her for three months.

And that was the only time in my whole life

that anybody ever care whether I was fed,

or washed or put to bed at night.

- Come on, you were such a night owl,

I never could get you to sleep.

- Sure you could.

There used to be this tune you used to sing

and I used to drift off just like a baby.

- What tune? I don't remember.

(guitar strums)

♪ Rock me

♪ Rock me in your arms to sleep

- I couldn't have sung that!

- Oh, but you did.

♪ Rock me

♪ Rock me in your arms to sleep

- That's lullaby kinda tune.

It don't fit lullaby for a child.

♪ When I feel your arms around me

♪ Oh, I sleep so deep

♪ Good night, sweet blues

- Only lullaby I knew.

- Go, Jennie Mama, please?

♪ Lock me

♪ Lock me in your arms so tight

♪ Lock me

♪ Lock me in your arms so tight

♪ When I feel your arms around me

♪ Oh I sleep just right

♪ Good night, sweet blues

- Who's he looking for?

- Somebody, name of Brown.

- You mean Lover Brown?

- Yeah, that's right, do you know him?

- Intimately, the hard way.

- I got this address here from the local musicians union,

but it doesn't seem to appear on any of the mailboxes.

- Oh, Mr. Brown, he's moved up in the world.

He's now resides at the mansion.

(laughter) - The mansion? What mansion?

- At the junctions of Route 4 and 22.

- Thanks a lot, let's go.

- Okay my man. Oh say, tell Mr. Brown,

Raymond Saunders sends his best regards,

also, Mrs. Saunders send her best regards also.

- Right.

- Okay my man, take it easy now.

(engine starts) (jazz music)

- This is Mr. Brown's mansion.

- What is this?

(slow jazz music)

(church music)

(slow jazz music)

- Sick sister, huh?

- We will now continue presentation of Plantiff's day,

you may proceed Mr. Wilson.

- If it'll please the court,

I find that I am forced to request a recess,

it's a personal matter, your honor,

may I explain?

- Council may approach the bench, you too, Mr. Dayton.

- How are you feeling, Jennie?

Oh that's fine.

Chicago's hot, where's Buz?

Saint Louis? (sighs) No trace of King yet, huh?

Well I'm at the courthouse now, keep your fingers crossed.

Yeah, Jenny, I'm praying too. Bye.

- Any objection to that Mr. Dayton?

- Not at all, your honor. Perfectly agreeable.

- Oh, let's see. Today is Thursday, Monday morning?

- Oh, that'll be just fine, sir.

- Court stands adjourned until nine o'clock Monday morning.

(gavel pounds)

Horace, please accept my personal sympathy.

- Oh, thank you, John.

(airplane engine)

- [Intercom] Flight 247 now boarding gate seven,

north concourse, please.

Flight 247 now boarding north concourse gate seven please.

- Is that us?

- No, we still got 10 minutes. You nervous?

- Well, a little, the thought of seeing so many friends

after all these years, Jennie...

You know the mark of a working bass player? Calluses.

I'm afraid I've lost mine.

- Well, just the same, Mr. Wilson,

no other bass player'd do for Jennie.

- Oh, now I'm gonna be more nervous than ever.

- Tell me something.

Was it, was the group really as good as Jennie remembers?

- If we'd stayed together,

we would have been recognized as one of the best.

- [Tod] Why'd you break up?

- Personality conflicts.

We were six entirely different individuals, Mr. Stiles,

what kept us together was Jennie.

Nothing that she ever said in so many words, but,

Jennie radiated something that was contagious.

You know, she used to sit on that tall stool

in front of the band every night

and off to the side and she looked only at us.

She never looked at the audience.

She couldn't have been more than 19, maybe 20.

I don't think Jennie ever knew whether there was a crowd

or whether the house was empty.

Didn't seem to matter to her.

And then we'd get into a new town, tired, cranky

and irritable at one another,

we'd start to play, and differently at first,

and suddenly and this happened every night, mind you,

we'd look up and there was that sweet, smiling face

beaming at us.

Not just a silly easy-to-please sort of thing,

Jennie noticed every single phrase each of us played

and when it wasn't so good, well, she'd sort of laugh

as if to say, well if at first.

And then when it was really good,

a delight would just beam all over.

Yes, she gave out something to us, you see,

and we had to give something back in return.

We gave back the best there was in us.

And then after she left, well,

it's awful soft.

- So her first night on the band she comes home with,

I think it's only fair that I tell you boys

that I am the daughter of a minister,

so lets nobody waste no time in that department.

(laughter)

- Well, I had to say something, you know how musicians are!

(laughs) (trumpet plays)

- Oh, that's got to be Lover Brown, it's got to be.

- Have no fear, fellas, Lover Brown is here.

- Aah! - A.C.

- Lover, how you doing?

Snooze, how are ya?

Oh, ya got to be young Hank. (rhythmic tapping)

- Oh, Lover Brown, bless you!

- Oh, bless you, honey!

- You are a sight for sore eyes.

Who's the gentleman?

- Oh, that gentleman, that's my manager.

You know, can't go anywhere without him.

You know how it is when you become a star,

you have accountants and managers.

- And wardens and guards,

you old goddaff, you've been bigavized.

- Yeah.

- You know, come there hearafter,

you're gonna be in big trouble,

but in the meanwhile, suppose you play me a fast one.

- You said the word. (trumpet plays)

(band plays)

(claps)

(phone rings)

- Hello?

Buz? How's it going?

Did you find the King?

Oh, but you do have a lead on him.

Good, now listen, when you find him,

treat his majesty with respect, ya hear?

And don't let him scare you none,

just cause he's the king of Loomis.

And Buz, hurry home, please?

(melancholy music)

- G'morning, sir, I was told I can find a man here

that works on the mall by the name of King Loomis.

- Somebody gave you a wrong stear.

This mall's a public place. Nobody works here.

(music trills)

- Shine, mister?

- That's the whole story, King.

All of the other guys should be there by now, all of them.

So, if you wrap up that jazz

we can get there before the afternoon's over.

- I'm not going with you.

Can't go, that's all.

- Can't? You mean you just don't give a flying yap,

is that it?

- Geez, I care very much about Jennie.

Please, you give her my deepest affection.

- Oh yes, love and kisses from a distance, that's it, huh?

- You don't understand.

For me to go there now, it's asking too much.

- No, I don't understand.

You think it was easy for those other guys

to just pick up and go just like that?

Everybody's got responsibilities, obligations.

A.C. and Snooze and Horace

and Lover had to lie his way outta jail,

so what's asking too much?

Oh boy, this is a very funny bit.

You know, I was the one that told Jennie

that after 30 years people change.

But I gotta tell ya something,

out of all the guys in the band you're the last guy

that I thought would end up just not caring.

- You're asking me to do the one thing that'll destroy me.

The one thing.

Drinking, that didn't destroy me.

Bad luck, bad health didn't destroy me.

My wife, my family, they left me and they should have.

Even that didn't destroy me.

But for me to play for Jennie and those guys,

that will destroy me.

I was good. Very good once.

I ain't picked up a horn in, hmm,

don't even own the horn anymore.

When the liquor was getting to me, I pawned everything I had

to buy a bottle and another bottle.

The horn was the last thing to go.

It's hanging in the window of a pawn shop

right around the corner from where I live.

You know every morning when I come to work,

I walk seven blocks out of my way

just so I don't see that horn hanging in that window.

- I'm sorry, King, it's just that,

well, I know it'll break Jennie's heart

if I show up empty handed.

- No lip left.

By the time I learned to stay away from the bottle,

oh I whipped it, I whipped it,

one day at a time, but I whipped it.

But by then it was too late for anything else.

But, how, how, how's a man going to play

without being in shape, without a lip?

No, mister, you forget it.

I need every bit of the strength I've got just to survive.

Jennie'll understand that.

- Sure, she'll understand better than anybody.

You see it's taken all her strength to survive too,

just long enough to see the six of you one more time.

Okay, King.

- A man's got his pride.

- Sure, sure. You're entitled.

- Oh, what the. Mister it's a lie.

I've been lying to you, lying to Jennie, lying to myself.

It ain't pride, mister.

I'm, I'm just so afraid to touch that horn.

(slow music)

- Yeah, is there anything you need?

(upbeat music)

(clapping)

- Now, don't you fret, Buz, darling,

Jennie knows you did your best.

Great! Just great!

Lover? You know you got that, what the French call...

- Je ne sais quoi?

- That's what you've got! That's true, Snooze?

- Mm-hmm.

- I just asked for a simple answer,

you didn't have to make a whole speech out of it.

You know, you're gettin' to be such a blabber mouth

in your old age. (laughs)

- Hello, Jennie.

- King.

Thanks, Lord, now my joy is complete.

- Hey, Big, there's old King!

- How about that, man?

- Hey.

- King, how ya doing? Hank Junior.

- Hello, how are you?

- Pleasure, how ya feeling?

- Hello, King.

(band members chatter)

- You had no right to do that.

Here, take it back.

- It's not mine, King.

You can take it back to the hawk shop if you want to.

- You had no right.

- Did you even open the case?

- No I didn't open it, I told you,

I'm even afraid to look at that horn.

Jennie, I came here to see you,

I can't play anymore. I can't.

I hope you don't ask me.

- Oh King, you know I would never ask you

to do anything you didn't want to do.

But I'm glad you're here.

The six of you. All six of ya.

At last, my family is back with me again, now.

God bless you, Buz.

And you too, Tod.

And thank you, dear Lord.

(bass plays)

- Jump in, A.C., water's fine.

(band members join)

- Madame, if you will.

♪ Rock me

♪ Rock me in your arms to sleep

♪ Darling, you said it

♪ Rock me

♪ Rock me in your arms to sleep

♪ I may yet lose my mind

♪ Cause when I feel your arms around me

♪ Oh I sleep so deep

♪ Good night, sweet blues

- Go, dear boy.

♪ Lock me

♪ Lock me in your arms so tight

- You know, I once had eyes for you.

- Now she tells me.

♪ Lock me

♪ Lock me in your arms so tight

- Wait for me, I'll be out in five months.

- Mare bagatelle.

♪ When I feel your arms around me

♪ Oh I sleep just right

♪ Good night, sweet blues

Night me, honey!

♪ Been waiting for you

♪ Pacin' the floor

♪ Haven't slept a wink cause you

♪ Waiting for you

♪ Drop to the door and say

- Darling, did you wait up for me?

- Waited up for all of you.

♪ You better rock me

♪ Rock me in your arms to sleep

Look out, walls of Jericho.

♪ Rock me

♪ Rock me in your arms to sleep

♪ Cause

(bass plays solo)

- Jennie, Mama?

- Play it out good, 'til the end, like she did.

(trombone plays)

(band plays)

(upbeat jazz music)

- [Announcer] This has been a Screen Gems Film presentation

from Columbia Pictures.

Herbert B. Leonard, executive producer.