Original subtitles

(boat whistle blowing)

- I'd say we'll be in about 11:30.

We've got one load standard.

Concrete sand, p-d-h type eight.

Yeah, right.

Okay.

- Skipper, you ever pilot New York harbor?

- Never been off the Ohio.

- My dad used to say the view from the wheelhouse of a tug

was better than the Empire State Building.

- I know what he meant.

Must have been a real harbor master.

He taught you fellas good.

- You want anything done in town?

- Oh, yeah.

Pick up my good suits from the cleaners.

- We'll settle up later.

- How long has he been dead?

- What?

- His old man.

- Like, yesterday.

(boat engine humming)

(playful orchestral music)

(serene music)

(phone ringing)

- Yeah, Ryan?

- She's been out long enough, Higgy.

Bring her in.

- Why not give her a few more minutes?

A little fresh air.

What's that?

What can it hurt?

- Bring her in now.

Right now.

(dramatic music)

(upbeat jazz music)

(car horn honking)

(lighthearted music)

(subdued music)

- Does she look like she's in trouble?

- Not if she stays in the water.

See what I mean?

- Well, hello.

- Hello.

In Marseille we have many boats and many sailors.

Like you, they're young, and strong, and tan,

and their arms are hard from lifting.

- With you in the harbor, a fellow could develop

his biceps just from reaching.

(laughs)

- It's nice to see a boy smile.

- Oh, I'm not exactly a boy.

You know, there's a line of departure

and I took that step a long time ago.

I'd like to get that on the record.

- You sound so happy.

- (laughs) Yeah, I'm a million laughs.

- Well, you are to be envied.

(boat engine sputtering)

- Come on, honey.

Let's don't fight City Hall, huh?

- I didn't even get your name.

- Why can't you tell him I drowned?

- It's not on today's schedule.

- And what if I won't come?

- Perette, that won't solve anything and you know it.

- [Perette] Goodbye.

- Where can I call you?

- I still have his jacket.

- That's all right, I'll pick it up.

Where?

- So long, kid.

(subdued music)

(boat engine humming)

- Hey, who is she?

- Is that all there is to life?

Another city, another opening night, another song?

You know there is more, but not for me.

Not as long as I stay with Ryan.

He's hopeless.

Bitter, bitter memories.

Why can't he stop hating her

and every other woman because of her?

- You've got to give those things time, Perette.

I mean, some guys don't heal too fast.

- Higgy, I'm leaving.

I don't know where.

I don't care, just anywhere, away from Ryan.

- Perette, you should have seen him when he was swingin'.

He was too much.

Not only as a musician, but heart, you know?

Too much heart, I guess.

Like the broad side of a barn.

You know, guys like Ryan make easy targets.

- But, I've got to go.

Don't you see how it is?

- Look, Ryan's got one more chance to pull out of it.

You.

You've got to give him a little more time.

Maybe then, he'll open his eyes and he'll see what he has.

Truth, beauty, and all the good things he's got coming.

Right here under his dumb Irish nose.

Right here, Perette.

In you.

(elegant piano music)

- Look, Max.

I don't want to make any promises.

We still have two weeks here, a month in Chicago,

two weeks in San Francisco, the date on the strip.

Yeah.

No, I don't want to talk about Mexico City right now.

No, that'll be a new deal.

Okay, so I'm holding out for more money.

Think what you want to think.

It's just gonna cost you a little more loot in the long run.

Yeah, it's nice.

Just lose that one strap.

Max, look.

I got a suite full of people up here.

You know, music buffs, local press.

You know the routine.

All right, talk to me later next week, huh?

Right.

Yeah.

Yes, Max.

Okay.

Now, where was I?

- Marseille.

- All right, let's pick it up there.

Marseille, 1959.

A great year for wine, but a greater vintage for me.

So there I was, two days in port before I had to climb back

on that transatlantic saloon I called home that season.

You know how it is in the music business.

You're either on the bandstand or you're between sets,

playing all across the Atlantic.

Well, I was planning on sleeping twice around the clock,

so I drop into this waterfront bistro

for a nightcap, you know?

You need a drink, sweetheart.

And that is when I heard Perette singing.

A harvest of sound, richer and riper

than all the grapes in Burgundy.

So, anyway, I know a little bit about law

and I know a little French,

so I signed her up right then and there.

- I hear you wrote that contract on the seat of a bicycle

you borrowed from Magen Darm.

Now, is this true or is this one of those column things?

- Well, she wasn't afraid of the bicycle

and neither was her mother or her father.

If you know anything about Frenchmen,

you never hand them a pice of paper.

- Why don't we get back to how you made her

an international star.

- Two words, hard work.

- Ryan.

- Excuse me a second, will you fellas?

- When do we meet her, sir?

- As soon as she combs the Monongahela of the Allegheny

and the Ohio out of her hair.

- I hear you get 90% of what she makes.

- 100%, but why not?

Perette's my whole life.

Besides, we have a lot of expenses and things, you know?

Parties like this.

You know the routine.

You know, it's like that story about Nero.

Well, it seems that his coliseum was losing money,

so he turned to his manager and he said, how about it?

So, his manager fell down on his knees in front of him

and said, Oh, great Caesar,

the lions are eating up all the profits.

(laughing)

Well?

- She's not coming out, Ryan.

(knocking on door)

- Perette.

Perette, you better let me in.

(knocking)

15 minutes, then outside.

Hair, dressed, everything.

Exactly 15 minutes.

- My mother used to say to me,

"A man, Perette, is young as long as a woman

"can make him either happy or unhappy.

"He's middle-aged if she can make him only happy,

"and old if she can make him neither happy or unhappy."

What are you, John?

What am I?

I can make you feel nothing.

(sincere music)

- What are you?

Would you like me to tell you?

You're a seven-year contract with five years to go.

The express elevator right to the penthouse.

The sweet ticket home.

Right back on top of the heap.

That's what you are.

All I've got,

all I've ever wanted.

- I'm a woman, too.

Don't you remember?

- Sing about love, don't talk about it.

That way it won't hurt you.

15 minutes, then outside.

The grand entrance.

- No, no!

No more press conferences!

No playing in Pittsburgh!

I don't sing tonight!

(gasps)

(tense music)

(crying)

(people chattering)

- All right, ladies and gentlemen.

A little change in plans.

Perette's still under the dryer,

so we'll have the party tonight after the show.

After the lights and the music.

Now, I want a lot of column inches, boys.

I want you to fall under Perette's spell.

And then, after the show tonight, she's all yours.

All the wraps are off.

Ask her anything you want.

Shoot her from any angle.

Now, finish your drink.

(dramatic music)

(lighthearted music)

- So long.

- Hey, buanna.

Just a reminder that big heads are for poling

and your wouldn't look too good on top of that jack mast.

So, you wouldn't be thinking of calling Erma, now would you?

- Now, how could I do a thing like that?

- Easy, just get on the phone and dial.

- No offense, buddy, but I'm going big game hunting.

You know, the varsity.

- Pittsburgh's a big town and you don't even know her name.

- Any odds?

- Just good hunting.

(playful music)

- Extra, read all about it.

Extra, extra, read all about it.

Extra.

Here you are.

10 cents.

Thank you.

- Perette.

(car horns honking)

(lighthearted music)

Ah, vive.

(elegant music)

(singing in French)

(audience applauding)

(reporters chattering)

(knocking on door)

You know, you would have saved us both a lot of trouble

if you'd just told me which doorbell to ring.

- Any doorbell I town is better than this one.

- Well, let's let Perette decide that.

- Why make trouble?

- [Reporter] Hey, there's the kid from the barge!

Come on in, kid!

(people chattering)

- Hello again.

- I almost thought you weren't coming.

This is the young man who saved me this morning.

- I saw the newspapers.

You take a nice clean picture.

I'd recognize you anyplace.

- He promised to show me Pittsburgh.

John always insists I get out and do the town

with one of its young men.

Public relations.

Isn't that what you call it, John?

- I'll have Higgy drive you.

- I've got a car.

- It'll be safer with Higgy.

- Why don't we let the lady decide.

- Poor Higgy.

Such a long day.

We'll take you're car, won't we?

- Oh, Perette.

I got a great idea.

Why don't you sing that new song for them

I just wrote for you.

- [Reporter] Hey, go ahead.

- A real ice breaker.

You'll love it.

- [Reporter] Come on, Perette.

- We'll open the show with it tomorrow night.

- [Reporter] Hey, Perette, where are you going?

(people chattering)

(serene music)

- Go to bed, she's back.

Ryan.

- I'd like you to kiss me.

(horn honks)

- Did you have a good time tonight?

- I had a wonderful time.

For a moment, you made me feel free.

- You know, I've got an ear.

I can hear ice cubes melting in highballs

and wheels turning in troubled heads.

- But, you don't need an ear to know that I'm in trouble.

You know, Tod.

This is the first night in a year that I've been alone

with any man except John and Higgy.

This is the first night I haven't been watched

and told what to do, and what not to do.

- Who is this guy Ryan?

- A hungry worm in a wet and rotten world.

Oh, it's not mine, that phrase.

It's Ryan's.

Something he said himself.

Can I run, never too much?

Can I fly away home, back to Marseille?

- If that's what you want, do it.

- Can anyone ever go back?

- Perette, people do every day.

They don't have to go in a white Charger,

sometimes they go on their knees,

but if they want to badly enough, they can do it.

- I can't.

I guess I don't really want to.

(punch thuds)

(dramatic music)

(uptempo music)

- Come on.

Come on, you can do it.

Watch your head, please.

Go ahead.

Yeah.

(both laugh)

That's great.

- I won.

- Here you go, Higgy. - Hey.

- We got more, come on.

Here you go.

How about a toast?

To the flames in our belly and the bones in our throat.

What's the matter, Higgy?

Champagne a little too dry for you?

Come on, sweetheart.

Why don't you go over there and dance with Higgy.

He knows all the steps.

Remember, Higgy?

When we had the big band.

Those were the days, huh?

- Change the record, will you, honey?

(graceful music)

- Hey, Higgy.

You want to see something?

Look at Gloria here.

Gloria what?

- Bowers.

B-o-w-e-r-s.

- How would you like to be a singer, Gloria Bowers?

- I can't sing.

- Well, sure you can.

- No, I can't carry a tune.

- Where do you think singers come from?

- But, I'm tone deaf.

- Right off the rack, right away.

I'll show you how.

Honey, kill the hi-fi.

- Hey!

Quit that.

- All of my singers wear one strap.

Isn't that right, Higgy?

- Well, quit.

- Let's see how you stand.

Now, there's an audience out there.

Stand, that's right.

Shoulders back.

Chin up. - Like ballet?

- That's right.

Head up now and smile.

Part your lips a little bit more.

Yep, that's it.

Now, hold it just like that.

What's your favorite tune?

- Well, I told you I can't sing.

- Oh, sure you can.

I'll just vamp something until I hit a nerve

and then you start to sing.

(knocking on door)

- Perette.

- [Perette] Go away!

- I just want to say I'm sorry.

I wish I could make him stop.

- You're no different than he is.

Go away!

- I know a tune.

♪ I'll cry for you

♪ Now it's your

Aren't you gonna play something?

- Just go on a second.

- Mm.

Um.

(clears throat)

♪ I'll cry for you

♪ Now, it's your turn to cry over me

♪ Every rose

- Look, Higgy.

We got ourselves a new singing star, huh?

How about that, just like 10 pin.

Set 'em up and you got yourself a strike.

- Goodnight, kid.

- We just got here.

- Ryan, I want 'em out.

- You want 'em what?

- The party's over.

- I'm running this party, Higgy.

- You made your point, Ryan.

Tell the girls to go home now instead of later.

It'll save us all a lot of time.

- Maybe you got a point, Higgy.

Okay, sweethearts.

Goodnight.

- [Gloria] Huh?

- Go on, that's it.

- [Gloria] Are you kidding?

- All right out, let's go.

- You sure change your mind fast.

- Yeah, let's just get your stuff together

and get out of here.

- Well, don't shout at me.

- All right, then move.

- [Gloria] All right, I'm moving.

- Let's go.

Come on!

- [Gloria] Don't you push me!

Come on, let's go.

- [John] Goodnight.

(door slams)

- Why don't I make some coffee.

- Why don't you get out of my life.

- That's something I ask myself 20 times a day.

- Who needs you?

Who says this is a life, it's an ambush.

- It's what you make it.

- Yeah, sure.

- Look, she's in there crying her heart out.

Why don't you go tell her it's quiet out here now.

- It's happening all over again, Higgy.

She's just like Anne.

- You're crazy.

- But, night after night, I've lost her.

It's in the blood and the bone and I can't stop it.

She's going the same way, just like Anne.

And don't I know the signs.

You know, it's like a wheel with a lot of spokes

and I'm the tire.

Where'd I go wrong, Higgy?

- You didn't.

You just staked your life on the wrong dame.

- I don't deserve you, Higgy.

Look, why don't you forget about the coffee?

I'll forget about this stuff.

I'll be okay.

Goodnight.

- Goodnight, Ryan.

(wistful music)

- Perette, tomorrow night we'll switch the opening number.

More velvet and less bounce.

Perette?

It's more of a sophisticated crowd than I figured,

so pearl a little more tomorrow night, Mon Petit Chou.

Okay?

- Why did you hit him?

He didn't mean any harm.

- We'll rehearse tomorrow, smooth things out.

Maybe I'll do it with just you alone

and Oscar on the violin.

Sort of high and lonely.

You know?

That ought to grab 'em.

Goodnight, Perette.

Sorry about the kid.

- Johnny.

Would Noah choose us, you and me?

If there were to be another flood, would he take us,

you as a man, me as a woman, of all the people in the world?

- I get seasick.

- You look tired.

I promise not to try to get out.

- Come on, honey.

I was there tonight, remember?

I saw you kissing him.

If I left that door open, you'd run to him so fast.

- Why should you care?

- I'm a worrier, didn't you know?

I worry about all sorts of things.

I even worry about running out of forests

because I can't work with a plastic baton.

- What do you expect of me?

What am I supposed to do?

- Just sing, my little golden bee.

And keep on singing until you've tapped

all the honey there is in heaven.

- How cruel you are, Johnny.

- It's such a merciful world, isn't it?

I'm going to say this slowly, Perette,

and quietly so I'll never have to say it again.

If you ever pull anything on me again like you did tonight,

I'm gonna come after you and I'm gonna find you.

(wistful music)

(determined music)

- 10 minutes I've been off duty.

No respect for the working man.

Thrown clear, huh?

- Yeah, I was thrown all right.

This badge on my face is where I hit the sidewalk.

I woke up this morning in Emergency Hospital.

They wanted to keep me there for observation,

but I told them I had a pressing appointment.

Had to find a friend.

- Translated, that means you didn't

find her last night, huh?

- Yeah, I found her, but this friend,

this guy I'm shopping for, he took over.

- From you, tiger?

- Yeah.

Let's go, huh?

- Well, you marked him up, didn't you?

- I didn't touch him.

- He really got to you, huh?

- Yeah, come on.

- [Buz] Where are you going?

- Now, I'm gonna get to him.

- Um, I got a date with Erma, and you see,

it's my turn for the car, so I'll drop you, okay?

- Okay, let's go.

(tense music)

(engine revving)

(tense music)

Mr. Ryan, please.

John Ryan.

Where did he go?

Look, I'm from the press and it's very important.

He did?

Thank you.

- They way he chopped you up, you're lucky he's not in.

- Thanks for the vote of confidence.

- Where is he?

- At LeMont.

(suspenseful music)

(tires squealing)

- [Buz] Level with me.

Is it the girl or Ryan that got to you?

- [Tod] I haven't figured that one out yet.

- And, I repeat, it is with great pride and pleasure

that the French-American Society of Pittsburgh

extends a most cordial welcome to that charming

and talented child of Marseille, Perette.

(people applauding)

(speaking French)

- Why don't I buy you a drink?

- Why not?

That friend of yours doesn't learn so good.

Too bad.

- Yeah, well, you wouldn't want to bet the price

of drinks on that, would ya?

- [Higgy] Bartender.

(punches thudding)

(speaking French)

(people gasping)

(dramatic music)

(speaking French)

(thudding)

(scuffling)

(punches thudding)

(subdued music)

- Go on, go with him.

That's what you want.

Go find yourself.

Go look where they all look, in the arms of some other guy.

This kid and all the other kids after him.

Yeah, you'll find yourself.

You'll end up like Anne.

You heard of Anne Knowles, haven't ya?

The great Anne Knowles.

Tell them, Higgy.

Tell them about Anne.

Tell them where she is now.

- This kid isn't Anne, Ryan, and she never will be,

but you can't see that.

- In our world, we're known for not being able to see.

I'm the champion of the husband's the last guy to know club.

Tell her where I found her, Higgy.

What she was doing.

An elevator operator.

I loved her, I married her, I made her famous.

10 records that sold over a million copies each.

Boy, that was some express ride.

She didn't miss a guy on the way up or on the way down.

You were the only one, Higgy.

But, she sure tried, didn't she?

- Come on, Ryan.

- Have a ball.

- It hurt, it had to hurt.

Now, the hate is out of you.

She's out of you and I can come in.

(wistful music)

Let's go home now, John.

(people applauding)

(singing in French)

(elegant music)

(audience applauding)

(upbeat jazz music)

- [Announcer] This has been a Screen Gems

film presentation from Columbia Pictures.

Herbert B. Leonard, executive producer.