All language subtitles for New.York,.New.York.1977.1080p.BluRay.x264-[YTS.AM]-English

[indistinct chatter and cheering]

[man] God bless America!
We made it back!

[Big Band music playing]

[announcer] Times Square, believe me,
is wall-to-wall people

bent on having
the greatest party ever

and being in
on a bit of this history.

What a night this is! What a thrill!

Our boys are coming home
and a lot of them are here right now.

I talked with boys
from Arkansas, Colorado, Seattle,

Washington, Los Angeles,
Aberdeen, Washington.

Looking around Times Square,
people are delirious.

They're holding up newspapers
with huge headlines.

"V-J Day, " it says.
"War's end. It's over."

They're hugging and kissing,
shouting and cheering,

and paper by the ton keeps flowing
out of the windows high above them.

[band] Pennsylvania six-five-thousand!

The USO shows too.

Our hats are off to all those
in show business

who traveled the world,
entertaining our men and women.

Times Square is happy,
New York is happy, the US is happy

and the world is at peace.

[Big Band downtempo music playing]

[uptempo music kicks in]

[audience cheering]

[announcer] Tommy, I know America wants
to thank you and your organization

for all the great war-bond drives
you put on

and for that wonderful radio show,
the Treasury Star Parade.

[Tommy] it's been a pleasure
doing our musical bit.

[announcer] Well, we all loved it.

- Swinging band.
- Yeah.

Swinging band, man. Really jumps.
You here by yourself?

- No.
- Who are you with?

- My boyfriend.
- Oh. Can I get in touch anyway?

Hey. I know you from some place.
We met a few years ago at a party.

We really liked each other.
I want to see you again.

My mother and father are down there.

[man] Jimmy! Jimmy! Hey!

Catch you later, right?

- Hey, where've you been?
- Where's your uniform?

- Threw it out the goddamn window!
- Look at those!

- Did you jump some Hawaiian?
- I won these in a card game.

This guy had three deuces
but I had three threes.

- Three threes? Three threes?
- Three threes.

- Card game, huh?
- Card game.

Jackpot! Jackpot!

Glad to have you back, boys.

- I know you from some place.
- No.

- You don't remember me?
- No.

We met a few years ago
at a party or a dance.

- You can't remember that?
- No.

I want to explain,
my parents are over there,

so I've got to see them because
I just was two years in the service.

I want to get your phone number

so I can tell you tomorrow
something very important.

- No.
- No what?

- No what?
- No.

- No, you don't understand.
- No.

- Give me your number. Got a pencil?
- No.

All right, just tell me.
I'll remember it.

- No.
- Yes.

- No.
- Can I meet you at Central Park?

- I'm serious.
- I know. No.

- I mean, come on, there's no way...
- No.

- That seat's taken.
- I'm figuring out another angle.

Skip it.
I've heard every angle tonight.

- Yeah?
- Yeah.

This one?
That's a swinging...

- ...band.
- ...band.

I don't mean to be rude, but I do have
friends and they are coming back.

- Just leave.
- When they come back.

- Why not now?
- Then I'll never get to know you,

how wonderful you are. I'm serious,
even though I'm giving you a line.

- I'm serious. I know you know that.
- I know that.

From the deepest part of my heart,
which is not too deep.

Why don't you just go some place else
and try it again?

All right, I'll...

Pardon me. Was that fellow
in the Hawaiian shirt disturbing you?

- I know him. He's crazy.
- Not crazy, just pushy.

You know what he said about you?

- What?
- Nothing.

Stop it.

Look... All right. Enough!

Look, I'm going to get serious.

When I saw you, I realized
I fought this war for a reason.

When I was in my foxhole,
not knowing whether I'd live or die,

in the mud and dirty,
I didn't know anything.

All right?
I'll take only a minute of your time.

Now, when I walked in there, I knew.

- I knew.
- You knew what?

That I wouldn't get
anywhere at this table.

Now I'm impressed.

I guess
a little small talk is in order.

- Can it get any smaller?
- I can take a hint.

Can you take a walk?

- Shall I leave?
- Yes!

- I'll leave right now.
- Bye.

You expect me to leave after that?

- Will you go away?
- I don't want to.

I want to stay here and annoy you.

Go away!

Look, let's get down to business.
It's getting a little tiring here.

Give me your phone number
and we'll avoid this.

- Why not avoid it anyway?
- What's to be avoided?

- You.
- That cannot be avoided.

If you had one ounce of a gentleman
in you, you'd go away.

- Well, I'm not a gentleman.
- That explains everything.

Do I look like a gentleman
in this shirt and these pants?

Well...

- Even a louse would go away.
- Just give me the number.

- What am I going to do with it?
- Call it.

Please.

Look, I give up. I give up.

I'll take a rain check.

- Maybe next war.
- You think you'll win it?

- [man] Evans!
- Friend of yours is calling you.

Remember me? Paul's friend.

- Troy?
- Arnold.

Oh, Arnold, I'm sorry.

- I'm sorry.
- Ray Bolger's show, USO.

Evans, you should have come with us
to London. We had a great time.

- You're beautiful.
- Thank you. How's Paul?

He's here. I just saw him.

- He's here?
- Yeah.

- Where?
- Paul!

Hey, Paul, look who's here!
Francine.

Hi, Paul! Remember me?

I'll call you tomorrow, right?

Keep on plugging, Francine.
Don't ever change. You're beautiful.

Don't ever change, Francine.
You're beautiful.

[lively dance tune playing]

Francine, meet my new monkey.
Eddie Di Maggio.

- Di Muzio.
- Only you don't look like a Di Muzio.

- You don't look like...
- Oh, but he's a terrific dancer.

He dips and everything,
don't you, honey?

Have fun, Francine.

[drum solo]

[crowd cheers]

[Tommy] Thank you!

[announcer] Tommy Dorsey
and the orchestra.

Right after the pause, we're going
to switch you to ballroom.

- Where have you been?
- We're over there.

The guys are waiting for you.

- Where are the broads?
- There.

- Are you using your room tonight?
- Of course I'm using my room.

- You want to use the room?
- Yeah. I fell in love half an hour ago.

I think she's a professional dancer.
She's got some pair of legs.

- How long are you gonna be?
- Maybe an hour.

- All right. Use the bathroom.
- OK.

Why didn't you bring them
to the table?

There's only two.

- One for me, one for you.
- OK.

- Are these the girls?
- Yeah, why?

- Right here?
- Yeah.

- Which one is yours?
- The blonde.

- So I have the brunette?
- Right.

She's a pain in the ass.

I spent 20 minutes
giving her every routine I knew.

It didn't work. There was nothing.

- The one over there?
- Yeah.

That one, the WAAC.
Maybe the other one will go.

You got the good one,
I got the bad one.

- I don't understand...
- It's V-J Day.

I want to get laid.
What's happening here?

Oh, look at her now!

Look at that.
Look how cocky she is.

You know what I'm going to do?

Go over and tell her
I was wounded in action.

I just got out of the hospital
and I'm shy and nervous.

Tell her I'm sensitive.
Lay it on like I'm a war hero.

- OK.
- Not too heavy. Indirect.

I'll wait over here
and then I'll come over.

Lay it on real well,
because I want to get her.

- Leave this to me, OK?
- All right. Wait, wait!

All right, OK.

- Wait, wait.
- What is it?

- Tell me what you're going to do.
- Leave it up to me. Take it easy.

What about the other thing? Sensitive.

- Sensitive. Sensitive.
- Oh, sensitive.

Oh, right. OK.

- Wait. What am I doing?
- What?

For her I'm doing all this?
I'm going with you. Just introduce me.

Francine Flannery, Jimmy Doyle.

- Pleased to meet you.
- Ellen Evans.

Wrong. I'm Francine Evans,
this is Ellen Flannery.

- Remember her? You've been dancing.
- Let's go.

He's such an animal.

- Be careful!
- I'll be right back.

Mind if I sit down now?

After all, we've been
formally introduced now.

We're old friends.

If you and I had danced,
it might have been a nice time.

I just gave my hotel key to my friend

because he's found someone
he's hooked on.

- That's very generous.
- Yeah, I thought so.

It seems
you give things away easily, huh?

- Did you have something in mind?
- For what?

For what you just said before.

Meaning would I give anything
of myself easily to you,

which I could do very easily.

He'll only be there for an hour or two.

Got any Juicy Fruit?

Sure.

Bye-bye.

I'll get her.

Eddie, if nothing happened
after four hours, why in the next hour?

I'm gonna be there in one hour.
That's it. Bye.

[subway trains rattle]

[Francine] I'm sure it's Doyle.

[clerk] I'm sorry, there's no Doyle
registered here.

A friend of mine is in that room
with a friend of his. Ellen Flannery.

It's quite urgent
that I get a hold of her.

- Can't you just look one more time?
- Sure.

She's afraid of heights.

If it's too high and she gets dizzy,
it might be awful for your hotel.

[clerk] Naturally.

Excuse me. Just a second.
Mr. Powell?

- That's him. Mr. Doyle!
- Mr. Powell!

- Mr. Doyle!
- Mr. Powell! Which is he?

Mr. Doyle. Jimmy Doyle!

I'd like to talk to you for a second,
please. Step right over.

- Is there a problem?
- Only a minute.

- Where's Ellen?
- Fancy meeting you here!

Boy, you're a winner. Every time I
run into you, you cause me problems.

- What are you talking about?
- You just ruined it for me.

He's calling the manager
because I'm here under an alias.

We're all going to get arrested.

You'll have to get my suitcase and sax
because I have an audition now.

If you mess that up,
I'm going to get even with you.

I don't care how,
but I am going to. You ruined it.

- Mr. Powell?
- Get up there now!

I'm having a talk with my sister.
Do you mind?

- Yes, I do.
- Well, you'll have to wait.

Sis... Oh, please, Sis!
Now, Mommy's waiting.

She was worried for a few days...

Mr. Powell, please.
You've run up quite a bill with us.

- Where were you before coming here?
- Where was I?

- That's right.
- Where were you?

Because you know where I was?
I was in Anzio!

Anzio!

I remember it now.

- Fine, Mr. Powell.
- Wait, I get carried away. Sorry.

Five nights at the Commodore, three at
the St. Regis, room service at each.

In one case, use of the limousine.
Why do you switch hotels so often?

How could I even sign these checks?

- These are your signatures.
- My signature hand doesn't work.

There's no life in that arm.

I might have it amputated tomorrow.

Do I sign with my left hand?
I'm right-handed.

Look at that signature.

Your sister will know
your signature, sir.

- Is that my signature?
- Yes.

- Come on.
- That's your sister.

- That's not my signature.
- Yes, it is.

She's wacky.
You know, in the WAACs.

- Yes.
- Sister, you've got to go home.

- No!
- 11 West 55th Street.

- No! I'm not going to do this.
- Go home now!

- All right!
- Remember Anzio.

No, no. it's this way.
And right away.

- And I'll meet you later.
- Mr. Powell...

This is harassment.
I'm not coming to this hotel.

- I'm going to complain to the manager.
- Would you lower your voice?

I think you have a lot of nerve.

You see when that happens,
you can't explain why.

- You see my leg. it's wood.
- That's terrible.

It's the best kind of wood,
but it's a wooden leg.

I lost this leg so you could
accuse me of not paying hotel bills.

I can't believe this!
Would you push it off, please?

- Ellen! Honey, are you all right?
- I'm just great.

- Any last words?
- She...

- Sorry, did I scare you?
- No.

Good luck.
I've had her for three years.

She's had every germ known to man,
Di Maggio.

- Di Muzio.
- Is this Jimmy's?

Can't you take a joke?

Well, take good care of her.

- What germs are you talking about?
- Killers.

- This cab is...
- Excuse me, I need...

Forgotten but not gone.

- 242...
- Hotel Alcott, please.

Just a second.
2842 Flatbush Avenue, Brooklyn.

- Do you mind if I take this cab?
- Do I have a choice?

No. I have an audition. Do you?

I'm late for it. Come along.
You have nothing better to do, anyway.

- I was thinking of doing my nails.
- Brooklyn, or what?

I just said. it's going to be Brooklyn.
2482 Flatbush Avenue.

2842 Flatbush Avenue.

Same thing.

What about your nails?
Why don't you do them?

Why are you so serious?

Come on, loosen up.

Come on.
You gave me a hard time last night.

Loosen up a little bit.

Oh, come, come.
Let's have some gum.

Best way to keep your mouth shut
and keep you occupied.

No, thank you.

- You're enjoying this ride.
- I'm having a hell of a time.

I'm nervous because of this audition.
It's good to chew. It relaxes me.

God, I'm so nervous about this.
You make it worse.

- What did you say your name was?
- I didn't say.

- You didn't say?
- No.

- Would you do me a favor?
- What?

- Would you hold something for me?
- What?

- Give me your hand. For good luck.
- For good luck?

Ooh, that's very funny!

You've got a good sense
of humor, kid.

Oh, I can't believe it.

I want to ask you something.

You want to know what interests me
the most, Frances?

One is music,
number two is money

and number three is...

I got it.

Uh-huh. Got it.

- What's the matter?
- I don't want it.

- Are they always in that order?
- Sure, unless...

...you come across someone who grooves
you and you want to groove with.

Say, you.

If things work out and you start
acting more intelligent,

then possibly I'll make number three
number one, number one number three

and number two...

No, wait. Now I'm getting confused.

The woman you want,
the music you want

That's... Wait, let me start
all over again. Let me get this...

- Three would be one...
- Then two is three.

Exactly. And when you have that,
you have what you call a major chord.

- What's a major chord?
- When everything works out perfectly,

when you have everything you want.

The woman you want,
the music you want

Loud? What do you mean?
You didn't dig those sounds?

Huh.

One, two, three, four.

[swinging jazz]

[man] That's enough, Doyle. Hold!

Doyle!

- What?
- I've got a hangover. That's loud.

Loud? What do you mean?
You didn't dig those sounds?

You didn't even let me
finish the chorus.

Jimmy... Jimmy, could I talk to you
just for a minute?

Excuse me. I'll just be a sec.
You're playing terrific,

but play a little smoother,
like a ballad.

- This guy's got that kind of attitude.
- Yeah, yeah.

The whole joint screams...

Are you my agent?
Want ten percent? Huh?

Sit over there.
I said when we came to sit over there.

Now sit over there.

See what you did? Come here!
Come here.

- Don't do that.
- We do this all the time.

- [Francine] Don't touch me.
- All right.

I just wanted to say I'm sorry.
I just got annoyed with him.

- I put my foot in my mouth.
- How about my foot in it?

How about putting your horn in it?

- That's what we're here for.
- Give me a break.

- Come here.
- Get a load of this guy.

- He wants you to go over there.
- Come on.

Go there, go there. Go ahead.

Try and understand my situation,
will you?

What I've got is a boy singer
and an eight-piece polka orchestra.

Try Chevalier. The guys coming
back from France like that sound.

- Chevalier?
- Chevalier.

- Chevalier.
- Yeah.

Hey, man, this isn't 1917. You look
a little more hip to me than that.

- I'd rather get a job at a post office.
- Then forget it.

- That's what I said.
- I said it.

- No, I said it.
- No, I said it. I forgot it already.

# if the nightingales
Could sing like you

# They'd sing much sweeter
Than they do

# 'Cause you brought a new kind of love
To me...

Play!

# if the Sandman
Brought me dreams of you

# I'd want to dream
My whole life through

# 'Cause you brought a new kind of love
To me

# I know that I'm a queen
You're a king

# Still I understand

# That underneath it all

# I'm a girl and you

# You are a man

# I would work and slave
My whole life through

# if I could hurry home to you

# 'Cause you brought
a new kind of love...

Can you dance?

Not you. Her. Are you crazy?

Let's see the legs. The legs!

# How I'd work and slave
My whole life through

# Just to hurry home to you

# 'Cause you brought a new kind of love
To me

# Oh, you brought a new kind of love
To me

[she seats]

# New love #

That's it. A boy-girl act.
Start tomorrow.

Three shows nightly, off Sundays.

[# "You Brought a New Kind
of Love to Me"]

[up tempo rumba-style music]

[jazz-band music]

We've got to work on some material.

- I have to go in. it's so late.
- Stay with me. it's early yet.

No. it's too... I'm getting soaked.

Jimmy, why don't you call me tomorrow?

- What time?
- Noon is fine.

OK, I'm going. I'm going now.

- Goodnight, Jimmy.
- I'll call you tomorrow.

- Where to, buddy?
- Just a minute.

- Oh, Miss Evans!
- What?

Telephone. it's your agent.
He's been calling.

- You can take it here.
- Thank you.

- Tony, it's nice to hear from you.
- Yes, sir. May I help you?

- I'd like to check in.
- Just sign the register.

- Do you have any more bags?
- Yes, I have one in the cab,

if you wouldn't mind
waking up the bellhop.

Send him outside. I'll pay the bill also
and put it on this bill.

- That'll be fine.
- We'll wake him in a few minutes.

I'm sort of ready to go back to work.
I'd like a little rest.

- Mr. M. Powell... Excuse me, sir.
- Hold on a second, Tony.

- What are you doing?
- Checking in. Why not?

I'm going to get blamed
when you don't pay the bill.

Will you hold on just for a minute?

- Anything else, sir?
- Yes, some Scotch and vodka.

Maybe we can send the bellhop to get it.

- We'll put that on the bill.
- When he wakes up, we'll send him.

All right, Jimmy. Look.

Take this. This'll be enough for a room
for tonight. Go anyplace else.

It's a lot easier if I come up.
I'll sleep in the bath.

- No.
- A lot easier.

Please take this.

- it's a lot easier.
- Just take this, Jimmy.

- 12 o'clock?
- Yes. Twelve. I promise.

- All right.
- Suite 415, sir.

Forget it. He doesn't even wake up.
I'm not interested.

Sorry you feel that way, sir.

- That's a great suit.
- Thank you very much, Miss Evans.

Tony. What do you want?

Right, Frankie Harte,
7:30 tomorrow morning.

No! No!

Jimmy! Jimmy! Jimmy!

[uptempo jazz]

[Jimmy] Beautiful, beautiful.

- Hey, are you Jimmy Doyle?
- Want to play the blues?

Are you Jimmy Doyle?

- No.
- You're the sax player, ain't you?

Yes, but I'm not Jimmy Doyle.

Can you communicate
with Jimmy Doyle, the sax player?

It depends.

- I have an important missive for him.
- A what?

A billet-doux.

- A billet-doux?
- Billy who?

[drum roll]

I'll elucidate. A tender message
from a certain female party.

- For me? For him?
- Precisely.

Take it, Doyle.

It's from Francine.
She said she had a wonderful time.

- Wait, I'll be right back.
- Where are you going?

- Ain't she coming?
- I'm getting her.

- Ten minutes or you're fired.
- Who cares?

Hey, man!
Can I talk to you for a minute?

- Did you read this letter?
- Of course not.

- You think I read letters?
- Your name is Tony Harwell?

That's right.

- You're an agent?
- Yeah.

- You're her agent?
- Of course.

She says, "Just ask Tony if you
need any help. He appreciates talent."

- Let me see that.
- I can't show you. it's personal.

She also said that
she's with Frankie Harte's band

and there's a possibility
of a spot for me.

- Possibility.
- A possibility?

That's right.

- You're an agent?
- I reiterate: yes.

- Would you be my agent?
- No.

- Why not?
- I'm satisfied with my client list.

- You're making a mistake.
- I've made lots. I'll make another.

- This one's on me.
- Where is she?

Why should I tell you,
if she doesn't tell you?

Why do you take the time
to come to Brooklyn to give me this

if you don't think she cares enough
about me to let me know where she is?

- Doesn't that make sense to you?
- It should, but it don't.

They're in Asheville.
But don't mention my name.

If Frankie asks, I don't know you,
I haven't met you.

- Where is Asheville?
- Where God lost his shoes.

Where God lost his shoes.
Good answer. Thanks. I'll find it.

It's a resort in North Carolina.

Thanks for telling me.
Any other advice for me?

- Stay off the junk and you'll go far.
- Fine, thanks a lot.

[melancholy saxophone wailing]

# Once in a while

# Won 't you try to give
One little thought

# To me?

# Though someone else may be

# Nearer your heart

# Once in a while

# Won 't you think of the moments

# I shared with you?

# Moments before we two

# Drifted apart

# In love's smoldering embers

# One spark may remain

# If love still can remember

# That spark may burn again

They left?
Where did they go, do you know?

Roanoke?

The Mayfair Club
in Roanoke, Virginia. Hello?

- [man] All aboard!
- Thank you very much.

Come on.

[Big Band music playing]

[Francine] # You are my lucky star

# I saw you from afar

# Two lovely eyes of blue
They were gleaming

# Beaming

# I was starstruck

# You're all my lucky charms

- [Jimmy] Keep the change.
- [driver] Here's your change.

- Keep it.
- It's only a nickel.

- The nickel's for you. it's a tip.
- Take it.

- You don't want it?
- No.

All right, I'll take it.

# ...all my lucky charms

# I'm lucky in your arms

# You've opened heaven 's portal

# Here on earth
For this poor mortal

# You are my lucky, lucky star #

[applause]

Look at that five-star
pain in the ass.

I'm going to stuff him in the garbage.

No, wait, no.
He may be a vet with a...

I think I know him.

[band starts up again]

[band drowns out conversation]

OK, hold it. Hold it! Hold it!

Hold it, hold it, hold it.

You go back up on the bandstand, Paul.
I'm going to come up with you.

Jimmy, I'll talk to you after the set.

- After the set?
- After the set.

But first I'm going
to have a word with him.

You're upset because I didn't come to
you in person and say goodbye.

Right. And another thing:

You don't say goodbye to me,
I say goodbye to you.

In no way do you say
goodbye to me.

- Oh. Fine. Go ahead and say it.
- What?

Goodbye. Go ahead.

Come here.

Come here.

I see. I just wait
until you say "come here."

And when you do,
I'm supposed to come here.

Look. You think I came all the way
here to argue with you? Huh?

You think I came all the way down
here, chased you, to argue with you?

- I'm just confused.
- By "major chord" I meant you.

Sometimes you really are
hard to understand.

You're hard to understand.
Don't change the subject.

I love you.

I mean, I don't love you, I dig you.
I like you a lot.

I mean... I wouldn't come
all the way here if I didn't, right?

Yeah.

Oh, Jimmy.

- How do you feel about Texarkana?
- What do you mean?

Frankie said that, if you came down,

you could audition.

- I could audition?
- Yeah.

Forget it. I'll play for him.
I won't audition.

OK. Oh, Jimmy.

[intricate solo]

Jimmy, come on.

Jay, it's slippery. We don't want
to slide into town. We want to drive in.

Leave me alone. I'm napping.

[uptempo Big Band music]

[raucous sax]

[indistinct chattering]

- I'm glad I'm working for you.
- You should be.

You're not the greatest piano player.

It's going to be one of those nights.

I'm a good musician, man.

You are. Coming from me
that means nothing.

[mellow sax]

Maybe some day you'll write
something for me, too.

I am writing something for you.
I'm writing this for you.

You think I checked out each room?

Last time, I wound up in a basement.

Why don't you guys zip up?

You don't even let me read
what you're writing now.

Imagine you giving me your first poem.

Let's go into the bridge.

If you let me read some of that,
I'll let you write the lyrics to this.

- That's blackmail.
- Right.

[drunken and indistinct singing]

- No, Jimmy.
- Come on! Let me see.

- I don't want to. it's private.
- It's only a poem.

- it's for me.
- You never let me see what you write.

I'm embarrassed.

You wrote all this about me?
It's all about me?

- Most of it.
- It's all about me?

- Yeah.
- Not anybody else. Me.

That's right.

- Get your shoes on.
- Are you all right, honey?

I know it's not very good, but...

Come on, get them on.

- Come on.
- I don't know what we're doing now.

- [driver] Pay me.
- We'll be right back.

- Pay me now.
- No. I want a cab standing by

in the middle of nowhere.

We'll be back in a second, I think.

Are you all right?
Want a handkerchief?

I got a handkerchief.

I had a handkerchief.

- You knocked?
- Yes, we... Sorry...

Are you the Justice of the Peace?

- That's right.
- I'm sorry about the window.

Is there a possibility
that we could be married now?

We're in a hurry.
Please close yourself, honey.

- Now?
- Yeah. Please.

We'll make it worth your while
and pay for the glass. Please?

Well... I guess...

We can arrange it. Come on.

- No. Just a minute.
- Aren't you sure?

- Yeah, just one second.
- You're kidding? That was it?

- What?
- Your proposal?

"Get your coat and shoes, let's go!"
That was it?

- What's wrong with that?
- [wife] They're not sure.

We're sure.
What's wrong with that?

I guess I thought
it was going to be different.

It is different.

- Anything wrong?
- Nothing.

- They're not sure. Believe me.
- No, I just thought...

- What?
- I thought it would be different.

- It is different!
- I know.

The kind of different I had in mind
was maybe sweet and calm and...

It is calm!
I'm sorry. Just a little...

And pretty, you know.

- it's pretty!
- You can't say that.

- It is pretty.
- You can't say it's pretty.

I want to marry you!
Please, go inside. This is private.

Would you wait one second?

Did you hear what I said?
I want to marry you. OK?

What do you want me to do?

You want me to kill myself
over this, darling?

When I say "now," you back up.
That's it.

Jimmy, I...

- Don't back up! Don't move!
- Now!

No, no! Don't shift,
don't do anything. Just stay...

Will you please get out from under
there? This happens all the time.

Will you marry me?
I love you. Will you marry me?

I don't want anybody else
to be with you. I want to be with you.

I don't want anybody else
to be with you except me. I love you.

I love you.

Look at me. I love you.

I love you, too.

Wait...

- See, that was terrific.
- You liked that?

- Yeah, I liked that.
- It was a lot better?

- Yeah.
- Oh, good.

[she giggles]

No!

[rhythmic dance tempo]

- You missing a man?
- Yeah, Fowler. Did you find him?

Caught him in his room
with a local chick.

- Big deal. So what?
- What do you mean? She's 13.

The father started shooting out all
the lights. The cops have got him now.

Jimmy, take over. I've got to bail
Fowler out. He's driving me crazy.

Could I do a couple
of my arrangements?

Not tonight. Just play the usual.

Come on! There are only
four people in the audience.

I'm asking you to front for me.
Do you have to give me grief?

All right.

I'm cancelling the rest of the tour.

- Again?
- What do you mean "again?"

This is the... fifth time
that you've cancelled.

But I really mean it now.

Then, I was jiving you.
I mean it. I'm going to pack it in.

You remember we used to go out
and do 80, 85 one-nighters in a row.

Yeah.

Those joints aren't
ballrooms any more.

They're parking lots, skating rinks.
The theatres are all bombed out.

I've thought about letting
somebody else front the band,

take a piece of the action.

I wouldn't have to lift a finger.

But only one guy can front this band.

I know. Jimmy, right?

No. Me.

And if I go, the band goes.
It's game over. You know that.

- Sure you won't have a little taste?
- No, you have it.

Beautiful. I will.

Maybe Jimmy would consider...

You said he's good.
You think he's good.

He's not only good, baby.
He blows a barrelful of tenor.

- But he's a pain in the ass.
- I don't want to start this argument.

But he's a top pain in the ass.

Top pain in the ass.

You want to say it three times for luck?

Three is my favorite number.

Top pain in the ass.

You're right. But he's good.

[big flourish finale]

I'm sorry, Mr. Doyle.
It's not quite what I had in mind.

Yeah. Sorry, fellows.

Mr. Horace,
I know it's not Frankie Harte.

We can do that stuff, too.
Just give us another chance.

This guy must be crazy. I made a deal
with Frankie Harte and his Orchestra,

not Jimmy Doyle
and his Flying Sack O' Maniacs.

This is Frankie Harte and his Orchestra,
without Frankie.

Frankie wouldn't give us the band
if it wouldn't work.

- That's true.
- What do you have to lose?

What do I have to lose?
Does this look like a peanut gallery?

It looks like a place
that needs someone like me.

- Give us half a chance.
- Where's the girl singer?

- Is she stunning, blonde?
- Stunning, blonde.

- She walks, she talks...
- She'd better be good.

Right, number 358.

Horace, have you gone crazy?

Why do you want
to listen to the singer?

Of course I'm crazy. How do you
think I wound up in this business?

Hello, Mr. Morris.

OK.

[mellow intro]

# When the mellow moon begins to beam

# Every night I dream a little dream

# And of course
Prince Charming is the theme

# The he for me

# Although I realize as well as you

# it is seldom that a dream comes true

# To me it's clear

# That he'll appear

# Some day he'll come along

# The man I love

# And he'll be big and strong

# The man I love

# And when he comes my way

# I'll do my best

# To make him stay

# He'll look at me and smile

# I'll understand

# And in a little while

# He'll take my hand

# And though it seems absurd

# I know we both

# Won't say a word

# Maybe I will meet him Sunday

# Maybe Monday

# Maybe not

# Still I'm sure to meet him...

# ...one day

# Maybe Tuesday will be

# My good news day

# He 'll build a little home

# Just meant for two

# From which I'll never roam

# Who would?
Would you?

# And so all else above

# I'm waiting for

# The man

# I love #

Thank you, Francine Evans.

"But the winner
is singer Francine Evans,

a spirited filly whose musical pace
is as smooth as her form.

Miss Evans is headed
for the winner's circle."

- Jimmy, see this?
- I saw that, yeah.

The guys are all excited,
everybody's all buzzing around,

And Paul had a good idea.

He said we should take the best quote
about your band

and put it outside.

- Good idea.
- Maybe take something to Downbeat.

Very good idea.

We might get another week
out of this hotel with this.

Did you get a hold
of that trumpet player?

Oh, yeah. I called his wife. She'll
give him the message when he calls.

Let's go with Charlie Baxter.

Yeah, I like him.

OK. I don't know if he'll go
for the money that we can pay.

That's your problem.
That's your department.

- OK. I'll see you later.
- Thank you, Paul.

We've never made the papers before.
It's wonderful. Thank you.

It's really good. it's great.

# Here I go again

# I hear the trumpets blow again

# I'm all aglow again

# Taking a chance on love

# Here I slide again

I know, I know. Hold it, fellows.

Jerry...
Jerry, you are not cutting it, man.

- If you...
- What is the problem, man?

Excuse me.

- Do what is written, OK?
- How do you want it to sound?

The way it's written.
And the way I explained it.

- I'll try.
- No, don't try. Do it. Do it, do it!

- Are you playing by yourself?
- I don't think so.

I could put you in a room
where you could.

You sound like you've got hooks
for hands.

- Funny.
- You're costing us a lot of time.

A little rough, wasn't it?
Hooks for hands?

- You'd get more out of him...
- Are you the bandleader?

- No, I'm not.
- OK, don't tell me how to do it.

- 90 percent of drummers are crazy.
- I know.

Look, we've only got 15 more minutes
in this room.

I've got to do my hair,
press your shirt,

call Tony, do my nails.

So we should really... go ahead.

Don't you think?

- Ready?
- Yeah.

One, two, one, two, three, four.

# Here I go again
I hear the trumpets blow again

# I'm all aglow again
Taking a chance on love

# Here I slide...
Where on earth are you going, Nicky?

You're rushing like
we're in the racetrack.

- I'm picking up your tempo.
- Did you have a fight today?

- No.
- Then what's wrong?

- Nothing.
- You're not picking up my tempo.

You're doing what you're always doing.

- Your wife is slowing it down.
- What am I doing?

Wait a minute!

- She is slowing it down?
- Yes.

- I am not.
- I can handle it.

We have been through this
50 million times.

You always give me a hard time.

Can't you read this?

- Now I can't read?
- Not if you can't do that.

I studied at Brooklyn Conservatory

and Staten Island Conservatory
for three years.

- You did? It doesn't show, man.
- It doesn't? Maybe this will show.

I'm packing my axe and my hooks
and I'm cutting out.

That shows.
OK, I want to show you something.

OK? Happy?

- Yeah.
- Good.

- Are you?
- Yeah.

It's funny. I'm happy, too.
Got it all out of my system.

- Feel better?
- Much better. it's very good out now.

OK, can we start all over again?

- I feel much better.
- Good, OK.

- One, two, three...
- I'm sorry.

I know we've all been working hard.

We've been working too hard.
But, like the man says,

if we get this right,
we'll blow the roof off this place.

So, why don't we really try?

- All right?
- Yeah.

- One, two, one, two, three, four.
- One, two, three, four.

# Here I go again
I hear the trumpets blow again

# All aglow again
Taking a chance on love

Francine, come here.

What? No, I'm here.

You do not kick off the band.
I kick off the band.

- Don't treat me like that.
- Don't ever do it again. Ever again.

Let's go. From the tag.

One, two, one, two, three, four.

Come on.

# Taking a chance
Taking a chance

# Taking a chance on love #

[she seats]

- Like that?
- Yeah. it's good.

[shrill top note]

# What are your charms for?

# What are my arms for?

# Use your imagination

# Just you

# Just me

# I'll tie a lover's knot

# I'll tie a big fat knot

# Round wonderful

# Your

- Thank you, ladies and gentlemen.
- Thank you.

Thank you, Francine Evans.
Thank you.

- You OK, baby?
- Yeah, OK.

A hand for Francine Evans,
ladies and gentlemen.

- Are you all right?
- She's all right.

- Whats the matter?
- I feel terrific.

- Are you sure?
- I'm not sick. it's just that I...

I guess now is as good a time as any.
I'm going to have a baby.

- You're going to what?
- I'm going to have a baby.

You're going to have a baby.

Say that again.

Then I thought you'd be upset.

I would have been less upset then.

Now I'm more upset because
you walk out in the middle...

I'm sorry. Jimmy... Honey...

- Do you mind if I lie down?
- Sure.

Thank you.

You know what I think?
Do you want to know?

- Yeah, tell me.
- I think I should go back to New York,

just stay in one place and wait it out.

Oh, my... I can't believe this.

Are you crazy? We're on a tour
and you want to go home to New York?

Yeah. Do you want to drop me off
at Knoxville?

We'll get a car.

Not a new car, if you don't mind.
It'll be an old one.

I'll make it comfortable.
You and I will travel in it.

You can leave a gig
whenever you want, like today,

but you just can't leave
all of a sudden.

- OK?
- No.

- No, yes.
- I want to go to New York.

I want this baby to be OK.

I don't want to lose it in a strange
town or on a bus somewhere.

I could lose this kid if I travel,
and I don't intend to.

- I just said, we'll ride in a car.
- Do you want this baby?

- Yeah, I want the baby. Of course.
- Do you want this baby?

- What do you mean?
- You know what I mean.

- I want it.
- Then I'm going to New York.

- You're going?
- Yes.

Go to New York.

- Jimmy, I'm sorry.
- There's nothing to do.

If you get pregnant, you get pregnant.
That's life.

- I just want you to be happy.
- I'm happy.

I just want you to be so happy
so much.

I'm happy really.

- Are you really?
- Yeah.

- Oh, brother.
- I've got just the thing for you.

Saltine.

- I can't keep anything down.
- It settles the stomach. Take it.

The Chicago reviews were great,
so something big is liable to happen.

Meanwhile, I've set you up
for some easy work.

Studio stuff, so you can pick up
a couple of bucks.

I don't think we'll need money.
The band's doing so well.

Now listen. With a kid coming,
you can always use some extra money.

[Jimmy] # Blue moon

# You saw me standing alone

# Without a dream in my heart

# Without a love of my own

# Blue moon

# You knew just what I was there for

# You heard me saying a prayer for

# Someone I really could care for

# And then there suddenly
appeared before me

# The only one my arms will ever hold

# I heard somebody whisper
"Please adore me"

# And then I looked

# The moon had turned to gold

# Blue moon

# Now I'm no longer alone

# Without a dream in my heart

# Without a love of my own

[smattering of applause]

[man] That's a take on Jo Stafford.
Let's try Peggy Lee.

Hold it! Hold it!

Wait just a second.

[she practices]

She's fantastic.
Terrific singer and terrific girl.

And she's as sweet
as she sings, off-stage.

- You're going to make money with her.
- I'm sure.

# There goes the ballgame

# I lost and how

# Came to bat at the beginning

# Thinking that my team was winning

# Now I'm at the final inning

# Score
A big fat nothing

# Some other place...

- [sobbing]
- Come on out.

[woman] No, it's over. it's all over.

The band's finished, we're finished.
Everything's finished. I just know it.

[she sobs]

What did you say?

Finished. I want to die.

You want to die.

Come on out, baby,
for Christ sakes. Come on.

I'm never going to sing again.

She doesn't sing now.
She won't sing again.

Huh?

I said everything is going to be all
right. You'll sing with Paul Wilson.

- Come on, now.
- No, I'm never coming out.

Paul is waiting for you, baby.
They're all there. Let's go.

I'm no bimbo, you know.
I see the writing on the wall, Jimmy.

What writing?
Did I ever call you a bimbo?

After all we've been through,
is that what you're going to say?

- I hope I can trust you on this.
- You can.

- I hope I'm not signing my life away.
- Just the band.

That's enough.

OK.

- The schedule's inside.
- The bus schedule?

- All right.
- Good luck.

- Say hello at home.
- I will.

- Keep in touch.
- OK.

- See you in the Apple.
- Good trip.

Move over, honey.

The 8:02 eventually.

- Bring her back, Jimmy.
- I'll bring her. And The Times, too.

See you at Charlie's.

- Maybe another nail?
- We have seven in there already.

An even eight?
Hold your side a little bit over...

Jimmy! Jimmy!

[soft piano playing]

it's pretty.

One of the nicest things is waking up
knowing somebody loves you.

Remember this?
This old song I wrote for you?

How can it be old
if you wrote it for me?

It was old when I wrote it.

- I'm working on the words.
- Are you?

See? I've got the lyric here,
part of it.

- Want to see it?
- I see it.

I've heard it's going to be
a nice day.

Whats the Theory of Relativity?
That light is curved?

I don't know.

They say that only five people
in the whole world

know really what it's about.

The .laps understand,
from what I know.

- Do you want to talk about it?
- What do you mean?

About the band
and how you feel and...

...how you are.

I don't know. It just didn't work.

I got worried when I didn't hear
from you for three days.

I thought you were coming home
and you didn't and...

Well, I was...

Didn't you get the telegram that I sent?

No, I didn't get it.

I didn't send a telegram.
I wanted to be alone for a while,

figure some things out.
I stayed down south for a while.

I understand.

No, you don't. Don't tell me you do.
But I had to do it, baby.

- I understand that I don't understand.
- That's being better.

[man] Sammy Sparks! Sammy Sparks!

- Hey, man.
- Jimmy! Hey, how have you been?

How have you been?
Meet some friends of mine.

- This is Booty, this is Washington.
- I hear you play a mean tenor.

I've heard about you, too.

[coughing]

How have you been?
What are you doing?

I went on the road with Frankie Harte,
then I took the band over myself.

- Kind of slipped away.
- No. You heard that?

Yeah. A little talk about it
around here.

No, it didn't slip away.
What happened was, you know...

I was working with bad musicians.

You can't pitch new cats in Scranton.
You've got to come back to the Apple.

Same old faces, same old place.
I wonder if I should be back here.

Listen, man,
I've got a little thing going

- over at the Harlem Club.
- Oh, yeah.

Some really good cats.
Come over.

I will. I've heard a lot about it.

- One problem, though.
- What?

- Do they let white cats in?
- You come round the back.

[fast jazz piano]

[wild cheering]

[scatting]

Before you get excited,
just let me explain.

Remember that cat Cecil Powell
I always used to tell you about?

We'd better go to lunch.
I'll explain to you there.

- What am I getting into?
- A Buick. 1941 green Buick.

Just get in. Trumpet player OD'd.

Long story. Just get in the car.
I'll explain to you later.

If you don't get in,
I have no way of talking to you.

I'm not going to shout it in the street,
so get in and I'll explain.

- You remember Cecil Powell?
- Yes.

I met him and went to Harlem,
this new club. It was fantastic.

- Why didn't you call me?
- Why should I? I'd be home soon.

- So there was no reason to call.
- Jimmy...

- Hi, there.
- Hi. How are you?

- Are you pulling out?
- Do I look like I'm pulling out?

- Excuse me.
- Yeah?

I don't mean to...
Would you look at me?

If I look at you, I'll get upset.

Yo! Hey, look at me!

I can't believe this guy.
I'm looking at you.

You're being unreasonable.

- Too bad.
- Just a little bit inconsiderate.

I can't believe this guy.

I'm being inconsiderate?
You know what I'm doing?

I'm arguing with my wife.

If you can help me solve the problem,
you can have the space.

- You don't have to get nasty.
- Just a minute...

- Get off my back, for crying out loud!
- [horns honking]

- I don't want to hear it.
- Get out of here. Beat it, will you?

Don't mess with her.
The same to you!

You're not getting this space
if I have to die on the floor.

- I hope you pop!
- You'll never get this space!

[horns blaring]

- Creep! Creep!
- I hope you never get a space!

I hope you travel round the block
50,000 times.

- That was dumb.
- Let's go for lunch.

- I'm not hungry.
- Honey, you're pregnant.

Let's forget about this stuff
and go and eat.

That's right. I am pregnant.
I'm six months pregnant.

So you're going to have to pay
a bit more attention to me right now.

You opened the door for me.
You didn't even wait to see if I got in.

I have trouble getting around now.

What do you think I am, a dummy?
I just lost the band.

If it had clicked,
I'd still be with the band. Right?

When you wanted to come back
to New York, did I stop you?

No, I didn't, right?
So, you can't stop me.

And I don't like you
doing that stuff there.

- What stuff?
- The demo stuff.

You're too good for that.
They should be doing that for you.

So, you'll be up there at nights?

You'll be there almost every night?

- So...
- The other guys are married, too.

I know.

Well, I'll have to take the day shift
and you take the night shift.

[trunk door slams]

Honey, you're making it
very hard on me.

You want me to smash this to pieces?
Is that what you want me to do?

That's what you're telling me to do.

This is the most important thing
to me besides you.

If I can't do this,
I'm not good for you or anybody.

Do you understand?

Paul Wilson called up. He's opening
tomorrow night at the Up Club.

- Yeah, I know.
- He wanted us to come.

- I said probably we will.
- I'd love to.

- Would you?
- Yeah.

Spend some time together.
It will be good.

- See the fellows.
- Yeah.

You know Ellen's depressed. I thought
we could introduce her to Artie Kirks.

- Artie Kirks?
- The record producer I told you about.

Now, look, if you want to go
by yourself,

possibly you and Ellen, that's OK.
I don't object to that.

I could meet you later.

I didn't mean it like that.
I'm sorry. Is it OK?

- Yeah, it's OK.
- OK.

Wait till I show you what I got.

Look at this.

Oh, honey. You were looking
at the words to the tune?

Yeah, I was.

You're going to call it New York?

- New York.
- That's what you're going to call it?

Since we met in New York,
we live in New York.

"My vagabond..."

- "...shoes."
- "...shoes are longing to stray

and step around the heart... of it.

New York, New York."

it's "top of the heap," too.

- And this is the final version?
- Well, not necessarily.

I want to fix up some parts.

It's very good.

- I'll see you later.
- All right.

- Have a nice night.
- Thank you, baby.

- See you later.
- I can change "top of the heap."

[Jimmy] "Bernice Conrad
And The Paul Wilson Orchestra."

- What am I doing here?
- Come on, honey. You promised.

You know.

I can't do it.

I can't do it. I just...

Well, we'll just stay for one set,
all right?

- All right?
- All right. I'll park the car.

I'll park the car.

I'll tell you... I'll park it.

# Do nothin' till you hear from me

# Pay no attention to what's said...

- Ellen!
- You're looking wonderful.

- Hello, Artie, how are you?
- How's my girl?

Thank you very much.

- Thank you.
- Jimmy's parking the car.

# I haven't a chance

# True, I've been seen
With someone new

# But does that mean
That I'm untrue?

# When we're apart the words in my heart
Reveal how I feel about you

# Some kiss may cloud my memory

- You missed. Try it again.
- It's hard.

Two out of three. You missed again.

One more try. Ready?

I'll give you my personal check.
But don't try to cash it.

- Sir?
- I was just parking the car. Doyle.

- Your lady friend is over there.
- Not my lady friend. My wife.

- Pardon me.
- All right. Don't let it happen again.

Jimmy, this is Mr. Kirks from Decca
Records. Mr. Kirks, this is my husband.

- Sorry I'm late.
- Better late than never.

It's hard parking a car in New York
at this time of night.

- How are you?
- I'm doing just fine. How are you?

I'm doing well. How's Eddie?

Eddie who?

"Eddie who?" I knew that was coming.
Looks like Eddie's out the window.

Di Muzio.

- Waiter, dear?
- We could trade jokes.

Jimmy! That voice always gets them.
"Waiter, dear," with a heavy voice.

The reason I call them "dear,"
otherwise they spit in your drink.

If you say "dear," they're nice.
Any time you go into a joint.

- Call them "dean"
- Here's the waiter.

Could you give this gentleman
a sloe gin fizz? And step on it.

I don't even know
what a sloe gin fizz is.

He doesn't want a sloe gin fizz.
What do you want?

You know what I'd like?
A big glass of milk

with about 12 shots of Scotch in it.

- Why don't you just get a fix?
- She said it.

- It's reasonable.
- A little ice?

A bucket of ice.
Tell you what you do, waiter.

- You've got the order?
- Yes, sir.

- A quart of milk...
- Milk isn't necessary.

All right, milk isn't necessary.
And give this lady a pink squirrel.

- You got it?
- Let me see. A sloe gin fizz...

- No, forget that.
- I'll have that.

She'll have the sloe gin fizz.
Sloe gin fizz is on again.

- A sloe gin fizz...
- You're smart.

- A sloe gin fizz...
- A sloe gin fizz.

- A quart of milk...
- Forget the milk.

- Sloe gin fizz, quart of Scotch...
- Quart of Scotch.

- Bucket of ice. And you, sir?
- No, zip for me.

- Thank you.
- Yes, sir.

Jimmy, for a minute
can I grab your ears?

I've heard nice things about you.

Your wife tells me your band
used to blow the roof off.

Look, man, I'll be straight with you.
I don't want to be here,

I don't want to listen to this music.

I don't give a damn for that stuff.
Let's go.

If nothing else,
we can get a tan here.

- The place stinks. Let's go.
- You're hurting me.

I'm sorry. If you came with me,
I wouldn't have to. Let's go.

- Jimmy, relax.
- Come on.

No. No.

- I don't want to go.
- You want to stay?

Somebody will take me home.
I can get a ride home.

What's the matter with him?

# Tomorrow may never come

# For all we know

A few hours from now,
it's forgotten about.

You'll be home and it's over.

Thank you. We're going to take
a snort intermission.

[Paul] Everything all right?

Yeah.

So, Jimmy finally got here?

- Hey, Jimmy.
- Paul, how are you doing?

Give me your hand.
Come on, reach out, reach out.

Come on, Jimmy.

- Are you all right?
- Can I tell you something private?

- Yeah.
- Do you mind if I touch you like that?

I'm jealous. I think you're so good
that I can't even top you.

- I'm really flattered.
- You should be.

A great compliment
for a great musician.

From a great person.
Everybody feels you're great.

Even your wife.

Even your wife, man.

[mutters inaudibly]

[Paul] Ladies and gentlemen,
the band is back now.

We're going to start out with a...

We're going to start out
with a medley of special requests.

Play I Knew It Was A One-Night Stand.

- Hey, come on.
- Let's go.

[indistinct arguing]

Wife is out.

Wife is out.

Over there, please.

Goodnight.

I want to say one thing to my wife.
She's over there.

- I realize that.
- That's my wife.

- Don't make me use force, please.
- Force? OK.

Hey, man...

[surprised shouts]

[Jimmy] Get your hands off me.

[scuffling]

Get up!

[shattering glass]

Mac, help me with this guy.

- Come on, come on.
- OK.

OK? Don't you guys know how to talk?

Just relax.

It's all right.
You take it up the block.

[saxophone improvises
# New York, New York]

[Francine] Everything's fine.
The baby's normal.

I think I've gained
too much weight, though.

Oh, Jimmy.

- Thank you.
- OW!

- Are you all right, honey?
- Yeah.

They're beautiful. I'm sorry
you slammed your hand in the door.

That's all right.
It's par for me, you know.

I'm really sorry about last night.

I was trying to figure it out. I...

I'm sorry.

- I'm sorry.
- I'm sorry, too.

[upbeat jazz guitar]

Come on.

- Jimmy? it's Cecil.
- Cecil who?

Come on, man.
Cecil B. DeMille.

- I've got your lady out here.
- I've got your sister in here.

Come on, man.
She's got two cats with her.

- We're having a conference.
- Your old lady's here.

- My old lady?
- Right outside.

- A record deal or something?
- Yeah.

I wanted you to meet him
before I did anything.

- Yeah, sure. All right.
- OK.

- Why did you bring him here?
- I couldn't reach you on the phone.

He's got to leave tomorrow.

- Have a seat.
- Thanks.

- On a break?
- No, but I've got a minute.

- Good. We can talk, then.
- Sure.

You remember Artie Kirks,
Decca Records.

- I know the label very well.
- He wants to sign her.

- What?
- He wants to sign her.

- To where?
- On a label.

- To a record contract.
- Oh, yeah?

- Great. That's great.
- You think so?

Sure, sure. it's great.

I wanted us all to meet tonight
so I could ask if you approved...

Excuse me, darling.

If there are any problems,
that's what I'm here for.

- There's no problem.
- Everything's fine.

- Then everything's fine.
- Not quite. I would like to know more.

- You mean the deal?
- Exactly.

- it's logical.
- When I heard her, I said, "That's it."

Absolutely sensational,
fantastic, a smash.

- I tell you, from my mouth, this is it.
- And this isn't just for one shot.

One of the things I'm not
comfortable with is the traveling.

- The promotional tour.
- Is that a problem?

- I don't know if I want to travel.
- What about the baby?

- Exactly.
- There's nothing we can't handle.

- There's no problem we can't solve.
- Let's hear what they have to say.

I'm just emphasizing,
putting in an exclamation mark.

- Very good. Go ahead.
- What about the kid?

Oh, the baby.
You're going to get it first class.

I'll get you the best nurse, a car.
I'll treat the kid like it's my own.

- You just sing.
- It will be in the contract.

- I'm just emphasizing what you said.
- You've emphasized twice already.

Is it all right with you?

It sounds great. Can't argue with it.

- Sounds good. it's up to her.
- Everything's all right?

Everything all right with you?

- Yeah, but I thought you'd...
- Then everything's all right?

If it's all right with you and him.

It's great with you and them.
With you and you?

- Do you have any other suggestions?
- No.

Excuse me,
I think the set's going to start.

- Jimmy?
- Yeah?

- Have you got a cigarette?
- A cigarette?

I just smoked my last one. I'm sorry.

It's a thing I do for luck.

Get a pack from the waiter. Put it on
my tab. We'll celebrate the contract.

- Have a cigar.
- It's not the same.

Jimmy... Excuse me.

I think that she's the best.

She's going to make it
and I'd rather it was with me.

I'll consult everything. Come up
to the office. My door is always open.

- OK.
- Have we got a deal?

- You feel comfortable about it?
- Sure, yeah.

All right.
Don't forget it now.

[hum of conversation]

- Family night?
- Come here.

# Every honeybee
Fills with jealousy

# When they see you out with me

# I don't blame them
Goodness knows

# Honeysuckle rose

# When you're passing by

# Flowers droop and sigh

# And I know the reason why

# You're much sweeter
Goodness knows

# Honeysuckle rose

# I don't buy sugar

# You just have to touch my cup

# You're my sugar

# It's sweet

# When you stir it up

# When I'm taking sips
From your tasty lips

# Seems the honey fairly drips

# You're confection
Goodness knows

# Honeysuckle rose

[instrumental break]

Yes, this looks better.
Thick, sweet.

- All right.
- Got any other colors?

- We've got one with a lot of colors.
- I'll try that.

# I don't buy sugar

# You just have to touch my cup

# You're my sugar

# It's sweet when you stir it up

# When I'm taking sips
From your tasty lips

# Seems the honey fairly drips

# You're confection
Goodness knows

# Honeysuckle rose #

Thank you.

[applause]

[audience claps in time to music]

[abruptly changes tempo]

Yeah!

[high-pitched warbling]

[brakes screeching]

What the hell are you doing?

- I was celebrating.
- You almost killed us.

- What was that about?
- I was just celebrating.

Look at you! You look disgusting.

What do you want me
to do about it?

Did I tell you to have that baby?

Did I tell you to have
that goddamned baby?

No, I didn't tell you. You had it.
You have it, now keep it.

That's it. Keep hitting me.

Go ahead, hit me, that's right.
You had it!

- Now you're crying.
- Be quiet!

When it gets tough, you cry.

- I'm not going through this any more.
- You said it. You want that.

- it's not what I want.
- It is what you want!

It is not what I want.

- I'm scared.
- You're scared?

You're scared?
What about me, for Christ's sakes?

You've got everything, man.

I'm the one that's scared.
Not you. Me.

You've got it easy. I've got nothing.

- it's always you.
- Damn right.

The way you had the kid
when we shouldn't have had a kid.

- You don't care about me.
- What are you crying for?

CW, Cry!

- You don't care.
- I do care.

You do not.
You know what you care about?

- Your clubs...
- I care about you.

- ...your friends...
- I care about you.

- ...and your music.
- Damn right! That's special.

If that's the problem, I don't care.

- I do care. That's not the problem.
- You don't.

- You do not care!
- I do care.

Crazy. Driving me crazy.

- All you care about is you.
- Driving me crazy!

Let me get at you. Let me get at you.

If you're going to hit me,
I'll hit you.

Don't hit me! Don't you ever hit me!

Now I'll get you.

Damn!

Jimmy.
[she gasps]

- Jimmy!
- What?

Jimmy!

The baby. The baby, Jimmy.

- Take it easy, honey.
- I'm scared!

- I'll get us to a hospital.
- Oh, my God!

Where's a cop? When you look for one,
you never find one.

Oh, God! Oh, no! Oh, no, no, no!

Don't worry, honey, you'll be all right.
Don't get excited.

How are you doing?

Is everything all right?

Yeah.

Good.

Did you see him?

Who?

- The baby.
- Oh, the baby.

It's a him?

Yeah.

I named him Jimmy.

You named him Jimmy?

This is official?
You named him Jimmy?

Yeah.

There's one thing
that you're wrong for doing.

You should have let me decide with
you instead of just giving him a name.

I am the father,
no matter what the situation is.

You should have at least
let me do that.

Maybe I don't want to see the kid
for that reason.

Do you want to make me feel guilty?

Give that name, let the kid run round,
after everything that's happened?

No way.

I don't want to see the kid because,
if I do, I'm going to break up.

I don't want to see...
What good is it to see the kid?

I wish this lady wasn't here.

How can I see the kid?
What am I going to say?

"Hi, I'm your father.
I'm going away."

- Are you going to see him?
- I can't see him today. I'm sorry.

I'm sorry, too.

Jimmy...

I don't want to use my handkerchief.
It's the only one I have.

There's no way it's going to...

I love you.

But it's not...
All right. I'll just go.

Jimmy... Jimmy...

I don't know what else to say.

- Goodbye.
- Goodbye, baby.

- Goodbye.
- I'm sorry.

I love you.

- Goodbye.
- Goodbye, honey.

That's the last.

Mr. Doyle, I can take you
to see your baby now.

Thank you. I think I'll see him later.

[Francine in playback]
# ...round and round and round

# And round and round

# The world goes round
And round and round

# And round

[Francine] I'm sorry.
Can we do it again? I'm sorry.

[engineer] OK, here we go.
Stand by. Take 18.

[taped piano intro]

# Sometimes you're happy

# And sometimes you're sad

# But the world goes round

# And sometimes you lose

# Every nickel you've had

# But the world goes round

# Sometimes your dreams

# Get broken in pieces

# But that doesn't alter a thing

# Take it from me

# There 's still gonna be

# A summer
A winter

# A fall
And a spring

# Sometimes a friend

# Starts treating you bad

# But the world goes round

# And sometimes your heart breaks

# With a deafening sound

# Somebody loses

# Somebody wins

# One day it's kicks

# Then it's kicks in the Shins

# But the planet spins

# And the world goes round

# But the world goes round

# But the world goes round

# Sometimes your dreams

# Get broken in pieces

# But that doesn't matter at all

# Take it from me

# There 's still gonna be

# A summer
A winter

# A spring

# And a fall

# And sometimes a friend

# Starts treating you bad

# But the world goes round

# And sometimes your heart breaks

# With a deafening sound

# Somebody loses

# And somebody wins

# Then one day it's kicks

# Then it's kicks in the Shins

# But the planet spins

# And the world goes around

# And round and around

# And round and round

# The world goes round

# And round and around

# And round

- How do I look?
- Beautiful.

Hold the photographing.
She's very nervous.

[musical intro to "Happy Endings"]

# Happy endings all around me

# Happy endings

# All I see are happy endings

# On a silver screen

# That's Hollywood

# Lovely lady
Gallant fellow

# Meet one evening
Hear that cello

# Troubles come between

# But in that final scene

# Count on a
Happy ending by a river

# Happy ending on a mountain

# Happy ending in a Broadway show

# But oh

# The life I lead is less dramatic

# Not remotely cinematic

# Happy endings

# Far as I can see

# Are only for the stars

# Not in the stars

# For me

[stage audience] Psst! Psst!

# Pardon me, miss
I've a problem

# And I wonder
Would you help me?

# Lost my glove
And I could use your light

Right.

# I was leaving
it's so silly

# But I guess I must have dropped it

# All at once it seemed to disappear

Here.

# I'm grateful and I'd like to
Show you my appreciation

- # Maybe take you out to dinner
- [audience] Shh!

- When do you get off? I can wait
- I couldn't possibly.

- I can wait
- I don't do that.

- I can wait
- Shh!

- I can wait
- Eight.

# Hey, Peggy
You gonna sing tonight?

# Hey, Peggy
You gonna sing tonight?

- You sing here?
- Sometimes after work.

Relieves the stress.

- You've got stress?
- I guess.

# Hey, Peggy
You gonna sing tonight?

# When Mister Right comes along

# Every melody that sounded so wrong

# Will be blended in a beautiful song

# When Mister Right...

She's wonderful!

# ...comes along #

# You're terrific, just amazing
What a talent! It's astounding!

# You should be starred
In a Broadway show

Yes, I know.
But I got tired, tired of waiting.

Tired of hacking those auditions.
Tired of starving.

So I figured,
# "What's the use?"

# By the way
What do you do?

- # You won't believe it
- Try me.

# I produce #

# I am feeling aces high

# And it's because of you that I...

- # ...am feeling aces high
- # Aces high!

# We're a king and a queen
In the heavens

- # No longer at sixes and sevens
- # No!

# But ace...

# Now that she's found out
She's finally his

- # ...ces
- # She is the happiest lady there is

# Aces high

# Aces high #

# Now it's happened, now you've made it
By tomorrow you'll be famous

Famous!

# You'll discover
All New York is at your feet

My feet!

# You'll have a brilliant career

# Pink champagne
Instead of pretzels and beer

# And you'll be with me
Everywhere I appear

No.

No?

No, I've done everything for you
I could possibly do.

You don't need me any more.

And if I stayed, why,
I'd be Mr. Peggy Smith, I fear.

- I couldn't bear that.
- But...

# Goodbye

# My dear

Donald!

Donald!

Donald!

Our guest of honor tonight

Is Broadway's dearest
and most luminous light.

In her own time a legend, a myth.

Ladies and gentlemen,
Miss Peggy Smith.

What a night
I won't forget

I'm just a former usherette

And who'd have dreamed that some day
This would all come true?

Would you?

But there 's a man
One certain man

Who helped me
When it all began

And he is the one
You really owe this honor to

- But he's not here
- [man] # Peggy!

- I wish he were
- # Peggy!

- I can't believe it!
- # Peggy! Peggy!

I Peggy!

# Now my life is like a beautiful song

# My Mister Right

# ...are only for the stars

# Not in the stars

# For me

[man] Psst! Psst!

# Pardon me, miss
I've a problem

# And I wonder
Would you help me?

# Lost my glove
And I could use your light

Right.

Yeah, I guess you're
a big Broadway producer.

As a matter of fact I am.
How did you know that?

- Shh!
- Girls! Girls! Girls!

- # Happy endings
- # All around me

- # Happy endings
- # All I see are

# Happy endings
On a silver screen

# Hooray for love, hooray for love!
Shout hallelujah!

- # Lovely lady
- # Gallant fellow

- # Meet one evening
- # Hear that cello

# Troubles come between

# But in that final scene
Count on a

# Happy ending by a river

# Happy ending on a mountain

# Happy ending

# In a Broadway show

# Happy endings

# Far as I can see

# Are not reserved for stars

# No, no, no, no, no

# They're in the stars

# For me

# Happy endings
All around me

# Happy endings
All I see are...

[audience applause]

[announcer] It's standing room only
when screen star Francine Evans

returns to the city
where her career began.

After a six-year absence,
Francine is finally home

and New York goes round and round.

[D.J.] Good morning, New York.

Time for the midnight bird
to be with you from now until 5am.

I think you're wondering
about my new theme song,

because a lot of people have called
in asking, "What is that record?"

Well, it's a theme from New York,
New York, the Jimmy Doyle Sextet.

I'll play it as my theme song
until who knows when.

That's the Jimmy Doyle Sextet,
later in the show...

...the entire theme
from New York, New York.

[last bars of jazz set]

[applause]

Thank you, ladies and gentlemen.

Thank you. Now I'm proud to introduce
an old buddy of mine.

We go back so long
I'm a little embarrassed to tell you.

He's here with us tonight,
Mr. Cecil Powell.

A big hand.

- How are you two lovely ladies?
- Well played. Terrific.

After this round,
I'll get you a drink.

Thank you.

Give them ginger ale.
Anything they want. I'm kidding.

You want to okay that guy's credit?
The one sitting...

No, forget it. I might as well
use that for wallpaper.

Would you excuse me for one second?

Honey, I want you to make a reservation
for me for tomorrow night.

Starlight Terrace, Francine Evans.

No, Starlight Terrace.
Francine Evans. Not two, one.

# Somebody loses

# And somebody wins

# And one day it's kicks

# Then it's kicks in the Shins

# But the planet spins

# And the world goes around

# And round and around

# And round and round

# The world goes around

# And around and round

# And round #

Thank you.

[crowd shouts for more]

[crowd] More! More!

For you!

You're so wonderful.

Thank you so much.
Thank you for coming here.

I'd like to sing a song now.

It was written by a friend of mine

who is a great believer
in major chords.

# Start spreading the news

# I'm leaving today

# I want to be a part of it

# New York, New York

# These Vagabond shoes

# Are longing to stray

# And step around the heart of it

# New York, New York

# I want to wake up

# In the city that doesn't sleep

# To find I'm king of the hill

# Top of the heap

# My little town blues

# Are melting away

# I'll make a brand new start of it

# In old New York

# If I can make it there

# I'd make it anywhere

# It's up to you

# New York, New York

# New York, New York

# I want to wake up

# In the city that doesn't sleep

# To find I'm king of the hill
Head of the list

# Cream of the crop
At the top of the heap

# My...

# ...little town blues

# Are melting away

# I'll make a brand new start of it

# In old New York

# If I can make it there

# I'd make it anywhere

# Come on
Come through

# New York...

# ...New York!

[band plays on]

[nanny] I've also made an appointment
for Jimmy for the inoculation.

Jimmy.

You got here.

- You're looking very good.
- Thank you.

- Tina... Honey, what are you doing?
- I wanted to kiss you.

- This is Deanna and Tina.
- Nice to meet you.

Come over here.

Well, l... guess you're having
a little party here or something.

I didn't count on it. This is
supposed to be my private room.

- The tune...
- It works well.

- It works.
- Yeah, it does.

It's another way of doing it.

I know you didn't write
da-da-diddle-da-da, but, that works.

- I saw Sappy Endings the other night.
- Happy Endings.

- Yeah, Happy Endings.
- Did you like it?

- I loved it
- Seen one, seen them all.

Yeah. Pretty good.
Success hasn't changed you at all.

I'm only kidding.

I'm serious. You know, I'm...

I'm very proud of you, in a way.
In a way, I'm proud of you.

- Well, I'm going to go.
- Say goodbye to the kid on the way.

- Did he get the drums I sent?
- Yes. They drive me crazy.

- That means he plays them well.
- He's got a lot of talent.

- Gets it from his father.
- Gets it from...

- You weren't going to say "mother"?
- I was.

I just didn't make it in time.

We're going to start
all over again now.

Well, I guess I'd better go.
So long.

- Which way do I get out?
- Through there. I'll see you.

Are you ready to go, darling?

- How are you doing?
- How are you?

Aren't you going to give
your father a kiss?

- Who bought you these clothes?
- Mom.

- They look terrible.
- I'm only wearing them for the party.

Do you think you look like
me or your mother?

You. I try not to look like girls.

- Goodbye. Take care of yourself.
- I will.

- OK?
- All right. Bye.

What?

- Hello?
- It's me.

You want to have
Chinese food with me?

I couldn't 't talk with those people.
I want to talk to you about something.

- Now?
- Yeah. I'm waiting by the stage door.

If you think it's a good idea,
say yes.

- Yeah.
- Yeah? OK, I'm there.

[music: intro to "New York, New York"]