Broadway Serenade (1939) - full transcript

[Jeanette MacDonald singing
"Yip-I-Addy-I-Ay"]

♪ E-Yip I-Addy I-Ay I-Ay.
E-Yip I-Addy I-Ay ♪

♪ E-Yip I-Addy I-Ay I-Ay.
E-Yip I-Addy I-Ay ♪

♪ I don't care
what becomes of me ♪

♪ When you play me
that sweet melody ♪

♪ E-Yip I-Addy I-Ay I-Ay ♪

♪ My heart wants
to holler hurray ♪

♪ Sing of joy, sing of bliss,
home was never like this ♪

♪ E-Yip I-Addy I-Ay ♪

Come on, everybody.

[crowd singing]
♪ E-Yip I-Addy I-Ay I-Ay ♪



♪ E-Yip I-Addy I-Ay ♪

♪ I don't care
what becomes of me ♪

♪ When you play me
that sweet melody ♪

♪ E-Yip I-Addy I-Ay I-Ay ♪

♪ My heart wants
to holler hurray ♪

♪ Sing of joy, sing of bliss,
home was never like this ♪

♪ E-Yip I-Addy I-Ay ♪

This way, please.
Mr. Bryant's special table.

[MacDonald singing "What You
Goin' To Do When The Rent
Comes 'Round?"]

♪ Rufus Rastus Johnson Brown ♪

♪ What you goin' to do
when the rent comes 'round? ♪

♪ What you goin' to say? ♪
♪ How you goin' to pay? ♪

♪ You'll never have a bit of
sense till judgment day ♪

♪ You know, I know,
rent means dough ♪



♪ Landlord is goin'
to put us out in the snow ♪

♪ Rufus Rastus Johnson Brown ♪

♪ Rufus Rastus Johnson Brown ♪

♪ What you goin' to do
when the rent comes 'round? ♪

[Jeanette MacDonald singing
"Hearts Win, You Lose"]

♪ Hearts win, you lose ♪

♪ The maiden belongs to me ♪

- Waiter, waiter, waiter.
- Sh-h.

♪ Her fairly
and squarely tonight ♪

♪ And mine she will always be ♪

[crowd screaming]

♪ Goodbye, don't sigh ♪

♪ Some other one
you can choose ♪

♪ For I've drowned the heart ♪

New act, Parks?

Yes, Mr. Bryant.
Just in from the States.

♪ Shake hands and we'll part ♪

♪ Hearts win tonight ♪

♪ You lose ♪

[steel pot clanks]

♪ Just a song at.. ♪

Hey.

♪ ...twilight when the.. ♪

Don't mind me, pal. I'm drunk.
Who said I'm drunk?

Who made that crack?
Hey, you stupid up there.

Did you say I'm drunk?

Now take it easy.
The lady's trying to sing.

Oh, over there. Hiya toots.

What are you gonna
to be doin' after, huh?

[cork pops]

Oh, oh, Jimmy, Jimmy.
Don't, Jimmy.

[crowd screaming]

You crazy galoot.

- Jimmy?
- Mary, are you hurt?

- Are you alright?
- Oh, I'm alright sure.

I'll say you're alright.

Three knockouts in one week.
You're a champ.

He might have
put her eye out.

You'd have done the same thing
yourself, Mr. Parks.

I'd what? Listen, sister.
I charge a 2-buck cover here

and the customers are beginning
to feel that's just a little

too much to pay
for a punch in the nose.

I tell you what let's do.
Let's all three of us promise

never, never to mention
this ugly episode again.

What do you say?

Yeah, let's vote on it.
Majority rules.

Listen, Seymour, you're through.
That's final.

- You can stay, if you want to.
- Mm-hmm. We're a team.

Alright, have it
your own way.

Don't think it wasn't fun just
because it wasn't.

- How's that?
- Jimmy, don't argue.

Well, Hale and Seymour,
those gifted entertainers

are at liberty again.

- On the button.
- Yeah.

1,111 consecutive throws
without a miss.

Twelve, if you please,
Mr. Seymour.

Twelve. I should've remembered.
The only thing I do well.

Oh, nonsense, Jimmy.

Yes, Jimmy.
You have other talents.

You've done wonders in never
accomplishing anything worth

anyone's notice and you've
developed such a genius

for gumming up your stupid life
that sometimes I wish

somebody would
take a crack at your--

(Mary)
'Jimmy''

Here, have a cigarette.

You know, it's the same thing
as counting ten. Only easier.

Mm-hmm.
I get it.

Now, how do you feel?

Well...I feel unemployed.

James Geoffrey Seymour.

Graduate of three great
musical conservatories.

Piano virtuoso,
master of counterpoint.

Most promising student
of his class.

How can you let a little
incident like this touch you?

Why don't make copy
for your press agents

when you're rich
and famous?

The early struggles
of a great composer.

You know, I'm beginning
to like having you for a wife.

Oh, you are.

[tinkling music]

Gee, it plays well.

For a juggler, you're the
clumsiest I ever saw.

Oh, you..

And lay off the refreshments.

Mrs. Olsen, I just saw Mary
and Jimmy coming down street.

Gee, it's awful early.
I hope nothing's happened.

- Merry Christmas, Mrs. Olsen.
- What? Again?

Now, don't scold. We were fired
in the name of fair play.

Sounds to me like
Jimmy won another fight.

Mrs. Olsen.
The psychic landlady.

Oh, pooh. Say, Jimmy,
there's a letter upstairs

for you from Italy.

Italy. Make way for my ship,
she may be coming in now.

Well, hurry back down, 'cause
we're having Toms and Jerries.

- Tom and Jerries?
- Come, Mary.

Alright. Jimmy,
bring our presents down

so we can put them
under the tree.

Herman.

- Mary, my liebchen.
- Herman, you work too hard.

Only $2 for
a whole night's copying.

I know, but it's extra money.

Besides, it buys
new strings to Oscar.

Listen to Oscar.

He was singing good tonight.

That's not what I
wanted to play at all.

Ah, that Backspiegel's Hofbrau
makes me crazy.

All they ask for in that eating
place is "The Blue Danube."

I play "Blue Danube" so much,
I'm getting blue in the face.

It's good for you
the Black Bottom's out of date.

(Jimmy)
'Mary, Mary.'

Boy, oh, boy. Hello, Herman,
season's greetings.

Season greetings to you.

- What is--
- Listen, lamb chop.

Do you remember that wonderful
romantic honeymoon we never had?

I remember it
as though it were tomorrow.

- It is tomorrow.
- What?

(Herman)
'Please, plain English
is hard enough. Please.'

Well, Herman, in plain English,
the astounding, amazing

unbelievable news is that
I've won the Davelli Fellowship.

"A year's study in Italy
under Davelli himself

"plus $500 for expenses.

"The most distinguished
piece of musical composition

offered by one of the new
American composers of 1938."

Do I see him with whom
I was acquainted

when he was poor
and unsuccessful?

That same Jimmy Seymour?

Then may I, may I, may I.

Oh, it's the most beautiful
sentence I've ever read.

Imagine, Mary.
A year of sun and wine

and music and old ruins
and olive groves and, and you.

Every dream
we've ever had.

But only $500 for two people
for a whole year. Do you--

We'll earn
the difference, darling.

All we'll need
will be about $1000.

We'll live like
two canaries on a twig

and, and you'll cook
over a gas jet.

Thousand dollars? Oh,
it might as well be a million.

No, I'll get it.
I'll sell a song.

Forgive me for pointing,
so far all that your songs

ever earned is a dollar
and eighty-five cents.

Yes, I finally found
what was wrong with them.

They're too good.
That's what's wrong with them.

You would think that.

It just seems to me
that everyone in the world today

is awfully busy
and upset.

People are worrying a lot
and working a lot--

The most of them
are just worrying.

Maybe, but anyway,
they don't have the time

to learn to like
new melodies.

What they want is an old melody
in modern dress.

Look at what they're singing.

♪ My little yellow basket ♪

[humming]

"Beating Around
The Mulberry Bush".

♪ The mulberry bush,
the mulberry bush ♪

♪ The mulberry bush ♪

♪ Here we go around
the mulberry bush ♪

♪ So early in the morning ♪

What are you
going to use?

How about
"The Farmer In the Dell?"

♪ The farmer in the Dell,
The farmer in the Dell ♪

No, no. I have one of the
loveliest melodies of all time.

[piano music]

[operatic voice]

You see, there's a little story
that goes with this.

Years ago, oh, about a hundred
years ago, there was a shepherd

on a hillside and he was feeling
rather lonely and blue

so he began singing
about the way he felt.

[operatic voice]

Then another shepherd
heard him and liked it.

Gradually, it became
a folk song.

Then a man named
Tchaikovsky heard it.

And he took it and dressed it up
in the style of his period.

Then I came along,
and I dressed it up for 1939.

Oh, I-I have some music.

- And some word.
- Are they any good?

Don't know. I wrote them.
Will you sing for me, Mary?

Sure. "For mending one pair
of pants, four dollars--"

Oh, no, no.

[everyone laughing]

It's on the other side.
Alright.

♪ I found a love song ♪

♪ Within a garden fair ♪

♪ I'll sing my love song ♪

♪ Until my love listening ♪

♪ Shall find me there ♪

♪ For every lonely heart ♪

♪ There's a heart
that must be lonely ♪

♪ So I'm singing only ♪

♪ To a heart
that beats for me ♪

♪ For every breeze
that blows ♪

♪ There's a rose ♪

♪ For every star on high ♪

♪ A tender sigh,
so my heart be gay ♪

♪ Someone will be saying ♪

♪ Lonely heart, lonely heart ♪

♪ The weary days are through ♪

♪ And love has come to you ♪

Jimmy, this is superb.

We'll sell it to the biggest
producer in town.

Maybe even
Cornelius Collier, himself.

- Maybe even.
- Yes.

I'm sorry,
but Mr. Collier is busy.

- Mr. Collier is busy.
- Oh, is he?

You've got influence.
Why don't you get us in?

- Sure.
- Oh, please don't, Miss Judy.

- It's what it's there for.
- Yes, I know, but..

Say, what's going on
in there, anyway?

(Mr. Collier)
'I don't want
to be disturbed.'

I'm attending to some
very important business.

Now don't interrupt me again.

(female #1)
'Very well, Mr. Collier.'

Did I seem cross? I was only
putting it on, you know.

Oh, I see through you,
Mr. Collier.

Way down deep, you're just
as sweet as you can be.

Oh, am I? I mean do you think...
That's nice.

That's why you understand
how I feel about this costume.

Yes.

Now, for instance
this sort of thing.

Well, no girl has a..

No modern girl
is shaped like that.

Oh, eh. Ha-ha ha-ha.
There's no doubt about it.

But the costume from
the bathing number

that I'm not in
gives a young lady

a chance to show it, if she has
a worthwhile form like I.

Oh, yes. I have crosses,
no question.

So, so I thought
I'd slip it on to

to show you what I mean.

Yes. Oh, no. You can't.
This is, this is no place for--

Don't be silly, Mr. Collier.
It's your business.

It's not my business,
you can't, oh..

Well, hurry up,
if, if, oh..

Now, don't you think
it's a crime for a girl

to hide her form, if it's really
a nice one, Mr. Collier?

Oh, uh. Well yes, I...
No, you better hide it.

Here, now put the dress on,
because anybody, somebody, oh..

[mumbling]

How to win friends
and influence people.

Oh, now, Judith,
you mustn't misunderstand.

Of course not. I know
how these things happen.

She's probably from
a nudist's camp

and just dropped in
to use the phone.

Now, don't be
evil minded, Judy.

I was just asking Mr. Collier
to okay this costume.

Remember what I said I'd do the
next time you tried to steal

a gentleman friend of mine?

Don't you dare lay
a hand on me.

I wouldn't think of it.

- Ah.
- Sorry.

She burned me.

Now, you'll always
be known as Scarface.

Judith, that was...
you shouldn't have done that.

That, that, that's...
the char, it's terrible.

That will show
in the bathing suit number.

Don't worry if it shows
where I burned her

the police will close
the show.

- I'll get them after you.
- No, no.

What for?
Defacing public property?

- Why, you.
- Here now, wait a minute.

Here, stop girls, you--

[intercom buzzing]

I'll be..

- Yes.
- 'Mr. Bryant is here.'

Mr. Bryant? Show him in,
for heaven sake show him in.

Girls, I'm going to be
very busy now, please.

You'll have to run along.
I've got so much work to do.

I don't know whether
I'm coming or I've left.

Oh, why Mr. Bryant.

I always seem to be
bumping into you.

It must be fate.

Uh-uh. Trapping's over
for today, dear.

Scat.

Keep my memory green,
Cornelius.

I'll see you later.

Uh...oh yes,
I'm afraid she will.

Having a little "off with old,
on with new" trouble?

- Yes, you know how it is.
- No. How is it?

It's awful.
But it's a lot of fun.

[intercom buzzing]

Oh.
Yes?

(female #1)
'The boys are still waiting.'

Show them in.
We've lot of work.

Good. I brought my
check book with me.

Well, he's been busy.
I wouldn't want his headaches.

Hello, Boss.
How are you doing?

[all speak]

'Just a minute.
One at a time, please.'

(male #1)
Will you okay
these bills?

Mr. Bryant will
take care of those.

(male #2)
Look at this layout.
It's a knockout.

When will you check those
costumes? They're waiting.

When I can. I can't be
everywhere. What's this?

It's special drop
for, New York opening.

What do you think of it,
Larry?

Why should I?

So you can see
where your money goes.

[laughing]

'What is it? Uh..'

Who are you? What are you doing?
What do you want?

- I'm Joey, the Jinx.
- Well?

I'm Jinx Artist, see.
Look, I got the evil eye.

Stop that. Sorry, my show is
full, I can't use you.

You better use me.

I put the eye on Cubs
when they played Yanks.

Put it on War Admiral
when he ran against Sea Biscuit.

I put it on Congress
when they debated

Government Re-organization Bill.
I never miss, see.

I got evil eye,
I got it good.

Now I'm putting it in
theatrical business.

I tell you my cast
is all filled up.

It's what you think. 50 bucks a
week, I put the I in your show.

- Help, get this eye outta here.
- Come on, let's go.

That settles it. You're cooked.
You're gonna get hexed.

Your show's gonna flop.
From now on, it's trouble.

Good luck quit
and bad luck double, hi-de-hi.

[laughing]

- Yes.
- So, this is show business.

Oh, I..

[intercom buzzing]

What is it?

(male #3)
'Want to look
at high flying set?'

No, later. Put a jinx
on Congress about all they need.

The evil eye.
Did you hear that?

"From now on trouble. Good luck
quit, bad luck double. "

Don't say it,
gives me goose pimples.

- Sorry.
- Let me see the sketches.

Larry, don't go away.
Look at these.

[people chatting]

[chatting continues]

[intercom buzzing]

Just a minute, boys.
Yes?

(female #1)
'There are more
people waiting.'

I can't see
any more people.

I'm leaving for Atlantic City
this afternoon.

[chatting continues]

I beg your pardon.
You wanted to see Mr. Collier?

Oh, yes. If you please.
Ah, Mr. Seymour has a song.

A song? Fine. That's just
what Mr. Collier needs.

- Jimmy, this is Mr..
- Bryant. The name's Bryant.

Seymour. Glad to meet you.
This is my partner, Miss Hale.

- How do you do.
- How do you do.

Heard you sing the other night.
The calluses are from clapping.

Oh.

Well, shall we beard the lamb?
Uh, lion.

[distant chatter]

- Cornelius.
- Yes.

This is Miss Hale
and Mr...um..

- Seymour.
- Seymour!

He has a song that
she would like you to hear.

Well, how, what the.
Oh, yeah. How do you do?

Eh, yes, well there's
a piano right over there.

- Fine.
- If you.

Well, just sit down boys.
We'll listen to this number.

- The lady a friend of yours?
- Certainly hope so.

Oh, I see.

Alright, Miss, uh,
go right ahead.

Oh, this is a number my partner,
Mr. Seymour, composed.

♪ I found a love song ♪

♪ Within a garden fair ♪

[intercom buzzes]

♪ I'll sing my love ♪

[buzzing continues]

'All set for the
high-flyer number, Chief.'

Oh, I'm sorry.

[female on radio]

♪ Flyin' flyin' higher
than the sky ♪

♪ Headin' straight
for heaven ♪

♪ Leavin' worry
high and dry ♪

♪ I'll go high,
flying with my wagon ♪

Wait a minute. Stop it!

Miss Ingalls,
this is a tempo number

not grand opera.

Suppose I let you do
the producing, Mr. Collier

and you let me do the singing.

Alright.
I'll do the producing.

I'll produce the number
right out of the show.

I was right when I was a child.
I wanted to be a motorman.

I'm sorry, Miss uh-uh, would
you mind starting over again?

No, not at all.
Skip the introduction.

♪ I found a love song ♪

♪ Within a garden fair ♪

♪ I'll sing my love song ♪

[knocking on window]

♪ Until my love listening ♪

[knocking continues]

♪ Shall find me ♪

What's that noise?

Take him away.
Get him out of here.

(male #4)
I'll put the jinx
on his eye, boss.

Relax.

I'm going to dream
about that fellow.

I'm sorry folks.
Just go right ahead.

Just the chorus.

♪ For every lonely heart ♪

♪ There's a heart
that must be lonely ♪

'Listen, uh'

don't you think that
the number's a little slow?

I mean, uh, couldn't you try
swinging it?

You haven't heard it yet,
Mr. Collier.

Don't you think you ought to
hear it before you change it.

Well, after all,
tempo is tempo.

And an audition,
is an audition.

Uh. Oh, yes of course.
I'm sorry.

Would you mind
just starting again please.

No, not at all.

Go on, swing it.

♪ For every lonely heart ♪

♪ There's a heart
that must be lonely, so-- ♪

What do you mean,
cut the number out of the show?

- Oh..
- Have you lost your mind?

Are you going to let anyone
tell you how to run your show?

- No, I..
- It's the best I ever wrote.

Ingalls can't sing it,
that's all.

She doesn't know how
to sing it.

Now here's
how it ought to go.

♪ Goin' high, flyin', flyin'
higher than the sky ♪

♪ Headin' straight
for heaven ♪

♪ Leaving worry high and dry ♪

♪ I'll go high flyin'
hitch my wagon to a star ♪

♪ Skim the Milky Way and-- ♪

Gene, I'm too nervous.
I can't stand it.

What's the matter?
Don't you want to listen to it?

Well, not if you sing it.

May I make a suggestion?

Wouldn't we get
a better idea if she sang it?

- Hale? Oh, can you read music?
- Yes of course, but..

Go ahead and sing it Mary.
What have you got to lose?

Well, alright.

Well, that's fine, fine.

Now, let's have
a little quiet here please.

Now, we'll start with
the introduction right there.

Now.

♪ Goin' high ♪

♪ Flyin' flyin'
higher than the sky ♪

♪ Headin' straight for heaven
leavin' worry high and dry ♪

♪ I'll go high flyin'
hitch my wagon to a star ♪

♪ Skim the Milky Way and stop
my troubles from afar ♪

♪ Suppose a tumble, so what?
So this, why should I grumble? ♪

♪ Every kinkle, unwrinkle,
in the twinkle of an eye ♪

♪ I'll be high ♪

♪ Flyin' flyin'
high as Edelweiss ♪

♪ Headin' straight for heaven,
gotta date in paradise ♪

♪ Aa-ha-ha ♪

♪ Oh the Mary oh ♪

♪ Flyin' high ♪

♪ One look at you ♪

♪ And all the world ♪

♪ Begun to whirl around ♪

♪ One look at you ♪

♪ And soon I knew ♪

♪ My future had been found ♪

♪ One smile, perhaps ♪

♪ And then a kiss, perhaps ♪

♪ And after this ♪

♪ Perhaps a rendezvous ♪

♪ I live each hour ♪

♪ My whole life through ♪

♪ For just one look ♪

♪ At you ♪

[clapping]

Oh, oh.
That's great.

Now, that's the way
it's suppose to be done.

Yes, well, why can't Ingalls
handle it that way?

Ah, temperament.
That's why.

Ingalls doesn't have
to sing every song in the show.

Why don't you give
this girl a chance?

Is that the way
you feel about it?

Yes. That's exactly
the way I feel about it.

Well, yes. We might
give her a chance.

- Miss, uh.
- Hale.

Oh, yes Hale.
Just one moment.

That was charming.
Rendered most beautifully.

- Thank you.
- We can use you. You're hired.

We're leaving at 4 o'clock.
Pennsylvania for Atlantic City.

- We open from Monday.
- You're making a mistake.

'What about?'

Well you see, Mr. Seymour and I
work together. We're a team.

I don't want a team.
I can't use a team.

Well if you can't,
then I'm sorry you can--

Just a minute.
Now don't be silly.

Miss Hale will be
happy to work.

Oh. That's fine.

Meet us at Penn station four
o'clock.

And we'll talk
over contracts on the train.

Congratulations,
I'm glad your with us.

I'm so happy for you,
Miss Hale.

Atlantic City, but Jimmy they
haven't even heard your song.

This is a break.
Can't afford to pass it up.

That's what we came here for
to sell your song not--

Come along lamb chop.
Times a wastin'.

But Jimmy that isn't...
wait.

[tinkling music]

Oh, Mary. Do you want me
to pack the water jug?

(Mary)
'No, I hear they've got water
in Atlantic City. '

But does it play,
Old Lang Syne?

(Mary)
'Ha, ha, ha.'

Say, we're getting
pretty full here.

Herman says he'll lend us
his suitcase if he can find it.

Jimmy, don't bother to pack my
things or we'll miss the train.

Well, whose things
do you want me to pack?

- Mrs. Olsen's?
- No, your own silly. Hurry up.

Well, just a second. You don't
think I'm going with you?

But of course...
naturally.

Naturally? Why would I naturally
tag along with a show

I had nothing to do with?

Well, something
might turn up.

Well, you know
what would turn up?

My toes. Oh, darling,
I'd die of boredom.

I have to stay here and make
a living in case your a flop.

Yeah, that's true.

No, no it isn't. You can't help
but be a terrific hit.

Better knock on wood.

Wood, wood, wood.
Where's some wood?

Ah, that's leather.
Here, here, here.

[knocking on wood]

There, that takes
the curse off.

(Mrs. Olsen)
'Yes, what is it?'

Oh, it's nothing Mrs. Olsen.
Never mind.

- Wrong number.
- Excuse it, please.

- Oh, Jimmy?
- Hm?

This will be the first time
we've ever been apart since..

- Since we first became a team.
- Mm-hmm.

Oh, darling.

Won't you change your mind
and come along?

Mm-mm.

Well, anyway, this means you'll
get your chance with Davelli.

Oh, we're practically
in Italy now.

Time will pass quicker
than a two-weeks vacation.

I'll hold my breath
till you get back.

Isn't it awful?

I can't imagine
any place without you.

I can't even remember
any place without you.

Oh, darling.

(Herman)
'Mary, my liebchen.'

My suitcase is broken, so I
brought you Oscar's suitcase.

Anyhow, it's bigger.

Just imagine that
for a prima donna's luggage.

You'd have to join musician's
union to get it on the train.

What's so funny that
you're gonna miss your train?

Is that what you're
sitting there, laughing at?

(male announcer)
'Atlantic City Special, track 4.
Atlantic City Special..'

- Hello, Bill.
- Oh.

Everybody present
and accounted for?

Pretty near, Chief.
Car 12, drawing room A and C.

A-ah, look.

- Hello.
- Hello.

What's the number of my space?

- Er..
- Quickly, please.

Car 12, drawing room B,
Miss Ingalls.

If anyone asks for me,
don't let them through.

I'm tired.
I'm very tired.

Come along, Mary.

Boy, does she
dream it up.

Who do you suppose
could be chasing her?

Maybe the ghost of one
of the songs she murdered.

- 'Hello, everybody.'
- Oh.

Oh, Cornelius, the most
amusing thing happened.

- You broke a leg?
- No. Oh, you..

Anyway, I thought
I was late for the train.

So, I didn't take time
to dress.

So, I just put my coat on
over my practice clothes. See.

Oh, I beg your pardon. Uh,
that was very clever of you.

Very clever of you.
Cornelius, lend me your cigar.

No, I'll see you later.

She thinks
of the cutest things.

Make that compartment four
and lock the door.

Oh, here comes
your new find.

Oh, there they are.

I'll get you some
magazines, dear.

Alright, I'll meet you
at the gate.

Miss Hale, we were afraid
you were going to stand us up.

Oh, you didn't give me
very much time to pack.

That's show business.

Oh, may I present
Miss Tyrrell, Miss Hale.

(both)
How do you do?

Judith, why don't you introduce
Miss Hale to the troupe?

I'd be glad to. Don't blame me
if they borrow money.

(male announcer)
'Board.'

(Mary)
'Oh, Jimmy,
I've got to go now.'

- Here are your magazines, dear.
- Thanks.

Read them while you're awake,
thinking of me.

It's still time to change
your mind, won't you?

- Come and be with me, Jimmy.
- Oh, I'll be with you.

Wherever you are,
however long you stay.

(male announcer)
'Board.'

Goodbye.

(male #6)
'Come on, folks. They're closing
the gates. All aboard.'

Goodbye. Goodbye.

- Oh!
- Sorry! Oh, Miss Hale.

This is a happy omen, meeting
you at the start of the trip.

- Come on.
- Bye. Goodbye, dear.

[bell tolls]

[theater theme music]

[audience applauding]

♪ Yodel-ay-ee-o ♪

♪ Ee-oo ♪

♪ Yodel-ay-ee-o
lay-ee-oo ♪

♪ Yodel-ay-tee-o
hick-wee ♪

♪ Yodel-ay-ee-o ♪

♪ Wee-oo ♪

♪ Ole-ady-oh ♪

♪ Wee-hoo ♪

♪ We're here to help you
to help yourself ♪

♪ We're here to keep you
from eating off the shelf ♪

♪ We're here to show you
the ropes and then ♪

♪ Up you go, down you go ♪

♪ Merry go round you go
over and over again ♪

♪ A-a-ah ♪

♪ Yodel-ay-ee-oo ♪

♪ Yodel-ay-ee-oo ♪

♪ A-ah, a-ah-ha ♪

♪ High-ho, the merry-oh ♪

♪ High-ho but never low ♪

♪ High-ho away we go ♪

♪ Over hill and valley
from Vermont to Mexacali ♪

♪ We'll be high flying,
flying higher than the sky ♪

♪ Heading straight for heaven,
leaving trouble high and dry ♪

♪ I'll go high flyin' ♪

♪ Hitch my wagon to a star,
skim the Milky Way ♪

♪ And maybe, snub you
from afar ♪

♪ Lovely lady ♪

[yodeling]

♪ Ole-ady ♪

♪ Oh lady, you're
as lovely as can be ♪

♪ Goin' high flyin',
flyin' high as Edelweiss ♪

♪ Headin' straight for heaven,
got a date in Paradise ♪

♪ We'll be high flyin' ♪

♪ A-ah ♪

♪ We'll go high flyin',
hitch my wagon to a star ♪

♪ Skim the Milky Way
and maybe, snub you from afar ♪

♪ Listen lady, we know
just how to go about it ♪

♪ Ole-ady ♪

♪ Oh, lady, it's as easy
as can be ♪

♪ Going high flying,
flying higher than a fire ♪

♪ High-ho, the merry-oh ♪

♪ High-ho, high,
away we go ♪

♪ Merry-ho ♪

[scat singing]

[clink]

[drum roll]

[singing continues]

[drum roll]

[fast-paced music]

[music continues]

[Instrumental
"He's A Jolly Good Fellow"]

[music continues]

♪ When you go high flyin' ♪

♪ You ought to be,
you gotta be dry ♪

♪ Here's a bit
of that liquid heaven ♪

♪ For the apple of our eye ♪

♪ When you try flyin' ♪

♪ You oughta be,
you gotta be high ♪

♪ Otherwise, you're gonna
tumble from the start ♪

♪ Oh, me. Oh, my ♪

♪ Here's to you, rip-tip ♪

♪ Redole, dedole,
lady-oh, lady-ole ♪

♪ And to you, rip-tip
redole ♪

[scat singing]

♪ Wanna go high flying ♪

[scat singing]

♪ High-high-high-ho,
the merry-oh ♪

♪ Flyin' high ♪

[yodeling]

[female yodeling]

♪ One look at you ♪

♪ And all the world ♪

♪ Began to whirl around ♪

♪ One look at you ♪

♪ And soon I knew ♪

♪ My future had been found ♪

♪ One smile ♪

♪ Perhaps ♪

♪ And then a kiss ♪

♪ Perhaps ♪

♪ And after this,
perhaps a rendezvous ♪

♪ I'll live each hour ♪

♪ My whole life through ♪

♪ For just one look ♪

♪ At you ♪

[fast chorus]

♪ High-high-high-ho,
the merry-oh ♪

♪ High-high-high-ho,
the merry-oh ♪

(all)
Merry-ho! Merry-ho!

[chorus cheering]

[screaming]

[screaming]

[crowd laughing]

♪ One look at you for me ♪

♪ Me, too ♪

♪ And dreams ♪

O-oh!

♪ Come true ♪

♪ We'll live our whole
life through ♪

♪ For just ♪

♪ One look ♪

♪ At you ♪

[crowd cheering and applauding]

Hello?

Yes, that's right.
Mary Hale.

Atlantic City, Baltimore.

I know she's there.

The show must be
out by now.

Well, if she's not in yet,
that's a good sign.

Maybe they're
still applauding.

Quiet, Herman.
Hello, hello?

[phone ringing]

[people chattering and laughing]

Gentlemen, Miss Mary Hale,
Broadway's next sensation.

Mary, let me introduce
the gentlemen of the press.

(male #2)
'Judy, would you
step out, please?'

'Chief, step in there
for a shot?'

'Hold it, please.
Thank you.'

If this is gonna be,
an interview

let's get away from the mob.

- Let's go in the next room.
- Yeah. Come on.

Come along, chief,
will you?

[door shuts]

- What is your favorite opera?
- Miss, sit down right there.

- Boys, take it easy.
- How did you get this chance?

You'll each get an angle.
Please be patient and listen.

Get your pencils and paper
and here we go.

Mr. Collier and Bryant,
were in a taxicab.

This bus passed them
in the opposite direction.

There was a girl
sitting upstairs singing.

They heard her sing
just one note.

They knew, she was the one for
this show. Right, Mr. Collier?

The finger of fate
in form of bus.

Nice angle.
Lot of color there.

Mary, your call just came.
You can take it there.

Oh, thank you.
Hello?

Mary, How are you, darling?

I had a hard time getting.
How did the show go?

Oh, it was a big success.
And Mr. Bryant said

tonight, I may have another
number in Pittsburgh.

Oh, that's fine. Where are you?
Where are you talking from?

I-I'm in Mr. Bryant's apartment.
I'm being interviewed.

Oh. Oh, I see.

Wh-what's the matter, darling?
You sound funny.

I didn't mean to. I have so much
to tell you.

So much to talk about.

I want to talk to you too.

'Tell me, how much longer
will you be gone?'

'Oh, we're going to be
four more weeks on the road.'

Four weeks?

I'll write you every day.

Hurry up. Tell him,
to read it in the papers.

You can read it
in the morning.

Darling, I can't talk
any longer now.

I'll write you a long
letter tonight.

Goodbye.
Goodbye, Jimmy.

Let's go.

'Thanks very much, Miss Hale.
We'll get more later.'

Say, who's this Jimmy?

Ah, Jimmy...
Jimmy, that's her brother.

- He's been sick in bed.
- Yes, that's right.

Don't I get a moment
alone with you?

Oh well, I thought this was
sort of a business int--

Oh, I see.
So, I get the business.

No. Hardly that, but well,
it is rather late.

Just for a moment,
on the balcony.

Look, it's a wonderful night.

Well...alright.
Just for a moment.

Good. I knew you couldn't
be that mean.

Oh...isn't the air
fresh and clean?

Mm-hmm.

Look at the ocean.
The breakers are like lace.

Yes. As I've only got a minute,
think I'd better get to point.

Which is?

- You don't like me, do you?
- Why do you say that?

This is the first time
I've managed to get you alone.

I'm not very familiar
with American behavior yet

but I think you've been
avoiding me. Have you?

- Uh-huh.
- Why?

Because I think
a girl can tell when a man's

about to tell her something
she doesn't wanna hear.

- What, for instance?
- Please.

- I'm being honest with you.
- So you are.

And I'll be honest with you.

I was gonna say it.
I am gonna say it.

I could fall in love if you gave
me half a chance. I may, anyway.

Mr. Bryant,
I'm married.

Oh...happily?

Completely.

Well, why did you
keep it a secret?

Because, we found
it more difficult

for a married couple
to get bookings.

I see.

Well, the night doesn't seem
quite as wonderful as it was.

Hmm, I'm sorry.

- Forget what I said.
- It's forgotten.

'Hold it, please.'

Don't move.

We got you!

Listen fellas,
you're making a mistake.

- Good night, Mr. Bryant.
- But Mary.

[crowd cheering]

♪ I know what to please him ♪

♪ A bottle of wine
to make him shine ♪

♪ Mary Hale to squeeze him ♪

[crowd teasing]

♪ No time to argue
when love comes along ♪

♪ Time changes everything ♪

♪ Time changes love ♪

♪ Time changes everything ♪

♪ Changes everything ♪

♪ Oh, high-high-high-ho,
the merry-oh ♪

♪ High low, high
and down we go ♪

One more number, you might
as well give her the whole show.

Oh-ho, yes.
She's-she's..

♪ I'm flying higher
and higher ♪

♪ Higher ♪

♪ High ♪

♪ Higher, higher,
higher, higher ♪

♪ Higher than the skies ♪

♪ High, flying, flying ♪

[ballroom dance music]

Hey, Bachspiegal.

Haven't we had enough
of that oompah music?

I got a radio program
I'd like to listen to.

Yeah, Mr. Woods.
Right away.

That will do boys,
have your dinner now.

(male radio voiceover)
'By a major combine to flood
the country with propaganda'

'about a recently invented
patent drink.'

'This new thirst quencher
will be known as Glug.'

'However, Rogers,
in an exclusive interview'

'stated that he had not
signed the contract.'

'Flash! It's twins
at the Steven Archers.'

'Flash! This office
has definite information'

'that the Johnson kidnappers
will be caught in 24 hours.'

'Flash! One rising young singer
in Cornelius Collier's new sho''

'is holding hands
with one rich Englishman.'

'Maybe, that's the reason
she's rising, eh?'

'At any rate,
they're on fire.'

'Flash! Further information
has just reached this office'

'to the effect that..'

Hey, you! I was listening
to that. Lay off of it!

Hey! That commentator
is a friend of mine.

You oughta choose
your friends more carefully.

- What's that?
- You heard me!

What's with you?

Firstly, he's a rat,
and secondly, he's a liar.

Jimmy!

[commotion]

You're really
looking for a fight!

Come on. Come on.

Please, Mr. Woods.
I'll take care of this.

Look here, you--

It's alright, Mr. Bachspiegal,
I resign.

Wait a minute. Mr. Bachspiegal,
don't fire Jimmy.

It'll make him feel bad.

Include yourself
out of this, Herman.

Get up and play
some music. Otto!

Mr. Bachspiegal,
I warn you.

If you fire Jimmy,
I quit too.

Okay. Thank you.
Auf wiedersehen!

Ladies and gentlemen,
please excuse. Music.

I'm sorry, Herman.

I'm certainly great luck
to my partners.

Don't be sorry,
we'll get another job.

Oh, sure, we will
get another job.

What I'm sorry about is that I'm
such a heel from the ground up.

Five words on the radio,
and I start a fight.

For what?
Because I'm afraid, I guess.

But what are
you afraid of?

Things I don't believe.

Well, don't believe them, then.
Stop fighting about nothing.

Holding hands...on fire!

All, lot of lies!

Of course, they are.
Why do you worry yourself?

When a fellow's standing still,
getting nowhere in a hurry

someone he loves
starts going up

starts belonging
to the world, then

then every headline becomes
the handwriting on the wall.

Wall? What wall?
Where?

All the walls.
All over town.

Ah! Mary don't belong
to the world.

She belongs to you
and always will.

Listen to me. What you've gotta
do is stop inventing trouble.

Meet Mary at the train Friday,
step right up to her--

I know, with a smile that big
and a bouquet...that big.

(Bill)
C'mon, Mary. C'mon over
here, dear.

Mary Hale, the gentlemen of
the press. Go to work, Mary.

Mr. Bryant and Mr. Collier.
Mr. Bryant, Mr. Collier.

- Do you mind?
- Thank you.

- Scram, will you?
- Yeah.

Mind if I get another one
with Ms. Hale alone? Thank you.

- Jimmy!
- I'll introduce you to her.

- Jimmy.
- 'Who's that mug?'

That's her brother.
Just out of hospital.

- Glad to see you.
- Here, I brought a bunch--

- Oh, violets. How sweet.
- I wish they were emeralds.

(male #3)
'Here they are, sir.'

(Mary)
Did you miss me
while I was gone?

Mr. Bryant?
Excuse me, please.

Let me take them with this
picture. It's much prettier.

Sorry, old-timer. Hold these,
will you? Go ahead.

(reporter #1)
Big smile now.

Mr. Madison
of the Morning Star, Ms. Hale.

- How do you do?
- How do you do?

Talk while you're going
up the platform.

Come along.
A lotta fitting to do.

(Jimmy)
'Yes, I'm coming.'

(Bill)
'Say, get Mr. Collier's
and Mr. Bryant's car, will you''

Well, thanks, Ms. Hale.
Thanks, Bill.

Thanks Danny.
Seeya at the hotel.

- Let me have those.
- And my bags, Bill?

- I'll send them up with Kitty.
- Well, where's my car, Bill?

Grab yourself a taxi.
The joint's full of them.

- Who might Kitty be?
- Oh, my maid, if you please.

Well, Ms. Bernhardt.

If all negotiations are
finished, shall we call a cab?

- Sure.
- Taxi.

Wait. You won't need a taxi.
I've got my car. I'll drop you.

Oh, I-I-I'm afraid we're not
going your way.

Oh, Yes. My apartment's near
Winchester. Come along. Here.

- Winchester?
- Yes, darling.

Mr. Collier got me
an apartment just for today.

I've got fittings,
and appointments.

(Jimmy)
But Mrs. Olsen and everybody..

(manager)
Uh, take them over there.

[romantic music]

(Mary)
Oh, right on the button.

- Darling.
- Oh.

I hope you'll find everything
quite satisfactory.

- Quite. Thank you.
- Thank you.

And if there's anything
you require

anything at all,
please call on us.

Thank you. I'll let you
be the first to know.

Oh, darling.
I've so much to tell you.

I know. I have...wait a minute.
Come on.

Now.

- There, comfortable?
- Mm, hm-m.

Alright, shoot.
What have you got to tell me?

Well, first...how are you?

Well, at the moment lamb chop,
I'm the healthiest man alive.

Which is remarkable,
considering..

Considering what?

...considering that for the past
5 weeks I've been dead.

Science was astounded
when I came back to life.

Well, you haven't proved
it to me yet.

- No?
- Um-m-m.

Whoops, huh, sorry.
Maybe, I should've knocked.

Oh, no, I'm sorry. I should
have known you'd come in.

Don't be that way.
Where'll it get you in the end?

I'm the advanced guard
for Ms. Hale's fitter

hairdresser, masseuse, and what
have you? Come on in, girls.

- Where do they go, honey?
- Oh, the bedroom's due South.

Don't get lost
in the hall of mirrors.

Ha! Okay, sweetheart.
Let's go, girls.

Oh, here are those 6 tickets
you ordered for tonight.

Oh, thanks.

Hurry. Gotta get 2-3 hours
before the opening.

Here, the tickets
for the opening tonight.

Will you give them
to Mrs. Olsen and gang?

What you mean?
You're not coming home?

I won't be able to, now.
But tonight after the show--

The gang will be disappointed.
They planned a swell welcome.

By the way, Mr. Bryant said to
be sure and use the masseuse.

Said a good rub'll setya up
for the performance.

That was thoughtful of Larry.

He's been wonderful to me.
Don't you think he's nice?

- Must be if you like him.
- Been telling about your music.

He's awfully anxious
to hear it.

Oh. Oh, wait a minute.

- Here.
- Oh, man.

Well, go on, go on.
Open it.

[romantic music]

Oh, a cigarette case.

Just to remind you,
you know.

Oh, sure.

- Do you like it?
- Oh.

Go on.
Look inside.

Okay.

What's this?

A thousand dollars?

Darling, Italy's just
around the corner.

Yeah.

Jimmy, Jimmy.

Oh, Mary, do you really
still want to go?

Mary, I've got it.
I've got it. I've got it!

Good. Now if you'll just take it
somewhere else we'll be happy.

No levity now. I've got to work
out this idea right away.

Er-r. Where's the piano? Oh.

Do you mind telling me
what's this about?

Why, your Madame Butterfly
number.

Mr. Collier wants an alibi
for grand opera in a review.

So, with my new lyrics,
I'll tell him that the world

is shifting, restless,
ever-changing, and then...boom!

We'll sock him in the puss
with Butterfly.

[clears throat]

[piano music]

Now, for the lead up.

♪ Time is a magic thief ♪

♪ Changes joy to grief ♪

♪ Makes you laugh and weep ♪

Well, well. The musical ape.

For the last time, Bill Foster,
don't you get me sore.

What do you do?
Swing by your tail?

Say Mary,
time's a wasting, honey.

The costumes will never be ready
if you don't hurry.

I know, but Jimmy and I
haven't talked. Come on.

You can talk after the opening.

But we haven't seen
each other for five weeks.

Talk to him through the transom,
while being fitted.

Didn't they teach us Lincoln.
Free the slaves?

- Oh, not at these prices.
- Business comes first.

Ah, hm-m, maybe you're right.

I'll sit and recite
the Ballad of Reading Gaol.

You're gonna recite limericks,
I suppose I've got to compose.

Who?

Room service, please.
Will you have a drink, buddy?

(James)
'No, not until
after the opening.'

Oh, and what an opening
it's gonna be?

Hello? Send up a bottle of
scotch. Huh? Any age.

(Mary)
'Jimmy, are you there?'

Ah, the entertainment committee
is ready and waiting.

Now.

I wonder what it's like
at the Hofbrau?

(James)
'What'd you say Mary?'

I said, "What's it like
at the Hofbrau?"

Oh. Well, I...I meant
to tell you about that.

I-I'm afraid I have
a confession to make.

Kitty, bring those
pink shoes over, please.

- Yes, Ms. Hale.
- I didn't quite hear you, dear.

Well, it's a personal matter,
darling. I-I can't broadcast it.

Oh, they broadcast now?
Oh, that's wonderful!

It must be
a big restaurant by now.

Yes. It seats 85,000 people.

They have waiters
on roller skates.

Can you get that
better under there?

Oh, I hope you made them pay you
more money for broadcasting.

Well, and, you don't understand.
There's so..

(Mary)
'What did you say, darling?'

I said all Europe sank
underwater but they're keeping

it quiet on account
of the stock market.

- Hello Bill.
- Hello Bryant.

- Know Mr. Gato?
- Yes. Of course. Hi.

- Where's Mary?
- Inside there.

- Come along, Mr. Gato.
- Oh, put that over there.

Pardon me.
Guarding the portal?

No. I wasn't, as a matter
of fact. Should I be?

No, I don't think so.

[knocking on door]

(Mary)
'Who is it?'

It's I, me, Larry.
Mr. Gato.

(Bill)
Want a drink,
Mr. Bryant?

- No, thanks. Bit early for me.
- Come right in, Mr. Bryant.

Thanks. Come along, Mr. Gato.

He doesn't know,
but he's paying for this.

[humming]

- Sure you won't join me?
- What's that?

- You know, a drink, stimulant.
- Yes, I think I will.

Good. I hate to drink alone.
Say when?

When? Sorry to take your line
buddy, but you missed your cue.

Don't drown it.

Oh, neat, huh?
Here you are.

To good health.

Don't look, there's a hard
drinker in the house, buddy.

And I think it's you.

Well, they are beautiful, but--

Just for tonight, dear. Consider
them part of your costume.

I don't know--

You're the star now, Mary.
We want you to dress like one.

(Larry)
'I-It's good advertising.'

Well, well, is it the
usual thing? I mean--

Mademoiselle, this is how I sell
most of my merchandise.

Mr. Gato is no philanthropist.
You ought to get a commission.

Well, I suppose
if it's the customary thing.

- I like the idea, alright.
- Um-hm-m.

- Let me show Jimmy, huh?
- Yeah.

Surprise, surprise! Look!
Want to see something pretty?

That's what's called
dressing the part.

Quick, my sunglasses.

Look! You think
Mrs. Olsen will recognize me?

- Probably not.
- Yes, he's in here, come in.

That's Lawrence Bryant.
Right over there.

- You Lawrence Bryant?
- Yes.

Well, greetings from the people
of New York.

Shall I crack him, boss?

You say yes, you'll be
a long time paying off.

I've no desire
to see you cracked.

I'm just sorry you're
in dirty business.

Same to you brother.

Well, Miss Ingalls,
is there anything else?

That's all.
Just that little paper.

Just a ruined career.

Plus 20 years of hard work
in the gutter. That's all.

I'm sure it can't be
that serious?

(Ingalls)
'You know how hard it is
to get a job'

'after been thrown
out of a show?'

Sure, it can't be
as serious as all that.

Only thing serious to you,
and that's--

Why don't you save that
for the newspapers, La Belle?

Don't worry about newspapers.
I have plenty for them.

A fine, first rate, A1 scandal.

Have Larry Bryant and Mary Hail
on every headline in town.

- Now, see here--
- Let me handle this, Seymour.

Look here, Miss Ingalls,
this is just pure blackmail.

- Don't you think?
- Call it anything you like.

You labeled me a flop so you
could make a star out of--

Watch yourself.

Oh, Miss Ingalls,
you-you're all wrong about this.

- Terribly wrong, honestly.
- Ha, ha. Wrong, am I?

Then suppose you tell us
what went on in Atlantic City

in Mr. Bryant's apartment
every morning until 4'o clock.

Listen, why don't you get out?
You've talked enough.

You couldn't pay me to stay.

Well, see you
in the newspapers.

Oh, how can she say
things like that?

Can't we do something
to stop her?

I am afraid not, my dear.

Oh, Mary don't be silly.
Why, it doesn't mean a thing.

She'll be laughed out
of the court.

The whole thing shouldn't
bother you that much.

Bothers me, Bryant.

You're not going to get
melodramatic too?

Take your arm away.

- Jimmy.
- Stay out of this, Mary.

- I deserve an explanation.
- Jimmy, what do you mean?

I can give you an explanation,
that woman's crazy

with jealousy and frustration,
that's all there is to it.

If you pay any attention to her,
you're descending to her class.

Take that jewelry, off.

Oh, stop it Jimmy.
You don't understand.

- Seymour, you're drunk.
- What of it?

Go home and sleep it off?

- Here.
- You sleep it off.

- Oh, Jimmy. You fool.
- Take a good swing.

I could explain
this whole thing, Jimmy.

- What's the matter with you?
- I'm gettin' out of here now.

- Jimmy, where are you going?
- To China.

- Jimmy!
- Mary. Mary, I've got it, oh!

I've got it, Mary.
I've got it.

I've got it, listen.

♪ Life changes everything ♪

♪ As the years
go marching along ♪

♪ Changes fashions in clothes ♪

♪ Changes the music
in musical shows ♪

♪ Once the public
wanted simple things ♪

♪ Now, they're aiming high ♪

♪ Time marches on ♪

♪ And the pendulum swings ♪

♪ From the minstrel show ♪

♪ To the music hall ♪

♪ To variety
and the big review ♪

♪ Which is
acrobatic and dramatic ♪

♪ Even going operatic ♪

[Mary Hale singing in Italian]

[song continues]

[applause]

Well, you can't blame Jimmy
for forgettin' about us.

No, my first husband, Eric,
was the same when he was upset.

Just like, Jimmy. First he'd
get drunk then jealous.

And then he'd kick the daylights
out of some poor devil.

My poor dead Yan
was terrible too.

When he'd been drinking.
Always filling up the bed

with talcum powder and making
believe we was in a sandstorm.

No, no, no.

[doorbell rings]

That must be, Mary.
I'll open the door.

Now, please don't say,
anything to upset her.

- Mary, my liebchen.
- Hello, Herman. Is Jimmy here?

Well, why weren't you all
at the theater tonight?

But, Jimmy only got here
10 minutes ago.

- Ten minutes?
- Yes.

- Where is he?
- He is upstairs packing.

- Packing?
- Yes.

But Mary, he's not himself.

Aren't you
going to speak to me, Jimmy?

Yeah, just get out of here
and leave me alone.

Well now, I can explain
this silly mess.

We won't discuss it.

There's no need
to act like this.

There's every need.

I'm going
to make a little speech, Jimmy.

Will you listen to me?

When I was a little girl,
I saw a play called "Peter Pan".

At the end of the play,
Peter pan asked the audience

to believe in someone.

He said, if they didn't believe
he'd die, so.

I believed with
all my might and he lived.

Where's my blue sweater?

I've always
remembered that.

Well, it's that way
when you're in love.

If you believe in someone.
Your love lives.

And you've got it always.
If you don't believe

you've got...nothing.

I believe in you Jimmy.
Won't you believe in me?

No. I believe,
what I heard and saw.

I heard, Ingalls.
And I saw, Bryant.

- And seeing's believing.
- Oh, no. It isn't.

You see what you want
to believe. Believing is seeing.

Oh, Jimmy,
don't you understand that?

This is what I understand.
You've changed.

You're not my wife anymore.

You've turned into an
electric sign gone up in flames.

You've become
a public spectacle.

Other people
own you now. Not me.

Collier owns you, the audiences,
the autograph hunters

the gossip writers, they own
you. Larry Bryant owns you.

Jimmy, you're drunk. You don't
know what you're saying.

Sure, I'm drunk.

When the drink goes in the truth
comes out. How'd you like it?

It's funny.

There isn't a rotten thing
you haven't said to me.

But I don't care.
I forgive you.

Oh! Don't leave me,
Jimmy.

You wouldn't want me.

Not with
what I think of you now.

Alright, you win.

If that's what you want to think
you can live with it.

- I'm finished.
- 'Okay.'

Let's drink to that.

[tinkling music]

(Jimmy)
'Auld Lang Syne.
That's a laugh.'

Well, here's to it.

This is how it ends.
It's over.

The team, Italy...everything.

Italy, that reminds me.

Here, go to Italy, go anywhere,
take Bryant

and your hush money with you,
you don't have to buy me off.

When you wake up and realize,
how wrong you've been.

Don't bother to apologize.

[door slams shut]

[Jimmy quoting
"Auld Lang Syne"]

"Should old acquaintance"

"Be forgotten?"

I will say it should.

[glass breaking]

[dramatic music]

[music continues]

[music continues]

♪ Zing, zing zizzy, zizzy,
zing, zing boom aye ♪

♪ Lala lala ha ha ha
aye ha aye ♪

[violin shredding]

[violin shredding]

["Jingle Bells" instrumental]

Now, let me see there.
Eight bulbs like this

and some sockets
and tissue paper

and a holly wreath.
Yes eight bulbs..

Here, why don't you look?
Why don't you, why..

Why don't you accept
my apology? I'm very sorry.

[as a lady]
Oh, that's quite alright,
I'm sure.

Well, why don't you look
where you're going you big boob.

I've...oh, now I've
forgotten...oh.

Would you let me see that
list again, dear?

I was trying to remember
something forgot little bit.

I've never seen such a man. He'd
forget his head if he had one.

Isn't that nice? She talks as
though she were married to me.

And that's what I wanted
to remember.

I meant to ask you
to marry me this afternoon

under the piano
with the presents.

Oh, maybe, we'd better do this
shopping so he can propose.

No, no, no, stop while
I've got my mind on it.

I'd really make
a wonderful husband.

There are so many things
the matter with me.

I forget everything
and never do anything right.

You can nag me,
from morning till night.

Now, what more
could a wife ask?

You're witnesses, both of you.
If you back out of this

I'll sue you
for breach of promise.

Do I understand,
that you accept me?

- You bet, I do.
- Ha, ha, ha.

I'm probably making
the biggest mistake of my life.

Merry Christmas.

- Well, well, congratulations.
- Oh, oh, thank you

- Congratulations.
- Thank you. Thank you.

Thank you. Oh, no.

Well, I'll go
and get the things now.

And I'll be right back.

Oh, darling!
You've made me very happy.

It's the eternal circle.

Mary, started
her divorce this morning.

And I get engaged
this evening.

- 'Well, life goes on.'
- Why, Mary?

Oh, yes.
I didn't tell you, did I?

The complaint was filed today.
Holiday gesture from my lawyer.

- Mary.
- Oh, look, look, look, look.

- Oh!
- Come on.

We'd better go rescue Cornelius
before he mislays himself.

Oh, miss, how much
is this pretty little one?

- Oh, well, never mind.
- Take it easy King Kong.

- Did you ever see this before?
- No, what is it?

Oh, yes, of course. Could you
match this for me, please?

Right here, sir.
Ten cents a piece.

(Cornelius)
'Oh, ten cents?'

- Look, it's Mary Hale.
- Yes, sir.

- It is.
- I am going to speak to her.

- You're Mary Hale, ain't ya?
- Yes, I am.

Oh, Miss Hale,
this is a treat.

We never see such famous people
in this store.

Oh, Miss Hale, my aunt Annie,
she works here too.

She thinks you're the most
wonderful person in the world.

- May I call her over?
- Yes, of course you may.

- Alright. Now don't go away.
- I won't.

Miss Hale,
I'll never forget this moment.

Girls, girls, girls.
What's going on here?

- How do you do Miss Hale?
- How do you do?

This is an honor.

And she's as nice
as I thought she'd be.

Oh, aren't you
sweet to say that.

Annie'll be so excited,
she'll almost die.

Oh. Here she comes now.

Look, Annie, it's her.
Mary Hale.

- Miss Hale, this is Annie.
- How do you do, Annie?

- I heard you on the radio.
- Did you like it?

- It was grand.
- Oh, thank you.

Just a minute. I've got
something I'd like to give you.

- Oh.
- A wee bit of heather.

- Oh, how sweet of you.
- It'll bring you luck.

- Thanks.
- You must keep it beside you.

I will. If there's anything I
can do for you I'll be glad to.

- Oh, would you now?
- Hm.

Would you, would you
maybe sing a song?

Oh, please, Miss Hale.

Oh, well, go on, Mary.
This is Christmas Eve.

I'll tell the song plugger to
play something from your show.

Alright. "One Look At You".

What? Oh, that's
the name of the song.

Jimmy, will you play
"One Look At You"

for a very important customer?

Uh-uh, look at the time.

- But, Jimmy, please. It's for--
- Alright, for you I'll do it.

[Mary Hale singing
"One Look At You"]

♪ One look at you ♪

♪ And all the world began ♪

Well, go on.
Don't stop now.

♪ One look at you ♪

♪ And soon I knew ♪

♪ My future had been found ♪

♪ One smile, perhaps ♪

♪ And then a kiss, perhaps ♪

♪ And after this, perhaps ♪

♪ A rendezvous ♪

♪ I'll live each hour ♪

♪ My whole life through ♪

♪ For just one look ♪

♪ At you ♪

[crowd applauding]

Thank you, Miss Hale.
That was very good.

Come on, girls.
Time to go home. Let's go.

[girls rambling]

Merry Christmas.

Bye, Miss Hale.
Goodbye!

Jimmy, you actually played an
accompaniment for Mary Hale.

- Ain't you thrilled?
- Yeah.

- You James Geoffrey Seymour?
- That's right.

Well, brother, you're
talking to Santa-Claus.

I am? What do you want?

- A little present for you.
- Such as?

Just a little notice
that one Mary Seymour

has started a divorce
action against you.

Here you are, bud.

Cheer up, there's just
as good fish in the sea

as ever come out of it.
Merry Christmas.

Merry Christmas.

Mary.

[orchestral rendition of
"The Blue Danube Waltz"]

So, tonight you forget
old Herman, huh?

That's a bad sign. A musician
should never lose his memory.

Tonight you got
a mood, eh, Jimmy?

You're melancholy, right?

Well, it's wonderful.

That's the best thing
in the world for the music.

Leave me alone.

(Herman)
'Sure, I know how you feel.
I leave you alone to compose.'

So chilly in here.

First, I fix the fire
for you, huh?

You see, we need
a little wood in here.

There. That'll build it up.

Now, that'll make
a nice draft.

Now you'll be comfortable.

Well, I'll leave you now.
Good night, Jimmy.

(Jimmy)
'Leave that bottle here.'

Oh, Jimmy.

Sooner than to see you make
such a pig of yourself.

- I would sooner see you dead.
- Me too.

Oh, I didn't mean that.

But to drink yourself
to stupid day after day.

- Why, that's murder.
- What's the difference?

I'll tell you,
what's the difference.

The difference is that you have
here the most marvelous music

that is being written
in the world today.

That music is great.
It's important.

It will make you the
biggest musician alive!

You're a great man, Jimmy.

Great man? Does this look
like a great man, this garret?

Playing an out-of-tune piano
in a cheap five and dime store.

Is that a great man?

I've been living on that
piece of hop long enough.

But no more.
You hear me? I'm cured.

- No more pipe dreams.
- What are you doing?

What I should've done
long before this.

I'll submit this
to the right publisher.

- 'Jimmy!'
- Wait, I've got another one.

- Oh, yes.
- Don't, please!

This'll set the world
on fire, alright.

Jimmy!

[exclaims in pain]

Herman!

Wait. Wait there's more.

Herman, your hand.
You've burned it.

- No, no. It's nothing.
- I'll get something.

Pay no attention to it.

- Here, some butter.
- Oh. No.

- Oh, Herman, I'm so sorry.
- That's alright.

It's alright.
It's nothing.

- Don't mind it.
- There.

Well, does it
hurt very much?

No. Don't hurt
at all, Jimmy.

It's alright,
pay no attention to it.

We make believe
it didn't happen.

I ought to kick myself
around the block.

[exhales deeply]

[sighs]

I've loved her as far back
as I can remember.

There hasn't been a night
when I didn't go to sleep

saying her name.

I know.

(Herman)
I know.

But you still
have your music.

Mary Hale was my music.

This feeling, will it ever
go away, do you suppose?

You don't want it to go away.

You got something that
hurts you. That's important.

That means something.

Well, write it out.

'Put it in notes,
orchestrate it.'

'Make the violins tell it,
and the brasses.'

'You never lost Mary Hale.
You lost yourself.'

You were like a bird
that wouldn't fly.

A fish that wouldn't swim.

A musician that
wouldn't write.

Speaking a woman's name every
night before you go to sleep.

'That's for nobodies,
for weaklings.'

'But you...you gotta sing out
her name, so she'll hear it.'

And no matter where she is

she'll hear her name
in your music.

And then she'll
come back to you.

[frantic piano music]

[frantic piano music continues]

[audience applauding]

[audience cheering]

There's a telegram
for you, Miss Mary.

Telegram? Oh.
See who it's from.

[knock on door]

Hello, darling.
Well, what a night.

And Cornelius is sparing
no expense for the party.

Champagne, guinea hen,
strawberries Romanov.

I said we ought to save it up
for our wedding anniversary.

He said, "No. When a show ran
two years on Broadway

"it was a bigger record
than any marriage."

- Who's the telegram from?
- My divorce lawyer.

Everything alright?

Oh, yes. Everything's
what you might call "perfect".

Divorce granted,
uncontested.

- Uncontested?
- Mm-hmm.

You haven't
heard from him?

No.
Not a word.

(Judy)
'Funny, I'd have thought--'

- So would I. I'd have sworn.
- I've never seen it to fail.

There's always
somebody backstage

feeling like
a tromped-on toad frog

'when they should be
turning handsprings.'

It's tradition.
The merry-go-round of Broadway.

On the way up, you have to throw
overboard everything you love --

Yes. When you get to the top,
you've got nothing left

to hold on to
but a brass ring, hmm?

Oh, well.
What will be, will be.

(Judy)
'Poor Mary.'

Well, never mind.
We'll have fun at the party.

It ought to be
very drunk out tonight.

Cornelius will make
a terrifically long speech.

Don't forget to applaud him.

[slow waltz music]

- Here's your speech, boss.
- Ah, yes, thank you.

Well, everything seems
to be going beautifully.

(Bill)
'Hold it a minute, boys''

Your attention,
Ladies and Gentlemen.

I'm sorry to interrupt
the proceedings.

But you've been wined, dined
and now you must pay for it.

You're about to hear a speech.

'I take great pleasure
in introducing to you'

'your bread and butter. The man
who controls the jackpot..'

None other than that
golden throated orator

Cornelius Collier, Jr.

[applause]

Ladies and Gentlemen,
uh, as Voltaire once said

"The suffering of life
is the joy of art."

(Cornelius)
'Well, that maybe
all very true.'

But, personally, I don't
uh, care whether..

Ah! The deuce with it.

Ah, folks, I-I'd like to propose
a toast to the little lady

who for two years, has danced
and sung and acted

her way further and further
up the road of success

taking us all with her.

I-I feel, we owe her
a great big kiss

which I, hereby, delegate
Larry Bryant, to give her.

Ladies and Gentlemen,
to Mary Hale.

(all)
Mary Hale!

[all singing]

Get set, Mary.
Here comes the delegation.

I'm pleased to
meet you, sir.

You can't live with the ghost
of the past all your life.

I'm gonna ask you
just once more.

You know I love you. I've waited
for all your troubles to end.

Well, Mary--

(everyone)
'Speech, Mary! Please.'

You better come to the point,
Larry. I have to make a speech.

Will you marry me?
Will you be my wife?

[guests applauding]

I'd like to take this
opportunity to thank you all

for being so wonderful.

So...so kind to me.

[applause]

And now, I have a announcement
I'd like to make.

Er, I'll be going into
another production immediately.

What? You--

It's to be called
"Till death us do apart."

But, Mary. That isn't fair.
You're under my management now!

This will be a very serious
type of drama, Mr. Collier.

What Mary means to tell is that,
she's agreed to marry me.

From now on, the theatre
will have to do

without the services
of Mrs. Larry Bryant.

That announcement is going
to cost me a million dollars.

[all laugh]

- Congratulations, Mary!
- Congratulations.

[whistling and piano music]

If you're delivering something,
leave it on the table.

If not, please read the sign.

Sign?

[piano music continues]

What's the..

Herman, why aren't you at work?

Has something happened to you?

- Not me, you.
- Me?

For heaven's sake,
what's wrong?

Take it easy.
Compose yourself.

Listen, stop fooling me.
Something's happened to Mary.

I don't know what's
the matter with me.

When bad happens, I laugh.
When good happens, I cry.

I guess I got my wires
crossed at someplace.

- Something good has happened?
- Yes.

Then, stop crying
and tell me.

Yes, sit down here.
I'll tell you.

Now, brace yourself.

Jimmy, my boy,
you're the new Johan Strauss.

Plus Bach, plus Richard Wagner,
plus, plus..

I am what?

Your new rhapsody.
It's sold!

Take it easy. I don't want
anything to happen to you now.

Henry Bartow,
is going to produce it

here's the contracts,
ready for you to sign.

And now I have the privilege

of being the very first one
to say it you

"Jimmy Seymour,
you're a success."

It's not a forgery?

Forgery? It's as good as
the Declaration Of Independence.

Well, is that anything
to cry about?

You know what this means to me.

I've got my nose out of the mud
after all that work and waiting.

Is that anything
to cry about?

It's more than
human nature can stand.

The picture of you
being successful

with the woman you love,
in your arms again.

Able to look her in the eye
and say, "I love you.

And what's more,
I'm no longer a washout!"

Stop crying, will you?

How can I talk to you
when you cry like that?

I'm not crying.

Oh, Herman,
I love you!

I'm going to buy you
a solid gold cello

with a bow made of, uh,
eagle whiskers!

Oh, are you going to be rich!

Like, Tchaikowski.

And all from
little notes of music.

Three percent of the gross?

[Herman plays piano]

Three percent of the gross!

♪ And five percent
above 25,000 ♪

♪ And seven percent
above 30 ♪

♪ Don't forget
ten percent of recording ♪

♪ And 50 percent
of the radio rights ♪

♪ And 50 percent
of the radio rights ♪

- ♪ Movie rights ♪
- ♪ Foreign rights ♪

- ♪ Scandinavian rights ♪
- ♪ Phonograph records ♪

Television.
I'm rich, Mary, I'm rich.

♪ There's the Scandinavian
rights ♪

♪ Don't forget the Siamese ♪

♪ And there's always
Television ♪

♪ We will roll,
roll, roll in royalty ♪

[both laughing]

- Is this for stateroom, dear?
- Mm-hmm.

[gasps]
The bath salts.
Where's me head?

I'm that flustered,
you'd think it was me

going all the way
to England to be married.

Don't forget a raincoat.
They say it never stops raining.

Still trying to
discourage me?

You'll know when
you'll do nothing

but drink tea
for a couple of years.

Might as well give up.

I'll tell Cornelius,
you did your best.

Okay, I just hope
you don't regret it.

If that's a wedding blessing,
I wouldn't want more, thank you.

Oh, Kitty, uh

bury this in the bottom
of the trunk, will you?

- One of those going to storage.
- Yes, Ma'am.

You must feel pretty blue,
giving up the stage

and all the glamour
and fun that goes with it.

Oh, Judy, I won't miss
giving up the stage

any more than I'd miss
driving a truck down Broadway.

It's just that expressions get
mixed up at a second wedding.

On the third,
you'll wear a dead pan.

Should've seen my third trip.

I looked like
the Great Stone Face.

Now, stop depressing her,
Miss Judy.

We, who are about to wed,
salute you.

Ah, don't pay her
any attention, Miss Mary.

And put a smile on your face
like a bride should.

How's that?

The perfect smile
to be married in.

'It's such a perfect smile,
I'd like to wear it myself.'

- May I try it on?
- Hello.

I had a cable from home.
They redecorated the chapel

for the wedding. They're
getting excited about it.

How nice.
Are you ready to go?

No. Not yet. I gotta see
the income tax man.

Seems I have to buy them a new
post office before I leave.

With your income,
it ought to be a battleship.

Now, is that
a friendly remark?

Get out of here,
you prima-donna snatcher.

I want to talk her
out of it.

- Where's your sense of romance?
- In my foot.

You know where that'll be
if you don't get out.

Let's have the wedding
before we sail.

On the way to the boat,
jam up traffic?

What's a traffic jam?
I'll be back in a jiffy.

Goodbye, you.

Oh, hi-ho.

Well, Mr. Bryant, how are you?
I'm glad to see you.

Nice weather, isn't it?

Fine. Yes, thanks.
It is.

I love October.
It's a wonderful month.

[both singing]
♪ All my days, I'll sing the
praise of brown October ale ♪

- You know Herman, Larry Bryant.
- How do you do?

Well, nice to have
seen you again, Mr. Bryant.

- Say, I hit you, didn't I?
- Oh..

Oh, that was
a terrible thing to do.

Well, youth, youth.
Have to forgive me.

Oh, sure. I've forgotten it.

If it'll make you feel better,
hit me back, will you?

Oh, no. I wouldn't
dream of it!

Okay, then. Friends again, huh?
Thanks a lot.

- Come on, Herman.
- Goodbye.

Going down, sir?

Yes. Yes, I guess
it'll be alright.

[doorbell buzzes]

That must be Cornelius,
with some arguments.

You'd better see him
get it over with.

- I'll finish tagging things.
- Alright.

Alright.

Jimmy.

Hello, Mary.

Hello, Herman.

Mary, he's done it.
He's a success.

He's not what he looks like.
He's a success.

It was a downhill climb,
but now he's at the bottom.

I mean uphill, he's at
the top. In the clear.

Well, you two have
your conversation.

I go home and wait
for both of you. Goodbye.

I guess I must've been crazy
to come rushing in like this

'but that's all I've been
planning for a year.'

I've been sitting, writing.

You know, I got started
on some music.

I didn't want to see you
until I'd finished it.

To hold my head up
and tell you I wasn't a flop.

That I wasn't somebody
holding onto your petticoats

or riding along
on your prestige.

Well, now they're going
to produce my work.

'Sounds pretty silly, but'

it's been terribly
important for a long time.

That's why I couldn't see
you or ask you to forgive me

or tell you anything.

But, Jimmy.
How was I to know that you

it's been two whole years.

Well, you've been
on my mind so much, I..

It seems like yesterday
that we had--

Two whole years!

But I've made good now, Mary.

That's all over. That

that inferiority complex
that made me jealous and stupid.

I have that buried now.

Buried under a million notes.

All of them going to be sung.

Won't you forgive me, Mary?

Oh, Jimmy.

Why did you have to
come back now

when I'd almost
forgotten you?

Do I have to go
through it all again?

That whole heart-aching business
of forgetting you again?

Well, I won't.

I've waited for you long enough,
Jimmy. I gave you every chance.

I-I have a different
life to lead, now.

- Mary--
- Go away, Jimmy.

Forget me like I forgot you.
But go away.

Oh, Mary, stop
fooling yourself!

You know you never
could lie to me.

I remember you.

You always bite your lip,
when you're lying.

You know that there's only
one life for you and me

and that's together.

No, no, Jimmy.
You're too late.

Much, much too late!

Too late?
But, why? Why?

Because, at exactly 4 o' clock.

I'm leaving for England,
to be married.

Oh. Oh, I'm sorry.
I didn't know.

I guess, that's what I get for
not reading the society columns.

[melancholy orchestral music]

[door-bell buzzes]

- Is, Miss Hale in?
- Yes, sir.

Oh, Mary.

Thank heaven, I'm in time.

You have to cancel
your trip, Mary. You can't go.

I've just bought an astounding
piece of music for you.

Got it from Henry Bartow.
Gave twice what he paid for it.

He...what's the matter?
Here, stop that.

I don't pay you
to break my cigars.

Sorry, Chief,
but there's your composer.

Who? Oh! Oh, hello.

You're James Seymour,
aren't you?

- I'm afraid, so.
- Well, this is a coincidence.

I'm going to produce your music.
It's marvelous.

Glad you like it.

It's tailor-made for Mary.
Wait till you hear it, Mary.

Please, not now, Cornelius.

But now or never.
Come on, Gene. Get busy.

- Yes, Sir.
- Yeah, let's go.

- We try it from the beginning?
- Yeah. What say, boss?

No, no. Just the theme.

Wait, you've gotta help me
persuade her to stay.

I need your support.

- Hmm, that's a laugh.
- What?

Oh, nothing.

Goodbye, Mary.
Lots of happiness.

Goodbye, Jimmy.

[piano music]

Uh, but just a minute.
We've got to discuss.

- You're not going?
- Yes.

But I never thought I was
writing my own exit music.

But, you..Oh, but..

What is it?
It's beautiful.

Beautiful?
It's magnificent.

And the idea behind
it is marvelous.

What a climax!
The birth of a melody.

Starting with a shepherd
on a hill, and evoluting

right down
through the centuries.

I'm gonna treat the whole
thing impressionistically

with symbols and movement.
It's never been done before.

Oh, Mary, at the climax
you come on.

The spirit of pure melody,
lovely and radiant.

Please. I don't care
how marvelous it is.

I'm not going
to listen to it.

Ah, well. Uh, Gene!
Wait, uh

just play that climax
for her. Yes.

Listen, I don't want to hear it,
I'm through. Definitely through.

[piano music]

Alright. Then we won't
produce the show.

What?

I don't know any other
girl that can sing it.

- Oh, but you told Jimmy--
- Yes, I know I told him.

And I-I'll produce it sometime.

But for now, I'm gonna put it
on the shelf and look around.

Put it on the shelf?

You go ahead and
catch your ship, honey.

- This isn't your worry.
- Sure, what's the difference.

'One show more or less.'

- I can't do this to Jimmy.
- I understand how that is.

'But, you see without you,
my hands are tied.'

Alright, I'll stay.
I'll postpone the wedding.

Only, how am I going
to explain it to Larry?

Well, don't worry.
I'll tell him or Bill will.

Better yet,
we'll let Judy tell him.

- What?
- That's the best idea.

- Larry wouldn't hit a woman.
- That's what I was counting on.

[broadway music playing]

For the last act, take your
places, please. Two minutes.

Two minutes. Take your places
for the last act.

Drop that short line,
just a trifle.

Places. Places.
Last act.

Take 'em out.
Hurry up, take 'em out.

Last act! Hurry up.

And be careful
with those masks.

- It's going great, Fred.
- Fine, yeah. Hurry.

It's nearly time to ring up.

It's alright.
It's alright.

Mary, I can't locate him.

I phoned his home,
hotels, bars, everywhere.

Jimmy. I wanted you
to be here tonight

more than I've
wanted anything.

Don't worry, Miss Mary.

Mr. Herman's out
looking for him.

- He'll find him.
- Well, it's beyond me.

I could understand his not
being here for rehearsals.

But how can a man stay away
on his own opening night?

Hello, hello, hello,
me Irish biddy.

- And how are you today?
- Fine, Sir.

- Have a potato chip?
- No, thank you, Sir.

Interesting American habit,
potato chips.

Gastronomic-solitaire.

Well! Hello Judy.

Potato chip?

No, thanks,
I'll have my bag instead.

Oh, you'll have..

Hey, what's this? Tears?

Idle tears in the midst
of a triumph.

Why do you cry?

I'm not crying...see?

[chuckles]

You know, you've been
wearing that for quite a while.

I don't know what you mean.

I mean I've listened
to two acts

and you've been
a great disappointment to me.

- What?
- Yeah.

- I never heard you sing better.
- Larry, you've been drinking.

Drinking? I'm soused.
Soused and selfish.

I wanted this show to flop.

The longer it runs,
the longer I wait.

I even hoped that
you'd sing badly

on purpose, of course.

- What are you driving at?
- Well, I figured that tonight

you'd either sing badly for
my sake or sing well for his.

I only know one way to sing.

Of course you do.

And you only know
one way to love.

And that's with
your whole heart.

- And that's why..
- Why, what?

That's why I wanted you.
That's why I couldn't get you.

[knock on door]

(boy #1)
'Miss Hale! Miss Hale!
They're holding the curtain.'

Mary. Mary, they're
waiting for you.

Yes, they're waiting for you.

Yes.

I knew you'd go through with it.
You're a real thoroughbred.

Thank you.

(Herman)
'Mary, I found him.
Here he is!'

He was up in the balcony.
I mean, the peanut gallery.

- Oh, hello, Bryant.
- Hello, come on, we must go.

Oh, just a minute.

I have some unfinished business
with you, Seymour.

Can it wait?
I'd like to hear the last act.

Oh, observe. A reservation
for the best bridal suite

on the Laconia
but I'm using it tonight.

A bridal suite for one.

Where are you going?

To eat worms in London.

You're leaving Mary?

All in good time. Do you
remember making me an offer?

- No.
- Well, I do.

I come from
a long line of elephants

I'm going to take advantage
of the gracious offer right now.

Now we're even.

Sorry, I can't stay for the show
or I might miss the boat.

Oh, well. Gee, thanks.
Thanks a lot.

Oh, by the way, Seymour.

If you ever meet
the chap who said

"It's better to have
loved and lost

than never to have
loved at all," tell him

I'd like to rub it in his hair,
will you? Goodbye.

[orchestra music]

[Mary singing opera]

A-ah..

[singing in a continuous
high pitch tone]

♪ None ♪

♪ But the lonely heart ♪

♪ Can know my sadness ♪

♪ Alone from joy and sadness ♪

[flute melody]

saxophone melody]

[cello melody]

[brass melody]

[chimes solo]

[percussion]

[in chorus]
♪ Lonely heart ♪

♪ Lonely heart ♪

♪ None but the lonely heart ♪

♪ Can know my sorrow ♪

[brass playing swing]

♪ Lonely heart ♪

♪ Lonely heart ♪

[scat chorus]

[accapella chorus]
♪ Alone and parted
far from joy ♪

[scat chorus]

[accapella chorus]
♪ Heaven's boundless
arch we see ♪

[scat chorus]

♪ Lonely heart ♪

♪ Lonely heart ♪

♪ To who one loves you ♪

[accapella chorus]

[high pitch vocalizatition]
♪ Ah-h-h ♪

♪ For every lonely heart ♪

♪ There's a heart ♪

♪ That must be lonely ♪

♪ So I'm singing only ♪

♪ To a heart that
beats for me ♪

♪ For every breeze that blows ♪

♪ There's a rose ♪

♪ For every star on high ♪

♪ A tender sigh ♪

[women in chorus]
♪ So my heart be gay ♪

♪ Someone will be saying ♪

[women in chorus]
♪ Lonely ♪

♪ Lonely heart ♪

♪ Although your
tears may start ♪

Jimmy.

♪ Although we are far apart ♪

[Mary with the ensemble]
♪ My song will find you ♪

♪ Lonely ♪

♪ Heart ♪

♪ Ah-h ♪