MUSIC: Theme from New York, New York by John Kander
CHATTER AND CHEERING
MAN: God bless America! We made it back!
BIG BAND MUSIC PLAYS
ANNOUNCER: Times Square, believe me, is wall-to-wall people.
Human beings, 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,
right in the middle of this chaos.
I talked with boys from Arkansas; Colorado;
Seattle, Washington;
Los Angeles; Aberdeen, Washington.
Looking around Times Square, people are deliriously happy.
They're holding up newspapers with huge eight-ten-inch headlines.
"VJ Day," it says. "War's end. It's over."
They're hugging and kissing each other, shouting words and cheering,
and still paper by the ton
keeps flowing out of the windows high, high above them.
BAND: Pennsylvania 6-5,000!
The USO shows too.
Our hats are off to all those in show business
who travelled the world, entertaining our men and women
overseas and here at home.
Times Square is happy, New York is happy,
the United States is happy,
and the world is at peace.
BIG BAND DOWN-TEMPO MUSIC PLAYS
UP-TEMPO MUSIC KICKS IN AUDIENCE CHEERS
Tommy, I know all America wants to thank you and your
wonderful organisation for all the great war-bond drives that
you put on and for giving up your time and talent for
that wonderful radio show, the Treasury Star Parade.
TOMMY: Thank you. It's been a pleasure doing our musical bit...
Well, we all loved it.
Swinging band, huh? Yeah.
Swinging band, man. Really jumps.
You here by yourself?
No. Aw! Who are you here with?
My boyfriend. Oh!
Listen, I want to get in touch with you anyway, you know?
Hey. Just let me take a minute of your time.
I know you from someplace.
We met a few years ago at a party or a dance, I can't remember.
We had a long conversation. We really liked each other.
The problem is I want to see you again.
My mother and father are down there, my brother and sister...
MAN: Jimmy! Jimmy! Hey! Jimmy!
Catch you later, right?
Hey, where have you been?
Where's your uniform?
Threw it out the goddamn window! Hey! Look at those!
Did you jump some Hawaiian or what?
Jumped some Hawaiian, man? I won these in a card game.
This guy had three deuces.
Little did the sucker know that I had three threes.
Oh! Three threes? Three threes? Yes! Three threes? Three threes!
Card game, huh? Card game.
Jackpot! Oh! Jackpot! Jackpot!
Hey! Glad to have you back, boys! Glad to have you back!
I know you from someplace. No.
You don't remember me? No.
You don't remember, we met a few years ago?
Was at a party or a dance. We had a long conversation.
You can't remember that? No.
I just want to explain, first of all, my parents are over there,
my mother and father, my brother and sister,
so I've got to see them because I just was in two years in
the service, so they haven't seen me.
I want to get your phone number so I can tell you tomorrow
about what I was thinking about - something very, very important
I have to talk to you about. No. No what?
No what? No.
No? No. No, no, no, you don't understand. No, no.
Give me your number. You got a pencil or something? No.
All right, I have a photographic memory.
Just give me your number and I'll remember it.
No. Yes. No. Yes!
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 know,
but I'm figuring out another angle.
You can skip it. I've heard every angle here tonight.
Yeah? Oh, yeah.
How about this one? See, that's a swinging...
Swinging band. ..band.
Look, I don't mean to be rude,
really, I don't, but I do have friends and they are coming back.
So why don't you just leave?
Why don't I leave as soon as they come back? Why not now?
Then I'll never get to know you,
what a wonderful, beautiful chick you are.
I'm serious. Even though I'm giving you a line,
I'm serious. I know you know that. I know that.
I mean that from the deepest part of my heart, which is not too deep.
Why don't you just go someplace else and try it again, huh?
All right, I'll...
Pardon me.
Was that fellow in the Hawaiian shirt and the white pants
disturbing you? I know him. I see him around. He's crazy.
He's not crazy, just pushy.
You know what he said about you over there?
What? Nothing.
Stop it!
Look... All right, all right. Enough!
Look, I'm going to get serious.
When I walked int here and I saw you,
I realised 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?
I knew that I wouldn't get anywhere at this table.
NOW I'm impressed.
Well, I guess a little small talk is in order here now.
Can it get any smaller?
Hey, now, look, I can take a hint.
Can you also take a walk?
You want me to leave? Yes!
I'll leave right now. Bye!
You expect me to leave after the way you talked to me just now?
Will you go away?
I don't want to.
I want to stay here and annoy you.
Go away!
Look, let's avoid all this, huh? Let's get down to business.
It's getting a little tiring here.
Give me your phone number and we'll avoid this.
Why don't I NOT give you my phone number and we'll avoid all this?
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.
Oh. That explains everything. Who said I was a gentleman?
Do I look like a gentleman, in this shirt and these pants, to you?
Well...
Even a louse would go away.
Why can't you just give me the phone number?
What am I going to do with it? Call it.
Please.
Look, I give up. I give up.
I'll take a raincheck.
Maybe next war.
What makes you think you'll win the next one?
MAN: Hey, Evans! Friend of yours is calling you.
Remember me? Paul's friend.
Oh.
Troy, right? Arnold.
Arnold! Oh, Arnold, I'm sorry.
Arnold, I'm sorry...
Ray Bolger's show, USO.
Hey, Evans, you should have come with us to London.
We had a great time. Great hijinks.
You're beautiful. Thank you. How's Paul?
He's here. I just saw him a second ago.
He's here? Yeah.
Where? Paul!
Hey, Paul, look who's here! Francine!
Hi, Paul! Remember me?
MOUTHING: 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.
THEY CONTINUE PLAYING LIVELY DANCE TUNE
Francine, I want you to meet my new monkey. This is Eddie Di Maggio.
Di Muzio. Only you don't look like a Di Muzio.
I said it's funny, 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, ladies and gentlemen.
Right after we pause, we're going to switch you to ballroom...
Where have you been? I've been looking all over.
I've been looking all over for you. We're over there.
The guys are waiting for you.
Where are the broads? Over there.
Wait, I've got to ask you a favour.
Are you using your room tonight or what?
Of course I'm using my room tonight.
You want to use the room? Yeah. I want to see what happens.
I fell in love half an hour ago with this chick over there.
I think she's a professional dancer.
She's got some pair of legs. You know what I mean, don't you?
How long are you going to be? Maybe an hour, maybe two, maybe less.
All right. Use the bathroom. OK!
Why didn't you bring them over to the table?
There's only two. Ah. The other two had to go to work.
One for me, one for you. OK. All right?
Wait. Are these the girls? Yeah, why?
These the broads right here? Yeah.
Which one is yours? I got the blonde. You got the blonde.
That means I have the brunette? Right.
Aw, she's a total pain in the ass, man! You know how much time I
just spent trying to make her? I spent 20 minutes
giving her every routine I knew.
It didn't even work. There was nothing. Nothing!
The one over there? Yeah.
The one over there. That one, the WAAC.
What's the matter with you? Maybe the other one will go.
You know how girls are. One goes, the other doesn't. The same story.
You got the good one, I got the bad one.
I don't understand... I'm excited. It's VJ Day, man.
I want to get laid! What's happening here?
Oh, look at her now! Oh-ho-ho...
Look at that. Look how cocky she is.
You know what I'm going to do?
You go over there and tell her I was wounded in action.
Tell her I was wounded in action,
I just got out of the hospital,
and I'm a little shy and a little nervous.
Tell her I'm sensitive.
Lay it on like I'm a war hero.
War hero. OK. Not too heavy. Indirect. OK?
I'll wait over here and then I'll come over. OK.
Lay it on... Hey, lay it on real well, because I want to get her.
Understand? 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 else, about the other thing? Sensitive.
Sensitive. Sensitive. Oh, sensitive.
Oh, right. OK.
Wait, wait. What am I doing? What?
What am I doing? For her, I'm doing all this?
No, I'm going with you. Just introduce me. I'll handle it.
Francine Flannery, over here Jimmy Doyle.
Pleased to meet you. Ellen Evans.
Wrong. I'm Francine Evans, this is Ellen Flannery.
Remember her? You've been dancing with her for the past hour.
Come on, let's go. Mm, he's such an animal.
THEY LAUGH
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.
I was just going to say, if you and I had danced and had some fun,
it might have been a nice time.
I just gave my hotel key to my friend there
because he's found someone he's really hooked on.
That's very generous. Yeah, I thought so.
It seems like you give things away easily, huh?
Did you have something in mind?
For what?
For what you just said before.
You said I give things away easily,
and I said, "Did you have something in mind?"
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, sure.
Bye-bye.
I'll get her.
Eddie, if nothing happened after four hours,
you expect something to happen in the next hour?
I'm going to be there in one hour, man. I won't argue. 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, I'm worried about her.
If it's on a floor that's too high and she gets dizzy, it might be
awful for your hotel.
Naturally. Naturally.
Excuse me. Just a second. Mr Powell?
That's him. Mr Doyle! Mr Powell!
Mr Doyle! Mr Powell! Which one is he?
Mr Doyle. Jimmy Doyle!
I'd like to talk to you for a second, please. Step right over.
There happen to be a problem? This will only take a minute. Sure.
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.
You realise he's calling the manager now?
He's calling the manager, because I'm here under an alias, that's why.
They're upstairs in the room. We're all going to get arrested.
You have to go up there now and warn them.
You'll have to get my suitcase and sax under the bed
because I have an audition now.
I have an audition, and if you mess that up,
I'm going to get even with you.
I don't care how, but I am going to get even with you.
Cos you ruined it. Mr Powell? Get up there right now!
I said, do you mind? I'm having a talk with my sister.
It's a family crisis. Do you mind?
Yes, I do mind. Well, you're going to have to wait a minute,
that's all. Sis... Oh, please, Sis! Now, Mommy's waiting.
When I went home with my leg, she was worried for a few days...
Don't do this. Mr Powell, please.
You've run up quite a bill with us.
You've only been here a week.
Would you mind telling me where you were before that? Where was I?
That's right. Do you mind telling me where YOU were?
Because you know where I was?
I was in Anzio!
ALL GASP
Anzio!
I remember it now!
All right, fine, Mr Powell. Wait, I get carried away. Sorry.
Listen... Five nights at the Commodore, three at the St Regis,
25 minutes at the Plaza, enjoyed room service at each.
In one case, use of the hotel limousine.
Why do you switch hotels so often?
You don't even know what you're talking about.
Fist of all, how could I even sign these checks?
These are your signatures. This is my signature hand,
it doesn't even work. See this?
See that? There's no life in that arm.
I might have it amputated tomorrow,
and you're telling me that I signed these bills? How?
Do I sign with my left hand? I'm right-handed.
How can I sign with my left hand? Look at that signature. Look at it.
Isn't this your sister? She's got to know your signature, sir.
Listen to this, he's telling me I signed this.
Is that my signature? Yes. Look at that.
Come on. That's your sister. She ought to know your signature.
That's not my signature. Yes, it is. It's not... That's his signature.
She's a little crazy. She's wacky. You know, in the WAACs?
Yes. Sister, you've got to go home.
No! 11 West 55th Street.
What? No! I'm not going to do this. Go home, now!
All right! Remember Anzio, on the beach.
No, no. It's this way.
This way. And right away!
And I'll meet you later. Mr Powell...
This is a mistake! This is harassment.
I'm not coming to this hotel.
I'm going to complain to the manager. Where is the manager?
Would you lower your voice, please?
I think you have a lot of nerve.
You see this? When that happens, and you can't explain why?
You want to see my leg. It's all wood. That's terrible.
You can knock it anywhere. You can drive nails through it.
It's the best kind of wood, but still, it's a wooden leg.
You have a cushy job. 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?
I can't even control it.
Ellen! Honey, are you all right? TEARFULLY: I'm just great.
You have any last words? She...
Sorry, did I scare you? No, no.
Good luck. Listen, I've had her for three years on two fronts.
She's had every germ known to man.
Hope you're not one of them, Di Maggio.
It's Di Muzio. Is this Jimmy's case?
What's the matter? Can't you take a joke, for crying out lud?
Well, whatever your name is, take good care of her.
What germs are you talking about? Killers. Killers?!
Hey! This cab...
Excuse me, I need...
HORNS AND WHISTLES BLARE
Forgotten but not gone!
242... Hotel Alcott, please.
Wait, just a second. 2842 Flatbush Avenue, Brooklyn, please.
Do you mind if I take this cab? Well, yes, I do.
But do I have a choice? No, you don't have a choice.
I have an audition. Do you have an audition?
I have an audition.
I'm late for the audition. Why don't you come along?
You have nothing better to do, anyway.
How do you know that? I was thinking of doing my nails.
What's it going to be? Brooklyn, or what?
I just said - it's going to be Brooklyn. 2482 Flatbush Avenue.
2842 Flatbush Avenue.
Same thing!
What did you say about your nails? I said I was thinking of doing them.
Well, why don't you do them?
Oh! Why are you so serious?
SHE CHUCKLES
Come on, loosen up.
Come on. You gave me a hard time last night.
Really a hard time. 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 really enjoying this ride, aren't you?
I'm having a hell of a time.
Well, 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, too!
So, what did you say your name was?
I didn't say.
You didn't say? No.
Would you do me a favour? 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 real sense of humour, kid!
Oh, I can't believe it.
Listen, 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...
HE SMACKS LIPS, SHE SCOFFS
I got it.
Uh-huh. Uh-huh. Got it.
What's the matter? I don't want it.
Are they always in that order? Sure, they're always in that order,
unless...you happen to come across someone who grooves you
and you want to groove with.
Say, you.
And if things work out and you start acting a little more intelligent,
then possibly I'll make number three number one,
number one number three,
and number two...
No, wait.
Wait, now I'm getting confused.
You put it where...
You put it where number three is.
Then, that's... Wait, let me start all over again. Let me get this...
Number three would be number one... Then number two is number three.
Exactly. And when you have that,
you have what you call a major chord.
What's a major chord?
A major chord is when everything in your life works out perfectly,
when you have everything you could ever possibly want. Everything.
You have the woman you want, you have the music you want,
and you have enough money to live comfortably.
And that's a major chord.
Huh.
A-one, two, three, four.
SWINGING JAZZ
MAN: That's enough, Doyle. Hold!
Doyle!
What? I've got a hangover. That's a little loud.
A little loud? What do you mean? You didn't dig those sounds?
I mean, you didn't even let me finish, man.
You didn't even let me finish the chorus.
Jimmy?
Uh, Jimmy, could I talk to you just for a minute?
Excuse me. I'll just be a sec.
Look, you know what's happening?
You're playing terrific... Yeah.
..but I think you should play just a little smoother, like a ballad
or something. Oh, yeah.
I think this guy's got that kind of attitude. Yeah, yeah.
The whole joint screams...
Are you my agent? Want 10%? Huh?
Sit over there. Sit over there.
I said when we came to sit over there.
Now, sit over there. Just rude!
See what you did? Come here! Come here. Come here!
Don't do that in front of everybody. We do this all the time.
Don't touch me. Don't touch me! All right, all right.
I just wanted to say I'm sorry. I just got annoyed with him, you know.
Sometimes I put my foot in my mouth.
How about my foot in it?
How about putting your horn in it?
Well, that's what we're here for. How about giving me a break?
Come here, I want to talk to you. Get a load of this guy, huh?
He wants you to go over there. Come on. Come here. Come here.
Go there, go there, go there. What? Go ahead!
Try and understand my situation, will you?
What I've got is a boy singer and an eight-piece polka orchestra.
You understand?
Try Chevalier. You know any Chevalier?
The guys coming back from France, they like that sound.
Chevalier? Chevalier.
Chevalier? Yeah.
Hey, man, I play that stuff, I kill people, you know?
This isn't 1917. You look a little more hip to me than that.
I'd rather get a job at a post office. Yeah, well, in that case,
Doyle, let's forget it. Let's forget it. That's what I said.
No, that's what I said. No, that's what I said. No, I said forget it.
I said it. I forgot it already.
# If the nightingales Could sing like you
# They'd sing much sweeter Than they do
# Cos 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
# Cos 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
# Cos you brought a new kind of love... #
Can you dance?
Not you. Her. What's the matter with you? 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
# Cos you brought a new kind of love To me
# Oh, you brought a new kind of love To me
SHE SCATS
# New love. #
That's it. We're making a boy-girl act. You start tomorrow night.
Three shows nightly, you're off Sundays.
MUSIC: 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 for tomorrow.
I'll have to go in. It's so late. Stay with me a little while.
No. It's early yet.
No. It's too... I'm getting soaked.
Mm!
Jimmy, look, why don't you just call me tomorrow at noon?
What time? Noon is fine. All right, I'll call you. OK.
OK, I'm going. I'm going now.
Goodnight, Jimmy. OK. I'll call you tomorrow. OK!
Bye! Where to, buddy? Just a minute. I'm looking...
Oh, Miss Evans! Miss Evans! What?
Telephone. It's your agent. He's been calling all night.
You can take it here. Thank you.
Hello?
Tony, it's nice to hear from you. Yes, sir. May I help you?
I'd like to check in. Fine. If you'll just sign the register.
Sure. Do you have any more bags outside? Yes, I do.
I have one in the cab over there,
if you wouldn't mind waking up the bellhop.
I don't want to disturb him, wake him up and send him outside.
I'll just pay the bill also, and put it on this bill.
That'll be fine. Well, we'll wake him in a few minutes.
Yeah, I'm sort of ready to go back to work.
I'd like a little bit of little rest. Mr M Powell...
Excuse me, sir. Hold on a second, Tony.
What are you doing? I'm checking in. Why here? Why not here?
Because I'm going to get blamed when you don't pay the bill,
and you know you're not going to pay the bill! Forget it,
I'm checking in. Will you hold on just for a minute?
Anything else you'd like, sir? Yes, I would.
I'd like some Scotch and some vodka. There's a liquor store around here.
Maybe we can send the bellhop over and get it.
Well... We'll just put that on the bill, OK?
When he wakes up, we'll send him out. OK.
All right, Jimmy. Look.
BELL RINGS
Take this. This'll be enough for a room for tonight.
Just go any place else. It's a lot easier if I just come up and we
start working on the material. I'll sleep in the bathtub, I told you.
No. A lot easier. No. A lot easier.
Please, take this.
It's a lot easier. Just take this, Jimmy.
12 o'clock? Yes. Twe-...
I promise.
All right. Suite 415, sir.
Forget it, I'm not going to take it.
He doesn't even wake up, forget it. I'm not interested.
Sorry you feel that way, sir.
Mm!
BELL CLATTERS
That's a great suit. Oh.
Thank you very much, Miss Evans.
Tony. What do you want?
Right, Frankie Harte, 7:30 tomorrow morning.
No! No!
Jimmy! Jimmy! Jimmy!
UP-TEMPO JAZZ
Beautiful, beautiful.
INDISTINCT CHATTER
Hey, Pops, are you Jimmy Doyle? Want to play the blues? Yeah...
Are you Jimmy Doyle?
No.
You're the sax player, ain't you?
I'm the sax player, but I'm not Jimmy Doyle.
Do you think it's possible that you can communicate
with Jimmy Doyle, the sax player?
It depends on what you want me to communicate.
Well, I have a very important missive for Jimmy Doyle. A what?
A billet-doux.
A billet-doux? Billy who?
RIM-SHOT
Ba-ba-bap-bap-doo!
I'll elucidate. A tender message from a certain female party.
For me? For you. For him? Precisely. Ah.
Take it, Doyle.
It's from Francine. She said she had a wonderful time.
Wait, I'll be right back. Where are you going? I'll be right back.
That girl ain't coming, is she? She'll be here. I'm getting her now.
Ten minutes or you're fired. Who cares? No-one here anyway.
You had your jam session, now you're not coming back!
Hey, man! Hey, can I talk to you for a minute?
Did you read this letter? Of course not.
What do you think I am? Crazy? 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 on anything.
"He's a wonderful cat and he appreciates talent."
Let me see that.
I can't show you the letter, man. It's a personal letter.
But that's what she said.
She also said that she's with Frankie Harte's band,
she's on the road,
and there's a possibility of a spot for me. Is that true?
Possibility.
A possibility?
That's right.
You're an agent?
I reiterate, yes.
If I went down there, would you be my agent? No.
Why not?
I ain't interested. I'm satisfied with the list of clients I got now.
You're making a mistake, but OK, you know. I've made a lot of mistakes.
I'll make another one.
This one's on me.
Where is she?
Why should I tell you where she is,
if she doesn't tell you where she is her letter?
Why do you take the time to come all the way out to Brooklyn
to give me this letter if you don't think she cares enough about me to
let me know where she is?
Or to let you know to let me know where she is?
Doesn't that make sense to you?
It...should, but it don't.
They're in Asheville. Asheville? But don't mention my name, because
if Frankie asks me, I don't even know you, I'll say
I've never even met you. I don't know you.
Where is Asheville?
Where God lost his shoes.
Where God lost his shoes. That's a good answer. Thanks a lot.
Well, I'll find it. Asheville is a mountain resort in North Carolina.
Thanks for telling me. Let me ask you something.
Any other advice for me? Yeah.
Stay off the junk and you'll go far. Fine, thanks a lot...
MELANCHOLY SAXOPHONE
# 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 smouldering 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?
All aboard! Thank you. Thank you very much.
Come on!
BIG BAND MUSIC PLAYS
# 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... #
Keep the change. Here. Here's your change.
No, that's for you. Keep it. It's only a nickel.
The nickel's for you. It's a tip. Ah, take it.
You don't want the nickel? No. 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
JIMMY'S SOLO APPLAUSE CONTINUES
APPLAUSE RESUMES
Look at that five-star pain in the ass out there, will you?
Look at that.
I'm going to go over there and 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!
Please. Now, look,
you go back up on the bandstand, Paul.
I'm going to come right back up there with you.
Jimmy, I'll talk to you after the set is finished, all right?
After the set? After the set is finished. OK. Sure. All right.
But first, I'm going to have a word with him.
All right, you're upset because I didn't come to you in person
and say goodbye. Right?
Right. Which brings up another thing -
you don't say goodbye to me, I say goodbye to you.
In no way, shape, or form, do you say goodbye to me.
I say goodbye to you!
Oh. Fine.
Go ahead and say it. Say what?
Say goodbye. Go ahead.
Come here.
Oh, I see.
I just have to wait until you say, "Come here," right?
And then, when you say, "Come here," I'm supposed to come here...
Look. Look!
You think I came all the way down 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. Can you understand that when I said
"major chord", that I meant it about you?
Sometimes you really are hard to understand. You really are.
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 and, you know,
I mean...I wouldn't come all the way down here
if I didn't like you , right?
Yeah.
Oh, Jimmy.
Oh...
How do you feel about Texarkana?
How do I feel about Texarkana? What do you mean?
What I'm saying is that Frankie said that if you came down,
you could audition.
I could audition? Yeah.
No, forget it. I'll play for him. I won't audition.
OK.
LAUGHING: Oh, Jimmy!
INTRICATE SOLO
Jimmy, come on.
Jay, will you please? It's slippery out there.
We don't want to slide into town. We want to drive in.
Leave me alone. I'm trying to take a nap.
UP-TEMPO BIG BAND MUSIC
RAUCOUS SAX
INDISTINCT CHATTER
Give me some quarters, he's beating the pants off you.
I'm glad I'm working for you. You should be glad to work for anybody.
You're not the greatest piano player in the world.
You know that, don't you?
It's going to be one of those nights.
I'm a good musician, man.
You really are. Coming from me, that means nothing.
MELLOW SAX
Maybe someday you'll write something for me, too.
I am writing something for you.
I'm writing this for you.
What, you think I checked out each room?
OVERLAPPING ARGUMENTS Last time, I wound up in a basement.
Why don't you guys zip up, huh? Clam up, will you?
You don't even let me read what you're writing now,
let alone your first poem.
Imagine you giving me your first poem. Ha!
Right, now 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. Oh, come on! Come on. Let me see what it is...
No, I don't want to. Oh, come on. No, it's private. You know that.
It's only a poem.
SHE SCOFFS
Well, it's my poem, and it's for me.
Come on, 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, though?
Yeah. Not anybody else. All about me. That's right.
Get your shoes on. Come on.
Are you all right, honey? Yeah.
I know it's not very good, but...
Come on, get them on.
Come on.
Uh, I don't know what we're doing now.
DRIVER: Pay me. We're going to be right back.
A few minutes. You pay me now. No, I'm not going to pay you now, man.
You think I'm not going to have a cab standing by
in the middle of nowhere?
We'll be back in a second, I think.
OK, here...
Are you all right? Want a handkerchief?
It's nothing. The window... I got a handkerchief.
I had a handkerchief.
You knocked? Yes, we... Sorry.
I'm terribly sorry about that. Are you the Justice of the Peace?
That's right. You are. I'm sorry about the window.
It's just we're a little anxious.
Is there a possibility that we could be married now?
We're in a bit of a hurry. I can't even explain to you why.
I wish I could. You can see the way we look.
Please close yourself, honey. Now? Yeah. Could you, please?
Just take about two minutes of your time.
We'll make it worth your while, and I pay for the glass, too.
Could you, please? Well... I guess...
We can arrange it. Yes. Come on. Come on in.
No. Just a minute.
Can I...? Aren't you sure?
Yeah, just one second.
You're kidding, right? Kidding what? That was it?
What was what? Your proposal?
"Get your coat on, put on your shoes, let's go, let's go!"
That was it? What's wrong with that?
They're not sure.
Sure, we're sure. What's wrong with that?
Well...I just guess I thought it was going to be different, you know.
It is different. It's the way I doo it.
Anything wrong? There's nothing wrong.
They're not sure. Believe me. No, I just thought... Uh...
What? Nothing, I just thought it would be different,
you know what I mean? Different?
SHOUTING: It is different! I know it's different! What's the problem?
Not the kind of different I had in mind. What's the problem?!
The kind of different I had in mind was maybe sweet and calm and...
SHOUTING: It is calm!
I'm sorry. Just a little... It's...
..and pretty, you know? What? Pretty!
It's pretty...! You can't say that.
It is pretty. You can't... Look. You can't say it's pretty.
I want to marry you! What are you talking about?!
Please, go inside. Go inside. This is private.
Would you wait one second, please?
Did you hear what I said? Yes. I want to marry you. OK?
OK? What's the matter? What do you want me to do? Oh!
You want me to kill myself over this, darling?!
What are you...?
Listen. When I say "now," you back up. That's it.
Jimmy, I...
Uh... Wait a minute.
Don't back up! Don't move! Now!
No, no! Now! No!
Don't shift, don't do anything. Just stay...
Will you please get out from under there? He...
This happens all the time.
Will you marry me? Will you marry me? I love you. Will you marry me?
I don't want anybody else to be with you. I don't want anybody else.
I want to be with you, understand?
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 that way?
Yeah. Oh, good.
SHE GIGGLES
LAUGHING: Hey! No!
RHYTHMIC SWING MUSIC
You missing a man? Yeah, Fowler. Did you find him?
The house dick did. Caught him in his room with a local chick.
Big deal. So what? What do you mean, "bid deal?" She's 13.
The father grabbed the guy's gun and started shooting out
all the lights. The cops have got him now.
Thanks.
Jimmy, take over, please.
I've got to bail Fowler out again. This guy's driving me crazy.
Listen, Frank, could I do a couple of my arrangements?
Please, not tonight. Just play the usual, huh?
Come o, man! There are only four people in the audience.
What's the difference? I don't care about that.
I'm only asking you to front for me. Do you have to give me grief, too?
All right, all right.
Fran, I am going to cancel the rest of the tour.
Again? What do you mean, "again?"
Well, this is the...fifth time that you've cancelled.
But it's the first time I meant it. I really mean it now.
Then, I was jiving you. I mean it.
I'm going to really pack it in. Really? Yeah, yeah.
Oh, come on. You remember we used to go out and do 80, 85 one-nighters
in a row. Yeah.
Those joints, they're not ballrooms any more, baby.
They're like parking lots, skating rinks.
The theatres, they're all bombed out.
I've thought a lot about it.
Thought about letting somebody else front the band, you know,
take a piece of the action.
I wouldn't have to lift a finger.
But there's only one guy who can front this band.
I know. Jimmy, right?
No. Me.
And if I go... Pssht!
..the band goes.
It's game over. You know that.
You sure you won't have a little taste? No, you have it.
Oh. Beautiful. I will.
Maybe Jimmy would consider...
You said he's good. You think he's good.
He's not only good, baby. He's a bitch.
He blows a barrelful of tenor.
But he's some kind of pain in the ass.
I don't want to start this argument. All right, OK, all right.
But he's a top pain in the ass. That's the truth.
Top pain in the ass.
Let's see, that's twice... You want to say it once more,
three times for luck? Three really is my favourite number.
Top pain in the ass!
SHE LAUGHS
Maybe 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, fellas.
Mr Horace? Look, Mr Horace, I know it's not Frankie Harte.
We can do that stuff, too, man, but this is a different sound.
I think you should listen to it, 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 Harte.
In fact, it's even better.
Frankie wouldn't give us the band if he didn't think it would work out.
That's true. You know how Frankie is. What do you have to lose?
Come on, give me a chance.
What do I have to lose? What does this look like to you?
A peanut gallery here? It looks like a place that needs someone like me.
That's what it looks like.
HE LAUGHS
Give us half a chance.
Where's the girl singer you're supposed to have?
Is she stunning, blonde? Stunning, blonde, everything.
She walks, she talks... She'd better be good.
Right, fellas, get on number 358.
Horace, have you gone crazy? You've already listened to the band
you didn't like. 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 realise 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 real winner is singer Francine Evans,
"a spirited filly who sports musical pace
"as smooth as her form."
SHE LAUGHS
"Ms Evans seems headed straight for the winner's circle."
Jimmy, you see this? Baby, we made the paper! Yeah, I saw it.
I saw that, yeah. Listen, the guys are all excited,
everybody's all buzzing around,
and Paul had a good idea.
He said we should take one of the quotes,
you know, like, the best quote about your band,
and put it outside. Yeah.
That's a good idea. Maybe take something to Downbeat...
That's a great idea. Very good idea. Yeah, it's good.
This is a good thing. Jimmy. We might get another week out of this
hotel with this. Did you get in touch with that...?
Did you get a hold of that trumpet player?
The trumpet player... Oh, yeah. I called his wife.
He's in Virginia on some gig.
She'll give him the message when he calls.
He's not going to call, man. Let's go with Charlie Baxter.
Yeah, I like him.
OK. I don't know if he's going to go
for the money that we're going to be able to pay him.
Well, that's your problem. You get him.
You know, that's your department.
OK. I'll see you later.
Thank you, Paul.
We've never made the papers like this before.
It's really 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, fellas.
Jerry... Jerry, you're not cutting it, man.
You are not cutting it.
If you... What is the problem, man? If you'll just...
Excuse me.
You're not cutting it, man.
Do what is written, OK? How do you really want it to sound?
The way it's written! And the way I explained it to you. Come on, man!
I'll try. No, don't try. Do it! Don' try! Do it, do it!
Are you playing by yourself? I don't think so.
Cos I could put you in a room somewhere where you could
play all by yourself. I don't... You sound like you've got hooks
for hands. Funny. Funny, I know, but you're being funny,
you're costing us a lot of time.
A little rough, wasn't it? Hooks for hands?
You'd get much more out of him... Are you the bandleader?
No, I'm not... OK, you're not the bandleader... But you...
so don't tell me how to do it. I...
90% of all drummers are crazy, OK? I know that.
Look, Jimmy, we've only got 15 more minutes in this room. I know.
Let's go. I've got to do my hair, got to press your shirt,
call Tony, do my nails. I've got a lot to do. 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?
Where are you going, Nicky? Where are you going?
You're rushing that thing like we're in the racetrack or something!
I'm picking up the tempo from you.
Did you have a fight or something today?
No, I didn't. Then what's wrong?
Jimmy, there's nothing wrong. What is wrong?
You're not picking up the tempo from anybody, man.
You're not doing anything. You're doing exactly what
you're always doing. Your wife is slowing it down. She...
What am I doing? Wait a minute. Stay out of this.
What am I doing? Wait a minute!
SHE is slowing it down? Yes.
No, you don't understand. I am not slowing it down. I can handle it!
I can handle it. She's not slowing down anything, man.
We have been through this 50 million times.
You always give me a hard time.
Can't you read this and just do it right?
Now I can't read, huh? You can't read if you can't do that.
Listen, I studied at Brooklyn Conservatory
and Staten Island Conservatory of Music for three years!
You did? It doesn't show, man! It doesn't show?
It doesn't show. Maybe this will show.
I'm packing my axe and my hooks and I'm cutting out.
That shows. OK, I'm going to show you something now.
I want to show you something. Oh...
Ta-da! OK? Happy?
Yeah, I'm happy. Good.
Are you happy? Yeah, now I'm happy.
It's funny. I'm happy, too. Got it all out of my system.
Feel better? Yeah. Much better. It's very good out now.
OK, got your drums ready? Can we start all over again?
I feel much better. Good, OK.
One, two, three... I'm sorry. Look.
I know we've all been working hard,
we've been working too hard,
but, like the man says,
if we get this thing right, we'll blow the roof off this place!
You know? So, why don't we really try?
All right? Yeah. Good, I'm glad.
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? Come here. No, I'm here.
Don't ever do that again.
You do not kick off the band. I kick off the band. You understand?
Don't treat me like that. Don't ever do it again. Oh! Ever again.
Ever again. I...
SLAP
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 SCATS
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
# You. #
Uh!
APPLAUSE
Thank you, ladies and gentlemen.
Thank you. 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, baby? She's all right.
What's the matter? No, I feel terrific.
Are you sure? I'm not sick. It's just that... Uh...
Well, I guess now is as good a time as any. I'm going to have a baby!
THEY LAUGH
You're going to what?
I'm going to have a baby.
You're going to have a baby.
Say that again.
SHE LAUGHS
And then I thought you'd be upset.
I'm upset, but I would have been less upset then.
Now I'm more upset because now you walk out in the middle...
Oh, I'm sorry. Jimmy... Honey...
Do you mind if I lie down for a while? Yeah, sure.
Thank you. OK? Yeah.
You know what I think?
Do you want to know what I think?
Yeah, tell me.
I think I should go back to New York,
just stay in one place, you know, and wait it out.
Oh, my... I can't believe this.
I can't believe this.
Are you crazy?
We're on a tour over here and you want to tell me
you're going back home to New York?! Yeah. What are you talking about?
What do you want to do? Drop me off at Knoxville?
What we can do is very simple, baby. We'll get a car -
not going to be a new car, if you don't mind.
Of course it's not going to be. It's going be an old car.
I'll make it nice and comfortable, and you and I will travel in it.
You'll stay, and if you can't make it, you can leave a gig
the way you did today, whenever you want
but you just can't leave all of a sudden. You just cannot leave now.
OK? No.
No, yes. I want to go back to New York. Yes.
I want this baby to be OK. You can't... I don't want to lose this
baby in some strange town or on a bus somewhere.
The doctor said I could lose this kid if I travel,
and I don't intend to do that. Come on. I just said, we're going to
ride in a car. Do you want this baby?
I just said we're going to 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.
HE SIGHS
Of course I want the baby. OK, then I'm going to New York.
You're going to go to New York? Yes. Go to New York.
Jimmy, I'm sorry. There's nothing to do.
If you get pregnant, you get pregnant. There's nothing to do.
That's it. That's life. That's...
I just want you to be happy. I'm happy.
I just want you to be so happy so much.
I'm happy, baby.
Are you really? Yeah.
Oh, brother. I've got just the thing for you.
Saltine. Oh!
I can't keep anything down. It settles the stomach. Take it.
The Chicago reviews were great for you,
so something big is liable to happen.
Meanwhile, I've set you up for some very easy work.
Studio stuff, demos, commercials, so you can pick up a couple of bucks.
Tony, I don't think we're going to need any extra money.
The band's doing so well. Jimmy...
Now listen. With a kid coming, you can always use some extra money.
# 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
OK, good. That's a take on Jo Stafford. Let's try Peggy Lee.
Wait a minute! Hold it! Hold it! OK... Wait just a second.
SHE DOES VOCAL WARM-UP
She's fantastic. Terrific singer and terrific girl.
And as sweet as she sings, that's how sweet she is offstage.
You're going to make money with her. I'm sure of it.
# 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... #
WOMAN SOBS
Come on out. Come on out.
CRYING: 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's 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.
What are you talking about?
Come on, now.
No, I'm never coming out.
I'm not coming out.
Paul is waiting for you now, baby. You've got to come out.
They're all there. Come on. Let's go.
I'm no bimbo, you know. I see the writing on the wall, Jimmy.
What writing can you see on the wall? Did I ever call you a bimbo?
After all we've been through, is that what you're going to say?
How could you say that?
I hope I can trust you on this. You can trust me.
Yeah, I hope I'm not signing my life away.
Well, just signing the band away. That's enough.
OK.
The schedule's inside. The bus schedule? Yeah. OK.
All right. Good luck.
Say hello at home, huh? I will.
You 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. Bring The Times, too.
Yeah, good luck.
See you at Charlie's!
Maybe another nail?
Oh, we have seven nails in there already.
An even eight? Hold your side a little bit over...
OK... Jimmy! Jimmy!
SOFT PIANO PLAYING
It's pretty.
One of the nicest things in the world is
waking up knowing somebody loves you.
You remember this?
This old song I wrote for you?
How can it be old if you wrote it for me, huh?
Well, it was old when I wrote it.
SHE CHUCKLES
I'm working on the words, you know. Are you? Yeah.
See? I've got the lyric here, part of it.
Want to see it? I see it.
PIANO CONTINUES
I've heard it's going to be a nice day.
What's the Theory of Relativity? That light is curved?
I don't know.
They say that only five people in the whole world, you know,
know really what it's about.
Well, the Japs understand, from what I know.
Do you want to talk about it? What do you mean?
I mean about the band and how you feel and...
..how you are.
I don't know. It just didn't work.
I got so worried, you know,
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.
Look, I didn't send a telegram.
I just really wanted to be alone for a while, by myself, that's all.
I wanted to figure some things out.
I stayed down south for a while and that was it.
That's normal. I understand.
No, you don't understand that.
Don't tell me you do, cos you don't really understand it.
But I had to do it, baby.
Well, I understand that I don't understand.
OK. That's being better about it.
Sammy Sparks! Sammy Sparks!
Hey, man. Jimmy! Hey, how have you been? Hey, man!
All right!
How have you been, man? OK. Come on over, meet some friends of mine.
This is Booty, this is Washington. Hey, Jimmy. Friends of mine.
I hear you play a mean tenor.
Yeah, I've heard about you, too.
COUGHING
How have you been, man? What are you doing? Where you been, huh?
I went on the road with Frankie Harte,
went on the road with him for a while,
then after that, I took the band over myself.
Kind of slipped away or something, huh? No, didn't slip away.
You heard that? Yeah. A little talk about it around here.
No, I didn't slip away. What happened was, you know...
..I was working with bad musicians.
You can't pitch new cats in Scranton, right?
You've got to come back to the Apple. Yeah.
You know, you see the same old faces, same old place.
I wonder if I should be back here, man. Same thing.
Listen, man, I've got a little thing going
over at the Harlem Club, man. Oh, yeah.
Some really good cats om there. You got to come over there.
I will, I'll come up.
I've heard a lot about it. Yeah. Only one problem, though.
What's that? Do they let white cats in? You come round the back.
THEY LAUGH
Hey, man!
FAST JAZZ PIANO
WILD CHEERING
SCATTING
OK. Before you get excited,
just let me explain what happened. Just let me explain what happened
Remember that cat Cecil Powell I used to always tell you about?
Mm-hm.
Yeah, all right, OK. We'd better go to lunch. I'll explain to you there.
What's this? What am I getting into?
What are you getting into? You're getting into a Buick.
1941 green Buick.
Just get in. I'll explain to you later. Trumpet player OD'd.
Long story. Just get in the car. I'll explain to you later.
Baby, if you don't get in the car, I have no way of talking to you.
I'm not going to shout it in the street, so you ought to get in
the car and I'll explain it to you!
You remember Cecil Powell? Mm-hm You remember him? Yes.
I met him at the Union, and I went up to Harlem, this new club.
It was fantastic. I had a great time. Why didn't you call me?
Why should I call you? I'd be home in a little while.
So there was no reason to call. Jimmy... And then before I knew...
Hi, there. Hi. Yeah, hi, there. How are you?
Are you pulling out? Do I look like I'm pulling out?
Uh, excuse me. Yeah?
Look, I don't mean to... Would you look at me, please?
If I look at you, I'm going to get upset.
Yo! Hey, look at me!
I can't believe this guy! I'm looking at you, man.
I think you're being just a little bit unreasonable. Oh, am I? Yeah.
Too bad, I'm sorry. Just a little bit inconsiderate.
I can't believe this guy!
I'm being inconsiderate? Yeah! I'm being inconsiderate?!
HORNS HONK
Hey! You know what I'm doing? I'm arguing with my wife!
You want to come and help me solve the problem? Just a minute!
If you can help me solve the problem, you can have the space!
You can have the whole sidewalk, as far as I'm concerned.
You don't have to get nasty! Just a minute...
Get off my back, for crying out
loud!
HORNS HONK
I don't want to hear it. Look, lady, get out of here!
Just beat it, will you?
Don't mess with her. Get out of here! And the same to you!
The same to you! And you're not going to get this space
if it means I have to die on the floor!
I hope you pop! You'll never get this space, you son of a...
HORNS BLARE
Creep! What you're making me do! Creep! That's it, keep moving!
I hope you never get a space!
I hope you travel round the block 50,000 times!
That was dumb. Come on, let's go for lunch.
I'm not hungry. Oh, honey, come on, you're pregnant now.
Let's forget about all this other stuff and let's just
go and have something to eat.
That's right. I am pregnant.
In fact, I'm six months pregnant.
So you're just going to have to pay a little bit more attention
to me right now.
Jimmy, you opened the door for me.
You didn't even wait to see if I got in all right.
I have trouble getting around now. I do.
I understand you're pregnant.
What do you think I am, a dummy?
I just lost the band, for crying out loud. If it had clicked, I'd still
be with the band right now. Right?
When you wanted to come back to New York to have the baby,
did I stop you?
No, I didn't stop you, right? So, you can't stop me.
And another thing I'm going to tell you,
I don't like you doing that stuff up there.
What stuff? The demo stuff.
You're too good for that. They should be doing that for you, baby.
That's all I'm going to say about it.
So, that means from now on you'll be up there at nights, right?
You'll be there almost every night, huh?
So... The other guys are married, too, you know... I know. I know.
Well, I'll have to take the day shift,
and you take the night shift. Hm?
TRUNK DOOR SLAMS
Honey, you're making it very hard on me, baby.
You want me to take this, and I'm going to throw it against the wall,
I'm going to smash it into a million pieces?
Is that what you want me to do? Cos that's what you're telling me to do.
This is the most important thing to me, besides you. You understand?
And if I can't do this, then I'm not good for you,
and I'm not good for anybody, baby.
Do you understand?
Paul Wilson called up and he said he had that...
He's opening tomorrow night at the Up Club.
Yeah, I know.
So he wanted us to come.
I said, you know, probably we will.
Oh, I'd love to.
Would you? Yeah.
Spend some time together. It'll be good.
See the fellas. Yeah.
You know how depressed Ellen's been lately?
You know, I thought maybe we could introduce her to Artie Kirks.
Artie Kirks?
Yeah. The record producer I told you about.
Now, look, baby, it's another thing if you want to go by yourself,
possibly you and Ellen, cos of business reasons, that's OK,
I don't object to that, and I could meet you later, that's all.
I didn't mean it like that. I'm sorry.
Is it OK?
Yeah, it's OK. Yeah.
Oh! Wait while I show you what I got.
Look at this.
Oh, honey...
..you were looking at the words to the tune, huh?
Yeah, I was.
And that's what... You're going to call it New York?
New York?
Yeah, that's what I said, New York.
That's what you're going to call it? I thought 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, uh, "top of the heap", too. SHE LAUGHS
And this is the final version?
Well, not necessarily. I want to fix up some parts.
It's very good.
OK, I'll see you later. All right.
Have a nice night. Thank you, baby, you too.
See you. I can change "top of the heap".
"Bernice Conrad and The Paul Wilson Orchestra."
Oh, man! What am I doing here?
Oh, come on, honey, you promised.
You know?
I can't do it.
I can't do it. I just, uh...
Well, we'll just stay for one set, all right?
All right?
All right. I'll park the car. OK.
Yeah, I'll park the car. Hmm. HE CHUCKLES
Oh...
I tell you, in her pocket.
MUSIC PLAYS IN BACKGROUND
# Do nothing till you hear from me
# Pay no attention to what's said... #
Ellen! Francine! Oh, you're looking wonderful! Darling.
Hello, Ellen, how are you? How's my girl? Thank you very much.
# Do nothing till you hear from me... #
Thank you. Jimmy will be here in a minute. He's parking the car. Hmm.
# If you should take the word of others you've heard
# Well, 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... #
One, you miss.
SHE GIGGLES
Try it again, darling. That's hard. Two out of three. OK, OK.
You missed again! You didn't wait. I'll give you one more time. OK.
Are you ready? Yes. Ooh, you've got it.
I'll give you my personal cheque... OK.
..but don't try to cash it.
THEY LAUGH
Yes, sir? Yeah, I was just parking the car. Doyle.
Oh, yes, Mr Doyle. Your lady friend's right over there.
Please follow me. Oh, that's not my lady friend, it's my wife.
Pardon me. That's all right. Don't let it happen again, OK?
I'm kidding.
Hello. Hello. Jimmy, this is Mr Kirks, from Decca Records.
And, uh, Mr Kirks, this is my husband, Jimmy. Sorry I'm late.
Better late than never. Yeah, well, I'm sorry I'm late.
It's hard parking a car in New York at this time of night.
How are you?
I'm doing just fine, Jimmy. How are you? I'm doing well.
How's Eddie? Eddie who?
HE SNIGGERS
"Eddie who?" I knew that was coming.
Looks like Eddie's out the window.
Di Muzio.
Waiter, dear. We ought to get together... Jimmy?
Jimmy? Yeah. That voice always gets 'em too.
You know, when I say "waiter, dear", with a heavy voice?
And the reason I call them "dear", otherwise, they spit in your drink.
You say "dear", they're nice to you.
I see. You get it? Any time you go into a joint, you know what I mean?
Call 'em "dear". Huh. Here's the waiter now.
Waiter, would you give this gentleman a Sloe Gin Fizz,
and step on it? Well, I don't want a Sloe Gin Fizz. I don't even know
what a Sloe Gin Fizz is... He doesn't want a Sloe Gin Fizz.
What do you want? I want you to be comfortable. You know what
I would like? Yeah, what would you like? I would like
a big glass of milk, with about 12 shots of Scotch in it.
Well, why don't you just get a fifth?
She said it. You got it. Reasonable? It's a good start.
Yeah, reasonable. A little ice? It's a bucket of ice.
Tell you what you do, waiter.
No, look at me. You got the order?
Yes, sir. OK, that's a quart of milk... No milk. No milk.
Milk isn't necessary, no. No milk? All right. Milk isn't necessary.
And give this lady a Pink Squirrel.
You got it? Repeat. Uh, let's see.
That's a Sloe Gin Fizz.
No, forget the Sloe Gin Fizz. No, I'll have that.
She'll have the Sloe Gin Fizz.
Sloe Gin Fizz is on again. Uh, that is a Sloe Gin Fizz...
You're smart. Come on. That's a Sloe Gin Fizz... A Sloe Gin Fizz.
..a quart of milk... No, I said forget the milk.
Sloe Gin Fizz. Quart of Scotch. Quart of Scotch.
Right. A bucket of ice. And a bucket of ice. Right.
And you, sir? No, zip for me. Thank you. Yes, sir.
Hey, Jimmy, a minute, can I grab your ears?
Listen, I heard a lot of nice things about you.
Your wife tells me when you had the band,
you used to blow the roof off. Look, man,
can I tell you something? I'll be straight with you.
I want you to be. I don't want to be here. I don't want to listen to
this music. I don't like this joint. I don't give a damn, man,
for any of that stuff. Let's go. Come on. Hold it, Jimmy,
for a second. If nothing else, we can get a tan here.
Come on, let's go. The whole place stinks.
Let's go. You're hurting me.
I'm sorry if I'm hurting you. If you came with me,
I wouldn't have to hurt you. Let's go. Jimmy, you got to relax, man.
Come on. No!
No.
I don't want to go, all right? You want to stay?
Somebody will take me home.
I can get a ride home.
# So love me tonight
# Tomorrow was made for some... #
What's the matter with him? # Tomorrow may never come
# For all we know. #
Forget about it, darling.
A few hours from now, it's all forgotten about.
You'll be home...
APPLAUSE
Thank you, ladies and gentlemen. We're going to take a short
intermission here, and the band will be back. Thank you.
Everything all right?
Yeah.
So, uh, Jimmy finally got here, huh?
INDISTINCT CHATTER
Jimmy. Hey, Paul. How are you doing?
Give me your hand.
Come on, reach out. Reach out, reach out.
Come on, Jimmy.
You all right? Can I tell you something very privately? 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.
Well, I'm really flattered.
Well, you should be flattered. Definitely be flattered.
Great compliment for a great musician. From a great person.
Everybody feels you're great.
Even your wife.
Even your wife, man.
HE MUTTERS
INDISTINCT CHATTER
Let's get moving.
Uh, ladies and gentlemen, the band is back now.
Uh, we're going to start out with... LOUD CLATTER
We're going to start out with a medley of special requests.
I knew it was a one-night stand. She needed somebody.
GASPING
Hey! Hey, come on!
Let's go, let's go, guys.
Wipe us out.
Wipe us out. Wipe us out.
Please.
Have a good night. OK.
Listen, man, I just want to say one thing to my wife over there.
My wife is over there. I realise that.
That's my wife over there. Don't make me use force,
please. Force? Yes. OK. OK.
Hey, man...
GASPING
Get your hands off me, man!
LOUD CLATTER
OK.
Please! Get up!
LOUD SMASHING
INDISTINCT SPEECH
Come on, come on. OK.
OK. Just relax. Don't you guys know how to talk?
Just relax. Yeah, just relax. It's all right.
You need to take it up the block. Yeah.
ANGRY SCUFFLE
SLOW JAZZ MUSIC PLAYS
Honey, I told you, everything's fine. The baby's normal.
I think I gained too much weight, though.
Oh, Jimmy!
Thank you.
Aah! Oh! Oh! Are you all right, honey? Yeah, I'm all right.
Oh, Jimmy!
They're beautiful.
I'm sorry you slammed your hand in the door. That's all right, it's OK.
It's just part of the, you know...
I'm really sorry about last night.
I don't know, I was trying to figure it out. I...
I'm sorry.
I'm sorry. I'm sorry too.
JAZZ GUITAR PLAYS ON RECORD PLAYER
HE KNOCKS ON DOOR
Jimmy?
Yeah? Cecil.
Cecil who? Come on, man!
Cecil B DeMille!
INDISTINCT CHATTER
I got your lady out here, man, this is serious... Come on, man!
She's got two cats with her, man.
Can't you see we're having a conference in here? Hey, man,
your lady's out there with two cats. My lady? Right outside there.
I'll be right back. Hey.
Come on in.
A record deal or something? Well, yeah.
I wanted you to meet him before I did anything, you know?
Yeah, sure. All right. OK.
Now, why'd you bring him here?
Well, like I told you, I couldn't reach you on the phone.
He's got to leave tomorrow.
Oh. Well, I...
Have a seat. Thanks.
Are you on a break? No, not really, but I got a few minutes.
Good, we can talk, then. Have a seat. Sure. Uh, Jimmy,
you remember Artie Kirks, Decca Records? 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? Oh, that's great.
That's great. Great, great.
You think so? Sure, sure, sure. It's great.
Well, uh, one of the reasons that I wanted us all to meet tonight
was so I could ask you... Excuse me. ..if you approved of everything.
Listen, if there's any problems, that's what I'm here for.
I want to solve them. I never said there was any problem.
There's no problem we can't work out. Everything's fine.
Then everything's fine. No, not everything isn't quite fine.
I would like to know what we're all talking about.
Right. You mean the deal? Yeah, exactly.
It's logical. As a matter of fact, when I heard her, I said,
"That's it. Absolutely sensational. This is it. Fantastic. A smash."
And I'm telling you, from my mouth,
this is it. And this isn't just for one shot.
There's a couple of things I really, I'm not really comfortable with,
and one is the travelling.
The promotional tour, promoting... Is that a problem?
I don't know if I want to travel. You've got to travel? That's not...
What about the baby and all that? Yeah, exactly.
There's nothing we can't handle. There's no problem come up that
we can't solve. Let's hear what they have to say. Sure, but I'm just
emphasising your statement. All right. OK?
Like putting in an exclamation mark.
Very good. Very good, Tony. Go ahead, darling.
What about the kid? The baby. Oh, the baby?
Listen, you're going to get it first-class. Number one,
I'm going to get you the best nurse.
I'll get you a car. I'll treat the kid like it's my own kid.
All you got to do is sing.
Everything will be in the contract. Please... They'll pay for
everything. ..Yeah, but I'm just emphasising what you just said.
All right. I know, you emphasised twice already. They know.
Is it all right with you?
Sure. I mean, it sounds great.
I can't argue with it. It sounds good.
It's up to her. And everything's all right?
Everything's all right. Everything all right with you?
Yeah, but I thought you'd have... Then everything all right?
It's all right with me if it's all right with you,
if it's all right with him. It's great with you. Sure.
It's great with them. It's great with you and great with you?
Do you have any other suggestions? No, I have no suggestions, baby.
That's it. Excuse me, I just got to do something.
I think the set's going to start soon. I'll be back in a second.
Jimmy? Yeah. Before you go,
have you got a cigarette on you? A cigarette?
See, man, I just smoked my last one.
I'm sorry. It's a thing I do for...for luck.
Oh, yeah? Yeah. Oh, well, look, you know, get the waiter.
He'll give you a whole pack. Put it on my tab.
We'll celebrate, you know, the contract?
Have a cigar. No, it's not the same.
Jimmy?
Oh, excuse me. Listen, Jimmy, I just think that she's the best.
She's going to make it with me or without me.
I'd rather it be with me.
I'll consult everything.
Come up to the office. Feel free. My door is always open.
OK, sure. Is that OK with you? Yeah. We got a deal,
you feel comfortable about it? Sure. Oh, yeah. All right.
Don't forget it now, Jimmy.
LOUD CLINKING
ANIMATED CHATTER AND LAUGHTER
Family night?
Come here. Ah...
BAND STARTS UP
# Every honey bee
# Fills with jealousy
# When they see you out with me
# I don't blame them
# Goodness knows... # MUSIC DROWNS OUT CONVERSATION
# Honeysuckle rose
# When you're passin' by
# Flowers droop and sigh
# And I know the reason why
# You're much sweeter
# Goodness knows
# Honeysuckle rose
# Ooh, 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... #
Yeah, this looks better, thank you.
This looks thick and sweet. You know?
You got any other colours?
Well, we've got one with a whole lot of colours.
I'll try it on. OK.
CHATTER DROWNED OUT BY MUSIC
I gave him a sign...
# 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. #
Yeah!
APPLAUSE
Thank you.
ANIMATED CHATTER IN BACKGROUND
BAND STRIKES UP AGAIN
CLAPPING IN TIME WITH MUSIC
HE PLAYS UPBEAT TUNE
Yeah!
TYRES SCREECH
What the hell are you doing?
What the hell are you doing?!
I was celebrating. You almost killed us.
What was that all about? I was just celebrating! You're celebrating?
Look at you. You look disgusting!
What do you want me to do about it, Jimmy?
What am I supposed to do? What am I supposed to do?
Did I tell you to have that baby?! SHE SOBS
Did I tell you to have that goddamn baby?!
No, I didn't tell you, you had it! Now you have it, now keep it!
That's it. Go on, keep hitting me. That's right. No!
Go ahead, hit me. That's right.
You had it!
Now you're crying when it gets tough? Oh, be quiet!
When it gets tough, you cry?
SHE SOBS
Forget it.
I'm not going through this any more. OK, you said it!
You want that! It's not what I want, it's the way it is.
It is too what you want! It is not what I want. I'm scared!
TYRES SCREECH
You're scared?
You're scared?! What about me, for Christ's sakes?!
What are you scared about? You've got everything, man.
I'm the one that's scared, not you. Me, I'm scared, cos you got it easy.
I got nothing.
It's always you, isn't it?
You're damn right, it's always me. It's always you. The way it's you,
the way you had the kid when we shouldn't have had a kid.
Going back to New York.
What are you crying for? You know, I don't...
Cry! You... "Oh!" ..cry.
I do care about you. You do not. I do care about you.
You do not! I do! Do you want to know what you care about?
I care about you. You care about your clubs...
I care about you. ..and your friends...
I care about you. ..and your music. You're damn right,
because that's something special in me!
That's what the problem is. I don't care. You don't care about me!
No, I do care. No, you don't! That's not the problem. I do care.
You don't care! I do care! You do not care! I do care.
You don't care! Crazy. Driving me crazy.
All you care about is you! You're driving me crazy!
Let me get at you. Let me get you. Let me get at you.
HORNS BLARE You want to hit me? I'll hit you.
Don't you ever hit me!
I don't care? Now I'll get you.
Damn it!
SHE SOBS
Jimmy, Jimmy...
Agh! Agh!
Jimmy! What? Jimmy!
What's the matter? The baby! What's the matter? The baby, Jimmy!
The baby! All right, take it easy. Oh, Jimmy, I'm scared.
I'm scared! Hold me. All right. I'll get us to a hospital.
Just lie down. Take it easy. Oh, my God! Take it easy. All right.
Oh! Oh, where the hell's a cop?
When you look for one, you never find one. Oh!
Oh, God! Oh, no! Oh, no! Oh, no, no! No!
Don't worry, honey, you'll be all right. Just take it easy.
Don't get excited.
How you doing?
Is everything all right?
Yeah.
All right.
Did you see him?
Who?
The baby. Oh, the baby.
It's a him?
Well, yeah.
I named him Jimmy.
You named him Jimmy?
What do you mean, you named him Jimmy? You mean this is official,
you named him Jimmy, yeah? Yeah.
There's one thing I want to tell you that you're wrong for doing.
You should have let me decide on what the name was with you,
instead of just giving the kid a name right away.
I mean, I am the father. And if I am the father,
no matter what the situation, you should at least let me do that.
That's the... That's the least that you can let me do.
HE WHISPERS: And maybe I don't want to see the kid for that reason.
What, do you think you're going to make me feel guilty about it?
Give that name, let that kid run around. After everything
that's happened to us, you had to give the kid the name Jimmy?
No way.
HE WHISPERS: I don't want to see the kid, because if I see the kid,
I'm going to break up.
I don't want to see some mutt. What good is it to see the kid?
This lady is listening.
How can I see the kid? What am I going to say to it?
"Hi, I'm your father, I'm going away"?
What are you going to say? I can't say anything. I'm sorry.
I'm sorry too.
Jimmy? Yeah.
I don't want to use my handkerchief, it's the only one that I have.
That's why.
There's no way that's going to...
I love you...
..but it's not...
All right, I'm just going to go.
Jimmy? Jimmy?
Goodbye. Goodbye, baby.
Goodbye. I'm sorry. I love you.
Goodbye. Goodbye.
No fuss.
Mr Doyle, I can take you over to see your baby now,
if you'd like. Thank you. I think I'll see him later, thank you.
# Round and round and round and round and round
# The world goes round
# And round and round and round... #
Oh, I'm sorry. Can I do it again? I'm sorry.
OK, here we go. Stand by. Take 18.
PIANO PLAYS
# 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 going to be
# A summer, a winter
# A fall and a spring
# And 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
# Sometimes, your dreams get broken in pieces
# But that doesn't matter at all
# Take it from me
# There's still going to 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 round
# And round and round and round and round
# The world goes round and round and round
# And...round! #
SHE HOLDS NOTE
Just a minute. Please hold the photograph.
She's very, very nervous.
# 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... #
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.
# Gee, I'm grateful, and I'd like to show you my appreciation
# Maybe take you out to dinner... # Sh!
# When do you get off?
# I can wait... # Oh, no, I couldn't possibly.
# I can wait... # Well, I don't do that.
# I can wait... # Sh! No, I, uh...
# 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. Oh, you got stress? Yes, I guess.
# Hey, Peggy, you gonna sing tonight?
# When Mr Right comes along
# Every melody that sounded so wrong
# Will be blended in a beautiful song
# When Mr Right... #
ALL: Ah, she's wonderful!
# ..Comes along! #
CHEERING AND APPLAUSE
# 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 eights! Now that she's found out
# She's finally his
# Say! She's the happiest, happiest lady there is
# Aces high!
# Oh, 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
# Think 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!
Our Guest of Honour tonight
is Broadway's dearest
and most luminous light.
In her own time,
a legend, a myth.
Ladies and gentlemen, Miss Peggy Smith!
CLAPPING
What a night! I won't forget.
I'm just a former usherette.
And who'd have dreamed that someday, this would all come true?
Would you?
But there's a man,
one certain man, who helped me when it all began,
and he's the one you really owe this honour to,
but he's not here.
# Peggy! # I wish he were.
# Peggy! #
I can't believe it! # Peggy!
# Now my life is like a beautiful song
# My Mr Right
# Are only for the stars
# Mm, mm, mm
# Not in the stars
# For me... #
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.
Uh, yeah.
I guess you're a big Broadway producer, huh?
As a matter of fact, I am. How did you know that?
Agh! Sh!
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! Hooray!
# Hoo ya! Lovely lady
# Ooh! 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
# Oh
# Ah, ah, ah, ah, ah
# Happy endings
# Far as I can see Ah, ah, ah, ah, ah
# Are not reserved for stars
# No, no, no, no, no
# They're in the stars
# For
# Me! Ah, ah, ah, ah, ah, ah ah!
# Happy endings All around me
# Happy endings All I see are
# Happy endings... #
APPLAUSE
It's standing room only when screen star Francine Evans
returns to the city where her spectacular career began.
After a six-year absence, the fabulous Francie is finally home,
and New York goes round and round.
Good morning, New York.
12, midnight, in time for the Midnight Bird to be with you
from now until 5am.
For those of you who are wondering about my new theme song,
and I think you are, because a lot of people have been calling in
night after night, asking, "What is that record?"
Well, it's by Jimmy Doyle. It's the theme from New York, New York,
the Jimmy Doyle Sextet. I'll play it as my theme song from now,
and who knows till when?
That's the Jimmy Doyle Sextet a little bit later on in the show,
the entire theme from New York, New York.
JAZZ MUSIC PLAYS
APPLAUSE AND WHISTLING
Thank you, ladies and gentlemen. Thank you.
Thank you, ladies and gentlemen. Thank you, thank you.
And now I'm proud to introduce an old buddy of mine.
We go back a long, long time -
so long that I'm a little embarrassed to tell you -
and he's here with us tonight. Mr Cecil Powell.
A big hand, folks. A big hand.
APPLAUSE AND WHISTLING
How are you two lovely ladies doing? You were great.
Oh, thank you very much. We loved it.
Just for that, I'll get you a drink. Thank you. Thank you.
I'll get a ginger ale. Anything they want.
Want to OK that guy's credit?
The one sat at the bar. No, forget it, man.
I might as well use that for wallpaper. OK.
Can you excuse me for one second?
Just one minute. Sure. I'll be right there.
Yeah, hello, honey. Listen,
I want you to make a reservation for me for tomorrow night.
Starlight Terrace, Francine Evans.
No, Starlight Terrace. Francine Evans.
No, 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 round
# And round and round
# The world goes round
# And round and round
# And round... #
CHEERING AND APPLAUSE
Oh!
Thank you. Thank you.
Oh, 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.
APPLAUSE
# Start spreadin' the news
# I'm leavin' 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 a city
# That doesn't sleep
# To find I'm king of the hill
# Top, 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
# I want to wake up
# In a 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... #
CHEERING AND APPLAUSE
INDISTINCT CHATTER
I've also made an appointment for Jimmy for the inoculation,
and Fuller is out...
..Fuller is outside.
OK?
Jimmy!
You got here!
You're looking very good. Thank you. Yeah.
Tina? Uh...
What did I do? I was going to kiss you. Oh, well.
This is Deanne and this is Tina. Nice to meet you. Nice to meet you.
Wait, come on.
Well, I...
..guess you're having a little party here or something like that, huh?
I didn't count on it. This is supposed to be my private room.
Uh... Uh... The tune. The tune?
Yeah, it works well. It works. Yeah, it does. It works.
It's another way of doing it, but it works well. Yeah.
I know you did it like "Da, da, da-da-la, da-da", but that works.
I saw Soppy Endings the other night.
Happy Endings? Yeah. Happy Endings.
You like it? Yeah, I loved it. Yeah, well, you seen one,
you seen them all, huh? Yeah, yeah. Pretty good.
Success hasn't changed you at all, huh? Uh-uh.
No, I'm only kidding. You know...
..I'm serious, you know?
I'm very proud of you, in a way.
In a way, I'm proud of you.
Well, I'm going to go.
Are you going to say goodbye... to the kid on the way out?
Did he get the drums that I sent him?
Oh, did he get the drums! They drive me crazy.
Oh, they do? Uh-huh. That means he plays them well.
He plays them real good. He's got a lot of talent.
Well, he ought to, he gets it from his father. He gets it...
You weren't going to say mother?
Oh, I was.
Francine. I just didn't make it in time. Francine.
SHE LAUGHS
We're going to start
rolling here now!
HE CHUCKLES
Well, I guess I'd better go.
So long.
Which way do I get out of here?
Right... Right through there.
I'll see you.
Are you ready to go, darling? We've got the table.
Francine...
Hey, how are you doing? How are you?
Aren't you going to give your father a kiss?
Who bought you these clothes, anyway? Mom.
They look terrible.
I'm only wearing them because it's a big party.
Who do you think you look like, me or your mother?
You. Me? I try to not look like girls. Yeah.
Goodbye.
Take care of yourself. I will. OK?
OK. Bye.
What?
Hello? Hello, it's me. Look, I don't want to beat around the bush.
I'll go straight to the point. You want to have Chinese food with me?
I couldn't talk with those people there, and I want to talk to you
about something. What?
SHE CHUCKLES
Right now? No, tomorrow! Now, yeah. I'm waiting by the stage door.
If you think it's a good idea, tell me yes. Yeah.
Yeah? Yeah. OK, I'm there.
MUSIC: New York, New York