All language subtitles for That Midnight Kiss 1949-En

This is Philadelphia.

It's a peaceful
and pleasant place

the cradle of American Liberty.

And if other cities
don't mind our saying so

the home of
the great colonial tradition.

It's a big city now

with tall buildings
and busy streets

and quite a surprise
to William Penn who founded it

and named it
the City of Brotherly Love.

This is Abigail Budell,
who owns most of the city

and rules it with, shall
we say, sisterly devotion.

Her life is
an inspiration to many..

...uh, many.

And rightly so.

For she's brought them
the finest in art

the finest in music

and she's not through yet.

Oh, no.

Get out.

Excellent, gentlemen.

- Thank you.
- José.

Pemberton.

You live but never learn.

But, José, Mrs. Budell
said it was important.

Mrs. Budell has an odd feeling

that what's important to her
it's important to others.

Does she know we're rehearsing?

Oh, yes.

But she told me that
she wants to see you

right away, this morning.

I'll see her at
three o'clock this afternoon.

She won't like that, José.

She said, "this morning."

She want that,
then you tell her to--

Never mind.
I'll tell her that myself.

Good afternoon, sir.

Another audition, Hutchins?

I wouldn't like to say, sir.

- Bring me some tea, please.
- 'Yes, sir.'

Good afternoon, Abigail.

I see you're here at last.

I'm late on purpose.

Maybe that way,
I can make you understand

I do not like people who try
to interrupt my rehearsals.

I'm sorry.

I'm very anxious
to have your opinion

on a girl's voice.

What are you doing, José?

Paying myself a bet.

I knew it was another audition.

Oh, no. This girl's voice
is good enough for opera.

We have a symphony orchestra,
not an opera company, Abigail.

The next thing
you'll ask me to pass on

is how people
will look on television.

This is something special.

The girl is my granddaughter.

That skinny little girl
with the pleading eyes?

She's no longer a skinny
little girl with pleading eyes.

She was studying
with Rechero in Milan.

Everybody studies
with Rechero.

Everybody studies in Milan.

And everybody thinks anybody
who can reach a high C

should sing in opera.

Madame Bouget,
this is Mr. Iturbi.

- How do you do?
- My granddaughter, Prudence.

Hello, Prudence.
You've changed.

Uh, how long since
I saw you last?

About five years, Mr. Iturbi.

You've been studying
all that time?

Yes. Paris, Milan, Florence.

The maestros all over say
her voice is very fine.

Oh, naturally.
What are you going to sing?

- "Caro Nome."
- "Caro Nome." Hmm.

You're ambitious. Let's hear it.

I'm frightened, Madame Bouget.

You're frightened? Think of me.

I have to play
the piano for him.

Alright. Alright.

The-that's enough.

What are you looking up
at the ceiling for?

Is there a spot up there?

Who are you
singing for? Tell me.

- For you.
- Then sing to me, please.

I'm right here in front of you.

Ple..

Please.

Now, Prudence.

Look at me.

Come on.

Now, start.

I'm not here to play
a piano solo, Ms. Budell.

I'm sorry Mr. Iturbi,
but I can't sing just now.

Why not?

You make me nervous.

Good. You should be nervous.

You'll get over it as you sing.

I can't!

Are you an amateur who sings

for yourself in a shower bath?

I wouldn't sing for you now

if I never sang for
anyone again in my life, you--

- Ah! Ah!
- You--

Oh!

My apologies, madame.

Grandmother, I'm sorry
I lost my temper.

That's the best thing
you did during the audition.

You better get a new piano.

I like her.

I thought you were interested.

She has a fine voice.

Of course she needs work

but she has
that kind of fire I like.

But is she
good enough for opera?

That's what she wants.

You think
you're fooling me, don't you?

I asked you
a simple question, José.

Not so simple, my friend.

You're asking me
if Prudence can do

what you wanted to do
all your life.

Never mind that.
Can she do it?

Does she want to?

Of course she wants to.

She's been studying
since she was 15.

Worked very hard.
Of course she wants to.

I knew a man in Spain.

He wanted to be
a great toreador, bullfighter.

But he lost a leg
before he had his chance.

So he said his son would be
the great bullfighter.

He sent the boy off to work

with the best men
of the bullring.

Then at last came
the big day in Madrid.

The son was to carry
the father's name to fame

to be a great toreador.

The hull was better
than the boy

and the father's dream
was ended.

Sit down,
my allegorical friend..

...and listen to me.

My story is about
a girl in Philadelphia

who had a very nice voice,
but she had a grandmother

who wouldn't allow her
to sing in public.

Now this girl with
the very nice voice

is now a grandmother herself

she likes to get things done.

The more people fight her,
the more she wants to do them.

And she's decided
Philadelphia can

and will have
another opera company.

Abigail. Another opera company?

Yes, the new civic.

Just as she decided to have
a new symphony orchestra

and engaged a
very difficult man named Iturbi

'to direct it.'

But an opera company
will cost you a fortune.

I have a fortune.

I also have a contract
with Guido Russino Betelli

to sing the tenor role.

Betelli to sing
with an unknown girl?

I'll believe that
when I see it happen.

You're gonna believe
a lot of things.

'Hutchins.'

What a pity.

This new civic opera company
you're starting, Mrs. Budell

what is the idea behind it?

To put on operas, young man.

Uh, yeah, I know that.

Well, Why'd you ask then?

Well, I mean, uh,
why are you starting another?

I have a granddaughter
who has a beautiful voice

and I think the civic opera,
if successful here

might inspire other cities

to try having
their own opera companies.

Opera companies
usually lose money

don't they, Mrs. Budell?

Mine won't.

No, I guess it won't.

I want to ask
the people of this city

to consider this new opera
as their own.

Mr. Iturbi and I
will do our best

to make it a good one.

That's very interesting,
Mrs. Budell.

I see we still have
a few minutes.

Would you please
tell our listeners

a little more of your plans?

No, that's all I have to say.

Tell that man with the jukebox

to play something
to fill in the time.

Thank you very much
for listening, if you did.

Thank you, Mrs. Budell.

For the next five minutes

there will be
a brief recorded interlude.

Tell Mr. Betelli, we're waiting.

I'll tell him.

What was that?

They're ready for you, sir.

Betelli is not yet
ready for them.

- Where?
- Here.

Hey!

Hey!

No! Stop! Please. Please.

Yes, Signor Betelli?

This is impossible.

This soprano, she's singing
my cue to the back wall.

She's a little nervous,
I'm sure.

I am Betelli.

You are nobody.

You should kiss Betelli's hand

that he stands on the stage
with you when you sing.

You should be inspired.

I am, Signor Betelli.

Then why did you turn around?

B-because I'm-I'm nervous.

Maestro, please.

'May we start once more?'

Gentlemen.

No! Stop! No!

Maestro, please.

'Where is that beast
of a manager?'

'Noise!'

Here I am, the beast.

...uh, manager,
Mr. Pemberton, please.

This noise!
You must stop this noise.

Stop the noise?
It's an ambulance!

Somebody's sick.
They have to, have to hurry.

And they blow a..

...always when somebody is sick.

Somebody is sick. That's right.

Me! I'm sick!

Noise! Amateurs! You!

You went on singing
so I would be off-key.

You want Betelli should
sing with a scream?

I'm sorry, Mr. Betelli,
but I didn't hear it.

Oh! So you're deaf, huh?

I thought so.

'A dumb manager, deaf soprano'

sick people is screaming.

It's too much
for one day, maestro.

That's all for today, gentlemen.

Thank you. See you tomorrow
at ten o'clock.

I'm terribly sorry, Mr. Iturbi.

I'll see you in my office.

José, what's the matter
with Prudence?

The bullfighter. Remember?

He's famous.

To some people,
fame means the right

to scream at other people.

However, you were wrong.

That's the reason
I did not interfere.

It's customary in opera,
or in life, to look at people

when you tell them
how much you love them.

- Well, I--
- You were nervous. I realize.

Nevertheless, it's no excuse.

Oh, I wasn't nervous.
I was afraid.

Afraid of what?

Afraid I'd laugh.

You find the love scene
amusing? Why?

- Well, the words.
- Ridiculous.

The words are classic.

Well, you try
to say to Signor Betelli

"On sighs and prayers

"I now shall live
until our parting's o'er.

Ah, let this token say to thee,
I'll love thee evermore."

You look at Signor Betelli
and sing those words.

Uh, Betelli is a great artist.
Think of that.

Never mind what the words mean.

I tried to, but--

Look, Prudence.

Great tenors are very seldom
young, good looking men

who feel the words of opera.

If you ever find one
who looks the part.

...you let me know.

Thank you. Mr. Iturbi.

Good afternoon.

Iturbi's so sure of himself.

So positive.

I'd like to
prove him wrong just once.

It's a tenor.

Oh, no. Not in my own house.

Thank you, Artie. Thank you.

- Hello.
- Good-bye.

- Oh, wait a minute.
- Just sign here, lady.

There's no extra charge
for the song.

You know,
you have a wonderful voice.

Thanks.

You should do something with it.

I did. I closed
an opera house in New York.

Oh..

Oh, you think I'm kidding?

It's on the level.

I was in "Carmen"
in the soldiers' chorus.

Took me eight weeks
to get the job.

I sang three performances of..

Paid me $38 take-home money.

Following day, I went back to
work, the place was closed.

I still don't know
how they found out it was me.

Then you have studied?

- Ever since I was that high.
- Italy?

Little Italy with my father.
Knuckle bumps.

Then two years
in Boston with Perenti.

And then what happened?

Well, I got hungry
and I got some sense.

I came back to Philly, got
a GI loan and bought a truck.

Do you mean
you've given up singing?

Tell you the truth, I don't know

whether I gave it up
or it gave me up.

Tell me something.

How would you like
to sing for José Iturbi?

Oh, I'd love it.

But how would
he like to play for me?

Very much, I think.

You're a wonderful girl,
but you've got my pencil.

Oh, where can I
get in touch with you?

At my mother's place.

Mamma Donnetti's
on Center Street.

Ravioli, spumoni, minestrone.

- Donnetti.
- Johnny Donnetti.

Well, I'm Prudence Budell.

Prudence Budell.

Better go now or we'll have
to charge you overtime.

Sorry to blow
the horn, old boy

but it's nigh the noon hour

and we do have several
other social engagements.

Drop off a stove,
pick up a hot water boiler

and see a man
about a load of pig iron

all before two o'clock,
you know.

That babe had
a great line of con.

Ah! Interesting
tete-a-tete, eh?

Yeah, she said
she's gonna bring Iturbi down

to play the piano
for me sometime.

Oh, I do hope
it'll be Thursday.

That's my butler's night out.

Eh!

This is the place.

Is he a waiter?

- No.
- Oh.

He's a truck driver.

What are you trying to do?

Be a nuisance
like your grandmother?

Just wait till
you hear him sing--

Good evening.
Just follow me, please.

This is a great voice,
and it's being wasted.

There's-there's been a--

Remember
your professional courtesy.

- But, I--
- Shh-Shh.

What a wonderful ear
you have. Bravo!

Bravo! And such taste.

There's been a mistake.

On that we agree.

Bravo! Bravo!

Don't you think you're
overdoing it a little?

Uh, yes.

- Johnny's young and--
- Grazie tanto, maestro.

And thank you, too.

I am Adriano Donnetti, maestro.

I used to sing at
La Scala Opera.

- Very noticeable.
- Sure.

- Thank you, Mr. Donnetti.
- Thank you.

- Isn't Johnny here tonight?
- No, not tonight.

Oh, well, where
could we find him?

Down the street
in the garage with the trucks.

It's getting very late
and we have to go home.

Aren't you gonna
eat something, maestro?

- Not tonight. We'll be back.
- Oh! Too bad.

And thank you, maestro.
Grazie. Grazie tanto.

Come back when
you're hungry, huh, Iturbi?

Okay, go ahead.

Canford's GI Trucking.
Night Dispatcher.

Oh, hello. This is Mary.

What's the weight?

Okay, we'll pick it up
right away.

Tommy, you're next out.

Five-piece pick-up at
the Pennsy Freight Dock D.

- Better take a helper.
- Okay. Thanks, Mary.

- Hi, Mary.

- Well, sit down.
- Oh, sorry..

Let's do, uh, "Sheltering Palms"
for mayor, huh?

Swell.

♪ Down among
the sheltering palms ♪

♪ Oh honey wait for me ♪

♪ Oh honey wait for me ♪

♪ My honey don't be forgetting
we've got a date ♪

♪ Remember out where ♪

No.

♪ The sun goes down
about eight ♪

♪ Oh baby how my love ♪

♪ ls burning burning burning ♪

No.

♪ How my heart ♪

♪ Is yearning
yearning yearning ♪

♪ To be down ♪

♪ I'm going down ♪

♪ Among the sheltering palms ♪

♪ Oh honey ♪

♪ Wait ♪

♪ Among the sheltering palms ♪

♪ For me ♪

♪ Wait for me ♪♪

- Oh, good, fellas. Swell.
- Thanks very much.

'Artie, that's José Iturbi.'

Oh, well.

Play it, young man.
Don't beat it to death.

Uh, we're looking for
Johnny Donnetti.

- Oh, he's out on a job.
- He's out? Good.

Oh, well, we're-we're expecting
him back momentarily.

I, uh, uh, won't you
sit down, maestro?

Thank you, I don't think so.

Tell him to come see me
tomorrow.

- Oh, well, he won't do that.
- What?

I mean, I don't think
he has time. Maybe--

Uh, he has a very pressing
schedule tomorrow.

We'll if he's that busy,
we'll forget the whole thing.

You're in luck, maestro.
There is your man.

I'll be back in a flash
with the flesh.

Johnny, Iturbi's inside.

With the orchestra or alone?

With that babe.

- Oh, with the Budell gal?
- Yeah.

Well, come on.
They're waiting for you.

I know, a bunch of guys
are waiting in there

to give me the horse laugh.

Well, this isn't a rib,
I swear!

He's in there with Mary
and the gang. Come on!

I'm gonna take a shower.

Tell him to come in there

and bring the orchestra
with him.

Now listen, you dope.
Come here.

Get in there, they're in there.

- It's our big moment. Come on!
- Get!

They'll kill ya.
Listen, would you come on?

Come on, I'm tired!

I thought you were kiddin'.

Mr. Donnetti, Mr. Iturbi.

You're not an easy man to find.

I'm sorry, maestro.

I thought Artie was..

...you know, just saying
you were here.

I came to hear you sing.

- You did?
- Mm-hmm.

Well, what would you
like me to sing?

Anything you like.

Well, how about, uh,
"Una furtiva lagrima?"

Mmm, yes,
but just the last part.

Okay.

Uh, up, out.

- Ready?
- Yes.

Alright.

- Thank you, maestro.
- You're very welcome.

Oh, Johnny, you were wonderful.

- Hey, Johnny.
- You were great.

- 'Attaboy, Johnny.'
- Well, what I right?

He's an agreeable surprise.

The voice has quality
and warmth.

And he has
a very nice personality.

Could you use him?

Look, if you're thinking of him
for the opera, forget about it.

We cannot use two beginners.

Oh, I beg your pardon, maestro

but one could hardly call
Mr. Donnetti a beginner.

Prudence, the voice is one thing

but on the stage, the boy could
look awkward and-and stiff.

But he seemed
perfectly at ease to me.

I felt that.

Here with his friends,
he's alright.

But with an audience, uh-uh.

I'm afraid it will be
much different.

- Talk to him.
- Alright.

Mr. Donnetti, did you ever do
any concert work?

Only when I was in the army.

Uh, troop shows
and stuff like that.

He fractured 'em.
They stood up and cheered.

Well, they stood up at least.

There were no seats
in most of the halls.

Maybe you could introduce him
at one of your concerts

to see how he does
in front of an audience.

You'll be amazed.
I guarantee it.

Oh, you do, huh? Good.

He's a Philadelphia boy,
local talent.

- Abigail likes that.
- Yes, she does.

- I think it will be alright.
- Oh, that's wonderful.

Oh, excuse me.

- Have you got a manager?
- Um..

I'm his manager.
I beg your pardon.

Glenson is the name. AG.
Arthur Geoffrey Glenson.

You have a manager.
Alright, Mr. Manager.

Have your artist at
the New Symphony Hall

Saturday morning at 10:00.

Uh, my artist will be there.

Good day. Prudence.

Oh, I beg your pardon, maestro.

There's one little question
we'd like to ask you.

Uh, for this introduction,
do we pay you or do you pay us?

A good manager.

- We pay you.
- Uh-huh.

And how much do you pay us?

We pay you $200.

And $50 for the concert.

Oh,
that will be quite satisfactory.

Why, that's four new tires
for my truck.

Why, thank you, maestro.

- Thank her.
- Oh, Miss Budell, I..

Well,
I'll try not to disgrace you.

You won't, Johnny,
I'm sure of that.

We'll have to go now

or Mr. Iturbi will start
charging you overtime.

Goodbye, gentlemen.

Goodbye.

So long, José.

So long.

Mr. Donnetti, we're in business!

No, at least not while
he's playing.

But I telephoned.
He said to come up.

Eh?

Donnetti is the name.

- Johnny Donnetti's father.
- And Mama.

- Oh. Come in, please.
- Thank you.

Mr. Iturbi.

Hello, Mr. Donnetti.
Mrs. Donnetti.

- Maestro.
- Maestro.

It's hard for me, six flights.
My wind.

- Don't tell me you walked up.
- Six flights.

- Mama don't like the elevator.
- No.

We want to thank you, maestro,
for what you do for our son.

And when Mama wants
to thank somebody

she likes to say thank you
with a minestrone.

Oh, no. Minestrone?

Johnny?

Anything I can do
for you, lady?

Well, I'm looking for
Johnny Donnetti.

Hey, Donnetti!
There's a gal on the runway!

'I'm loading at 14!'

Right up that way, lady.

Thank you.

Stuck, huh?

That happened to
my kid sister once.

I wasn't noticing
and I-I walked over this grate.

Hold it, hold it,
don't put your foot down

or you'll ruin your stocking.

There we are.

Hey, what are you doing
down in this neighborhood?

Uh, Mr. Iturbi sent me.

Oh, you don't mean
the concert's off, do you?

- Oh, no, quite to the contrary.
- Phew! I'm sure glad of that.

My father didn't sleep
all night, he was so excited.

My manager, you know Artie

he's down renting me
a dress suit to sing in.

'Johnny?

Johnny!

You almost wound up
in the Pennsylvania Station.

Uh, Mr. Iturbi wants you

to start practicing this
right away.

Well, I'll start on it

right after
I make my last delivery.

- "Celeste Aida"?
- Mr. Iturbi..

Where's Prudence?
And stop chewing that gum.

- Hello.
- Hello.

I thought it would be easy,
but all these people.

Well,
just remember how much it means to you

and Mr. Iturbi and to..

...well, to everybody.

Well, don't worry
about being nervous.

That's traditional.

Thanks.

'Ladies and gentlemen'

tonight I have
a surprise for you.

A young man
with a very fine tenor voice.

'A man from your own city.'

'John Donnetti,
who is going to sing for you'

"Celeste Aida" by Verdi.

Ladies and gentlemen

may I introduce to you
Mr. Donnetti?

Do we wait to hear
Iturbi's truck driver

or do we leave
before the agony begins?

I think we'll stay.

- Bravo, bravo, bravo!
- Bravo!

Bravo!

Bravo! Bravo!

I'm his manager.

Come in.

Thank you, Prudence.

Wasn't that tenor good tonight?

Yes, very.

I was so happy for your sake.

For my sake? But why?

It proves my point
about Iturbi.

No matter what he pretends

he really is interested
in young artists.

Yes, I can see what you mean.

'You saw what
he did tonight with that, um..'

- Donnetti.
- 'Yes.'

'And you know
where he found him?'

Yes, I-I do.

Driving a truck.

If he can do that with him
in such a short time

think what he can do with you.

Yes, I, I see what you mean.

Goodnight, grandmother.

Goodnight.

Thank you for my tea, Prudence.

♪ And when I told them ♪

♪ How beautiful you are ♪

♪ They didn't believe me ♪

♪ They didn't believe me ♪

♪ Your lips your eyes
you cheeks your hair ♪

♪ Are in a class
beyond compare ♪

♪ You're the loveliest girl ♪

♪ That one can see ♪

♪ And when I tell them ♪

♪ And I'm certainly
going to tell them ♪

♪ That I'm the girl whose boy ♪

♪ One day you'll be ♪

♪ They'll never believe me ♪

♪ They'll never believe me ♪

♪ That from this
great big world ♪

♪ You've chosen me ♪

♪ And when I told them ♪

♪ How wonderful you are ♪

♪ They didn't believe me ♪

♪ They didn't believe me ♪

♪ Your lips your eyes
your cheeks your hair ♪

♪ Are in a class
beyond compare ♪

♪ You're the loveliest girl ♪

♪ That one can see ♪

♪ And when I tell them ♪

♪ And I'm certainly
going to tell them ♪

♪ That I'm the man whose girl ♪

♪ One day you'll be ♪

♪ They'll never believe me ♪

♪ They'll never believe me ♪

♪ That from this
great big world ♪

♪ You've chosen me ♪♪

- How was it?
- Oh, it was wonderful.

Everyone in evening dress.
Mainliners.

The Budells in their box.

Well, just everyone
in Philadelphia

who's anyone
in Philadelphia was there.

Oh, they loved it.

Swell. Swell.

Good morning,
good morning, good morning.

Carry on, slaves.
Get back to those vehicles.

Don't think, slaves,
that I don't know

what it means to have
to work for a living.

I was once
a truck driver myself

in the good old days.

The good old days
that will never return. I hope.

- Get him.
- A flower in his buttonhole.

He looks like
he's ready to be laid out.

Alright,
break it up, break it up.

Go on back to your labors.

- Where's Johnny?
- Slumbering.

Papa Donnetti
almost slaughtered me

when I suggested that
we might awaken the artiste.

Artie,
what did you think about last night?

Oh, he's on his way,
riding on a star.

I think you both are.

Remember how crazy
he was that night

you introduced me to him?

Oh, yeah, at that USO in Paris.

You, uh, you went
a little mad yourself

that night, didn't you?

I'm afraid I did.

I couldn't be happier for you,
my pet.

Unless I was the lucky guy.

"His voice is rich
and every tone is true."

Well, let him try Faustus.

Let's see how true
his voice will be. Go on.

Uh, "He has good presence."

What does that mean?

Well, he looks good
on the stage.

- Bah!
- He's pleasing.

Go on.

"Donnetti's
audience cheered and.."

What is it?

'They're ready
for your rehearsal, Mr. Betelli.'

Betelli will come
when he is ready for them!

Go on.

"And Guido Betelli
was in the audience."

Ah!

"Philadelphia is lucky to have
two such fine tenors."

"Two such fine tenors?"

I cannot stay here all day
and listen to this nonsense.

"Two such fine tenors?"

There is only one Betelli!
Remember that!

- Good morning.
- Buongiorno.

I think we'll start first
with the duet.

Signor Betelli,
you come from the left side.

Yes, I know.

- 'Please, gentlemen..'
- Ah!

'Oh. Hmm. Hey.'

Hey.

Hey!

No! Please, just stop!

- What is it now?
- You must look at me.

You're not singing
to truck driver.

And musicians, you are not
playing for truck driver.

Please remember that.

You must look deep in my eyes.

The words here, Miss Budell,
they mean

- "I love thee evermore!"
- 'Mr. Betelli.'

- Signor Betelli.
- ' "I love thee evermore!"

Signor Betelli!

- "I love thee evermore!"
- Mr. Betelli!

Signor Betelli.

Yes, maestro.
I'm ready for to begin.

You are, huh? I'm not!

- 'Pemberton.'
- Yes?

Tell the orchestra
to have a smoke.

- Mr. Iturbi--
- Relax, Prudence.

Abigail, may I see you
for a moment?

Mr. Pemberton!

Signor.

I came here for rehearsal.

I insist that we rehearse.
It's in my contract!

Aha, but Mr. Iturbi
isn't in your contract.

I insist on rehearsing!

You do? Stick around, old boy.

We'll rehearse.

With you?

- Certainly.
- Oh, idiota!

Now I am insulted!

Incompetent manager!

Mr. Pemberton?

'Mr. Pemberton?'

'Mr. Pemberton?'

- Pemberton?
- Yes?

Mr. Betelli is very upset.

And I think you should
do something about it. Now.

They that are so impressed
by this truck driver.

For Betelli, they play as if
for a christening!

Aye, but they will come to me.

- Yes, signor.
- They will find..

- They are coming, signor.
- Go away. I will see nobody.

I said, "Go away!"

Did you not hear me?
I don't know want to--

It is remarkable
how you can be so calm, Signor.

- Calm? I am not calm!
- Yes, you are.

I am not calm!

Yes, you are.

If this tragedy happened to me,
if I were the great Betelli..

...I would break things!

Like that.

Like this.

I would tear down the drapes.

I would stamp on them.

Do a dance on them.

Grind them under my heels.

I would be excited.
I would need air.

I would have temperament.

Temperament!

It would come out
of my ears and my nose.

I would leave destruction
as my monument.

They would never forget

that they had dared insult
a great artist.

Out! Out!

This will go out in the alley.

Do you mind helping me,
please?

- Oh, not at all.
- Thank you very much.

One, two..

Good boy!

I would leave
the entire place in shambles!

Yes. A nightmare!
Scat, beggar!

A hideous example
of my retribution!

That they would do this
to do the great Betelli

the great, beautiful Betelli!

B-E-T-T-I.

- How dare they?
- Hey!

Who do they think who they are?

- I wouldn't do that.
- Shut up!

- The great Betelli!
- Aye! This, I like!

- You do?
- Aye.

Aye..

- Oh!
- Aha!

And for the crescendo,
I would--

- No, no!
- What's the matter?

Bad luck for whoever
breaks a mirror.

- How long?
- Seven years.

- Hmm.
- Ah.

That would be my last protest
as I resign.

I do resign.

Good. I would even tear up
my contract.

- I do tear it up.
- Now?

- Si. Si.
- This minute?

- No wait?
- Si.

- I am sick of Philadelphia.
- Yes.

I am sick
of this brotherly love stuff.

- Yes.
- I am sick of amateurs.

- Yes.
- Newspapers!

- Yes.
- And now, I am sick of you!

- Yes! Yes!
- Get out! Get out!

Get out!

You're a great artist, signor.

Look at what you have done.
It is magnificent.

Signor, I salute you.

Betelli--

Betelli's getting on my nerves.

- He's unbearable.
- Don't say that, José.

- He's very nice.
- What?

He just tore up his contract.

Good. Get Melchior.

Uh, Melchior's engaged
for the season.

- What about Lenetti?
- Lenetti's on tour.

Johnny Donnetti isn't engaged.

- What about Donnetti?
- Nonsense.

Well, you know,
he's had good training.

He has a great voice.

He has good presence
and he's young

and he's from Philadelphia.

He's from Philadelphia?

That's a great recommendation
for lawyers

or people who make scrapple

but it doesn't necessarily
apply to opera singers.

And I love scrapple.

You must admit
he has a good voice.

'Of course, he's good. Sure'

for two solos, six minutes.

But an opera lasts two hours.

He's not ready.
He needs training.

- You could train him.
- 'I'm training you.'

Well, you could
train us together.

Why not?

Don't you want to get
in the act, too?

Prudence, tell him
to bring us some tea, will you?

Now, Abigail, before you start
with the tea and the soft talk

let me tell you--

José, there's gonna be
no soft talk.

Sit down.

How did you do it?

It was really quite simple.

José kept saying,
"No, no, no, no, no."

And after a while,
he changed his mind.

May I be the one to tell Johnny?

Why not? You're the one
who's in love with him.

I'm in love with him?

Say that again.

I'm in love with him.

An opera singer should
fall in love with her tenor

or composer, or baritone,
or conductor.

I'm glad you chose a tenor.

Hmm, we need a tenor.

- Grandmother, you're a--
- Extremely practical woman.

- Is Johnny Donnetti around?
- No, I don't think..

- Oh, hello, Miss Budell!
- Hello.

Oh, he worked last night.
I don't think he's up yet.

Uh, he usually phones me
as soon as he gets up.

Uh, won't you sit down?

Uh..

The boys get
grease all over things.

Are all your drivers
as unconventional as Johnny?

Oh, no. They broke the mold
when they made him.

They must have.

The other night,
he created quite a furore

in my neighborhood.

He came up with a truckload
of musicians

and we sang a duet at midnight.

Oh! That's Johnny to a T.

Let me tell you what happened
one time in Wiesbaden.

My major was sick in bed
with the flu

and I made the mistake
of telling Johnny about it.

Well, he brought a choir up
in an ambulance

and they sang, uh

"I've Been Working
On The Railroad"

'til the MPs came.

Well, they finished the last
chorus in the guardhouse.

That sounds like Johnny.

Well, one thing I'm sure of,
our lives won't be dull.

Oh, you, he may never
get around to saying it

but he's grateful.

We're both very grateful to you.

Yeah. Thank you.

But your gratitude
should go to my grandmother

and Mr. Iturbi.

Oh, no. You started it.

But now they want
him to sing in their new opera.

Opera?

Oh?

Oh, it's what he's
always dreamed about.

Oh, he used to say

"I'll be singing opera someday

"and no matter
how many people there are

I'll be singing just to you."

Oh, this is really
gonna floor him.

Oh, Miss Budell, would you
let me be the one to tell him?

Of course. You should
be the one to tell him.

Any time we can
ever do anything for you

either of us, just call us.

Thank you. Goodbye.

"My dearest Johnny.

"I am a music lover
and have been for years.

"Please send me photograph
of yourself'

"'by return mail'

"and write something
personal on it.

- Something I can--"
- Have I got news for you!

You know who just left
the garage?

The Budell girl
and her grandmother.

Their car pulled away
just this minute!

- Is that the news?
- Oh, no, Johnny!

You're going to sing
in the opera.

- I'm gonna what?
- They want you.

Mr. Iturbi wants you.
They said so.

Well, she did, the Budell girl.

It's all set.
They wanna see you at once.

Oh, Johnny! They're gonna
make you an opera star.

My boy. I knew! I knew that
at some day, Mamma--

It's the best news
I've ever had!

Oh, it's wonderful.
Oh, good bye, folks.

I gotta get back to the office.

- Goodbye.
- Goodbye!

I've got to believe it,
I didn't believe her

when she said Iturbi would
play for me, but he did!

You see, my Johnny, all of
the hard work, all of the study

it meant something after all.

Oh, yes, Papa. Ooh, the things
we're gonna do now!

Donna, you're going to
a real school

and someday, you'll be
a big dress designer.

Oh! Oh! I
don't know what to say.

Don't say anything.

And Mamma

no more dishes to wash

no more cooking,
no more restaurant.

- Mamma's gonna be a lady!
- I am so happy for you!

Johnny! Johnny, look at them.

- They're all crying.
- Yeah!

What's the matter with you?

You're crying at a, at..

At a happy time.

- I'm very sorry to interrupt--
- It's all my fault.

I just had to bust in here
and say thanks, Prudence.

Well, it was really
my grandmother and Mr. Iturbi--

Oh, they're okay, too.
But you're my lucky star.

The day I lugged this box in
here, you changed my whole life.

Madame Bouget and I
were just rehearsing.

- 'That's right.'
- I'll get out. I'll get out.

I only wanted to let you know
that I'm grateful

and my father's grateful,
and my mother's grateful.

'Rosita and Donna,
and Peanuts are grateful.'

And now that I'm leaving,
Madame Bouget is grateful.

Yes, and I'm grateful.

Prudence! What is wrong?

Nothing.

Let's try again.

Tres bien!

- Don't ever do that again!
- Why?

You might fall
and bruise your tonsils!

That was good,
but we'll do it again, huh?

- Okay.
- Now, smile. Come on, smile.

That's better. And loosen up.

Walk around. Hmm?
Shall we try again?

- Yes, maestro.
- That's good.

Gentlemen, please,
from the beginning.

♪ Nightingale ♪

♪ O Nightingale ♪

♪ Sweet are thy songs ♪

♪ O nightingale ♪

♪ Whither flyest thou? ♪

♪ O say ♪

♪ Where sing'st thou ♪

♪ At break ♪

♪ Of day? ♪

♪ Nightingale O nightingale ♪

♪ Where sing'st thou ♪

♪ At break of day? ♪

♪ Nightingale ah ah ah ah ♪

♪ Nightingale ah ah ah ah ♪

♪ Fly unto him ♪

♪ To him now go ♪

♪ Ahhh ♪

♪ Ahhh ♪♪

Bravo! Very good! Very good.

'Gentlemen, please.'

How do you do, Miss Budell?

♪ Mmm ♪♪

- Hiya, Artie.
- You may touch me.

All it needs is your hand
and seal.

- What?
- Your contract.

- Contract?
- Mamma mia!

Tonight, we have
a big celebration.

- And what a celebration!
- Alright, wait a minute.

Wait a minute, before you
start planning any fiestas

don't you think you should
peruse the contents herein?

Let Papa do it.

- 'Who is it?'
- Johnny.

I'm sorry.
You can't come in now.

Tonight we're having
a big celebration.

Mamma, Papa, Rosina,
Donna, Peanuts

and yours truly
extend an invitation to the one

who made it all possible,
the signing of my contract.

'Now, what time
will I pick you up?'

I'm sorry.
I have a date tonight.

You seem to have
a date every night.

Now, do you think that's good
for your career or mine?

You don't have to worry
about your career anymore.

Come, come!

Mustn't keep
the maestro waiting.

You, too.

Prudence, try and make it, huh?
Even if you have to come late.

We'll keep a light burning
in the window for you.

Hey, Johnny,
Johnny, will you sign this

before Papa wears it out?

Oh. Did you read it, pop?

Every word. It's a-wonderful.

You're a real artist now.
It says so here.

What else does it say?

What's the matter?
Ain't that enough?

- Sure, pop. That's plenty.
- Sure!

♪ It's three o'clock ♪

♪ In the morning ♪

♪ We danced ♪

♪ The whole night through ♪

♪ Daylight soon ♪

♪ Will be dawning ♪

♪ Just one more waltz ♪

♪ With you ♪

♪ I could just keep
right on dancing ♪

♪ Forever dear ♪

♪ With you ♪♪

Oh, what a fiesta.

It's magnificent.

I am stupendously happy.

I'm happy for Giovanni.

Translated, that's Johnny.
That's you.

And I'm happy for you.

I'm happy for Mamma and Papa.

I'm just a little bit sorry
for myself.

Not much, just a little bit.

Look who's crying in his beer.

You want me to tell you why
I'm a little sorry for myself?

I won't tell you.

I won't tell anybody.

It's my top secret.

It's my atom bomb.

I will keep it locked
deep in my heart.

Hey, "Deep In My Heart,"
that's a good song title.

I'm gonna have José
write the music for it.

- He'll be here later on.
- Oh, good.

Well, I will consult him
when he arrives.

- The Budells coming?
- She couldn't make it.

Had a date tonight.

I won't bore you with
my sorrows if you dance with me.

Okay?

What time is it, Louie?

Five minutes past twelve.

She ought to be home by now.

- You want something, Johnny?
- Uh-uh.

Hiya, fellas.
You're just in time.

Come on with me. Come.

♪ They have said that ♪

♪ You're far above me ♪

♪ I know ♪

♪ I know ♪

♪ I know ♪

♪ Soto dream ♪

♪ Ridiculous of me ♪

♪ I know ♪

♪ I know I know ♪

♪ Slim are my chances ♪

♪ They tell me ♪

♪ And I am crazy ♪

♪ For wanting you so ♪

♪ But still ♪

♪ And all ♪

♪ Someday you will love me ♪

♪ I know ♪

♪ I know ♪

♪ I know ♪

♪ Slim are my chances
they tell me ♪

♪ And I am crazy ♪

♪ For wanting you so ♪

♪ But still and all ♪

♪ Someday you will love me ♪

♪ I know ♪

♪ I know ♪

♪ I ♪

♪ Know ♪♪

- That was very nice, sir.
- Oh, thank you.

And Miss Budell
isn't home yet, huh?

Yes, sir. She retired
very early this evening.

- She didn't go out?
- No, sir.

She went to her room
right after dinner.

- Then she's upstairs?
- Yes, sir.

Well, we'll take care of that.

Don't you think you'd
better go downstairs

and kiss him good night, then
we can get the concert over?

No, grandmother. I don't.

What's the matter?

I'm tired of being
made a fool of.

But I thought you were
in love with him.

I was, until I found out
he was marrying another girl.

When did you find that out?

The day we went downtown
to the garage.

She works there.

If that's the case, you'd
better see him and tell him.

I never wanna see him again

and I never wanna
talk to him again.

I'll sing with him,
but that's all.

I'm not gonna let him
use you or me.

He's done that
for the last time.

You go to bed, dear.
I'll take care of this.

♪ And I am crazy ♪

♪ For wanting you so ♪

♪ But still and all ♪

♪ Someday you will love me ♪

♪ I know I know ♪

♪ I know ♪♪

Hello, Mrs. Budell.

If you've quite finished
your serenading--

I hope I didn't wake you up.

If you're through,
I think you'd better leave.

Are you sore about something?

I think you'd better go.

What's the beef?
I mean, what's wrong?

- You.
- Me?

I think I'd better
talk to Prudence.

That won't be necessary.

Prudence asked me to see you.

- And tell me to leave?
- And tell you to leave.

You sure?

Prudence knows
all about your plans

for marrying another girl.

She what?

The girl in question told her

all about it.

Will you please go?
And don't be difficult.

I don't wanna be.

Hutchins, show Mr. Donnetti out.

That won't be necessary.

Goodnight, Mrs. Budell.

Do you mind, Artie?

Mary, are you planning
on marrying me?

Kind of a left-handed way
of asking a girl.

But then..

...then you never do anything
the way anybody else does.

I've wanted to marry you
for so long, Johnny.

What are you two doing here?

This is a party.
You must mix with your friends.

Oh, mamma mia! Mamma mia!

- We're, we're going to be--
- "Mamma mia?"

Are you going to marry my boy?

Oh, Johnny, I'm so glad for you.
And for you, too.

Dear, we-we are going to
tell everyone. Everybody!

We are going to have
two celebrations.

Come on, the two of you!

Follow me. Please, everybody!

Everybody, please!
Stop the music!

Wine for everybody!

- Hiya, maestro!
- Hello.

You're just in time.

- Hey, what's going on here?
- For you.

- What's it all about?
- And you.

Wine. A very special occasion.

Take a good drink
for the good luck.

My Johnny and Mary
are going to make marriage.

'Congratulations, Johnny.'

'Kudos to you, Johnny.'

- Hi, Artie.

- Good morning, maestro.
- Good morning.

- Good morning, Mrs. Budell.
- Good morning.

I'd like to talk to you in
the office or someplace private.

There's no time for that,
young man.

Rehearsals start at 10 o'clock.

- I'm not going to rehearse.
- What do you mean?

I bought my truck
back this morning.

Well, I'm sure that's of
no interest to my grandmother.

Maybe you don't understand.
I'm quitting.

But you can't do that.

'I thought I got this job'

because you liked
the way I sang.'

If that isn't so,
then I don't want the job.

You get it, don't you,
Mrs. Budell?

Mr. Donnetti.

I'd like to say just one thing--

Save it and tell it
to your grandmother.

Thank you, maestro.

Come on, chum.

There are a lot of things
we have to do.

- Uh, Mr. Pemberton.
- Yes.

If you ever want
a piano moved, call us.

Let's postpone the opera.
We can do that, can't we?

Oh, no, grandmother, please!

We cannot go ahead
without a tenor.

Well, you can get one.

I'm afraid
it's practically impossible

this late in the season.

And we've so little time
for rehearsal.

Oh, please, Mr. Iturbi.
We can't postpone the opening.

Why are you so determined?

Because we've got to show him

that we can get along
without him.

Get any tenor.

- Anyone at all?
- Yes.

I'll try.

Get Guido Betelli
on the phone, please.

Bella, belle!

Thank you, gentlemen.
I'll see you tomorrow morning.

Mmm!

Thank you. That's all for today.

Ah! Bella!

That means
"Beautiful. Beautiful."

But you were careless, my child.

You looked away
from me three times.

Oh, I'm sorry.

Tell me, is there some reason

why you cannot look
at me when you sing?

No, Signor, no.

I will help you
during the cadenza.

I will move around
just a little bit

so I am always in front
of you, eh?

Signor Betelli,
whatever you do

I am sure will be
perfectly alright with me.

Ah, bella!

Thank you.

Sure, her voice
is technically perfect

but you know as well
as I do what's missing.

She'll forget that Johnny.

That's what you think.
You are an optimist.

- I know the women of my family.
- 'All stubborn, ah?'

Firm.

'Come in.'

Well, how did you like
the rehearsal?

- You were very good today.
- Thank you.

We were just talking about it.

Betelli is really a great help.

He seems to be.

Now, I see the difference

between a-an amateur
and a seasoned professional.

Well-seasoned, too.

Betelli handles
transitions perfectly.

I know.

- He's so sure of himself.
- I should say.

And his voice is so exact

that it-it's really... wonderful
working with him.

Are you getting a cold?

I don't think so.

Have Madame Bouget
spray your throat.

Abigail, do you remember
the story about the bullfighter?

She's still in love with him.

You have one
in your own family.

I did everything
for her happiness.

More people around here
are getting colds.

Good evening, madam.

Good evening.
Where's Miss Prudence?

She said she had
a splitting headache

and went to her room, madam.

She won't be down for dinner.

Oh, yes, she will.
Mr. Iturbi's coming to dinner.

Very good, madam.

I have some news for you.

I'm gonna call
the first opera off.

- Betelli's sick?
- No, but you are.

Sick of the opera, sick of me.

I've never felt better.

Who do you think you're fooling?

You don't wanna
go ahead with this.

Oh, yes, I do,
more than I ever wanted

to do anything in my life.

You might, just to
spite the Donnetti boy.

- That's part of it.
- That's all of it.

No, it isn't. There's more.

I wanna prove
that you weren't wrong

when you believed that I
could have a career in opera.

I wanna finish what I started.

I'm a Budell, too.
Remember, grandmother?

Stubborn, eh?

Well, I give up.

What do you want?

Mr. Iturbi telephoned
to say he couldn't dine

with you tonight, madam.

Just as well.
Send me up a tray.

I have a splitting headache.

I'm beginning to get one myself.

Nothing.

No, nothing. Nothing!

You don't fool me.
I know you too well.

When my brother plays
with a face like that.

...something is wrong.

Oh, please, Amparo.

Serious?

It's a failure.

First, Abigail..

Granddaughter, Prudence.

Betelli.

Prudence finds Johnny,
and everything is perfect.

Papa Donnetti..

Mamma Donnetti..

But out of the clear sky

Johnny doesn't want to
sing anymore.

And he wants to
go back to his truck.

Great!

Come on, Amparo, let's finish.

Uh, wait a minute, José.

You always did
something about it.

- Jason?
- Yes, sir.

May I have my coat
and the Donnetti soup tureen?

Yes, sir.

Thank you, Amparo.

- Hello, Papa.
- Oh. Oh, hello, maestro.

I've wanted to bring this back
to you for weeks.

Maybe you want
some more minestrone?

- It wouldn't be bad.
- It wouldn't be good.

What's the matter
with the minestrone?

Mamma, that's what's the matter.

Mamma?
Isn't she cooking anymore?

Sure, but when she's worried

she don't make
a good minestrone.

- What is she worried about?
- About Rosina.

What's the matter with Rosina?

Rosina, she's, uh,
worried about Donna.

What's happened to Donna?

Donna is worried about Artie.

Artie? Something
happen to Artie?

- Artie is worried about Mary.
- Oh, Mary. Johnny's girl?

Did something happen
between them?

Mary is worried about Johnny.

What's wrong with Johnny?

Johnny"

...he's-a worried about
the Miss Budell.

Oh. He misses the opera?

No, not the opera.

He's marrying a girl
he don't love.

He smiles,
but he don't mean it.

Nobody's happy.

Is Johnny around?

He's in the kitchen.

I think I'll go and see Mamma.

Sure, she's in the kitchen, too.

- And, maestro.
- Yeah?

Please don't take
the minestrone.

Cigar, please.

Alright.
But they are no good.

- Good evening.
- Oh, good evening.

Hello, Mamma.

- Oh?
- I brought back your dish.

Really, you shouldn't
bother, maestro.

No bother at all.
And it was delicious.

- Hey! Smells good.
- Grazie.

'Do you ever make rice soup?'

'I don't think I can, maestro.'

'Good. You
start with wild rice.'

- Wild rice?
- Mm-hmm.

Then, you use a stock of--

Are you sore at me, Mr. Iturbi?

Not at all, Johnny.

- Then you put--
- Then why the brush-off?

Johnny, since
you quit the opera

we have absolutely nothing
to talk about.

Then, you cut
the chicken strips--

Well, you know why I quit,
don't you?

Because you didn't
appreciate what you had.

You were given a great gift

and the chance
to use that gift.

You could have given joy
to the world.

You could have made
many people personally happy.

But you didn't think
about anyone but yourself.

You could have made it possible

for your mother
to take things easy.

You could have made all
your father's dreams come true

'help your sisters do
what they wanted.'

'But, no, it was more important
for you to do what you wanted.'

Alright, you did.
So, forget about it.

Wait a minute, Mr. Iturbi.

Then, you cut
the chicken strips--

What about my side of the story?

- What about it?
- I didn't ask for the job.

I didn't try to make
a fool of anybody.

I was going along,
minding my own business

a guy havin' a good time.

I had my own truck, a..

...a girl I thought
I was in love with.

'I was taken up to the clouds
then dropped right back.'

'Maybe you think it's easy
to come back to where I was.'

You quit--

After the old lady
rousted me out of the house

and told me what a heel
I was, sure, I quit.

And I don't wanna
see or hear anything

about either one of them again.

I'm sorry, Johnny.

I guess I didn't
understand it entirely.

Well, Mamma, I come back
one day soon.

And we try the rice soup.

- Is that alright with you?
- Surely, maestro.

- Arrivederci.
- Sure thing.

Goodnight.

Maestro, I'm so glad you came.

So am I, Papa.

He really got me sore.

- Johnny.
- Huh?

Let's take a walk.

You wanna look

in those furniture store
windows again

and go through
that model kitchen.

We're not gonna look
in store windows tonight.

We'll just take a short walk
around the block

talk about you... and me.

Poor Mary.

I think I'm going to cry.

Okay, mom

you can squeeze out
a couple of tears for me

if you can spare 'em.

You feel sorry for Mary, too.

I feel sorry for everybody.

I saw what she did.

She's going to give him back
the ring.

Unless she changes her mind.

You think she won't do it?

That's what worries me.

What's the matter
with that Johnny?

Where does he go now?

They went for a short walk,
I hope.

Papa, you think it's nice
of your boy

to say things like he said
in front of Mary?

He can't help it.
He's got a big mouth.

- He takes after his mamma.
- Me?

Do you hear
what he says to me now?

Well, at the party, you say

"Stop the music.
Stop the music."

But you don't give away houses

electric refrigerators
and airplanes. No.

But you give away
Johnny to Mary

when he's in love
with Miss Budell.

And Artie, he's in love
with Mary, right?

- Right.
- I did that?

- I did that?
- You did that.

But Johnny, he's the worse.

When Mr. Iturbi is come here

Johnny talk so fresh to him

like he's some grease monkey.

I'm gonna talk to that boy.

I'm gonna tell him what it is
a professional courtesy.

I'ma.. You, go find him.

Oh, but, Papa, he's
out there with Mary--

Well, send him back
to here with me.

Papa, I don't think--

Mamma, please, just, just once.

Just once,
let me do the thinking.

- Send Johnny back here.
- Well, what about Mary?

If you don't know
what to do about Mary

then you are a bigger dope
than Mamma.

- Now, go ahead!
- Okay, Papa.

Now you're cookin'!

I don't like you to do this.

I don't care
what you like me to do.

What do you want me to do?

How do you know
he loves Miss Budell?

Because I'm not blind
the way you're blind.

Don't you start telling me
I am blind.

- He hates Miss Budell.
- He don't hate her.

- He don't want to speak to her.
- He does want to speak to her.

- He don't want to see her.
- He does want to see her.

He don't want to hear her sing!

He does want to hear her sing!

Oh!

Abigail, how is our star?

Her health is fine,
her deportment beyond reproach.

She's gonna fall flat
on her face tonight.

Please don't worry.
She'll be fine.

You and I know better than that.

She's as cold as ice,
no jitters, no nerves

no temperament.
And this is an opening night.

She's gonna
sing like a debutante

and disgrace herself.

No.

- Are they alright?
- Wonderful.

- Did you write the card?
- Sure. Here.

- No, no. In the box.
- Oh!

Now you wait here.

Give me a minute.

- Prudence, it's me.
- 'Come in.'

Well, how do you feel?

- Fine.
- That's good.

You know the part,
you are in good voice

you'll do very well tonight.

...and especially with Betelli.

Oh, well, you don't have
to worry about him.

Not if you look at him
and don't laugh.

Oh, I'm over all that now.

Come in!

Eh, for you, Miss Budell.

- They just came.
- Thanks.

- Thanks.
- And good luck.

- Oh, they're lovely roses.
- Beautiful.

"With all the good luck
in the world."

I wonder who they're from.

What is on the back?

"You'll need it tonight.
Johnny Donnetti."

Why, the nerve of him!

How dare he write
such a thing to me?

- Very unprofessional.
- How dare he send me roses?

Now, now, please--

Deliberately trying to upset me!

- Please, don't get upset.
- I don't want his flowers!

Please, you have a performance--

He knows what I think of him!

If he were here right now

I'd take these flowers

and I'd-I'd hit him right
over the head with it!

- I'm awfully sorry.
- The distasteful..

Please, don't get upset--

I... hate him!
I, I hate him!

I hate him! I hate him!
I hate him! Ah!

I hope we don't have
to hold the curtain.

Oh, we have about a half hour.

Uh-uh. Look what I see.

Well, Johnny,
it's good to see you.

Papa said I had to come over and
wish you and Miss Budell luck.

I see. Thank you.

But I don't think I can
let you go in and see her now.

She's too upset.

Besides, it-it wouldn't be good.

Good. You've got him.

It was quite a job, kiddie.

- Ooh, ooh.
- I'm very sorry.

- Awfully sorry.
- Oh, that's alright.

- Don't bother. That's alright.
- There. We're sorry.

Don't bother at all.
Thank you. Thank you.

- Oh, and thank you.
- Oh, there we are.

- Yes, there we are.
- Thank you. Thank you.

'You call
this costume? Get out!'

'Get out!

'Get out!'

'Hurry! Stupido!'

Uh, I'll wait out here.

What seems to be wrong, signor?

Seems to be wrong?

This costume seems to be wrong!

- Why, it's disgraceful.
- Si.

- Disgraceful.
- Si, sí.

- It's-it's a terrible fit!
- Si.

What they think I am?
Little kitsy midget?

- No, you're a a big midget.
- Si!

- Yes.
- I will not wear it.

- Yes.
- You mark up on my words!

- Right.
- I will not wear it!

- Yes.
- Si!

'I cannot wear these rags!'

'I will not
wear them! You hear me?'

'I will not stand for this!'

'It's too much!'

'You hear me? Too much!'

'It is remarkable
how you can be so calm, sir.'

'Calm? I am not calm!'

Aye. They have no respect
for Betelli in this place!

- Don't get mad now.
- But I am mad!

- Oh, no, you're not.
- Yes, I am!

But they will be mad too.
I will not go on!

Let them start without me
and wait!

If this tragedy happened to me,
if I were the great Betelli..

...I would break things.
Like this.

Break it, king.

Good boy!

Tear down the drapes. Attaboy!

Now, stamp on them.

- Ah-ha!
- Do a dance on them.

Grind them under your heels.

Now get excited. Get e..

You need air! You need air!

Now, I would leave destruction
as my monument.

Now, they would never forget

they had dared
to offend a great artist.

This would go out in the alley.

Do it!

'I made it!'

'I made it!'

♪ Love is music ♪

♪ How divine the intimate air ♪

♪ A psalm for always ♪

♪ In the winds
of spring everywhere ♪

♪ Storm or summer ♪

♪ It is yours the morning ♪

♪ For it sings forever ♪

♪ Charming your heart ♪

♪ With enchanting
emotional melody ♪

♪ Ah ♪

♪ Ah ♪

♪ Love I am yours ♪

♪ Oh tempt me with your wine ♪

♪ Ah your song is mine ♪

♪ So awake me
from innocent slumber ♪

♪ Soft your refrain ♪

♪ A tender song so new ♪

♪ I would yield to you ♪

♪ All my soul my heart ♪

♪ My all ♪

♪ Ah hear the lovers
surrendering ♪

♪ Love light the way ♪

♪ For two unashamed ♪

♪ Be then a star ♪

♪ To shine in their night ♪

♪ Forever ♪

♪ Sweet are thy love songs ♪

♪ Dear to the lonely ♪

♪ Give me your song ♪

♪ I desire your melody ♪

♪ Sweet is the music ♪

♪ None for the lonely ♪

♪ Music is mine for your song ♪

♪ Surrender to me ♪

♪ You to embrace dear ♪

♪ Blessed with your grace dear ♪

♪ Would we desire any more ♪

♪ What more in the world ♪

♪ Sweet are the love songs ♪

♪ Dear to the lonely ♪

♪ Give me your song ♪

♪ I desire your melody ♪

♪ Sweet is the music ♪

♪ None for the lonely ♪

♪ Music is mine for your song ♪

♪ Surrender to me ♪

♪ Heaven designed you ♪

♪ Told me I'd find you ♪

♪ We will be lost in the song ♪

♪ We will be one in the thrill ♪

♪ Ever to you I belong ♪

♪ Ever to you ♪

♪ Till the end of dawn ♪

♪ And dreaming ♪

♪ Love or die ♪
♪ Love light the way ♪

♪ I must love you or die ♪
♪ Love light the way ♪

♪ Angel supreme ♪

♪ Angel divine ♪

♪ You are my life ♪

♪ And evermore ♪

♪ Always mine ♪

♪ Ah love or die ♪
♪ Ah love light the way ♪

♪ I must love you or die ♪
♪ Love light the way ♪

♪ Wonderful song of splendor ♪

♪ Angel of love surrender ♪

♪ Pray to the heavens
they love an eternity ♪

♪ Never forsaking a promise ♪

♪ To love evermore ah ♪
♪ Dearest dream ♪

♪ So true ♪

♪ I live for you ♪
♪ Only to you ♪

♪ Ah ♪

♪ Alone ♪
♪ Ahhh ♪♪