Original subtitles

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 ♪♪