All language subtitles for The.Last.Tycoon.S01E09.WEBRip.x264-RARBG

(projector clicking)

*

*

*

STAHR: The betrayal, all of it
becomes too much for him.

He-he hits the man, sends him
flying back against the wall.

The man recovers, lunges,

and in a split second
it's over.

He...

he stands at the top
of the stairs...

with this woman
he thought he knew...

who he was sure would save him.

He looks over the railing
and, uh,

on the floor, far below them...

the body lies motionless.

Dead.

So it's a tragedy.

What happens next?

I don't know.

This script isn't finished yet.

What do you think should happen?

You asking me for story advice?

I guess I am.

Then I don't know.

You and I want different things.

You believe in drama.

I've seen too much of it.

I believe in forgiveness.

(grunting)

Okay, now I'm warm.

You ready?

All right, hit it, Chuck.

-(piano music playing)
-Here we go.

One, two, three, four, and...

one, two... double time.

And...

uh, uh, uh, uh, uh.

Yeah!

-All right, hold it, Chuck.
-(music stops)

Now, now, we're
gonna do flap, okay.

Real simple, remember?

Ah-ah, ah-ah.

Flap, flap, flap.

Twice as fast.

Ah-ah.

Yeah.

Yee-haw.

(laughs)

Oh, yeah, oh, yeah.

Come on.

Smile.

It's all an illusion,

but it's a good one.

Life ain't nothin'

but a song and a dance.

I'm sorry. I'm-I'm not a dancer.

Mr. Brady, I'm not a dancer.

Neither was Ruby Keeler until
Les here got ahold of her.

You're gonna be a movie star,
Kathleen, just like she is.

My movie star.

Work her hard, Les,
but not too hard.

She's got an engagement
party tonight.

Yes, sir, Mr. Brady.

Thanks, Mr. Brady.

My pleasure.

Smile, Kathleen.

(Brady laughs)

All right, here we go.

And five...

(knock at door)

SZEP:
Last night,

it was an education,
yes, Mr. Miner?

Yes.

Three people went
into that house,

only two came out.

I know you know why.

Good.

Silence is good.

Silence keeps you alive.

Now, movies and movie stars,

they all require
a certain... illusion.

It's what I do.

An actress has too much
to drink, gets in her car,

drives on the wrong side
of the road,

killing two people.

Someone has to pay.

So an extra
confesses to the crime.

In exchange, we provide
for his family...

forever.

Hollywood.

Now that will be...

your work, too.

Just so you know,
I made a mistake.

Trusting someone.

I didn't do anything wrong.

And that matters how?

It matters to me.

I would never steal
from Mr. Brady.

You can ask Mr. Dummit.

Hmm.

There is no more Mr. Dummit.

You hobnobbing tonight,
huh, Max?

It's rented.

And that swanky new ring
rented, too?

I just bought it.

I've been saving up.

Oh, yeah?

I've been saving, too.

A quarter a week.

For what?

Headshots.

You gave me enough
for photography,

but got to pay
for printing, too.

Keep your quarters.

I feel like I'm gonna be sick.

Are you never speaking
to me again?

I have things
I need to say to you.

Can we just make
our excuses, and...

We're not doing
anything different today

because nothing
happened last night.

Remember?

Which means no one has any
reason to ask any questions.

That won't bring him back.

Kathleen.

I know how to behave.

(scoffs)

(sighs)

Can you help me, please?

My earring,
it's-it's-it's caught.

(whispering):
I really do love you.

Please, Monroe.

You have to believe me.

From now on,
it's easier for me to assume

that everything is a lie.

Don't forget your accent.

(sighs)

(jaunty music plays)

(indistinct chatter, laughter)

It was his mother's.

Oh, isn't that romantic?

It was his mother's.

My jeweler is going
to have a heart attack.

Everyone will be demanding
a tiny diamond this year.

(women chuckle)

Thank you. Thank you very much.

MAN:
And what do you do, sir?

I work for Mr. Stahr.

He's really Monroe's right hand,
at this point.

Oh, good catch, Celia.

I'll be looking out
for you, young man.

Well, thank you, sir.

So what made you decide
against office boy

-from Evening Shade, Oklahoma?
-I don't know.

Call it intuition.

You want to meet Clark Gable?

Jean Harlow.

Clark Gable.

Swell party, huh?

Yeah.

I've been wracking my brain

about what to get you
for your engagement.

You're not an easy person
to buy things for,

the man who has
everything he wants.

And then it hit me.

Rose, you don't have to g...

Be happy.

You, too.

KAY:
He seems happy.

BOXLEY:
That could be good for us.

-HACKETT: Mmm.
-Remember how pleasant it was

after he first met Minna?

Yeah, some mornings he wouldn't
even come in before 7:00.

It was like Christmas every day.

There were a few months there

where he actually liked
what I wrote.

-(laughs) -I didn't get fired
from a single project

that entire summer.

-I started writing poetry.
-Oh...

To honeymoons.
May they last forever.

Amen.

Congratulations, Monroe.

-Oh, thank you.
-Oh...

It's lovely not wanting to
slap you in the face anymore.

(both laugh)

And you've been really kind
to me these last few months.

And we're family, right?

Yes.

What?

(glasses clinking)

If I may beg your indulgence,
I'd like to say a few words.

For my wife,

my daughter...

...but also for myself.

If life had given me a son,

I couldn't feel more love
or pride than I do today.

Of course,
Monroe is more than a son.

He's also my partner.

And if the fates are kind,

in a couple of days,

he and I will be holding
an Oscar in our hands.

(laughs)

-Hear, hear!
-(applause)

Sorry, Joe.

Sorry, Sam.

Today, all that Monroe holds

is the hand of Kathleen Moore.

And that makes this
a family affair,

because Kathleen Moore
is the future of our studio.

Rose, Celia and I

love you both.

Thank you, Pat.

BRADY:
To Kathleen and Monroe.

-Hear, hear!
-(applause)

-Speech!
-Mmm.

Speech, come on.
Come on up here.

-Come on. Come on, Monroe.
-ROSE: Speech!

-BRADY: Speech!
-(woman whoops)

(murmuring quiets)

Thank you.

Huh.
(clears throat)

Thank you.
Thank you, Pat.

And Rose.

Uh, first off,
for giving us Celia.

Fair warning:

all of us will be working
for this young lady one day.

BRADY:
You can say that again.

STAHR: Thank you
for this evening and...

and for being
like a family to me.

I love you all, very much.

As for my wife-to-be...

...she knows
how I feel about her.

(chuckles)

So, instead of boring you
with talk,

I'll thank you all
for celebrating with us

and leave you to enjoy
this wonderful party.

Please. Hear, hear.

(all cheering)

(upbeat piano music plays)

(indistinct chatter)

BRADY:
Got something for you.

For you and Kathleen.

An early wedding gift,

a crossing on the Queen Mary.

Then, two weeks cruising
the Mediterranean.

(laughs):
The works.

Pat, this is very generous,
but we can't.

We have Enemy to shoot
and after that...

You'll have time.

I don't understand.

These are also
something of a...

consolation prize.

I've decided to pull the plug
on Enemy.

No. No.

You can't do that.
That's mine.

We're overextended.

Then kill Sally Sweet.

Sally Sweet is a gold mine.

Enemy is our most expensive
picture and our biggest risk.

You gave me a blank check. You.

Yes, I did.

And now, I'm tearing it up.

I got you everything you wanted.

I got you respect.

An Academy Award nomination,
maybe even the award itself.

And I put my name on none of it!

Why... why would you
turn on me now?

I'm not turning on you, Monroe.

I'm just doing my job.

(scoffs)

I have an offer from Mayer
to take Thalberg's job.

I'm going to say yes.

I don't think so.

Maybe a couple of days ago,
but not today.

I'm sorry?

Two days ago, you were a killer,
just like the rest of us.

Today...

(sighs)

...you're an actual murderer.

I don't think Mayer's gonna
want any part of that.

Or any other studio,
for that matter.

You do know

you can't ever take this back.

My God, Pat.

My God.

(upbeat jazz music playing)

STAHL (quietly):
Excuse me.

We're leaving.

What happened?

You can say your thank-yous
another day.

Oh, excuse me.

CELIA:
What's wrong?

Ask your father.

-(song concludes)
-(cheering)

(door bursts open)

CELIA:
How could you do this to me?

BRADY:
I'm not doing this to you.

I'm doing it for the good
of the studio.

We cannot afford this picture.

CELIA:
All of a sudden?

If you were any other
producer on the lot,

I'd be doing the same thing.

I do not make business decisions
based on family.

Why not?
Why not?

Why doesn't it count
that I'm your daughter?

This movie
means everything to me.

And it matters.

It-it actually matters.

They all matter.

What did Monroe say?

He took it like an adult.

CELIA:
I don't believe that.

Enemy was his baby.

And Kathleen's.

BRADY:
You don't know everything.

You're 19
and you may think you do,

but there are some things
you do not know.

I know about you.

(sighs)

What?

You shouldn't have
done that, Pat.

You're supposed
to take care of your daughter.

And your partner.

And when the studio goes under?

And you and our daughter
and my partner

are all out on the street...

And this was your only option?

The only way to save the studio?

BRADY:
It was the best way.

Really?

It wasn't just cruelty?

Everything you have,
everything...

I built.

I did.

Not him.

Not you. Me.

I took the chances,
I bore the risks.

Who ever said different, Pat?

Who ever said different?

Everybody!

Every goddamn day.

Do you have any idea
what it's like...

...not being the hero
of your own life story?

Pat, I've known that
my whole life.

Every woman has.

Don't you want better than that
for our daughter?

Never mind. Forget it.

What is it you want from me?

Respect!

Tomorrow, she goes
back to Bennington.

And you start acting
like a magnate's wife.

No more creeping around
hospitals

looking for mercy cases.

There's nothing wrong
with dinner parties

and charity balls

and country clubs!

Or Mahjong!

I want a wife!

You want a wife?

Yes.

Good.

Go find one.

What's that supposed to mean?

It means I'm kicking you out.

(zipper opens)

You can't do that.

Oh, yes, I can.

You're just upset about this
woman walking out on you.

Kitty.

Her name is Kitty.

And she disappeared.

And I am disappearing.

I want you

to pack your things and go.

KATHLEEN:
I can do that.

You can stay at the house
in town.

No one will ask questions.

I'll stop by periodically
to make a show of it.

Hollywood's used to
sham marriages.

They're good for business.

After a year or so,

you'll have made a few pictures.

Not Enemy, but...

We can split
without too much damage.

(cries)

Tell the world the sad story

of how we've grown apart.

Until then, I'd prefer
not to see your face

when I don't have to.

You have to listen to me.

I was starving.

I needed a job.
I didn't expect...

To what?

To fall in love?

No.

Of course not.

Only I was supposed to do that.

Say "Rathgar. Do you know it?"

In that brogue of yours.

Say it, Kathleen.

Say it!

(softly):
Rathgar. Do you know it?

What an actress.

I don't know what to do.

Monroe,
I'll tear up my contract.

How do I make it better?

I'll get on a bus,
I'll go back to Wisconsin.

Pat is never going
to let you go.

You're a commodity now.

We're shackled together.

You and me and Pat Brady,
in a very small room.

It's windy tonight.

Make sure you shut the door
when you leave.

(whispers):
Yeah.

-Monroe.
-For God's sake,

Kathleen.

He never wanted me
to be a producer. Never.

I think he was just jealous

I was making a movie
with Monroe.

I really hate him, I do.

-No, you don't...
-Yes. I do.

Maybe talk to him
in the morning.

Things are always better
in the morning.

There's no point.

Nothing matters to him
but business.

People don't matter.

Well, now, I know
that that's not true.

I could tell you things.

Stories about people
he's destroyed,

or stolen from.

I always excused it
because he came from nothing.

Everything he got
he had to take for himself.

But that's my father.

Life is one endless battle
for him.

If you're not winning,
you're losing,

if you're not killing something,
it's killing you.

How can I help you?

What can I do?

Oh.

Let me stay with you?

So I don't have to go
back to that house?

There'll be other pictures,
Fritz.

HACKETT:
Other pictures?

Sure.

Fritz and I can always make
the next Sally Sweet musical.

I should have known.

Hollywood
is a fucking wasteland.

Snakes selling snakes to snakes.

Fritz.

He's right.

You see what's going on
in Europe?

Sally Sweet won't fix that.

I'm sorry, Aubrey.

Then the hell with Pat Brady.

Walk away.

You're a son of a bitch,
but wherever you go,

I, I would follow.

So would every writer
on this lot.

Take us where
we can make movies that matter.

Right.

(cello playing)

What? Is something wrong?

Nothing's wrong.

Will you marry me?

-Pardon? -I can't control
anything in my life.

Things disappear,

and I'm powerless
to do anything about it.

Look, everywhere in my life,
I have to answer to someone,

and it eats away at me.

But I would answer to you,
happily, every single day.

You just met me.

I know.

But I can't afford
to miss out any longer,

so before life happens
and we lose each other...

(inhales, exhales)

(quietly):
...marry me.

I can't do that.

Sure you can.

-My chair?
-Sorry.

You should go.

See that?
I'm answering to you already.

-Hello, Florian.
-Hello.

HACKETT:
Be brave.

Take a leap with me.

(whispers):
Go.

It's fine.

Please.

No.

I have you for seven pictures,

I intend to make use of you.

Use of me how?

I'm putting you
in my Sally Sweet picture.

As Sally's aunt.

You start next week.

That's Bess's part.

Mayer can have her back.
(chuckles)

I invested in you.

You are gonna sing and dance
for me, Kathleen.

Those lessons.

Even before you killed Enemy,
you were planning this.

Not half as long as you were
planning, Miss Wisconsin.

I don't care
where you're from, Kathleen.

Or what your act is,
as long as it's a good one.

And you are very good.

Thank you.

* Let dark clouds gather

* Thunder rock

* Let bill collectors
dun and knock *

* Though troubles lurk
beyond that tree *

* I have you
and you have me... *

Smile, Kathleen.
Remember you love her.

* They can take the pillow
'neath my head *

* Take the sheets
right off my bed *

* Take it all in bankruptcy

* But they can't
take you from me... *

That's the turn, perfect.
Exactly.

Okay, now lead her
on through the backstage.

* Let them break
my piggy bank in two *

* Take till we don't
have a sou *

* Do whatever they must do

* But they can't take me
from you *

* 'Cause we're together *

* Right straight through

* No, they can't take me
from you... *

Give her a little kiss,
and take your place backstage.

* Yes, we're connected *

* Permanently

* No, they can't take you *

* From me

* This I promised to you
at your birth *

* Deep as oceans,
wide as earth *

Remember: step ball change,
step ball change.

Got it?

* Nothing comes between us two

* So they can't take me *

* No, they can't take me *

* They can't take me from you *

* Things may be as they may be

* Rocky road and stormy sea

* Still life is sweet
as harmony *

* As long as you and me

* Are we.

BROCA:
And cut on rehearsal.

(bell ringing)

BROCA:
That's lunch. 30 minutes.

What, whatcha doing?

Uh, I like to come outside
during our breaks.

The winter weather
still amazes me.

So.

I-I didn't want you to think
that what I said before

was just some whim
in the middle of an afternoon.

I mean, spur of the moment, yes,
but...

-Aubrey, I want to...
-I-I'm a serious person.

And I intend to do
everything right by you.

(panting)

Every step of the way.

Look, please don't say no.

Mr. Hackett.

I am married.

What?

For five years.

I see. I see.

HANNAH:
Freddie.

HACKETT:
Freddie.

Two years ago,
he was arrested by the Nazis,

and sent to a work camp.

It's called Dachau.

Oh.

I tried to get word to him.

I wrote him every week.

I never missed a single one.

But for 18 months,

I have heard nothing back.

I have no idea
if he is alive or dead.

So I ran away.

I abandoned him.

To save myself.

It's terrible.

Why didn't you ever
tell me anything?

I...

I thought you might not be so
interested in a married woman.

(exhales)

-And you were kind.
-(laughs)

And I needed a friend.

I still do.

If you would be one.

(exhales)

Knock 'em dead, boss.

STAHR:
I'll do my best.

Look at you, Mr. Brady.

Cool as a cucumber, as always.

Feeling a little shaky tonight,
Birdy. I won't lie.

Celia's been delayed.

She asked that you
not wait for her.

She'll take her own limousine.

Very good.

-Good luck, Mr. Brady.
-Good luck, Mr. Stahr.

STAHR:
Thank you.

FRANCES:
Is this new?

It's someone I met.

Her name was Kitty.

Was?

Is. I'm sorry.

She, um, disappeared...

a few days ago.

She ran away.

(sighs)

She had a hard life.

And, yes, I am taking it
personally.

So sorry, Rose.

She's talented.

Is there more?

Yes.

I assumed that you would be
at the Biltmore

for Pat's big night.

I kicked him out of the house.

Surely there are easier ways
to get out of an evening.

(doorknob rattling)

There you are.

MINER:
Here I am.

Didn't they tell you

no one works late
on Oscar night?

Shouldn't you be on your way?

I wish you were going with me.

Me, too.

You'll sort it out
with your father.

I'm not so sure.

This place is nothing

like the way I imagined
when I was a kid.

Me, neither.

We'll manage, right?

Without it changing us too much,
you and me.

Piece of cake.

I love you.

You know that, don't you?

I had a feeling.

Okay. I'm just checking.

(Celia chuckles)

It fits. Good.

(chuckles)

Let's see. Oh, good.

Well, come on over here.

Have a seat.

Ah.
(clears throat)

Turn to your left a bit.

Yeah, perfect.

An actress?

DARLA:
I hope so.

With that face,
just a matter of time.

Who's your favorite?

Minna Davis.

Ah, you and everyone else,
including me.

Okay, smile for me.

Good.

Do this for me.

Pull your dress
just off your shoulder

and, uh, down in front a bit.

Do you want me to show you?

No. I can do it.

Attagirl.

And... beautiful.

-(crowd cheering) -There you go.
Right here, right here.

NEWSMAN:
It's Hollywood's biggest night,

and film fans everywhere

can flock to the swanky
Biltmore Hotel...

NEWSMAN 2:
And here's Pat Brady,

owner and majordomo of
Brady-American Pictures.

There's Margo Taft,

reigning queen
of the celluloid empire,

holding court with
her adoring fans...

*

So lovely to meet you.

*

NEWSMAN 3:
Emerging from the next limo

is the boy wonder
who runs Brady-American,

Monroe Stahr,

with his fiancée
Kathleen Moore on his arm.

(newsman continues indistinctly)

*

NEWSMAN: Oscar, I hope you're
ready for your close-up.

Because the world is watching.

*

(audience applauding)

Welcome back, welcome back.

It is now my honor to present
the award for Best Actress.

This year's nominees are:

Irene Dunne
for Theodora Goes Wild.

Margo Taft for
Now That's A Woman.

Carole Lombard
for My Man Godfrey.

Gladys George for Valiant
Is the Word for Carrie.

And...

the late, wonderful Minna Davis

for It Happened
on Downing Street.

The winner is...

Margo Taft.

(audience whooping)

Thank you to the Academy
and to all of you here.

This is just marvelous.

I've dreamed of this moment...

(laughs)
...for so long.

Not alone, of course.

None of us makes
that journey alone.

You need a great script,

and direction

and support.

I got all of those things
from a single person

who none of you would ever know.

But I owe it all...

(crying):
I'm sorry.

I owe it all to a single person.

So, I would,
I would like to dedicate...

this... this most
wonderful thing...

...to my dearest friend...

...Lucille Owen.

Thank you.

*

Excuse me.

I started to think
you weren't coming.

MAYER: Monroe,
you wanted to talk to me.

Yes, yes.
Now that we're all here.

All here? What does that mean?

I have a picture for you, L.B.

Suddenly became available.

An Enemy Among Us.

Lost your fucking mind?

MAYER:
Great script.

It's a script I paid for.

Fritz Lang, directing.

Celia Brady, producing.

-Oh, no.
-Margo's read it.

She wants to play Adelle.

There's a great part
for Bess, too.

Monroe, you can't do this.

STAHR:
I have the authority to sell

any property we're not making.

BRADY:
Not anymore.

Really?

And how will you explain
to the board

why you refused to recoup
our costs on a dead picture?

You would do this to me?

I agreed this afternoon.

Pat, thank you for the gift.

BRADY:
It's not a gift.

You got to cover my costs,
plus interest.

(Mayer chuckles)

Well, I'll have my lawyers
call you on Monday.

Monroe, Celia.

Now I might
just have to kill you.

You, too.

Don't look at me
like that, Daddy.

-It's business. -JESSEL: Ladies
and gents, ladies and gents.

Family has nothing
to do with it.

You said so yourself.

JESSEL: It is time for the last
award of the evening.

CELIA:
The movie is the baby.

JESSEL:
Best Picture.

The nominees are:

Three Smart Girls, Universal.

-This is unforgivable.
-JESSEL: Libeled Lady,

-Metro Goldwyn Mayer. -No one's
asking for your forgiveness.

I love being a producer.

JESSEL: Anthony Adverse,
Warner Brothers.

-I'm your daughter in every way.
-JESSEL: San Francisco...

-And I didn't start this, you
did. -...Metro Goldwyn Mayer.

-And Angels on the Avenue...
-I did this to save the movie.

-...Brady-American.
-And Celia.

JESSEL:
And the winner is...

Just like I always saved you.

Angels on the Avenue,

-Brady-American Pictures.
-We won!

(laughing):
All right.

(Brady speaks indistinctly)

(all sound slows)

(Brady's speech echoes
indistinctly)

(speech continues indistinctly)

RADIO ANNOUNCER: The stars are
leaving the ballroom now.

There's Margo Taft,
carrying her little golden man

and chatting with Clark Gable.

Well done, Miss Taft.

You're America's new
reigning queen of comedy.

And there's Pat Brady,

receiving well-deserved
handshakes

from the likes
of Adolph Zukor and...

(radio shuts off)

The likes of Adolph Zukor,

whom we do not like,

and Jack Warner,
whom we loathe.

(chuckles)

I didn't know if you heard
the news about Mr. Brady?

Annie Mae, would you whip up
one of your home remedies?

I want no hangover
from tonight.

Oh, two, please.

Oh, coming right up,
Miss Fran, and right away.

Oh, and, Annie Mae,
in the morning,

I want to clear out
Mr. Brady's billiards room.

I'm gonna turn it
into an art gallery.

Exhibit Kitty's work,

and maybe some other
young artists

who need my support.

Very good.

Very good.

It almost feels like
tomorrow already.

Doesn't it?

It almost is.

(fountain splashing)

(Brady sighs)

-You okay?
-(laughs)

I just won an Oscar...

...only I don't have anyone
to jump up and down

on the bed with.

What do you do
when you find the thing

you wanted most in life

isn't enough to make you happy?

Why are you here alone?

My wife threw me out.

Mm, with good reason,
I'm sure.

Mm-hmm, most likely.
(chuckles)

But still...

-Margo...
-Pat.

-All that flirting we did...
-Mmm.

Was it just business to you?

Do I look like
a consolation prize, Pat?

-No, you do not.
-Yes, well, you're gonna have

a hell of a time dating if you
go about it this clumsily.

Rose always considered that
one of my charms.

Mm, I suppose it is.

Good night, Pat.

Good night, Margo.

Congratulations.

Cheers.

(Brady chuckles)

Listen to me.

You can't win,
for all your damn genius,

because I always have
the final say.

And what's more,
I'm gonna outlive you.

Probably.

But I would have stayed
loyal to you until the end.

-I don't believe you.
-I know.

Isn't that the tragedy?

Doesn't seem like
a tragedy to me.

You never did understand story,

or character.

That's our car.

(crowd cheering)

(cheering, whistling)

I wish this were
one of your pictures.

You'd forgive me in the end.

FANS (chanting):
Kiss! Kiss! Kiss...

(cheering, whistling)

Thank you.
(chuckles)

Thank you.
Monroe and I had

so much fun making this picture.

(door opens)

What are you doing here?

I came by to clear a few things
out of my office,

and I saw your lights on.

Shouldn't you be at home
with Kathleen?

I...

I couldn't sleep, so...

Well, lucky for me.

I have something
to return to you.

Oh...

What if Mayer makes you cry?

Thank you, Monroe.

You'll want to compliment
his horses...

He has two fillies running
at Aqueduct this weekend.

Fancies himself a breeder.
I know.

When are you going
to take me seriously, Celia?

I can help you.
I have ideas.

I take you very seriously.

You made a great movie.

Maybe.

We won't know that
for years and years.

Really?

How can we know what will last
until the end?

I love you, Monroe.

Everybody does.

I wish it were enough for you.

Me, too.

(door shuts)

(sighs)

(pained groan)

(grunts)

Celia.

(clock ticking)

* Happy days

* Are here again

* The skies above

* Are clear again

* So let's sing a song *

* Of cheer again

* Happy days are here

* Again

* Altogether

* Shout it now

* There's no one who *

* Can doubt it now

* So let's tell the world *

* About it now

* Happy days are here

* Again

* Your cares and troubles

* Are gone

* There'll be no more *

* From now on

* Happy days

* Are here again

* The skies above

* Are clear again

* So let's sing a song *

* Of cheer again

* Happy days

* Happy times

* Happy days are

* Here

* Again.