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00:00:30© BF-WATCH TV 2021
00:01:00© BF-WATCH TV 2021
00:01:30© BF-WATCH TV 2021
00:01:48This is our home in Shenandoah, Pennsylvania,
00:01:51where Pop works in the coal mine.
00:02:00© BF-WATCH TV 2021
00:02:31Not very good, Homer. You keep flatting.
00:02:35Maybe I should give up, Mr. Dorsey.
00:02:37I told your father I was going to teach you how to play a musical instrument, and that I am.
00:02:41Give it to me.
00:02:54That's not a musical instrument, Homer.
00:02:57Homer, what you've just played is not music.
00:03:00Now pay attention.
00:03:15Good afternoon.
00:03:17Hi, Pop.
00:03:19I thought I told you two to get to your practicing.
00:03:22Jimmy and I was just getting a breath of air, Pop.
00:03:25Now get back into the house and put some of that air into your horns.
00:03:36Come on. In here.
00:03:38You know where you're wanted.
00:03:40Come on. Off with them. Off with your shoes.
00:03:43If you're through with me, Mr. Dorsey, I'll be getting along now.
00:03:46Yes, Homer. Same time tomorrow.
00:03:51That'll do, Homer. That'll do.
00:03:54Gee, Pop, we ought to rehearse two hours this afternoon.
00:03:57You put in another two hours, you get your shoes back.
00:04:00Why isn't it you two always got to outsmart your old man?
00:04:03Other kids don't have to practice all the time, and most of them don't even take music lessons.
00:04:08Give me their names. I'll speak to their parents about them.
00:04:11I don't see why I gotta play saxophone anyhow.
00:04:13I'm the only kid in Shenandoah who has to lug one of these things around.
00:04:17That's why I picked it for you, Jimmy.
00:04:19Nobody else plays them.
00:04:21You got a chance to make a name for yourself.
00:04:23Same with Tommy's trombone.
00:04:25Come on, ready now. Get your trombone.
00:04:27And no flatting, mind. No flatting.
00:04:29Ready?
00:04:31One, two...
00:04:33♪♪♪
00:04:45♪♪♪
00:04:49Here are the apples, Mrs. Dorsey.
00:04:51Thank you, Janie. And tell your mother thanks, too.
00:04:53Could I stay a while, Mrs. Dorsey?
00:04:55Sure, Janie. Always glad to have you.
00:04:57But the boys still have some practicing to do.
00:04:59I like to listen.
00:05:01You may call that music, but I don't.
00:05:03Now take it again. From the beginning.
00:05:05Pop, pop, from the beginning, but the beginning was right.
00:05:10You heard me.
00:05:12When it comes to music, I'll have none of your lip.
00:05:14When it comes to music, I'll have none of your lip.
00:05:17Hey, Pop, you're a comedian.
00:05:19A comedian, am I?
00:05:25What are you sniffling about?
00:05:27I'm next, ain't I?
00:05:29Well, Tom, they're good lads.
00:05:31If you two don't let your father get along down to the mine now,
00:05:33I'll take a hand to him myself.
00:05:35And no back talk from you, either.
00:05:37I don't think you'll learn to play the cornet in one lesson.
00:05:39Well, you two keep right at it.
00:05:42Oh, sure, Pop. We will.
00:05:47Be sure that they keep with their practicing.
00:05:49I will, Ted. Don't worry.
00:05:52Goodbye, Tess.
00:05:54Goodbye, Tom.
00:05:59Goodbye.
00:06:07Janie, would you watch the poise a minute while I run next door?
00:06:09Is it nearly done?
00:06:10Sure, Mrs. Darcy. I'll watch him.
00:06:24There you go again.
00:06:26Why don't you break the way Pop told you?
00:06:28You take off.
00:06:29I'm older. Now listen, this is the way it's supposed to go.
00:06:37And what's wrong with playing it this way?
00:06:44You wouldn't play it that way if Pop was around.
00:06:46It couldn't be you're getting too big for your britches, Mr. Conductor.
00:06:50You want to make something of it?
00:06:52Sure.
00:06:53All right, outside.
00:06:58Come on.
00:07:08You listen to me and like it.
00:07:10Stop it.
00:07:11Ouch.
00:07:12Stop it.
00:07:17Mrs. Darcy.
00:07:18Oh.
00:07:19You asked for it. Not in the lip.
00:07:22You listen to me and like it.
00:07:24Stop it.
00:07:25You will if I make you.
00:07:26Ouch.
00:07:28Stop it.
00:07:30All right.
00:07:31If you won't stop there or two pies will be up,
00:07:34then I'll just stand here and let them burn.
00:07:37Apple pie.
00:07:41I'll just stand here and let those apple pies burn.
00:07:44Apple pies, Tommy.
00:07:48Well, who played it wrong this time?
00:07:52You want something more?
00:07:55I ought to tire the both of you.
00:07:57But I won't.
00:07:59You've been practicing enough for one day.
00:08:01Which hand will you take?
00:08:02The left.
00:08:03The right, Mom.
00:08:04Clean up now.
00:08:05Scoot into your shoes and get lounged out to the picture show and take Jane with you.
00:08:07Thanks, Mom.
00:08:08Thanks, Mom.
00:08:09It's Tom Mix.
00:08:10But remember, not a word to your father or he'll skin the lot of you.
00:08:13Oh, he won't.
00:08:14Come on, Jimmy.
00:08:17The pies were all right, Jane.
00:08:19You did a good job at peacemaking.
00:08:21They weren't really fighting, Mrs. Darcy.
00:08:23Just arguing.
00:08:24Hard.
00:08:25I know.
00:08:26They're Irish.
00:08:27Jane, there's only one thing worse than being Irish, and that's not being Irish.
00:08:31Come along to the boys now.
00:08:33Come along to the boys now.
00:08:51Sure in Tom Mix must have caught the rustlers early.
00:08:57Tom, what's happened?
00:09:00Bad news, Tess.
00:09:01We've all been laid off of the mine.
00:09:03Every last one of us.
00:09:04Ah, Tom.
00:09:05And just when things were looking up a little.
00:09:07Will it be for long?
00:09:08Long enough to stay broke, Tess.
00:09:10The operations ain't getting enough price, I guess.
00:09:13Any coffee left?
00:09:14You poor fellow.
00:09:15Of course there is.
00:09:16It will do you good to have a nice hot supper at home for once.
00:09:18Where's the boys, Tess?
00:09:20Why, I...
00:09:22I let them go out for a minute.
00:09:25So that's all this talk about Tom Mix.
00:09:28It's my fault, Tom.
00:09:29I packed them off to the pictures.
00:09:30The poor little tykes never have any fun.
00:09:32They'll have a lot less when they get home, Tess.
00:09:34Don't talk like that.
00:09:35You're that strict with them, people wouldn't believe how much you love them.
00:09:40Tess, if you knew how much music could mean to them.
00:09:42But, Tom, dear.
00:09:43You want them grown up to be coal miners, I suppose.
00:09:46Oh, no, sir.
00:09:47They've got to get their chance, Tess.
00:09:49There's nowhere around this coal town with less and less work each year.
00:09:53I've got to give them more than that.
00:09:55But, dear, if you...
00:09:56Tess, I want our boys to get somewhere.
00:10:00Music's the only thing I know.
00:10:02They've got me to teach them that.
00:10:04I didn't have nobody.
00:10:07And they're going to learn music.
00:10:09If I do nothing else for them, Tess, I'll do that.
00:10:17You don't want them grown up like me, Tess.
00:10:20Ah, Tom.
00:10:21I couldn't ask more than they grow up like you.
00:10:24A finer man never lived.
00:10:27Takes more than love in this world, Tess.
00:10:30Takes more than that.
00:10:38Even if Mom does make the candy, what are you going to use for groceries?
00:10:42I'll take the order and then get some credit.
00:10:45Just like the regular stores.
00:10:48Gosh, with Pop out of work, we sure got to help.
00:10:52I know the boys are a bit young, Tess.
00:10:55But I think it'll be a good thing for them.
00:10:57Well, I guess you know best, Tom.
00:11:08Hey, Pop's gone.
00:11:09Yes, but Mom's here.
00:11:11All right, get to it.
00:11:13You'll excuse us, Jane.
00:11:14No, Mom, you're not going to start treating us like little kids.
00:11:16From now on, if your Pop says you've got to practice, I'm going to see that you do just that.
00:11:20Maybe I've been too easy with you for your own good.
00:11:23Gosh, Mom, you're not letting Pop put ideas in your head.
00:11:26You ever raise a family of your own, you'll find out.
00:11:28Anyhow, I want you to do as your Pop says.
00:11:31Sure, Mom, if it means that much to you.
00:11:34Sure, we promise.
00:11:35Oh, just to be on the safe side.
00:11:38Off with them.
00:11:39But, Mom, we promised.
00:11:41You wouldn't be my own flesh and blood if you didn't want a little fun now and then.
00:11:44So don't be making promises you can't keep.
00:11:46Off with them.
00:11:50Oh, boy, Mom's getting smarter all the time.
00:12:09But, Tom, I always get my bands from out of town.
00:12:11I've been doing it for years.
00:12:13That's just it.
00:12:14I'm offering you something fresh.
00:12:16My band's got a trombone and a saxophone.
00:12:19A saxophone? What's that?
00:12:20Something new for dance bands.
00:12:22Like the calling of angels.
00:12:24You'll like it.
00:12:25But, Tom, you're asking me $5 more than I usually pay.
00:12:28I'm only asking you to give us a try.
00:12:31Well, it might have sort of a local appeal.
00:12:34Okay.
00:12:35Give me their names.
00:12:37Oh, they're all good men.
00:12:39Well, sure, but I've got to have a list.
00:12:41Well...
00:12:42Well, on the drums, there's Christy Matthews.
00:12:44Got a great sense of rhythm.
00:12:47On the fiddle, Fred Burke.
00:12:49On the trumpet, there's myself.
00:12:51Also a conductor.
00:12:53On the other trumpet, Tom Jeffries.
00:12:56On the piano, Eddie Hall.
00:12:58Both good men, as you must know.
00:13:00On the saxophone, James Dorsey.
00:13:04Your brother?
00:13:05On the trombone, Thomas Dorsey.
00:13:08Thomas Dorsey?
00:13:10Junior.
00:13:12Now, wait a minute.
00:13:13Not those two kids.
00:13:15Those two sons of yours.
00:13:16Now, hold on, Tom Dorsey.
00:13:18And I agree to pay you $5 more.
00:13:20Because you are going to double your business.
00:13:22And you will.
00:13:23With those two kids up there hitting a lot of flat notes?
00:13:25Where the people would...
00:13:26Besides, they're always scrapping.
00:13:28Sure, they scrap.
00:13:29Maybe you like me kids to be full of scrap.
00:13:32Because they have to fight for everything they get.
00:13:34And they may as well get used to it now.
00:13:36That's got nothing to do with this.
00:13:38Up there on the bandstand, they do their job.
00:13:42And don't be afraid of any flat notes.
00:13:44They're both fine musicians.
00:13:45I raised them to be.
00:13:48Tell you what.
00:13:50Give us a trial.
00:13:51And if you don't like us, you don't pay us.
00:13:53Not a dime.
00:13:54Not a thin red cent.
00:13:57Okay.
00:13:58Fair enough.
00:13:59That's your promise.
00:14:03Oh, but those two kids.
00:14:05Now, Paddy, go on.
00:14:06Tom, Tom, Tom.
00:14:08Have a glass of beer.
00:14:11Put yourself down.
00:15:48Oh, Tom, Tom, Tom.
00:15:54Oh, Tom, Tom, Tom.
00:16:01Applause
00:16:10Applause
00:16:36Anything wrong?
00:16:37No, but there will be.
00:16:38I hope you don't dance just once with your wife.
00:16:52The boys sound real good, Tom.
00:16:54In an orchestra like this, anybody sounds real good.
00:16:59They are grotesque.
00:17:01So good, I have trouble keeping up with them myself.
00:17:03You better not let them know it.
00:17:06They do well side by side.
00:17:07They really balance.
00:17:08And they do.
00:17:09If they just stick together, they can lick the world.
00:17:27I'm not so sure about Gorman.
00:17:29He's dead set against the boys.
00:17:31Seems to think I can't turn my back without their always scrapping me.
00:17:54Now Tom.
00:18:07You said they were good.
00:18:08Now let them prove it.
00:18:09All for themselves.
00:18:13By golly, I will.
00:18:43Applause
00:19:00Well, I think it's a disgrace.
00:19:02Shh.
00:19:03There's Mrs. Dorsey now.
00:19:04She'll hear you.
00:19:05I don't care if she does.
00:19:07She ought to be told.
00:19:09Mrs. Dorsey.
00:19:11Maybe with your husband a musician, your way of life is different from ours.
00:19:15Now Kate.
00:19:16But it's going to be all over town tomorrow that those two poor little helpless boys were forced to make a public exhibition of themselves playing in a dance band in Gorman's Hall.
00:19:26And what's wrong with Gorman's Hall?
00:19:28What's wrong?
00:19:30Well, in a town like ours, Mrs. Dorsey, a public dance hall is hardly regarded as a place in which an average mother would want her children to grow up.
00:19:39And whoever told you I was average?
00:19:41I'm so different from most women.
00:19:43I even go around minding my own business.
00:19:45I told you it wouldn't do any good, Kate.
00:19:58Why those old busybodies?
00:20:01Don't cry, Mom.
00:20:02Aw, Mom.
00:20:03You're not going to let those two old buddies upset you.
00:20:06Of course not.
00:20:08I'm proud of you now.
00:20:09And I know I'll always feel that way about the both of you.
00:20:12That's right, Mom.
00:20:13We'll show them, won't we, Tommy?
00:20:15You bet your life we will.
00:20:22They were in earnest, and the boys meant every word they said.
00:20:27The years grew by, and the first thing I knew, they were men starting out with their own jazz band.
00:20:35Janie Howard went along as their singer, and it was like a part of my life had ended.
00:20:48Oh, there it goes.
00:20:51Jane, why didn't you keep your foot on the gas?
00:20:54Well, I did, Tommy.
00:20:57Well, try it again.
00:21:01Oh, I can't figure it out.
00:21:03I wonder what would happen if you pressed down on that gimmick.
00:21:06You get your weight, your fortune, and a picture of the wild canaries.
00:21:13Find out anything, Jimmy?
00:21:14Farmer back there said there's a town two miles further on.
00:21:18What is it this time?
00:21:19Oh, I don't know.
00:21:20It just won't go.
00:21:21Well, we guessed that one.
00:21:22It stopped.
00:21:25Oh, 50, 60 bucks, fix it up like new.
00:21:2850, 60 dollars, huh?
00:21:30Just like that.
00:21:31Don't worry.
00:21:32We'll get the dough.
00:21:34What are we, the Dorsey brothers or the James boys?
00:21:37Why don't you laughing boys lay off?
00:21:40Yeah, just because it's a little tough right now don't mean it's going to stay that way.
00:21:43A little tough?
00:21:45I remember in Indianapolis, we lasted four days.
00:21:48That's all we were booked for.
00:21:50In Steubenville, we lasted one day.
00:21:52Who stayed there any longer?
00:21:54Remember, fellas, into each life some rain must...
00:22:05You're not saying very much.
00:22:07Looks like the boys haven't said at all.
00:22:09Another week of this and we're all better off back in the mines.
00:22:12Oh, another joy boy.
00:22:14It's about time somebody around here made some sense.
00:22:17What's the matter?
00:22:18Doesn't his royal nibs like the way I'm running things?
00:22:20No, I don't.
00:22:21Oh, you don't?
00:22:24Tommy, Jimmy.
00:22:28Hey, it's running.
00:22:29Hurry up.
00:22:30Come on, get in.
00:22:31Hurry up.
00:22:32Hurry up.
00:22:33Get in the car.
00:22:42Grand Hotel.
00:22:43I wonder if they're kidding.
00:22:44Better than the time we stayed there last night.
00:22:46Lobby looks nice.
00:22:48We only stay here overnight then head for Jefferson City.
00:22:55Hearing.
00:22:56Good evening.
00:22:57Got any rules?
00:22:58Orchestra, huh?
00:22:59Sticks and stones may break our bones, but names will never harm us.
00:23:05Let's see.
00:23:06There's seven of them.
00:23:07Six.
00:23:08Seven.
00:23:09I know there's a train out of here for Chicago in about an hour.
00:23:12I'm taking it while I still got the fare.
00:23:14Now, wait a minute, Joe.
00:23:15You can't walk on us like this.
00:23:16Who's going to play piano for me?
00:23:17I know how you feel, Joe.
00:23:18But we've got a booking in Jefferson City tomorrow night and a date is a date.
00:23:22Well, Jane's arrangements are filled around you, Joe.
00:23:24We've got to have you on piano.
00:23:25I'm sorry, Jimmy, but my mind's made up.
00:23:27So long, fellas.
00:23:28So long, Joe.
00:23:31Anybody else?
00:23:32We are due in Jefferson City tomorrow night, aren't we?
00:23:35Sure.
00:23:36So we stay.
00:23:38Well, that's a relief.
00:23:39But we still don't have a piano player.
00:23:42Yeah.
00:23:43Say, mister.
00:23:44Know anybody in this town that plays piano?
00:23:47In the dining room there, we got a player piano.
00:23:49No, this is a small band.
00:23:50We couldn't carry it.
00:23:53Well, there is a...
00:23:55Oh, but he's dead.
00:23:56Well, he belongs with us.
00:23:57Why, uh...
00:23:59There's a fella down at the movie house plays for the pictures.
00:24:01That's just down the street.
00:24:03Is he a young fella?
00:24:04Yeah.
00:24:05Foggy, check us in and take care of the instruments.
00:24:07Jane, you come along with us.
00:24:09What for?
00:24:10Moral support.
00:24:11A little bait for the hook.
00:24:23He's not bad.
00:24:25Do you think we can settle him?
00:24:27What do you mean, we?
00:24:28Whether you can help us make a pitch.
00:24:53Are you going to go through life doing this sort of thing?
00:24:58What's it to you?
00:25:00It hurts here, the way you're throwing away your talent.
00:25:23How would you like to join the Red Hot Jazz Combo?
00:25:26I'd do all right.
00:25:27We're a professional outfit, fella.
00:25:29Headed right up the ladder of fame and fortune.
00:25:31No stops till we hit the sky.
00:25:33Boy, what a future.
00:25:46They mean New York.
00:25:49They mean New York.
00:25:51Bright lights.
00:25:52You know.
00:25:54Tell you the truth, I don't.
00:25:56She means the big time.
00:25:57Where this outfit's headed,
00:25:59you'll be with a fan of school places.
00:26:01Shh.
00:26:07Give him another pitch.
00:26:09I'm helping.
00:26:10Well, smile at him.
00:26:13What time do you get through tonight?
00:26:15About a half an hour.
00:26:17But I have to put up the seats.
00:26:21The boys will be very glad to help you.
00:26:25Excuse me, this is the chase.
00:27:12You'll love the gang, Bob.
00:27:36It's a swell bunch of fellas.
00:27:37What I've seen so far is okay.
00:27:39Boys, meet our new piano player, Bob Burton.
00:27:41All right, Bob.
00:27:42Hello, Bob.
00:27:43One rehearsal and we're all set for Jefferson City.
00:27:45You can forget about Jefferson City.
00:27:47The date's canceled.
00:27:48Canceled?
00:27:49That's right, we just talked to him on the phone.
00:27:50Uh-oh, here we go again.
00:27:52I don't know what we've got, but they sure can leave it alone.
00:27:54Oh, well, what's a canceled date or two?
00:27:57Every new band has its ups and downs.
00:27:59Oh, sure.
00:28:00I'll wire Artie tonight.
00:28:01He won't let us down.
00:28:03He'll have us booked by tomorrow morning.
00:28:04I'll check with you then, Bob.
00:28:06I'm sure we'll have some news.
00:28:07Oh, wait a minute.
00:28:09Bob, it looks like we've built you up to a letdown.
00:28:12The date's been canceled and all we have left is hope and a prayer.
00:28:15Maybe you ought to go back to that steady job.
00:28:18Yeah, I guess he's right, Bob.
00:28:20Not that we wouldn't like to have you with us.
00:28:22Well, if you don't mind, fellas, I think I'd like to stick around.
00:28:25I have some great ideas for Miss Howard.
00:28:28Oh, in the line of song arrangements, I mean.
00:28:30Oh, sure.
00:28:31Sure, sure, you can rehearse tomorrow.
00:28:33Oh, fine.
00:28:34Good night.
00:28:35Good night.
00:28:37Good night.
00:28:46In this part, you'll work with the piano alone.
00:28:49It'll, well, it'll sort of give the number a lift.
00:28:53I wrote this song with someone like you in mind.
00:28:56Well, I do hope I do it justice, Mr. Burton.
00:28:58Oh, you will.
00:28:59I'll be coaching you.
00:29:00Jane, as long as you're not doing anything,
00:29:02would you wash out a couple of things for me?
00:29:04It's only some socks.
00:29:05Sure, Eddie.
00:29:06Put it over there.
00:29:09Glamorous, isn't it?
00:29:10Yeah.
00:29:13Now, look.
00:29:14Come in this way.
00:29:16When the trombone picks up...
00:29:17Jane, do you mind?
00:29:18It's just a few handkerchiefs and things, as long as you're not busy.
00:29:22What do they mean, as long as you're not busy?
00:29:24Not doing anything?
00:29:25Are you any good at ironing?
00:29:27I'm simply devastating on afghans and doilies.
00:29:29Just try me sometime.
00:29:31If you don't mind, let's get back to work.
00:29:34Well, well.
00:29:35A little close harmony, huh?
00:29:36How's it going?
00:29:37Oh, fine, fine.
00:29:38I knew you two would get along.
00:29:40By the way, have you seen Tommy?
00:29:42Oh, he's down at the telegraph office,
00:29:43checking on any answer from Artie.
00:29:45Oh, yes.
00:29:46Say, Jane, as long as you've got a few minutes,
00:29:49I've got some shirts.
00:29:50Oh, absolutely.
00:29:51Bring them right down.
00:29:52Just pile them over there.
00:29:54Thanks.
00:29:55Don't mention it.
00:29:57Shut the door on the way out.
00:29:58Okay.
00:29:59Let's see if we can get all the way through this thing just once.
00:30:13To me
00:30:17You're the rose of a rosary
00:30:23The rise of a rising sea
00:30:29The glow of a star
00:30:36To me
00:30:40You're the coral of a coral sky
00:30:46The lull of a lullaby
00:30:53You know that you are
00:31:00To you
00:31:03I'm a mask in a masquerade
00:31:09One of the unfinished symphonies
00:31:15That's never been played
00:31:22Still to me
00:31:29You're the rose of a rosary
00:31:36You are and you'll always be
00:31:43So precious to me
00:31:59Do you like it?
00:32:00It's nice, Bob.
00:32:02Very nice.
00:32:06No bookings for Wild Canaries now or in future.
00:32:11I have jobs for you and brother with Paul Whiteman Band
00:32:13if you come immediately.
00:32:15Answer Artie.
00:32:17Paul Whiteman, huh?
00:32:18Gee, that's a break for you and Jimmy.
00:32:19I know a lot of guys who give their right arm to play with Whiteman.
00:32:22I'd give both.
00:32:23Oh, but that means I have to play the banjo off my feet.
00:32:28Sure.
00:32:29Working with Paul Whiteman might be the chance of a lifetime.
00:32:32My brother and I want a band of our own.
00:32:34Not just a job.
00:32:36Look, Foggy, another word of this.
00:32:38No talk.
00:32:39Compared to me, the Sphinx is a chatterbox.
00:32:44Pardon me.
00:32:47You're the fellow with the orchestra, aren't you?
00:32:49Dorsey?
00:32:50Yeah.
00:32:51I've been looking for you.
00:32:52Let me handle this, Tommy.
00:32:54Let's say you're Warren.
00:32:57Do I need a Warren to talk to you fellows?
00:32:59This is about a radio day.
00:33:00You ever heard of radio?
00:33:02Oh, you mean that thing without wires that makes like...
00:33:06You'd be surprised how it's developed.
00:33:07Well, you can hear 50 or 60 miles.
00:33:09Anyway, we want to try a little experiment.
00:33:11Put an orchestra on the air.
00:33:12It's never been done before.
00:33:13Not around here anyway.
00:33:15Oh, haven't you got something else?
00:33:17Thanks, Tom.
00:33:18But when we work, we get paid.
00:33:19Oh, we pay?
00:33:20All right.
00:33:21Fifty dollars.
00:33:23Oh, of course, it's not much.
00:33:25There's no telling how far you might go.
00:33:27I don't know how the fellows will take it.
00:33:29You see, we're professionals.
00:33:30We got a reputation.
00:33:31Well, you don't have to use your right name.
00:33:33Nobody will hear you anyway.
00:33:34That is nobody important.
00:33:36Well, where do you want us and when?
00:33:38Bannock building.
00:33:39That's in Cedar Springs, about 10 miles down.
00:33:418.30 tonight.
00:33:42Okay, Mr...
00:33:43DeWitt.
00:33:44The band will be there.
00:33:46I'll have to break it to them gently.
00:33:55I don't understand Artie booking us into a spot like this.
00:34:09That's like Tommy said.
00:34:10A job's a job.
00:34:11Why do we care as long as we get paid?
00:34:13This is so important.
00:34:14I've added two men to the band.
00:34:16I want to make it big.
00:34:17But they've never rehearsed with us.
00:34:18Oh, don't worry.
00:34:19These fellows read music.
00:34:20Now, when I give you the signal through the glass,
00:34:22that's when you start playing.
00:34:23And above all, don't forget, this is the microphone.
00:34:25With that, you'll be heard all over two states.
00:34:30Two states.
00:34:31We better play loud.
00:34:33Yeah, especially you fellows in the back.
00:34:38Don't forget in this part your phrase right along with the piano.
00:34:41Maestro, it shall be done.
00:34:46Get ready.
00:34:50♪
00:35:20♪
00:35:40Louder, louder.
00:35:42♪
00:35:48What's this?
00:35:49♪
00:35:52I can't hear you.
00:35:54♪
00:36:06Shut it down.
00:36:08♪
00:36:30What's the matter with you?
00:36:31Who told you you could take a solo?
00:36:33I felt like it.
00:36:34Nobody else is trying a solo.
00:36:36Tommy, Jimmy.
00:36:37We're going to need windshields and earmuffs
00:36:39if you don't lay off that loud stuff.
00:36:41You're blowing us all down.
00:36:43Gentlemen, gentlemen, please.
00:36:45Do you realize that everything you are doing is going over the air?
00:36:50Okay, okay.
00:36:52Let's hit it, boys.
00:36:53And this time, get in your cyclone cellars.
00:36:55Oh, thank you.
00:36:57Please.
00:36:58Throw them out.
00:36:59Throw them all out.
00:37:00Get your hands off my brother.
00:37:03Stop it.
00:37:04Stop it.
00:37:06Please.
00:37:11Hey, you.
00:37:15My mic.
00:37:16My poor mic.
00:37:22Ah, go away.
00:37:24Help.
00:37:25Police.
00:37:27That's all, folks.
00:37:30Hey, what about our dough?
00:37:32We were promised a half a C note, 50 bucks.
00:37:34If you blow hard enough, you ought to get a half a C note
00:37:36out of this musical present.
00:37:38Well, how do you like that?
00:37:40Where's Eddie and Phil?
00:37:41They told me to tell you they're through.
00:37:43Oh, let them go.
00:37:44We round up two more guys,
00:37:45and we'll be rolling again in no time.
00:37:47Look, I've got a suggestion for you.
00:37:49Makes sense, so you'll probably pay no attention.
00:37:52Why don't we all head for New York right now?
00:37:55And give up this tour just when we're beginning to click?
00:37:57Why, that wire from Artie raved about our prospects.
00:38:00That's nice to know.
00:38:02By the way,
00:38:03here's a little something you dropped
00:38:05during our last bang-up job.
00:38:07A little reference to Paul Whiteman.
00:38:09Also, no bookings or no prospects of bookings.
00:38:13Signed, Artie.
00:38:15Reading my mail, huh?
00:38:16Oh, they're arguing again.
00:38:17I guess I'd better go.
00:38:18Are you always in the middle of those two guys?
00:38:20No, I'm not.
00:38:23Are you always in the middle of those two guys?
00:38:26Artie's a bring-down,
00:38:27a third-degree gloom-peddler.
00:38:29Oh, let's face it.
00:38:30We started before we were ready.
00:38:32We'll do better the next try.
00:38:34In the meantime,
00:38:35you and I can be working for Paul Whiteman
00:38:37and helping the other fellas
00:38:38until they can get something.
00:38:40Let's let it go at that.
00:38:42He's right, Tommy.
00:38:44Remember what Mom said.
00:38:45She wants you two together.
00:38:47Okay, you win.
00:38:49But we'll click with our own band yet.
00:38:51Sure we will, Tommy.
00:38:56I'm sorry the way things turned out.
00:38:58Maybe later on when we get started again, we...
00:39:01I thought I got started.
00:39:03Come on, let's go.
00:39:11They went into New York then.
00:39:13Radio was just beginning to take hold,
00:39:15and the big new bands were taking hold with it.
00:39:18The Valleys, the Lombardos,
00:39:20and the King of the Mall.
00:39:50¶¶
00:40:19¶¶
00:40:29¶¶
00:40:39¶¶
00:40:49¶¶
00:40:59¶¶
00:41:24¶¶
00:41:44What did you find out, Artie?
00:41:45That's what I came over to tell you.
00:41:47Now, I haven't got any words yet,
00:41:49but you know how it is with any new band.
00:41:51Artie, you've got to book that Sands Point date.
00:41:54We're ready now. Let's get going.
00:41:56I'm working on it.
00:41:57After all, you ain't Whiteman yet.
00:41:59No?
00:42:00No.
00:42:01Oh, here.
00:42:02Songplug has loaded me down with some new numbers.
00:42:05You might as well look them over just in case we...
00:42:07Just in case.
00:42:08As if we didn't have enough of this stuff.
00:42:11¶¶
00:42:21¶¶ To me, you're the rose of a rosary ¶¶
00:42:30¶¶ The rise of a rising sea ¶¶
00:42:36¶¶ You're the glow of a star ¶¶
00:42:43¶¶ To me, you're the car of a coral sky ¶¶
00:42:52¶¶ The lull of a lullaby ¶¶
00:42:57¶¶ You know that you are ¶¶
00:43:04¶¶ To you, I'm a mask in a masquerade ¶¶
00:43:13¶¶ One of the unfinished symphonies ¶¶
00:43:19¶¶ That's never been played ¶¶
00:43:24¶¶ Still to me ¶¶
00:43:29¶¶ You're the rose of a rosary ¶¶
00:43:35¶¶ You are and you'll always be ¶¶
00:43:41¶¶ So precious to me ¶¶
00:43:52¶¶ To me, you're the rose of a rosary ¶¶
00:44:02¶¶ To me, you're the rose of a rosary ¶¶
00:44:12¶¶ To me, you're the rose of a rosary ¶¶
00:44:22¶¶ To me, you're the rose of a rosary ¶¶
00:44:32¶¶ To me, you're the rose of a rosary ¶¶
00:44:42¶¶ To me, you're the rose of a rosary ¶¶
00:44:52¶¶ To me, you're the rose of a rosary ¶¶
00:45:02¶¶ To me, you're the rose of a rosary ¶¶
00:45:12¶¶ To me, you're the rose of a rosary ¶¶
00:45:22¶¶ To me, you're the rose of a rosary ¶¶
00:45:32¶¶ To me, you're the rose of a rosary ¶¶
00:45:42¶¶ To me, you're the rose of a rosary ¶¶
00:45:52¶¶ To me, you're the rose of a rosary ¶¶
00:46:02¶¶ To me, you're the rose of a rosary ¶¶
00:46:12¶¶ To me, you're the rose of a rosary ¶¶
00:46:22¶¶ To me, you're the rose of a rosary ¶¶
00:46:32¶¶ To me, you're the rose of a rosary ¶¶
00:46:42¶¶ To me, you're the rose of a rosary ¶¶
00:46:52¶¶ To me, you're the rose of a rosary ¶¶
00:47:02¶¶ To me, you're the rose of a rosary ¶¶
00:47:12¶¶ To me, you're the rose of a rosary ¶¶
00:47:22¶¶ To me, you're the rose of a rosary ¶¶
00:47:32¶¶ To me, you're the rose of a rosary ¶¶
00:47:42¶¶ To me, you're the rose of a rosary ¶¶
00:47:52¶¶ To me, you're the rose of a rosary ¶¶
00:48:02¶¶ To me, you're the rose of a rosary ¶¶
00:48:12¶¶ To me, you're the rose of a rosary ¶¶
00:48:22¶¶ To me, you're the rose of a rosary ¶¶
00:48:32¶¶ To me, you're the rose of a rosary ¶¶
00:48:42¶¶ To me, you're the rose of a rosary ¶¶
00:48:52¶¶ To me, you're the rose of a rosary ¶¶
00:49:02¶¶ To me, you're the rose of a rosary ¶¶
00:49:12¶¶ To me, you're the rose of a rosary ¶¶
00:49:22¶¶ To me, you're the rose of a rosary ¶¶
00:49:32¶¶ To me, you're the rose of a rosary ¶¶
00:49:42¶¶ To me, you're the rose of a rosary ¶¶
00:49:52in this thing. Now look, fellas, we're gonna get this right if it takes all night.
00:49:56You mean all morning. Yes, all morning. Let's take it again. Here we go. One, two.
00:50:11You're still not playing it right. It's too fast. That's the way the number
00:50:16should be played. That's the way you think the number should be played. When
00:50:19it's your turn to lead, you can do it your way. Well, I think I'll take over
00:50:23right now. Look, you've been arguing about this tune ever since you first
00:50:27rehearsed it. Now, why not drop it all together, Tommy? Okay. Rehearsal tomorrow
00:50:33at 12. Make it three o'clock, fellas. We've been working too hard. The band's
00:50:38getting stale. It's my band too, you know. Hey, are you guys gonna take me to the
00:50:42jam session at Arcadium tonight or aren't you? All right, I guess we are
00:50:46getting a little groggy. Let's go hear a real musician.
00:50:54I don't like to say anything, but I thought you said you were going to the
00:50:56Onyx with me. Oh, yes, I did, Bob, but you see how it is with Tommy and Jimmy. I had
00:51:03to say something to stop them. One of these days we're gonna get to go out by
00:51:06ourselves. But, Bob, I'm so worried about the boys. They're fighting about
00:51:11everything now. I hate to see them throw away all the things they've worked so
00:51:15hard to get. Just a minute, please. Tommy, Jimmy, you're wanted on the phone. It's
00:51:22long distance. Shenandoah. Well, it must be Mom. Mrs. Dorsey.
00:51:30Mrs. Dorsey? Hello, Mom. This is Jane. Hello, Jane. We're fine. And you? That's
00:51:40good. Yes, Pop's right here. And how are my boys? Oh, they couldn't be better. Mom.
00:51:50Hello, Mom. You all right? That's good. Say, what are you and Pop doing up so late?
00:51:57Well, we wanted to thank you and Tommy for this beautiful anniversary present.
00:52:02We've been playing the machine for hours. And we don't allow anything on it but
00:52:07records by the Dorsey Brothers Orchestra. Jimmy, Jimmy, wasn't it awful expensive?
00:52:13She says it's awful expensive. Don't worry about what it cost, Mom. Just go ahead and
00:52:18enjoy it. Oh, hello, Pop. Say, son, I don't like to mention it, but on a couple of
00:52:24those records, I noticed the tone was just a shade off on the lower notes.
00:52:30That's right, Pop. Pop wants you. Yes, Pop. If you take my advice, you'll put in four
00:52:40hours of solid practice every day. Okay, Pop. Yes, Pop. Bear that in mind. Good night.
00:52:53Of course, I wouldn't tell them, but the boys are getting so they execute better all
00:52:59the time. Oh, dear. Just once more. Oh, but you'll be playing it for hours. Just once.
00:53:07Oh, for goodness sake. You know, Tom, a mother couldn't ask for more. We've been so
00:53:18lucky, but sometimes, sometimes it kind of scares me. Oh, sure, sure. But we haven't
00:53:27got anything to worry about anymore, Tess. No, I've been thinking about a surprise for
00:53:34the boys. Something we've put off for too long. Oh, you like it? Expense or no expense.
00:53:43But I don't understand.
00:54:27I hope you're not angry because I brought you here tonight. No, but I sort of wish we
00:54:47could have been alone. I had something I wanted to tell you. What? I finished the concerto.
00:54:53Oh, Bob, that's wonderful. I hope that's what the critics say. Have you shown it to anyone yet?
00:54:59No. It leaves a little touching up. Besides, I wanted to play it for you first. You know,
00:55:04it was written for you. I got an idea for the title page, too. I'd like to say to Jane, my wife.
00:55:15How about it, Jane? I guess I should make up my mind. I've been on the doorstep a long time.
00:55:30Well, I know you're worried about those two guys, but darling,
00:55:32you can't do anything more for them. They're tops now. You do love me, don't you?
00:55:39Well. You know that title page? To my wife? Mm-hmm. Be sure and spell the name right.
00:55:55Barnet,
00:56:07come on!
00:56:25Barnet!
00:56:55Barnet!
00:57:25Barnet!
00:57:55Barnet!
00:58:25Barnet!
00:58:55Barnet!
00:59:25Barnet!
00:59:38The object of my affection can change my complexion from white to rosy red.
00:59:44Good evening, sir. Don't you think we should have told the boys we were coming?
00:59:48It's more fun to surprise them.
01:00:18Fair. But instead I trust him implicitly. He can go where he wants to go, do what he wants to do,
01:00:27I don't care. The object of my affection can change my complexion from white to rosy red.
01:00:36Anytime he holds my hand and tells me that he's mine.
01:00:52Tommy, how about playing Never Say Never? Please, Mr. Dorothy.
01:00:56The
01:01:03customer wants Never Say Never. Tommy, remember rehearsal. We never did finish that number.
01:01:09Oh, let's do it, but don't kick it off too fast. Never Say Never, boys.
01:01:27What was that for? That's for playing it too fast. No musician could do that to me in public,
01:01:39not even my own brother. Why don't you lead the band right for a change? When it comes to leading
01:01:43a band, I don't need any advice from you. What's the matter? I don't know. Look, let's play the
01:01:49numbers right or not play them at all. All right, we won't play them at all. If you walk out now,
01:01:56it's for good. Okay, for good.
01:02:08Tommy.
01:02:17Tommy.
01:02:22Pardon me, please.
01:02:26Jimmy.
01:02:34Stay here. This is going to go on all our lives. I've got to catch Tommy.
01:02:39Jane, please listen to me. Look, they're bound to have a showdown and this might as well be it.
01:02:44Let them have it out. Let's go, Bob. All right, we might as well have a showdown and if you can't
01:02:49stay out of this thing, you'll never be able to stay out of anything that has to do with the
01:02:51Dorseys. And whether you were raised with them or not, I've had about all of that that one man
01:02:54can take. If you go now, we're through too. For good.
01:03:07Pop, I'm sorry you were here. Now listen to me, Jimmy. I know what you're gonna say and
01:03:11there's no point in saying it. Nothing will make a bit of difference. There's no use.
01:03:15You've got to go after him. No, Pop. I've got to conduct this band.
01:03:25I've got to get those two together. Oh, Pop, believe me. Not even your strap will help this time.
01:03:33The boys just don't think alike. They don't act alike. Well, they don't even play alike.
01:03:38All they've got is the same temper. No, I think this is the finish. But our boys can't just break
01:03:44up. Jane, isn't there something you can do? Well, Mom, I guess I'll go with Tommy. I think he'll need
01:03:53me more. I want the boys to have spirit, Tess, but I never expected this. Tom. Tom, dear.
01:05:53Still pasting things in the scrapbook, Tom? It's a proud collection. Just look at the newest.
01:06:18Dorsey's in tie for top place. Remember how worried we were, thinking they'd never get
01:06:25along without each other? And now look at them, sitting on top of the world. Just nice. I'm very
01:06:32pleased, Tess, very pleased. They're so big now, a lot of papers. I'm just calling them by their
01:06:38initials. T.D. and J.D. Like U.S.A. Are you about ready for dinner, Tom?
01:06:48Something bothering you, Tess? Are you not happy about the boys? I can't say I'm not happy about
01:06:55them, but I'm not happy about us. Tom, maybe it's something that only a mother would be that
01:07:05bothered by, but, well, the boys are a success, but I can't help feeling the family's a failure.
01:07:15But Tess, they've got everything in the world. The biggest thing, the raising dance bands.
01:07:22Both of them, they... Yes, yes, yes, I know. But can I have them home for dinner?
01:07:29Can I walk down the street with both my sons beside me?
01:07:32When Tommy's at home, Jimmy won't come. And when Jimmy's at home, Tommy won't come.
01:07:39And if it's a birthday or anniversary or Christmas, well, we get phone calls and messages and presents.
01:07:48But the nicest present a mother can have, her family around her.
01:07:55Tom, it just isn't a family anymore. Yes, Tess.
01:08:03I feel just the same. I didn't want to say it to you. I'll put the things on the table.
01:08:19Tess, where did you say the boys are playing now? It's in the letter, Tom.
01:08:32It's in the letter.
01:09:03Your green eyes with their soft lies, your eyes that promise sweet nights,
01:09:15bring to my soul a longing, a thirst for love divine.
01:09:23In dreams I seem to hold you, to find you and unfold you.
01:09:31Our lips meet and our hearts, too, with a thrill so sublime.
01:09:39Those cool and limpid green eyes, a pool where in my love lies,
01:09:49so deep that in my searching for happiness I fear
01:09:56that they will ever haunt me. All through my life they'll taunt me,
01:10:04but will they ever want me? Green eyes make my dream come true.
01:10:55Soft lights and eyes that promise sweet nights, bring to my soul a longing,
01:11:15a thirst for love divine. In dreams I seem to hold you,
01:11:23to find you and unfold you. Our lips meet and our hearts, too,
01:11:29with a thrill so sublime. Those cool and limpid green eyes,
01:11:38a pool where in my love lies, so deep that in my searching for happiness I fear
01:11:49that they will ever haunt me. All through my life they'll taunt me,
01:11:56but will they ever want me? Green eyes, I love you.
01:12:07© BF-WATCH TV 2021
01:12:37Make you think of Gorman's Hall?
01:12:39Gorman's Hall, you had to be a musician.
01:12:42If only you and Tommy could get together...
01:12:45Look, Pop, let's not go into that again.
01:12:48I still can't get over your coming up here without Mom.
01:12:52How's she doing?
01:12:54Better than I am, I hope.
01:13:37Oh, Marine, just break, just break for me.
01:13:54Girl of my dreams, I want you, I need you.
01:14:00Have a little faith in me.
01:14:03La, la, la, la, la.
01:14:06Here I go crying again.
01:14:08Take me, darling, take me.
01:14:12On a night like this.
01:14:15We're no friends in part.
01:14:18Oh, the way I like it, darling.
01:14:21I'm yours.
01:14:23Spoken as it came to be.
01:14:26And the Marine.
01:14:30Living in a great big way.
01:14:32Papa!
01:14:56La, la, la, la, la.
01:15:19Here we go.
01:15:49La, la, la, la, la.
01:16:19La, la, la, la, la.
01:16:27That, ladies and gentlemen, winds up another broadcast of Tommy Dorsey,
01:16:31that sentimental gentleman of swing.
01:16:33Until next week, this is Frank Robinson Brown saying goodnight.
01:16:46Are you ready to eat, Mom?
01:16:48Did you ever know me when I wasn't ready to eat?
01:16:50Attagirl.
01:16:51Tommy, I don't want to begin all over again,
01:16:53but if you and Jimmy would only...
01:16:55Mom, I'll meet you back here just as soon as I change.
01:17:07You don't have to tell me.
01:17:09He didn't get anyplace.
01:17:10No, Jane.
01:17:11The minute you mention it, they just shut off their ears.
01:17:14You know, Mom,
01:17:16the trouble is the boys are too used to saying no to you.
01:17:20You are the old folks.
01:17:23They love you and there isn't anything they wouldn't do for you,
01:17:25but, well, you know.
01:17:29Maybe what we need is a completely different approach.
01:17:33But we can't even get them together in the same room.
01:17:36Yes, I know.
01:17:37I've been thinking about that.
01:17:39But I believe I know how it might be done.
01:17:46♪♪
01:17:55♪♪
01:18:04♪♪
01:18:13Hello, Eddie.
01:18:14Janie, of all people.
01:18:16Gee, I'm glad to see you.
01:18:17How have you been? Come on in.
01:18:22Bob just went out.
01:18:23Yes, I know.
01:18:24But he'll be right back.
01:18:25He went out to get his laundry.
01:18:26Oh, then in that case, we haven't much time.
01:18:28Look, Eddie, I need your help very badly.
01:18:31You remember Bob's concerto?
01:18:32Mm-hmm.
01:18:33Well, I've got to have a copy of it right away.
01:18:35Do you know what he's done with it?
01:18:36I haven't seen anything of it since...
01:18:39Well, he put it away somewhere and...
01:18:41You know.
01:18:42Well, we must find it.
01:18:43Where does he keep his music?
01:18:45Well, it seems as though I have seen it
01:18:48somewhere at the bottom of something.
01:18:50You look through the desk over there
01:18:51and I'll check through the closet and things.
01:18:53♪♪
01:19:08There's nothing here.
01:19:09Have you found anything?
01:19:11Not yet.
01:19:12Try the clothes closet next to you.
01:19:14Sometimes he keeps papers in there.
01:19:16♪♪
01:19:21I've got it!
01:19:23Here it is.
01:19:24Oh, wonderful, Eddie.
01:19:26Now, look, I'm going to try to do something with this,
01:19:28but Bob mustn't know anything about it.
01:19:29Promise?
01:19:30I won't say anything.
01:19:31But I'm not so sure about Bob not knowing.
01:19:33After all, he's the composer.
01:19:34You won't be able to do much without his say-so.
01:19:36Oh, well, that's all right.
01:19:37I'll change the name on it to Smith or something.
01:19:39And thanks again, Eddie.
01:19:40If what I have in mind comes off, I'll send you a ticket.
01:19:45Uh-huh.
01:19:46Who?
01:19:47Paul Whiteman?
01:19:49Hello, Paul.
01:19:50Long time no hear.
01:19:52How have you been?
01:19:54What's that?
01:19:55I'm conducting the annual concert for the Musician's Sick Fund.
01:19:59Going to introduce some new American music.
01:20:01It's a concerto.
01:20:03Oh, I think it's going to be a very exciting night.
01:20:05And you're just the fellow to play that concerto.
01:20:08Well, Paul, if it's good enough for Whiteman, it's good enough for me.
01:20:12Oh, that's wonderful, Tommy.
01:20:14It'll be so swell seeing you again.
01:20:18Well, looks like we're doing all right.
01:20:19We got one.
01:20:20Oh, thank you, Mr. Whiteman.
01:20:22I didn't think he'd say no to you.
01:20:24How do you like that?
01:20:25A concerto.
01:20:26Wouldn't Pop get a kick out of that?
01:20:28Yeah, a Whiteman concerto.
01:20:30Best tops in the trade, brother.
01:20:31Hey, do you suppose he'll be asking Jimmy, too?
01:20:34Are you kidding?
01:20:35Whiteman knows better.
01:20:37He'll wind up leading his band.
01:20:40Yes.
01:20:42Uh-huh.
01:20:43Oh, hello, Paul.
01:20:44You want a job with my band?
01:20:49Uh-huh.
01:20:51Yeah.
01:20:52Sure, even if I have to cancel a date for that.
01:20:55Right.
01:20:57What do you know?
01:20:59Whiteman would like me to help him introduce a new American concerto.
01:21:03American concerto, huh?
01:21:05I had ambitions myself along that line once.
01:21:07Yeah?
01:21:09Say, you don't think he'd want your brother, too, do you?
01:21:12Not if Whiteman wants to keep his baton.
01:21:16Not a chance.
01:21:18Mr. Whiteman around?
01:21:20He'll be along in a minute.
01:21:21Oh, you must be Mr. Jimmy Dorsey.
01:21:24I'm Waters, concertmaster.
01:21:26Won't you sit down?
01:21:33Mr. Dorsey.
01:21:34Mr. Dorsey.
01:21:35Mr. Dorsey.
01:21:36Mr. Dorsey.
01:21:37Mr. Dorsey.
01:21:38Mr. Dorsey.
01:21:39Mr. Dorsey.
01:21:40Mr. Dorsey.
01:21:41Mr. Dorsey.
01:21:42Mr. Dorsey.
01:21:43Mr. Dorsey.
01:21:44Mr. Dorsey.
01:21:45Mr. Dorsey.
01:22:02Well, Tommy, just before we start on bar 29,
01:22:05you'll find that passage has been changed.
01:22:07Mm-hmm.
01:22:08But I think you'll find it'll play smoothly.
01:22:10OK, I'll make that change right now, Paul.
01:22:12I'd like to have the score.
01:22:17Hiya, Jimmy.
01:22:18Gee, it was swell of you to come.
01:22:20How you feeling, partner?
01:22:21Fine, Paul.
01:22:22It's kind of chilly in here.
01:22:24It'll warm up.
01:22:26Say, Paul, is this right?
01:22:28That's right, Tommy.
01:22:29Well, that change makes this part straight trombone and clarinet.
01:22:32That's right, Tommy.
01:22:33Who's on the clarinet?
01:22:34The clarinet?
01:22:35As a matter of fact, your brother, Jimmy.
01:22:39I'm sorry, Paul, but that's out.
01:22:41I said we'd never play together again, and it still goes.
01:22:44I'm glad he said that, Paul.
01:22:46It saved me the trouble.
01:22:47Oh, look, boys.
01:22:48It's such a worthy cause.
01:22:50Let's not let personal differences interfere.
01:22:52You're too big for that.
01:22:54Paul, I'd like to do you this favor,
01:22:55but trying to get us to play together again
01:22:57is something different.
01:22:58You know we've always disagreed over interpretation.
01:23:00Hey, did you boys forget?
01:23:01I'm conducting, and when it comes to interpretation,
01:23:03we're the ones who play.
01:23:05Hey, did you boys forget?
01:23:06I'm conducting, and when it comes to interpretation,
01:23:08I'm kind of a double dorsi.
01:23:10Thanks, Paul, but I think you'll find a double dorsi
01:23:12is just one too many.
01:23:14If you'll excuse me, I'll go.
01:23:16Jimmy, never mind.
01:23:17I'll go.
01:23:19Tommy.
01:23:26Hey, Tommy, Tommy.
01:23:27Now, look, Foggy, don't you start in too.
01:23:29No, Tommy, I've been trying to reach him for an hour.
01:23:31This is about your father.
01:23:33Pop, what's wrong with him?
01:23:34Well, he's pretty sick in the hospital.
01:23:35Your mother called.
01:23:36She wants you to come right away.
01:23:37I'll leave right away.
01:23:38I'll call the airport, and there's a plane leaving
01:23:40in half an hour.
01:23:41If you hurry, you can make it.
01:23:43Her brother's in there.
01:23:44You better tell him too.
01:23:49By the time the boys reached the hospital,
01:23:52Pop was too weak to talk.
01:23:55But he saw Tommy and Jimmy standing together.
01:23:59He smiled and then closed his eyes.
01:24:11Wait, Mom.
01:24:12You can't do anything now, Mom.
01:24:14None of us can.
01:24:16If I could only be sure he hadn't suffered.
01:24:18He didn't suffer.
01:24:21Nothing much you can say, is there?
01:24:24He gave us kids everything we've got.
01:24:26He gave us all everything we got.
01:24:2940 years I've been wondering what this day would be like.
01:24:32And now I know.
01:24:34Now I know.
01:24:36Mom.
01:24:38There's just one last thing your father wanted.
01:24:42And only you boys could give it to him.
01:24:45We know, Mom.
01:24:46You don't have to ask us.
01:25:29See, Mom?
01:25:30I'm happy you could be here.
01:25:32Yes, Jane.
01:25:33And thanks for everything.
01:25:44Hello.
01:25:45I didn't know you were coming tonight.
01:25:47Eddie gave me this seat.
01:25:48Somebody sent it to him.
01:25:52I'm sorry.
01:25:53I'm sorry.
01:25:54I'm sorry.
01:25:55I'm sorry.
01:25:56Uh-oh.
01:26:11That sounds like my concerto.
01:26:12It does.
01:26:22It is my concerto.
01:26:26Look at that, the name of the composer, D.H. Smith. He's a thief.
01:26:29That's outrageous.
01:26:31I'll find out.
01:26:32Wait a minute, Pop.
01:26:33I've got to find this D.H. Smith.
01:26:35Would you mind? We're trying to hear the music.
01:26:57What's that?
01:27:11What?
01:27:27Mr. Burton
01:27:40You see, Mr. Burton, you are now Mr. Smith.
01:27:43And that's why Mr. Smith will be Mr. Burton in the papers tomorrow morning.
01:27:47What about Mrs. Smith?
01:27:49Well, she prefers Burton.
01:27:56THE END