- hace 1 hora
Cast: Jessie Matthews, Edmund Gwenn, Fay Compton, Esmond Knight, Frank Vosper, Robert Hale, Marcus Barron, Charles Heslop, Betty Huntley-Wright, Sybil Grove, Bill Shine, Cyril Smith
Director: Alfred Hitchcock
Synopsis: Schani, Johan Strauss Jr., is forced by his father to forget music and to work in a bakery. Here he falls in love with Resi. The girl gets very jealous when a rich and beautiful contessa asks Schani to write a waltz for her. Schani writes and plays it, but he is always loyal to his girlfriend.
Director: Alfred Hitchcock
Synopsis: Schani, Johan Strauss Jr., is forced by his father to forget music and to work in a bakery. Here he falls in love with Resi. The girl gets very jealous when a rich and beautiful contessa asks Schani to write a waltz for her. Schani writes and plays it, but he is always loyal to his girlfriend.
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CortometrajesTranscripción
00:00:07The End
00:01:30Where is the fire?
00:01:34Emmer's name is Cappy.
00:01:35Where?
00:01:36Emmer's name is Cappy.
00:01:43Clear the way there! Clear the way!
00:02:02Come on! Bring out everything!
00:02:04Everything!
00:02:05The place will be burnt down before the fire is in this camp!
00:02:08Everything! Come along! Come along!
00:02:15The place will be burnt down before the fire is in this camp!
00:02:27The fire is….
00:02:30The fire..
00:02:30All the other church, so it would be white.
00:02:39…go accessing the fire animals into the cloud.
00:02:54Raysi, where is she?
00:02:55Raysi?
00:02:56Your daughter!
00:02:57She's having a music lesson.
00:03:10Inside is the cry of a heart that calls to your Lord, the cry of a heart that calls for
00:03:28your Lord.
00:03:41The house is burning, but he goes on playing.
00:03:45How brave.
00:03:47Who is that young man?
00:03:52It is Harry Johann Strauss, my lady.
00:03:55He's very handsome.
00:03:57And you've dedicated this to me?
00:03:59Of course.
00:03:59I dedicate all my songs to you and always shall.
00:04:03What a pity they're never published.
00:04:06Raysi Abazader from the composer Johann Strauss.
00:04:08Oh, I should be so proud to have everyone read that.
00:04:12To Therese Strauss from her husband would make me much prouder.
00:04:18I say, do you mind moving?
00:04:20Yes, I mean, thank you.
00:04:27Stand by now.
00:05:05Raysi?
00:05:09what are you doing prying in this window
00:05:11I'm not prying
00:05:13I've come to rescue you
00:05:14from what?
00:05:15don't you know
00:05:17the house is on fire
00:05:19well, what do you want me to do?
00:05:21swoon?
00:05:28come on
00:05:29there's not a moment to be lost
00:05:30look here, if anybody's going to rescue me
00:05:32I am
00:05:32what?
00:05:33after I've risked my life coming up here
00:05:35don't fight
00:05:36we'll all go down the stairs together
00:05:37no, you've got to be rescued
00:05:39the stairs are full of smoke
00:05:40I don't believe it
00:05:45put her down
00:05:46Rosie's not your property
00:05:47she's going to be though
00:05:48oh no she's not
00:05:49I tell you she is
00:05:50I say she's not
00:05:51I say she is
00:05:52now listen to me
00:05:56no, you don't
00:05:57you saved my music
00:05:58the song you brought me
00:05:59I mustn't lose that
00:06:00go
00:06:13I'd be a lot safer
00:06:14if you let me climb down myself
00:06:18I am saving
00:06:42no one to come in
00:06:43but members of the brigade
00:06:46quickly up hold
00:06:47unhook it for me
00:06:52quickly up hold
00:06:59unhook it for me
00:07:02quick
00:07:02quick
00:07:02get me a skirt please
00:07:05rarely
00:07:05you must not come into my shop
00:07:06in this indecent attire
00:07:07I have with me
00:07:13I'm sorry
00:07:16I'll remember how particular
00:07:17these great ladies are
00:07:18on the subject of decency
00:07:20don't you speak disrespectfully
00:07:22of your betters my girl
00:07:25here
00:07:26where's Rosie
00:07:27in Madame Courgette
00:07:29look
00:07:30the fire is spreading
00:07:36the fire is out
00:07:41it's a Đi
00:07:43I'm sure the fire is going to get
00:07:43which is the big
00:07:44I've heard
00:07:48that's the big
00:07:49I'm sure that I don't care
00:07:55I'm sure that you are
00:07:56who cares
00:07:58or who cares
00:07:59you
00:08:00love
00:08:03it's a fitness
00:08:04that's not what I'm sure
00:08:04it's a fitness
00:08:04it's a fitness
00:08:16It's all right, Gareth, he's got a skirt on.
00:08:19I beg your pardon, I...
00:08:21Oh, he's blushing!
00:08:23Are you sure you know a blushing, Miss Evelyn?
00:08:25Yes, but I've just come to give this to Miss Emberzader.
00:08:28She's in the fitting room, but you can't go in because she's all undressed.
00:08:33Oh, I'll go right in the shop.
00:08:36Where's that winter model I've just put on?
00:08:45And now I will show you something attractive for the winter evening.
00:09:03Excuse me, but aren't you the young man I saw on the window just now?
00:09:08I mean, the burning house.
00:09:10Oh, yes, but the fire's up now, you know.
00:09:12What a pity.
00:09:13So little fire in the world, don't you think?
00:09:16Oh, I don't know what you mean.
00:09:18I mean, the sort of fire you put into the song you were playing just now.
00:09:22Oh.
00:09:24Such a chair.
00:09:31Oh, thank you.
00:09:33I meant for you.
00:09:38What was that song you were playing just now?
00:09:40Oh, something I've written myself.
00:09:42You're a composer.
00:09:44No, no, I'm the son of a composer.
00:09:47Won't you sit down?
00:09:54My father's Johann Strauss, you know.
00:09:56Oh.
00:09:57You certainly inherited some of his talent.
00:10:00My father doesn't think so.
00:10:02He thinks I should leave composition to my two brothers.
00:10:04He sent them to Berlin to study under Marbea.
00:10:06And you?
00:10:07Oh, I play second fiddle in my father's orchestra.
00:10:10Second fiddle.
00:10:11What a depressing position.
00:10:13Yes, but my father's a great man, you know.
00:10:15The great men are peculiar.
00:10:17Oh.
00:10:18Like all great men,
00:10:19he has a peculiar dislike of hearing youth knocking at the door.
00:10:23Oh, but father doesn't have to fear for his reputation.
00:10:26I wonder.
00:10:29Not just yet.
00:10:30I'll see all your models later.
00:10:34Tell me something.
00:10:36Would you like to set some verses of mine to music?
00:10:39Why, yes.
00:10:40I'll get the song published, if you will.
00:10:42Could you?
00:10:43Easily.
00:10:44Of course, publishing isn't enough.
00:10:46You must get it sung and played.
00:10:48Do you think your father
00:10:49would conduct it just once
00:10:51with his orchestra?
00:10:52Something I'd written.
00:10:54He wouldn't dream of it.
00:10:56He might conduct something I'd written.
00:10:59Don't misunderstand me.
00:11:00I'm not a great poetess.
00:11:02But I have a friend who might have influence.
00:11:06When can I have the verses?
00:11:09They're not finished yet.
00:11:11But they will be.
00:11:14Tomorrow, at four.
00:11:16Come and see me.
00:11:18I want to read the verses over to you
00:11:20so that you can
00:11:23compose the music for them.
00:11:32Oh, dear, I'm so sorry.
00:11:34Did I scratch you?
00:11:36I'm afraid my nails are rather sharp.
00:11:37No, no, it's quite all right, really.
00:11:39Excuse me, I...
00:11:40I just wanted to thank you
00:11:42for bringing my skirt.
00:11:43Oh, Razie,
00:11:44this lady's been very kind
00:11:45about my music.
00:11:46She's going to try and help me.
00:11:47Really?
00:11:48How very nice of her.
00:11:51Miss Ebberseda...
00:11:52Um, I mean, do you know,
00:11:55Miss Ebberseda,
00:11:56the Countess, um,
00:11:58Elga von Stahl?
00:12:00How to do?
00:12:01I was going to help Paul
00:12:02straighten things out.
00:12:03I'm glad the fire
00:12:04did so little harm.
00:12:06I wonder how much harm
00:12:07it really did do.
00:12:16Well, uh,
00:12:18goodbye.
00:12:22Goodbye.
00:12:26Goodbye.
00:12:27Until tomorrow.
00:12:37Madame Cortez,
00:12:38you are ready?
00:12:40Go, go.
00:12:55Arrêtez-vous,
00:12:56qu'est-ce que c'est
00:12:56des peste messieurs?
00:12:57Allô, vite, vite.
00:12:59Hé!
00:13:22Your bath,
00:13:23m'lady.
00:13:50Oh, that's nothing.
00:13:52He's dreaming that he's
00:13:53fighting with you.
00:13:54Ah!
00:14:00Good.
00:14:04My honor is satisfied.
00:14:09What?
00:14:09What is that
00:14:10infernal noise?
00:14:11Go work me up.
00:14:12Go on,
00:14:12clear out of here,
00:14:13all of you.
00:14:13Bring me my bath.
00:14:17Gustave.
00:14:19Oh, I was dreaming
00:14:21that I was fighting
00:14:22a duel
00:14:22in defense of
00:14:23your honor.
00:14:24That was very good
00:14:24of you, darling.
00:14:26Needless to say,
00:14:28I killed
00:14:29my man.
00:14:32Your bath
00:14:33is ready,
00:14:33m'lady.
00:14:51late again,
00:14:52m'lady.
00:15:00me。
00:15:02old man.
00:15:04Good morning,
00:15:05good morning.
00:15:06Good morning,
00:15:35It's you, only you that I love.
00:15:40Who have you been writing these verses to?
00:15:42What is the man's name?
00:15:43Gustav, please. I'm undressed.
00:15:45What is the man's name?
00:15:46It isn't a man. I wrote those verses to the river Danube.
00:15:50Do you think I am a fool?
00:15:52Turn the page over if you don't believe me.
00:15:57I beg your pardon. They are lovely verses.
00:16:02Your bath, excellent sir.
00:16:05Must I?
00:16:08Very, very pretty.
00:16:10Oh, thank you, Your Excellency.
00:16:13Not you, the poet.
00:16:15Bring that verse to me.
00:16:19The water is getting cold, excellent sir.
00:16:31The Countess is talking. What does she say?
00:16:34His Excellency asks what her Ladyship says.
00:16:39Her Ladyship is working at her verses.
00:16:41She was complaining that there is no rhyme for orange.
00:16:44Her Ladyship says there is no rhyme for orange.
00:16:47Certainly there is. Lozenge.
00:16:50His Excellency suggests lozenge.
00:16:55His Excellency suggests lozenge.
00:16:59Idiot.
00:16:59What does she say?
00:17:02Tell him an excellent suggestion.
00:17:04Her Ladyship says an excellent suggestion.
00:17:07Ask him what colour the Danube is.
00:17:10Her Ladyship asks what colour the Danube is.
00:17:14Her Ladyship asks what colour the Danube is.
00:17:18I don't know. What colour is it?
00:17:21That Danube water in which Your Excellency is bathing.
00:17:24I know that, but what is the colour?
00:17:28Dirty brown.
00:17:30What the devil are you doing out there? Come in here.
00:17:38You are making perhaps a disgusting joke.
00:17:40Excuse me, m'lady, but are you wearing your blue?
00:17:43Blue!
00:17:45Of course.
00:17:46Why didn't I think of that before?
00:17:48My dear, the Danube never looked blue in its life.
00:17:52Couldn't you make it silver?
00:17:54Silver doesn't rhyme with a single other word in the language.
00:17:58Doesn't it, really?
00:18:00You know, you are an extraordinarily clever woman, my dear.
00:18:03Most men wouldn't be able to keep up with you at all.
00:18:06His Excellency is going to the Hofburg this evening.
00:18:08Yes, m'lady.
00:18:10At four o'clock, a young man will call.
00:18:13Yes, m'lady.
00:18:15He is the only visitor I shall receive.
00:18:17Yes, m'lady.
00:18:19Rump, I have an idea.
00:18:22Strauss shall set these verses to music.
00:18:24The great Strauss.
00:18:25Of course.
00:18:26What other Strauss is there?
00:18:37No, sir.
00:18:37No, sir.
00:18:37I will give the verses to Mr. Strauss as soon as the rehearsal is over.
00:18:40Is that Strauss himself?
00:18:41Yes.
00:18:41Do you mind if I have a look before I go?
00:18:43Yes, but don't go in.
00:19:06Very good.
00:19:07But he wanted a little more pianissimo in the brass.
00:19:09But it'll do.
00:19:10Tomorrow at ten.
00:19:11Is it true, master, that you're writing a new waltz for the fate?
00:19:14Well, I don't know.
00:19:14I set myself a difficult standard when I read the Lorelei waltz.
00:19:17How can anyone hope to write a waltz like the Lorelei?
00:19:19No one should try to write one like it.
00:19:21One should try to write one better.
00:19:28What's that you said?
00:19:30Only that the...
00:19:31Only that the soul of music is greater than any composer, however great.
00:19:36I said that the next man to write a waltz should try to write one better than the Lorelei waltz.
00:19:39I see.
00:19:40You don't share the general enthusiasm for my compositions.
00:19:43Oh, you're wrong.
00:19:43Nobody loves your music more than I do, but...
00:19:46But every art must march forward.
00:19:48It can't afford to stand still and admire.
00:19:50March forward, you say?
00:19:52You think then I'm already at a standstill.
00:19:54Perhaps even a back number.
00:19:55Oh, you misunderstand me.
00:19:56And who are the leaders of this march?
00:19:59Are you one of them?
00:20:01I understand you were thrown out of your lodgings last month
00:20:03because your neighbours couldn't stand listening to your abortive improvisations.
00:20:09Sit down there.
00:20:11Go on.
00:20:12Let's have one of your compositions.
00:20:15No.
00:20:15I see.
00:20:16You're afraid to play for musicians.
00:20:18No, I'm not.
00:20:21You haven't.
00:20:24You haven't.
00:20:25You haven't.
00:20:26I knew you.
00:20:50You haven't could die or two years ago.
00:20:51I know they were and that was carless.
00:20:55Admirable. Magnificent. Such masterly contempt for fall. March forward indeed.
00:21:03Bring me the laurel crown the emperor placed on my head and I'll give it to him.
00:21:18Why are you taking your violin? Because I'm not coming back. Well don't be a fool.
00:21:34His Excellency sent this to you with the recommendation that you use it as the basis for a new song.
00:21:46What? Oh, his Excellency is a fool.
00:21:51You're a German and in Germany you worship titles. Here in Vienna artists are greater than princes.
00:21:57At night when the moon is above, you whisper a lullaby.
00:22:03It's you, only you, that I love. For you alone I sigh.
00:22:24No, it's no use. I, I haven't an idea. Oh, but I thought that was rather good.
00:22:28No, it wasn't. I've no confidence in myself. All I can think of is what my father said to me
00:22:32when I played my song to him.
00:22:34Which song was that? The song your little friend was singing? I mean the pastry cook's daughter?
00:22:39No, it was a different one. This one.
00:22:52Oh no, but I thought that was very good. Let's hear it again.
00:22:56Really?
00:22:57Yes, sing it.
00:23:00All right.
00:23:02Yes, sing it.
00:23:04Yes, sing it.
00:23:07Yes, sing it.
00:23:16Yes, sing it.
00:23:36Yes, sing it.
00:23:39Yes, sing it.
00:23:40Here you see or bring the time to be so sweet, perhaps.
00:23:50Well, when we're looking at all the music with only, we're very weak.
00:23:58The dreams I've dreamed but dared not play, the dreams that seemed so far away and lost have come a
00:24:16little nearer.
00:24:20At last the skies are growing clearer, forget the pause, your day will come at last.
00:24:45Like a star in the sky, you'll set as my guide, and a face that is high with you by
00:24:56my side.
00:24:58Though your girl may be far, I can reach in the light, see the light of that star in the
00:25:13sky.
00:25:19I told you it was good, Charlie. It's grand.
00:25:22When you say things like that, I rarely begin to believe in myself. Now I know I can write your
00:25:28song.
00:25:34My lady's ship is at home. She has a young man with her. A young man?
00:25:39Herr Strauss sent this back. Why is the paper in this condition? I sat on it.
00:25:47Oh, so you sat on it, did you? Herr Strauss said it was no good.
00:25:52Oh, and so that is why you sat on it, eh? Because Herr Strauss said it was no good.
00:25:58I tell you these words are a work of art, and yet Herr Strauss said they are no good.
00:26:04Don't be alarmed. I can manage him. Play something.
00:26:07He said he'd never have the name of Strauss in such rubbish.
00:26:10The impertinence. Does he not know I am a cousin of the late Empress?
00:26:20Thank you, Excellency. Will that be all?
00:26:22For the moment, yes. But wait till I meet Strauss.
00:26:33Gustav, what a pleasant surprise. This is Herr Strauss.
00:26:38Strauss? That nincompoop? Oh, I beg your pardon. You are not Strauss, the bandmaster?
00:26:47Bandmaster? His father would like to hear that. Oh? So it is the son, eh?
00:26:53Mr. Strauss is setting my words to music.
00:26:56I see, really. Then the name of Strauss will appear on them after all, eh, my good fellow?
00:27:31Hello, darling.
00:27:33Charlie, you're up early. Aren't you going to kiss me?
00:27:37What are you? Are you sure there's no one looking?
00:27:40Even I have my eyes closed.
00:27:47I told father we're in love with each other.
00:27:49What did he say?
00:27:50Just what I expected.
00:27:53He asked how you were going to support me.
00:27:56Oh, I can start you off in bed and milk, same as he did.
00:27:58Oh.
00:27:59He set his heart on having a son-in-law who will go into the business with him.
00:28:03What, me, your pastry cook?
00:28:05Well, I do see his side of it.
00:28:07After all, Eberseda's has been handed down for four generations.
00:28:10What's that?
00:28:11What's that, you say? You ought to see our old ledgers.
00:28:14Do you realize the last thing Mezenich ate was a dozen of the famous Eberseda chocolate rolls?
00:28:19And he died.
00:28:20Of course he died.
00:28:22He set it for them so that he could die happy.
00:28:27Look. Do you see that coffee stain on the wall over there?
00:28:30Yes, I've often wondered why he didn't wash it off.
00:28:32Wash it off? Do you realize the great painter Winterhalter did that?
00:28:35Hmm. Yes, it isn't one of his best works, is it?
00:28:38Don't be funny.
00:28:39He threw his coffee at General Rodetsky.
00:28:41You know, the man your father wrote a march about.
00:28:46March?
00:28:47I wonder.
00:28:50No, no.
00:28:50It's no good that Daniel doesn't play in March time.
00:28:52What on earth are you talking about?
00:28:54Oh.
00:28:55Look.
00:28:56I've got some verses to set to music.
00:28:57You mean you've got a commission?
00:28:58Yes.
00:28:59Oh, that's grand.
00:29:00And the song's going to be published.
00:29:01That's understood.
00:29:04Hmm.
00:29:06They're not very wonderful verses.
00:29:09It's a good idea.
00:29:12You know, the man who wrote this must be clever.
00:29:18I...
00:29:19Wait a minute.
00:29:20What was that phrase you played that I like so much?
00:29:23Oh, I don't know.
00:29:25I do.
00:29:32Look. It just fits.
00:29:33What?
00:29:35Danube's so blue.
00:29:36So blue.
00:29:37So blue.
00:29:38So blue.
00:29:38Remember?
00:29:40Yes.
00:29:41Da, da, da, da.
00:29:43Da, da, da, da, da, da.
00:29:46Yes.
00:29:46Yes.
00:29:46That is what I want.
00:29:48Yes.
00:29:49That is exactly.
00:29:49I should never have thought of it.
00:29:50It didn't mean for you.
00:29:51Come on.
00:29:51You just finished it.
00:29:52I'll finish it.
00:29:53Don't worry.
00:29:53Now I've got something to work on.
00:29:54Oh.
00:29:59So this is what you call work.
00:30:02Come here a minute.
00:30:15Look here.
00:30:15I won't have this.
00:30:17Why, your mother didn't allow me to kiss her until six months after we were married.
00:30:20Now I know why you were over fifty when I was born.
00:30:23Oh.
00:30:23Oh.
00:30:24This is awful.
00:30:25This is awful.
00:30:26That's what becomes of allowing you to associate with artists and musicians.
00:30:32Go away, young man.
00:30:33Oh, but Charlie came to look over the bakery.
00:30:36What?
00:30:37I told him what you said.
00:30:38That any young man who wants to marry me must be prepared to carry on in Bethesos.
00:30:43Are you really interested?
00:30:46Tremendously.
00:30:47Good.
00:30:47Then I'll show you over the bakery now, if you like.
00:30:50Oh, well, er, just at the moment I...
00:30:52He'd be delighted.
00:30:53Wouldn't you?
00:30:54He was afraid it was bothering you too much.
00:30:56But it isn't.
00:30:57Is it?
00:30:59No.
00:31:08Wood.
00:31:09Carb.
00:31:12Bread.
00:31:25These are the famous Eversated Chocolate Rose.
00:31:27The Great Methodist.
00:31:28Died with one in his hand.
00:31:30Ah, I see.
00:31:30You're a student of history.
00:31:32Now come along and I'll show you our famous ovens.
00:31:34This one over here.
00:31:36And that one there.
00:31:46From out of the west, you roll to the sea.
00:31:54What's that?
00:31:55Pulled to the sea?
00:31:57No, no.
00:31:58The rolls.
00:31:58The rolls?
00:31:59May I see where you make the rolls?
00:32:00Oh, certainly.
00:32:01Now, these are the rolls and this is where we make them.
00:32:05Of course, these are not our best.
00:32:27I've got it.
00:32:28You've got it.
00:32:29I've got it.
00:32:31Clumsy dope.
00:32:32I believe he didn't affirm this.
00:32:33I think he's one of the-
00:32:34Listen to this.
00:32:35I've just composed a song.
00:32:36Here in your bakery.
00:32:38Danube so blue, so blue, so blue.
00:32:41I've been showing you how the famous Eversated Chocolate Rose are made.
00:32:44You're composing a silly song.
00:32:45I know, I'm sorry, but I've just been thinking.
00:32:47It's sacrilege.
00:32:48That's what it is.
00:32:49Good gracious me.
00:32:50I've shown the very best of musicians through this bakery.
00:32:53Franz Schubert.
00:32:54Why, I brought him down here.
00:32:56He was writing the Unfinished Symphony at the time, but did he try to finish it?
00:33:00No.
00:33:00No.
00:33:01He ate cakes.
00:33:02And so will I.
00:33:05I'm so sorry.
00:33:07Hmm?
00:33:08Do go high more attention.
00:33:10Not that.
00:33:11Oh, that's a dough mixing machine.
00:33:15Intended by my great-grandfather.
00:33:17Leopold, show him how it works.
00:33:20I'm busy.
00:33:21Do as I tell you.
00:33:22Come and show him how it works.
00:33:24And hurry up.
00:33:29See.
00:33:31That's it.
00:33:33Faster.
00:33:35There.
00:33:35That's the right tempo.
00:33:38As you roll along, I can hear your song.
00:33:41It enthralls me, and it holds me.
00:33:45It enthralls you, does it?
00:33:47In need it does, yes.
00:33:48Just a little faster, please.
00:33:51What are you doing?
00:33:53You're shining silver.
00:33:56Overband, beaching far across the land.
00:34:00In my bones I'll always see, you're very wildest in me.
00:34:05Ho, ho, ho!
00:34:07Ho, ho!
00:34:07Ho, ho!
00:34:08Hooray!
00:34:09It's all arranged.
00:34:10What is?
00:34:11Our marriage?
00:34:12No.
00:34:13The song.
00:34:14I've arranged the verses, all of them.
00:34:16Oh.
00:34:17The song.
00:34:18Did you see all through the bakery?
00:34:19No, no.
00:34:19I was too excited.
00:34:20Oh, I do hope you have an offended father.
00:34:22No, I don't think so.
00:34:23Listen.
00:34:24Danube so blue, so blue, so blue.
00:34:27You mustn't sing here.
00:34:28Well, come along with me then.
00:34:30I can't leave the shop.
00:34:32Shop?
00:34:33What does the shop matter?
00:34:34Well, it matters as much as your old song.
00:34:37Yes, I suppose it does.
00:34:40Where are you going?
00:34:42Back.
00:34:43Back to the man who wrote the verses.
00:35:03Oh dear.
00:35:04I suppose I shouldn't have done that.
00:35:08It's your wonderful music.
00:35:10I hope you didn't mind.
00:35:12No.
00:35:13No, of course not.
00:35:17Go on, play me some more.
00:35:19This is the second movement.
00:35:29This is the best song you've ever written.
00:35:31But it's really you I have to thank.
00:35:33For having remembered that first phrase.
00:35:35Well, you can show your appreciation for my good memory by dedicating it to me.
00:35:41Yes.
00:35:42Why, you sound as if you didn't want to.
00:35:44Well, haven't I dedicated all my songs to you?
00:35:47Yes, but this is the one I want especially.
00:35:51It will be even more valuable.
00:35:53His father would only play it in public.
00:36:29After all, you have to go.
00:36:34How much do you work?
00:36:37I didn't know that.
00:36:37For you, you're in the old days.
00:36:38I didn't know that you grew up.
00:36:38I didn't know that she was going to be around the church.
00:36:38You're not even running around.
00:36:38I'm looking for the old days.
00:36:38I've been wanting to do that.
00:36:38I'm looking for the next song.
00:36:39I'm looking for one next time.
00:36:39I'm looking for one next week.
00:36:40I'm looking for one next week.
00:36:43You're looking for your own action.
00:36:48I'm looking for anotherếcle.
00:36:48Yes? I will publish it, of course, if you ask me to.
00:36:52I wanted to do more than that.
00:36:53I wanted to get Sharny's father to include it in the programme of his orchestra.
00:36:57Oh, impossible!
00:36:58It must be done, Greg, sir. The Prince demands it.
00:37:01Dear lady, you know to what lengths I would go for you and His Excellency.
00:37:05But no man living can make Strauss do anything.
00:37:08You're afraid of him?
00:37:09Afraid of him? No!
00:37:11I told him how wrong he is to hold a grudge against his own son.
00:37:14And it's useless.
00:37:15Yes, Sharny made a great mistake.
00:37:16He hurt his father's vanity.
00:37:18Exactly.
00:37:19Well, we must try fair means.
00:37:22But if we don't succeed, then we must be more daring.
00:37:27No wonder they say that you're a dangerous woman.
00:37:30It's not dangerous to you, Drexler.
00:37:32Oh, I don't know.
00:37:34Is he here?
00:37:35Herr Strauss, yes.
00:37:36He's rehearsing his men for the opening of the Domeyer Gardens.
00:37:46Gentlemen, that F-sharp must be accentuated.
00:37:49It's not in the least what I want.
00:37:53Now listen, give me the song and I'll show it to Mr. Strauss.
00:37:56No, please.
00:37:57Meant I give it to him myself.
00:37:58I'm a friend of someone very close to him.
00:38:02Anyway, but you mustn't interrupt him.
00:38:04Stay quite quiet until he's finished.
00:38:22Hello, Sharny.
00:38:23Have you come to see your father?
00:38:24No, I've come to see Mr. Drexler.
00:38:25I think he has a lady with him.
00:38:27Yes, I know.
00:38:27As I expected.
00:39:05What is it you want?
00:39:07I want to ask if you won't please play this number with your orchestra.
00:39:14Did my son send you with this?
00:39:17No.
00:39:18He doesn't know anything about it.
00:39:20Are you his sweetheart?
00:39:24Yes.
00:39:26But we're going to be married, I hope, one day.
00:39:28Well, if you hope that, you better tell him to find himself a job he understands.
00:39:32That isn't fair.
00:39:34You don't know.
00:39:35You haven't played it yet.
00:39:36I don't have to play it.
00:39:37I can read.
00:39:39Absolute rubbish.
00:39:42You think you're the only one who knows anything about music?
00:39:50Leave that music.
00:39:53From the commencement.
00:40:11My song.
00:40:46I see the countess has to look over your shoulder.
00:40:52Perhaps another coffee would be more convenient.
00:40:58I don't understand.
00:41:01This isn't the same song.
00:41:03This is dedicated to a Miss Ebuzeda.
00:41:07What do you mean?
00:41:10Well, Raythe, I meant to tell you, you see, it is the same song.
00:41:15The countess von Stahl wrote the words.
00:41:17Please don't have me cause any trouble.
00:41:19If your little friend wishes you to dedicate the song to her, by all means do so.
00:41:24No, I don't want it.
00:41:26I don't ever want to hear it again.
00:41:31Raythe!
00:41:43Well, now perhaps we can play the song over to Mr. Drexler.
00:41:45Oh, but I can't let her go like that.
00:41:47I came here to try and help you.
00:41:48I know, and I'm very grateful.
00:41:50But there are some things that are even more important than success.
00:41:52That isn't the speech of a man determined to succeed.
00:41:55Well, it doesn't matter.
00:41:55Please forgive me.
00:42:03What a fool.
00:42:05To let a girl like that ruin his chances.
00:42:08Young love is rather fine.
00:42:10Oh, don't, you're a silly sentimentalist.
00:42:12Dear lady, never before have I seen you lose your beautiful serenity.
00:42:17You needn't trouble any more about this song, Drexler.
00:42:20I'll let you hear it through once.
00:42:22Then we'll put it on the fire.
00:42:25Henry rings
00:42:35Well, Räzy, stop please.
00:42:36You must let me explain.
00:42:38Well, listen, Räzy I...
00:42:40I'll give up my music altogether.
00:42:43It's the only thing to do.
00:42:45You mean you'd really give up your music for me?
00:42:48Of course I will.
00:42:49You mean more to me than ambition or anything.
00:43:05I love you so much. I've been so miserable.
00:43:14Raise me.
00:43:20Come on. Let's go and find your father and tell him about it.
00:43:36No, dear lady, we will not burn that. I will get Shani to orchestrate it. That song is going to
00:43:41live.
00:43:53For Herr Johann Strauss. Oh, yes. Who is it from?
00:43:56My lady asked me not to mention her name.
00:44:04Don't worry. I know her name. The Countess Helga von Stahl.
00:44:10I know another name for her, too. Only I'm too much of a lady to say it.
00:44:24For you. Thanks.
00:44:31I wonder what she means. She means to get your scalp to hang at her belt.
00:44:35She can find room for it. Listen to what she says.
00:44:37I'm not interested in what she says.
00:44:40Farewell.
00:44:41So, it's all a big secret, is it?
00:44:45Of course it isn't a secret.
00:44:47She wants me to go to the St. Stephen's Festival with her.
00:44:49She says she has a wonderful surprise for me.
00:44:52Listen. If you go to the St. Stephen's Festival, I'll never speak to you again.
00:44:57Now, until you said that, I had no idea of going.
00:45:00What do you mean?
00:45:00Well, I won't be dictated to.
00:45:03I'm not dictating to you. I'm warning you.
00:45:06If I want to go to the festival, I shall go.
00:45:08All right, then. But you know what it'll mean.
00:45:12Now, listen, Raisi. I've given up everything for you.
00:45:16All my dreams.
00:45:19And now I've started on a career as an artist in chocolate cakes and gilded gingerbread.
00:45:23I know you're miserable here. You don't need to tell me.
00:45:26I know I don't make up to you for your music.
00:45:28I never said that.
00:45:29No, but I can see it.
00:45:31Why don't you go back to it, then? Back to her.
00:45:34You say she can help you?
00:45:47He'll never make a baker.
00:45:49He hasn't his heart in it.
00:45:52If he goes to that fate with her.
00:45:54Fate? What fate?
00:45:57Of course. That reminds me.
00:46:00We've been asked to take over the catering for the big festivals in Stephens.
00:46:06It's a big order.
00:46:31Another cup?
00:46:33I thought you had no further interest in our young composer.
00:46:37I must confess I was amazed. But you can't let genius waste in a confectioner's shop.
00:46:41Ah. Or his embraces wasted on a confectioner's daughter.
00:46:45Drexler?
00:46:47Insufferable.
00:46:48He, he, he, he.
00:46:49Ha, ha, ha, ha.
00:46:53Oh, you do take sugar, don't you?
00:46:54One thing.
00:46:55Good.
00:46:56I am an old man.
00:46:57Let me enjoy my senile pleasantries.
00:47:00Just because I'd like to help a young musician, you needn't think...
00:47:04No, no, no, no, no, no, no.
00:47:05Of course not.
00:47:07Besides, if I did think so, I should keep it to myself.
00:47:10It'd be no help to the young musician to be shot by a jealous Prince Gustave.
00:47:16You've given me an idea.
00:47:19The Prince shall help us with our scheme.
00:47:22My word you're daring.
00:47:25He's taken a violent dislike to old Strauss.
00:47:28He'd love to join in a joke against him.
00:47:34Gustave.
00:47:37Pistols at 25 paces.
00:47:40Gustave!
00:47:46Oh, then I did not kill him.
00:47:50That is about the 50th duel I have fought in defense of your honor.
00:47:55Gustave, come here.
00:47:57I want to tell you something.
00:48:14Hello, Johann.
00:48:16Ah, good evening.
00:48:24Bad evening for the fete.
00:48:25Oh, it's only a heat storm.
00:48:27It'll clear up.
00:48:29Always the optimist.
00:48:32Listen.
00:48:36I've come here to drive you to Prince Gustave.
00:48:38I've no time to go to Prince's.
00:48:40I've got to go to the fete.
00:48:42Oh, nonsense.
00:48:45You've got plenty of time.
00:48:47I don't think so.
00:48:50Why, it's only half past seven.
00:48:53Is it?
00:48:54Yes, well, anyway, I don't want to go to the Prince's.
00:48:57I've got to play my new march tonight for the first time.
00:49:00All the critics will be there.
00:49:03The Prince was very emphatic.
00:49:05Really?
00:49:06He says he wants to talk to you about an order that the Emperor was thinking of bestowing on you.
00:49:12Really?
00:49:13Are they?
00:49:18A Franz Josef, do you suppose?
00:49:20Oh, hardly.
00:49:21Either the Order of Leopold or the Order of the Eagle.
00:49:25Well, at least it should be a Maria Theresa.
00:49:29Tell him that's what you want.
00:49:31The Prince has great influence at Schoenbrunn.
00:49:33Has he?
00:49:36Very well.
00:49:37I'll come.
00:49:39We've got forty minutes to spare.
00:49:46Will you come this way up, Mr. Strauss?
00:49:48His Excellency wishes to speak to you privately.
00:49:53That would be a message from the Emperor.
00:49:57Supposing I run over to the Fates
00:49:58and tell them that you'll be there very shortly?
00:50:00No, no, no, it isn't necessary.
00:50:03Plenty of time.
00:50:25Good work, Drexler.
00:50:29Come along.
00:50:30Go on.
00:50:37Go on.
00:50:44Go on.
00:50:46My dad sees my favourite to.
00:50:50My emphasizing is not gonna bear the last time to be there.
00:50:51No listen to me.
00:50:52It sounds crazy.
00:50:55Hay!
00:51:27Please, sir, are you Mr. Strauss?
00:51:30No, Mr. Strauss isn't here yet.
00:51:32Can I wait? I want him to sign my autograph book.
00:51:34All right, but he won't be here for half an hour.
00:51:39What a business we're doing.
00:51:42Ten barrels of beer gone already.
00:51:44Tonight will go down in the history of music.
00:51:49Who are you looking for?
00:51:50Tell me, Leopold. Did you see Sean here amongst the table?
00:51:53No, and I don't want to.
00:51:54Oh, don't be so miserable.
00:51:55I can't help it. That's the way I feel.
00:51:58If you hear a noise like somebody crying, it's me laughing.
00:52:01Oh, don't be so silly.
00:52:02You'll find a girl somebody twice as attractive as I am.
00:52:05That's what I'm worrying about.
00:52:06If you won't have me, what chance have I got with her?
00:52:31I'd better go look to Sean.
00:52:32Good evening.
00:52:34Good evening, dear mayor.
00:52:35Good evening.
00:52:36Good evening, Countess.
00:52:37Have you brought the maestro with you?
00:52:39He'll be here very soon.
00:52:40Good. I was getting a little anxious.
00:52:42He often plays in my garden, but he's never been there yet.
00:52:51Ladies and gentlemen, I have the honor to present to you the great Johann Strauss.
00:52:58Good evening.
00:53:00Good evening.
00:53:02Good evening.
00:53:05Good evening.
00:53:08Oh, Herr Strauss, won't you please play the Lorelei Wars for us?
00:53:12I'm sorry. I'm afraid I can't just now.
00:53:14You see, I haven't much time.
00:53:16She has great influence with the emperor.
00:53:20Oh, well, perhaps I can, Freulein.
00:53:59Never mind about that. Get on with the work.
00:54:16I can manage, thank you.
00:54:17I've come to help you.
00:54:19You'd better go back to the lady. You were escorting.
00:54:20I'm not escorting any lady.
00:54:22But I just saw her.
00:54:24She didn't come with me.
00:54:26I suppose you dressed yourself up like that, too, help with a refreshment.
00:54:29No, I didn't.
00:54:30I thought I'd come as a guest, as the Countess asked me to.
00:54:33But after I saw you, I thought I'd changed my mind.
00:54:36I don't believe you.
00:54:39Here, Carl, come here.
00:54:45There.
00:54:46There, is that better?
00:54:49Oh, Shawnee, I've been in trouble, please.
00:54:51No, we aren't going to fight it anymore, are we?
00:54:53None of you promised to keep away from that Countess.
00:54:55I promise.
00:54:57Oh, Shawnee, I do love you so much.
00:55:00Oh, darling, what are you laughing at?
00:55:03You always say that after you've had a quarrel.
00:55:05Oh, I can't help it, please.
00:55:06Oh, sorry.
00:55:11What's this?
00:55:12Are you serving the customers or him with the refreshments?
00:55:15Now, look here, young man.
00:55:17Are you here for the concert or for work?
00:55:19You've got to make up your mind once and for all.
00:55:22Either you're a musician or a confectioner.
00:55:24He's made up his mind long ago.
00:55:26He's chosen confectionery and me.
00:55:31Now, get to work.
00:55:33See what those customers want over there.
00:55:34Where?
00:55:35Over there.
00:55:41I never saw the master so late before.
00:55:44And I've been with him over 20 years.
00:55:46This blue Danny with young Strauss' is, is it, to be the first number?
00:55:49It's arranged that way on the music stand.
00:55:50There's another funny thing.
00:55:51The master playing that, after all he said about it.
00:55:55Where's Strauss?
00:55:56I didn't come here to drink all the evening.
00:56:05If Strauss doesn't come soon, I suggest we go and demand our money bet.
00:56:09I didn't come here.
00:56:19Sharni!
00:56:31Good evening.
00:56:33Sharni, stay here a moment, please.
00:56:35Oh, but I can't, thank you. I'm helping to serve here.
00:56:37Put down that tray and listen to us.
00:56:42This is the moment of your life.
00:56:47You're to go at once and conduct your Blue Daniel.
00:56:51What, my father's consented?
00:56:54Yes. He's giving you this chance.
00:56:57The orchestra, they don't know it.
00:56:58Yes, they do. I rehearsed them in it myself.
00:57:01You rehearsed them?
00:57:03But I thought you said my father arranged this.
00:57:05Yes, but after what he said about your voice in front of his orchestra.
00:57:09His pride wouldn't allow him to rehearse it himself.
00:57:16You know what to say?
00:57:17This isn't the time to say anything.
00:57:19This is the time to act.
00:57:21Listen to that.
00:57:25Mr. Drexler, where's Strauss?
00:57:27You're his manager, you should know.
00:57:28Here is Mr. Strauss.
00:57:31Is this a joke?
00:57:32This is Johann Strauss, Junior.
00:57:34He will conduct his own work.
00:57:36I suggest that you go on the bandstand and announce it.
00:57:40Wait a minute.
00:57:41I can't.
00:57:42Yes, he will.
00:57:44You can't.
00:57:45I must speak to Reza first.
00:57:47He hasn't time to speak to anyone.
00:57:48You must play before your father gets here or not at all.
00:57:51Go on, Charlie. This is your great chance.
00:57:53He wants Trump!
00:57:54He wants Trump!
00:57:58He wants Trump!
00:58:00He wants Trump!
00:58:01He wants Trump!
00:58:02He wants Trump!
00:58:04He wants Trump!
00:58:07He wants Trump!
00:58:10He wants Trump!
00:58:25Miss Rizzi, don't go after him now.
00:58:30From the very beginning, you made up your mind to take him away from me.
00:58:34Yes, I would like to take him away from you.
00:58:37But not in the way you mean.
00:58:39If he listens to you now, he'll never amount to anything.
00:58:44You've told him that?
00:58:46Yes, frankly, I have.
00:58:49And I think that after tonight, he'll have the sense to realize that it's true.
00:58:55Don't worry.
00:58:57After tonight, I've finished with him.
00:59:00You can have him.
00:59:01His music, his love, everything.
00:59:37ORGAN PLAYS
01:00:04ORGAN PLAYS
01:00:33ORGAN PLAYS
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01:01:21ORGAN PLAYS
01:04:26Why do you speak to me like that?
01:04:28Because tonight I've learned what I should have learned all along.
01:04:31That your way and mine can never be the same.
01:04:33How can you say that to me now?
01:04:35At this moment.
01:04:35Because I mean it.
01:04:37Go back to her.
01:04:38She can help you.
01:04:40She can make you a great man.
01:04:48Who planned this with you?
01:04:50Drexler?
01:04:51They told me it was arranged with your permission.
01:04:53I don't believe it.
01:04:54This is the work of your fashionable mistress.
01:05:03I'm extremely sorry if I've offended you.
01:05:06Mr. Strauss.
01:05:07They want you to play the waltz again.
01:05:09Well, something else then you must have other things.
01:05:11Do you realize what you're saying?
01:05:13Do you realize what you're saying?
01:05:13That is still my orchestra.
01:05:15Listen to the people calling for me.
01:05:17I beg your pardon, Mr. Strauss.
01:05:18They're not calling for you.
01:05:20But to your son.
01:05:24You're a late duty.
01:05:26You're a late duty.
01:05:29Yes.
01:05:30I was an eight.
01:05:33I'm behindhand.
01:05:35The youth is still four.
01:05:39The late Strauss.
01:05:42And his illustrious son.
01:05:45Tweet of them then.
01:05:46Fickle, brainless idiots.
01:05:48I won't.
01:05:49Oh, don't talk like that.
01:05:51I...
01:05:51I didn't mean to hurt you, hurt me.
01:05:54Do you think I'm made of stuff as something?
01:06:12Where's Raysy?
01:06:15Gone.
01:06:16Gone?
01:06:17Gone where?
01:06:19Home.
01:06:25Well, Raysy hasn't gone home.
01:06:28She's out helping her father collect the dishes.
01:06:30Well, I know that.
01:06:32Johnny.
01:06:34This is my father's.
01:06:35They're coming to Meyer's office.
01:06:36The Countess is waiting for you.
01:06:37No, I'm going home.
01:06:38My dear boy.
01:06:39After all, it's through her that you've had this great success.
01:06:41Yes, through her trick.
01:06:42I still realized it was a lie when she told me my father arranged it.
01:06:45Oh, you needn't worry about your father.
01:06:46I just told him that you had nothing to do with the idea.
01:06:48He won't believe you.
01:06:49Come on, Charlie.
01:06:49Let's celebrate.
01:06:50I will start it.
01:06:51Some other time.
01:06:52You must come.
01:06:53No, I can't really, thanks.
01:06:54Oh, he's going home to his sweetheart.
01:06:57Well, she must be a wonderful girl if she inspired him to write that waltz.
01:06:59Well, I'm a wonderful girl and what have you ever done?
01:07:02Where did he live, Drexler?
01:07:03Sharnie?
01:07:04Somewhere in the shoelgasser, I think.
01:07:06I'm not sure.
01:07:13You're not going there tonight?
01:07:16Yes, I am.
01:07:30Here.
01:07:32Listen.
01:07:33Do you know where Mr. Strauss lives?
01:07:35The sun, I mean.
01:07:41Yes.
01:07:45In the little alley by the church at the top of the shoelgass.
01:07:49The one with the green blinds.
01:07:58Well, she's gone to join him.
01:07:59What are you talking about?
01:08:01Sharnie and the Countess.
01:08:02Do you think it makes any difference to me?
01:08:05I'm afraid we are too late for the amusements.
01:08:11Good evening, excellency.
01:08:12Ah, the mayor, what has happened?
01:08:14Did you hear the blue danube?
01:08:15Hear it, excellency?
01:08:16The greatest triumph I've seen in my lifetime.
01:08:19There, what did I tell you?
01:08:20A masterpiece, I said it was.
01:08:22A masterpiece, I said it was.
01:08:22And the words?
01:08:23I helped to write them.
01:08:25A danube so blue, so blue, so blue.
01:08:29Ah, Herr Strauss, congratulations on your clever son.
01:08:33And congratulations to your excellency on your clever, on the clever Countess von Starr.
01:08:38Ah, the verses you mean?
01:08:40Ah, you were wrong when you sent them back to me.
01:08:42I was not thinking of the verses, your excellency, nor of the way she made a fool of me tonight.
01:08:47Her masterpiece is the way she's made a fool of you.
01:08:52How dare you?
01:08:53Please.
01:08:54What do you mean?
01:08:55Why do you think she wanted to help my son?
01:08:58Because of her interest in art.
01:09:00And she's gone to see him now, so that they can talk art?
01:09:04Gone?
01:09:05I don't believe you.
01:09:06She's here.
01:09:07She promised to wait for me.
01:09:09Good night, excellency.
01:09:13Where is she?
01:09:14Where is the Countess?
01:09:15Where is she?
01:09:15She was here just now.
01:09:16I did not ask you where she was just now.
01:09:18I think she's gone.
01:09:19Gone?
01:09:20Is she?
01:09:20But where?
01:09:21She promised to wait for me.
01:09:22Oh, I don't know, excellency.
01:09:24I saw her speaking to Eberseda's boy, and then she passed me and said good night.
01:09:28Which boy?
01:09:29Are you suggesting that Eberseda's boy means anything to her?
01:09:31Of course not, excellency.
01:09:33She was asking him some questions.
01:09:35Which boy is it?
01:09:36Where is he?
01:09:37The boy at the refreshment bar.
01:09:39The one with the white cat.
01:09:40Here, hold this.
01:09:46Where is the Countess von Starr?
01:09:47No.
01:09:48Would you really like to?
01:09:50No.
01:09:51Don't you grin at me, you little ape.
01:09:53I assure you, excellency.
01:09:55It isn't a grin.
01:09:56Merely a smile of politeness.
01:09:58Do you know where the Countess is?
01:10:00It's...
01:10:00She's gone to the apartment of young Strauss.
01:10:02Liar!
01:10:03It's the truth.
01:10:04She asked me for the address.
01:10:07What is the address?
01:10:09You mustn't tell him.
01:10:11What is it?
01:10:13Something else.
01:10:14I've forgotten the number.
01:10:15I've forgotten the name.
01:10:16It's the top of the Schulgass.
01:10:23Why did you tell him?
01:10:24I'll never forgive you.
01:10:26Never.
01:10:27Something, Ali.
01:10:28I don't know the number.
01:10:30Quick!
01:10:31The Schulgass, you fool!
01:10:32The Schulgass!
01:10:33The Schulgass!
01:10:34The Schulgass!
01:10:36The Schulgass!
01:10:37The Schulgass!
01:10:37The Schulgass!
01:10:58Charlie.
01:10:59I had to come here.
01:11:01To tell you how sorry I am.
01:11:04Sorry?
01:11:04Yes.
01:11:06I meant to help you.
01:11:08But instead I really hurt you.
01:11:10Haven't I?
01:11:12Will you forgive me?
01:11:14Oh, you...
01:11:14You mustn't talk back at it.
01:11:16He was very ungrateful of me to go away.
01:11:17I'll thank you for what you've done.
01:11:19No.
01:11:19I shouldn't have interfered.
01:11:21You were quite happy working in your bakehouse.
01:11:24No, I wasn't. I wasn't really happy.
01:11:25Then love wasn't enough?
01:11:27I don't know, but...
01:11:28But it's difficult when you love music as much as I do.
01:11:31Anyway, it's all over now, so we needn't talk about it anymore.
01:11:33No.
01:11:34You mean everything's finished between you and that little girl?
01:11:39Yes.
01:11:43But Sharni, you can't live without love.
01:11:47Can't you?
01:11:48I'm afraid I don't know much about it.
01:11:51You're so young and unspoilt.
01:11:53It's a pity you won't always remain like that.
01:11:55What do you mean?
01:11:57Even now you don't realise what a success you've made.
01:12:00When you wake in the morning, you'll find yourself famous.
01:12:04Not famous?
01:12:06Yes.
01:12:08And that's really why I've come here tonight.
01:12:12You'll never be the same Sharni again.
01:12:15Why do you speak to me like that?
01:12:17I shan't be any different.
01:12:19You're very young.
01:12:22You'll have the world at your feet.
01:12:24Well, even if it's true, I...
01:12:25I shan't forget that it's you, Ira, too.
01:12:27I don't know.
01:12:39I just don't know.
01:12:42I'll come here.
01:12:44I'll come here.
01:12:44Here, hold it.
01:12:47Who is it?
01:12:48Can you see anybody?
01:12:49I don't know.
01:12:49I don't know.
01:12:50It's a carriage.
01:12:52It's a carriage.
01:12:55Hello, sir.
01:12:57How are you?
01:12:57There's a carriage.
01:13:07Where is she she who what are you talking about look here if you want to fight I
01:13:15don't know what it's all about but send me off send me a second second yes it
01:13:23be swords pistols anything you like anything I like
01:13:34it is her scarf because it's scarred
01:14:10I bet Strauss is a happy man tonight
01:14:39I beg your pardon
01:14:48why Gustav you've got here ahead of us
01:14:52Helga I hope you've offered Mr. Strauss the hearty congratulations he deserves
01:15:00why of course
01:15:06you all right
01:15:12I'm so glad
01:15:17all that has happened tonight
01:15:20meant nothing to me because
01:15:22because I thought I'd lost you
01:15:39please Mr. Strauss may I have your autograph
01:15:56just a minute
01:15:57just a minute
01:16:27I'll see you next time
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