- ♪ (choir sings) Do you know what it means to miss New Orleans ♪ And miss it each night and day ♪ (dramatic jazz music plays) ♪ (ragtime music plays) ♪ Do you know what it means to miss New Orleans ♪ And miss it each night and day ♪ (dramatic jazz music plays) ♪ (jazz trumpet plays) ♪ (soft jazz music plays) (cat meows) ♪ (soft jazz music plays) (cat meows) (door opens) ♪ (jazz music plays) (door closes) ♪ (jazz music plays) - [man] Cut.

- Say, what was that Satchmo?

- Name Your Poison.

- Man, that's blue for sure.

- [drummer] That's right, Name Your Poison Blues.

- How about some Coal Car Blues, Satchmo?

- Mr. Nick, I feel too good for Coal Car Blues tonight, that is, if you don't mind.

What'll it be boys?

- [men] Name Your Poison Blues!

- Boss, you better come inside.

- Trouble?

- There's a lady back there hooked for 10,000.

- Hmm, what's wrong with that?

Alone?

- She's with Colonel McArdle.

- What's the Colonel promoting now?

- Still trying to peddle that swampland he calls Bayou Acres.

- Still trying, huh?

♪ (trumpet plays) I like that, boys.

♪ (trumpet plays) ♪ (jazz music plays) ♪ (soft music plays) - [man] I'm sorry Colonel, it's way past our closing time.

We have strict orders from Mr. Duquesne-- - Sir, Mr. Duquesne and I know each other intimately.

My dear friend, Mrs. Smith, is out $10,000-- - Is that all?

- Nick!

Mrs. Smith, may I present Nick Duquesne, better known as the Prince of Basin Street.

- How do you do?

- It's a great pleasure, Mrs. Smith.

How are you, Major?

- Colonel, sir!

- You just demoted me.

- Unintentionally... Mr. Duquesne is the King of Basin Street.

- Thank you, Colonel.

- Mrs. Smith has honored us by choosing New Orleans as her permanent home.

- I extend my personal welcome to you, Mrs. Smith.

What unfortunate city mourns its loss?

- Well, how charming of you, Mr. Duquesne!

I come from Baltimore.

- Nick, Mrs. Smith has just dropped $10,000, and this impetuous youth insists on closing up without giving her an opportunity to recoup.

- I'd be very glad to carry your account.

I have many people from your side of town in my books.

- Nick, Mrs. Smith happens to own the Rutledge Steamship Lines.

She could buy and sell you.

- [Nick] Really?

- But I have no such ambition, Mr. Duquesne.

(speaks to manager in foreign language) - I respect a gracious loser, Mrs. Smith.

I'll play you one hand for your 10,000, win or lose.

- That's easy...when you're dealing.

- You're dealing, Colonel.

- Oh, I trust you, Mr. Duquesne.

- This is quite a responsibility.

- Not if you deal them from the top.

♪ (soft music plays) Hit me.

♪ (soft music plays) Too much.

- Well, I only had 15.

Oh, I feel terribly embarrassed.

- A gambler should never gamble.

- Gabriel's Horn, it's after six o'clock!

- Six o'clock?!

- The Dixie Belle's due in at eight.

- Oh good gracious, I'll hardly have time to change.

(ship horn blows) ♪ (band plays) ♪ (band plays) (ship horn blows) ♪ (band plays) ♪ (band plays) (applause) ♪ (band plays) ♪ (band plays) - Why, that's "Maryland, My Maryland" they're playing!

- (scoffs) In Maryland, there'd be a price on their heads.

- Good morning, Mr. Duquesne.

- Good morning, Yvette.

- Well, this is unlike your mother!

I can't believe she's left us to the mercy of strangers.

- The cornet in that wagon... Did you ever hear anything like it?

- I'm happy to say NEVER.

Come.

- Oh dear, I was afraid we'd be late!

Well there she is...Miralee!

- [Miralee] Mother!

Oh, I'm sorry... ♪ (band plays) - [Mrs. Smith] Darling!

Oh, I missed you!

- Oh I missed you too!

Let me see what you look like.

- Oh, terrible, I'm sure.

I've been so excited about you getting in, and I haven't slept a wink all night.

- May I help you with your bags?

My car is waiting.

- [man] Boy, what a haul!

- Yeah, not bad.

The guy just couldn't seem to get the hang of my cards, eh?

Mmm...thanks, stranger.

Hello, Nick... - Hello, Biff.

Taking a little boat trip for your health?

- Eh, Memphis got a little dull for me.

- Really?

I hear it got a little hot for you.

- I'm thinking of taking over the old Crystal House on Basin Street.

- I wouldn't like that.

- Eh, you don't own Basin Street, Nick.

- That's right, Biff.

I just run it.

- I'm gonna see the commissioner.

I wrote him a letter.

- You misspelled it.

Two S's in commissioner.

- That's the way it is, huh?

- Bon voyage, Biff.

♪ (soft whimsical orchestral music) (car clanks) (woman grunts) - Something must've gone wrong.

- Do you think it's serious, Colonel?

- Oh, these modern contrivances!

(car door opens) ♪ (soft whimsical orchestral music) [Colonel] Pardon me, ladies.

♪ (soft orchestral music) - I've often wondered what's under the hood.

Why Colonel, your nose is shiny...something wrong?

- Maybe you can help me get this thing started so I can get the ladies home.

- Good morning, Mrs. Smith.

- Good morning.

- [Nick] May I drive you home, Mrs. Smith?

- I'd love to ride in it, Mother!

- Oh, but I'm sure there isn't room.

- Oh don't worry, Mrs. Smith.

It has elastic sides.

(hood thuds) - Colonel, are you sure this won't run?

Oh Mr. Duquesne, this is my daughter.

- How do you do?

- How do you do--?

- And her chaperone, Miss Ulaila Carter.

Come dear.

- How do you do?

- Oh, forgive me... ♪ (soft orchestral music) - Isn't it exciting, Mother?

This is very generous of you, Mr.... - Duquesne.

Nick Duquesne.

- Could I have heard that name before--?

- Miralee, eh, is Miss Haskell still teaching counterpoint?

- Duquesne...the King of Basin Street Duquesne?

- At your service.

- Why, you're....not a bit like I imagined you!

Mother, where did you meet Mr. Duquesne?

- Why, I uh...

Colonel McArdle-- - Thanks to Colonel McArdle, I was in the fortunate position of being able to help your mother.

- Oh, really?

- In a business transaction.

(Ms. Carter groans) Thank you Mr. Duquesne... for everything.

- It was my pleasure.

- [Miralee] And now I know the King of Basin Street.

May I visit you?

- Miralee--!

- Young ladies of quality don't visit Basin Street!

- Perhaps the Colonel will bring you along on one of his slumming parties.

- Sounds much too patronizing.

Perhaps Mother will bring me along the next time she has a business transaction with you.

- Come Miralee.

- Goodbye Mr. Duquesne.

- Goodbye.

- Goodbye Colonel.

- Goodbye.

- Goodbye Colonel.

- Mother, the house is charming!

It's everything you wrote it was.

- Do you like it, darling?

Come on, let's see the rest of it, shall we?

Oh, I had such a time getting everything ready for you.

♪ (faint singing heard) - What is that, Mother?

- That's Endie, your maid, and I've asked her not to sing those songs in this house.

- [Miralee] But she sings like an angel!

- [Mrs. Smith] Well, there's moe devil than angel in that music!

- ♪ (singing) Do you know what it means to miss New Orleans ♪ When that's where you left your heart-- - Endie!

Didn't I tell you not to let me catch you at that piano again?

- I'm sorry, ma'am...if I'd have heard you coming, I wouldn't have let you catch me.

- Oh Endie, you're incorrigible.

This is Miss Miralee.

- Hello, Endie.

- Welcome to New Orleans, Miss Miralee.

- Oh, thank you.

- Oh let me fix you a good hot tub, and it will melt away all your tiredness.

- Wonderful.

- I'll send you up some nice, hot tea, darling.

Welcome home!

Come on, Miss Ulaila.

- Endie?

- [Endie] Yes ma'am?

- That music you were playing...what was it?

- I just can't seem to remember not to play it, Miss Miralee.

It was kind of a little old blues tune.

- Blues?

Do you play the blues only when you're blue?

- No ma'am, they just call it blues.

We play it when we're blue, or when we're happy... even when we're in love.

Right now, I'm in the latter.

- [Miralee] Are you really, Endie?

- Yes, ma'am.

There's no one in the world like my Satchmo.

- Satchmo?

- That's short for Satchamal.

His real name is Louis, but I like Satchmo best.

- How does the end of that song go?

- Miss Miralee, are you trying to put ideas into my head?

- Please do...but softly.

- ♪ (singing) And there's something more ♪ I miss the one I care for ♪ More than I miss New Orleans (singing in foreign language) ♪ (piano plays classical music) (applause) - You have a very lovely voice, Miss Smith.

- Thank you, Miss Voiselle.

- Let me be the first to congratulate you, the mother of this exquisite songbird!

- Oh, thank you Colonel.

- My child, this city will forever mark this day!

I lay New Orleans at your feet.

Moreover, in the days to come-- - Colonel!

- Oh...yes, of course...Mr. Voiselle.

- If I may be permitted to speak on behalf of the New Orleans Music Association, I propose to sponsor this young lady's musical debut.

- How wonderful!

- Didn't I tell you, Mrs. Smith?

- And, I further propose that we try to secure, as her conductor, our eminent leader, Mr. Henri Ferber.

- It'll be a pleasure to conduct for such a talented, young singer.

- Oh, thank you Mr. Ferber!

- [Ferber] When do you suggest we have the concert?

- Oh, I shall need to time to find a good dressmaker.

- I don't suppose we could wait for the new opera house?

- No!

I think the concert should be given at the beginning of the season, early in November.

Now then, it... (Miralee plays piano) (Miralee plays piano) - Miralee!

- [Miralee] I'm sorry, Mother.

(plays a few more notes) - [Mr. Voiselle] Well, we must be going.

Again, let me congratulate you.

- Thank you so much.

- [Colonel] You don't feel you should wait for the new opera house, Mr. Voiselle?

- Mr. dear, I think that Mr. Ferber will be a great help to you.

- [Miralee] Oh, I'm sure he will.

Goodbye.

- Goodbye.

Come daughter.

- It's been a very interesting afternoon.

- I know we'll get along famously now.

- Well, thank you for everything, Mr. Ferber.

- Goodbye.

- Goodbye.

♪ (cornet plays) ♪ (cornet plays) ♪ (cornet & piano play) - Stop it, stop it!

That note isn't even in the diatonic scale!

- Diatonic?

Did I do something wrong?

- Something extraordinary!

You're playing notes between flat and natural!

It's like discovering secret scales that's made for this type of music.

- Horn, did you hear what the gentleman said?

♪ (cornet & piano play ragtime music) (both chuckle) (Nick applauds) - That was excellent, Mr. Ferber.

- I beg your pardon?

- You are Mr. Ferber, aren't you?

I've seen you conduct at the concerts, but I never thought I'd see you conduct ragtime.

- Frankly, it leaves me a little mixed up.

- He never gets mixed up when he play with us.

- Really?

- No sir.

- I understand you've been here before... sorry I've always missed the opportunity of introducing myself.

I'm Nick Duquesne.

- Oh, how do you do?

- I suppose you think ragtime is all right as long as it's locked up down here.

- Oh, that's the trouble.

You can't lock it up.

It's leaks through everywhere.

It's as though I had caught some virus, except that a virus makes one ill, and this music doesn't make me ill.

It makes me feel very well, but...mixed up.

- I see...so while Dr. Jekyll conducts the classics in the concerts, Mr. Hyde comes down to Basin Street to play ragtime... as if to get away from something.

- Maybe it's to come back to something.

- You're sure you don't feel like going to the recital, darling?

- Very sure, Mother.

- I hope the Beauregard Sisters don't feel offended.

- They'll understand.

Have a nice time, dear.

Goodnight.

- I hope you feel better tomorrow, darling.

Goodnight.

Now Endie, you won't stay out late tonight, will you?

- No Mrs. Smith, and thanks for letting me off early.

- [Mrs. Smith] You're welcome.

Goodnight Endie.

(door closes) - [Miralee] Endie, never mind putting those things away.

- Oh, I've got time.

I don't even have to rush to be an hour early.

- I'm going with you.

- Yes, ma'am... No ma'am!

You can't do that, Ms. Miralee!

- Oh but I can, and you're going to take me.

- It ain't fittin' for a lady to go to Storyville, except if she's on a slumming party.

- All right, hand me my slumming clothes.

♪ (ragtime music plays) (carriage clatters away softly) ♪ (ragtime music plays) - There's my Satchmo, the one with the horn.

♪ (ragtime music plays) [Endie] And there's Mr. Duquesne, the King of Basin Street himself.

- Why, isn't that Mr. Ferber?

- Yesum it is, but it's a secret.

- What do you mean?

- Well Miss Miralee, if I say one more word, it won't be a secret anymore.

♪ (band plays) (crowd applauds) - [man] Hello, Endie!

- Look here, honey...you gonna help us out tonight?

- What do you think I'm here for?

(laughter) What'll it be, boys?

- [all] New Orleans!

- New Orleans!

♪ (jazz music plays) - ♪ (singing) Do you know what it means to miss New Orleans ♪ And miss it each night and day ♪ I know I'm not wrong ♪ The feeling's getting stronger ♪ The longer I stay away ♪ Miss the moss-covered vines ♪ The tall sugar pines ♪ Where mockingbirds used to sing ♪ And I'd like to see the lazy Mississippi ♪ A' hurryin' to Spring ♪ The Mardi Gras, the memories ♪ Of Creole tunes that fill the air ♪ I dream of oleanders in June ♪ And soon I'm wishing that I was there ♪ Do you know what it means to miss New Orleans ♪ When that's where you left your heart ♪ And there's something more ♪ I miss the one I care for ♪ More than I miss New Orleans (applause) - Good evening.

- Well, this is really a surprise!

Eh...Miss, Miss Brown, this is Mr. Jackson.

- Mr. Duquesne's poor memory for names isn't very flattering to either of us, Mr. Ferber.

Please sit down.

- Oh, then you know each other?

- I've met Miss Smith.

- Mr. Ferber has been snared into conducting my concert.

- Oh, I'm looking forward to that with pleasure.

- Don't you think you should warn me, Mr. Ferber?

This is the last place I'd expect to find you.

- Mr. Ferber is slumming too.

- I think I have to be going along now.

- Oh, please don't go!

- I unfortunately have an early rehearsal tomorrow morning.

- Well, whatever faults I may have, carrying tales isn't one of them.

- Thank you.

I think I might say the same thing about myself.

Goodnight.

- I couldn't have done a worse job of covering up, even if I wanted to.

- How wonderful to have found Mr. Ferber here.

Makes my conscious feel so much lighter.

- Why do you say that?

- Well, Mother doesn't exactly approve of this type of music.

She's determined that I'm to sing nothing but the classical.

- Is that bad?

- Well, it is for me.

Poor darling, if she knew how I'm carried away with this, it would shorten her life.

- Where's the rest of your party?

- Uh, are you really a gambler?

- How did you get down here?

- Strange profession, gambling.

You stand in front of a table, and you're respectable.

You stand behind the table, and you're unrespectable.

I don't think you're unrespectable.

- Young lady, you're going home.

You still don't belong here.

- [Miralee] Well aren't you jumping to conclusions?

My maid brought me down here.

- [Nick] I'm talking about a chaperone.

- But there's no point in a chaperone... when I have a perfectly charming escort.

- ♪ [Satchmo] Folks...come gather 'round my stand ♪ And hear Satchmo's happy Dixie band ♪ Now, I know some people call it corny... ♪ But right here is where the blues were born ♪ (band plays) ♪ Hear that music blue ♪ Just the thing that you like to strut to on the floor ♪ Hear the slight trombone and the trumpet moan ♪ As you're coming through the door ♪ I'll guarantee that you'll never see ♪ Like the likes of them again ♪ Mmm stomp your feet to the beat ♪ Of the Dixie Music Men ♪ Yeah everybody move, get right in the groove ♪ There ain't nothing you can lose ♪ Now, right here's the spot where we'll all get hot ♪ With a nasty mess of blues ♪ Here's the place to slap and spank the bass ♪ Hear the music and I mean ♪ This is where the blues was born, in New Orleans ♪ Let me introduce Mr. Charlie Beal ♪ Piano man Kenny Spiel ♪ Only got two hands, but that's aplenty ♪ But when he plays, it sounds like 20 ♪ (piano solo) ♪ And here's Kid Ory on the horn ♪ (trombone solo) ♪ Greatest slide man ever born ♪ Plays trombone smears with laughing notes ♪ No human being ever wrote ♪ (trombone solo) ♪ Everybody knows Zutty Singleton ♪ Can beat them sheepskins like no one ♪ Symbols, bells, and all that stuff ♪ Forgive all the face and treat them rough ♪ (drum solo) ♪ And then here's Barney Bigard and his clarinet ♪ You ain't never heard nothing like him yet ♪ When he cuts loose, I know you're raw ♪ Mr. Bigard, please give me more ♪ (clarinet solo) ♪ Now here's Bud Scott and his old guitar ♪ Always smokin' that big cigar ♪ He's the rhythm man of a great renown ♪ Give a listen while he goes to town ♪ (guitar solo) ♪ Red Callendar, meet him face to face ♪ He's the one that plays that old slap bass ♪ He started out with a violin ♪ And the doggone thing just grew up on him ♪ (bass solo) ♪ And there's me, excuse my crus ♪ Introduce myself I must ♪ I'm Satchmo Armstrong, don't forget ♪ I got to get up out on the ol' cornet ♪ (cornet solo) ♪ (band plays) ♪ Last of all, meet Mr. Nick ♪ Gambling man and he's mighty slick ♪ He's the boss man of this place, and how ♪ Mr. Nick, please stand up and take a bow ♪ (band plays) - Why, they almost make their instruments talk!

Where does such music come from?

- Well it came from...Miss Smith, you're going home.

- Not until you tell me.

- Well, it comes from work songs, Gold Coast of West Africa, little pristine churches and riverboats.

- You want to make up words to it as you go along.

- [Nick] They made up the music as they went along.

- Mr. Duquesne, why don't we hear more of this kind of music?

- There's a wall around it, Miss Smith.

A big invisible wall you can't climb over.

- But why?

Because it's new?

All the wonderful music I've been singing, so traditional now.

It was new once, too.

Well, it sprang up in so many places, and I've been learning to make it mine... but this...this music's mine already!

Oh Nick, I feel I'm exactly where I want to be, and on my way to where I want to go for the first time in my life.

♪ (band plays) I want to sing that New Orleans song for you-- - You're going home.

- But it's so early!

- I'm sorry.

Get Mr. Lake for me.

- Yes sir.

- You've had enough music for one night.

- Well then, you'll have to take me yourself.

- I have an appointment.

- Do you mind if I wait for Endie?

- Mr. Lake will drive you home.

- [Lake] Yes, boss?

- Tommy, take Miss Smith home.

She'll tell you where she lives.

Use the closed car.

- I understand.

- Am I being bounced?

- Deported.

Goodnight, Miss Smith.

- Goodnight.

♪ (band plays) They really love the music, don't they?

- They sure do.

Satchmo says that playing ragtime is like talking from the heart.

Its doesn't lie.

Shall we go?

- Grace... - Hello, honey.

- How many times have you promised not to come here again?

- I came with some out of town friends of father's.

- You'd better join them.

- They'll never miss me, they're losing.

How about joining me in a drink?

- No thanks.

- Wait a minute, Nick... Do you know who that girl is?

- Do you?

- I love it when you're evasive.

It's very encouraging.

- Just like you, Grace, she doesn't belong here.

- Not like me, Nick.

I do belong here with you.

- I'll take you to your friends.

- Nick... She's beautiful... talented, and very rich.

That's why I must make certain that she doesn't come here anymore.

- I sent her home.

- Remember you sent me home once...but I came back.

♪ (band plays) (telephone rings) - Hello?

- If your daughter knows what's good for her, she'll stay away from Nick Duquesne's place.

♪ (ragtime music heard through phone) (indistinct chatter) - Good evening, Mr. Belshaw.

- [woman] Good evening, Mr. Duquesne!

- [Nick] Well, it's very nice having you here tonight.

- [woman] Thank you.

- [woman] Hello Nicky darling!

How are you?

- [Nick] Good evening.

Buenas noches.

- [dealer] Number 20, the winner!

You've won again, madam.

- I'll cash these, please.

- Oh yes.

♪ (soft music) The cashier's right over there.

- Thank you.

♪ (soft music & indistinct chatter) (roulette ball rattles) ♪ (soft music) ♪ (soft music) (knocking on door) - [Nick] Come in.

(door opens) - Good evening, Mr. Duquesne.

- Oh, Mrs. Smith...please forgive my appearance.

- That's quite all right.

I came to reciprocate a courtesy.

- Won't you please sit down?

- Do you remember the night you gave me an opportunity to win back my losses?

- Oh, that was hardly a courtesy.

You could've just as easily lost.

- Well tonight I played roulette, and I did very much better.

- Good.

- I won $10,000.

- I'm glad to hear that you know when to quit.

- Oh, but I'm not quitting.

I'd like to give you a chance to get even.

- Trying to get even has ruined many a man.

- I'll come directly to the point, Mr. Duquesne.

I'll return this money, if you will promise to discourage my daughter's interest in you.

- Interest in me?

- When I learned she'd been down here last night, she quite frankly admitted it.

Apparently, you were more successful in attracting her than I thought you'd be.

- Well that's quite flattering Mrs. Smith, but I'm sure it's the music here that interests her.

- [Mrs. Smith] One is just as distasteful to me as the other, Mr. Duquesne.

I have plans for Miralee, and they do not include this kind of music, or it's environment.

I shan't require a receipt, just your promise.

I have your promise, haven't I, Mr. Duquesne?

- Mrs. Smith, I've already told your daughter not to come here.

I don't expect to be paid.

- Oh well I, well I-- - You'll find that it buys just as much, if sometimes more, in the proper environment.

Goodnight, Mrs. Smith.

♪ (Satchmo's band plays) - For over a month now, you've deliberately kept me out of here.

[Miralee] Dinner here is a series of climaxes, wonderful food, charming companions, exciting music... Tell me, did you have this specially prepared for us?

- Yes, against my better judgment.

- But, how did you know we were coming?

- I told him.

- But you haven't had a chance.

We left immediately after I'd convinced you I had a right to come here.

- I knew that tonight you would convince me, so I telephoned and announced my surrender just before you came to demand it.

- Men, you're much more complicated than women.

♪ (band plays) Basin Street...what a wonderful street to be king of!

- But there's an ugly and sordid side of Basin Street, too.

- [Miralee] From whose point of view?

- Sometimes even from mine.

Get my hat.

- Yes sir.

- You're going to have a look at it right now.

- Well, let's go.

Aren't you coming with us?

- Well, as long as you dragged me down here, I think I'll stay awhile and listen to the music.

- You might be missing something.

- I'll see that she gets home.

- Oh, oh Mr. Ferber... - [Ferber] Yes?

- Don't forget, I told Mother I was at your studio rehearsing.

I wouldn't like to worry her.

- I'd like that less than anything in this world, or even the next.

♪ (band plays) - ♪ (Satchmo sings) The nasty, the dirty, I'll take it away ♪ I thought I heard Buddy Bolden say ♪ I mean, I heard Buddy Bolden say ♪ (band plays) Enjoy your dinner, Mr. Ferber?

- Enjoy it?

I'm getting spoiled for ordinary food, Satchmo.

- Oh!

Miss Smith left her music.

- [Ferber] Oh, I'll take it with me.

- What kind of music's in there?

- Uptown music.

- Uptown music?

- [Ferber] Want to see it?

- Yeah.

♪ (band plays) Don't these little flags on the fences get in the way of your feelings sometimes?

(Ferber chuckles) Will you show me how this one go, Mr. Ferber?

- [Ferber] Why, certainly.

- Chop it off, boys!

We're going to hear some long-haired music.

- Fine!

(band clamors) (indistinct chatter) ♪ (dramatic piano music) ♪ (soft piano music) - Hey!

The guy who wrote that stomp, stole it from Sugar Brown.

Why, that's Corn Crib Blues!

- That's right!

(band clamors) (indistinct chatter) ♪ (soft piano music) (door closes) - Don't stop, Mr. Ferber.

I come down here too... or didn't you know?

- [Ferber] I didn't expect you down here, Grace.

- Nice of you to pretend, Mr. Ferber.

You've known about me coming here.

Everybody does, but I don't care.

- You better sit down here, Grace.

Let me get you some coffee.

- I don't want any coffee.

Satchmo!

- [Satchmo] Yes ma'am?

- Where's Mr. Duquesne?

- He's out, and he won't be back.

- I'll wait.

Miralee Smith... Did you bring her here?

- [Ferber] Yes Grace, but, after tonight, I don't think she'll ever be back here.

- Stick to your own music, Mr. Ferber!

- Satchmo, play me something loud and mean as possible.

- Look... (commotion) ♪ (ragtime music) ♪ (ragtime music) - Hiya, Nicky darling.

- Hello, Billie!

- [Billie] Inspection tour?

- Sort of.

♪ (ragtime music) - [woman] Come on darling, we're going to take you home.

- I wanna stay here!

- Come on, we'll take you-- - I wanna stay here!

He said he'd come back!

He said he'd come back!

- ♪ (woman sings) Ashes to ashes and dust to dust ♪ If drinking don't getcha, dancing-- (car horn honks) - I almost hit that kid.

Now, I'm going to show you the really choice section of town.

- Nick, take me home now.

(car engine hums) (frogs croak) (parking brake clicks) (frogs croak) - It wasn't a very pretty picture, was it?

- Well, why don't you leave?

- This is home for me.

- Have you ever tried another place?

- No...but if I did, I'm sure I'd come back.

- I could make myself like it there.

- Don't let that music go to your head.

- Oh, it isn't only the music, Nick, and it doesn't go to my head.

- Miralee, do you know why I took you on that little tour?

- You didn't want me to have any illusions about you.

I haven't.

- Think it over carefully, Miralee.

From my point of view.

I'm a reckless, unscrupulous man, older than you, experienced-- - With women, I suppose.

If you, a notorious Don Juan, were to snare an innocent little girl, the whole thing would look sordid.

- Now, wouldn't it?

- But if a rich, young heiress, talented, with the world at her feet, throws her life away on some society chum-- - And it turned out that she was happy, and they lived like other people, only better.

- That ought to be sung to music from La Tosca.

(frogs croak) (birds chirp) - Colonel McArdle, you're very anxious to build this opera house on your land, aren't you?

- More than anything in all the world, Mrs. Smith, as a tribute to the memory of your late husband, of course.

- Well this is my proposition: you see that Mr. Nick Duquesne leaves New Orleans, and I'll sponsor your opera house, or any other of your commercial whims.

Now, I'm not interested in how this is accomplished, just that it's soon, and permanent.

- Mrs. Smith, Mr. Duquesne is practically on the Dixie Belle.

- This morning's Times-Picayune, Constance Vigil's column.

Just listen to this: "Storyville is under scrutiny again.

It is charged that a certain gambling emporium is encouraging the patronage of unchaperoned debutants.

Is the attraction to the ladies the atmosphere of the district, or a certain colorful character with a self- imposed royal title?"

- Colonel McArdle is here now.

- Send him in.

- [secretary] The Commissioner will see you.

- Good morning, Andrew!

- Colonel.

Mr. Kreger, Public Welfare Department.

- We know one another.

- Mr. Falbauker.

- Good morning, Colonel.

- How do you do, gentlemen?

You sent for me?

- Yes, Colonel.

Do I recognize your fine hand in Miss Vigil's column this morning?

- I might as well be frank, Commissioner.

The time has come when something must be done about Storyville.

It is no secret that respectable young ladies have been regular habituates of that section, and it is only the interest of our city's reputation that has prevented us from bringing the issue out into the open.

- So?

- Like you, Andrew, I had no objection to the activities down there, as long as they did not contaminate the youth of our city.

- Colonel, what would you suggest?

- I would suggest that the district be condemned.

Let that element be driven out, so that we may again raise our heads with civic pride.

- Colonel McArdle, isn't it Nick Duquesne you're after?

- You're a man of acute perspicacity.

- Get out!

- I resent your attitude, Andrew Dow!

You, sir, are a servant of the public!

- And I would suggest you employ some other means by which to fleece Mrs. Smith, Colonel.

Politics were never in your line.

- Nor in yours!

♪ (music plays) - This is Basin Street, the center of the district.

38 blocks of corruption, pollution, and degeneracy.

♪ (music plays) (car horns honk) ♪ (music plays) (car doors close) ♪ (music plays) (car door closes) ♪ (music plays) Look, Captain... - And my old man doesn't want me to be a sailor (laughs).

♪ (Satchmo's band plays) ♪ (band plays soft music) - How's the newspaper business, Miss Vigil?

- Fine.

I'm surprised you recognize me.

- I make it business to know everyone who comes here.

- Well, aren't you going to eject me from your-- - Quagmire of corruption?

- You have me at a disadvantage.

- [Nick] Not at all.

A good host always makes his guests feel at home.

Excuse me.

♪ (band plays soft music) ♪ (soft music faintly heard) Grace!

- Hello, Nicky honey!

- You've got to get out of here now!

Bring my car around.

- Yes sir.

- Aww, Nicky, you've been reading the newspapers-- - There's no time to discuss it.

- You're right, it's boring.

Let's talk about you and me.

- Listen Grace, that woman who calls herself Constance Vigil is in the casino.

She'd give anything to see you here with me.

- I want her to.

I want everybody to see me--!

- Come on.

- I'm not going!

- Yes you are!

- No, I'm not!

Nicky, let go of me!

I want to stay here with you!

I came to see you, now let go!

[Grace] I'm not going to go!

I'm going to stay here!

Nicky, let go of me!

I'm not going!

I'm not going!

Nicky, please, I want to stay!

Nicky, you're hurting me, please!

I want to stay here!

I don't want to go!

- Do you need any help, Miss Voiselle?

- Make him let go of me!

- Was he trying to prevent your leaving?

- No, my staying.

He's trying to protect my reputation.

He doesn't want people to know that I like him coming here, that I like him.

I want everybody to know it, and I don't care what they think, because I don't like 'em or YOU!

And you can print that wherever you like!

- Come on, Grace.

- Goodnight, Nicky honey.

See you tomorrow.

(car horn honks) (car horn honks) You ruffle my feathers, you ruffian, but I like it.

(car horn honks) (tires squeal) (Grace screams) - Grace!

(commotion) (commotion) ♪ (music plays) - [paper boy] Paper, read all about it!

Society girl killed in auto crash, paper!

- Gambling King questioned in accident.

- Society girl killed in auto crash, read all about it!

- [paper boy] Nick Duquesne called before grand jury!

Extra, extra!

- Read all about it in the Item!

- [paper boy] Nick Duquesne cleared in auto death!

- Nick Duquesne cleared in auto death!

- [paper boy] Extra, extra!

Citizens Committee demands investigation of Basin Street.

Get your paper!

- Naval authorities take action on Basin Street!

Basin Street doomed!

Get your paper!

(birds chirping) - Forgive my intrusion, Nick.

(door closes) Satchmo told me you were up here.

(birds chirping) Is there anything I can do?

I know this must be a great blow to your pocketbook.

I've saved some-- - Thanks, Henri.

- Nick, there's something you can do for someone.

- I'm leaving New Orleans.

Does that make it easier?

- Not exactly.

You see, Miralee has made up her mind she's going with you.

- After what's happened?

- She's in love with you, Nick.

[Ferber] There's something I'd like you to consider.

Miralee has threatened to call off her concert.

Now, I don't think that's too important, but she says she'll never sing again.

[Ferber] Someday, she'll want that career, but then it will be too late.

People have their own destiny, Nick.

Sometimes they throw it away too easily.

Your two careers don't go together, unless you intend having her support you.

Think it over.

- Wait a minute...

I want you to give Miralee a message from me.

- What is it, Nick?

- Tell her I'll be at the concert tonight.

- In spite of what I've just told you?

- Yes.

(birds chirping) - Friends...Mr. Duquesne wanted us to fill up real good before we started away.

- [man] He's a good man.

- You know, most of us here were born in old Storyville.

(group clamors in agreement) - It's time to make some changes.

(group clamors softly) And the law clamps down.

(group murmurs) Out go the good jobs, and the good times... (group murmurs) and music in the nighttime.

(group murmurs in agreement) - Now how about one more tune before we leave?

(applause) ♪ (piano plays) - Make up some words to it.

- Yeah, come on Endie.

- [woman] Something about goodbye to Storyville.

- You get the idea, gal.

Shout some words to them.

- [man] Loud and long!

(applause) You can do it, Endie, and make it a good one.

- [man] That's right Endie, sing it.

♪ (band plays softly) - ♪ (singing) All you old time queens from New Orleans ♪ Who live in Storyville - That's us!

- ♪ You sang the blues ♪ Tried to amuse ♪ Here's how they pay the bills - Yeah, that's how it's done.

- Yeah!

That's right!

- ♪ The law stepped in ♪ And called it sin to have a little fun ♪ The police car has made a stop ♪ And Storyville is done ♪ (band plays) ♪ Pick out your steamboat ♪ Pick yourself a train - ♪ (singing together) A slow, old train - ♪ (Endie sings) Pick out your steamboat ♪ Pick yourself a train ♪ (band plays) - ♪ (singing together) A slow, old train - ♪ They made you close up ♪ They'll never let you back - ♪ (singing together) Won't let you back - ♪ (Endie sings) Go buy your ticket ♪ Or else you'll walk the tracks (sound of footsteps) ♪ [Endie] No use complaining ♪ Blue skies follow rain (footsteps) - ♪ (singing together) The cold, old rain - ♪ [Endie] No use complaining ♪ Blue skies follow rain - ♪ (singing together) The cold, old rain (whistle blows) - ♪ [Endie] Just say farewell now ♪ And get your one last thrill (whistle blows) - ♪ (singing together) Your one last thrill - ♪ [Endie] Just say farewell now ♪ Farewell to Storyville ♪ (band plays) - ♪ (singing together) No use complaining ♪ Blue skies follow rain ♪ The cold, old rain ♪ No use complaining ♪ Blue skies follow rain ♪ The cold, old rain ♪ Just say farewell now ♪ And get your one last thrill ♪ Your one last thrill ♪ Just say farewell now ♪ Farewell to Storyville ♪ (band plays) ♪ Pick out your steamboat ♪ Pick yourself a train ♪ A slow, old train ♪ Pick out your steamboat ♪ Pick yourself a train (glass shatters) - Hey you!

You're destroying property!

- What's it to you, Pop?

It belongs to me!

♪ (singing) (glass shatters) - ♪ (all singing) Won't let you back ♪ Go buy your ticket ♪ Or else you'll walk the tracks ♪ (band plays) ♪ No use complaining ♪ Blue skies follow rain ♪ (band plays) ♪ The cold, old rain - I've got to say goodbye to my family.

I'll catch up with you later.

- Don't leave me, Endie!

We'll never find each other!

- ♪ (all singing) Farewell to Storyville ♪ (band plays) (Miralee sings in foreign language) ♪ (orchestra plays) (door opens) (Miralee sings in foreign language) ♪ (orchestra plays) - Mrs. Smith?

(Miralee sings in foreign language) ♪ (orchestra plays) ♪ (orchestra plays) - [Mrs. Smith] What do you want?

- I'd like to talk to you...now.

(Miralee sings in foreign language) ♪ (orchestra plays) - Yes, Mr. Duquesne?

- I find myself compelled to leave New Orleans.

- So I hear.

The Navy's done a good job.

- Chicago's not an easy place to start from scratch.

It'll take some capital.

- That condition is not confined to Chicago.

- Sometime ago you offered to pay me to discourage Miralee's interest in me.

- That's when you were a threat, Mr. Duquesne.

Now, you are leaving New Orleans.

- Miralee's leaving with me.

(Miralee sings in foreign language) ♪ (orchestra plays) - How much?

- 20,000.

- And you'll leave alone?

- Alone.

- Very well, I'll send it to you.

- I'd rather close the transaction tonight.

Now.

- I'm not in the habit of carrying that amount of money with me, Mr. Duquesne.

- Oh, I'm sure I'll have no trouble converting this into 20,000.

♪ (orchestra plays) You have very good taste.

Goodbye Mrs. Smith.

(Miralee sings in foreign language) ♪ (orchestra plays) (applause) - Oh you're here, darling, you're here!

- I couldn't get here any sooner.

- Tonight?

- Tonight.

- I'm ready, Nick.

- I want you to sing one encore...for me.

- All right, darling.

For you.

(applause) Thank you...you've all been so kind.

I'd like to sing an encore, a love song.

It isn't well-known, but I'd like especially to sing it tonight, because it was born right here in New Orleans.

♪ (piano plays "New Orleans") ♪ (singing) Do you what it means to miss New Orleans ♪ And miss it each night and day ♪ I know I'm not wrong, this feeling's getting stronger ♪ The longer I stay away (audience murmurs angrily) ♪ I miss the moss-covered vines, the tall sugar pines ♪ Where mockingbirds used to sing ♪ And I'd like to see the lazy Mississippi ♪ A' hurryin' into Spring (audience murmurs angrily) (audience boos) ♪ The Mardi Gras, the memories (audience murmurs angrily) ♪ A Creole tune-- - [man] Let's go home.

- (Miralee sings) ♪ Fills the air ♪ I dream of oleanders in June ♪ And soon I'm wishing that I was there ♪ Do you know what it means to miss New Orleans ♪ When that's where you left your heart ♪ And there's something more ♪ I miss the one I care for ♪ More than I miss New Orleans (applause) ♪ (orchestra plays) (applause) You were wonderful, Henri!

- I hope you'll be very happy.

- Goodbye.

- Mr. Ferber!

The regents of the New Orleans Music Association are awaiting an explanation for this degrading exhibition.

- Well, tell them I was merely playing my resignation.

- [stagehand] Mr. Ferber?

- Yes?

- I've been asked to give you these, sir.

- Thank you, Pat.

(door opens) - Nick!

- He's not here, dear.

(door closes) - Nick and I are leaving tonight, Mother.

(closes opens) Don't try to stop me.

- Oh Miralee dear, you don't understand...he's gone.

- No, Nick's waiting for me.

- He left!

- I don't believe it.

I don't believe it!

(knocking on door) Nick!

(door opens) - Nick left this note.

- You sent him away!

- It would be impossible for anyone to send Nick Duquesne away if he didn't want to go.

- But he said he was taking me with him, just five minutes ago, he promised--!

- Mr. Duquesne is a businessman.

- You paid him to go?

- I didn't have the money... so he settled for my bracelet.

- No...(sobbing).

(door opens) (door closes) - This note says to tell you that for the first time in his life, he is making a refund.

If Nick thought he could offer her the right kind of life, he would've taken her with him, but he couldn't.

Sometimes I wonder what the right kind of life is.

Goodbye.

(banging) ♪ (piano plays ragtime tune) ♪ (piano plays ragtime tune) - Are you Mr. Duquesne?

- Mr. Duquesne went out.

Leave your bill.

He'll send you a check.

- No, it's cash on the line, or the stuff goes back.

- You mean you don't trust Mr. Duquesne?

- I don't none of these fly guys.

- Don't you call the King no fly guy!

- Take it easy, Satchmo.

- Are you Mr., uh... - [Satchmo] Duquesne.

- How much?

- [man] A hundred and eight bucks.

♪ (piano plays ragtime tune) Thanks.

- Seems I left everything in New Orleans, including my credit.

- Your credit is good with me.

That is, if I ever get something for you to use it on.

- Well, it's a far cry from the Orpheum Cabaret.

- Don't you worry, Boss.

It won't be long before you're the King of Chicago.

Did you figure out who sent you this lucky horseshoe?

- It might've been... ♪ (piano plays ragtime tune) No, it wouldn't be.

♪ (piano plays ragtime tune) ♪ (piano plays ragtime tune) - When is the roulette and dice tables coming for the next room?

- They should've been here this morning.

Hey, who's that guy playing the piano?

- [Satchmo] Oh that's one of the painters.

- [Biff] How is it, Nick?

Well, it ain't exactly the Orpheum Cabaret, but it'll do for a start.

You know, I'll bet you'll make something out of this burned out chop suey dive.

Oh, is that where the sucker room is going to be?

- What's on your mind, Biff?

I'm busy.

- That's a fine way to treat a friend that spent 50 bucks for a good luck piece.

- So you the one who sent it!

That's awful nice of you, Mr. Lewis.

- What's your hole card, Biff?

- No hole card, just a little something to welcome a new tenant.

Ever hear of the Southside Realty Company?

- I rented the place from them.

- Shake hands with Mr. Southside himself.

- I made the deal with Jim Taggert.

- Ah, Jim must've forgot to tell you we're partners... but you know me, Nick.

I never gold a grudge.

When it comes to business, I'm the sweetest guy in the world.

Anything I can do, just holler.

- Now, ain't that nice?

♪ (piano plays ragtime music) Mr. Duquesne, sometimes I think you don't believe in the brotherhood of man no more.

♪ (piano plays ragtime tune) Man, what kind of piano playing is that?

- That's Chicago style.

- What's the name of that piece?

I bet it's something about the blues.

- That's the Honky Tonk Train Blues.

- We should get friendly.

My name's Satchmo.

I'm sure you know yours.

- Mine's Meade Lux Lewis.

- Well, that's 38 and two.

- That's 40.

- All over the world!

♪ (piano plays ragtime music) (door opens) (door closes) - Pardon me.

- Yes sir?

What can I do for you?

- I came to check on my equipment.

- Uh, what was the name?

- You remember, Nick Duquesne.

The order was supposed to be delivered this morning.

- Well uh, what kind of toys was it?

Balloons?

Marbles?

Monkies on a stick?

- Can the stalling.

When do I get that gambling equipment?

- Gambling equipment?!

I'll have you know this is a Biff Lewis enterprise.

We don't handle no unlegal merchandise.

- Oh, I get it.

No tables, no wheels, no layout, not for Nick Duquesne, right?

- Anything else you wish?

- Yeah...that you were a man.

♪ (Satchmo's band plays) [Nick] Excuse me, please.

♪ (Satchmo's band plays) - Look who's here, Boss!

(band greets Nick excitedly) - How did you know how to find us?

- We heard Satchmo's horn wafting through the town, so we just followed them notes.

(all laugh) - I was calling the children back home, but I guess Endie didn't hear me.

- She'll probably come with Ellis.

There wasn't room on the rods for all of us Satchmo.

- Who are these people?

- Oh, they just heard the music and come on up.

- Say Mister, what kind of a club is this?

- [Nick] You tell me.

- Is it going to be a restaurant?

- [Nick] Just a club.

- Boy, we'd sure like to join your club if we could dance to that ragtime music.

- If it isn't too expensive.

- Gee, I never heard music like this.

- Hey, that's my girl!

♪ (band plays) (ship horn blows) - Well, the trunks are taken care of.

Just think darling, in a minute we'll be on our way to Europe.

Aren't you thrilled?

Aw come on, you will be once we're on the boat.

You know when I went...Mr. Ferber!

- I'd like to join you.

- Why, there's no need for you to come with us!

They'd forgive you in a minute, if they thought you'd go back with them.

- My heart wouldn't be in it.

- Are you sure now just what side your heart is on, musically speaking?

- Very sure.

Musically speaking, there's only one side left.

Shall we go aboard?

♪ (Satchmo's band plays) - Tom, let's get that table out.

- [Tom] Right.

- We still need more room.

♪ (band plays) - ♪ Open that cage!

♪ (band plays) (applause) - Sure on our way, Boss!

- Give them what they want, Satchmo.

When they drove you men from New Orleans, they turned you into missionaries.

Go to it, Satchmo!

Convert the Philistines!

- Well what about what we want?

Those roulette tables?

- Who ever heard of people dancing on roulette tables?

Go on, give them what they want!

♪ (piano plays "Can-Can") - Now remember dear, most people get only one chance, but you're getting two.

- But why can't we start again at home?

- Home is where nobody knows us.

Now go dear, and good luck!

(applause) ♪ (Satchmo's band plays) - Jass it up, boy, jass it up!

♪ (band plays) - What did you say?

♪ (band plays) - Jass it up, boys, jass it up!

♪ (band plays) (applause) - Mr. Lake.

- Satch, there's a lot more boys just come in from New Orleans.

- They did?

- They're in the backroom.

- Maybe they know something about Endie.

Let me go in there.

- Glad to see you, Satch!

- Johnny Mo!

Whatcha know, man?

- Doing all right.

- Memphis Pete!

- Hello, Satch!

Well get that monkey suit!

(all laugh) - Reedy Morris!

- Hello, Satch!

- Have you seen Endie?

- Last I heard, she was working some plantation in Naches.

- Thanks.

Hello, Rhythm Joe!

(man laughs loudly) - Mokey!

My man!

- Hiya, Satch!

- When'd you get up here?

- This morning (laughing)!

- Yeah?

- We heard about you way down in Memphis!

(Satchmo laughs) Hi, Mr. Duquesne!

- Feast your eyes on old Mokey, Boss!

- Hello, Mokey!

- [Mokey] Hello!

- How are you boys?

(indistinct chatter) It's beginning to feel like old times.

- Oh, it's good to see you!

Mr. Lake!

- Moke!

Well, they told me you were in the city.

- I see you done opened the gates!

- All the way.

Where are the rest of your boys?

- After we closed up in New Orleans, they scattered all over the land.

Some went back to the plantations, the cotton fields, the riverboats...

They're all over: Kansas City, St. Louis, Memphis, Harlem... but wherever they are, they'll never forget about you, Mr. Duquesne.

- How would you like to work at Colby's Gardens?

- If it's to play jazz, we'll work anyplace.

- But wait a minute, Nick!

Dick Colby's a competitor!

You've got a corner on this dance music.

- Nobody's got a corner on this music, Tommy.

It belongs to everybody.

Besides, there are a lot of jazz musicians who would like to eat.

- But we could open up another-- - No Tommy, you're taking the first train out in the morning, and you're to get every jazz man you can find and bring him here.

- And please Mr. Lake, see if you can find my Endie.

- I'll try, Satchmo.

I get it...you're going to open up a whole string of places!

- No Tommy, we're going to sell jazz!

- Mr. Armstrong, they're yelling for you!

- Hear that, Satchmo?

They're calling for jazz!

♪ (Satchmo's band plays) - ♪ (Endie sings) When the moon's kind of dreamy ♪ Starry eyed and dreamy ♪ And nights are luscious and long ♪ If you're kind of lonely ♪ And all by your only ♪ Then nothin' but the blues are brewin' ♪ The blues are brewin' ♪ (band plays) ♪ When the wind through the willow ♪ Blows across your pillow ♪ And tells you sleepin' is wrong ♪ (band plays) ♪ If love goes a thirstin' ♪ 'Till you feel like burstin' ♪ Then nothing but the blues are brewin' ♪ The blues are brewin' ♪ (band plays) ♪ Suppose you want somebody ♪ But you ain't got nobody ♪ You only got a gleam in your eyes ♪ 'Till somebody's found you ♪ And puts their lovin' arms around you ♪ You got the feelin' you want to die ♪ But when the Lord up above you ♪ Sends someone to love you ♪ The blues are something you lose (train rumbles) ♪ You're so busy (train rumbles) ♪ Doing the things that you're doin' ♪ That love ain't got no time for brewin' the blues (train rumbles) ♪ (band plays) ♪ (band plays) (train rumbles) ♪ (band plays) ♪ (orchestra plays) - ♪ (Satchmo sings) Oh, Endie... treat you eyes and look at Endie ♪ She's a fascinating fem ♪ A real creme de la creme ♪ No matter where she goes ♪ Oh, Endie...there's no other gal so friendly ♪ Like a bee you'll buzz around ♪ Taste the honey you found ♪ Take it from one who knows ♪ So pert and pretty lookin' ♪ She beats her Mama cookin' ♪ What a perfect blend ♪ And when it comes to lovin' ♪ It's cooler in the oven ♪ Endie is the end ♪ Hooray-tion, Endie's out of circulation ♪ Go and climb another tree ♪ You can jump in the sea ♪ Endie belongs to me ♪ (band plays) (applause) (speaking in French) (applause) - Ohhhh!

Miss Miralee!

- Hello, Satchmo!

My congratulations too.

- My, you looking just fine!

I've been reading about your great success since you left New Orleans.

- (chuckles) I've read about yours too, Satchmo.

- [Satchmo] Now, ain't that nice?

- How's Endie?

- We're married, you know.

- Satchmo, how wonderful!

- Ain't you going to inquire about Mr. Nick?

- How is he?

- You're asking with your lips, not your heart.

- My heart isn't interested.

- Miss Miralee, I seen Mr. Nick just before I left the States.

He's singing the blues even when he ain't singing...

I mean the blues about you!

- The bracelet blues...or cash on the line blues?

- Mr. Nick gave you up because he felt that a gambling life was too lowdown for you.

He knew you wouldn't listen, so he tried making you hate him.

That's why he took those bracelets from your mother.

- But he took them.

- He just borrowed them long enough to convince your mother, knowing that she would convince you.

Then he returned them to Mr. Ferber.

- Satchmo, are you trying to say Mr. Ferber just forgot to tell me that Nick returned the bracelets to him?

- No, he didn't forget.

He only wanted to save your singing career for you, like Mr. Nick.

[Satchmo] Miss Miralee, Mr. Nick gave up gambling.

He's a very important music man.

He's trying very hard to educate New York to jazz.

He's got no reason to run out NOW, no more than you have... if you get what I mean.

- Oh Satchmo, I... - I mean it so good, I gotta blow!

♪ (cornet sounds) (Miralee sounds off) (door closes) (door closes) - "I again appeal to you, Mr. Cunningham, to reconsider and sponsor Woody Herman in Symphony Hall."

- Cablegram, Mr. Duquesne.

- Thank you.

(paper tears & rustles) Listen to this... "Knocked them cold at Royal Theater, London last night.

A request for command performance.

How much do I charge?

Satchmo."

(both laugh) Forget that letter, Miss Holmbright, and get our friend Cunningham on the phone.

- Yes, sir.

- Woody Herman?

What respectable artist would appear in my hall if I allowed him to appear here?

Must I repeat, Mr. Duquesne?

Manhattan Symphony Hall is an institution of musical culture.

- Well they seem to like it at the Royal Theater in London.

Why Mr. Cunningham, the universities all over the country are booking my bands for their coming proms.

In fact, we're helping several colleges organize jazz bands of their own.

- If true, Mr. Duquesne, it is a sad commentary on the youth of our country.

- Some day, you're going to hear Woody Herman, in person, in your OWN symphony hall!

- When that day comes, sir, I shall deem it a privilege to tender my resignation!

- By that time you'll love it...music lover.

(phones click into receivers) (phone sets down) - I wrote you, I phoned you, I telegraphed you!

I just can't take no for an answer!

You've got to let me have this Woody Herman for my Versailles Club!

My patrons are screaming!

They've heard so much about the guy.

- Woody Herman!

You might as well ask me for the Leaning Tower of Pisa between two slices of rye.

Do you realize that he and his band have taken the country by storm?

Do you--(door opens) - Oh sorry Nick, I didn't mean to barge in.

- [Nick] Oh it's perfectly all right, come in.

Okay, you can audition for me now.

[Nick] Excuse me, I promised the lad.

You might as well listen in.

- Look, all I want is Woody Herman!

- [Nick] Come on in.

- (stammering) I'm a little nervous, Nick.

- Oh, it's quite all right.

We understand.

Eh, make yourself comfortable, Biff.

- [Biff] What about Woody Herman?

- I've already told you.

[Nick] Listen to this fella.

(clarinet parts clatter) [Nick] Take it easy, son.

Eh, take it easy.

(clicks into place) ♪ (clarinet plays) - Can you do this?

(hands clap) - Aw, Nick--!

- Go on, that's not very difficult.

[Nick] Go on, help him out.

(hands clap slowly) ♪ (clarinet plays skillfully) (hands clap) (hands clap) - You can stop now.

- Not bad, buddy.

Look...you gotta get me this Woody Herman!

Work on it, huh?

- Okay, I'll work on it.

Right away.

- Gee, thanks Nick...

So long buddy.

(door closes) (both laugh) - How are you, Woody?

- Great...I can hardy wait to play at that character's place just to see his expression (laughing).

- I'm afraid it'll have to wait a long time.

Every spot in the country wants you.

- Every spot?

- Every spot but that one... Don't worry fella.

You're going to play jazz in Symphony Hall if it's the last thing I ever do.

It'll work out someway.

- I'm sure it will.

Are you going to Miralee's concert?

- Concert?

- Yes, next week at The Hall.

- How do you know?

- I'm a music lover.

I'd like for you to be there, Nick.

- Oh, I'll be all jammed up.

- Well as a favor to me-- - Now, Woody...

I have no secrets with you.

I've waited a long time for Miralee to come back... but it will never work out until our music can stand where she stands...as equals.

- I understand, but uh-- (phone buzzes) - Excuse me.

Yes?

(phone buzzes) - [Miss Holmbright] A Mrs. Smith insists on seeing you.

- What Mrs. Smith?

- [Miss Holmbright] Mrs. Rutledge Smith.

- Tell her to come in.

(phone clangs down) - I'll use the private exit.

(door opens) (door closes) (door opens) (door closes) - We couldn't stay in Europe forever.

- [Nick] Homesick?

- Terribly.

- Miralee's been a great success.

- [Mrs. Smith] So have you.

How much do you want for your business?

- There isn't gold enough in the world or, bracelets.

- There never was.

For Miralee's concert.

Symphony Hall.

- I'm afraid I can't make it.

There's something I have to accomplish first.

- Can I help?

- No, it's something money can't buy.

- As an ex-gambler, you ought to be honest enough to admit that you were a million to one shot back in New Orleans.

- A two million to one shot.

- But you're a great favorite now.

We'd be honored if you'd come.

- Perhaps next time.

- I think the program would interest you very much.

The seat's excellent, next to mine and only one removed from Mr. Cunningham.

Just in case.

We didn't shake hands coming in.

May we going out?

(door closes) (Miralee singing in foreign language) ♪ (orchestra plays) - He's somewhere in the house.

Here we go!

- I cannot dictate what my artists sing, but all the other characters your daughter has included in this program are on your head, Mrs. Smith, and not on mine!

I wish that distinctly understood.

(applause) ♪ (piano plays ragtime tune) - An encore just for you.

♪ (piano plays "New Orleans") ♪ (piano plays "New Orleans") ♪ (Miralee sings) Do you know what it means ♪ To miss New Orleans ♪ And miss it each night and day ♪ I know I'm not wrong ♪ The feeling's getting stronger the longer I stay away ♪ The moss-covered vines ♪ The tall sugar pines ♪ Where mockingbirds used to sing ♪ And I'd like to see the lazy Mississippi ♪ A' hurryin' into Spring ♪ The Mardi Gras, the memories ♪ Of Creole tunes that fill the air ♪ I dream of oleanders in June ♪ And soon I'm wishing that I was there ♪ Do you know what it means to miss New Orleans ♪ When that's where you left your heart ♪ And there's something more ♪ I miss the one I care for more than I miss New Orleans ♪ (orchestra plays "New Orleans) ♪ The Mardi Gras, the memories ♪ Of Creole tunes that fill the air ♪ I dream of oleanders in June ♪ And I'm wishing that I was there ♪ Do you know what it means to miss New Orleans ♪ When that's where you left your heart ♪ And there's something more ♪ I miss the one I care for more than I miss New Orleans