Original subtitles

SWING! (1938)

That won't be no good.

It ain't the clock's fault.

I might as well get up from here and go cook those white folks some breakfast.

So it's you.

Oh, what's the matter, honey?

Out all night laying around with other women.

No, you know that isn't so, baby.

I was out trying to win a little money.

You know how it is.

Yes, and I got to go to work and take care of you.

Get out of my way.

Don't be a dame now.

How does my simplify feel this morning?

Save a stick.

We'll want it all.

Oh, I'm so sorry.

I'll call a doctor.

No, ma'am, don't.

I'll be all right.

I only have a headache.

I'll take an aspirin.

I'll be fine this afternoon.

You go into the yard and take your run-up.

Well, baby, if you're sick, you know how to lay off.

Oh, Hugh, it wasn't always like that.

But I don't want you to lay off, Hugh.

You go and take your run-up.

I'll be all right.

If I feel better this afternoon, I'll call up a friend...

and have him come drive me to the park.

Oh, well, that's a hell to be good at.

But what friend?

A girlfriend, of course, you silly.

But I like that way.

I know you're in love with me when we're adults.

Yeah, but I'd kill any man that says no to that.

Oh, dear, don't talk that way.

Why, you wouldn't want me as much as you do...

If what?

If somebody else didn't want me, too.

I want you to love me a lot...

but I don't want you to even think about killing anybody about me.

You know, murder is a terrible thing, men.

Well, let them think about that when they go looking at you.

You are mine.

I'm putting up with you.

I'll punish this home... I've brought you a car, jewelry, clothes...

and everything your heart has in stock.

Can you know that?

And when it's all for you and me...

and I don't want to catch no handsome dude of a local...

hanging around here while I'm out... if I should come back here...

and catch one of them dudes in here... I would fang it.

Oh, Sam, darling, don't.

Hey,

what's worrying you?

My man.

Oh, then forget it.

Yes, but he's threatened to kill anybody who looks at me.

He's terribly jealous.

Yeah, and strong, too.

Powerful.

Don't be afraid.

He's gone.

He won't be back for three days.

Yeah, I know, but sometime the double back from the yard.

Now, you ought to have him train like I got my old lady.

Yes?

Sure, she never questions me.

Wonderful.

Sure, gives me all the money and never argues.

I wish I had them that way.

Yeah, now Thursday's hair payday.

And you ought to get a load of that suit she's having to tailor make up for me.

Boy, oh boy.

I'll see to it.

And how?

I'm taking you for a ten in the park this afternoon.

Okay, how about a long one?

In the country.

Okay, by me.

Hello.

Hello there, you.

This?

You know what I saw a while ago?

No, one.

Have you ever heard of them jacking?

Driving that no-time man or man around town in that booty car of them done him.

Hush, oh my.

It's the truth.

Well, what can I say?

Man, is there workin' for the human?

Workin' who?

The hardest job in Birmingham to take care of him.

Well?

Huh?

And them jackin' ever catches up with him?

Ah, no.

Somebody ought to put her wise to what's going on.

Ain't it so?

By the way, it's more you tell her.

And haven't I hatin' mine out?

Never.

I done put you wise, so you tell me.

I hasn't.

Yeah, I'll tell her.

You told me.

Well, we workin' with us all time skills.

And man has one of us.

And I never workin' playin' in the white boat kitchen.

Takin' my money, givin' it to some old tankin' gal of man.

And turn around and givin' it to some old hunk of hers.

You quit runnin' your big mouth and better eat my breakfast?

Of course, darlin'.

I know you're hungry.

You sure does look nice, darlin'.

Yeah, well, do you like it, honey?

Oh, does look.

Well, here I am all dressed up and no dope.

Why, people see me like this would expect me to...

Oh, darlin', of course, I wasn't gonna let you go out grow.

Oh, but honey, surely you're gonna leave me coffee.

You wasn't gonna let me walk to work with these bad teeth.

You do love me a little bit, don't you, honey?

Of course I do, Mandy.

But you ought to not be so quick to go around here and listen to folks who got it.

I mean these people who are so quick to tend to other folks' business.

Now, you do care for me a little bit, don't you, honey?

Of course I do, dear.

But I don't know what you're talkin' about.

Ain't nobody been talkin' to me.

Well, listen, then you get just what I mean.

I mean in case somebody... For instance, somebody should come and tell you that...

That?

Who else that was?

Well, it's like this, Mandy.

I ain't no loafer like some of these niggas wanna say

that I'm just cause I ain't got some coal heaving job.

I could be playin' the piano down the Golden River Grill.

But me and the manager just can't drive.

But as I started to tell you, I'm a businessman.

And the white folks know it, too.

Of course, some of these niggas think I'm too

deep for them cause they can't understand me.

But you understand me, don't you, honey?

Of course I does, dear.

Don't say I does.

It sounds so dull.

Oh, I'm sorry.

I won't again.

I don't want you to be ashamed of me, darling.

Well, then just listen to me and say words as I say them.

I'm a businessman and the white folks know it.

By just the other day, one of them comes up to me

and makes a deal with me to demonstrate automobiles.

And all I sell, I get a commission on it.

Oh, honey, you don't mean it.

Sure.

Oh, that's wonderful.

I always know.

My duty is to drive a new car around and show it to somebody.

And, uh, ride them around in it.

Well, now, somebody comes telling you that they've seen me driving a pretty woman

always around.

You'll understand, get me?

Yes, but, uh, you won't get to liking these women and forget full...

No, I won't forget full of these.

Well, I can't afford to say.

That is, I mean, well, I'll always care for you, Mandy.

There'll always be a warm spot in my heart for you.

Why, you're so good until I... Uh-oh, well, let's just forget about it.

Now, you just believe in me first, last, and always.

Understand, honey?

Well, got to be going now.

I got a big deal on tonight.

Bye-bye, baby.

Oh, Mandy, you darling.

You must excuse me for running in on you like this.

But, Mandy, I have to see you.

Oh, yeah?

Well, come in.

It's about my man, I guess.

How do you know?

He told me.

No.

Yes.

He tells me everything.

Certainly.

You see, uh, he's a big businessman.

The white folks done hired him to sell and demonstrate cars.

No, well, how did they, uh... I was afraid I'd have to beat you in life.

You see, Cornell is an automobile salesman.

And his duty is to sell and demonstrate cars.

Well, that's the reason why you might see him riding pretty women around town.

Don't say so.

That's funny.

What's funny, Liza?

Your man named Jackson Gale.

And he wasn't riding her around.

She was riding him around.

And it wasn't no white folks car that was riding around in either.

It was Lem Jackson's car.

The car he gave her last time.

Oh, you poor darling.

That man's just jiving you.

It's like I always die, but...

It's a lie.

And I won't listen to you, Liza Freeman.

You're just jealous, that's all.

My man's a big businessman while yours is a loafer.

You're just jealous and I won't listen to you.

You heard about my man, Mandy.

His was loafer, just like the most of us.

Some women like to have a man.

And as long as there's only no count, you can put up with that.

But when they take your money and start riding and flying around here with a high

yellow hoodie like that Louis, then we ought to know about it.

And that's what your man is doing and he is doing it right now.

That man is just signified.

But if you want to know the truth, put on your clothes and come with me.

Oh, no, no, oh, no.

You're going to get us all in jail.

You don't need nothing but your natural strength and

your big fist to wipe up the floor with that husband.

Listen, if I don't come by your place in the morning before I go to meet you,

call her and tell her or tell her anything.

The law and big fist.

I'm watching and if anybody tries to two-time

you, remember, I'm waiting and I'm around to go.

Well, come on and let's go.

Oh, no, no, no, no.

Oh, no, no, no, no.

I'd like a word with you.

Outside.

No.

I'm asking you like a lady.

Please step outside.

It won't take long.

No, no, I won't go.

Now, look at him, Mandy.

Let me tell you something.

I just... Nothing.

Forgive me.

Put it to me.

Now, give me my brick.

Now, see here.

This is a respectable place.

You folks came.

It's still a respectable place, Mr. Perkins.

I just got a little business that I want to talk over with this couple.

The young lady, especially.

The lady is right.

And I refuse to stand here and be insulted by our kitchen guardians.

I understand what you want to say.

Well, what do you expect a man like Cornell to do?

Even if he does spend your little money, you didn't expect him to love you, did you?

Why, you should be tickled to death to be permitted to even give it to him.

And to think that he would care for a funny-looking old greasy cook like you.

Ha, ha, ha!

That's too much!

Now, we're going to take Smokey's number.

Okay.

Smokey!

Now, watch this number.

I want to see if we can use it.

Quiet, everybody.

This is Mr. Gregory.

He's the man behind the show.

He's got his money in the show, and he wants to tell

you a few words concerning the plans of the show.

Mr. Gregory.

All right, folks.

Gather around.

Here's what they'll have to say.

I hope you like it, folks, but these are only rehearsals.

I want you to remember that.

If we were to fall in love with our own efforts, often only to be let down so hard

after the first night, each other's heart is taken out of

everybody by the bad press notices we get the morning after.

And we don't want that to happen to our show.

You know, and I know, that while a colored show may be and is supposed to stay within

a certain prescribed scope, we must, if we hope to get anywhere, deliver

something within that scope that the public will like and come to see.

That is entirely different from what an audience

has become accustomed to seeing and hearing.

That, my people, is what I'm hopeful of giving them.

So I want all of you to do your best.

Unbend.

Relax.

Give me all that's in you.

But don't.

Oh, please don't begin thinking how good you are and all that.

Just hope you're fair.

And try to get better with every rehearsal.

And give me a show that will get over and the public will like and come to see.

All right, Sammy.

What about the wardrobe, Mr. Sparrow?

It's time we began to fit these people into going to Keith.

I agree with you, Sammy.

And this power is promised to bring in someone here tonight.

Of course, Ms. Sparrow, anyhow.

Right here, Mr. Gregory.

Good morning, gentlemen.

I was down on the stage when you came in.

I've been down there since the first one arrived.

Isn't that the kind of girl we need?

Add a girl, Nina.

Among other things, I wanted to see how our leads were reporting.

On time, or do you do late checks?

They seem to be coming in on time, aren't they?

Most of them, anyhow.

Oh, but one.

She's been late every morning.

Hadn't arrived in a minute.

Who was that?

Poor Smith.

Really?

Damn, she's known.

She ain't been on time since rehearsal started.

And when Big Jones arrived with that big yellow

car, she seemed to always arrive in a bad mood.

Swear and raise the tickle of the chain until

she goes to her dresser and sleeps it on.

She wasn't going to bed the full sun up and up three

or four hours if she was to be shot at sunrise.

I'm sorry to hear that.

She's really a good performer.

While not the leading woman, is the hub on which the show must attend.

I hope you haven't quarreled with her.

Say, boss, I ain't quarreled with no woman, especially this one.

I don't even like to use.

But I'm telling you now, that coercement laundry won't.

And a mistress maker in the bargain.

And I don't care how good she is.

And I'm sorry she means so much to the show.

She's going to cause pretty good trouble doing rehearsals.

And if you want my opinion, after the show opens too.

If it opens.

You mustn't take it to surface, Annie.

Remember only that she's a good performer when she's sober.

Does she drink too?

Is what he says true?

Drinks like a fish.

He's made it every rehearsal and made his own nests.

And holds it up when she does arrive.

He gets really funny and nervous and set and sends them all home late at night when

they could be eating here around six or seven o'clock at the latest.

Well, well.

Don't you see who's here?

Give me the knife.

Mistress, that's her now.

She's just arriving.

Okay, boss.

I'll see what I can do with her.

Miss Smith, you're late.

Why do you get here so late?

Why, you little stall off ruff.

Don't you dare try to bore me out about being late.

Don't you know that I'm Cora Smith and I was

late when I sang for the Teen Queen of England.

And anybody, you, Ted Graver, anybody else can't tell me what to do when I'm here.

But Miss Smith, can't you see I'm only asking you to get here on time so we can.

..

Shut up, you spook.

I get here when I get good and ready.

But Miss Smith, can't you appreciate that there are others in the cast who would

like to get home at six instead of at midnight, I...

What do I care what time you buzzes get home?

And you, yellow husband, if you don't laugh the way I judge, you know what you can do.

And if I catch anybody laughing or kidding at me, I'll

wipe up the floor with you and I don't mean maybe.

A little short stall off ruff like you trying to tell me where to hit it.

I've got a notion to...

Sure, I'll get you a link.

Cause I've got stuff linked.

And I had my habits on last night and I'll get some more any time I get ready.

And I don't propose to be jacked up about it by you, Ted, Craig, or anybody else.

Do you get me?

All of you!

Well, I know my stuff anyhow.

And if I feel like I don't want to come to rehearsal, well, I just don't come.

And I dare any deep walker to even just look like he don't like me.

This show can't go on without me.

What?

What do you mean by getting here late and starting stirring up all the work?

What did they tell you, I think?

I don't know.

Shut your big mouth and go to your dressing room before I... Oh, you're a big...

Now, will you do as I say?

Yes, sir.

Well, get up.

Get up.

Add your dress dressing room over there.

Take your cell phone in there and get ready to do what these people want.

I hear that big mouth of yours in the mall.

Close it for you.

What a man.

My money.

I think I could like you.

You could what?

Oh, I mean...

I think I'd like to cook for him.

You know, make him some hot biscuits like I used

to make for Miss Hewitt back there in Birmingham.

You remember.

Well, you limit your life for him to hot biscuits, sister.

Because he is my man.

And I don't want no man to look at him like you was looking at him just then.

Or you be going back to Birmingham in a fine box.

Do you get me?

Yes.

I get it.

But remember, the first funny moving pass I find you making out of miles.

Marty, if she runs into me, I'll stand her further than he just sent her.

My name's Amanda Jenkins, and I can whip any hundred that stands on two feet.

Oh, I'm sorry.

It's been a whole lot of your rehearsal.

See, I'm starting first.

See, I didn't know it.

Well, now, any time she gets here early or

late and starts to ruffle, just stand for me.

See, I own the Autumn League for a social club.

Now, I'd like to see my race get long, but you know, if some with a head full of

that stale liquor, you understand, see, there's always red to start a ruffle.

Now, any time that she comes here and starts up a ball, just stand for me.

I'll straighten that chick out.

Say.

Boy, man!

Hey, lady, don't get caught up that way.

I could hardly wait to see you.

Oh, my, my.

I'm so glad you think so.

You know, I've been intending to get in touch with

you ever since I heard you were here in New York.

But honestly, I've been so busy.

Well, you sure doesn't look fine, child.

New York City does agree with you.

You know, everybody up on the highlands sure does miss you, right?

That baby buggy up and down the avenue.

Come on, we'll go in the office and talk it over.

Okay.

How did you leave everybody there, Andy?

I left quite a while before you did.

Oh, just fine, honey.

You see, I know you was up here and what you was doing,

because I met your mammy at a kiddin' supper down in Alley C.

And she told me all about you.

Really?

Yes.

She told me how you'd gone from school and

graduated from college, and now you know everything.

Oh, no, me, Andy.

Not everything.

Just a few things.

Well, most everything.

Says how you was a center-grapher and worked in a law firm.

So what did you do, honey?

Run one of them kite riders?

Ticket, ticket, ticket.

Like a white girl?

Oh, but there are plenty of colored girls operating kite riders now, Mandy.

Sure enough.

Oh, yes.

Does it work for white folks, honey?

Or colored?

Colored men.

Did you do a big show back there?

And I'm so glad to see our folks getting on.

He ain't stuck up, is he, honey?

Oh, by no means.

He's a fine young man.

And young, too.

That's right.

I tell you, the mammy of a young mammy is telling me something about him.

Well, I'll take you over and introduce you to him.

Come with me.

Sure, sure.

Oh, I forgot to tell you.

You know, your mammy's been moved out of Alley C since you left.

Oh, yes.

She wrote me.

A better house in Alley D.

That's fine.

Pardon me, Mr. Gregory.

This is the woman I've recommended for our wardrobe, mister.

Her name is Amanda.

Amanda Jenkins, Mr. Gregory.

Glad to know you, missus.

What is it, Miss Jenkins?

Neither, Mr. Gregory.

Just plain Mandy.

All right, uh, Mandy.

This is the one I've recommended for our wardrobe, mister.

And you can sew?

Yes, sir, but, uh, I cook then.

But, I don't know, sir, you're an expert seamstress.

We must have a woman who can sew and trim and fix clothes.

She's not cooked for the show.

Oh, Mr. Gregory!

Excuse me.

Why don't you stop talking about cooking?

He wants the seamstress.

That's what a wardrobe mister can see.

Show me?

Of course.

You can sew, can't you?

Show, show.

Uh, that is a little.

Why don't you tell him, sir?

You're from my home, and I want to help you get this job.

Oh, honey, I'm so grateful.

And I'll do what you tell me to.

But I is a good cook.

I can make some biscuits that just naturally melt in your mouth.

And there had to be a good cook to stay out there, Miss Hewitt.

And yes, sir, and I... Shh!

Now, remember, don't say anything more about cooking.

Tell him to chill.

Chill.

Now, as I was saying, we must have a woman who is specialized in dressmaking,

fitting, and designing to prepare the costumes for our show.

And you don't seem to answer our... Oh, but Mandy can do all that, Mr. Gregory.

Why, she used to sell for the best white people at Birmingham.

And since she's been in New York, why, she worked on Fifth Avenue in Madame Chico's.

Head designer over there.

Oh, she can trim and design.

She does, probably, too.

I know she can.

Help consider her for the job.

And I'll explain what we'll want done while you go on with the rehearsal.

All right, Miss Powell.

Think as you speak as you do about her.

I know she must be all right.

Thank you, Mr. Gregory.

Now you go on with your rehearsal.

You're terribly late already.

Pardon me.

We're going to try one of the symptoms.

Oh, Miss!

Yes, Mr. Powell, I'm right here.

Will you take from the chorus of Once I Did.

Tell them what key you want.

Eight foot.

Once I did Once I know I don't know why I'll tell you just why When I did You

always made me cry You take on all the sunshine

And left me vain Each night I pray the sun

Once I did, but now I don't believe a word you say.

Oh, you're right,

and anything is, honey, it's your own love in me.

Once I did, but now I don't know more.

Lordy, honey, your mamma didn't tell me anything about it.

She didn't tell me you could lie like that.

I can't lie so fast.

I guess I'll tell her folks it's just a natural born lie.

And you didn't.

You just swept me off my feet.

But why did you do it, honey?

Why did you lie like that?

Oh, you, Mandy, I love you, dear.

Why, how could I ever forget all you did for me back there in Birmingham?

The shelf you gave me while I was struggling to get to school, and the food

you brought my mother, and the money you gave me, and all that.

Have you forgotten, Mandy?

Of course you have.

That's just like you, you old dear.

You were always so good to everybody.

You never thought about yourself.

But I'm taking charge of you from now on.

You're going to start being my big sister some day.

I don't know whether you can so or not.

And I don't care.

I only know that you are good, honest, and faithful.

I can so.

I can teach you how to do it if you don't know.

We'll spend the night, and nobody will ever know who made the costume.

You and I are going to stick together, Mandy, here in this big city.

Let's try chorus number.

All right, girls.

Now, you get a dream and you get things right out of that stuffy little old room.

No, no, I won't listen to any no's.

I have a nice four-room apartment, and the

girl who's been moving we work nights together.

The Lord's going to bless you, child.

I don't know why you're so good to poor old crazy Mandy,

but, oh, you're not poor and old, and you're not crazy.

Good gets good, but some people miss on candy.

That's all.

Hurry now, before I have to lie some more.

And I don't want to lie any more.

Sit down, fellas.

I'll call the boss.

Mr. Gregory?

Yes?

I just picked these boys up in Harlem.

Let them come down and see what they got.

Well, let's see what you can do.

All right, take it out now.

I got rhythm, boy.

Say, I got rhythm, boy.

You got rhythm, boy.

Anything more, say.

Here is some advice to you.

Any time you're feeling blue.

Just do like I do, and dance, dance, dance.

Now dance, dance, dance, dance, dance, dance.

I don't want no romance.

Dance, dance, dance, dance, dance, dance,

dance, dance, dance, dance, dance, dance, dance.

I want to drive the dance, yeah.

If it's a little lookin' ball.

What else can you do?

Well, these things are never called country boy hard.

Well, that's here.

I'm sorry, but we don't let the music get in the day.

We can have it tomorrow.

Okay, I'll see you tomorrow then.

All right, thanks.

See you tomorrow.

Okay, Mr. Gregory.

When I dressed him up and gave him my money, I was so mad when Liza told me what

he was doing that I just naturally lost my head and got in a car and went out to that

road house and just wiped up the floor with that huggy.

It's the same on you.

Huh?

It's the same on you for fighting.

Fighting it all.

It shouldn't be so common.

Certainly.

Don't you know it's not dignified or coming for a lady to go around fighting?

Oh, of course it ain't, honey.

I never did before.

But when I see them with their heads together or browsing in a coon and their

eyes closed like they were so much in love

with each other, I just went crazy and crazy.

Him all dressed up in the suits I brought him with my money in his pocket,

and she turns around and calls me a funny-looking breezy girl.

Mmm, child.

You'd have fought, too, if you felt like I did.

Of course, I'm mostly over it by now.

But you know, it's funny.

Sometimes I find myself thinking about him now and wondering what he's doing and

who's taking care of him and giving him their money.

Terrible.

Certainly.

Why, giving a man your money.

What manner of a man is it that would accept money from a woman?

All manners of men in Birmingham, honey.

Oh, no, Mandy, not all.

You've just been going with the wrong kind.

I guess you're right, but them's the only kind

that would ever pay any attention to pull me.

Now, you mustn't see things that way at all, Mandy.

No real man would ever think of such a thing.

If he really cared for you, he'd rather give you some of his money.

Sure enough, of course.

And that's the time you're going with from now on.

Sure enough.

You know, I'd like to have a good man, honey.

Well, you just be patient.

You'll meet him someday.

No, he may be waiting for you now.

Just around the corner.

Sure enough.

What corner, honey?

Mr. Pregnant, I invited him to dinner to eat some hot biscuits.

Lordy, and I ain't even put the things in the oven yet.

Now, space your head.

Thank you.

Won't you have a seat?

Now, make yourself right at home while I go help Mandy with the dinner.

Would you like to listen to the radio?

I'd rather listen to you, Miss Lena.

Why, Mr. Pregnant, what do you mean?

Why can't you call me Ted?

I'm a young man.

And don't you understand, Lena?

Haven't you been able to see that I love you, dear?

Oh, Ted, I'd hope so.

I didn't dare think you did.

And do you love me a little too, Lena?

All right, Miss Lockett.

Well, this is the little girl from Birmingham.

There's a little girl that just came in from Los Angeles.

They tell me she's very good.

Let's see what she can do.

Bring her on.

All right, Miss Harris.

Excuse me.

I want to talk to you.

What's on your mind, brother?

I want to get on the leave.

Yeah?

How long you been here?

That's where I have a conversation that's got to be confidential.

I'm listening.

Just give me one more little drink.

Well, I've got to go.

I'm late for rehearsal now.

And if that man of mine finds it out, he'll break my jaw.

That's just what he'll do.

I just got in town last week.

I know you're supposed to be here two years, but they told me to see you.

Well, they sent you the right man, all right, because I know the rules.

That's what they told me, and everything is confidential.

And I know how to keep my mouth shut.

You better.

If I get you on the relief, then you just got here in two weeks.

I've got you.

Now, what am I supposed to do first?

The first thing, you've got to sell out some people.

Yeah.

Then they're going to send somebody around to check up on them.

But be sure when they get there that you be looking

good and bad, hungry, raggedy, down in the mouth.

I'd rise.

I'd help you downstairs in Texas, if you don't mind.

Get away, man.

I ain't drunk.

How'd you get that way?

Pardon me, ma'am.

You can stay for a week.

I'm fine.

Place in Guantanamo.

You're going to offer your job, but don't take it.

How come?

But he isn't on the relief.

And sure.

Sure enough.

I worked all night on this number, and I believe it's just what we want.

I'll have Broadway run it down for you, and we can hear how it sounds.

But you see, if you offer me a good job, I ought to take it.

I don't mind working.

Man, you crazy.

He'll give you $16 every two weeks for girls to sit around.

What do you want to wait for?

That change is de-confliction.

Well, what's that?

Well, you must see me every day until the check starts rising.

Then I'll be seeing you.

Of course, nothing's shown up yet.

And be ready to start.

That woman sure is a pain in the neck.

All right, stand there.

Just walk and get on the phone and call us.

We're just holding her up.

Never mind, Sammy.

You're going to miss Powell.

I've heard her calling.

You go backstage and feed this number to the period routine,

and there's no time lost between exits and entrances.

Hello, Ms. Powell.

Hello.

I've just been informed that Ms. Smith has not arrived yet.

Well, all the time anybody should be late, and this is the most exasperating.

I know.

Well, I'll get on the phone and see what I can find out.

Meanwhile, we're not due on for 40 minutes.

We'll go ahead with the opening.

She ought to be here by the time we get to her.

I hope so, anyhow.

I want you here to check up on things.

I understand, dear, uh, Mr. Grady, but there'll be another rehearsal tomorrow.

We've got everybody dressed and ready back there.

So go ahead with the opening before they begin to get restless.

We're ready.

What do you say?

Let her go.

We're going to run down a few bars this course with the girls.

And if I hear any noise while this is going on, out you go.

And I don't mean maybe.

All right, bro, we let her go.

Help!

My leg!

My leg!

Quick, call her to the hospital.

I bet she's moving out of there.

All right.

Help!

My leg!

It's broke!

Oh, please do.

Hurry.

She's holding up the rehearsal and we're due to open in three days.

Mr. Gregory is granted.

Great job with your holders.

No more for her yet?

I've just talked to Mr. Jones.

Goodness, let's hope he's found her.

Hello.

Harlem Hospital.

Yes, this is the winter rehearsal hall.

I'm answering for Mr. Gregory.

What?

Yes, we'll come right over.

Aura's been in an accident and they've taken her to Harlem Hospital.

Goodness, but I hope it isn't serious.

Sammy, call up the rest of the rehearsal for tonight.

Aura's been in an accident and she's in the hospital.

Well, Mandy, did you hear the good news?

Laws and mercy.

Well, you take care of everything while we hurry to call her.

Sure, sure.

Well, looks like we're blown up.

There's a hole in the balance here and we're sinking.

This show can't get to first base.

Without a blues singer and a mammy lead.

They look forward to this type of show.

Of course, Smith is the best one to hold Negro rate.

You're right.

Oh, isn't it terrible?

Just as we were about to get started, too.

I'll hear it now from all sides.

You said I couldn't do it.

Of all the colors, though, that have gone by the board, no Negroes ever produced one.

From Williams and Walker to Green Passage has all been sponsored by white men.

No Negro has ever been on the money nor the profit.

But we're not with Smith yet, dear.

We're only yet.

I don't know.

I feel as though we're going to make it yet.

And now the chorus is out of it.

I feel sort of relieved.

Change me, Relief.

But Lena... Oh, Ted!

Ted!

This is our blues singer and mammy lead.

I knew we couldn't fail.

I just knew it.

Whatever in the world are you talking about, Lena?

Have you lost your mind?

No, it's nothing.

I've just found it.

Oh, Mandy!

Sandy!

Your time has come.

You're going to save us.

You're going to save our show.

I can't save myself now, honey.

I'm moving.

Well, you see, when I left rehearsal tonight, I

met the man that treated me so bad in Birmingham.

And he didn't go both his ways all the way up here to New York following me.

And I can't help what nobody says, honey.

I just love that man.

And it almost rung my heart to see him so raggedy and hungry so... So what?

Well, I know how you feel.

Him all raggedy and no good for nothing but playing the piano so I...

Oh, can he play the piano?

I mean, does he play good and swing and dance?

Oh, he can play anything, honey.

That's why they talk about himself.

You know what they say about a man that plays the piano.

He ain't good for nothing else.

But I just naturally love that man.

And I don't care what nobody says.

I'm going to take him back.

So that's why I'm moving tomorrow.

That's a big idea.

Since Cora Smith got drunk and fell down the stairs and fractured her leg and will

have to stay in the hospital for half a month,

we've got to have somebody to take her place.

And that somebody is Mandy.

But Linda... Never you mind, but just listen to me.

I know Mandy can put it over.

Because she's got just what this show needs.

Swing.

Now here's the idea.

We'll have Taylor write a new theme song for the show and we'll postpone the

opening 10 days while we whip Mandy into shape to take Cora's place.

But honey, I can.

Oh, yes, you can do it.

Now you two just be calm and listen to me.

You say this man of yours plays the piano and you love him.

Then go out and get him and bring him here at once.

He's going to play for you.

And Ted and I are going to put you through the

most strenuous 10 days of rehearsing on record.

But you're going to save the show, Mandy.

Save it for Ted, you and me.

Now go out and get him, Mandy, and hurry.

I've gone to get him, honey.

He's waiting just around the corner.

Oh, Lena, I really think she can take Cora.

Well, just trust in my judgment this time, Bea.

We'll wait and see.

I live, Mr. Shane.

Please let me explain.

I live, Mr. Shane.

One more, I'll explain.

I've

been seen pure clearance in the land.

I could say, Bella, Bella, even save on the bar.

I've been told we have to say

hi.

Dear Mr. Shane, kiss me and say you understand.

You don't need to go trekking off to Atlantic City.

I'll put the show on in my theater, Ted.

Now, I know just what you're going to say, but let me do the talking this time.

Now, you've worked hard.

All producers do that.

Now, you've got a fair show.

But with one exception in your show that you're all afraid

of, with the possible exception of Miss Powell here.

It's just another colored show.

It'll last about as long on Broadway as the average one

that's been brought down from Harlem has been lasting.

But you've got in this show one spot that is a constellation.

And that one spot is the new woman you just washed in at the last minute,

Mandy Jenkins.

She is the most original and personal person I've ever seen.

With her on a long-term contract, you've got the

biggest colored possibility since Williams and Walker.

And it's because of her and the spot she is in this show that I am ready and

willing to open on Broadway without even an out of town fire.

And to show you how much I think of it, I am ready and willing to assume all

financial obligations of the show from now on and lay

in your hands a check for $10,000 advance on your care.

I'll make checks and be certain of that.

I'll use the 50 square feet over the top of my

theater for the biggest electric sign on Broadway.

My only stipulation is that the name of the show be changed to Mandy Jenkins.

I love that man.

Laudy, is this for me?

Nobody else but.

15 minutes,

15 minutes, 15 minutes.

My goodness, Mandy, we've got to hurry.

Heaven and hell, part of my

The moment I set eyes on Heaven and hell

I'll get our kids for just a minute.

He's unaccustomed to all this, and he's been left alone.

Yes, I understand.

Thanks.

Come on.

Uh, by the way, Mandy, could you let me have a few bucks?

Shame on you for taking her money.

She loves you, and you ought to be good to her.

Oh, I will.

Because if you're not, I'll have you put on your

spot and taken for a ride and shot in the head.

You were right, Lena.

Mandy saved the show.

We're very grateful.

God bless her.

The End