All language subtitles for Step.Lively.1944.1080p.WEBRip.x264-RARBG

[WHISTLING]

- Package, Miller.
- That way.

[RESUMES WHISTLING]

Gordon Miller, collect.

[WHISTLING]

Charge for Mr. Miller.

Laundry, valet.

Charge to Gordon Miller.

BELL CAPTAIN:
Flowers, candy.

[WHISTLES]

[BELL RINGS]

[WHISTLING]

WOMAN 1:
Crillton, one moment, please.

WOMAN 2:
Crillton, one moment, please.

WOMAN 3:
Gordon Miller, line is busy.

WOMAN 1:
Gordon Miller, line is busy.

Gordon Miller, line is busy.

Crillton, one moment, please.

Calls for Mr. Miller.

POSTAL CLERK:
Gordon Miller.

Gordon Miller.

Gordon Miller, Gordon Miller,
Gordon Miller...

...Gordon Miller, Gordon Miller,
Gordon Miller.

Gordon Miller. Boy.

[WHISTLING]

[HUMMING]

[THUDDING]

- Who are those for?
ALL: Mr. Gordon Miller.

Mr. Gordon Miller?

- Penthouse.
- Yes, sir.

- And, young man?
- Yes, sir?

There's too much fiddle-faddling
going on in this hotel.

- Yes, sir.
- Singing and so forth.

- Yes, sir.
- I want no more of it.

Yes, sir.

- This is a hotel, not a music box.
- Yes, sir. Penthouse.

GROUP [SINGING]:
Will someone define

That thin dividing line

Upon the answer, lovers all depend

- Gordon!
- Shh!

Don't shush me. I should never
have allowed you in this hotel.

Don't break it up, they're getting it.

- Getting what?
- That.

Hear, hear!

We want a showdown
Yes, yes

We want the low-down
Yes, yes

How do you get to be a spouse?

WOMEN: Where does love begin
And where does friendship end?

The question is a knotty one,
And really needs an answer

MEN: Where does love begin
And where does friendship end?

A guy and girl start shakin' hands
Now, when does he romance her?

Romeo loved Juliet

But when did they first start to pet?

Why, even Casanova had to stop

And think it over

- Sit down.
- I don't wanna sit, I wanna talk to Gordon.

I'm in a terrible spot. Supervising director's
arriving to inspect the books.

- Been knocking down?
- No.

And where does friendship end?

It's a very silly notion
That you have to show emotion

So as a doctor of biology, I--

ALL:
Hooray!

I shall presently inform you
That the stimuli that warm you

Are a product of psychology

ALL:
Hooray!

CHRIS: But where does love begin
And where does friendship end?

Why is it when I look at you
I get the strangest feeling

Where does love begin
And where does friendship end?

I seem to be a bit confused
I feel my senses reeling

ALL:
The friendship that they cherished

Quickly falls away

Plain to see it's perished

By way of shotgun or halter
They'll meet at the altar

So this is where one little kiss

Will tear away that mystery

Of how you lose a friend

For here's where love begins

Here's where Cupid wins

Here's where love begins

And here's where friendship

Ends

That's swell, kids.
That's enough for tonight.

Gordon.

Oh, oh.
Gribble, what are you shaking about?

Trouble with his bookkeeper.

He's not a bookkeeper. Mr. Wagner
was sent by the board of directors.

- You been gambling again?
- I've been gambling on you.

He'll discover your bill.
It's the largest one in the hotel.

What will I tell him? If he finds out you're
my brother-in-law, that's the end of me.

You really think he'll make trouble?

No, he'll kiss me, he'll give me a medal for
extending $1200 credit to a shoestringer.

Watch that, Joe. No cracks.

Be reasonable.
You advertise all the comforts of home.

- So what?
- At home we didn't pay.

- Everything's free.
- If only you would've nursed it alone...

...but you had to move in 22 actors
who clean out my dining room like locusts.

- The poor kids had to eat someplace.
- Yeah, we had to keep the cast together.

Just imagine what a wonderful satisfaction
when you go to bed at night...

...you can say to yourself,
"Ah. Today I fed 22 starving actors."

I'm running a hotel,
I'm not The Salvation Army.

- From my piano, the number looked terrific.
- Oh, thanks.

- Please pay attention.
- Sure.

Don't worry, Gordon has a backer.

- I'm sorry, I cannot tell that to Mr. Wagner.
MILLER: Why not?

You had backers coming,
none of them came through.

Never one like this.
This guy's really coming.

- We're expecting him now, name's Jenkins.
- That's right.

- But I came up here--
- I hate to miss the fun, we've got to work.

Come on, girls. Well?

Oh.

Thank you kindly. See you later?

Well, I'll try.

Look, what are you getting upset
about a measly $1200?

- There's a time in every businessman's life--
BELLBOY: Room service.

- Refreshments, put them over here.
- Thanks.

- Put them on the table. Harry, sign for this.
- Sure.

Oh, no.
No more charges against this penthouse.

Wait a minute,
you're not gonna ask that poor boy...

...to carry that great big heavy tray
all the way back downstairs, are you?

Very well. I'll sign it myself.

- That's more like you, Joe.
- That's the last room service you'll get.

Joe, lend me a dollar, will you?

- Here.
- Thanks.

Here.

- Here you are, chum.
- Thank you, sir.

- It's okay.
- Listen to me, Gordon--

Hey, that's my dollar.

- I'll find out for you, madam.
- Thank you.

- Give me the porter. Yes, sir?
- Mr. Gordon Miller, I'm expected.

- That's the penthouse.
- Thank you.

Hello. Who do I say is calling?

Oh.

Oh.

Your typewriter's open.

Hmm? Oh, yes.

- I hope I didn't embarrass you.
- That's all right.

- Are you Miss Gypsy?
- No, I'm not.

Well, it seemed rather logical.

- Did it?
- Yes.

- I was going for the elevator, when I came--
- Goodbye.

Goodbye.

Oh, excuse me.

Hello. What?

Oh, there is? Okay, thank you very much.
All right, fellows, break it up.

There's a man on the way up here,
it must be Jenkins. It's got to be Jenkins.

[DOORBELL BUZZING]

Wait a minute, wait a minute.

Hello. Yes, madam.

Oh, no, no, I couldn't possibly consider
your offer of $20,000.

I think you'll find it very difficult
to buy in to a show...

...as big as this one
for such a small amount of money.

Yes, thank you very much.

Okay, fellows, do your stuff.

- Yes, sir?
- Mr. Miller?

That's right, come right in.

- You were expecting me--
- Yes.

They called up from the desk.
I'm delighted to see you.

- Mr. Binion, my producer.
- How are you doing?

This is one of my associates.
Make yourself comfortable.

Get the man drink.

Will you have a cigar?
I can recommend these, I use it myself.

I know you're a busy man,
so I don't wanna waste your time.

- Let's get right down to business.
- Well, that's fine.

Ha-ha-ha.
That's a man after my own heart.

- Harry, the music.
- Quite so.

[PHONE RINGING]

Binion, get that phone.
Tell the folks on the desk...

...no interruptions for a few minutes.
Everybody wants to back this play.

[PIANO PLAYING]

Listen to that stuff.
Throw you ear over there.

Isn't that lovely? That gorgeous?

When this show is put on,
Oklahoma will be just another state.

Hello, who?

MILLER:
This is gonna be a cinch, Mr. Jenkins.

- Mr. Jenkins?
- I beg your pardon.

- Like buying a solid-gold mine, Mr. Jenkins.
BINION: Yes, Mr. Jenkins.

We've got the chorus all picked out.
The show is in rehearsal now.

- I don't mind telling you, Mr. Jenkins--
- Yes, Mr. Jenkins.

Binion, would you mind
not sounding like an echo?

- That'll be all right, Mr. Jenkins.
MILLER: What's wrong here?

- That man is an impostor.
- He's a what?

That was Jenkins.
He can't get here till tomorrow.

MILLER: What kind of a gag are you trying
to pull on me, young man?

- I never said I was Jenkins.
MILLER: Who are you?

- I'm Glenn Russell.
- Glenn Russell? Never heard of him.

- Get rid of this guy.
- Come on.

Just a second.

Two months ago,
I sent you a play called Godspeed...

...and $1500 for a share in the production
which you readily accepted.

- And that's the last I heard from you.
- You sent me play Godspeed, 15--?

Pardon me, just a moment.
What did you say your name was?

- Glenn Russell.
- Glenn Russell, well, of course.

Oh, Russell, the playwright.

- Good to see you, make yourself at home.
- Thank you.

Let's get something straight,
what about my play and money?

- The play and the money--
- Uh-uh. One question at a time.

But I still wanna know about my play.

I'll let you in on a secret.
Your play is in rehearsal now.

And the $1500?

That's in rehearsal too.

What my friend wants to say is,
the 1500 is working for you.

- Glenn, it's working for you.
- That's nice, I worked pretty hard for it.

Could I ask you
how you earn so much money?

- Singing.
- Singing?

Oh, a singing Shakespeare. Heh-heh.

I'll tell you what to do. You go home,
forget about the whole thing.

We'll put on the play.

- And when it's all ready, we'll send for you.
- Why?

- You've got a home, haven't you?
- Sure.

- You got a mother?
- Naturally.

- A father?
- Stepfather.

Don't tell me you left your mother
with your stepfather?

Horrible mistake.
You ought to be on your way home.

- On the next bus.
- Sure.

Probably breaking the lady's heart.

- My mother's happy I'm here.
- Don't be mislead, that's a mother's mask.

- What time does the next bus leave?
- Hurry, you can make it.

Get his suitcase and hat. Glad to see you.
Anytime you come to town, drop in.

Now, wait a minute.

I've had enough of this horsing around.

I'm not going anywhere
until I find out what's what.

If he's not going to accept our advice...

...we're not gonna force
our opinions on him.

It might make him neurotic.

- What's that?
- Quiet.

I'm beginning to believe that you never
had intentions of producing Godspeed.

MILLER:
How could you say that?

Furthermore, if you haven't, I want my
play and money or I'll speak to my uncle.

- Your uncle, who's your uncle?
- Judge Russell.

Judge Russell's your uncle?

[LAUGHING]

Isn't that marvelous?
What a character, what a cute fellow.

Don't you realize we've been kidding?

Don't you know
it's an old theatrical custom...

...the producer has a joke
with the playwright?

Prepare yourself for a surprise.

Tomorrow morning, at exactly 9:30...

...you're gonna see
your play, Godspeed, in rehearsal.

Well, Mr. Miller,
perhaps I've been a little hasty.

But I was a little worried,
that's all the money I had.

No more money, are you broke?
Where you gonna--?

We can't have you walking the streets.

You might be talking to strangers.
That's simple.

Here, take the man's things,
check him in downstairs.

Glad to have you with us.
Move right in here.

Judge Russell is your uncle?
Nice to have you with us, Glenn.

It'd be strange living here without money.

It's strange, but you'll get used to it.

Go in, wash up, make yourself comfortable.
We'll think of something exciting to do.

- Just how we gonna do it?
- Huh? Do what?

How are we gonna show him a rehearsal
when we're doing a musical revue?

No problem. We'll get some of our people,
some of his lines...

...show him a fake rehearsal.

- What about his dough?
- We'll fake that too, quit worrying.

But remember your blood pressure
and be a little more tolerable.

You'll be surprised how intolerable I'll be.

Not another cent
will be charged against his account.

- Gordon.
- Hello, Joe, glad to see you.

- Gordon.
- Yeah?

- What are you trying to do to me?
- Wait, take it easy.

- Who's this man you're checking in?
- Glenn Russell, famous playwright.

- Has he money?
- "Has he money?" he asks. Ha-ha.

What a question.

All right, by checking in here with you,
he becomes responsible for half the bill.

- Oh, no, no, you can't do that, Joe.
- Well, here I am, all washed up.

- Mr. Russell?
- Yes, sir.

- In behalf of the hotel, I welcome you.
- Thank you.

I trust that your stay with us
will be a pleasant one.

And I have the pleasure to inform you
that you owe me $600.

- What?
- Hey, Joe, come on outside.

- I'm not coming out.
- What kind of a place is this?

You move in,
and you owe $600 right away.

- Ho-ho. The guy's only kidding. He's drunk.
- I'm not.

You ought to be ashamed
going around in this condition.

- I ought to talk to the manager.
- I'm the manager and I'm not drunk.

Pardon me, Mr. Gribble.

Those 22 actors
are in the dining room again.

Gordon, they're eating again.

Joe, they've got to eat.
After all, they're human beings.

They're not human beings.

They're actors.

[LAUGHS]

Isn't that wonderful? My brother-in-law,
he can't handle his stuff.

Have you had your dinner?
No, I can see you haven't.

Come out, we'll take care of that.

[BAND PLAYING LIVELY TUNE]

Hi, Fred, glad to see you.

ALL [SINGING]:
Every motion picture

Has a moment on the screen

Exclusively devoted
To a bathing beauty scene

Wherein the banker's lovely daughter
Is submerged to here in water

With your permission

We will show exactly

What we mean

Hold it, one minute!

The lady must be in it!

CHRIS:
Come in

Come in, the water is grand

Come in, come in and give me a hand

When you're in the bubbles

You haven't any troubles

You really can't deny it

Try it once and you will love it too

Come in

Come in, the water is sweet

Jump in

Jump in, it's really a treat

If you need relaxing, Jackson

Take this tip of mine

And come on, come on, come on in

The water is fine

Come out, come out, wherever you are

Look, who's here.
There goes the last of your week's salary.

- Like to meet her?
- I've met her.

You're a sap letting
that bunch eat you broke.

Oh, I don't mind.
They're pretty nice fellows.

One of them in particular.

So come out, come out
Come out, come out!

[APPLAUSE]

Thank you, thank you.
And now it's your turn.

We have a big Broadway producer
with us tonight, Mr. Gordon Miller.

So if you have any talent....

Come out, come out, wherever you are

- Wanna try it?
- Sure.

Who knows? Who knows?
I may be a star

Not bad.

I would like to teach you

Baby, if I could only reach you!

Uh-uh
You'll get to be a crooner, sooner

If you sing instead of cling

Spread out, spread out
Give your elbows a rub

Come on, how about you?

[OUT OF TUNE]
Not me, uh-ha-ha

I can't carry a tune in a tub

Well, thanks for trying.

Every country yokel can be vocal

Lady, that's a lie.

Well, come out, come out, come out
And give it a try

- Now who's gonna sing for me?
MEN: He is.

- You are?
- Sure.

Oh, by the way, you know Glenn Russell,
a famous playwright.

He wrote the play we're producing,
Godspeed?

Oh, yes, yes, of course.
The one you wrote on that typewriter.

- Uh-huh.
- Hello again.

- Hello.
- And you're gonna sing for us?

Yes, do you know the verse?

No, I don't,
but I'll have Bob play it for you.

- Take it from the verse.
- Glenn, do you sing as well as you write?

- About the same.
- Oh, that's fine, wonderful, nice.

Columbus had more chance than me
When he set sail to cross the sea

At least, he thought he knew
What he was doing

And I'm in search of something too

Exactly what, I wish I knew

Yes, I pursue

But who am I pursuing?

Chances are that I won't find a bride

But it won't be

Because I haven't tried

Come out

Come out wherever you are

I know

I know you're not very far

How I wish you'd hurry

'Cause I'm inclined to worry

These arms of mine are open

Hopin' you'll appear

Where are you, dear?

Come out, come out wherever you are

Come out

Come out from under that star

Yes, and incident'lly, ment'lly

I'm not up to par

So, come out, come out, come out

Wherever you are

[APPLAUSE]

You were wonderful.

Wow, did you hear that?

- I don't know.
- Think he's got something?

Got something? That guy's
the greatest discovery of my career.

Did you see those women?
The expressions on their faces?

If that guy was the Pied Piper of Hamelin,
there wouldn't be a dame left in town.

It was very sweet of you
to help me out, Mr. Russell.

I didn't know I was going that far,
but I enjoyed doing it for you.

Thank you.
Where did you learn to sing like that?

I didn't learn. I just sang, I guess.

Maybe I shouldn't have taken lessons.

How can you put him in a musical
when he thinks you're doing his drama?

He said he'd put anybody in jail
if they stole $5 from him.

- He did?
- Yeah, even if it takes him his life.

- He said that?
- Uh-huh.

Can you imagine being put in a jail
by a guy from Oswego?

It's just a matter of psychology.
Every man has his weakness, you know.

And I think I know his.

Chris, when you put that microphone
in that Russell kid's hand, you struck gold.

You opened the gates
to a million dollars.

- He's a nice kid.
- A nice kid?

Charm, personality, that voice.

Ho-ho. Should've seen the women
when he started singing.

- You should've seen yourself.
- I know.

One thing worries me,
he's rotten with ethics.

- He's a serious-minded boy.
- Yeah.

All wrapped up in his play.

I'm wrapped up in it too.
Maybe I'm gonna produce it.

Maybe he's got a great play,
I'm gonna read it.

Do you mean you haven't read his play?

I gave it to Binion to read.
He didn't understand it.

- I can understand that.
- I'll tell you something else, Chris.

- That kid could get us into a lot of trouble.
- Really? How?

Well, it's sort of a little technical stuff
that you wouldn't understand.

- Important thing is to worry about our play.
- Yes.

If we could get him to sing
a couple of songs in it...

...we'll stampede them at the box office.

- All right, what do you want me to do?
- Just a little selling job.

I want you to explain to him
that the best way...

...to become a successful dramatic
playwright is through musical comedy.

- Oh, you can get him interested.
- Mm-hm.

And supposing
he becomes interested in me?

- Well, I expect him to.
- What?

I don't mean to that extent,
the guy doesn't have to go overboard.

- I see.
- Just tell him a few little simple things.

Like, "In show business,
everyone helps everyone else."

- "It's all for one, and one for all."
- And all for Miller.

Well, I'm the producer,
the show has to go on.

- Oh, come on, Chris, do it.
- All right, I'll try.

For you.

You know, I wish I had more time
to concentrate on you.

So do I.

Well, we'll get around to that later.

While you're at it, see if you can
talk him out of those rotten ethics.

That's an awful handicap in show business,
awful handicap.

You mustn't mind Gordon.

Sometimes he acts a bit curious...

...but that's only because
he's so wrapped up in his work.

He sure makes a lot of noise.

He was serious about your voice tonight.
So was I.

Well, thanks.

Don't you think you ought to consider
doing something in a musical revue?

Oh, no, I'm only interested
in getting my play on.

Here's home.

I suppose you think
it's rather ambitious of me...

...writing a play with a message,
as they say.

No.

See, I put a lot of work in my play
and I believe in it.

I hope you won't be disappointed.

Well, if it's a flop,
it will be good experience.

Maybe the next one will be better.

The idea is to stick to it,
not get sidetracked.

I see.

I don't mean to make a speech,
but you're so easy to talk to.

And I'm so glad
you're gonna be in my play.

That's very nice of you to say.

I mean it.
I hope it will be lucky for both of us.

- Well....
- Will I see you at the rehearsal?

No, I'm not in the part they're doing.

But I will see you tomorrow?

Sure. Good night, Glenn.

Pleasant dreams.

[WHISTLING]

[ALL CHATTERING]

Mr. Russell, Mr. Miller,
we're ready with rehearsal.

Let it go any time you're ready.

Clear the stage, everyone,
except for those in the script.

Quiet, quiet! Let's try one now.

[BINION CLAPS, GRUNTS]

FATHER: To those who have helped us
carve a home out of the wilderness...

...to them we say, Godspeed.

Yes, Naomi, let this, then,
be the symbol of our love.

The warmth of our heart,
the three children you have born me.

Oh, yes, how strange the world,
how strange.

Here come the children now.

GIRLS: Good evening, Father.
- Good evening, my dears.

GIRLS: Good evening, Mother.
- Good evening, my darlings.

They're gorgeous, aren't they?

- They're supposed to be children.
- Oh, well, they were only stand-ins.

We couldn't get the real children today.
We have to have a permit for that.

- Where did you get them?
- All right, go on quickly.

- What are we having for dinner, Mother?
- Boiled buffalo.

- Oh, goodie.
- Goodie.

- Goodie.
- Goodie.

GIRLS [SINGING]:
Oh, goodie, goodie

FATHER:
So full, my cup of happiness.

- Hello, son.
- Hello, Father.

- Robert, home from college.
- Yes, Mother.

- Son, I have news for you.
- No.

You're about to become a brother.

No. Oh, Mother.

Oh, brother.

I couldn't possibly have written it
that badly.

MILLER:
Wait a minute--

Oh, Gordon, I hate to interrupt
but I don't think Mr. Jenkins likes it.

What about Jenkins?

The desk sent him up.
That's him with the girl.

Oh. Oh. Enough rehearsing for today.

- That will be all.
MILLER: Dismiss the company.

Chris, you remember Glenn.
Glenn, you remember Chris.

Why don't you take him for a nice walk
down that way? I'll see you later.

- Mr. Jenkins, Mr. Jenkins, I'm Mr. Miller.
- Yes?

- How do you do?
- Glad to see you.

- Mrs. Jenkins?
- Miss Abbott.

I beg your pardon.
It's a pleasure to see you.

That's more that I can say
about your rehearsal. It was positively--

- Awful.
- Exactly.

You didn't get the significance of it.

Would you excuse Mr. Jenkins
and myself for a minute?

We got business we wanna talk--
Chris, take Glenn over to the piano.

Run over that song, "As Long as
There's Music, There's Always a Chance."

Come on, Glenn.

That's my juvenile man,
temperamental but all right.

Wonderful voice.
Wait till you hear him sing.

- Oh, look, Mr. Miller.
- Yes?

Since seeing that rehearsal, we're
no longer interested in your enterprise.

[PIANO PLAYING]

Oh, Mr. Jenkins, I....

[SINGING]
The mood begins

With violins

And suddenly

You're close to me

The tune that they're playing

Is simple and pure

The words keep saying

That my love will endure

As long as there's music

And words of romance

The spell of a theme starts you to dream

There's always a chance

As long as there's music

Whatever the song

As long as there's music

For sweethearts to sing

I'll sing you my love

Melodies of the birds on the wing

My loneliest days

Can never seem long

As long as there's music

And you are

The song

- Is he in the show?
- Is he in the show?

Miss Abbott, he is the show.

- Well, Mr. Jenkins, settle the deal.
- Ha-ha-ha.

You heard what the lady said, Jenky.
Settle the deal.

- Oh, you were wonderful.
- Was I?

I'm so glad
we're going to be working together.

- Are we?
- Oh, Miss Abbott.

Glenn, what Miss Abbott means is,
she's interested in you--

I mean, she's financially interested
in backing the show.

- She and Mr. Jenkins.
- Oh?

But there's one thing you must understand.
This is not my money we're investing.

Oh-ho-ho, I think I know
what you mean, Mr. Jenkins--

No, I am the agent
for a very wealthy man.

You'd recognize his name
if I were to mention it.

Or if we saw it on the check.

You mean,
he wishes to remain anonymous?

Well, you see,
it's Miss Abbott's current whim...

...to do something in the theater.

Oh. Oh, well, may I say
that it's the theater's extreme good fortune.

- You're a professional, Miss Abbott?
- Naturally.

Of course she is. It's oblivious.

Sure, stands out all over. You can see it.

Now, my client is predisposed
to indulge Miss Abbott's whim...

...to the amount of, say, $50,000.

Fifty--? Fifty thou--? Ha.

Well, ha-ha, I should say a good whim
was worth $50,000. Ha-ha-ha.

If you'll have the papers ready tomorrow,
I'll be here and take care of everything.

- Fine, fine.
- And I'll be here to take care of everything.

Oh, Miss Abbott,
I think you need some fresh air.

I know what I need.

- Goodbye.
- Goodbye.

I just wanna know one thing, Gribble.

What goes on in that head of yours?

- Mr. Wagner, if you'll just let me explain.
- Explain?

You let this chiseler move in here,
move in 22 other people.

Twenty-two people that I can't even find.

Charging it all up to one room...

...and paying out
over $200 in cash for gifts.

Well, they are very generous people.

You see, Mr. Miller kept promising
and showing me backers and telegrams...

...and he even gave me
his word of honor.

I don't know what you're talking about.
The more I go into this, the less I know.

But one thing I'm sure of, there's a screw
loose in this hotel and I'm gonna find it.

- Yes.
- I was sent here...

...to pull this unit out of the red
and nothing is going to stop me.

First, I'm gonna lock out
these 22 vanishing Americans...

...and then, I'm going
to take care of Miller personally.

And you are gonna be charged
the difference...

...between the credit limit and the loss.

- Seven hundred dollars.
- Yes, Mr. Wagner.

That will be all, gentlemen.

Seven hund--

Seven hund--

No.

No.

This is Mr. Gribble.

Get me Gordon Miller.

Fifty thousand dollars.

You realize you sold the show
on Russell's voice?

- Sure.
- How you gonna sell Russell?

[PHONE RINGS]

- We'll make that sale when we get to it.
- Suppose he doesn't wanna be in the show?

What's he got to say about it?
I'm producing this show.

- What are you gonna have?
- B&B with a shot.

- Tequila.
- I'll have a beer.

Yeah, all right. For you, Mr. Miller.

For me? Thanks. Hello?

Gordon, Wagner's here.

He checked the books.

Gordon, he's not happy.

He's gonna lock out your cast.
He's gonna throw you out too.

He can't. If he locks them out,
I'll lose my cast, I've got a backer.

You tell that to Wagner.

Gordon, if I lose that job...

...your sister may have
to go to work again.

Joe, Joe, wait a second. Joe.

- What's up, boss? What's the matter?
- What?

The worst has happened.

- What?
- We're locked out.

- Oh, no.
- Oh, no.

Wagner wants the money.
I don't where to get ahold of Jenkins.

- How about giving a dated check?
- You can't, they'll get wise to it.

- Let's think of something.
- This is no time to think.

Boys, I got it.

There's an old hotel law that says you
cannot move a sick man out of his room.

- Yeah.
- That's right.

[BOTH LAUGHING]

- How do you feel?
- Huh?

Me? Great, great, never felt better.

Gordon, Glenn wants to talk to you
about his play.

Yeah, particularly that rehearsal.
It just about made me sick.

- Sick?
- It upset me very much.

May I suggest you have a little drink,
and we'll talk the whole thing over.

My lines weren't written
to be spoken like that.

BINION:
Oh, well, that was just a rough rehearsal.

HARRY: The actors speak much better
when they're made up.

CHRIS:
Yes, in the theater and with costumes.

There you are, try that.

- Everything is gonna look different to you.
- I hope so.

Sure, sure.

There will be so many changes around here,
it will make your head swim.

I can't understand it.
It came on me all of a sudden.

- You look terrible, terrible.
- Look how pale he is.

Probably change in water, change of food.

Maybe something inherited
from his stepfather.

Perhaps it was something in that drink,
it tasted very funny.

What? A bad drink
at the Hotel Crillton bar? Impossible.

- You better get to bed right away.
- Yeah, I feel awful.

You'll feel better in the morning.

Chris, Harry, I want you
to get some things for Glenn.

Binion, take care of him.
He's your responsibility.

My grandmother said the same thing.

They were gonna shoot her,
but she got her foot caught in a bear trap.

- Did you do something?
- Don't worry, he'll be all right.

Go down to the lobby, get the cast,
and keep them there.

We're being locked out.

Go with her, when you get them,
hide them someplace.

- Up in the ballroom.
- Suppose Wagner should find out?

If he comes in, start them dancing.
Now, hurry up.

All right, come on.

There's a screw loose in this hotel,
and I'm gonna find it.

I'll pull this hotel out of the red
if I have to check into every room myself.

- Yes, sir.
- Yes, sir.

[SINGING]
As long as there's music

There's always romance

- What the devil are you singing about?
- I, singing?

You were definitely singing.
And at a time like this.

- Well, good afternoon, gentlemen.
- Who is this man?

Mr. Miller, this is Mr. Wagner,
the aforementioned gentleman.

Oh-ho. So you're the person responsible
for all my discomfiture, huh?

Look here, I must insist you immediately
reopen those rooms on the 19th floor.

The occupants happen to be my guests.
I'm responsible for their bill.

And who is responsible for yours?

Will you please not cloud the issue?

I'll tell you what I'm gonna do. I'm going to
give you one hour to clean up your bill...

...or I'm gonna put you out of this hotel
and our theater as well.

Ah-ah-ah. I'm afraid you're ahead
of yourself. I don't think you can do that.

- Why can't I?
- It so happens the other occupant...

...of this penthouse, Glenn Russell,
the famous playwright, has been taken ill.

He's been stricken with a very dangerous
and serious malady.

- I don't believe a word.
- He didn't look well yesterday.

- Stop talking.
- Wait till you see him today.

- Where is the sick man?
- In bed, naturally.

Would you like to see him?
Step this way.

May I see him too?
I have a brother who's a veterinarian.

- There he lies.
BINION: Take it easy now.

What's the matter with him?

- We don't know yet.
GLENN: Ohhh.

This will decrease the hemoglobin
in the esophagus.

You hear that?

We've sent out for Dr. Thorbolt,
who is a specialist in diseases of this kind.

What kind?
You don't know what's wrong?

Ha-ha. That's what makes him
a great doctor.

I'd suggest discretion.

- That's very discreet of you.
- Another thing, Wagner...

...if this man is evicted,
you personally will be held responsible...

...for any change in his condition.

- That is the law.
- Uh-huh.

Well, it's quite possible
that this man is ill.

I'll give you till tomorrow.
Then I'll be back with a house physician.

- I'll be glad to see you.
- Come along, Gribble.

- Ohhh.
- I have pajamas just like that.

I'm terribly sorry this had to happen
in your hotel, Mr. Wagner.

- Gordon, what is the matter with him?
- Huh? He wrote a play.

- But a play couldn't make him sick.
- You didn't read the play.

Oh.

- Morning, sir.
- Good morning.

- You're up early.
- Yes, I'm going to the Victoria Theatre.

- It's a long walk.
- That's all right, I like to walk.

Hey, Glenn?

Glenn?

Glenzie boy, where are you?

Oh, Glenn? Hey, Glenn? Oh.

[MUMBLES]

Wonder where he is?

Hello, operator?

Get me Miss Marlowe, please, will you?
Right away.

Harry. Binion.

Harry.
Oh, those guys are never around.

You get no cooperation.
You've gotta do everything.

Hello, Chris. Chris, look, honey,
Glenn is gone.

Don't worry, I don't think he's far.
He'll probably call you right away.

If Wagner finds out he's not in bed,
we'll get thrown out.

So when he calls,
make a date, do something.

I don't know, honey,
Take him for a ride up at Central Park.

But explain the situation
and bring him back as fast as you can.

With a high temperature.
Yeah, okay, okay.

Thanks, sweetie. All right.

CHRIS:
Wait here.

- Oh, Glenn.
- Hello, what are you doing here?

- Looking for you.
- How'd you know where to find me?

I've been to every theater in town.
Come on.

- Where?
- Back to the hotel.

- Why?
- I'll tell you in the cab.

- Here you are.
- You only got half a shine?

Be back tomorrow for the other half.

The Crillton Hotel and please hurry.

Well, what's up?

- Glenn....
- Yes?

Glenn, we're in trouble.

So I've been thinking. Why?

Well, now before you ask any questions,
please listen to me.

Sure.

More than anything,
you wanna see your play produced?

But, of course.

Well, this is honestly
the only way I know it can be done.

How?

Oh, I know it may seem roundabout
and complicated...

...and not exactly as either of us
would want it, but--

Go on.

Glenn, Gordon's broke.

Hmm?

That's dandy.

Everything he's had
he's put in this production.

Now they're trying to put him out
of the hotel.

I know Gordon's crazy.
I know he's unethical.

But he means well.
And he knows his business.

Oh, Glenn, for my sake,
if you could just be a good fellow.

What do you want me to do?

Oh, Glenn, would you?

Maybe.

It seems my neck's in this thing too.

After all, I did write the play
he's trying to produce.

Oh, Glenn.

Miller, for the last time...

...I demand you allow Dr. Glaston
to examine the patient.

For the last time,
I tell you it's impossible.

That patient will not be disturbed
until his physician, Dr. Thorbolt...

...has finished the examination.

- Mr. Wagner, if I may--
- I'll handle this, Gribble.

I'm gonna get to the bottom of this case.

Twenty-two actors asleep all over
the hotel, signing checks for meals.

Getting sick in our best suites.
That is, if he is sick.

- Come on, doctor, let us in.
- You can't.

- Here's the doctor.
- Gentlemen. Please.

Patient must have absolute quiet.

- How's he doing?
- Well, I--

Doctor? Why, he's not--

Joe, you are a bellboy.
That is Dr. Thorbolt.

Have you had time
to finish your examination?

Yes, a very serious case
of sleeping sickness.

- Really?
- Oh, yes. He was bit by a tsetse fly.

- Oh, no. No, not that.
- Horrible.

A very tragic case. I believe that rigor
is beginning to set into his mortis.

What the doctor means
is that rigor mortis is about to set in.

Tell me, doctor.
Do you think he has a chance?

Well, in a case like this,
it may go on for weeks.

For weeks? No, no, not in my hotel.

I don't think I've had the pleasure,
Dr. Thorbolt. I am Dr. Glaston.

- This is my case. Who brought you in?
- I did.

Miller, who is this person?

- He's a bookkeeper.
- I'm not a bookkeeper.

No, Dr. Thornberg. He is my superior.

I don't care
if he is your superior bookkeeper.

He can't disturb my patient.

- If he does, I'm going to walk out.
- Now, wait a minute, Har--

- Doctor, you can't walk out like this.
- Doctor, your diagnosis interests me.

Just what type of sleeping sickness
would you say it was?

Epidemic encephalitis
or human trypanosomiasis?

Exactly. As a matter of fact,
a combination of the both.

Fantastic.

How could a tsetse fly have gotten in?

- We have screens, haven't we?
- Maybe in the elevator?

Impossible.

Thorbolt, I demand you permit Dr. Glaston,
our house physician, to examine the patient.

Absolutely not.
I will split a fee with no one.

Furthermore, I don't think
I approve of Dr. Glaston.

I don't understand.

I have no respect for doctors
who advertise in hotel elevators.

- Name plates are not advertising.
- Crass commercialism.

Why don't you put a sign on your back
and walk around on stilts?

Oh, the hotel would never allow that.

GLASTON: I'll have you understand
I'm endorsed by the medical association.

HARRY:
Yeah, well, aren't we all?

CHRIS: Mr. Miller...
- Yes?

- Mr. Russell has just returned--
- What?

- To consciousness.
- Oh, oh, oh!

Oh, doctor, he's come to.

- You may come in.
- Come, Dr. Glaston.

- Oh, thank goodness.
- Why, Gordon...

- Huh?
- ...that young lady is--

That young lady
is Miss Florence Bloominggale...

- ...the well-known nurse.
- Oh.

- Where'd he come from?
- I don't know.

- He looks healthy.
- That's what's got us worried.

Will you consent to have this man
taken to a hospital?

My conscience wouldn't allow it.

Dr. Glaston, will you hurry
with the examination?

- Will you allow me?
- He's sleepy all the time.

- Say: Ah.
- Ah.

No, louder. Wider.

[SINGING]
Ah ah ah ah ah ah ah

- Isn't that beautiful?
- I don't see it.

[PHONE RINGS]

- Telephone.
- Hello? Who?

What? Oswego?

That's my mother.

You tell Oswego
they'll have to pay for the call.

- No, we will not accept the charges.
- Hey, that's my mother.

You see that?
Reversed charges, meals, empty rooms.

You're a bellboy, that's what you are.

- An overgrown bellboy.
- On the stationery, it says "manager."

Hurry and make him healthy,
and get him out.

I'll get on with this
in my own time and manner.

Now clear this room, instantly.

Instantly, do you hear me?

All right, hurry up.
Thirty years in the hotel business--

- Screw loose here somewhere.
- I'm gonna find it.

Wagner, take it easy, with your
high-blood pressure, you'll blow a gasket.

[PHONE RINGS]

- Give me that phone.
- Hello? Hello?

Hello? What?

Nineteen people? I'll be right down.

Nineteen were discovered
in the Crillton Theater.

- What happened to the other three?
- Come on, we'll throw them out bodily.

They're not hurting your empty theater.
Haven't you any milk of human kindness?

Get out of that, get down there,
keep that cast together.

Tell them to walk around. That's a public
place, he can't throw them out.

Young man....

I know, doc. There isn't a thing wrong
with me. You won't tell Wagner, will you?

I hold no brief for Wagner.
I've had to submit to his bullying myself.

But my duty is clear. I shall have
to report that you're in perfect health.

Wait, doctor. Report tomorrow
or the next day, but not now.

I'm sorry, young man.

- I'll give you a piece of the show.
- I don't want a piece.

- We'll give you 10 percent.
- No.

I'll put your name on the program.

- Swell advertising.
- I don't advertise.

MILLER: Oh, wait a minute, doctor.
- Hello, long distance, please. Oswego.

What?

Oh, never mind.
I'll go downstairs and use a pay phone.

Look, if you'll do this for me, I'll make
those actors employ you as their personal--

GLASTON: No. I will not be coerced
or intimidated or bribed.

MILLER: Haven't you any red blood?
GLASTON: Yes.

MILLER:
Have you any regard...

- ...for your fellow man?
GLASTON: No.

Doc, you gotta listen to reason.

[DOORBELL BUZZING]

All right, doctor,
if that's the way you want it.

- Let me go. Where are we going?
- You're going out to get some air.

- No.
- Yes.

No, I can't stand heights.

I can't stand heights.

I don't wanna argue about it any further.
I want you to do exactly as I say.

Well, Mr. Jenkins, how do you do?
Come right in.

Thank you.

- I'm not interrupting?
- Oh, no, no, indeed.

Just usual distractions of a producer.
Many things to think about.

The actors, scenery, and all that stuff.

- It keeps you young.
- It keeps you young or kills you.

Oh, that'll be all, and I want
my instructions carried out to the letter.

- Pleasure, Mr. Miller. Good afternoon.
- Good afternoon.

Can't run a big organization
without discipline.

- Naturally.
- Sit right there, sir.

You have the papers ready?

Oh, yes, indeed, sir.
Here's the stock book, all made out.

Fifty shares made out
in the name of Simon Jenkins.

[INAUDIBLE]
Help. Help.

Now, here's the contract.
It's just a simple statement.

You don't have to bother to read it
if you don't want to.

"Gordon Miller, you are hereby commanded
to appear before Judge Thatch--"

Oh, what's that? Oh, excuse me, sir.

[LAUGHS]

How do you like that?
You got hold of one of the props.

- I'm sorry that that mistake happened.
- Oh.

Here's the contract right there.

- There you are.
- Ahem.

If you'd scare to sign right on that line--

I never sign anything
without thoroughly digesting it first.

Oh, I see.

Here's Oswego for you, Mr. Russell.

- Oswego? Russell?
- Yes, sir.

Didn't I order not to accept calls
from that room?

He's calling from a booth
on the mezzanine.

- Russell?
- Yes, sir.

- A booth on the mezzanine?
- Yes, sir.

The man that hung up the phone?

Oh, he didn't understand, Mom.
He was just clowning.

All right. Goodbye, Mom.

[TAPPING]

- Hello.
- Hello.

Are you alone?

As far as I know, yes.

May I come in?

- I have to go--
- Everything's all right.

- Is it?
- Yes.

Jenkins is giving Miller a check.

- Oh, good, then I'll be seeing you--
- Oh, don't go.

Well, I got my party.

So did I. Shall we sit down?

In here?

Well, why not? It's cozy, we're friends.

Hello, operator?
Give me the booth on the mezzanine.

[PHONE RINGS]

- The phone's ringing.
- I know.

- Why don't you answer it?
- Sure.

The other way.

Hello?

Oh, hello.

What are you doing?

Oh, I got a thing on my hands....

This is Chris. Will you do me a favor,
and no questions asked?

Don't say anything about the show.

Just play dumb and say "yes"
to everything Ms. Abbott asks.

- Everything?
- Yes, I'll explain later.

Okay, but I may have to explain later too.

Goodbye.

- My mother.
- Uh-huh.

She's worried about me.

I know because...

...I've a woman's intuition.
I can't help but I suspicion.

[SINGING]
I have an urge

And I simply must obey it

Now, don't be alarmed unduly
My approach may seem unruly

But I have love to convey
And you must let me convey it

That hug was the final blow
And that's why I'd like to know

Oh, boy

Where does love begin
And where does friendship end?

You give me what you call a peck
And say it's just affection

Where does love begin
And where does friendship end?

Why is it every time you neck
I find I need protection?

There are some things we daren't
That's what you always say

You treat me just like a parent

But those kisses of Father's
Don't give me the bothers

So will you please define
That thrill dividing line?

And if that line won't break
I'll make it bend

BOTH: Oh, where does love begin
And where does friendship end?

Ms. Abbott, you know New York City has
the finest police department in the world?

- Has it?
- You're not listening to me, Ms. Abbott.

Do you know that New York
has the finest police, you know, police...?

Pshaw. Police.

We couldn't be relations
Not from the way you act

'Cause I get such funny sensations

And a kiss from my sister
Doesn't bring on a blister

Will you please define
That thrill dividing line?

And if that line won't break
I'll make it bend

[HORN HONKING]

Everything seems
to be satisfactory, Mr. Miller.

Wonderful.

Now, you're going to see
the signature on the check...

...so you might as well know
who your backer is.

Zachary Fiske.

- Zachary Fiske?
- Shh!

Now you understand why there should be
no publicity about this whatever.

The world must never know.

Mr. Jenkins, believe me,
this will be my sacred trust.

Good.

Great Scott. What is that?

MILLER: I don't know. You don't suppose
that could be an optical illusion, do you?

- It looks like a face hanging there.
- Does it?

- Yes.
- Why, say, it is a face. Ha-ha-ha.

How stupid of me not to recognize.
That's the fellow I've got under contract.

He used to be a human fly
and he likes to keep in practice.

Ringtail, would you mind
not rehearsing outside my window?

I've a business conference.
Get away, I'm busy, I'll see you later.

I'm sorry about these interruptions.
Anything for a laugh.

- You know how actors are.
- No, I don't.

Oh, well, I just noticed that this check
is made out to you, sir.

Yes, I was just gonna endorse it
over to you.

Fine. Whoa!

Hold on. This is drawn
on a Los Angeles Bank.

Mr. Fiske does his banking in California.
That's where most of his interests are.

It may be all right for him, what about
me? I won't get the money for five days.

Why, my dear boy, the minute
you deposit a Zachary Fiske check...

...your credit rating
immediately becomes triple A.

Oh, sure, sure, what am I thinking of?
I'm crazy.

The magic of that name, see.
I didn't even say the name. Sign here.

Now, I've got you
by the seat of your pants.

And I'm not gonna let go till I toss you
and that playwright out.

Not now, I'm busy. Go away.

Trifle with me no longer,
I saw Russell on the mezzanine.

Which gives me the right
to this penthouse.

- Who's this?
- Who are you?

- My publicity agent.
- I am not.

- I told you there was to be no publicity--
- You don't understand. He's for the stars.

- He's got an idea. He wants Ms. Abbott.
- No idea. I do not--

I can see the lovely pictures. Ms. Abbott
posed as the Goddess of Currency.

I don't know Ms. Abbott, unless she
checked in in the--

Don't bandy about the name
of the young lady.

I'll bandy anything I please.
I'm here for money.

Ha-ha-ha. Just as I was telling you,
that's show business.

I'm badgered by my producer,
now I'm badgered by my agent.

Don't pay attention. He's eccentric.

I'm a genius,
I'm gonna throw you both out.

Wait, let's be serious. I want
you to know Mr. Jenkins represents...

- ...one of the great financial geniuses--
- Miller!

I don't give a hoot
about who he represents.

This looks like a badger game to me.

This man's full of idiosyncrasies.
He doesn't know what he's talking about.

- Binion, throw this man out.
- Gribble, throw these men out.

This fellow burst in just as I was gonna
put $50,000 in my pocket.

Mr. Wagner, please,
Miller is my brother-in-law.

Brother-in-law? That explains it. You're
guilty of a fraud, I'm gonna call the police.

- The police? Let me out of here.
- No, no.

- Don't pay attention to Wagner.
- Help me!

That's old Ringtail,
he's always hanging around.

Don't let a little excitement
change your point of view.

- Mr. Jenkins, there is so much money--
- Hello? Hello, operator?

- Why don't they answer this phone?
- You told them not to.

- This hotel--
- Look.

Dr. Glaston? Dr. Glaston.

MILLER: Believe me, this is gonna be a--
Let's sit down and talk it over.

I don't blame Miller for putting me out.
He had a perfectly good reason.

I heard through the window.
He was transacting a legitimate deal.

- All I want you to do is sign.
- No.

All I know is that Zachary Fiske
is backing his play.

The Zachary Fiske.

Zachary Fiske....

[ALL YELLING]

I am through with this hotel.

Mr. Gribble, kindly have my shingle
removed from the elevators.

Gribble, why wasn't I told?

- You're telling everyone to shut up.
- Shut up!

No.

- You can't go--
- No!

Don't pay any attention to him,
he's always around.

Go around there, head him off.
I'll meet you here.

Wait a minute, wait a minute,
Mr. Jenkins.

- Oh, my God, he's gonna faint.
- Put him in the bed.

Here, drink these.

It's 20 years old.

I don't drink.

Oh, let me out of here.
I'm not a well man.

Sign the check,
we'll get you a doctor.

I had no idea Zachary Fiske--

How did that name
become public property?

- Everyone knows Zachary Fiske.
- Sure.

I promise, Zachary Fiske
will never be heard beyond these walls.

MILLER: We'll deposit this check
and never mention either one.

I don't trust you.

I, Quenton Wagner,
vouch for these gentlemen.

I'll personally vouch for him.
Sign this check and go.

- All right, all right, all right.
- There you are. Ha-ha-ha.

- Now let me out of here.
- Yes.

- It's a pleasure, Mr. Jenkins.
- A rapturous pleasure.

Thank you very much.
You'll never regret this, Mr. Jenkins.

Neither will Zachary Fiske.

Oh!

- Ha-ha.
- Well, Miller, I'll just take that check.

Uh-oh. Not yet, you'll get yours just as soon
as this check clears the bank.

That'll be in about five days.

We'll bank it for you. When the check
clears, we'll turn over the balance.

- Do I understand that you don't trust me?
- I do.

I want your bill wiped off
for my first report to the board of directors.

That's only fair, Gordon.

Uh-huh. Asking favors, Wagner?
Well, Joe, I'll do it for you.

Has anyone a fountain pen?

Mine has green ink.

Eenie, meenie, minie, I'll take this one.
Thank you, Binion.

Now, Mr. Wagner, I want my cast
re-admitted to this hotel immediately.

- Yes.
- Yes.

- Room service must be restored.
- Yes.

And, incidentally, you may make out
a lease for your Crillton Theater downstairs.

- I'll be needing it.
- Anything you say, Mr. Miller.

Well, this has been a most satisfactory day.
Come, Gribble.

My brother-in-law.

- Hello there. How are you, doctor?
- Fine.

- Gordon, the check.
- The check is in safe keeping.

MILLER: Ha-ha.
- Oh, Gordon.

Christine, our troubles are over.
We are rich.

Yeah, 50 grand.

You tell them. I haven't got the heart.

We met Jenkins.
He's gonna stop the check.

- He endorsed it to get out of here.
- He said you guys kicked him around.

I never kicked him at all.
He can't do that.

It wouldn't make any difference if he did.
After all, he signed the contract.

Or did he sign the contract? Oh!

Let's find out. Come on.

Sure he signed it. Someplace here.

He didn't?

He's just a rat.

Yeah, took me weeks to get it.
Now, in one minute, I lose it.

- It'll be all right.
- You'll get an idea.

- Think of something.
- We'll put it down to experience.

Oh, fine. Put it down to experience.

How am I gonna pay
a hotel bill with experience?

You know what I'd do
if I was in my right mind?

- I'd jump over that balcony.
- Oh, no.

Well, you talked me out of it.

We can get a backer somewhere.

Sure, but where? Where?

Where? Hah!

Why, children, we have a backer.

- Who?
- I don't get it.

That check was drawn
on a Los Angeles Bank.

It takes a few days for a check
to bounce back from Los Angeles.

During those few days, we have
the use of $50,000 in credit.

- See, I told you.
- But you'll get in trouble.

- We're in trouble, anyhow.
HARRY: It ain't legal.

Just as legal as Wagner busting in here,
ruining my plan.

Here's the setup, we're all rehearsed.
Got the scenery, costumes.

If we have to, we can open in three days,
and with Glenn singing those songs--

Glenn? How are we gonna get him
to rehearse the big song?

We'll switch our rehearsal from
the theater to Wagner's roof garden.

Tell Glenn I'm giving a big party
to celebrate the opening.

And then you play a little phony
love scene with him...

...and gradually lead him
into the theme song.

- Supposing he doesn't sing?
- Oh, honey, cut it out.

With that soft music playing
and the breezes blowing on him...

...and you looking at him
with those big lovely eyes of yours...

...believe me, he'll sing. Ho-ho.

Glenn, supposing, just supposing,
your play wasn't produced...

...that is,
not just as you would want it to be.

Uh-uh. Let's not think about that.

Look at those lights down there.

Here we are, way up on top of them.

That's where we're gonna stay.

You and I. Both of us.

All of us.

Yes.

Look at Chris.
She's doing a swell job, isn't she?

In a few minutes, that guy's
either gonna sing or bust.

Tell Harry to turn loose that romantic music
when I give you the signal.

- I'll be over there.
- Right.

Glenn, we've all got to stick together.

All for one, and one for all.

That's the tradition of the theater.

Artists helping each other out, isn't it?

Yes.

You'll remember that, won't you?

Uh-huh.

No matter what happens?

Well, sure.

Hey, what's this?

I don't know.

I'm all mixed up.

- Glenn, I'm a miserable little person.
- You're crazy.

You know, there's something
I've always wanted to do.

- Yes?
- And I think I'm gonna do it.

[BAND PLAYING ROMANTIC TUNE]

[SINGING]
Some other time

I could resist you

Yes, some other time

Not now

There is no rhyme

Now that I've kissed you

With all that is me

I thee endow

Imagine me thinking
You could never faze me

The tricks my imagination plays me

You smile
And this heart of mine betrays me

You know it's so

Let's take a vow

To love forever

Not some other time

But now

There never was such a moon

Such a moment so opportune

You see, some other time

Might do as well

My only answer, darling

Is who can tell

Some other time

I could resist you

Yes, some other time

Not now

There is no rhyme

Now that I've kissed you

With all that is me

I thee endow

Imagine me thinking
You could never faze me

The tricks my imagination plays me

You smile
And this heart of mine betrays me

You know

It's so

BOTH:
Let's take a vow

To love forever

Not some other time

But now

[ALL HUMMING]

I always knew

That your kiss would be a gay thing

It's turned out to be a runaway thing

I just can't escape this night and day thing

You know, that it's so

BOTH:
Let's take a vow

To love forever

Not some other time

But now

Glenn.

- Glenn, why did you run away?
- You were finished with me, weren't you?

Finished with you?

Yeah, your pretty rehearsal.

You knew all the time?

Sure, and I got another surprise for you.

I can read too.

CHRIS [READS]: "Gordon Miller,
Christine Marlow and Glenn Russell."

Glenn, I wanted to tell you,
I just didn't know how.

It happened because we got so involved.

No need explaining, Chris. I get the joke.

Glenn, Gordon asked me to do it
for him and the company.

I can't tell you how sorry I am.

Good luck, Chris, and happy dreams.

Glenn....

[CRYING]
I'm sorry, Gordon.

Oh, all right, don't worry about it.
It happens to me all the time.

[LAUGHS]

Good old Gordon Miller,
the boomerang thrower.

But he's so fine, so sweet.

Yeah.

We've hurt him, I know we have.

Yeah, I guess we have.

Hey, Chris, he didn't say anything
about suing us, did he?

- Oh, Gordon.
- Well, that's important.

I could kill you. I tell you I'm in love
with Glenn and you ask if he's suing us.

Well, somebody's gotta worry
about the business end of this business.

Besides, one of us crying
at a time is enough.

I'm sorry.

Oh, it's all right. Don't worry about it.

We'll work it out some way.

- Good night.
- Good night.

[SNIFFLING]

Oh, stop blubbering, will you?

You'll have your eyes
all puffed up for tomorrow night.

A voice like that
and the guy wants to be a playwright.

- Hello, Mr. Miller.
- Hello, Sugar.

- How's the show going?
- Oh, so-so.

- Take a message, will you?
- Sure.

It goes to Mr. Glenn Russell,
Oswego, New York.

Dear Glenn, you were absolutely right
in walking out on me.

I deserved it,
but you were wrong about Chris.

She was merely carrying out my orders.

The kid is really in love with you, Glenn.

Shall I send her to Oswego,
or will you come back here for her?

Congratulations, all the best.

Signed, Gordon Miller.

- Collect?
- No, charge it to my bill.

- Oh, and put a dollar on for yourself.
- Thanks.

- It's all right, good night.
- Good night.

That's it. Yes.

And 10 dozen American Beauties
with the longest stems.

Put a note inside that says,
"Love from Glenn, to Chris."

That's it, and see that
it's delivered backstage. Uh-huh.

Charge the whole thing to the hotel.
Uh-huh. Thank you very much.

- Hello, Gordon
- Oh, hello, Joe.

- Thanks for use of the hall, I'll get out now.
- That's all right.

- How'd the rehearsal go?
- Wonderful.

Few little hitches, nothing to worry about.

I'm not one to make predictions, but this
is gonna be the biggest smash of my career.

I always knew you'd get there, Gordon.
You're one of those destined for success.

Ha-ha.
That's very sweet of you, very sweet.

We had ups and downs getting this rolling,
but here we are at the opening night.

Thanks to you, Joe.

[KNOCK ON DOOR]

Mr. Gribble, a messenger from the bank.

Mr. Gribble can't see anybody now,
can you, Joe?

GRIBBLE: Not unless it's important.
- We'd like your receipt for a check.

- Couldn't you bring that in the morning?
- I can't.

- What is it?
- A large check.

Don't bother about it now, Joe, please--

Gordon, Gordon.

It was as big a shock to me
as it is to you.

Zachary Fiske, it bounced.

Joe, don't get panicky, please.
Calm yourself.

These happen all the time.
Nothing to worry about.

Sign here, please.

Just goes to show you.

- You can't trust those banks.
- Thank you.

Joe, I would've told you before,
but I didn't want you to worry.

Didn't want me to worry? You want me
to go to the poorhouse happy?

No, that isn't the point.

I didn't want Wagner
to find out until the show was open.

Once the show is a hit,
he's got nothing to squawk about.

And suppose the show isn't a hit?

Well, in that case, I guess
there's just one thing to do, Joe, old boy.

I guess you'll just have to make
a clean breast of the whole thing.

Me make a clean breast of--?

Uh-uh. Now, Joe, don't alibi with me.
After all, you get yourself into these things.

You've got to expect to pay the price.

[GASPS]

- Hello, Miller.
- How do you do, Mr. Wagner?

I was saving this surprise for you.

Oh, is that so?
I was saving a surprise for you too, sir.

- A big one.
- You like it, Joe?

Most appropriate.

After all, Miller is a guest
in good standing now.

Of course, you still owe us a bill.

- Yes, sir. A trifle.
- I'll take care of that.

Yes, we have nothing to worry about,
now that your ship is coming in.

- What's the matter, Gribble?
- When you talk of ships, seasick.

- Have you launched this shop?
- No, thank you, sir, not now.

I never put pleasure before business.
I've got to get our show open tonight.

- Ha-ha. Good luck, Joe.
- Gordon.

- Why don't you take your success?
- Yes, thank you very much.

It's gonna be a very exciting evening,
a very exciting evening.

Regardless of what I think of him
personally, I think it was good idea...

...to make this gesture, after all--
What's the matter, Gribble, nervous?

No, no.

He's a crackpot, but he has energy.
He has the energy of a steam shovel.

There is something wrong
with you, Gribble.

I don't feel so good.

Must have been that fish
we had for dinner.

You know,
the food in this hotel is terrible.

- Awful.
- Yeah.

I can't imagine a shrewd manipulator
like Fiske...

...putting his money into show business.

Give me a sound, staple business
like a hotel anytime.

[WHIMPERS]

[MOANS]

[HUMMING]

- Hey, Gordon.
- What's the matter?

Why aren't you
getting that show started?

Wagner sent word
that we should come up here right away.

- I smell a crisis, and it don't smell good.
- And you were wrong about Glenn.

- What about Glenn?
- He didn't show up.

Oh, this is awful.
The understudy, is he ready?

- He's got laryngitis.
- And his brother's been drafted.

What's that got to do with laryngitis?

Never mind, I'll sing the songs.
Get down there and get that show started.

- What about Wagner?
- I'll sing to Wagner too, now, hurry up.

- Ahhh.
- Hello, Mr. Wagner.

Ah. There you are.

- We were just speaking of you, sir.
- All here, well, that's fine.

- Miller?
- Yes, sir?

You knew that check was no good.

That's why you were so anxious
to open a show.

- The check came back?
- I'll see you in jail, all of you.

I'll put you in every jail in the 48 states
including Alaska.

- Mr. Wagner, don't you think that's too far?
WAGNER: Shut up, you upholstered bellboy.

- You keep out of this.
- The audience is in the theater.

- And the actors in dressing room.
BINION: Scenery on stage.

I'll have the sheriff take every bit of scenery
off the stage in full view of the audience.

You'll make me
the laughing stock of Broadway.

You made me the laughing stock
of the hotel business.

- Where's the telephone?
- It's right out there.

- Give me that phone. Give me the police.
- Please don't.

WAGNER: That show will not open
in my theater.

MILLER: The men won't take the scenery
tonight. Why don't you leave it there?

If the show's a flop,
I'll give you back the theater and hotel.

Take your foot off that phone.

Pay the bill,
or the curtain does not open tonight.

MILLER: You don't wanna send that girl
to the poorhouse.

- Why not? I'll go to the poorhouse.
- It wouldn't look bad on you.

You wanna know something?
You've got a heart of steel.

These people who've worked and slaved
to put this show on...

...and you come in with one phone call
over a measly little--

Nothing you can say will have effect on me.
That curtain will not go up.

- Give me the police.
MILLER: No, Wagner.

WAGNER:
What kind of operators do we have...

- ...that can't get the police?
- Female.

- What do you mean the lines are busy?
- There's lots of stealing going on.

[GLENN GROANING]

- What's that?
MILLER: Sounds like a horse.

GRIBBLE:
But we don't allow horses in the hotel.

- Suffering cow, it's Russell.
- Oh, Glenn.

What happened? Did he faint?

Faint? No, he took poison.

- A suicide.
- Suicide?

No, no, not in this hotel.

Glenn, darling, why did you do it?

The board of directors
will never forgive me.

He drank the whole bottle I bought
to kill the rats.

- Why didn't you stop him?
- You said never interfere with guests.

- Can't let him stay here.
- Get him in the bed.

He stained the rug.

- Call the house doctor.
- He resigned.

- Well, you're a doctor.
- I was, but I gave it up, it made me sick.

- Do something.
- Get compresses, hot and cold.

- Good, you get the hot, I'll get the cold.
- Nice going, Glenzie boy, nice going.

- He didn't drink that?
- Are you kidding?

He poured it in the bottle.
He's doing it for us.

How's the show?

Just keep groaning.
Five minutes, we'll have that curtain up.

- Uh-oh.
WAGNER: Here there are.

- Call an ambulance
- No, we can't afford adverse publicity.

And I can't afford a suicide
my opening night.

- Wagner, you drove him to this act.
- I had nothing to do with it.

Yes, you did, and now you can't even face
your own conscience.

- Look at that poor boy lying there.
WAGNER: How's he doing?

Only thing keeping him alive
is his will power.

This is your all fault. He's turning blue.

Never mind what color he is, do something.
Don't let him die.

No, he owes us money.

How I could've used
that golden voice in 35 minutes.

- Boys, the antidote, get milk, get eggs.
- Yes.

- Get a stomach pump.
- No, get ipecac.

It's an emetic, hurry.

You get that show started right away,
and let me know how it's going.

- How are you gonna get out?
- Never mind.

I'll get down there somehow.

[APPLAUSE]

- Did you get it?
- Stomach pump, milk, eggs and ipecac.

I can't hold this show up longer.
That audience will walk out.

You strike up the band...

...I'll have Christine and the boss
down in five minutes.

Flash the orchestra, Joe.
All right, places, places. Come on.

[ORCHESTRA PLAYING "WHY MUST
THERE BE AN OP'NING SONG?"]

[PERFORMERS PLAYING INSTRUMENTS]

[SINGING]
Why must there be an opening song?

Why are they brassy
Loud and longer than a play

That starts at dawn and runs all day?

Why must there be routines like this?

You know the kind
That start you hissing in your seat

Just like a valve escaping heat

Why must there be those
Great big Amazon gals?

Those come-out-
Dressed-with-really-nothing-on gals

They sing, but you don't hear a word

You smile although you know it's murder

Still you yell
Bravo! It was swell

When you'd rather blast them
Lambaste them with language quite strong

Why must there be

An opening song?

[APPLAUSE]

Mr. Wagner, I forgive you.

WAGNER:
Oh, you poor boy. Where is the ipecac?

- Mr. Gribble.
GRIBBLE: Yes?

- I forgive you too.
- Thank you.

Here comes Harry now.
How's the show going?

- Curtain up, the audience love the number.
- Great.

- What took you?
- Couldn't say ipecac.

- Your medicine.
- Water and glass.

- You get the water, I'll get the glass.
- All right.

- Was that really ipecac?
- Sure.

What? That's like taking poison.

Glenn, you only take a bit.
Just a spoonful won't hurt you.

What do you think? Curtain's up,
audience is loving the show.

- You and Christine are due in minutes.
- Don't worry.

- Son, here we are.
- Wait.

We're going out
and try and find a doctor.

I'm gonna leave this boy in your care.
Don't take your eyes off him.

If anything should happen,
his blood is on your head.

- I had nothing to do with--
- Always denying, never admitting the truth.

[ORCHESTRA PLAYING
"ASK THE MADAM"]

[MEN HOWLING]

- Where's Miller?
- Where's Miller?

- Where's Miller?
- Where's Miller?

- Where's Miller?
- There.

[SINGING]
In the days of witches

They used to trail 'em

And when they caught them
How they used to whale 'em

That's how it used to be
In Salem, Mass. Alas!

CHORUS: They'd trail 'em
They'd whale 'em

That's how it used to be
In Salem, Mass. Alas!

But today, the witches have got a racket

They wear a turban and a jeweled jacket

And pretty soon they're
With the upper bracket clan, yeah, man

CHORUS: A racket
A jacket

They're in there
With the upper bracket clan, yeah, man

Talented fortune tellers
No longer hide in cellars

No doubt you've met the lady
With the crystal ball.

But now I want to introduce
The queen of them all

If you've got a beau
And if you'd like to know

If your beau's going to propose

Ask the madam

The madam knows

If you're in despair
You've tried and don't know where

To get a pair of nylon hose

Ask the madam
The madam knows

Ask the madam
She knows it all

She know it
Just like Mr. What's-His-Name

Plus the crystal ball

When the greetings say
Your boyfriend's in 1-A

You'd like to know the day he goes

Ask the lady in gypsy clothes

Ask the madam
'Cause the madam really knows

[APPLAUSE]

[MEN SHOUTS]

Stop, stop.

Stop, I say.

[ALL YELLING INDISTINCTLY]

Stop!

[SINGING]
When you're in despair

You look and don't know where

Your heart will find that sweet repose

Come see the madam

The madam knows

If some love affair
Has left you in the air

Then gaze into the crystal ball

Come to mama before you fall

Come to mama, darlin'

Mama knows it all

CHORUS: Ask the madam
Because the madam really knows

[APPLAUSE]

That was pure gold, boss.

Great, keep the show going.

- But we need the voice.
- In a minute.

- Stop worrying, Binion.
- Oh, well, I....

Oh, places, places, everybody.

WAGNER: Take this.
- No.

- Take it.
- No more.

- You're not gonna die on my hands.
- I'm full now.

- This stuff should work.
GRIBBLE: We used to give it to horses.

That's better now, here.

Hello, give me the drugstore.
It's a matter of life and death.

[GAGGING]

- Is he still here?
- How is he?

Sometimes he's better,
sometimes worse.

- Hello, send up another bottle of ipecac.
- Oh, no.

HARRY: He's had two bottles already.
MILLER: What?

HARRY: It'd made him sick.
- That's terrible.

- Where's the doctor?
- Couldn't come, having a treatment.

Send up a cheese on rye
and some watermelon.

No, no, that would kill him.

Not if I eat it.

- How is the show going?
- Wonderful, Glenn.

How can he think of a show like this?

Don't you realize all his life,
he's been preparing for this night?

- Now, it looks like it's gonna be his closing.
- Ohhhh.

He trying to tell us
he won't be here long.

- Ipecac
- No.

Hah! Why, there's not a beat left
in that little bosom.

- But he can't die in my penthouse.
- No, he shouldn't.

Downstairs, a vast audience
is waiting to hear...

...that glorious golden voice
raised in song.

And up here,
the curtain has been rung down.

Why don't you take a walk in the park?

But he kept recovering and dying
every time I gave him ipecac.

This is the last time.

Oh, it's a rotten life, Gribble.

It wasn't so bad up till yesterday.

- The first act was a sock.
- Please.

- A little respect.
- Did he die already?

- He put it off as long as he could.
- He wanted to die in the dressing room.

I can see him, looking at me
with those blue eyes and saying:

[VOICE QUAVERING]
"Binion, old pal...

- ...do you really need me to sing?"
- And I hear you answering:

"Yes, the show is great.
They loved Christine, but we need you."

- Exactly.
- Wonder what he would've said?

He would have said, "Miller,
pay the bill and let the show go on."

Poor boy. An hour ago,
we were tearing each other's throats.

And now, takes a thing like this
to make you realize--

- Goodbye, Glenn.
- Goodbye, pal.

- Bye.
- Goodbye, sweet playwright.

- Christine, you better leave us.
- I know she should.

Bye. I'll lay out your costume as though
you're gonna be there in five minutes.

- Better make it four.
- Make it four.

- Let's call the police.
- No, no, wait.

- Think of the scandal, the publicity.
- We must think of the law.

Wouldn't it be better
if this body wasn't found in the hotel?

BINION: We can dump him in an alley.
- No, no.

We can put him in his dressing room.
That's where he would like to be.

What are you thinking of?

I'm thinking of you, Wagner,
and your beautiful hotel.

After all, you're responsible for this,
you know.

If I were you, I'd get out of town quickly.

I have a friend, captain of a boat,
runs to Hoboken, they'll never find you.

- Can you fix it?
- Yes--

No, I'll stay and face the music
and the police.

- Wait, wait just a moment.
- Give me that phone.

Harry, get the flowers.

Boys, I think it's fitting and proper
that we say a few words at this moment.

That's the least we can do.

- I can't think of a thing to say.
- You keep out of this, Gribble.

As a matter of fact...

[TEARFULLY]
...I'm so overcome with emotion myself...

...I can't think of a word to say.

Maybe it would be better
if we just sang a little.

ALL [SINGING]:
Should old acquaintance be forgot

And never brought to mind

[GLENN GROANS]

Should old....

Bless my everlasting soul, Miller,
that's the last trick you'll ever pull on me.

I'm going down
and stop that show myself.

Help, murder, police!

Miller, you'll regret this as long as you live.
See you in the electric chair.

- I'll see you after the show.
- I always wanted to do that.

You keep out of this. Come, I need you.

Glenzie boy, Glenzie, how do you feel?

How do I feel? How do I look?

Oh, no, you couldn't feel that bad.
How are your pipes?

I haven't thought about them.

- Try them, try them, that's important.
- Ahem.

[SINGS]
When the blue of the night

Suffering cats, he's lost his voice.

HARRY: But he's due any minute.
- He'll be all right.

Get coffee, get ammonia,
get some air. Come on, Glenn.

But my stomach is jumping.

So is the show.
Jumping like a million dollars.

Wonderful, they're eating it up.
They love it.

- Here's your order.
- That's mine.

- What about the ipecac?
- Give it to Wagner.

Take it down, take it--

Glenn, my boy, I've got to hand it to you,
you're a swell kid.

I promise you, soon as this show is a hit,
I'm gonna produce your play.

- Never mind, forget it.
- Forget about it, why?

- I read the play myself.
- Ha-ha-ha.

- And another thing.
- Huh?

Take your hands off of me, you hoodlum.

Mr. Wagner, this whole thing,
let me explain.

It will take half an hour, just be nice.
You'll get yourself upset.

- Mr. Wagner, what are you doing?
- Shh.

- Landed here--
- Shhh!

The show's on. Come in.

[SINGING]
As long as there's music

- There's always romance
CHORUS: Oooh

The spell of a theme starts you to dream

- There's always a chance
- Oooh

- As long as there's music
- Oooh

- Whatever the song
- Oooh

As long as there's music

- For sweethearts to sing
- Oooh

I'll sing you my love

- Melodies of the birds on the wing
- Oooh

- My loneliest days
- Oooh

- Can never seem long
- Oooh

- As long as there's music
- Oooh

- And you are the song
- Oooh

CHRIS:
Some other time

I could resist you

Yes, some other time

Not now

There is no rhyme

Now that I've kissed you

With all that is me

I thee endow

Imagine me thinking
You could never faze me

The tricks my imagination plays me

You smile and this heart of mine
Betrays me

You know it's so

BOTH:
Let's take a vow

To love forever

Not some other time

But now

GLENN: As long as there's music
CHORUS: Oooh

- There's always romance
- Oooh

The spell of a theme
Starts you to dream

- There's always a chance
- Oooh

As long as there's music

- Whatever the song
- Oooh

As long as there's music

For sweethearts to sing

- I'll sing you my love
- Oooh

- Melodies of the birds on the wing
- Oooh

CHORUS:
Wing, wing

GLENN:
My loneliest days

Can never seem long

As long as there's music

GLENN AND CHRIS:
And you are the song

[APPLAUSE]

CHORUS: Here's where love begins
And here's where friendship ends

You've seen it all
You've heard it all

So why not leave us face it

Here's where love begins
And here's where friendship ends

The hat you hung beneath your seat
You might as well replace it

Oh, my, Gribble, this is good.

Shut up.

Our love will be tremendous

And Wagner will go about
Flinging his dough about

So, you see, it's time to blow

Just grab you hat and go
That's all there is, so why pretend?

'Cause here's where love begins
And here it is

The end

[IN UNISON]
That's all.

[ENGLISH SDH]