The Adventures of Young Indiana Jones (2002) s01e21 Episode Script
Scandal of 1920
Are these seats taken?
Yes.
- Where did the people go?
- To the bathroom.
- All three of them, together?
- Yes.
Well, I guess I'll just wait here
for them to come back.
Don't you touch that!
Look, there are no other seats.
I just need a place to
Don't you dare!
Look, I just wanna
Have you got a ticket?
Go ahead, sit.
I told you before, lady,
those cases go up on the rack.
I don't need to tell you this again, do I?
- Here, let me help.
- Get away!
You sit there and stay there.
Don't try to get fresh.
I wasn't trying to get fresh,
I just wanted a place
I've read about men like you.
You big-city masher.
How dare you!
- I lost my apple!
- How dare you!
- I'm going to call the conductor.
- No!
I'm going to have
you thrown off this train.
Relax! I just dropped my apple.
- Oh, there is no apple. Help!
- I dropped it!
I'm so sorry.
I'm Indiana Jones,
but my friends call me Indy.
I'm Margaret Peabody.
My friends call me Peggy.
Would you like a bite?
So, you headed for New York?
Me, too. I have a friend there
who's promised me a job, so
I'm going to work in New York, too.
A Broadway show.
Really? Wow, which one?
I haven't decided yet.
You don't believe me.
No, no, no, sure I do. It's just that
I've heard it can be kind of difficult
getting started in theatre.
I know it, but I just feel
I'm going to make it.
You're a dancer?
Certainly not.
I don't intend to display myself.
I sing. I'm pretty good at it.
You're pretty good at eating apples, too.
- I'm sorry about your apple.
- Oh, really, really I
I wasn't very hungry.
I wish there was something I could do.
Well, you could sing for me.
Sing for you? What, now?
Yeah.
I'd really like that. Please?
That was great!
Well, I guess this is goodbye.
Does it mean we'll never
see each other again?
- Gee, I hope not.
- Me, too.
- 'Cause I'd really like to see you again.
- Me, too.
Gosh, New York sure is awful big.
It's a great city. I'd love to
-Why don't I do that?
“What?
Show you the city.
The two of us together.
When do we start?
First thing tomorrow.
Where are you staying?
At the Victoria Hotel,
but only for tonight.
First thing tomorrow, I'm going to find
myself a nice clean boarding house.
Great, I can help you look.
I'll pick you up at 10:00. That way,
we'll have the whole day together.
Sounds wonderful.
Hey, Mac, you want this cab
or you're just eating lunch?
Yes, we want this cab.
- 10:00, don't forget.
- I'll be waiting.
Wrong door, amigo. Party's in here.
Susan, how wonderful to see you.
Having fun?
Sort of. Who are all these people?
Writers, actors, painters, composers,
anarchists, socialists.
The usual Village crowd.
You know any of them?
Me? No, no.
I just snuck in for some free food.
- Whose party is this anyway?
- Mine.
- I'm sorry.
- Don't be silly.
Come one, come all.
Actually, I'm supposed to be staying
down the hall with the Jacksons,
- but they don't seem to be home, so
- No, they're not. They're in Europe.
In Europe?
Is that a problem?
Well, yeah, I'm supposed
to be staying with them.
Live life. Take no thought of the morrow.
Kate Rivers, what do you do?
Indiana Jones.
I'm an archaeology student.
Pleasure. Archaeology, how fascinating.
So, tell me, is it true in ancient Egypt
poets were worshiped as gods?
Not exactly. But in the British Museum,
there's a papyrus
that says, "For the scribe there are no
taxes. He payeth tribute in his writings."
I love that.
Yeah, tell it to the Internal Revenue.
Wasn't their religion
based on fertility rituals?
Well, most religions are.
In ancient Greece,
there's the myth about Dionysus.
"Dear Mom, I must tell you about"
“the most wonderful handsome boy
I met on the train.”
Don't you see that there's a rhythm
to our lives and poetry has to reflect it?
So, the poet is the mouthpiece
of his age.
Exactly. Who's your favourite poet?
- Shakespeare.
- Perfect.
See, in his plays, in his sonnets,
you can feel the pulse
of Elizabethan life.
- They pound with it.
- But this is 1920.
Exactly. So our poetry has to echo the
rhythm of the 20th century which is
The automobile age.
Throbbing, driving.
I've never thought about it that way,
but, you're right, that sounds good.
I can't remember when I've had
this much fun.
Me neither.
I'm hungry, what time is it?
I don't know. About noon, I guess.
- What happened to breakfast?
- Breakfast?
I think that's when
we were talking about
Noon! Did you say noon?
- Yeah. What's the
- Oh, my God.
I've got to go. I've got an appointment.
I'm sorry!
She's gone? Are you certain?
I'm positive.
Miss Peabody checked out this morning.
She was here till noon.
Said she was waiting for someone.
Then she left.
She didn't leave
a message, a note, anything?
She did not. The poor girl was in tears.
You've no idea where she went?
None.
Who is it?
It's me, Indy.
Hi, sorry if I woke you, I
What time is it?
It's probably around 3:00.
Well, the truth of it is, I
I just left my bag here.
And I was wondering if maybe I could
Dig around.
Yeah, okay.
If you're sure it's no trouble.
- Thanks.
- You're Indy.
- You're Kate.
- What's left of her.
Oh, God, would you look at this place?
Maybe I could help you clean it up?
Yeah.
Oh, Miss Peabody, a young man
was here earlier looking for you.
- Did he leave a message?
- No.
Alone, friendless
and with no place to stay.
Sounds like a line from a song.
Luckily, it's not true.
At least the part about being friendless.
There's a guy I know from Chicago
that plays clarinet
in a restaurant up in Harlem.
He promised to get me a job, so
- What kind of job?
- As a waiter.
Well, there are worse things.
Like reviewing other people's books
and other people's plays.
But I thought you were a poet.
Well, I am but I review for The Sentinel.
Pays the bills.
I'm glad you have a friend, though.
This city can be
awfully lonely if you don't.
Well, don't tell me you're lonely.
You mean the crowd last night?
They are sort of friends, I guess.
But there's no one close.
Do you have anybody like that?
No, I thought I did but no,
there's no one.
Well, I really better get going.
Thanks a lot, really, for everything.
Don't be silly. Thank you, this place
hasn't looked so good in years.
Yeah.
You're not going to haul that
all the way up to Harlem, are you?
- Yeah, I guess.
- It's an awfully long trip.
Listen, why don't you leave it here?
- Here?
- Sure.
If I'm out, let yourself in, okay?
Okay. All right. Thanks.
Sure.
- Jonesy, hey
- Sidney.
Goldie.
Fellas, meet Indiana Jones,
the Sax Man.
Hi. How you doing?
- When did you get in?
- Yesterday.
- So, how's it going?
- So-so.
Only so-so. This place isn't exactly
what I imagined it to be.
You know, that waiter's job
I promised you, Jonesy,
I don't think it's going to happen.
Don't worry about it.
New York's a pretty big town.
I'm sure I'll find something.
Hold on. One promise I did keep.
I got your baby fixed.
My buddy tuned her, so now she should
sing like a morning lark.
Sidney.
You haven't forgotten how to blow it,
have you?
A soprano sax in a jazz band?
Why, I've never heard of that before.
Well, let's hit it, then.
George, you want to sit in?
I thought you were never going to ask.
Come on in.
Two, three, four.
That's not a bad sound.
Yeah. The Sax Man.
You sure can play that tune.
Well, he ought to, he wrote it.
- You wrote that?
- Yeah, sure enough.
George Gershwin.
Indiana Jones. That is some fine tune.
Thanks. Are you a musician?
Me? No, no, no.
I study archaeology and I wait tables.
Interesting sax you play. Have a cigar.
No, no, thanks. I don't smoke.
Do you eat?
Yeah, I eat.
As a matter of fact, I'm starving.
Come, Mr Sax Man, let's eat.
Let's go again, fellas.
So, what happened to her?
This girl you met on the train.
I lost her. It was dumb and now I lost
probably the nicest girl in the world.
And I don't suppose
I'll ever see her again.
Chin up, sport,
there's a million girls out there.
I know, I know.
But, I don't know, Peggy was different.
So, you fell in love?
No, it wasn't love. Not yet.
I only knew her for a few hours,
but I don't know, it was special.
I don't know how to describe it.
I wish I could find the words.
Well, you find the words, Indy,
and I'll find the tune.
Come on, George, this is special.
You can't put this in a song.
Can't put it in a song?
Are you kidding?
A song's the only place you can put it.
Ask any of these guys.
Why, they're songwriters?
This is Tin Pan Alley. All right, come on.
Fellas? Fellas,
my friend here needs some advice.
- George.
- He's got that feeling.
That feeling of love.
I don't know.
There's just something about it.
No, no, you see, that's not it.
You see,
the thing about Peggy is that she's so
Don't you mean the way she smiles?
Then that's it, my boy,
that's the answer!
Because, you see
Take it, Ted.
- Oh, yeah!
- Do it.
- Yeah.
- Thanks, Mr Lewis.
Okay, okay. Well if it's all so great,
why do I feel so miserable?
Because she's nailed you, you poor sap,
and now you're a goner. Call you back.
There's something else.
Something bigger.
I mean, why am I still
thinking about her?
- Tell him, Mr Berlin.
- Oh, yeah, do it.
It's very simple, boychik.
You keep thinking about her because
So, what happens now?
I guess I start looking for a job.
Go down to Globe Theatre.
Ask for Mack.
- Really?
- He'll fix you up.
- Thanks, George.
- Forget it. What else are friends for?
Only thing is, I don't know a whole lot
about show business.
It's easy. Any monkey can learn it.
Okay. Thanks.
You leaving?
Oh, yeah. Sorry if I woke you up, but I
No, you didn't.
I was just thinking about you.
I'll miss you.
I'll miss you, too.
You don't have to go.
No.
Then, why not
You ever work in the theatre before?
- Yeah, once in Barcelona.
- Barcelona?
- Spain, with Diaghilev's Russian Ballet.
- Diaghilev. You putting me on?
No. No, no, I was a eunuch.
Get that thing out of here!
And, you broads, get on stage.
And let's have some quiet around here!
I'm going to pretend I didn't hear
what you just said.
As far as I'm concerned, you're an idiot.
What are you?
- An idiot.
- Correct.
Now, open your idiot ears
and follow me.
Your job is to do all the idiot jobs that
only an idiot wants to do,
like make the coffee, run the errands,
sweep the stage.
) -Okay!
- Light her up, Harry!
Make out call sheets. Look after props
Call the actors, see none of them's late.
That's good!
Most of all, you keep me sweet.
- Yes, sir.
- Why do you do this?
- Because I'm an idiot.
- That's right!
Just remember, Jones,
my name is God,
and there's only one other God above
me in this whole damn theatre.
Who's that?
He sings, he dances, he produces,
he directs.
And his name is Mr White.
Schwarz, you're fired.
Yes, Mr White, thank you.
Now about these bills.
Later, I have a show to put up. Burt!
Burt, we are going to start
with the opening, Scandal Walk.
This is a great number, George,
it'll kill Ziegfeld.
- Yeah, you think so?
- I guarantee it.
With your music, my dancing
and Ann Pennington starring,
we're going to put The Follies
right out of business.
- Mr White, about Miss Pennington
- What about her?
I hear Mr Ziegfeld has made her
another offer to rejoin The Follies.
Well, let him.
She's under contract to me.
- Yes, but I was thinking
- See what I mean?
Ziegfeld's running scared already
and we haven't even opened yet.
- Mr White, what about these bills?
- We're going to be the biggest thing
on Broadway.
Ziegfeld's going to have to retire.
Mr White!
All right, ladies,
let's see what you can do.
Hey! Watch it, bub.
- Hey, you got the job, then.
- Oh, yeah, George, I really appreciate it.
Well, great because tonight
we're stepping out on the town.
We are?
We're going to a big party
on Park Avenue.
Park Avenue. Really?
We'll have a gorgeous time.
Don't say you don't want to.
Only trouble is I don't have any clothes.
- Now you have clothes.
- Okay.
- Well, I still have to talk to my girl.
- Your girl?
- You mean, you found her. That's great.
- Well, no, actually, this is another one.
Another girl?
Boy, you sure don't waste time.
Well, bring her along, she'll love it.
- My God, it sounds awful.
- Why?
Have you ever been to one of those
Park Avenue parties?
Do you have any idea
what those people are like?
No, but I
They're the most ridiculous people
in the world.
I just thought it could be fun.
Fun?
When we could go to a poetry reading?
Is that where you're going?
Julian Darcy is reading
his latest poems.
I wouldn't miss it for anything.
- Well, that's it, then.
- What do you mean?
Well, you can't go alone, can you?
I mean not now, that
Are you serious?
You are serious. Well, you're so sweet.
So old-fashioned.
- Why?
- Because we're not tied to each other.
We're adult, independent.
We make our own free decisions,
isn't that so?
- Yeah, but I
- So, I'll go to my poetry reading,
and you'll go to your
silly Park Avenue party
and afterwards
we'll tell each other all about it.
- Are you sure?
- Of course I am, silly. Go ahead.
Get dressed, put your silly clothes on,
go to silly Park Avenue
and have a wonderfully silly time.
-Could you feel it?
“What?
The sounds of the city.
There's a kind of music in it.
The kind of music nobody's written yet.
The kind of music I want to write.
A symphony for car horns?
Sure, why not?
We need American music,
not some third-rate imitation
of what Europe was doing
100 years ago.
Peggy! Sorry.
I beg your pardon?
She a friend of yours?
No such luck.
I need to stop thinking about what I lost
and just concentrate on what I have.
Oh, no, George, maybe I should have
just stayed with Kate.
You need a little caviar
and a lot of champagne.
Maybe you're right. No, no, no, George,
but she's such a great girl.
I mean, she's intelligent and she's cute.
I don't know, I love just talking with her.
And she's so I don't know, intelligent.
You just said that. Come on.
I don't know, George.
For the love of Mike,
will you make up your mind?
All right.
Maybe just for five minutes.
Five minutes and then I go.
All right, if we don't stay too long,
I can still make it
before the end of the poetry reading.
You're missing one of the social events
of the ages for a poetry reading?
- George, don't be sore.
- Who's sore? I am not sore.
I really appreciate the opportunity,
it's just that I'm certain
Yes, I am certain as to where
I should be right now.
- It's obvious you've never been
- As a matter of fact
- to a Park Avenue party.
- who I should be with.
George, don't try and change my mind.
Five minutes, tops.
And then I leave.
- Good Gosh.
- Didn't I tell you?
There's a million girls out there.
Who is that?
That's Gloria Schuyler.
She looks edible.
She should.
Her old man owns the biggest
meat-packing plant in New Jersey.
Good hunting, pal.
- Hi, Gloria.
- Hello.
Oh, Indy.
Must you leave me so soon?
- Well, I have to be at work in an hour.
- I know, but we just met.
But, remember,
I'll see you again tonight.
- I'll miss you.
- I'll miss you, too.
Sweet dreams.
- Morning.
- Morning.
How was the party?
The party, how was it?
Kind of boring.
- How was the poetry reading?
- Kind of interesting.
- Something wrong?
- No, that's great.
Is this yours?
- It's good.
- Thank you.
- Let's have lunch today.
- Lunch?
- Today?
- Yeah. The Algonquin, 1:00?
The Algonquin, 1:00. Okay.
No, no, stop!
Pick it up, make it faster. With me.
Five, six, seven, eight.
Hit it!
Okay!
Look up!
Smile!
Pick it up!
Happy!
Miss Pennington is here, Mr White.
Okay, take a break, and stick around.
You might learn something
from a real star.
Ann, honey,
ready to try your new number?
Why not?
It's much too fast.
What's the problem, honey?
I just don't feel it.
You're taking it too fast,
Miss Pennington.
Quiet.
Too fast?
You want it slower?
Yes, it's meant to be a slow
Well, how can I shimmy to it
if it's slower?
Well, you're not meant to shimmy to it.
Not meant to shimmy to it?
Are you out of your mind?
This is Ann Pennington,
the queen of shimmy.
- I know that, but the
- Quiet.
Well, darling?
No, it just won't do.
- I'm sorry, Mr Gershwin.
- Well, don't you worry about it.
We'll just have to find you
a better number.
Won't we, George?
- Thank you so much.
- No, no, thank you, honey.
We'll give that song to one of the girls.
Now all you have to do
is to write our star a new number.
- Mr White, about these bills
- Schwarz, you're fired.
Can I have that in writing?
It's a crying shame,
that was a great song.
Thanks, but no song is great
until someone sings it.
How was it with Gloria last night?
Gloria? She's wonderful.
What about your other girl?
- Kate?
- Yeah.
She's wonderful, too.
So, now you got two girls, huh?
But they're both so different.
I mean, Gloria is so beautiful.
And Kate's so smart.
Pardon me, Mr Jones.
I just hate to disturb you
but your lunch date's arrived.
It's not even noon.
And a damn limo is blocking
half the damn street!
Gloria.
- I'll bring it back.
- Hey!
- Gloria.
- Oh, darling.
- What are you doing here?
- I just couldn't wait.
Tonight seemed so far away.
But I'm supposed to be
at work right now.
Oh, no, sweetie, it's time for lunch.
Right, I'm supposed to be at lunch.
- Lunch.
- Oh, isn't this perfectly divine?
Yeah, yeah, yeah. It's just that
I really don't have much time.
Oh, poo.
Now, where should we have lunch?
- Well, I thought we could
- A picnic!
Oh, how gorgeous. How clever you are!
I'm sorry, it's
My finger.
Horton, drive us to Chez Maurice.
Yes, madam. Right away.
Here you are, madam.
Oh, just think, darling,
we've the whole summer ahead of us.
Weekends on Long Island,
sailing at Newport.
Doesn't that sound simply gorgeous?
But, Gloria, I have to work.
And I have shopping to do.
But we can be with each other
all the rest of the time.
Oh, Indy, since last night
all I've been able to think about is you.
Have you been thinking
about me, too, darling?
Isn't this perfect?
Don't say you have to get back
to that horrid old theatre.
Yeah. The truth of it is,
I have to run an errand for Mr White.
Maybe you could drop me off.
- All right.
- Okay.
- Remember tonight, darling.
- Okay.
- The penthouse, 10:00.
- Okay.
Don't be late, darling.
Okay. Bye-bye.
Some car.
Yeah, it's Mr White's. Sometimes he
Actually, I was just
running some errands.
Well, I hope you worked up an appetite,
you're about to meet the Vicious Circle.
Thanks.
Hello, everyone.
I'd like to introduce a friend of mine.
Alexander Woollcott,
Franklin Adams, Dorothy Parker,
Harold Ross, Edna Ferber,
Beatrice Kaufman, Robert Benchley,
George Kaufman.
Indiana Jones.
Hello, Indiana.
Kate, what news on Broadway?
Oh, not a lot.
Then why do you look
so indecently ravishing?
Don't say you're in love.
Alec, you're old enough to know better.
Older.
Who are these people?
Other critics, mainly.
Edna writes novels,
Dottie reviews and writes poetry.
Be brave, my darling. I promise
I'll cook you a wonderful dinner tonight.
Tonight, no
Oh, Mr Jones, tell me.
Have you forgiven your parents yet?
What for?
For naming you after the dullest state
in the Union.
Actually, I named myself. After my dog.
Kate tells me you're with
George White's Scandals, Mr Jones.
Only as assistant stage manager.
I hope it's a better show
than his last one.
You didn't like it?
Well, I saw it under bad circumstances.
The curtain was up.
The last act was better than the first.
Of course, it had to be.
Nobody could keep down that average.
It was a bad play
saved only by a bad performance.
In heaven's name let's hurry
or we'll miss the intermission.
If you have to see a burlesque show,
Ziegfeld's your man.
Well actually, it's not a burlesque show.
It's fun, it has great music.
And plenty of half-naked girls.
Well, sure, but so does The Follies.
What makes that show better?
Good taste, Mr Jones.
Ziegfeld glorifies the American girl.
White merely undresses them.
Sounds like you've
written your notices already.
Before the show's even opened.
It has been known.
I hope you won't think the worse of us.
From his expression, he couldn't.
Enough of this trivia.
My children, I have a treat for you.
A treat did I say?
- Nay, a wonder.
- A joy.
This is not a novel
to be tossed aside lightly.
It should be thrown with great force.
Dottie, do not jest. Observe rather.
And marvel.
Handle it reverently, and with love.
What could possibly be more rare
than a Woollcott first edition?
Woollcott second edition?
Welcome to the Round Table,
Indiana Jones.
- Next.
- Forty!
Twenty-one! Eighty-three!
Thank you, next.
Next.
Seventeen!
Next!
Where you been?
I was checking the props,
like you told me.
So, what's going on out there?
White's auditioning new chorus girls.
Can I get you a cup of coffee?
Coffee? What for?
- I just thought
- One drink never hurt anybody.
Well, yes, sir, but
Peggy?
Next.
Next.
- Peggy?
- Indy?
Gosh, I'm sorry I couldn't meet you.
- It was completely my fault. I just
- It's okay, I forgive you.
- I should've waited.
- Gosh, I missed you.
I missed you, too.
What are you doing here?
I work here, backstage.
Oh, gosh, you're lucky.
I just blew my audition.
Did you see me? I was
Stay here.
- Indy.
- Just don't move.
- Mr White, could I have your attention.
- Schwarz!
I'm fired. Yes, yes, I know,
but these figures are getting serious.
You have 30 seconds.
That girl, Peggy Peabody.
She wasn't too good.
Yeah, yeah, I know, but I've heard her.
I mean, she can really sing.
Well, we need a dancer.
Yeah, I know,
but she's really great, George.
I mean, she's got real talent.
She'd be terrific in the show.
Mr White, that girl? Peggy Peabody.
- They loved you.
- They did?
You start tomorrow. Is that okay?
Oh, Indy!
What time do you get off?
Well, 6:00 but
I'll meet you at the stage door.
I know the most wonderful little diner.
We'll celebrate.
But, Peggy, I
I'm so happy.
I don't think I've ever been so happy
in my whole life.
Indy!
Indy, telephone.
Hello. Joe, Joe.
Oh, Kate, hi.
Oh, yeah, it's crazy here, too.
I'll see you in an hour at the corner of
47th Street and Broadway.
- No, no, Peggy, wait.
- Don't argue, I owe you,
and I'm buying dinner. 6:00 sharp.
Okay, that sounds wonderful, darling.
- Okay.
- Is there a Jones here?
Over here.
- Delivery from Miss Schuyler.
- Okay, your apartment.
Okay, 8:00. Okay, I'll be there.
Okay, I kiss you, too. Okay, bye.
So now you have three girls?
I'm having dinner with them tonight.
All of them? At the same time?
No. Peggy's at 6:00, Kate's at 8:00
and Gloria's at 10:00.
George, what happened?
What did I get myself into?
Every man's dream, pal.
That's what you got yourself into.
George.
Have a heart.
Thanks, George. Thanks.
Yeah, stay out of trouble.
Hey, fellas.
Jones! Where do you think
you're going, Jones?
- I was just going to go get a bite to eat.
- Forget it.
I need you to inventory
the new costumes.
Then I need seven copies
of the lighting cues.
But sir, it's already 6:00.
I was supposed to meet someone.
- I'm already late.
- Move it!
Before I light a real fire under your tail.
- I got a bad feeling.
- Move it!
You say he's done this before?
It was an accident before.
He probably just had to work.
- That's what they all say.
- He's not like that.
Peggy!
Peggy, I'm sorry, I had to work late.
I understand.
That Mack, he's a slave driver.
Are you hungry?
Sure, I skipped lunch.
I could eat two chilli dogs right now.
I'm treating you, so have three.
Okay.
Peggy, I really need to
get back to the theatre.
Oh, my gosh, 25 minutes ago.
Indy, but you must eat something. Here.
Hurry. You can eat the last one
on the way back.
You're late.
I'm sorry, I had to work late.
Telephones aren't familiar to you?
The phones were out. I'm sorry
Well, dinner didn't wait.
I'm sorry, is it ruined?
Well, not if you like your beef
very well done.
I do, I do.
Oh, this is really good.
I feel bad. I shouldn't be upset with you
because you work late. That's natural.
So you know what I did?
I made you some pasta.
Oh, no, no, no, really, no need, no need.
As a matter of fact, I'm almost finished.
This is so much better.
- This is
- Wonderful pasta.
- Look at that.
- Okay.
It's divine, isn't it? You can eat up.
Okay, okay.
Actually, the truth of it is,
I was supposed to be back
at the theatre 30 minutes ago.
- Oh, you're kidding?
- Oh, I know it's rotten.
- Rotten? Yes.
- It's rotten,
but that's show business, really.
I'm sorry.
I hope you're hungry.
Oh, sure. Sure.
I had Maurice prepare
my very special extra favourite dinner.
I just know you're going to love it.
Oh, poor poopsie, you look so tired.
You look like you need some help.
You know you really don't look very well.
You shouldn't work so hard.
Did you have lunch today?
No. See, you really have to take
much better care of yourself.
Three meals a day is very important.
I think what I really need is just
to go home and get some sleep.
No, you can't leave me so soon,
you party pooper.
At least stay and have some dessert.
Miss Schuyler.
Hold it. Hold it!
It's going the wrong way.
Schwarz,
what the hell is going on here?
These girls are terrible.
It's not their fault, Mr White,
half of them are new.
New? What the hell happened
to the old ones?
Ziegfeld hired them away.
He is determined to ruin this show.
To hell with Flo Ziegfeld, I'll ruin him.
But we're supposed to open in 10 days.
Maybe we should cancel.
Schwarz, we are going to
open this show if it kills us.
We're going to knock Flo Ziegfeld
on his ass.
- Phone call for Mr Schwarz.
- Oh, no.
Ladies, we're going to go again in 15.
Ginger.
Let's try that number now, all right?
That's you, that's you. Go, go, go.
Still too fast.
- Ann, what do you think of this kid?
- Not much.
Me, too. She stinks. Okay, hold it.
Kid, it just doesn't work.
I know I can do it
if only they give me a chance.
I know.
It's not her fault. That song's a turkey.
It's not a turkey.
It's the best song I ever wrote.
Mr White.
We've got a real problem here.
And I know how to solve it.
Let Peggy sing your number.
She doesn't have the experience.
But she does have the talent.
She could do it, I know she could.
You could teach her.
It's not possible.
Everything's possible.
Come on, George, at least let her try.
What do you say?
- Is this some kind of a joke?
- I wish it were.
But all of our backers have pulled out.
Ziegfeld got to them.
They can't pull out, we've got a
- We've got a contract.
- Unfortunately, it isn't signed.
I did try to warn you, Mr White.
I suggest you try to find
some new backers.
Where in God's name
am I going to do that?
Well, I don't know, but unless you do,
and quickly, this show hasn't got
a dog's chance of opening.
We might as well fold up right now.
How much do we need?
$20,0007?
Might as well be $20 million.
Poor Mr Gershwin.
Poor you. Just when you had a chance
to try out for his song.
I'll get over it.
Isn't there any hope
of Mr White raising the money?
Not a chance, he's flat broke.
In hock up to his ears.
So what happens to the show?
We'll go on working
for the rest of the week
but unless there's
some kind of miracle
There'll be nothing to meet the payroll.
Everyone's out of a job.
- How much does White need?
- $20,000.
Might as well be $20 million.
Hand me the phone, will you, darling?
Go ahead,
cancel our supper reservations,
I don't even really feel like eating.
Hello, is this the best daddy
in the whole world?
Burt!
Burt!
Burt, it still needs to be slower.
I'm sorry, Peggy, you're doing fine.
Take it again.
Hold it! Hold it. Everybody on stage.
Folks, you've all heard about angels.
Well, I want you to meet a real live one.
Meet J.J. Schuyler, our new backer.
Kids, we got a show.
Anything special you'd like to see?
Just go on with what you've been doing.
Okay, back to work.
- Please sit down.
- Go on.
She's nervous and the tempo's not right.
Right or not, she's lousy.
We better find
Hey, this little girl is pretty good.
You like her, Mr Schuyler?
I think she is great. Don't you?
I love her, I think she's terrific.
Okay, honey, you got the number.
That's great, Peggy.
Mr Schuyler, how would you like
a backstage tour?
Whatever you say, Mr White.
Right this way, Mr Schuyler.
- Indy! Oh, Indy, I got it!
- Peggy.
You were great.
Hey, take it easy, let the
I know, I know, I know.
Peg, you were great. You really were.
That was fabulous.
It was the best performance
I've ever seen.
Hello there, son.
Hi, sir, how are you?
You two know each other?
Sure do. He's been stepping out with
Peggy, let's go work on that song.
Hello, darling.
Hi.
So, this is show business.
Yes, sir, I guess it is.
"Steel symmetry of pistons,
throbbing, pulsing, driving"
"Engines of our century
The age of the machine"
Thank you. To finish, my latest.
The title is from Shakespeare.
I call it, Lovers Meeting.
"Rainstorm over the city,
the sky black as a witch's hat"
"Concrete canyons stream"
"Then, look,
I see you running toward me"
"My own, my true, my love sunburst"
"Suddenly, the city's a garden, glorious"
"Even the sidewalks shine"
- Kate, it's too precious.
- I wrote it for you.
- Hi.
- What kept you?
I'm sorry.
Well, I've been sitting here for ages.
I know, I know. I just couldn't get away.
From that horrid old theatre, I suppose.
Yeah, we were rehearsing late.
Well, you are going to have to tell that
nasty old slave driver Mr White
that he has to let you off early.
Or maybe I'll go tell him so myself.
No, no, you can't do that.
I mean, we open in only a week.
Oh, poo. That silly show's more trouble
than it's worth.
I know, I know.
I'll try not to be late again.
Well, I am going to make sure
that you're not.
No, no, Gloria, that's too expensive
Oh, poo. Now you'll have
no more excuses, you naughty boy.
Okay, let's eat.
This is how I want you to sing my song.
- Well, I'll try.
- You can do it.
- Sorry.
- Hey.
I got held up.
Indy, you're soaking. Hold still.
No, keep it, I want you to.
See those initials "S.P."
My grandmother gave it to me
and now it's yours.
Peggy, no, it's too special.
That's why I want you to have it.
It's killing me.
I'm telling you, George,
this is killing me.
I just can't keep this up.
That's the price of perfection.
Maybe it's time to choose.
I can't. I just can't.
I mean, Peggy's so nice and caring.
Kate's so intelligent and well-read.
- Gloria's so beautiful.
- And so rich.
Can't you at least give one of them up?
But which one?
Not Peggy, not Kate.
Not Gloria.
Her old man's backing the show.
See, it's impossible.
Oh, George. What am I going to do?
I hear you're in serious trouble,
Mr Jones.
- I am?
- Not you personally. Your show.
Flo Ziegfeld says
you're headed for disaster.
Well, he is prejudiced,
wouldn't you say?
He is also extremely powerful.
What does that mean?
That means he's in a position
to do something about it.
Like, pull his ads
from all the newspapers.
Pull his ads?
If their critics give The Scandals
a good notice.
- Can he do that?
- Well, it has been known.
But that's not fair.
All's fair in love
and show business, Indiana.
Haven't you ever noticed
that Broadway is paved with blood?
Are you saying he's blackmailing you
to give us bad reviews?
That's right. Thank goodness
I'm not covering it for The Sentinel.
Well, you're going to let Ziegfeld
get away with I'm sorry.
Are we going to let Ziegfeld
get away with it?
What? And compromise the fair purity
of the press?
- Well, are you?
- Never.
So, no matter what Ziegfeld does,
you'll give The Scandals a fair shake.
If it's any good.
So cheer up, Indiana, and good luck.
- Good luck.
- Sounds like you're going to need it.
- Jones!
- Yes, sir.
Do it! If you see something
that needs to be done, do it!
Come on.
Ladies, move it!
Yes, sir.
Jones!
Have you seen Bonzo?
Bonzo?
You know, my monkey.
No, and I told you
not to let him back here, ever.
Bonzo!
Get the Peabody broad. Now!
- Peggy!
- Indy!
- Where have you been? You're late!
- I couldn't help it, I don't have a watch.
Come on.
Late one more time and you're fired.
Line set going out. Center stage!
Well, thanks so much for gracing us
with your presence, Miss Peabody.
I'm so sorry, Mr White.
She can sing a bit.
She can dance a bit, too.
It's a pity she can't do both
at the same time.
That number is never going to work.
- The show is running long.
- You're right.
Forget it, kid, the number's out.
Mack, set up for the Act One finale,
thanks.
- Hey, listen, it's not your fault.
- It is.
I thought I had time
and I don't have a watch,
and now Mack says I'll be fired
if I'm late again.
No, you won't. You won't be late again.
You keep that, okay?
Okay?
You okay?
- Rough day?
- It was horrible.
Why don't you just relax
and I'll cook you something
to make you forget all about it.
- Wanna get the phone?
- Okay.
- Hello.
- Hello, darling. It's me.
- How did you get this number?
- Well, it's in the files.
I'm your boss, remember?
Right, right What's up?
I need you.
What?
Well, Daddy's out of town
and I'm all alone and I'm so afraid.
Please come over and rescue me.
No, no, no. No, I'm too tired. I can't.
Oh, but I'm so scared. Please.
No, really, really, I'm just beat.
I'm really just too tired.
But you must.
You won't be sorry.
Okay, okay, okay. I'm on my way.
Oh, goody. Bye, darling.
Yeah, bye.
Who was it?
It was the theatre calling.
They need me back there right away.
I couldn't get out of it.
I wish there was something I could
Yeah, yeah, I know.
Indy.
Isn't this wonderful?
Isn't it perfectly divine?
- Indy.
- Why, yes! What, no, of course, it's
Of course what?
Of course.
Of course, what you just said.
You were asleep.
No. No, no, no, I wasn't.
I was thinking about you.
I feel
I feel like there's been a sunburst.
- Yes?
- And suddenly
"Suddenly, the city's a garden, glorious"
- Yes!
- "Even the sidewalks shine"
Oh, darling, that's so beautiful.
So perfect.
Is it from a poem?
Yeah.
Yeah, but it hasn't been published yet.
Oh, do you mean
that you wrote it for me?
Well
Thank you.
Thank you, my sweet darling.
I will treasure it all my life.
"Even the sidewalks shine"
Oh, Indy, do you know
what I'm going to do?
What?
I'm going to have it engraved
on my cigarette case.
It's going to be set in gold forever.
Isn't that perfectly divine?
Yeah, it's great.
Oh, hey, Ginger, Sophie.
Come here, look at this.
Mr Jones.
No, no, no!
Sorry, Mr White, it's the turntable.
I don't care what it is, you fix it now.
I'll try.
And you. You're all terrible.
This is supposed to be
the Act One finale and it's a disaster,
and we open tomorrow night!
They're tired!
Tired? Baloney!
I'll show them tired.
Now you listen to me.
We're going to go back to the opening,
and we're going to work until we drop,
and then we are going
to get up off the floor
and work again and again and again!
Okay. Places.
Indy.
Watch it. Stop!
- Not so hard.
- Excuse me.
Hurry up. Next. Come on.
And smile.
Bit more.
Raise the screen.
Come on, let's go!
Watch it!
That's it. Good.
Bonzo, cut it out!
I got it, Mack!
Six. Come on.
Indy!
Look up! Look up!
-Well, in a couple of hours
“We'll either be a hit
or out of a job.
I guess it's in the lap of the gods.
And the critics.
You know what,
I just remembered something.
It's my birthday. I'm 21 today.
When Mack shows up,
send him straight to the light room.
If for any reason
- Indy!
- What are you doing?
You're not in costume. Go up and
I just had to thank you
for the beautiful roses.
Okay, okay. Peggy, listen, if we
Indiana, I am so mad
but the editor insisted.
Editor?
Our theatre critic went sick
so I have to review the show.
I argued, he wouldn't listen,
but don't you worry, darling,
I won't let you down, I'll be objective.
- Okay.
- Good luck, darling.
No, no, no, Kate.
Kate, see Okay.
Hello, darling.
Gloria, hi, hi.
Mr Schuyler,
you really shouldn't be back here.
Oh, we had to come back
and wish you luck.
Okay. Gloria, listen
That's right, son. I've got a feeling that
this is going to be a night to remember.
You're right, sir,
it's going to be a night to remember.
You're right, excuse me.
Jones, get over here quick.
- What happened?
- Ziegfeld, that's what happened.
"To Mack,
with all my best wishes for tonight."
"Have one on me. Flo."
- Who's going to run the show?
- You are.
- Me?
- No one else.
No, Mr White, I can't. I
It's a piece of cake. You'll do fine.
You better because if you don't,
I'll murder you.
Let's knock them dead.
Indy!
You got it? That's the First Act finale.
We'll go through the Second Act
during intermission.
Relax, it's a piece of cake.
Now call beginners.
Come on, let's go, let's go!
Beginners, on stage!
Move it! Hurry it up!
Come on, hurry. Let's go.
What do you mean there are
no opening number costumes?
- They disappeared.
- Disappeared?
- How could they have disappeared?
- Somebody must have stolen them.
Great.
All we've got is our feathers, Indy.
What are we gonna do?
-Take them off.
“What?
Take them off! Take all the feathers off.
Here's your seat, Mr Hemingway.
Harry, Frank, stand by.
Please!
Bring up 8, 12 and 46.
Take the house down.
At least they are starting on time.
Take it up.
Holy Moses.
Bring the car in!
Lights up to full.
Put the feathers down.
Okay, curtain down, scrims out.
Miss Pennington, stand by.
Stuck in her dressing room?
Help me! Help me, the door is jammed!
Get me out of here!
Look out! Out of the way!
Put me down. What are you doing?
You ape!
Never in all my years
I know, I know, I know.
You're the queen of shimmy.
I said bring in number three!
There's something
jammed up there, Indy!
No, no.
Bonzo, over here. Bonzo!
Bonzo, this way.
No!
Bravo! Bravo!
Curtain down. Bring in 27, 29 and 33.
Call the harem number. Go!
Hey.
Hey, help me with these beach balls!
Now with the clam shells. One,
two, three!
Yeah, yeah. I got it, I got it.
Act One finale, stand by.
Harry, I think we're going to make it!
Indy, the turntable's busted.
What? No, no, no, no, no.
Get back out there.
Reprise the number.
- What for?
- The turntable's busted.
Get
Something's gone wrong.
Be quiet!
Not a hope.
- What's wrong? What's happening?
- There's no Act One finale.
There's one minute to go,
Indy, what are we gonna do?
- Where's Peggy?
- Peggy?
- She's up there.
- Come on.
What?
- Mr Gershwin!
- Hurry, we're going to do your number!
- Do my
- Fifty seconds.
Just like we rehearsed it.
George, the orchestra
doesn't have the music.
We don't need the orchestra,
I'll play it myself.
- Mr Gershwin, I
- Don't worry, kid, you'll be fine.
Remember, just like we rehearsed it.
- Come on, quick.
- Thirty seconds.
This is supposed to be a finale?
- Listen, fatso, if you don't shut up
- Sorry.
Thank you.
Now, we're all counting on you,
and you're not going to let us down.
Now get out there and save the show.
- I can't do it. I can't.
- Yes, you can.
- You were great.
- Oh, Indy.
Peggy, there are some people
I want you to meet.
It was wonderful.
- Let's get something to drink.
- All right.
Well, George, it looks like
we've got ourselves a hit.
- Let's wait for the notices.
- No, no.
Well, son, now that the show's open,
I guess we'll be seeing
a lot more of you.
We certainly will.
Excuse me, Gloria, sir.
Why is that boy always
in such a damn rush?
Daddy.
Kate.
Darling, I loved it. Dottie said it was the
best thing on Broadway in three years.
Great, great.
- Here they are.
- Are they good?
Are they good?
- Let Kate.
- Don't you wanna hear the notices?
I'd rather you just tell me
everything that you wrote.
"Sensational Scandals."
Well, let's see. "After the silliness"
"George Gershwin's music,
the best on Broadway."
"The idea was original, unique"
"It puts The Follies to shame!"
Send that one around to Flo
with my regards!
"The stage management was faultless."
- Listen to this.
- You're not listening.
- "Newcomer in personal triumph"
- Yes, I am.
“hats off to Peggy Peabody,
Broadway's latest bright star.”
- There you go, kid.
- Oh, Peggy.
- I must tell Indy.
- Oh, yeah.
Okay, here, papers for everybody. Here.
Don't tell me, you're Kate.
- Peggy.
- It's just
I'm so happy.
Darling, do you mind
if I go and fix my face?
No, no. Go, go ahead.
Take all the time you need.
- Where's Kate?
- Relax, she's gone to the powder room.
- No!
What's up?
Peggy went to the powder room.
Well Well, what about Gloria?
Gloria, she went
Happy birthday, pal.
Speech, speech, speech.
I just wanna say that
I'll never forget this moment.
It's the happiest of
Peggy, Gloria, Kate, I can explain.
I never meant for one minute
to hurt anybody.
There's never a time
I'll never do it again.
I never I never
- You're despicable.
- You're out.
You're fired.
- You're the lowest.
- You're trash.
You're on your own.
Yes.
- Where did the people go?
- To the bathroom.
- All three of them, together?
- Yes.
Well, I guess I'll just wait here
for them to come back.
Don't you touch that!
Look, there are no other seats.
I just need a place to
Don't you dare!
Look, I just wanna
Have you got a ticket?
Go ahead, sit.
I told you before, lady,
those cases go up on the rack.
I don't need to tell you this again, do I?
- Here, let me help.
- Get away!
You sit there and stay there.
Don't try to get fresh.
I wasn't trying to get fresh,
I just wanted a place
I've read about men like you.
You big-city masher.
How dare you!
- I lost my apple!
- How dare you!
- I'm going to call the conductor.
- No!
I'm going to have
you thrown off this train.
Relax! I just dropped my apple.
- Oh, there is no apple. Help!
- I dropped it!
I'm so sorry.
I'm Indiana Jones,
but my friends call me Indy.
I'm Margaret Peabody.
My friends call me Peggy.
Would you like a bite?
So, you headed for New York?
Me, too. I have a friend there
who's promised me a job, so
I'm going to work in New York, too.
A Broadway show.
Really? Wow, which one?
I haven't decided yet.
You don't believe me.
No, no, no, sure I do. It's just that
I've heard it can be kind of difficult
getting started in theatre.
I know it, but I just feel
I'm going to make it.
You're a dancer?
Certainly not.
I don't intend to display myself.
I sing. I'm pretty good at it.
You're pretty good at eating apples, too.
- I'm sorry about your apple.
- Oh, really, really I
I wasn't very hungry.
I wish there was something I could do.
Well, you could sing for me.
Sing for you? What, now?
Yeah.
I'd really like that. Please?
That was great!
Well, I guess this is goodbye.
Does it mean we'll never
see each other again?
- Gee, I hope not.
- Me, too.
- 'Cause I'd really like to see you again.
- Me, too.
Gosh, New York sure is awful big.
It's a great city. I'd love to
-Why don't I do that?
“What?
Show you the city.
The two of us together.
When do we start?
First thing tomorrow.
Where are you staying?
At the Victoria Hotel,
but only for tonight.
First thing tomorrow, I'm going to find
myself a nice clean boarding house.
Great, I can help you look.
I'll pick you up at 10:00. That way,
we'll have the whole day together.
Sounds wonderful.
Hey, Mac, you want this cab
or you're just eating lunch?
Yes, we want this cab.
- 10:00, don't forget.
- I'll be waiting.
Wrong door, amigo. Party's in here.
Susan, how wonderful to see you.
Having fun?
Sort of. Who are all these people?
Writers, actors, painters, composers,
anarchists, socialists.
The usual Village crowd.
You know any of them?
Me? No, no.
I just snuck in for some free food.
- Whose party is this anyway?
- Mine.
- I'm sorry.
- Don't be silly.
Come one, come all.
Actually, I'm supposed to be staying
down the hall with the Jacksons,
- but they don't seem to be home, so
- No, they're not. They're in Europe.
In Europe?
Is that a problem?
Well, yeah, I'm supposed
to be staying with them.
Live life. Take no thought of the morrow.
Kate Rivers, what do you do?
Indiana Jones.
I'm an archaeology student.
Pleasure. Archaeology, how fascinating.
So, tell me, is it true in ancient Egypt
poets were worshiped as gods?
Not exactly. But in the British Museum,
there's a papyrus
that says, "For the scribe there are no
taxes. He payeth tribute in his writings."
I love that.
Yeah, tell it to the Internal Revenue.
Wasn't their religion
based on fertility rituals?
Well, most religions are.
In ancient Greece,
there's the myth about Dionysus.
"Dear Mom, I must tell you about"
“the most wonderful handsome boy
I met on the train.”
Don't you see that there's a rhythm
to our lives and poetry has to reflect it?
So, the poet is the mouthpiece
of his age.
Exactly. Who's your favourite poet?
- Shakespeare.
- Perfect.
See, in his plays, in his sonnets,
you can feel the pulse
of Elizabethan life.
- They pound with it.
- But this is 1920.
Exactly. So our poetry has to echo the
rhythm of the 20th century which is
The automobile age.
Throbbing, driving.
I've never thought about it that way,
but, you're right, that sounds good.
I can't remember when I've had
this much fun.
Me neither.
I'm hungry, what time is it?
I don't know. About noon, I guess.
- What happened to breakfast?
- Breakfast?
I think that's when
we were talking about
Noon! Did you say noon?
- Yeah. What's the
- Oh, my God.
I've got to go. I've got an appointment.
I'm sorry!
She's gone? Are you certain?
I'm positive.
Miss Peabody checked out this morning.
She was here till noon.
Said she was waiting for someone.
Then she left.
She didn't leave
a message, a note, anything?
She did not. The poor girl was in tears.
You've no idea where she went?
None.
Who is it?
It's me, Indy.
Hi, sorry if I woke you, I
What time is it?
It's probably around 3:00.
Well, the truth of it is, I
I just left my bag here.
And I was wondering if maybe I could
Dig around.
Yeah, okay.
If you're sure it's no trouble.
- Thanks.
- You're Indy.
- You're Kate.
- What's left of her.
Oh, God, would you look at this place?
Maybe I could help you clean it up?
Yeah.
Oh, Miss Peabody, a young man
was here earlier looking for you.
- Did he leave a message?
- No.
Alone, friendless
and with no place to stay.
Sounds like a line from a song.
Luckily, it's not true.
At least the part about being friendless.
There's a guy I know from Chicago
that plays clarinet
in a restaurant up in Harlem.
He promised to get me a job, so
- What kind of job?
- As a waiter.
Well, there are worse things.
Like reviewing other people's books
and other people's plays.
But I thought you were a poet.
Well, I am but I review for The Sentinel.
Pays the bills.
I'm glad you have a friend, though.
This city can be
awfully lonely if you don't.
Well, don't tell me you're lonely.
You mean the crowd last night?
They are sort of friends, I guess.
But there's no one close.
Do you have anybody like that?
No, I thought I did but no,
there's no one.
Well, I really better get going.
Thanks a lot, really, for everything.
Don't be silly. Thank you, this place
hasn't looked so good in years.
Yeah.
You're not going to haul that
all the way up to Harlem, are you?
- Yeah, I guess.
- It's an awfully long trip.
Listen, why don't you leave it here?
- Here?
- Sure.
If I'm out, let yourself in, okay?
Okay. All right. Thanks.
Sure.
- Jonesy, hey
- Sidney.
Goldie.
Fellas, meet Indiana Jones,
the Sax Man.
Hi. How you doing?
- When did you get in?
- Yesterday.
- So, how's it going?
- So-so.
Only so-so. This place isn't exactly
what I imagined it to be.
You know, that waiter's job
I promised you, Jonesy,
I don't think it's going to happen.
Don't worry about it.
New York's a pretty big town.
I'm sure I'll find something.
Hold on. One promise I did keep.
I got your baby fixed.
My buddy tuned her, so now she should
sing like a morning lark.
Sidney.
You haven't forgotten how to blow it,
have you?
A soprano sax in a jazz band?
Why, I've never heard of that before.
Well, let's hit it, then.
George, you want to sit in?
I thought you were never going to ask.
Come on in.
Two, three, four.
That's not a bad sound.
Yeah. The Sax Man.
You sure can play that tune.
Well, he ought to, he wrote it.
- You wrote that?
- Yeah, sure enough.
George Gershwin.
Indiana Jones. That is some fine tune.
Thanks. Are you a musician?
Me? No, no, no.
I study archaeology and I wait tables.
Interesting sax you play. Have a cigar.
No, no, thanks. I don't smoke.
Do you eat?
Yeah, I eat.
As a matter of fact, I'm starving.
Come, Mr Sax Man, let's eat.
Let's go again, fellas.
So, what happened to her?
This girl you met on the train.
I lost her. It was dumb and now I lost
probably the nicest girl in the world.
And I don't suppose
I'll ever see her again.
Chin up, sport,
there's a million girls out there.
I know, I know.
But, I don't know, Peggy was different.
So, you fell in love?
No, it wasn't love. Not yet.
I only knew her for a few hours,
but I don't know, it was special.
I don't know how to describe it.
I wish I could find the words.
Well, you find the words, Indy,
and I'll find the tune.
Come on, George, this is special.
You can't put this in a song.
Can't put it in a song?
Are you kidding?
A song's the only place you can put it.
Ask any of these guys.
Why, they're songwriters?
This is Tin Pan Alley. All right, come on.
Fellas? Fellas,
my friend here needs some advice.
- George.
- He's got that feeling.
That feeling of love.
I don't know.
There's just something about it.
No, no, you see, that's not it.
You see,
the thing about Peggy is that she's so
Don't you mean the way she smiles?
Then that's it, my boy,
that's the answer!
Because, you see
Take it, Ted.
- Oh, yeah!
- Do it.
- Yeah.
- Thanks, Mr Lewis.
Okay, okay. Well if it's all so great,
why do I feel so miserable?
Because she's nailed you, you poor sap,
and now you're a goner. Call you back.
There's something else.
Something bigger.
I mean, why am I still
thinking about her?
- Tell him, Mr Berlin.
- Oh, yeah, do it.
It's very simple, boychik.
You keep thinking about her because
So, what happens now?
I guess I start looking for a job.
Go down to Globe Theatre.
Ask for Mack.
- Really?
- He'll fix you up.
- Thanks, George.
- Forget it. What else are friends for?
Only thing is, I don't know a whole lot
about show business.
It's easy. Any monkey can learn it.
Okay. Thanks.
You leaving?
Oh, yeah. Sorry if I woke you up, but I
No, you didn't.
I was just thinking about you.
I'll miss you.
I'll miss you, too.
You don't have to go.
No.
Then, why not
You ever work in the theatre before?
- Yeah, once in Barcelona.
- Barcelona?
- Spain, with Diaghilev's Russian Ballet.
- Diaghilev. You putting me on?
No. No, no, I was a eunuch.
Get that thing out of here!
And, you broads, get on stage.
And let's have some quiet around here!
I'm going to pretend I didn't hear
what you just said.
As far as I'm concerned, you're an idiot.
What are you?
- An idiot.
- Correct.
Now, open your idiot ears
and follow me.
Your job is to do all the idiot jobs that
only an idiot wants to do,
like make the coffee, run the errands,
sweep the stage.
) -Okay!
- Light her up, Harry!
Make out call sheets. Look after props
Call the actors, see none of them's late.
That's good!
Most of all, you keep me sweet.
- Yes, sir.
- Why do you do this?
- Because I'm an idiot.
- That's right!
Just remember, Jones,
my name is God,
and there's only one other God above
me in this whole damn theatre.
Who's that?
He sings, he dances, he produces,
he directs.
And his name is Mr White.
Schwarz, you're fired.
Yes, Mr White, thank you.
Now about these bills.
Later, I have a show to put up. Burt!
Burt, we are going to start
with the opening, Scandal Walk.
This is a great number, George,
it'll kill Ziegfeld.
- Yeah, you think so?
- I guarantee it.
With your music, my dancing
and Ann Pennington starring,
we're going to put The Follies
right out of business.
- Mr White, about Miss Pennington
- What about her?
I hear Mr Ziegfeld has made her
another offer to rejoin The Follies.
Well, let him.
She's under contract to me.
- Yes, but I was thinking
- See what I mean?
Ziegfeld's running scared already
and we haven't even opened yet.
- Mr White, what about these bills?
- We're going to be the biggest thing
on Broadway.
Ziegfeld's going to have to retire.
Mr White!
All right, ladies,
let's see what you can do.
Hey! Watch it, bub.
- Hey, you got the job, then.
- Oh, yeah, George, I really appreciate it.
Well, great because tonight
we're stepping out on the town.
We are?
We're going to a big party
on Park Avenue.
Park Avenue. Really?
We'll have a gorgeous time.
Don't say you don't want to.
Only trouble is I don't have any clothes.
- Now you have clothes.
- Okay.
- Well, I still have to talk to my girl.
- Your girl?
- You mean, you found her. That's great.
- Well, no, actually, this is another one.
Another girl?
Boy, you sure don't waste time.
Well, bring her along, she'll love it.
- My God, it sounds awful.
- Why?
Have you ever been to one of those
Park Avenue parties?
Do you have any idea
what those people are like?
No, but I
They're the most ridiculous people
in the world.
I just thought it could be fun.
Fun?
When we could go to a poetry reading?
Is that where you're going?
Julian Darcy is reading
his latest poems.
I wouldn't miss it for anything.
- Well, that's it, then.
- What do you mean?
Well, you can't go alone, can you?
I mean not now, that
Are you serious?
You are serious. Well, you're so sweet.
So old-fashioned.
- Why?
- Because we're not tied to each other.
We're adult, independent.
We make our own free decisions,
isn't that so?
- Yeah, but I
- So, I'll go to my poetry reading,
and you'll go to your
silly Park Avenue party
and afterwards
we'll tell each other all about it.
- Are you sure?
- Of course I am, silly. Go ahead.
Get dressed, put your silly clothes on,
go to silly Park Avenue
and have a wonderfully silly time.
-Could you feel it?
“What?
The sounds of the city.
There's a kind of music in it.
The kind of music nobody's written yet.
The kind of music I want to write.
A symphony for car horns?
Sure, why not?
We need American music,
not some third-rate imitation
of what Europe was doing
100 years ago.
Peggy! Sorry.
I beg your pardon?
She a friend of yours?
No such luck.
I need to stop thinking about what I lost
and just concentrate on what I have.
Oh, no, George, maybe I should have
just stayed with Kate.
You need a little caviar
and a lot of champagne.
Maybe you're right. No, no, no, George,
but she's such a great girl.
I mean, she's intelligent and she's cute.
I don't know, I love just talking with her.
And she's so I don't know, intelligent.
You just said that. Come on.
I don't know, George.
For the love of Mike,
will you make up your mind?
All right.
Maybe just for five minutes.
Five minutes and then I go.
All right, if we don't stay too long,
I can still make it
before the end of the poetry reading.
You're missing one of the social events
of the ages for a poetry reading?
- George, don't be sore.
- Who's sore? I am not sore.
I really appreciate the opportunity,
it's just that I'm certain
Yes, I am certain as to where
I should be right now.
- It's obvious you've never been
- As a matter of fact
- to a Park Avenue party.
- who I should be with.
George, don't try and change my mind.
Five minutes, tops.
And then I leave.
- Good Gosh.
- Didn't I tell you?
There's a million girls out there.
Who is that?
That's Gloria Schuyler.
She looks edible.
She should.
Her old man owns the biggest
meat-packing plant in New Jersey.
Good hunting, pal.
- Hi, Gloria.
- Hello.
Oh, Indy.
Must you leave me so soon?
- Well, I have to be at work in an hour.
- I know, but we just met.
But, remember,
I'll see you again tonight.
- I'll miss you.
- I'll miss you, too.
Sweet dreams.
- Morning.
- Morning.
How was the party?
The party, how was it?
Kind of boring.
- How was the poetry reading?
- Kind of interesting.
- Something wrong?
- No, that's great.
Is this yours?
- It's good.
- Thank you.
- Let's have lunch today.
- Lunch?
- Today?
- Yeah. The Algonquin, 1:00?
The Algonquin, 1:00. Okay.
No, no, stop!
Pick it up, make it faster. With me.
Five, six, seven, eight.
Hit it!
Okay!
Look up!
Smile!
Pick it up!
Happy!
Miss Pennington is here, Mr White.
Okay, take a break, and stick around.
You might learn something
from a real star.
Ann, honey,
ready to try your new number?
Why not?
It's much too fast.
What's the problem, honey?
I just don't feel it.
You're taking it too fast,
Miss Pennington.
Quiet.
Too fast?
You want it slower?
Yes, it's meant to be a slow
Well, how can I shimmy to it
if it's slower?
Well, you're not meant to shimmy to it.
Not meant to shimmy to it?
Are you out of your mind?
This is Ann Pennington,
the queen of shimmy.
- I know that, but the
- Quiet.
Well, darling?
No, it just won't do.
- I'm sorry, Mr Gershwin.
- Well, don't you worry about it.
We'll just have to find you
a better number.
Won't we, George?
- Thank you so much.
- No, no, thank you, honey.
We'll give that song to one of the girls.
Now all you have to do
is to write our star a new number.
- Mr White, about these bills
- Schwarz, you're fired.
Can I have that in writing?
It's a crying shame,
that was a great song.
Thanks, but no song is great
until someone sings it.
How was it with Gloria last night?
Gloria? She's wonderful.
What about your other girl?
- Kate?
- Yeah.
She's wonderful, too.
So, now you got two girls, huh?
But they're both so different.
I mean, Gloria is so beautiful.
And Kate's so smart.
Pardon me, Mr Jones.
I just hate to disturb you
but your lunch date's arrived.
It's not even noon.
And a damn limo is blocking
half the damn street!
Gloria.
- I'll bring it back.
- Hey!
- Gloria.
- Oh, darling.
- What are you doing here?
- I just couldn't wait.
Tonight seemed so far away.
But I'm supposed to be
at work right now.
Oh, no, sweetie, it's time for lunch.
Right, I'm supposed to be at lunch.
- Lunch.
- Oh, isn't this perfectly divine?
Yeah, yeah, yeah. It's just that
I really don't have much time.
Oh, poo.
Now, where should we have lunch?
- Well, I thought we could
- A picnic!
Oh, how gorgeous. How clever you are!
I'm sorry, it's
My finger.
Horton, drive us to Chez Maurice.
Yes, madam. Right away.
Here you are, madam.
Oh, just think, darling,
we've the whole summer ahead of us.
Weekends on Long Island,
sailing at Newport.
Doesn't that sound simply gorgeous?
But, Gloria, I have to work.
And I have shopping to do.
But we can be with each other
all the rest of the time.
Oh, Indy, since last night
all I've been able to think about is you.
Have you been thinking
about me, too, darling?
Isn't this perfect?
Don't say you have to get back
to that horrid old theatre.
Yeah. The truth of it is,
I have to run an errand for Mr White.
Maybe you could drop me off.
- All right.
- Okay.
- Remember tonight, darling.
- Okay.
- The penthouse, 10:00.
- Okay.
Don't be late, darling.
Okay. Bye-bye.
Some car.
Yeah, it's Mr White's. Sometimes he
Actually, I was just
running some errands.
Well, I hope you worked up an appetite,
you're about to meet the Vicious Circle.
Thanks.
Hello, everyone.
I'd like to introduce a friend of mine.
Alexander Woollcott,
Franklin Adams, Dorothy Parker,
Harold Ross, Edna Ferber,
Beatrice Kaufman, Robert Benchley,
George Kaufman.
Indiana Jones.
Hello, Indiana.
Kate, what news on Broadway?
Oh, not a lot.
Then why do you look
so indecently ravishing?
Don't say you're in love.
Alec, you're old enough to know better.
Older.
Who are these people?
Other critics, mainly.
Edna writes novels,
Dottie reviews and writes poetry.
Be brave, my darling. I promise
I'll cook you a wonderful dinner tonight.
Tonight, no
Oh, Mr Jones, tell me.
Have you forgiven your parents yet?
What for?
For naming you after the dullest state
in the Union.
Actually, I named myself. After my dog.
Kate tells me you're with
George White's Scandals, Mr Jones.
Only as assistant stage manager.
I hope it's a better show
than his last one.
You didn't like it?
Well, I saw it under bad circumstances.
The curtain was up.
The last act was better than the first.
Of course, it had to be.
Nobody could keep down that average.
It was a bad play
saved only by a bad performance.
In heaven's name let's hurry
or we'll miss the intermission.
If you have to see a burlesque show,
Ziegfeld's your man.
Well actually, it's not a burlesque show.
It's fun, it has great music.
And plenty of half-naked girls.
Well, sure, but so does The Follies.
What makes that show better?
Good taste, Mr Jones.
Ziegfeld glorifies the American girl.
White merely undresses them.
Sounds like you've
written your notices already.
Before the show's even opened.
It has been known.
I hope you won't think the worse of us.
From his expression, he couldn't.
Enough of this trivia.
My children, I have a treat for you.
A treat did I say?
- Nay, a wonder.
- A joy.
This is not a novel
to be tossed aside lightly.
It should be thrown with great force.
Dottie, do not jest. Observe rather.
And marvel.
Handle it reverently, and with love.
What could possibly be more rare
than a Woollcott first edition?
Woollcott second edition?
Welcome to the Round Table,
Indiana Jones.
- Next.
- Forty!
Twenty-one! Eighty-three!
Thank you, next.
Next.
Seventeen!
Next!
Where you been?
I was checking the props,
like you told me.
So, what's going on out there?
White's auditioning new chorus girls.
Can I get you a cup of coffee?
Coffee? What for?
- I just thought
- One drink never hurt anybody.
Well, yes, sir, but
Peggy?
Next.
Next.
- Peggy?
- Indy?
Gosh, I'm sorry I couldn't meet you.
- It was completely my fault. I just
- It's okay, I forgive you.
- I should've waited.
- Gosh, I missed you.
I missed you, too.
What are you doing here?
I work here, backstage.
Oh, gosh, you're lucky.
I just blew my audition.
Did you see me? I was
Stay here.
- Indy.
- Just don't move.
- Mr White, could I have your attention.
- Schwarz!
I'm fired. Yes, yes, I know,
but these figures are getting serious.
You have 30 seconds.
That girl, Peggy Peabody.
She wasn't too good.
Yeah, yeah, I know, but I've heard her.
I mean, she can really sing.
Well, we need a dancer.
Yeah, I know,
but she's really great, George.
I mean, she's got real talent.
She'd be terrific in the show.
Mr White, that girl? Peggy Peabody.
- They loved you.
- They did?
You start tomorrow. Is that okay?
Oh, Indy!
What time do you get off?
Well, 6:00 but
I'll meet you at the stage door.
I know the most wonderful little diner.
We'll celebrate.
But, Peggy, I
I'm so happy.
I don't think I've ever been so happy
in my whole life.
Indy!
Indy, telephone.
Hello. Joe, Joe.
Oh, Kate, hi.
Oh, yeah, it's crazy here, too.
I'll see you in an hour at the corner of
47th Street and Broadway.
- No, no, Peggy, wait.
- Don't argue, I owe you,
and I'm buying dinner. 6:00 sharp.
Okay, that sounds wonderful, darling.
- Okay.
- Is there a Jones here?
Over here.
- Delivery from Miss Schuyler.
- Okay, your apartment.
Okay, 8:00. Okay, I'll be there.
Okay, I kiss you, too. Okay, bye.
So now you have three girls?
I'm having dinner with them tonight.
All of them? At the same time?
No. Peggy's at 6:00, Kate's at 8:00
and Gloria's at 10:00.
George, what happened?
What did I get myself into?
Every man's dream, pal.
That's what you got yourself into.
George.
Have a heart.
Thanks, George. Thanks.
Yeah, stay out of trouble.
Hey, fellas.
Jones! Where do you think
you're going, Jones?
- I was just going to go get a bite to eat.
- Forget it.
I need you to inventory
the new costumes.
Then I need seven copies
of the lighting cues.
But sir, it's already 6:00.
I was supposed to meet someone.
- I'm already late.
- Move it!
Before I light a real fire under your tail.
- I got a bad feeling.
- Move it!
You say he's done this before?
It was an accident before.
He probably just had to work.
- That's what they all say.
- He's not like that.
Peggy!
Peggy, I'm sorry, I had to work late.
I understand.
That Mack, he's a slave driver.
Are you hungry?
Sure, I skipped lunch.
I could eat two chilli dogs right now.
I'm treating you, so have three.
Okay.
Peggy, I really need to
get back to the theatre.
Oh, my gosh, 25 minutes ago.
Indy, but you must eat something. Here.
Hurry. You can eat the last one
on the way back.
You're late.
I'm sorry, I had to work late.
Telephones aren't familiar to you?
The phones were out. I'm sorry
Well, dinner didn't wait.
I'm sorry, is it ruined?
Well, not if you like your beef
very well done.
I do, I do.
Oh, this is really good.
I feel bad. I shouldn't be upset with you
because you work late. That's natural.
So you know what I did?
I made you some pasta.
Oh, no, no, no, really, no need, no need.
As a matter of fact, I'm almost finished.
This is so much better.
- This is
- Wonderful pasta.
- Look at that.
- Okay.
It's divine, isn't it? You can eat up.
Okay, okay.
Actually, the truth of it is,
I was supposed to be back
at the theatre 30 minutes ago.
- Oh, you're kidding?
- Oh, I know it's rotten.
- Rotten? Yes.
- It's rotten,
but that's show business, really.
I'm sorry.
I hope you're hungry.
Oh, sure. Sure.
I had Maurice prepare
my very special extra favourite dinner.
I just know you're going to love it.
Oh, poor poopsie, you look so tired.
You look like you need some help.
You know you really don't look very well.
You shouldn't work so hard.
Did you have lunch today?
No. See, you really have to take
much better care of yourself.
Three meals a day is very important.
I think what I really need is just
to go home and get some sleep.
No, you can't leave me so soon,
you party pooper.
At least stay and have some dessert.
Miss Schuyler.
Hold it. Hold it!
It's going the wrong way.
Schwarz,
what the hell is going on here?
These girls are terrible.
It's not their fault, Mr White,
half of them are new.
New? What the hell happened
to the old ones?
Ziegfeld hired them away.
He is determined to ruin this show.
To hell with Flo Ziegfeld, I'll ruin him.
But we're supposed to open in 10 days.
Maybe we should cancel.
Schwarz, we are going to
open this show if it kills us.
We're going to knock Flo Ziegfeld
on his ass.
- Phone call for Mr Schwarz.
- Oh, no.
Ladies, we're going to go again in 15.
Ginger.
Let's try that number now, all right?
That's you, that's you. Go, go, go.
Still too fast.
- Ann, what do you think of this kid?
- Not much.
Me, too. She stinks. Okay, hold it.
Kid, it just doesn't work.
I know I can do it
if only they give me a chance.
I know.
It's not her fault. That song's a turkey.
It's not a turkey.
It's the best song I ever wrote.
Mr White.
We've got a real problem here.
And I know how to solve it.
Let Peggy sing your number.
She doesn't have the experience.
But she does have the talent.
She could do it, I know she could.
You could teach her.
It's not possible.
Everything's possible.
Come on, George, at least let her try.
What do you say?
- Is this some kind of a joke?
- I wish it were.
But all of our backers have pulled out.
Ziegfeld got to them.
They can't pull out, we've got a
- We've got a contract.
- Unfortunately, it isn't signed.
I did try to warn you, Mr White.
I suggest you try to find
some new backers.
Where in God's name
am I going to do that?
Well, I don't know, but unless you do,
and quickly, this show hasn't got
a dog's chance of opening.
We might as well fold up right now.
How much do we need?
$20,0007?
Might as well be $20 million.
Poor Mr Gershwin.
Poor you. Just when you had a chance
to try out for his song.
I'll get over it.
Isn't there any hope
of Mr White raising the money?
Not a chance, he's flat broke.
In hock up to his ears.
So what happens to the show?
We'll go on working
for the rest of the week
but unless there's
some kind of miracle
There'll be nothing to meet the payroll.
Everyone's out of a job.
- How much does White need?
- $20,000.
Might as well be $20 million.
Hand me the phone, will you, darling?
Go ahead,
cancel our supper reservations,
I don't even really feel like eating.
Hello, is this the best daddy
in the whole world?
Burt!
Burt!
Burt, it still needs to be slower.
I'm sorry, Peggy, you're doing fine.
Take it again.
Hold it! Hold it. Everybody on stage.
Folks, you've all heard about angels.
Well, I want you to meet a real live one.
Meet J.J. Schuyler, our new backer.
Kids, we got a show.
Anything special you'd like to see?
Just go on with what you've been doing.
Okay, back to work.
- Please sit down.
- Go on.
She's nervous and the tempo's not right.
Right or not, she's lousy.
We better find
Hey, this little girl is pretty good.
You like her, Mr Schuyler?
I think she is great. Don't you?
I love her, I think she's terrific.
Okay, honey, you got the number.
That's great, Peggy.
Mr Schuyler, how would you like
a backstage tour?
Whatever you say, Mr White.
Right this way, Mr Schuyler.
- Indy! Oh, Indy, I got it!
- Peggy.
You were great.
Hey, take it easy, let the
I know, I know, I know.
Peg, you were great. You really were.
That was fabulous.
It was the best performance
I've ever seen.
Hello there, son.
Hi, sir, how are you?
You two know each other?
Sure do. He's been stepping out with
Peggy, let's go work on that song.
Hello, darling.
Hi.
So, this is show business.
Yes, sir, I guess it is.
"Steel symmetry of pistons,
throbbing, pulsing, driving"
"Engines of our century
The age of the machine"
Thank you. To finish, my latest.
The title is from Shakespeare.
I call it, Lovers Meeting.
"Rainstorm over the city,
the sky black as a witch's hat"
"Concrete canyons stream"
"Then, look,
I see you running toward me"
"My own, my true, my love sunburst"
"Suddenly, the city's a garden, glorious"
"Even the sidewalks shine"
- Kate, it's too precious.
- I wrote it for you.
- Hi.
- What kept you?
I'm sorry.
Well, I've been sitting here for ages.
I know, I know. I just couldn't get away.
From that horrid old theatre, I suppose.
Yeah, we were rehearsing late.
Well, you are going to have to tell that
nasty old slave driver Mr White
that he has to let you off early.
Or maybe I'll go tell him so myself.
No, no, you can't do that.
I mean, we open in only a week.
Oh, poo. That silly show's more trouble
than it's worth.
I know, I know.
I'll try not to be late again.
Well, I am going to make sure
that you're not.
No, no, Gloria, that's too expensive
Oh, poo. Now you'll have
no more excuses, you naughty boy.
Okay, let's eat.
This is how I want you to sing my song.
- Well, I'll try.
- You can do it.
- Sorry.
- Hey.
I got held up.
Indy, you're soaking. Hold still.
No, keep it, I want you to.
See those initials "S.P."
My grandmother gave it to me
and now it's yours.
Peggy, no, it's too special.
That's why I want you to have it.
It's killing me.
I'm telling you, George,
this is killing me.
I just can't keep this up.
That's the price of perfection.
Maybe it's time to choose.
I can't. I just can't.
I mean, Peggy's so nice and caring.
Kate's so intelligent and well-read.
- Gloria's so beautiful.
- And so rich.
Can't you at least give one of them up?
But which one?
Not Peggy, not Kate.
Not Gloria.
Her old man's backing the show.
See, it's impossible.
Oh, George. What am I going to do?
I hear you're in serious trouble,
Mr Jones.
- I am?
- Not you personally. Your show.
Flo Ziegfeld says
you're headed for disaster.
Well, he is prejudiced,
wouldn't you say?
He is also extremely powerful.
What does that mean?
That means he's in a position
to do something about it.
Like, pull his ads
from all the newspapers.
Pull his ads?
If their critics give The Scandals
a good notice.
- Can he do that?
- Well, it has been known.
But that's not fair.
All's fair in love
and show business, Indiana.
Haven't you ever noticed
that Broadway is paved with blood?
Are you saying he's blackmailing you
to give us bad reviews?
That's right. Thank goodness
I'm not covering it for The Sentinel.
Well, you're going to let Ziegfeld
get away with I'm sorry.
Are we going to let Ziegfeld
get away with it?
What? And compromise the fair purity
of the press?
- Well, are you?
- Never.
So, no matter what Ziegfeld does,
you'll give The Scandals a fair shake.
If it's any good.
So cheer up, Indiana, and good luck.
- Good luck.
- Sounds like you're going to need it.
- Jones!
- Yes, sir.
Do it! If you see something
that needs to be done, do it!
Come on.
Ladies, move it!
Yes, sir.
Jones!
Have you seen Bonzo?
Bonzo?
You know, my monkey.
No, and I told you
not to let him back here, ever.
Bonzo!
Get the Peabody broad. Now!
- Peggy!
- Indy!
- Where have you been? You're late!
- I couldn't help it, I don't have a watch.
Come on.
Late one more time and you're fired.
Line set going out. Center stage!
Well, thanks so much for gracing us
with your presence, Miss Peabody.
I'm so sorry, Mr White.
She can sing a bit.
She can dance a bit, too.
It's a pity she can't do both
at the same time.
That number is never going to work.
- The show is running long.
- You're right.
Forget it, kid, the number's out.
Mack, set up for the Act One finale,
thanks.
- Hey, listen, it's not your fault.
- It is.
I thought I had time
and I don't have a watch,
and now Mack says I'll be fired
if I'm late again.
No, you won't. You won't be late again.
You keep that, okay?
Okay?
You okay?
- Rough day?
- It was horrible.
Why don't you just relax
and I'll cook you something
to make you forget all about it.
- Wanna get the phone?
- Okay.
- Hello.
- Hello, darling. It's me.
- How did you get this number?
- Well, it's in the files.
I'm your boss, remember?
Right, right What's up?
I need you.
What?
Well, Daddy's out of town
and I'm all alone and I'm so afraid.
Please come over and rescue me.
No, no, no. No, I'm too tired. I can't.
Oh, but I'm so scared. Please.
No, really, really, I'm just beat.
I'm really just too tired.
But you must.
You won't be sorry.
Okay, okay, okay. I'm on my way.
Oh, goody. Bye, darling.
Yeah, bye.
Who was it?
It was the theatre calling.
They need me back there right away.
I couldn't get out of it.
I wish there was something I could
Yeah, yeah, I know.
Indy.
Isn't this wonderful?
Isn't it perfectly divine?
- Indy.
- Why, yes! What, no, of course, it's
Of course what?
Of course.
Of course, what you just said.
You were asleep.
No. No, no, no, I wasn't.
I was thinking about you.
I feel
I feel like there's been a sunburst.
- Yes?
- And suddenly
"Suddenly, the city's a garden, glorious"
- Yes!
- "Even the sidewalks shine"
Oh, darling, that's so beautiful.
So perfect.
Is it from a poem?
Yeah.
Yeah, but it hasn't been published yet.
Oh, do you mean
that you wrote it for me?
Well
Thank you.
Thank you, my sweet darling.
I will treasure it all my life.
"Even the sidewalks shine"
Oh, Indy, do you know
what I'm going to do?
What?
I'm going to have it engraved
on my cigarette case.
It's going to be set in gold forever.
Isn't that perfectly divine?
Yeah, it's great.
Oh, hey, Ginger, Sophie.
Come here, look at this.
Mr Jones.
No, no, no!
Sorry, Mr White, it's the turntable.
I don't care what it is, you fix it now.
I'll try.
And you. You're all terrible.
This is supposed to be
the Act One finale and it's a disaster,
and we open tomorrow night!
They're tired!
Tired? Baloney!
I'll show them tired.
Now you listen to me.
We're going to go back to the opening,
and we're going to work until we drop,
and then we are going
to get up off the floor
and work again and again and again!
Okay. Places.
Indy.
Watch it. Stop!
- Not so hard.
- Excuse me.
Hurry up. Next. Come on.
And smile.
Bit more.
Raise the screen.
Come on, let's go!
Watch it!
That's it. Good.
Bonzo, cut it out!
I got it, Mack!
Six. Come on.
Indy!
Look up! Look up!
-Well, in a couple of hours
“We'll either be a hit
or out of a job.
I guess it's in the lap of the gods.
And the critics.
You know what,
I just remembered something.
It's my birthday. I'm 21 today.
When Mack shows up,
send him straight to the light room.
If for any reason
- Indy!
- What are you doing?
You're not in costume. Go up and
I just had to thank you
for the beautiful roses.
Okay, okay. Peggy, listen, if we
Indiana, I am so mad
but the editor insisted.
Editor?
Our theatre critic went sick
so I have to review the show.
I argued, he wouldn't listen,
but don't you worry, darling,
I won't let you down, I'll be objective.
- Okay.
- Good luck, darling.
No, no, no, Kate.
Kate, see Okay.
Hello, darling.
Gloria, hi, hi.
Mr Schuyler,
you really shouldn't be back here.
Oh, we had to come back
and wish you luck.
Okay. Gloria, listen
That's right, son. I've got a feeling that
this is going to be a night to remember.
You're right, sir,
it's going to be a night to remember.
You're right, excuse me.
Jones, get over here quick.
- What happened?
- Ziegfeld, that's what happened.
"To Mack,
with all my best wishes for tonight."
"Have one on me. Flo."
- Who's going to run the show?
- You are.
- Me?
- No one else.
No, Mr White, I can't. I
It's a piece of cake. You'll do fine.
You better because if you don't,
I'll murder you.
Let's knock them dead.
Indy!
You got it? That's the First Act finale.
We'll go through the Second Act
during intermission.
Relax, it's a piece of cake.
Now call beginners.
Come on, let's go, let's go!
Beginners, on stage!
Move it! Hurry it up!
Come on, hurry. Let's go.
What do you mean there are
no opening number costumes?
- They disappeared.
- Disappeared?
- How could they have disappeared?
- Somebody must have stolen them.
Great.
All we've got is our feathers, Indy.
What are we gonna do?
-Take them off.
“What?
Take them off! Take all the feathers off.
Here's your seat, Mr Hemingway.
Harry, Frank, stand by.
Please!
Bring up 8, 12 and 46.
Take the house down.
At least they are starting on time.
Take it up.
Holy Moses.
Bring the car in!
Lights up to full.
Put the feathers down.
Okay, curtain down, scrims out.
Miss Pennington, stand by.
Stuck in her dressing room?
Help me! Help me, the door is jammed!
Get me out of here!
Look out! Out of the way!
Put me down. What are you doing?
You ape!
Never in all my years
I know, I know, I know.
You're the queen of shimmy.
I said bring in number three!
There's something
jammed up there, Indy!
No, no.
Bonzo, over here. Bonzo!
Bonzo, this way.
No!
Bravo! Bravo!
Curtain down. Bring in 27, 29 and 33.
Call the harem number. Go!
Hey.
Hey, help me with these beach balls!
Now with the clam shells. One,
two, three!
Yeah, yeah. I got it, I got it.
Act One finale, stand by.
Harry, I think we're going to make it!
Indy, the turntable's busted.
What? No, no, no, no, no.
Get back out there.
Reprise the number.
- What for?
- The turntable's busted.
Get
Something's gone wrong.
Be quiet!
Not a hope.
- What's wrong? What's happening?
- There's no Act One finale.
There's one minute to go,
Indy, what are we gonna do?
- Where's Peggy?
- Peggy?
- She's up there.
- Come on.
What?
- Mr Gershwin!
- Hurry, we're going to do your number!
- Do my
- Fifty seconds.
Just like we rehearsed it.
George, the orchestra
doesn't have the music.
We don't need the orchestra,
I'll play it myself.
- Mr Gershwin, I
- Don't worry, kid, you'll be fine.
Remember, just like we rehearsed it.
- Come on, quick.
- Thirty seconds.
This is supposed to be a finale?
- Listen, fatso, if you don't shut up
- Sorry.
Thank you.
Now, we're all counting on you,
and you're not going to let us down.
Now get out there and save the show.
- I can't do it. I can't.
- Yes, you can.
- You were great.
- Oh, Indy.
Peggy, there are some people
I want you to meet.
It was wonderful.
- Let's get something to drink.
- All right.
Well, George, it looks like
we've got ourselves a hit.
- Let's wait for the notices.
- No, no.
Well, son, now that the show's open,
I guess we'll be seeing
a lot more of you.
We certainly will.
Excuse me, Gloria, sir.
Why is that boy always
in such a damn rush?
Daddy.
Kate.
Darling, I loved it. Dottie said it was the
best thing on Broadway in three years.
Great, great.
- Here they are.
- Are they good?
Are they good?
- Let Kate.
- Don't you wanna hear the notices?
I'd rather you just tell me
everything that you wrote.
"Sensational Scandals."
Well, let's see. "After the silliness"
"George Gershwin's music,
the best on Broadway."
"The idea was original, unique"
"It puts The Follies to shame!"
Send that one around to Flo
with my regards!
"The stage management was faultless."
- Listen to this.
- You're not listening.
- "Newcomer in personal triumph"
- Yes, I am.
“hats off to Peggy Peabody,
Broadway's latest bright star.”
- There you go, kid.
- Oh, Peggy.
- I must tell Indy.
- Oh, yeah.
Okay, here, papers for everybody. Here.
Don't tell me, you're Kate.
- Peggy.
- It's just
I'm so happy.
Darling, do you mind
if I go and fix my face?
No, no. Go, go ahead.
Take all the time you need.
- Where's Kate?
- Relax, she's gone to the powder room.
- No!
What's up?
Peggy went to the powder room.
Well Well, what about Gloria?
Gloria, she went
Happy birthday, pal.
Speech, speech, speech.
I just wanna say that
I'll never forget this moment.
It's the happiest of
Peggy, Gloria, Kate, I can explain.
I never meant for one minute
to hurt anybody.
There's never a time
I'll never do it again.
I never I never
- You're despicable.
- You're out.
You're fired.
- You're the lowest.
- You're trash.
You're on your own.