All language subtitles for After the Ball 1957 en

[music]

[applause]

[tap dancing sounds]

Say, who was this
guy, Vesta Tilley?

He wasn't a guy,
he was a dame.

Make up your mind, man.

Mr.Tilley was a woman.

She played in this theater
when I was a choral boy here.

Her father was one of those
old Music Hall Chairman,

Harry Ball, his name was.

60 years ago, the music hall was
a bit different from the plush

[inaudible] of today, you know?

Same with the audience.

[mocking singer]

[cheers]

[singing] To thee, I
ne'er might see her more.

STAGEHAND (VOICEOVER):
Little Tilley

used to travel with her
father all over the country,

wherever he appeared.

It was the only life she knew.

She used to run away
from their lodgings

and creep into the theater.

[inaudible]

Oh, pity.

Well come, sit down here.

I don't know what
your poor mom would

have said if she were here.

[singing]

STAGEHAND (VOICEOVER): Little
did old Harry Ball know what he

was starting when he
set Tilley up in what

he called a trouser suit.

Oh, she was successful.

In fact, it wasn't long
before her father was playing

second fiddle to the
great little Tilley,

the male impersonator.

Now, it's all very
well for a little girl

to dress up as a man,
nobody minded then.

When Tilley grew up
into a young woman

and still wore
trousers on the stage,

well, it caused a bit of
a stir, I can tell you.

STAGEHAND: Your
call, Ms. Tilley.

Thank you.

Will I do, Bessie?

You will do.

Heaven knows what your mother
would say if she were alive.

I don't know what she'd
say, I hardly knew her.

Dad's been my mum too.

Perhaps that's why
I dress this way.

All right, eh?
- All right.

It's against nature,
that's what I say.

With a figure like yours,
you should be wearing frills.

You'd be a sensation.

I'm a bigger
sensation the way I am.

They've never seen anyone
quite like me, Bessie.

That's my secret.

I must do something
about this wig.

What's the matter with it?

The boys are wearing
it shorter nowadays.

Got to move with the times.

After all, this is 1882.

You move with the
times too, Bessie.

Don't be such a Mrs.Grundy.

STAGEHAND (VOICEOVER): Nowadays,
we think nothing of girls

in jeans and slacks,
but in Tilley's time,

it was considered very risky.

Some of the more prim
and proper ladies

used to turn their
backs on Tilley

when she'd come onto the stage.

It's a fact.

[singing] The set
of boys I chum with,

are the best know set downtown.

And in that set, a noted
chap, is young Algernon Brown.

He's just come
into heaps of coin,

he don't know what he's worth.

And all the ladies say he
is the nicest chap on earth.

He's very well known as Algie
to the ladies on the stage.

Such a jolly fine chap is Algie,
just now he's all the rage.

And a jolly big favorite, Algie,
with the barmaid's at the cry,

he's very well known as
Algie, as the Piccadilly jolly

with the little glass eye.

[laughter]

He's very well known as Algie
to the ladies on the stage.

Such a jolly fine chap is Algie,
just now he's all the rage.

And a jolly big favorite, Algie,
with the barmaid's at the cry.

He's very well known as
Algie, as the Piccadilly jolly

with the little glass eye.

[applause]

Good news, Tilley.

The Coventry week's cancelled.

What's good about that?

You need a holiday,
my girl, and now's

your chance to take it.

Now, dad--

[both] Don't start that again.

I know.

Now listen, Tilley.

We've had a shocking winter
and you've been working

since August without a break.

Three, four shows a night.

Here we are with
April on our doorstep.

That's better.

You must have
some sunshine, dear.

I prefer starlight.

I shall retire one day.

That will be time enough
to take a holiday.

You know, Tilley, it's not
natural for a vital person

like you to do without sunshine.

A little fun now and then.

Just the ticket,
don't you think?

What do you mean?

The hair, I've
been copying it.

That's a poor picture.

You wouldn't see those
outside the theater.

Would you say it flattered me?

Yes, a little.

- Have you seen the show?
- No.

Perhaps you don't
like the theater.

I do, very much.

But you don't like talking
to strange young men.

Forgive me, I'm American.

We're a very friendly race.

So it seems.

You don't mind, then.

Not really.

Then would it be too
utterly presumptuous to ask

you to come to a matinee
with me this afternoon?

Last evening,
I went up to town

to see a few of the boys who
had popped into the Cafe Royal

and made a bit of a noise.

The waiter said, what you
like to take to drink?

I answered, oh, I'll take on
the Scotch and Polly, I think.

A lady standing near then winked
and said, that's awful jolly.

I'm glad you want me,
because I'm scotch and love,

my name is Polly.

[laughter]

Scotch and Polly, Scotch
and Polly, jolly good

stuff to drink.

The Scotch got into
me head, you know,

the Polly got winking at me so.

I lost me way, me ring,
me chain, me watch.

I either had too
much of the Polly

or else too much of the Scotch.

Would it be too utterly
presumptuous to ask

you to come to a matinee
with me this afternoon?

I lost me way, me ring,
me chain, me watch.

I either had too
much of the Polly

or else too much of the Scotch.

[applause]

Mr. Tanhill, such a surprise.

Miss Tilley.

Ah, the good-looking
young man.

- This is my manager.
- Hi.

- Hi.
- Also my father.

Oh.

Your daughter and I became
acquainted this morning, sir.

Do you mind my coming around?

Ask Tilley.

She wears the trousers.

[laughter]

Ms. Tilley not in?

No, she's showing Mr.
Tanhill around London.

What, again?

Ready Tilley?

Have you ever thought
of going to America, dad?

No, not unless you've been
offered a long-term contract.

The fares would swamp
up all our profits.

I meant to stay, for good.

What?

On the stage?

Well, not exactly.

But our whole lives'
here in England, everything

we built up together.

Yes, I know.

Well, if you think
that's where your future--

No.

Of course not.

For a moment, I thought you'd
been offered an engagement.

No.

No engagement.

If you ever change your
mind, I'll be waiting.

You mustn't wait, Frank.

Tell me something.

If it weren't for your father,
would you come with me?

You know I would.

I love you, Tilley.

[whistle blows]

Goodbye, my darling.

Au revoir.

We haven't seen the
last of each other yet.

Au revoir, Tilley.

Au revoir.

STAGEHAND (VOICEOVER):
Her father never knew how

much Tilley's heart was broken.

All he knew was that she
threw herself into her work

more than ever.

Never stopping, never resting.

Traveling up and
down the country,

everywhere top of the bill.

The sensation in trousers.

Morning, Bessie.

Good morning, Ms. Tilley.

Oh, I see you're still
carrying Frank around with you.

Yes, dad.

It's been a long time.

Do you ever hear from him now?

I'd have told you if I had.

Come on, dad, out of the way.
I've got a band rehearsal.

All right, my dear.

I'll go and call
on Henry de Frece.

[knock]

Come in.

Hello, Henry.

Harry, nice to see you again.

Thanks.

Remember my son, Walter?

Oh, I haven't seen you
since you were so high.

Harry Ball, Vesta
Tilley's father.

How do you do, sir?

I'm turning him
into an architect.

Really?

I should have thought your
heart was in the theater.

It is.

But his career is not.

[sneezes]

Bless Bless you.

I'm OK, Harry.

I'm organizing a hospital
ball on Saturday.

I want your help.

Certainly.

First of all, it'd be
nice if Tilley would come.

Good publicity, you know.

Oh, yes.

And I'd like you to assist
as a steward if you would.

I shall be delighted.

Tilley's music?

Yes.

Come on, let's go through.

You'll be coming to the
ball, of course, Walter?

Yes, father.

There'll be various ladies
you'll have to duty dance with.

I hope you won't forget that.
- I know.

They stamped themselves in
my memory the last time.

Well, if you'll excuse me, sir.

I'm delighted to
meet you, Mr. Ball.

Thanks.

Why don't you want him
in the theater, Henry?

Now don't you start that,
I have enough of it with him.

All right, all right.

Have a cigar.

Thanks, I will.

[singing] After
the stars are paling,

after the dawn has blushed,
many a heart is aching,

if you could read them all.

Many the dreams that are
ended after the ball.

Bright lights were gleaming
in the grand ballroom.

Softly, the music
playing sweet tunes.

There came my sweetheart,
my love, my own.

I wish some [inaudible]
leave me alone.

When I returned, dear,
there stood a man kissing

my sweetheart as lovers can.

Down fell the glass,
pet, broken, that's all.

Just as my heart
was, after the ball.

After the ball is over,
after the music's hushed,

after the stars are paling,
after the dawn has blushed,

many a heart is aching, if
you could read them all.

Many the dreams that are
ended after the ball.

[applause]

Bravo!

Bravo!

Bravo!

Bravo!

Bravo!

A buttonhole for you.

No card again, Ms.Tilley.

No, but I know who
they're from, all right.

Do you, Ms. Tilley?

Who?

I don't know
his name, but he's

been sitting in the front
row of the stalls every night

this week.

Pity you can't thank him.

Not at all.

I've no time for young men
who send flowers to every girl

they fancy on the stage.

You're not any
girl, Ms. Tilley.

He'll be sending them to
somebody else next week.

He's a very
irritating young man.

I wonder you can see
him across the footlights.

That's what so
irritating about him.

I do.

You wanted to see me, father?

Oh yes, old boy.

I was surprised to see you
in front again last night.

Were you?

I should be there again tonight.

[sneezes]
Bless you.

Vesta Tilley?

Yes, sir.

Do you want to meet her?

Yes, but I don't
want to be produced

like a rabbit out of a hat.

I see.

You think she's
rather fetching, eh?

But it's difficult
to judge her as a girl.

Then you will see her
close to, as herself, Walter.

I intend to.

But with no assistance
from me, is that it?

Yes, sir.

Sir, about my job
in that archite--

That'll be all for
the moment, Walter.

Yes, sir.

Most enlightening,
Mr. de Frece.

Your drawing doesn't improve.

Oh, but that's quite
like her, surely.

Your architectural
drawing, Mr. De Frece.

But I do try.

I know you do, Walter.

You work as hard as any
pupil I've ever had,

but it just doesn't
seem to be in you.

Yes, my father
set his heart on it.

I know.

And he pays me enormous
monies to assure it.

But really.

Well, you can't make a silk
purse out of a sow's ear.

Well, I'd never describe
you as a sow's ear.

You want to go into the theater
like your father, don't you?

Mm-hmm, But he
won't hear of it.

Well, you'd
better rub those out

and you get on with your work.

Yes, sir.

Tell me Walter, does she
really wear trousers like that?

Oh sir, you must come
and see for yourself.

You know, she come
into the stage--

[applause]

Sydney in the city
works so hard and more's

the pity that is Sydney's idea.

He finds it very difficult
to make ends meet

on his little 50 pounds a year.

He saves up for one reason,
for one week in every season.

Sydney goes with the tide.

This dapper haberdasher blossoms
forth into a masher at the sea,

seaside.

Sydney's holidays
are in September.

He's been saving up
since last November.

His getup is a sight
you must remember.

Naughty boy, naughty boy.

He'll sit up on the pier
and hear the band out.

Upon my word, he ought
to hold his hand out.

He tells the girls such
whoppers while he's

counting up his coppers.

My word, he is a naughty boy.

Not the wreckless manner
in which Sydney spends

a tenner on a lady divine.

He'll do it in till almost
every [inaudible] is gone.

He's a devil for
the girls and wine.

He's had some new cards printed,
nicely perfumed, also tinted,

and they read Claude Devere.

You know him, he's
the sort of chap

that throws stones in the water
from the pier, pier, pier.

Sydney's holidays
are in September.

He's been saving up
since last November.

His getup is a sight
you must remember.

Naughty boy, naughty boy.

He'll fix his eyes upon
the ladies' blouses--

[laughter]

--as with a little cane,
he taps his trousers.

He's the bendiest of benders
in his lavender suspenders.

My word, he is a naughty boy.

[applause]

Good evening.

[applause]

What are you doing here?

I'm the one that
sends you flowers.

Really?

You must have guessed
they were from me.

Why should I?

We've never met.

Oh, you seen me sitting
out in the front every night.

I'm never aware of
individuals in the audience

when I'm working.
- Oh, I see.

Let me pass.

Won't you come out to supper?

Certainly not.

Did you get permission
to be on the stage?

No, I slipped in
through the past door.

Well, you'd better slip out
again then, here comes Mr. de--

Hello, my dear.

Hello, Mr. de Frece.

You won't forget you're coming
to the ball tonight, will you?

How could I?

I'm going over there now.

I'll arrange for my
son, Walter, to come

and pick you up after the show.

Walter, how nice.

I'm looking forward
to meeting him.

See you later.

Good night, Mr. de Frece.

Will I do?

Hark at you.

Will I do.

You're lovely, Miss.

I'd rather see you dressed
as a woman any day.

Here she is.

Hello, Tilley.

[interposing voices]

What are you doing here?

I have a carriage
waiting for you, ma'am.

Is there a Mr.
de Frece among you?

You'll find him in the
carriage, Ms. Tilley.

Goodbye, Tilley.

I'll see you tomorrow, Tilley.

I suppose you think
this is very amusing.

Not particularly.

If only I'd known.

I only knew myself a
very little while ago.

My father insisted
that I call on you.

You mean you didn't want to?

I mean, it wasn't my idea.

I see.

Shall we make the best of it?

[music playing]

Couple week's business,
everybody said so.

About 1,800 pounds.

I could live at Southampton--

Huh?

[interposing voices]

ANNOUNCER: Gentlemen,
please do take

your partners for a barn dance.

[music playing]

Thanks very much.

This dance, Ms. Tilley--

- Is mine, Walter, dear boy.
- Then the next--

Is mine.

Such a shame, Mr. de
Frece, every dance is taken,

you're too late.

[music playing]

What a [inaudible] for
the week in Birmingham.

That should be all
right, it's my theater.

Hm.

All alone, my boy?

Oh, yes father.

Where's Tilley?

Oh, she's dancing.

Why aren't you?

Oh, plenty of time.

It's the last dance
that counts, you know.

Well, enjoy yourself, my boy.

Well, look here, Harry.

What about the money
for Birmingham?

The same.

The same?

ANNOUNCER: Ladies and gentlemen,
please do take your partners

for the last waltz.

Mine, I believe?

Oh no.

Look, here's my program.

The management reserves the
right to change the program.

[music playing]

I wasn't very nice
to you tonight, was I?

Weren't you?

I didn't notice.

What a pity, I was
hoping you would.

Isn't there somewhere we can
dance again tomorrow night?

I'm afraid not.

I leave for London tomorrow.

Couldn't you stay
a few more days?

You, the son of Henry
de Frece ask that?

I have an engagement in London.

Then I'll come to London.

Aren't you supposed
to be at school?

I am, but not at weekends.

Do you have weekend engagements?

Not as a rule.

Well, then you have one now.

We're here, Ms. Tilley.

Blast.

Forgive me, I'm so sorry.

You know, this is like that
song you sing about things

that happen after the ball.

Ah, yes.

I think it will always
be one of my favorites.

[singing]

It's beautiful.

It has the early morning in it.

Sing it for me.

What, now?

Yes, why not?

I couldn't dream of it.

If you sing it,
I shall dream of it

till the next time I see you.

[singing] After
the ball is over,

after the music's hushed,
after the stars are paling,

after the dawn has blushed.

Many a heart is aching, if
you could read them all.

Many the dreams that are
ended after the ball.

[applause]

I didn't think I'd come
to sing in the street.

It's a sad song, you know.

Not to me.

Many the dreams that are
ended [singing] after the ball.

That doesn't mean my dream.

It's only the dreams
of the men that

didn't take you home, Tilley.

STAGEHAND (VOICEOVER):
Walter then had more reason

than ever to hate his job.

Not only did it keep
him out of the theater,

it kept him away
from Tilley, who

was either touring
or playing in London,

but always miles away from him.

For months, he had to
make due with her letters

and she with his,
such as they were.

[music playing]

Who are you writing to?

Frank?

Frank, no.

You need a holiday, dear.

So do you.

Sunshine.

They got a lot of
sun in America.

We can afford to go there now.

there now.

If anyone needs
a holiday, you do.

Why don't you lie back and
get some sleep, and we'll

talk about it later, eh?

We've come a long way
together, Tilley, you and me.

[clock chiming]

Tilley.

Walter.

I came as soon as I could.

Darling, I'm so glad.

I would have been here
sooner, but I missed the train.

Tilley, Tilley, my
place is here with you.

But your work.

I hate my work.

I know, but you
must keep at it.

It's your career.

Your father set his heart on it.

Yes, he has.

Fathers do count
a little, you know.

That's why I think
you need me now.

Of course I need you, Walter.

I'll always need you.

Oh, Tilley.

Tilley, I've made up my mind.
- But Walter--

And yours.

What are you
doing here, Walter?

Why aren't you at work?

I've left.

- You've what?
- I've resigned.

I've given it up.

How dare you.

How dare you throw off
your career like this.

It was never a
career of my choice.

Your choice?

And what, may I
ask, is your choice?

As a matter of fact, I--

Don't think you're
coming into the theater,

because you're not.

Yours isn't the only
theater business, you know.

I warn you, I shan't
lift a finger to help you.

There's no need.

I start with Richard
Warner's in London next week.

A theatrical agency?

And a very good one.

Vesta Tilley's behind this.

She knows nothing
about it, yet.

If you do this, Walter,
I wash my hands of you.

Very well.

But if ever you
want to employ Vesta

Tilley in one of your
theaters in the future,

just send me a telegram.

Good morning, Mary,

Good morning, Ms.Tilley.

[inaudible] here with a
vengeance, Ms. Tilley.

So's Mr. de Frece.

What did you
say, Mr. de Frece?

Walter, it's only Wednesday.

Wednesday, Thursday, Friday.

Oh, Tilley, I couldn't
wait any longer.

What do you mean?

Well, I've broken with my firm
and got myself a job in London.

Walter, are you mad?

I am now a theatrical
agent, ready to look

after your business as
well as your pleasure.

Richard Warner and Co?

I'm part of the and Co, and
you're my very first client.

What about your father?

Oh, I'm never to darken
his doorstep again,

but that'll only be for a month.

Tilley, I have a long-term
contract for you.

A what?

A long-term contract with
a short-term engagement.

What is it?

A marriage license.

A special marriage license.

And the trouble I went
through to get it.

I applied to what I discovered
was the Lamberth Burial Ball.

They referred me to
the workhouse, and--

Darling.

Oh Tilley, do you
still think I'm mad?

Well, I am.

Deliriously, gloriously,
insanely mad.

Really.

What am I to make of you?

A husband, Tilley.

[music playing]

Now, my love, do
behave like a manager,

or I shall never keep
my mind on my work.

Where's Bessie?

I gave her the week off.

The [inaudible] are
coming in tomorrow.

Well, now who
else has a husband,

a manager, and now a dresser?

But do be discreet.

Nobody knows we're
married, remember?

What a wardrobe for a wife.

Hello, what's this?

For my dearest Tilley.

Forever yours, Frank.

Who's Frank?

Frank Tanhill, someone
I knew a long time ago.

Why do you keep it?

I don't know.

Why does one keep things?

That's what I'm asking you.

Really, Walter?

Shall I tear it up?

No.

Not bad looking.

Now, Walter, you
can't really be

jealous of a faded, old
photograph of my first love.

First love?

Yes.

And apart from
you, the only one.

Oh, that's a fine thing to
tell a husband after two weeks.

Two wonderful weeks, Walter.

Now let's forget
about Frank Tanhill.

You didn't seem to
have found it very easy.

I think you'd better
go out while I change.

Oh?

After all, we are married.

It'll be nice to
keep it to ourselves.

You're not ashamed of me?

Walter, what a
terrible thing to say.

Tell you what, do
you want to help me?

Mm-hmm.

Go to the corner shop
and buy me a box of cigars.

Cigars?

I have to smoke one
on the stage tonight.

[knocking]

Your call, please, Ms.Tilley.

Thank you.

Walter.

I'm going to watch you
from the wings tonight.

Well don't let anybody
see you, whatever you do.

- Give me my hat.
- Hat.

Cigar.

Cigar.

You really must let me
show you how to tie a tie.

Come on.

[music playing]

Oh, and you must let me
show you how to smoke a cigar.

- Good evening, both.
- Good evening.

They're waiting
for you, Tilley.

Oh.

All set, Ms. Tilley?

Yes.

Well, then.

[applause]

[music- "wedding march"]

That's not my music.

I think it is, Mrs. de Frece.

Congratulations.

[applause]

[crowd cheering]

[singing] To follow in
your father's footsteps

is a motto for each boy.

And following in
father's footsteps

is a thing I much enjoy.

My mother called me out
one evening at the Westin

on the spree, said she,
where are you going?

But I answered, don't ask me.

I'm following in
father's footsteps.

I'm following the dear old dad.

He's out there with a--

He's a great little
person, your wife.

I hope she won't be
giving up the stage.

Not Tilley.

You don't mind sharing her?

With the theater?

No.

[singing] I'm following
in father's footsteps yes,

I'm following the dear old dad.

[applause]

To dinner up in town
last night I went,

and Pa went there as well.

[laughter]

How many lemonades
we had, my word.

I really couldn't tell.

At 2:00 AM, Pa started
off for home, like this.

[laughter]

And so did I. Folks said,
mind where you're going,

but I simply made
reply, [singing]

I'm in father's footsteps.

I'm following dear old dad.

He's wobbling on in the front,
you see, and upon the word,

he's worse than me.

I don't know where he's going,

[laughter]

But when he gets
there, I'll be glad.

I'm following in
father's footsteps--

[laughter] I, I, I'm
following dear old dad.

[applause]

Ah, good morning.

Good morning.

Did you send that
telegram to my wife?

- Yes, Mr. de Frece.
- And the flowers?

Yes, Mr. de Frece.

Good.
Good morning, Richard.

Congratulations, Walter.

What is it, your
fifth anniversary?

Yes, five years to the day.

More contracts.

You know, looking
after your wife's

a full-time job, isn't it?

Yes.

I only wish she didn't
have to tour so much.

I don't see nearly
enough of her.

Oh, come now,
Walter, you wouldn't

deprive the great British
public of its pleasure.

No, nor you of your 10%.

Here's your
telegram, Mr. de Frece.

Ah, this must be
from Tilley, Bless her.

You know, she never
forgets an anniversary.

What's the trouble?

Tilley's been taken ill.

She's in a hospital
in Manchester.

Tilley.

Excuse me, Matron.

Oh, Doctor, this is Ms.
Tilley's husband, Mr. de Prece.

I'm glad you've come.

How do you do?

What are her chances, Doctor?

Well, it's difficult to say.

She has amazing vitality, though
she exercises it to the full,

of course.

Yes, she drives
herself too hard.

She just won't stop working.

Well, she needs
a complete rest

or she'll never work again.

I'll see that she gets it.

[music playing]

Whatever would
I do without you?

You won't have to be
without me very much longer.

From now on, I'm going to
look after you personally.

But how?

Well, as your manager, I'm
going to see that you rest.

But I work, Walter.

I must work.

One day, you
will have to choose

between your work and us.

We're going to take you up
on the roof for some sunshine.

You look tired, Darling.

Why don't you get some sleep?

Yes, I will, I'll go to
the hotel for a few hours

and come back later.

Excuse me.

Aren't you Mr. de Frece?

Yes, I am, why?

How's Tilly?

Who are you?

I'm a reporter.

I was wondering if you
could tell me how she is.

I'm sorry, I'd rather
not talk about it.

But--

Young man, Mr. de Frece
is in a very trying time.

I don't know how
you got in here,

but since you know your
way in, you most certainly

must know your way out.

Oh Matron, that
patient in number five--

Poor Vesta Tilley, stuck in
this room month after month.

She'll be better
off out there.

God rest her soul.

Well, it was only
a matter of time.

Is Vesta Tilley's
room along here?

She's gone.

Yes.

It's a sad loss.

Gosh.

Thanks, telephone.

I must find a telephone.

My wife?

I don't know
whether you should go.

No, no, no, no.

It's more than any
human being can stand.

I won't, I won't.

Walter, tell them I
won't take any more.

What is it they
want you to take?

Stewed rhubarb.

I've had it every
day for a week and I

won't take another spoonful.

What's the matter, darling?

Tilley, Tilley, thank
the Lord you're all right.

All right?

Of course I'm all right.

What ever made you
think I wasn't?

Well, as soon as
you're well again,

we'll go on a wonderful
tour together.

Oh yes, the Northern
cities, before they forget me.

No, no, no, not
that sort of a tour.

I mean the Mediterranean.

[inaudible],, Monte
Carlo, Capri--

STAGEHAND (VOICEOVER):
Poor Walter.

He tried hard to keep
Tilley to himself,

but she was married
to her public

as much as she was to him.

Of course, he was always
very cheerful about it,

but I often wonder how
much he really suffered.

I understand my agent
wishes to see me urgently.

Hm?

Oh.

Do sit down, Ms. Tilley.

I have some news for you.

The firm have decided that
you shall take a sea trip.

But I'm better now.

You're going to America.

To America?

Yes, where you
can work as hard

as you like with another voyage
at the end of it coming back.

Which management?

Well now, let me see.

I think I have
the contract here.

Yes, here it is.

Hmm.

The signature looks
like Oscar Hammerstein.

Hammerstein?

Yes, you open in
about two months

at the Oscar Hammerstein
Theater in New York.

Oh.

Sign please.

Who else has a
manager like you?

Oh.

I hope you don't do
that to all you clients.

Now, Walter, I
have news for you.

I'm appearing at the
London Pavilion next month.

But you can't,
you're already playing

at the Oxford in the Tivoli.

I don't appear at the
Pavilion until 11:15.

Three shows a night?

As your Manager, I suppose
I should be delighted.

But as your husband, how can
you do three shows in a night?

I shall buy a bicycle.

But Tilley, you can't--

It's 11:15 already.

You should be on stage.

It's this awful fog.

By the time we get there, the
audience will have gone home.

There's one I hope hasn't.

Who?

Oscar Hammerstein.

Hammerstein, is
he up front tonight?

[music playing]

What's the hold up?

Fog, Mr. Hammerstein.

It's a long drive
from the Oxford.

Oxford?

Is Ms. Tilley
driving from Oxford?

No, from the Oxford Music
Hall, Mr. Hammerstein.

This wouldn't do in America.

Don't worry, Tilley,
they'll wait for you.

I think we'd better walk.

What, like this?

Oh, no one will see you.

[music playing]

I can't keep this
up much longer.

The place is half empty
already, we'll have to pay

the [inaudible] in a moment.

Here she is.

Is the Hammerstein
party still here?

Yes, and that's about all.

Take me up to
their box, will you?

All right, get
ready to take them up.

Right,

[new song beginning]

[singing] The set of
boys I chum with are

the best known set downtown.

And in that set, a noted
chap is young Algernon Brown.

He's just come
into heaps of coin,

he don't know what he's worth.

And all the ladies say he
is the nicest chap on earth.

He's very well known as Algie
to the ladies on the stage.

Such a jolly fine chap is Algie,
just now he's all the rage.

And a jolly big favorite, Algie,
with the barmates at the pride.

He's very well known as
Algie, as the picadilly jolly

with the little glass eye.

The [inaudible], Mr. de Frece.

Thank you.

When Mr. Hammerstein arrives,
will you show him right in?

Very good.

[phone ringing]

Hello?

Is Mr. Hammerstein there yet?

No, he hasn't arrived yet.

Walter, I've been
thinking it over.

I don't want to go
through with it.

He doesn't like me,
he doesn't want me.

I'd rather not go.

But it's been in all the
papers, you can't not go.

TILLEY (ON THE
PHONE): No, I won't.

But it would do
you a lot of harm.

It would do me
more harm to insist

on playing for a management
who has no faith in me.

I wouldn't be able to
work, I know I wouldn't.

Oh Walter, please believe me.

I know what I'm saying.

Tilley, let's see how
he feels this morning.

[knock on door]

Well that sounds
as if it's him now.

Now don't worry, darling,
leave everything to me.

Goodbye.

Mr. Hammerstein?

No, it's Mr.
Teller from New York.

Oh.

Surely.

Will you come in,
Mr. Teller, please?

Good morning, Mr. de Frece.

Good morning, Mr. Teller.

Do sit down.

Now, what can I do for you?

Well, I'm hoping to persuade
Ms. Tilley to come to New York,

to appear at Pastor's.

Pastor's?

Uh-huh.

Tony Pastor's Theater
on 14th Street

is second to none, Mr. de Frece.

Mr. Pastor can
guarantee six weeks

engagement, first-class return
fares for you and Ms. Tilley.

And her maid too, if she wishes.

Mr. Teller, you must realize,
of course, that Ms. Tilley

has certain other commitments--

I think Mr. Pastor
can make an offer

that will interest you both.

Mr. Hammerstein's here.

Hammerstein?

Now wait, Mr. de Frece,
if you're considering

any other plans,
I'd have you know,

Mr. Pastor will top any offer
made by Oscar Hammerstein.

Really?

Tell Mr. Hammerstein to wait.

Very good.

Drink, Mr. Teller?

Hello, Tilley

What happened?

Hammerstein
wanted us to release

him from his American contract.

I knew it.

Walter, you must tear it up.

I did, and gave
it back to him.

Both pieces.

I think we're right.

Oh, I'm quite
sure we're right.

Now, about that
sea trip, remember?

Hmm.

We leave in three weeks time.

For America?

But it would cost the earth.

Oh, we'll let Mr. Pastor
worry about that, he's paying.

Ever heard of Tony
Pastor's on 14th street?

Of course.

Well that's where you'll
make your American debut.

Walter!

At exactly double the salary
that Hammerstein decided

he didn't want to pay us.

Oh, darling, darling, darling.

Oh, Tilley, do you
realize what this means?

Six days of fresh air and rest.

Peace, perfect peace.

Sunshine and the open sea.

[boat horn blaring]

Good morning, Mr. de Frece.

Enjoying the trip?

Yes.

It'll make a rare
change for Mrs. de Frece.

Does she find the
sea air tiring?

I don't know, she hasn't
left her cabin the whole week.

Excuse me.

Open up that one and that.

Do you have anything
to declare, Madam?

No, nothing.

Nothing at all.

What's in there, for instance.

My clothes.

You're sure?

Yes.

Open it up.

Your clothes?

[music playing]

[applause]

She's wonderful.

Oh yeah, she's a
great favorite here.

The audience never wants to
have her leave the stage.

Do you think it was a
good idea, Tilley following

Ms. Gilson, Mr. Pastor?

Sir?

What my husband
means is perhaps

it would have been
better if I would

have followed the conjurer,
or the double act.

It would have been better
for Tilley, don't you think?

No sir.

This is your first appearance
in this city, ma'am.

The way I look at it, if
you can follow Lottie Gilson

and get away with it, you'll
have New York at your feet.

Good luck.

Excuse me.

[applause]

All together now.

[singing] can't you
change you know,

when she left the
village, she was shy.

But alas and a lack,
she's gone back

with a naughty little
twinkle in her eye.

[applause]

Seven encores.

What chance have I got?

How does your tummy feel?

Still in mid-Atlantic.

My, what an audience.

Sorry to keep you waiting dear,
they just wouldn't let me go.

Well, it's all yours.

Good luck.

Good luck, darling.

[music playing]

[singing] Since I was a kiddie
high, the pater used to say,

always study your
parents, George,

let them be first always.

Ms. Max and I have kept in
view and last year by the sea,

a great big buxom country
girl one morning smiled at me.

My pal, young Johnny Jones
was there, and shouted

in my ear, that's just the very
girl for you, but I replied,

no fear.

Give her to father,
give her to father.

Parents should be first,
you know, I've been taught.

And so give her to father,
give her to father.

There's a better one just
behind, so give that one to Pa.

Yesterday, I went for a
walk, the pater went with me.

We popped into a restaurant
and ordered eggs for tea.

The waiter said,
there's only one.

Of eggs, we've quite run out.

Said Pa to me, you have it,
George, and I will go without.

The waiter brought that fresh
egg in, I heard it coming, oh.

Sing me to sleep, I opened it,
then quickly shouted, whoa.

Give it to father,
give it to father.

Parents should be first,
you know, I've been taught

and so, give it to
father, give it to father.

I don't want it to fly at
me, so hand it on to Pa.

Pa and I, when Ma was away,
to see the sights did go.

Pa got frisky on ginger
ale and over went the show.

He took his coat
off in the strand

and so, of course, did I.
When up to 14 policemen,

then the fur began to fly.

The magistrate, next
day to me, said,

half of you been [inaudible]
I'm going to give you 14 days,

but I said, don't do that.

[laughter]

Give it to father,
give it to father.

Parents should be first,
you know, I've been taught.

And so give it to father,
give it to father.

He's been wanting
a rest for years.

So hand it off to Pa.

[applause]

My god.

She got them.

Well, how does it feel to
have the USA at your feet?

New York isn't the USA.

Are you being
modest or ambitious?

Six weeks have passed, and
has only whet my appetite.

I want to see all America.

You mean you want
all America to see you?

Well, I think we should
make the most of our visit.

Don't you?
- Why certainly.

As a matter of fact, George M.
Cohan telephoned this morning.

He's coming to pay a call on us.

George M. Cohan?

Yep.

Just to pass the time of day.

George M. Cohan's
a walking dynamo.

He never passes the time of day.

Hey, I thought I was
going to have a rest.

Surely you're not fixing
up more work for me.

After all, I am your manager.

Yes, Mr. De Frece.

[knock on door]

Mr. Cohan, Mr.
George M. Cohan.

Good morning, my dear,
and congratulations.

- Thank you.
- What a press.

This is my
husband and manager.

Pleased to meet
you, Mr. Tilley.

- Mr. de Frece,
- Oh, pardon me.

When do we start
rehearsals, Mr. Cohan?

Just as soon as Ms.
Tilley finishes at Pastor's.

Sooner if you prefer.

Mr. Cohan, may I
make a suggestion?

Why certainly.

I'd like two weeks rest
after Pastor's, my husband

needs a holiday.

About this road show, have
you decided on a director yet?

Sure have.

Frank Tanhill.

Tanhill?

Yeah, one of the
best in the business.

Well that's settled.

Now, just as soon as you
finish at Pastor's, we'll

discuss dates.
Good morning, ma'am.

Good morning.

Good morning, Mr. Tilley.

De Frece.

Oh, pardon me.

Thank you for my husband's
holiday, Mr. Cohan.

Oh, sure, sure.

Well, glad to have
met you, Mr. Tilley.

Have a cigar.

Yes?

He's here.

Who?

Your first love.

Where?

On the stage.

Did he ask for me?

No, but he's looking
very, very receptive.

Come on.

Oh, no, no.

Please, Walter.

No, no, I should hate
to spoil it for you.

This meeting must mean
an awful lot to you.

Nonsense.

It isn't nonsense,
I quite understand.

But I-- oh, very well.

We'll have to try that
once more, girls, so take

a five minute break for now.

Yes, Mr. Cohan.

Make a note of that music.

Make that an eight bar
introduction instead of--

- Good morning, Ms. Tilley.
- Morning.

Morning.

Good morning.

Why, Ms. Tilley.

Good morning, Mr. Cohan.

Tilley, my dear.

How are you?

Frank.

You're looking wonderful.

You're looking
wonderfully well yourself.

[laughter]

Oh, Walter, Walter,
why didn't you warn me?

I can't think
of what you mean.

STAGEHAND (VOICEOVER):
In her eagerness

to see America and for
America to see her,

Tilley played in
theaters of all sizes.

Sometimes it wasn't
all plain sailing.

This is awful, I'll never
be able to sing to this.

We'll have to speak
to Perelli about this.

How's he doing, Mr. de Frece?

He isn't doing at all well.

Mr. Perelli, your orchestra
leaves a lot to be desired.

Yes, everything.

Wrong notes they
play, but everyone

is very simpatico,
because in the orchestra,

everyone is so very trying.

The conductor is hopeless.

I agree with you.

For three years, I've been
trying to discourage him.

Mr. Perelli.

I have been through every
song, every pause, every bit

of business.

And he looks at me exactly
the same way as I used to look

at my mathematics master.

I've done everything but take
over the baton from him myself.

Please, it's a very good idea.

Why don't you be doing it?

What?

You said yourself, you know
every pause, every business.

Please, take away his
baton, Mr. de Frece.

I know nothing about music.

This, the orchestra will see.

It will make you brothers.

There's nothing
else for it, Walter.

But I'm not a musician.

Bravissimo.

Then with this audience, you
will be very, very popular.

Yes.

I will be very, very popular.

[trying to conduct orchestra]

[singing] After the ball is
over, after the music's hushed.

After the stars are paling,
after the dawn has blushed.

Many a heart Is aching, if
you could read them all.

Many the dreams that are
ended after the ball.

[applause]

Vesta Tilley is
a host in herself.

Why does she tour a
singing conductor?

Last night, more
often than not, one

wondered whether
he were not trying

to out sing the star herself.

You see, they don't
appreciate a fine baritone

voice when they hear one.

Oh, what fun America has been.

Yes.

And next week, home.

And with a full orchestra.

STAGEHAND (VOICEOVER):
Full orchestra.

[explosion]

A grim orchestra.

[explosion]

Walter joined up at once.

And Tilley, Tilley joined up
too, but in a different way.

Walter, I thought
you were on duty.

I am.

This is official business.

Sit down, Private Tilley.

Yes, sir.

I've just come
from the war office.

We're launching a full-scale
recruiting campaign

and we need your help.

I'm not a very good shot.

They've written a
special song for you.

The best you've ever had.

Don't tell me the
War Minister wrote it.

No, but he wants
you to sing it.

You want me to get
the boys to enlist?

Yes, just a short
speech after your song.

[inaudible] did the same thing
yesterday in Trafalgar Square.

Do we need men that badly?

Yes, we do.

The War Office have promised
to cooperate at the full,

even to the extent of
lending you some guardsmen.

Guardsmen?

Yes.

Now, this is the way
I propose to stage it.

[music playing]

[applause]

When people tell you that
the Army's not complete,

it goes to show that
they don't know.

I say the Army's simply
perfect, can't be beat.

I know it's true because I do.

Some time back, it
seemed to me things

weren't all they ought to be.

There was one thing that
was wanted, only one.

And, of course,
that thing was done.

So it's all right,
it's all right now.

There's no need
to worry anymore.

I saw the Army wasn't
strong, everything was wrong

till the day I came along.

And then the band played,
they all hoorayed.

You saved us, said
[inaudible] with delight.

I joined the Army yesterday, so
the Army of today's all right.

[laughter]

Boys, take my tip and
join the Army right away.

The money's good.

Not much, but good.

Who knows?

Perhaps you'll be
a general someday.

Remember chaps, I said, perhaps.

But though we're in
need of you, don't

think any old stuff will do.

In the Army, for
the future there

will be a only big,
strong chaps like me.

So it's all right,
it's all right now.

There's no need
to worry anymore.

I saw the army wasn't strong.

Everything was wrong till
the day I came along.

And then the band played,
they all hoorayed.

The Kaiser, they see
went deathly white.

I joined the Army yesterday, so
the Army of today's all right.

So it's all right,
it's all right now.

There's no need
to worry anymore.

Who said the army wasn't strong?

[inaudible] proved them wrong
on the day he came along.

And then the band played,
they all hoorayed.

We'll soon show the
[inaudible] men how to fight.

I joined the Army yesterday, so
the Army of today's all right.

[applause]

[cheering]

Well boys, why don't
you join up like me?

We don't want to wait
for conscription, do we?

You saw my fine squad.

They'll soon be in
front, fighting for you.

For you and you and you.

Who, me?

Why don't you join them?

[applause]

STAGEHAND (VOICEOVER):
During those terrible years,

Tilley worked harder than ever.

She became a perfect
slave to her audiences,

and she never let
them down, never.

How's the show going, Bessie?

Everyone's a little nervous.

Oh, why?

Well, them Zeppelins.

They've never
reached London yet.

There's always got
to be a first time.

Cheer up, Bessie.

And go and get my uniform
ready or I'll never be on.

[whistling]

[music playing]

Full house?

Packed.

Did Walter come
with you tonight?

No, he's working
late at the Ministry.

Are there satellites still up?

Yes.

They've got to practice
some time, you know.

I don't believe you've
got a nerve in your body.

Not allowed to have
nerves in the Army.

[typing on typewriter]

Corporal.

Sir?

I think that'll
be all for now.

Put these in the safe
for me, will you?

Oh, very good, sir.

They're certainly keeping
it up a long time tonight.

Are they expecting
something, do you think, sir?

I'm not sure they
haven't found something.

Look.

[explosions]

Take the curtain up, quickly.

No need to stand
up, it's only me.

[music starts playing]

[singing] I'm the
military man who's really

worthy of the name.

He's never behind the hand
when duty's to be done.

He's the fellow
that you can trust

to try and win
the game, whatever

the prize waiting to be won.

By jingo, don't the girls
know that as well as I do.

Isn't the fact made
plain every day?

When you see them strolling
by a soldier's side, who could

ever be more proud than they?

Jolly good luck to the
girl who loves the soldier.

Girls, have you been there?

You know we military chaps
always do our duty everywhere.

And what about the Navy?

[laughter]

[singing] Real
good boys are we.

Girls, if you'd like to love a
soldier, you can all love me.

[explosions]

[screaming]

We'll be killed!

Girls, I want to advise you.

Please, attentively, when
choosing a sweetheart,

pray choose the proper sort.

Don't you have anything to do--

That was a near thing.

Yes.

Thank goodness she kept
them in their seats.

You'd never find a
soldier act in such a way.

I think to be hard on
him's nothing but cheek.

Perhaps you won't believe
what I'm about to say.

I was true to one
girl all last week.

[laughter]

[singing] Jolly good luck to
the girl who loves a soldier.

Girls, have you been there?

You know we military men
always do our duty everywhere.

Jolly good luck to the
girl who loves a soldier.

Real good boys are we.

Girls, if you'd like to love a
soldier, you can all ah-- ah--

love ha ha-- me!

[applause]

Oh, Walter, I've been
so worried about you.

[crying]

STAGEHAND (VOICEOVER): Tilley
played as big a part in the war

as any of the men
she impersonated.

So, beyond the scenes
as always, did Walter.

But the war years took
a greater toll of him

than his indestructible partner.

He aged.

I can remember seeing
him some years later.

His hair was almost white
and he was a tired man.

But Tilley, she never tired.

Hello?

Would you put me through to
Mrs. de Frece's dressing room?

Thank you.

Hello?

Book me a table at Romano's
for supper tonight.

Yes, insist on it, the best.

Oh, and have them
send me over a menu.

Thank you.

Hello?

Oh, hello Bessie.

Bessie, when Mrs. de Frece
comes off the stage tonight,

no visitors.

Yes, and have her put
on the red chiffon.

Good evening.

Darling, how thoughtful.

They're playing
"After the Ball."

I should jolly
well hope they are.

Did you arrange that too?

Darling, you must allow a
man to set a seed for himself

occasionally.

Tilley.

Tilley, I've had a letter today.

Who from, Oswald Stone?

Nope.

Who then?

Guess.

Frank Tanhill.

Certainly not.

Darling, I do love you, but
please stop playing games.

I received a communication
from no less a person than--

Smoked salmon, Madame.

Yes.

Who wrote to you?

Point killers.

Walter, the time you take
to get to the point, anyone

would think you'd had a letter
from the Prime Minister.

I have.

Dear, what does
he want this time?

Something for nothing
again, I suppose.

I'm sick and tired of seeing
you organize performances

to further other people's ends.
- Oh, but Tilley.

He should have suggested
you for a knighthood

long ago, that's what.

He has.

I never saw a
man more ready to--

what?

I'm to be knighted.

What do you think
of that, my lady?

Walter, you're joking.

No, no I'm not.

Oh my goodness me.

Arise, Sir Walter.

What shall I wear?

White satin.

Tilley, you're the one that
should have been knighted,

not me.

With a big skirt that
goes out all the way round.

You did all the recruiting.

And

Caught up on the
shoulders with the--

Tilley.

Tilley, it's a joint honor.

What, my love?

Yes, of course.

Eat your salmon.

Tilley.

Tilley, I'm thinking of
giving up the theater

and starting a career
in public life.

Isn't the theater public life?

I thought I'd
stand for Parliament.

Would you like that?

If you would.

Whatever makes you
happy makes me happy.

Of course, you must allow
me one farewell tour.

But Tilley--

That means a year in the
provinces, ending up with

a four-week season in London.

Very well, Darling.

I'll make a deal with you.

If, at the end of your tour
I'm elected, you'll retire.

If not, you'll carry on and I'll
still be Mr. Manager Tilley.

Is it a bargain?

It's a bargain.

[cheering]

[applause]

Go Ms. Tilley, go Ms. Tilley.

[baby crying]

[laughter]

[suspensful music playing]

[applause]

STAGEHAND (VOICEOVER): They
made a bargain and the time

came for Tilley to give up.

It was a difficult
thing for her to do.

She was still at the top.

But she'd made a
promise to Walter,

and now she had to keep it.

If she could.

There's no end of these.

Shall I hold up the rest?

I should, there's
not room for any more.

So many friends.

Most of them, I've
never even met.

Why are people so kind?

It's a wonderful sight
out there, Ms. Tilley.

They're hanging
from the rafters.

We're still hundreds
outside the box office,

they haven't got a
chance of getting in.

Good luck, Ms. Tilley.

Thank you.

I never knew that saying
goodbye could be so difficult,

and to people I don't even know.

You know them as
well as you know me.

That's what makes them
such a formidable rival.

You know their every
mood and fancy.

You bring them to
laughter and tears.

Don't tell me Vesta Tilley
doesn't know her audience.

These

People are important
to me, Walter.

Yes, I know.

But I never knew I
meant so much to them.

[knock]

Your call, Ms. Tilley.

Thank you.

I shall never hear that again.

There.

I promise I shall knock
at your door every night

and say it before dinner.

Ready?

[music playing] [laughter]

[singing] After
the ball is over,

after the music's hushed,
after the stars are paling,

after the dawn has blushed.

Many a heart is aching, if
you could read them all.

Many the dreams that are
ended, after the ball.

[applause] [cheering]

Ladies and gentlemen,
for me, the ball is over.

It's good night and goodbye.

I-- I shall remember you
all for the rest of my days.

Please, for a little while,
will you remember me?

[applause]

[knock]

I've never felt so proud,
or so wretchedly unhappy.

I know.

I won't keep you to our
promise if you don't want to.

I only have your happiness
at heart, you know that.

I know my dear, I know.

That's why I must
do this for yours.

[applause and cheering]

[knock]

Come in?

They won't go
home, Ms. Tilley.

Oh, but they must.

They must.

I've tried all ways.

I'm afraid you'll have
to go on again, Tilley.

Walter, I can't.

Please, Ms. Tilley.

Come with me, Walter.

[SINGING -"FOR SHE'S A JOLLY
GOOD FELLOW"]

She's coming back.

[applause]

All the best, Ms. Tilley.

Thank you, they're lovely.

[chanting] We want
Tilley, we want Tilley.

[applause]

[singing -"after the ball"]
Now that the ball is over,

I never knew [inaudible].

After the stars are paling,
after the dawn has blushed.

Many a heart is aching, if
you could read them all.

Many the dreams that
are ending, af--

--ter the ball.