Original subtitles

[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.