Babes in Arms Page #5

Good night, everybody. Come on, Pat.

Send them all home at 9 and tell them

to be here at 10 in the morning.

Okay. I hope you have a nice dinner.

Oh, this is all business, Pat.

You look wonderful, Mickey.

Thanks, for always saying the right thing.

I can lick wildcats now.

- Good night.

- Good night.

I beg your pardon, sir.

Whom do you wish to see?

Baby... Miss Essex.

- I'm afraid she'll be unable to see you, sir.

- Why not?

Miss Essex is expecting

an important theatrical impresario.

Hey, that's me.

Oh, I don't believe I heard the name, sir.

I know you didn't, because I didn't say it.

It's Moran, Michael Z. Moran.

Oh, I'm sorry, sir.

Won't you... Won't you step in, sir?

Thanks.

Oh, Michael.

I hardly expected you so soon.

So nice to see you again.

Yes, nice to see you too.

I know I kept you waiting.

No, you haven't kept me waiting.

I mean, that is...

...I have been waiting to see you

ever since I met you in the drugstore.

You're just as impetuous

as I thought you were.

I am?

Dinner is served, Miss Rosalie.

Thank you, Bartlett.

Oh, I almost forgot.

You haven't met my darling yet.

This is Kai.

- Cute, isn't he?

- This is Mr. Moran, Kai, baby.

You give him a nice wet kiss.

Oh, I hope he didn't frighten you.

No, no, no. No, he didn't at all.

He's an affectionate little fellow,

isn't he?

Now, you run along and play,

Kai, darling.

He has temperament,

just like me, daddy says.

Gee, the crickets

are pretty thick out tonight, aren't they?

I've never tasted a tastier...

Miss Essex.

Oh, don't call me that.

Call me Baby, everybody does.

Well, all right.

What do you do with yourself, Baby?

I study voice, French and dancing.

That's why I didn't

go to Maine with father.

You see, I'm preparing for a comeback.

I don't see why I should accept failure.

Why I should let them tell me I'm through.

Do you?

Heck, no. That's why I think my production

would be perfect for you.

Do you think so?

Oh, I was praying you'd say that.

Oh, Michael, don't tell me you're going

to give me my chance.

Well, if I had the dough, I would.

How much do you need?

Well, let me...

Let me see.

We're gonna use a barn some actors used

last summer, turn it into an outdoor theater.

I figured if we all pitched in together...

That is, for the scenery and the costumes

and everything, it would run us about $287.

Have you got it yet?

No.

Well, you have now.

Move over here where we can talk.

- Oh, it will be exciting.

- Yeah, yeah.

I can hardly wait.

We'll work together wonderfully,

you and I. How about an orchestra?

We can have the Rangerettes

in for nothing.

Enchanting. It'll be a great show.

Shall we drink to that?

Why, you bet.

Good luck.

I hope so.

Cigar, sir?

Oh, do have one. They're daddy's best.

Well, I can't pass up anything like this.

I suggest, sir, it would draw better

if one bites the end off.

How could I make a mistake like that?

Don't draw the cigar smoke in,

Mr. Moran.

Blow it out for your own sake.

This is... This is delightful.

When does the show start rehearsing?

Well, as soon as I can get it...

When?

Well, I'll phone you.

I'll phone you tomorrow

and let you know.

You'll have to excuse me, please.

I've got another appointment.

Thanks for the dinner.

It was swell while it lasted.

- Hey, Mickey, here's your pants.

- Where have you been?

Go on, get up there in your place,

would you?

All right, kids, that's enough.

Take a rest. We'll try the dance later on.

In the meantime, we'll take a reprise

of this "Where or When" number.

Pass the parts out.

We'll take the other in a little bit.

- Hey, Mickey.

- What do you want?

Have you told Patsy yet?

No, I've tried to get it out a million times.

I just can't do it.

Well, she's on her way in and

Baby Rosalie will be here any minute now.

Well, I guess it's gotta be now.

- Come on, take over, will you, Don?

- Sure.

Oh, Mickey,

I've practiced until I'm nearly hoarse.

- Gosh, isn't it wonderful?

- Yes, it sure is, Pat.

But come over here, l...

I wanna talk to you for a minute.

What is it?

- We're in a tough spot, Pat.

- Yeah?

Yes, we've gotta have a lot of dough

to put on this show.

Well, we need an angel,

you know, and...

Can you take it?

Dish it out.

Well, we found an angel.

But in order to keep her,

we have to give her the lead in the show.

Sing my songs?

The songs you wrote for me?

Say my lines?

Oh, Mickey...

We were gonna do it together.

This was gonna be our first show.

You and me in there pitching,

just like you said.

Yes, I know, but what can we do?

I can't bear it.

Oh, don't cry, Pat, because if you do,

then I'm just gonna call the whole thing off.

Because, I mean,

this is too much for me.

Who's crying?

Don't be silly.

Pat, would you punch me right in the nose

if I asked you to understudy?

Katherine Cornell did it.

I should be proud.

It's gonna be a tough job, kid...

...because this Baby Rosalie

is just a bundle of temperament.

Will you help me keep her quiet,

and will you stick in there and pitch?

Put her there.

Pat, you're...

You're the tops.

Hello, there.

Hello, everybody. Hello.

Alexander,

do take the little darlings for a walk.

Thanks.

Just getting the kinks out.

All right. Come on, kids,

let's try the Antony and Cleopatra sketch.

And I want the scene set just like we're

gonna have it with props and everything.

A little pepper now.

Stand up, honey, so I can brush you off.

It's so close today.

Yes, it is sultry, isn't it?

- May I get you a glass of water?

- Thank you, my dear.

Isn't she a sweet little girl?

All right...

...bring the window up in position.

Over the divan, please. There, that's fine.

Okay, give me the parts now, will you?

There, that's fine Bobs.

Don, here's your part. Sid?

- Yeah.

- Miss Essex, please.

And I'd like Miss Essex's

headdress now.

This is the gate here

and the guard keepers right there.

Now, this Cleopatra's throne room.

A very luxurious layout

overlooking the Nile.

This is a swell divan covered

with satin cushions and ostrich feathers...

...jewels and pearls, things like that.

- Glorious.

Don, you entrance from over here

and you see Baby reclining...

Will you recline, please, Miss Essex?

That's fine. Now, look.

This Mark Antony

is a sort of a man about town.

Very... Very suave, see?

You, Baby, you're Cleopatra,

the queen of Egypt.

Very beautiful, lovely and...

And suave, see?

You hardly know him.

He's busted up your army...

...so the only way you can keep

your throne is to have him fall for you.

Listen, Don. You're a...

You're a Clark Gable-type.

Very modern, polished, and, well,

full of suaveness. You see what I mean?

- Yeah, you mean we're suave.

- Yeah, that...

Come on, now.

Let's try it once everybody.

From the beginning now,

from the curtain.

Ready? Curtain.

- Greetings, Mark. What's new?

- Your Majesty.

No, no, no, that's not quite it, Miss Essex.

Look, do you mind if I show you?

Stand over there. Now, watch me.

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