Tonight and Every Night

---

Thanks. What's the idea

of the pictures, mister?

Life magazine's doing

a story on the theater.

Why didn't you tell me?

Look at my hair!

What's so special

about this place?

It's news, soldier.

This theater went through the Blitz

and never missed a single performance.

No kidding?

Aye. And one of your

lassies is in on it, too.

Rosalind.

She's an American.

Wonderful thing,

lend-lease.

I come into

the park each day

To watch the children

as they play

And see they don't go

near the water banks

Although it never

was too hard

To flirt with soldiers

on the guard

I find it simpler still

to meet the Yanks

This little high park bench

Is sometimes like a trench

The Poles, the Czechs,

the Greeks

Auditioning their techniques

First I embrace them

then I place them

On an honor roll

And the Yanks

always rate a spot

On my...

What does an English girI

think of a Yank?

For he's a doll and

Just as solid as it takes

What does an English girI

think of his looks?

And when he says,

"What's cooking?"

Does she know what cooks?

She Just adores

his Southern roar

Can't resist his

"Hi, y'all"

He says, "Evening, ma'am"

She says, "Evening, Sam"

That she's from Alabamy

What does an English girI

think of his Jive?

And when a band

is on the stand

Well, man alive

He knows from nothing

He starts rug-cutting

And throws a hip or two

Do we hip bang?

Of course, we do

Mind if I get some

stuff from here, Sam?

Make yourself at home.

There isn't one of them girls that

couldn't be on the cover of your magazine.

Oh, can't you stay

off my feet?

Hold it.

Girls, we've made history.

Now we're making Life.

Wait till you see it.

A six-page spread glorifying

the Music Box Girls.

Come on, girls.

We're on.

Now, Miss Bruce, Just one

of you. Something informal.

Surely.

This ought to help

the circulation.

This'll do more for

the blood pressure.

Just one more.

Sorry. I'm on again.

Getting all the pictures

you want?

There's one I'd like to

get right now. The boss.

How about it,

Miss Tolliver?

The only pictures I've

taken now are X-rays.

Fine. We'll use them too.

Anything about the woman

who kept this theater

going through the Blitz

is human interest.

I'd like to get some from

up high with my view camera.

Sam, show him around.

I'll take over.

Come along, young man.

You were here during

the Blitz, weren't you Sam?

That I was.

How was it?

Well, you were gonna

take things as you find them.

How did you

find them?

We didn't have to,

my boy.

They found us. There.

Bombs, eh?

Yes, incendiaries.

Even that didn't

stop the show?

That it didn't.

Actors are used to having

things thrown at them.

I'd like to have had my camera

here when things were popping.

Well, you'd have got

some rare pictures.

And a story to go

with it, I'll bet.

Yes, and a story

to go with it.

Any special story, Sam?

A very special story.

A story that'd make you laugh

if it didn't make you cry.

Would you like to hear it?

That's what I'm here for.

Well, I'll have to go back before

the Blitz. Back before the war.

There was peace on Earth and bad

will among men, as you might say,

but we knew the war

wasn't far off.

It was in rehearsal,

so to speak.

Like our new show.

TOLLIVER:
Come on, Roz. Judy,

Angela, Toni, that's your cue.

All right, we'll take it

from the second four.

Stop!

Judy, darling. How

nice of you to drop in.

And what a lovely hat.

Now that we've all seen it,

you can take it off!

Well, you see, it was

this way, Tolly, I...

When I call rehearsal at

10:
00, I don't mean 10:30.

What's that?

It's me, Mrs. Tolliver. I Just

got it back from the pawnbroker's.

I was practicing.

I hired you as an electrician, didn't I?

But, Mrs. Tolliver, you can get

all the electricians you want,

but there's only one

xylophone player like me.

Well, that's encouraging.

That's right. Now, put that thing

away and get back on your Job!

Very well, ma'am.

All right, girls,

we'll try it now.

And I want no

further interruptions.

There I'll give her right.

What do you want?

Mrs. Tolliver?

Yes? I have a letter from Mr. Halliday.

Oh.

Is Jim Halliday

a friend of yours?

Well, I...

I know Mr. Halliday.

Obviously. What's more important

is has he seen you dance?

Oh, yes.

Yes, several times.

Where did you work?

The Globe.

What sort of thing

did you do there?

I worked at a loom.

But you Just said you danced

at the Globe Theatre.

No, I said I worked

at the Globe.

That's Mr. Halliday's firm.

The Globe Cotton Mills.

But your dancing,

where did you dance?

At the Globe.

TOLLIVER:
How can you

dance at the Globe?

The Globe's not a theater,

it's a cotton mill.

Well, you see, when you dance,

you must have a rhythm.

Naturally.

And I worked at a loom.

And there's a rhythm

to the way it works.

And what, may I ask,

is your forte?

My what?

I mean, what sort of

dancing do you do?

Oh, I see. Well, none, really. What?

I dance pretty much

as I feel.

If I feel good, I dance.

If I don't feel so good...

And how do you feel now?

Hungry.

I came up on the milk train

and I've had no breakfast.

I think we should see this

NiJinsky from Manchester.

The name is Lawson.

Tommy Lawson.

Give your music to the

pianist, Mr. Lawson.

Oh, I have no music.

Then tell him what you

want him to play.

Well, I...

I don't rightly know.

I'm sorry we haven't

a loom, Mr. Lawson.

When you're not at the mill,

what do you dance to?

Oh, Beethoven, Mozart, Bach,

Gilbert and Sullivan.

Whatever's coming in

over the radio.

Now I've heard everything.

Sam.

Bring me your wireless.

Move back, girls,

and give him room.

Young man,

the stage is yours.

Thank you.

Oh, no, no, no. Leave it

alone. I often dance to him.

Very interesting,

young man.

That trick thing

you did on the stairs.

Will you do it

again, please?

I don't think I can.

TOLLIVER:
What do you mean?

Well, I don't

remember the steps.

I Just make them up

as I go along.

You have talent, young man, but

it's a Sunday-driver sort of talent.

I wouldn't know

how to use it.

Half an hour, everybody,

and be back on time.

Tolly.

What is it?

You're crazy if you let

that boy go. He's wonderful.

Give him a chance, Tolly. Think

of what he can do for the show.

That's what I'm afraid of.

Hey, Manchester,

wait a minute.

Don't let Tolly

get you down.

I've been a dancer

all my life,

and I know dancing

when I see it.

Well, I'm glad

you liked it.

Hold on a minute.

I liked it too.

Oh, I meant you too.

But you've got to

set a routine

and do it exactly the

same way every time.

And you must remember it.

It's no good. I'm going back to my loom.

Look, if you go back

home now, you're licked.

You've got something to sell. Sell it.

You're very kind,

both of you.

But this business of dancing the

same way all the time, I can't...

You can do it.

We're going to teach you

everything you know.

Go ahead, Judy.

Now watch me.

Got it?

Got it.

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