(upbeat music)
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- [Andy] Hey, did you see this?
Julian Marsh is doing a show.
- [Annie] It's in Variety, Julian Marsh is doing a show.
- [All] Jobs!
- [Phyllis] We're gonna work again!
- [Annie] Get out your tap shoes Frances.
- [All] Julian Marsh is doing a show.
- [Mac] First audition, 10:00 a.m. tomorrow!
(upbeat orchestra music)
(shoes tapping)
(audience cheering)
- Right arm over!
Left arm!
Good!
Change lines!
(dancers chattering)
Going right!
Pick this up!
(dancers chattering)
Go, go, go!
- [All] One, two, three, four, five, six, seven, eight!
One, two, three, four, five, six, seven, eight!
Break, yeah!
(audience cheering)
(dancers chattering)
Okay kids, hold it down!
Quiet, all of ya!
Here comes the writers.
Well Miss Jones, what'd ya think?
- Not a bad bunch Andy.
Gladys, you're improving.
Winnie, keep those knees up.
Boys, you gotta pick 'em up and lay 'em down.
They're paying 440 a seat out there.
(audience laughing)
Mac, get these names and addresses.
I want everything set when Julian Marsh gets here.
Come on Bert, we still have four songs to write.
- Now we got the whole weekend.
- Now Bert.
- All right, let's have those names and addresses.
- Phyllis Dale, 156 West 47th Street.
- Lorraine Fleming, same address as her.
- Diane Lorimer, 333 Park Avenue.
- And I'll bet she gets a little behind in her rent.
- Well, look who's here.
You remember Anne Reilly.
- Anytime Annie, who could forget her.
She only said no once and then she didn't hear the question.
- Hey Ethel, must have been tough on your mother,
not having any children.
(dancers chattering)
- Quiet, all of ya!
This is still an audition dammit.
Anyone who doesn't want this job,
the nearest breadline is around the corner.
All right Mac, get those names and addresses.
- All right, let's have 'em.
(dramatic piano music)
- [Billy] Looking for somebody?
- The dance director.
I'm here to get into the show.
- We'll you're a little late,
they've already picked the chorus.
You should have been here at 10.
- Well I was, but it took me an hour
to get up enough courage to go through the stage door.
(Billy chuckling)
You're not Mr. Marsh are you?
- Billy Lawlor, one of Broadway's better juveniles.
Say, you must be new to show business.
- Oh, I've had experience.
- How many shows?
- Any number of them.
- Such as?
- This would've been my first if they'd taken me.
- I'd take you any day, how 'bout lunch?
- No, I've got to see the dance director.
- Okay then dinner, or a lunch tomorrow.
- That's very kind,
but I really must see the dance director.
♪ I know a bundle of humanity ♪
♪ She's about so high ♪
♪ I'm nearly driven to insanity ♪
♪ When she passes by ♪
♪ She's a sunny little honey ♪
♪ Who's oh so hard to kiss ♪
♪ I'll try to overcome her vanity ♪
♪ And then I'll tell her this ♪
- Hey, watch it!
- Sorry.
♪ I'm young and healthy ♪
♪ And you've got charms ♪
♪ It would really be a sin ♪
♪ Not to have you in my arms ♪
♪ I'm young and healthy ♪
♪ And so are you ♪
♪ When the moon is in the sky ♪
♪ Tell me, what am I to do ♪
♪ If I could hate ya ♪
♪ I'd keep away ♪
♪ But that ain't my nature ♪
♪ I'm full of vitamin A, say ♪
Say, I have an idea.
You're not gonna get Andy Lee to audition you
unless he's got not choice.
Come with me.
- Watch out honey, he's a tenor, but he's got bass ideas.
- You do know this song, don't you?
- Of course I do.
- Okay kid, go to it.
- To what?
- Well your first notes on Broadway.
Ah, what are you looking for?
- My good luck scarf.
I wore it when I was elected Miss Allentown
and Miss Junior Elk.
- Come on kid, sing.
♪ I'm young and healthy ♪
♪ And you've got charms ♪
♪ It would really be a sin ♪
♪ Not to have you in my arms ♪
♪ I'm young and healthy ♪
♪ And so are you ♪
♪ When the moon is in the sky ♪
♪ Tell me, what am I to do ♪
♪ If I could hate ya ♪
♪ I'd keep away ♪
♪ But that ain't my nature ♪
♪ I've full of vitamin A, say ♪
♪ I'm young and healthy ♪
♪ So let's be bold ♪
- Face front.
♪ In a year or two or three ♪
♪ Maybe we will be too old ♪
- Hey, take it from the top Oscar.
♪ I'm young and healthy ♪
♪ And you've got charms ♪
♪ It would really be a sin ♪
♪ Not to have you in my arms ♪
- Hold it, hold it Oscar.
Who told you to sing?
- It was my idea Andy.
- That's a pretty fresh idea, you beat it.
- Oh give her a break Andy, she's great.
- [Mac] Andy, Andy!
Mr. Marsh is here.
(dancers chattering)
- I've got no time for breaks, Mr. Marsh is here.
Amscray, toots!
- All right, I'm going.
- [Billy] Please give me your name.
(Peggy gasping)
- Mr. Marsh, excuse me I'm sorry, I didn't see you.
I don't know what I was thinking.
- [Julian] What the hell was that?
- She wanted to get into the line boss.
- What as, a quarter back.
(dancers laughing)
All right, everybody gather round and listen to me.
(shoes tapping)
This is April 2, 1933 and today we start work on a new show.
You're gonna rehearse four weeks
and try out in Atlantic City.
You're gonna work 12 hours a day, seven days a week.
You're gonna dance till your feet fall off
and you're aren't able to stand up,
but five weeks from now, Pretty Lady's gonna be
the best damn show this town's ever seen.
You're on your way to glory,
and 32 bucks a week.
(dancers chattering)
So, anybody who doesn't think
he can take it better quit right now.
(shoes tapping)
(audience laughing)
Nobody, good.
Take a half hour, get measured for wigs and costumes
and let's get to work.
(dancers chattering)
- [Mac] Costumes, downstairs.
Come on, get a move on.
- Hey, someone left a purse at the piano!
- It must be hers, the kid Andy through out.
Is there anything in it?
- Yeah, 40 cents and a card.
Peggy Sawyer, 125 Elm Street, Allentown, Pennsylvania.
Look, you go to your fitting and I'll that she gets it.
- Okay.
- Julian, that was a great speech
and you won't regret a word of it.
Pretty Lady is the best show we've ever written.
- That's why we're producing it ourselves.
- And now with the greatest director on Broadway--
- Enough with the soft soap Maggie,
I need the show as much as you do.
- Wall Street got you too.
- You know the old saying,
there's a horse's ass for every light on Broadway.
I've given all I had to that glittering gulch out there
and it's been a hell of a ride.
Okay, so The Crash got me down for the count,
but I'm still Julian Marsh dammit,
and Pretty Lady's gonna put me back on top.
Let's talk about the cast.
- Best in town, Billy Lawlor for the juvenile.
- Me and Maggie playing the comedy role.
- And Dorothy Brock in the lead.
- It's Brock I'm worried about.
Her last hit was 10 years ago.
- We have to use her Julian,
she's got Abner Dillon in her back pocket.
- You know, Dillon's Kiddie Kars?
♪ Hop on for a run ♪
♪ Hop on for some fun ♪
♪ On your kiddie car, kiddie car ♪
♪ Dillon's Kiddie Kars ♪
♪ Beep, beep ♪
- The Kiddie Kar business hasn't suffered
from The Depression.
- And he's agreed to put up the whole hundred thousand
if she's the star.
- But she can't dance.
- Put a lot of girls around her.
Let her wave her arms a lot,
the public will never know the difference.
- [Julian] I don't know Maggie.
- Easy Marsh, here she comes. (laughs)
Dorothy.
- Don't say a word, I want to do this myself.
Mr. Marsh, ever since I was a tiny little girl
and saw my first Julian Marsh show,
I've dreamed of the day when I might work
with the King of Broadway.
At last, that day has come.
And I am filled with pride, joy, and humility.
(audience laughing)
- Thanks Miss Brock,
I'm feeling a little full myself.
Now before we go any further, I'd like to try you out
on one of the numbers.
- Hold on Mr. Marsh, Dorothy don't have to try out,
she's already got a contract.
- Mr. Dillon, what would I do without you.
By the way, there were a few items you forgot to mention,
so I made a list.
(audience laughing)
Limousine, redecorated dressing room,
private maid, no problem about the salary,
I just added another zero.
- Now see here Dorothy.
- Of course if there's any objections, I won't insist.
We'll just peddle our Kiddie Kars,
and you can start selling apples.
- You're not hearing me Miss Brock,
I'd like to try you on one of the songs
to see if you can handle the role.
- If you're asking me to audition Mr. Marsh,
I'm afraid the answer is no.
- It's not an audition Dorothy.
Julian just wants to find out if it's in the right key.
- Try that new one we sent over to you yesterday Dorothy.
You are going to love it.
Now, Bert and I see you in this low-down dive,
the piano pounds out a hot jazz beat
as you enter and sing.
♪ Shadows on the wall ♪
♪ I could see them fall ♪
♪ Here and there, everywhere ♪
♪ Silhouettes in blue, dancing in the dew ♪
♪ Here am I baby, where are you ♪
♪ In the shadows let me come and sing to you ♪
♪ Let me sing, I wanna sing ♪
- [Julian] Thank you Maggie.
♪ Let me dream a dream that I can bring to you ♪
♪ Here it comes, a big fat dream, pow ♪
- Maggie!
♪ Take me in your arms and let me cling ♪
- Maggie!
- What!
(audience laughing)
(audience cheering)
- That was fine.
Oscar try it 3/4 time for Miss Brock.
- Julian, we wrote that number as a jive.
- And down a tone.
From the top Miss Brock.
- I have no--
- From the top, Miss Brock.
♪ Shadows on the wall ♪
♪ I can see them fall ♪
♪ Here and there, everywhere ♪
♪ Silhouettes in blue ♪
♪ Dancing in the dew ♪
♪ Here am I, where are you ♪
- [Julian] That's fine, Andy, Mac.
- [Mac] Yeah boss.
- I want two shinbusters, one right, one left.
Miss Brock, right here if you please.
Willard.
- [Willard] Yep.
- [Julian] You gotta drop on line 28, bring it in.
- [Willard] Coming in Mr. Marsh.
- [Julian] Oscar, top of the chorus, nice and easy.
Kill the work lights!
Miss Brock, if you please.
♪ In the shadows let me come and sing ♪
Oww!
- [Julian] That's all right, look straight front.
♪ To you ♪
♪ Let me dream a song that I can bring ♪
♪ Gotcha ♪
(audience laughing)
- [Julian] I've got you.
Look behind ya.
(Dorothy gasping)
♪ To you ♪
♪ Take me in your arms and let me cling to you ♪
♪ Let me linger long ♪
♪ Let me live my song ♪
♪ In the winter let me bring the spring to you ♪
♪ Let me feel that I mean everything to you ♪
♪ Love's old song will be new ♪
♪ In the shadows when I come and sing ♪
♪ In the shadows, in the shadows, in the shadows ♪
Ooh.
(audience laughing)
ooh.
Yeah!
♪ In the shadows, let me come and sing to you ♪
♪ Let me dream a song that I can sing to you ♪
♪ Take me in your arms and let me cling to you ♪
♪ Let me linger long, let me live my song ♪
♪ In the winter let me bring the spring to you ♪
♪ Let me feel that I mean everything to you ♪
♪ Loves old songs will be new ♪
♪ In the shadows when I come and sing ♪
♪ In the shadows when I come and sing to you ♪
♪ In the winter let me bring the spring to you ♪
♪ Let me feel that I mean everything to you ♪
♪ Love's old song, will be new ♪
♪ In the shadows when I come and sing to you dear ♪
♪ In the shadows ♪
♪ When I come and sing ♪
♪ To you ♪
(audience clapping)
- [Julian] Not bad Miss Brock, not bad.
- [Dorothy] Mr. Marsh, what does it take
to get a compliment out of you?
- That was a compliment Miss Brock.
- Wardrobe, where are you?
How do you expect me to dance with sleeves
halfway to the ground and feathers up my nose?
- Hello kid.
- Pat, Pat darling what are you doing here?
- I had to see some booking agents in the neighborhood
and thought I'd drop by to see my best girl.
- But Pat, what is Mr. Dillon had been here?
- I don't care about Abner Dillon. (laughs)
- No, no, it's too dangerous.
Now be a dear and take in a picture or something
and meet me in my dressing room in five.
- Dorothy, I can't take your money.
It was all right in the old days when we had the act
in Vaudeville, but now you're a star.
- Well what difference does that make
if we still care for each other?
Oh Pat, don't you think I hate meeting in corners
like this too, but this is more better
that not meeting at all.
♪ In the winter let me bring the spring to you ♪
♪ Let me feel that I mean everything to you ♪
Now run along my dearest and meet me
in my dressing room at five o'clock.
- [Pat] Dorothy, I can't-
- [Dorothy] Till five my darling!
- [Maggie] Come along girls, get a move on,
we only have an hour for lunch.
- [Girls] An hour.
- Hey kid, I've been looking for you.
You left this on the piano.
And don't worry, the bankroll's intact.
- Thank you miss ...
- Jones, Maggie Jones.
Say, you look like you could use some grub.
How about putting on the feed bag with me and the girls?
- I don't think I can.
- Not another word, it's all settled.
- Hey, I've been looking for you.
How 'bout having lunch?
- I'd love to.
- I meant Peggy.
- Sorry, but I just promised to eat
with Miss Jones and the girls.
- Would you like to join us?
- No thanks, I'm looking for a mouthful, not and an earful.
(audience laughing)
But don't feel bad.
I'll let you have a rain check.
- What makes tenors such wolves?
- I think it's that tight underwear they wear.
- No, that's what makes 'em tenors.
(audience laughing)
Come on girls, I'm taking you
to that lovely place with the windows.
- [Girls] The Astor Roof?
- The Automat.
- [Girls] Oh.
- All right, the Gypsy Tea Kettle.
But you gotta dance your way over.
I don't want to waste any time.
- But I don't know your steps.
- Well, if you think you can pick 'em up,
I'll show 'em to you.
- Okay.
(shoes tapping)
- Okay, now with a pull back.
Hey kid, you're good.
- I know.
(audience laughing)
- Well come on, let's put it all together.
Five, six, seven, and eight.
(upbeat whimsical music)
- What'll you have?
(audience cheering)
- Five cups of boiling water and one teabag.
(audience laughing)
- Any gravy?
- No thanks, there is enough on the table cloth.
Now bring us five combination dinners
and get the lead out, we're heavy tippers.
Well Peggy, you still wanna get into
show business after today?
- More than ever.
Imagine someday dancing on the same stage as Dorothy Brock.
(girls laughing)
- I understand how she feels.
My grandmother felt the same way.
- I don't know how you can say that.
Dorothy worked very hard to get where she is.
I remember on her first show, she made 30 bucks a week
and send a hundred home to her mother.
- Let's face it, the only thing she has
over any one at this table is Abner Dillon.
- Who's he?
- Her sugar daddy.
- Oh, her father?
- You can't be just 21.
A girl can't get that dumb in only 21 years.
(audience laughing)
- Kid, we're gonna have to teach you
the Broadway facts of life.
- Don't worry about me,
I learned all about men in Allentown.
- Eugene O'Neill would give his eyeteeth
to have written that line.
- Should we tell her about musicians?
- All she has to know, is that we keep them in a pit,
and it's for good reason.
(audience laughing)
- I still wish I were in the show with you.
- You will be kid.
If not this show, the next one.
You're a looker, you can chirp like a bird,
and you're pretty hot stuff in the steps department too.
You hopefuls are the luckiest ones
in the whole darn business.
So what if you had a bit of bad luck this a.m.,
you've got all you need to cheer you up right there
at the end of your ankles.
♪ If you've a melancholy case of the blues ♪
♪ I've got a remedy for you ♪
♪ If you've an ounce of rhythm down in your shoes ♪
♪ Then I'll change your point of view ♪
♪ If you've been singing a sad and blue song ♪
♪ Go into your dance ♪
♪ Until you learn how to sing a new song ♪
♪ Go into your dance ♪
♪ Don't be complaining ♪
♪ Learn how to smile ♪
♪ And if it's raining ♪
♪ Dance in the rain awhile ♪
♪ Put off your sorrow until tomorrow ♪
♪ Go into your dance ♪
♪ To get a job in a Broadway chorus ♪
♪ Go into your dance ♪
♪ Just strut your stuff and they can't ignore us ♪
♪ Go into your dance, girls dance ♪
♪ If it's a two-step, give 'em a smile ♪
♪ If it's a new step ♪
♪ Do it with grace and style ♪
♪ A raw beginner can be a winner ♪
♪ Just give me a chance ♪
♪ Shake your shoes and go into your dance ♪
- [Maggie] Come on girls.
- [Annie] Hey Andy.
- [Andy] Now now girls, I'm busy.
- Too busy to dance?
- Ha.
- Aha.
- Ooh, sorry.
♪ To get a job in a Broadway chorus ♪
♪ Go into your dance ♪
♪ Just strut your stuff and they can't ignore us ♪
♪ Go into your dance ♪
♪ Shake your shoes and go into your ♪
♪ Go into your ♪
(audience cheering)
- Just what the hell do you think you're doing?
Here I'm knocking my brains out
trying to put on a show they'll pay good money to see
and you're giving it away free on the street.
Now you kids get back in there.
Not so fast Andy.
- Something wrong boss?
- Wrong, we're shy one girl, that's what wrong.
- Boss, you told me to pick two dozen.
- Plus one for good measure,
I always pick one for good measure.
- You never-- (audience laughing)
- Now don't you give me any excuses.
Just get me another girl.
- Well I could have one here first thing in the morning.
- Well that's just ducky, I could hardly wait.
I'm supposed to set the boardwalk number this afternoon.
You know, I've got a good mind to pick
the first girl I see off the street.
(audience laughing)
Go up to the first dame who passes and say, you.
- Who me?
- Yeah you, can you dance?
- I'm from Allentown, Pennsylvania and I can do
any tap step ever invented.
Wings.
(shoes tapping)
Cramp rolls.
Buffaloes.
Shuffles.
- Hey, hey.
- Hey.
(audience laughing)
- Allentown, take it easy, you've got the job.
- Thank you.
- Andy, take her in there and get her ready to rehearse
at two o'clock sharp.
- Right boss.
- Hey, wait a minute.
Aren't you the Mack truck
that tried to run me down this morning?
- I'm sorry, I didn't know it was you.
It'll never happen again, I swear on my mother.
- All right.
- On my mother and my father.
- All right.
- On my aunts and uncles and cousins.
- Relax kid, I kind of enjoyed it.
Now get in there and start learning those routines.
We've got a show to do!
- Thank you Mr. Marsh!
(upbeat music)
- [Julian] Mac, you got the kids in costume?
- [Mac] Yes sir.
- [Julian] Good, now get me Brock and Billy.
I want to rehearse the boardwalk number with the dialogue.
- [Mac] We can't do the dance section Mr. Marsh.
Gladys is out with a cold.
- Then use Winnie.
- That won't work boss, Winnie's in the number before,
she'll never make the costume change in time.
- Then get any girl, we'll put a costume on her later.
I want to rehearse this number right now.
Bring in the boardwalk drop.
Miss Brock, Billy, let's go.
(Abner clapping)
- No, no.
(audience laughing)
- It is a summer afternoon in Atlantic City.
The sun sparkles brightly on a section of the boardwalk
as we discover Rodney.
And Madeleine.
(audience laughing)
Madeleine speaks.
- Darling, darling, why did you take so long
to declare yourself?
The answer is yes, of course.
We'll live together in a cottage by the sea
and every morning we'll have breakfast and kisses in bed.
Oh my god.
- And will you always love me Madeleine?
- Yes, yes, yes, yes, yes.
(audience laughing)
- [Julian] Now Rodney declares his love and they kiss.
- Hold on a minute, what's that fella doing to Dorothy.
- [Billy] I'm just acting Mr. Dillon.
- I don't care what you call it,
I ain't putting up good money
to see the lady I love kissed by an old actor.
- All right, cut the kiss.
- What?
- Just say the speech and improvise something.
- Oh my darling, I love you.
I worship you, I adore you.
(audience laughing)
♪ I don't know exactly how it started ♪
♪ But it started in fun ♪
♪ I just wanted someone to be gay with, to play with ♪
♪ Someone, but now I realize that I could never let you go ♪
♪ And I've come to tell you so ♪
♪ Every kiss, every hug ♪
♪ Seems to act just like a drug ♪
♪ You're getting to be a habit with me ♪
♪ Let me stay in your arms ♪
♪ I'm addicted to your charms ♪
♪ You're getting to be a habit with me ♪
♪ I used to think your love was something that I ♪
♪ Could take or leave alone ♪
♪ But now I couldn't do without my supply ♪
♪ I need you for my own ♪
♪ Oh I can't break away, I must have you every day ♪
♪ As regularly as coffee or tea ♪
♪ You've got me in your clutches ♪
♪ And I can't get free ♪
♪ You're getting to be a habit with me ♪
- Whoops.
- Peggy.
- [Man] Now that is quite all right.
- Stay with Hank.
- Move it!
- Watch it!
Who are you?
Julian, Julian!
- [Man] Peggy!
- This is not what we rehearsed.
- Wait there.
- Miss Brock, Miss Brock, nope.
(audience laughing)
- [Julian] Get over here.
He's over there.
He's the only one dancing round on his own.
What are you waiting for?
- [Peggy] I'm sorry.
(ladies yelling)
- Who is that person?
- Her name's Peggy Sawyer, she's new.
You okay kid?
She fainted.
- Thank God.
- It's not Peggy's fault, she didn't eat any lunch.
- All right, Billy, Mac, put her in Brock's dressing room.
The rest of you, this is still a rehearsal.
Andy come on, I wanna clean up
that last section before the pivot.
And this time, do it like you mean it.
Hit it!
- [Andy] Five, six, seven, eight.
- [Billy] Easy Mac, okay, sat her down.
- [Pat] What happened?
- One of the kids fainted.
Par for the course on a Julian Marsh show.
Get her some water will ya?
You better get back out there
before the boss starts yelling for ya.
- [Billy] When she comes to tell her I'll be back
as soon as I get a break.
The name's Lawlor, Billy Lawlor.
- Yeah, yeah, come on Billy.
- You all right?
- I guess I fainted.
- Well good guess.
- But, I guess I'm all right now.
- Whoa, bad guess.
Now let me be the doctor for a while.
What you need some rest.
- But the rehearsal isn't over.
- Oh yes it is young lady, for you anyway.
Now, as your doctor my first prescription
is for you to sit on this chaise.
And as your doctor my second prescription
is for you to get those legs up.
- And I bet I know what your third prescription is.
(audience laughing)
- [Pat] Dorothy, I didn't expect to--
- It's quite obvious you didn't expect me, doctor.
- Dorothy, she fainted and they brought her
in here till she came to.
- Well since when is my dressing room
the emergency ward for every web footed chorine
who throws a little fainting act?
Get her out of here before I prescribe
a little medication she won't like so much.
- Please Miss Brock, I--
- You, shut up!
And if my prescription upsets you doctor,
you could just get out with her!
- What the hell is going on here?
I'm trying to conduct a rehearsal on that stage.
Who are you?
- My name is Pat Denning, Mr. Marsh.
I was a guest of Miss Brock's.
- Well beat it, Miss Brock's official gentlemen friend
happens to be in the house.
And I don't want him to get any funny ideas.
- [Abner] Dorothy!
- It's Abner, Pat quick, behind the chaise.
- You stay right where you are.
Come right in Mr. Dillon.
We were just having a little script conference.
- Hello sugarplum. (chuckles)
(audience laughing)
I just brought these posies for you.
- Thank you.
- I hope I'm not interrupting anything.
- No, no, not at all.
We were just winding up.
By the way, this is one of our dancers, Peggy Sawyer,
and her boyfriend Pat Denning.
- Now just a moment Julian.
- Say Mr. Dillon, do you realize it's your fault,
our conference is breaking up?
- My fault?
- Yes, Dorothy said she didn't wanna discuss
the script any further,
because she wanted to be alone with you.
Do you mean that Dorothy?
- Of course I mean it.
What girl wouldn't want to be alone with you.
Just look at yourself, come on.
(upbeat music)
- Mr. Denning, your presence in this dressing room
has caused a great deal of unnecessary turmoil.
I suggest such visits do not occur again.
And Mr. Denning, this kids a pretty good hoofer,
I don't wanna lose her for the price of a bowl of chili.
Take her out, get her something to eat.
Miss Brock, may I have a word with you?
- Of course Julian.
Is it about the character I'm playing?
- It's about the character you're playing around with.
I don't know what went on in that dressing room,
but Pretty Lady means far too much to me
to let some gigolo stand in its way.
I want you to give him up.
- Aren't you a bit confused Julian?
You are the director of my show, not my personal life.
- When your personal life gets in the way of my show,
I direct that too.
- Mr. Marsh, I shall see whom I please, when I please,
and no show is gonna stand in my way.
(man humming)
- Bert, I think we've got ourselves a little problem.
And I think I've got myself a little solution.
Nick Murphy please.
- Murphy, he's a killer.
Look Julian, if you don't like the song just say so.
- I put his girlfriend in my last show,
and boy does he owe me a favor.
Hello Nick, Julian Marsh.
I'm calling about a bit of a problem I'm having.
You see there's a fella been hanging around Dorothy Brock
by the name of Pat Denning.
And I thought that since your place
is right across the street,
maybe you could send a couple of boys over
to persuade him to make himself scarce
for the next few weeks.
Right, thank you Nick, pleasure doing business with ya.
And that I believe is the end of Pat Denning.
- Julian, I just got a call from Atlantic City,
they've canceled our booking.
- [Julian] What?
- But, everything's all right.
We picked up a week
at the Arch Street Theater in Philadelphia.
- But all our shows have opened in Atlantic City.
- Maybe Philly'll change your luck.
- He's right.
Come on, let's get packing.
♪ I'm grabbing my hat and coats ♪
♪ I'm leaving the cat a note ♪
♪ Quick call me a ferryboat ♪
♪ Getting out of town ♪
- [Pat] I'm sorry I couldn't take you any place fancier,
but you know the old purse strings
are a bit frayed at the moment.
- You know a guy named Pat Denning?
- Well yes.
- We got a message for him.
He better lay off this Brock dame
or it's gonna be too bad for him, get it.
- All right, I'll tell him.
- Yeah, this is so's you don't forget.
(body thudding)
- [Peggy] Pat, who are they?
- Friends, with good advice.
You with the company?
- Yeah.
- I'd like to leave a message for Miss Dorothy Brock.
Tell her Pat Denning has joined
a stock company in Philadelphia,
and will be gone at least six months.
With no forwarding address.
♪ I'm shining my traveling shows ♪
♪ Big scoop in the daily news ♪
♪ Who's saying his toodles ♪
♪ Getting out of town ♪
- [Dorothy] I'm sorry but I don't wanna go to Philadelphia.
My contract says I must play out of town in Atlantic City.
- I got a note for you Miss Brock.
Fella left it last night.
- Dorothy, why don't you wanna go to Philadelphia?
- Who says I don't wanna go to Philadelphia?
I wanna go to Philadelphia.
My contract says I must play out of town in Philadelphia.
♪ Cares fly by ♪
♪ They're going bye-bye ♪
♪ And we're shouting hoorah ♪
♪ Wings spreading cause we're heading ♪
♪ For hot cha ♪
♪ Hot cha cha cha ♪
- All right, you got everything?
Hats, coats, trunks, dogs, cats, canaries,
so let's get 'em aboard!
That dress rehearsal in Philadelphia
starts at eight o'clock sharp, so get moving!
Say good-bye to little old New York!
♪ My neighbors are awful nice ♪
♪ They've promised to feed the mice ♪
♪ Hey iceman, don't need your ice ♪
♪ Getting out of town ♪
♪ Cares fly by ♪
♪ They're going bye-bye ♪
♪ And we're shouting hoorah ♪
♪ Wings spreading 'cause we're heading ♪
♪ For hot cha ♪
♪ Hot cha cha cha ♪
♪ A new kind of company ♪
♪ Is just magnetizing me ♪
♪ I'm footloose and fancy free ♪
♪ Getting ♪
♪ Getting out ♪
♪ Getting out of town ♪
(audience clapping)
- All right now.
The company got you all to Philadelphia
and it's up to you to see
that we get out of here alive.
There's a pit full of musicians down there
just dying to go on overtime,
so let's get this dress rehearsal started.
(actors chattering)
One more thing.
Not all of the scenery and costumes have arrived yet,
and we'll be adding things as we go along,
so don't let it throw you.
Professor, we're late!, let's go!
- Dressing room assignments are on the callboard!
(dramatic music) (actors chattering)
- I cant hear my first note.
What is it?
Mac, Mac, please.
- Quiet!
- Thank you.
I know, I know.
♪ Who writes the words and music ♪
♪ For all ♪
- Sorry.
♪ The girly shows ♪
♪ No one cares and no one knows ♪
♪ Who is the handsome hero ♪
♪ Some villain always frames ♪
♪ But who cares if there's a plot or not ♪
♪ When they've got a lot of dames ♪
♪ What do you go for ♪
♪ Go see a show for ♪
♪ Tell the truth, you go to see those beautiful dames ♪
♪ You spend your dough for ♪
♪ Bouquets that grow for ♪
♪ All those cute and cunning young and beautiful dames ♪
♪ Dames are temporary flames to you ♪
♪ Dames, you don't recall their names ♪
♪ Do you ♪
♪ But their caresses ♪
♪ And home address linger in your memory ♪
♪ Of those beautiful ♪
♪ In your memory, see those beautiful ♪
♪ In your memory, all those beautiful dames ♪
♪ What's cute about a little cutie ♪
♪ It's her beauty, not brains ♪
♪ Old father time will never harm you ♪
♪ If your charm still remains ♪
♪ After you've grown old baby ♪
♪ You don't have to be a cold baby ♪
♪ Keep young and beautiful ♪
♪ Oh yes ♪
♪ It's your duty to be beautiful ♪
♪ Oh yes ♪
♪ Keep young and beautiful ♪
♪ If you want to be loved ♪
♪ Oh yes, we wanna ♪
♪ Don't fail to do your stuff ♪
♪ Our stuff ♪
♪ With a little powder and a puff ♪
♪ A puff ♪
♪ Keep young and beautiful ♪
♪ If you want to be loved ♪
♪ If you're wise, exercise all the fat off ♪
♪ Take it off, off-a here, off-a there ♪
♪ When you're seen anywhere with your hat off ♪
♪ Have a permanent wave in your hair ♪
♪ Take care of all those charms ♪
♪ Those charms ♪
♪ And you'll always be in some guy's arms ♪
♪ His arms ♪
♪ Keep young and beautiful ♪
♪ If you want to be ♪
♪ Oh, we want to be ♪
♪ If you want to be loved ♪
♪ Who writes the words and music ♪
♪ For all the girly shows ♪
♪ No one cares and no one knows ♪
♪ Who is the handsome hero ♪
♪ Some villains always frames ♪
♪ But who cares if there's a plot or not ♪
♪ What do you go for ♪
♪ Go see a show for ♪
♪ Tell the truth, you go to see ♪
♪ Those beautiful dames ♪
♪ You spend your dough for ♪
♪ Bouquets that grow for ♪
♪ All those cute and cunning ♪
♪ Young and beautiful dames ♪
♪ Dames are temporary flames to you ♪
♪ Dames, you don't recall their names do you ♪
♪ Dames ♪
♪ Keep young and beautiful ♪
♪ Doot-doo-wah ♪
♪ It's your duty to be beautiful ♪
♪ Doo-wah ♪
♪ Keep young and beautiful ♪
♪ Doo-doo-wah ♪
♪ If you want to be loved ♪
♪ Doo-wah, doo-wah ♪
♪ Dames ♪
♪ Don't fail to do your stuff ♪
♪ Doot-doo-wah ♪
♪ With a little powder and a puff ♪
♪ Doo-wah ♪
♪ Keep young and beautiful ♪
♪ Doo-doo-wah ♪
♪ If you want to be loved ♪
♪ All those lovely dames ♪ ♪ Those gorgeous dames ♪
♪ Are temporary flames ♪
♪ To you, dames ♪
♪ Yet all the same ♪
♪ You know we ♪ ♪ You don't recall ♪
♪ Their names ♪
♪ To you ♪ ♪ Do you ♪
♪ Slim, trim, or curvy ♪
♪ Sweet, shy, or nervy ♪
♪ There is nothing as divine as beautiful ♪
♪ No sun can shine like beautiful ♪
♪ Bring on that line of beautiful ♪
♪ Dames, dames, dames, dames ♪
♪ Dames ♪
(audience clapping)
- Kill the spots!
Congratulations, kids, that was damn good.
- Too damn good.
I am the star of this show, Julian,
and I do not appreciate making my entrance
10 seconds before the blackout.
(audience laughing)
- Are you suggesting I bring you on after the blackout?
(audience laughing)
- I am suggesting you redo the dance to suit my talents.
- That might make it a rather short number, Miss Brock.
- You'll regret that remark, Mr. Marsh.
You may be the director of this show,
but I'm driving the Kiddie Kar!
(Dorothy hissing)
Get out of my way!
- All right, the rest of you, you've earned it,
so I want you to go out and relax,
and forget all about Pretty Lady until tomorrow.
Then I want you to come back here
and give the performance of your lives.
Company dismissed.
- [Andy] Company dismissed.
- [Mac] Company dismissed.
Half-hour call eight o'clock!
Eight o'clock sharp!
(girls chattering)
Girls, that means you.
- [Girls] We heard ya!
- Willard, I want to check those spot cues.
- [Billy] I'll finish changing, Peggy.
Meet you at the stage door!
- Be there in a minute, Billy!
Are you coming to the party, Mr. Marsh?
- Huh?
- To the Regency Club.
Miss Jones and Mr. Barry just invited everyone.
(Julian laughs)
Is something funny?
- You are, eyes shining like a kid at Christmas,
dreaming of parties and opening nights,
the tinsel and glitter of musical comedy.
Just look at yourself, a speck of dust on this stage,
indistinguishable from the forty other
specks of dust I put there!
- I know that, Mr. Marsh.
But put all those specks together,
you have something alive and beautiful
and that can reach out to thousands of people
we've never seen before.
- Broadway dreams, Sawyer.
We've all had 'em.
- Well, I mean to hold on to mine, Mr. Marsh.
- So did I.
Sweet dreams, kid.
- They are, I'm a speck of dust in your show.
- Andy, Andy, where the hell are you?
- Right here, Boss, coming.
I got all the notes typed out, all seven pages.
- The notes can wait.
- But, boss.
- I've decided to take some of my own advice
and forget about everything until tomorrow.
Jones and Barry are throwing a party at the Regency Club.
Come on, let's go dream a little.
(dramatic music) (party goers chattering)
(Party goers laughing)
- Mr. Barry, do you think I'll ever be a star?
- If you can make those sing you will be.
(audience laughing)
- Oh, Mr. Barry, stop.
- Lets dance. (chuckles)
- Hey Mac, are you sure there were no calls for me?
- No Miss Brock, but there is a gentleman waiting...
- Why didn't you say so, where is he?
- Hello kitten, are you glad to see me?
- I'm practically hysterical.
(audience laughing)
- You know, I got half a mind.
- You're telling me.
- Is it me, or is she getting harder to love?
- Hey, play something fun, will ya?
Something not from the show.
- Say, another one of those
and they'll build a bridge over you.
- Another crack like that
and they'll build a monument over you.
- Kitten, I turned around and you'd disappeared!
How does that feel, sweetie pie?
- Like a dead, wet cobra.
- Dorothy!
- Say, what's eating you tonight?
- I finally figured out what this show needs.
A few more songs, by Irving Berlin.
Now get away from me and take Buffalo Bill with you.
- Hey, wait a minute!
I've got a hundred thousand dollars in this show,
so you'd better not give me the air!
- So I better not give you the air, huh?
Well, how about just a few bubbles?
(Abner gasps loudly)
Now get on your Kiddie Kar and pedal back to Tulsa,
you beached whale!
- Oh, she didn't mean it.
She's all excited, you know, the opening tomorrow.
- There ain't gonna be no opening tomorrow!
Not with Dorothy Brock!
Shes out of the show!
- Wrong, Brock opens tomorrow night as scheduled.
Don't be a fool, Dillon!
Are you going to toss away all that money because of a dame?
- It's my funeral, ain't it?
- And the funeral of half-a-hundred kids
who've been dancing their feet off
to give you a show you could be proud of!
Do you want to put them out on the street too?
- Oh, Mr. Dillon, you wouldn't do that, would you?
- Not after we've put all our faith in you.
- But she called me a whale.
- [Both] Oh!
- And a cobra.
- [Both] No!
- Listen, in show business that's a compliment.
What you need is some fun!
Why don't you come to a quiet corner
and I'll sing you the scores from my last six shows.
Get a load of this.
- Hello, Belvedere?
Have you got a Pat Denning there?
You do?
Well, give him to me, you idiot!
- I don't know what got into Dorothy.
She was fine this afternoon.
- I smell a rat and the rat's initials are Pat Denning.
- Hey Boss, it's Flo at the switchboard,
she's an old pal of mine.
She just told me Dorothy Brock's been calling
all over town to get Pat Denning.
- So I was right, Denning's in town.
- Hello Pat, Pat darling, I can't go on like this.
I've tried to forget you, but it's no use.
I've been such a fool.
Please come back, I need you so.
- What are you gonna do about Denning, Boss?
- Call Nick Murphy.
I think he's got a couple of Philadelphia cousins
who might be able to handle the situation.
- Oh Pat, darling, can you ever forgive me?
- Dorothy, will you calm down and tell me what's wrong?
- In a minute, just hold me first.
Hold me and never let me go!
(phone slams)
- It's all set.
Two of the boys'll be over in 10 minutes.
And they'd better not find Denning here.
- Hey Peggy, how about the next dance?
- Sorry Billy, but a friend of mine is in trouble.
- A man friend or a lady friend?
- A man, but it's not what ...
- I get it, good night, Peggy.
- Billy, I, oh ...
- Something the matter, Billy?
- Not any more.
Come on, let's have some fun!
♪ Be young and beautiful ♪
♪ It's your duty to be beautiful ♪
♪ Keep young and beautiful ♪
♪ If you want to be loved ♪
(door knocking)
- [Dorothy] Who is it?
- [Peggy] Peggy Sawyer, Miss Brock.
- Peggy Sawyer?
Oh, the fainting violet
Mr. Denning took out to dinner last week.
- I've got to see, Pat,
there's going to be trouble!
- You're darn right there is
unless you get the hell out of here!
- Wait a minute, Dorothy!
What is it, Peggy?
- Two men, friends of Murphy's.
Don't tell me to wait a minute!
And how come you're sticking up for her in the first place?
- Dorothy, you don't understand.
- I think I understand all too well!
- No, you don't!
- Get out of here, both of you!
- But, Miss Brock.
- It's all right, Peggy.
- Now, Dorothy.
- I said both of you.
- All right, if that's the way you want it!
- That's the way I want it!
Get out, out, out!
Oh, Pat.
♪ Are the stars out tonight ♪
♪ I don't know if it's cloudy or bright ♪
♪ 'Cause I only have eyes ♪
♪ For you dear ♪
♪ The moon may be high ♪
♪ But I can't see a thing in the sky ♪
♪ 'Cause I only have eyes for you ♪
♪ How can I live a day without you ♪
♪ I need your love to see me through ♪
♪ You're not here by my side ♪
♪ Maybe millions of people pass by ♪
♪ But they all disappear from view ♪
♪ 'Cause I only have eyes for you ♪
♪ You're not here by my side ♪
♪ Maybe millions of people pass by ♪
♪ But they all disappear from view ♪
♪ 'Cause I only have eyes for you ♪
(audience clapping)
♪ I don't know if we're in a garden ♪
♪ Or on a crowded avenue ♪
♪ You are here, so am I ♪
♪ Maybe millions of people pass by ♪
♪ But they all from view ♪
♪ 'Cause I ♪
♪ Only have eyes ♪
(Billy clearing his throat)
(audience laughing)
♪ For you ♪
(audience clapping)
- [Mac] Garden drop out!
Come on ladies, come on, step lively.
Keep moving, keep going, quick, quick!
- [Julian] Is the chorus ready?
- Yes, sir.
- Is Brock ready yet?
- [Audrey] Not yet.
- That broad is starting to work my last nerve.
Is she ready now?
- [Audrey] Yes, sir!
- Okay, Mac, take it away!
- Cue 58, go!
♪ Misery, heartache ♪
♪ Sorrow ♪
♪ I walk along the street of sorrow ♪
♪ The boulevard of broken dreams ♪
♪ Where gigolo and gigolette ♪
♪ Can take a kiss without regret ♪
♪ And so forget their broken dreams ♪
♪ You laugh today and cry tomorrow ♪
♪ When you behold those shattered schemes ♪
♪ And gigolo and gigolette wake up to find ♪
♪ Their eyes are wet with tears that tell of ♪
♪ Broken dreams ♪
♪ Here is where you'll always find me ♪
♪ Always walking up and down ♪
♪ But I left my soul behind me ♪
♪ In an old cathedral town ♪
♪ The joy that you find here, you borrow ♪
♪ You cannot keep it long, it seems ♪
♪ But gigolo and gigolette ♪
♪ Still sing a song and dance along ♪
♪ The boulevard of broken dreams ♪
♪ Here is where you'll always find me ♪
♪ Always walking up and down ♪
♪ But I left my soul behind me ♪
♪ In an old cathedral town ♪
♪ The joy that you find here ♪
♪ You borrow, you cannot keep it long ♪
♪ It seems ♪
♪ But gigolo and gigolette ♪
♪ Still sing a song and dance along ♪
♪ The boulevard of broken dreams ♪
(audience clapping)
- Boss, boss, we are in!
This is the best out-of-town opening we've ever had.
They love it!
- Well, they won't love it for long
if we don't speed up these changes.
Mac, where the hell is that cue?
- Just waiting for the kids to get into place, Mr. Marsh.
- [Julian] All right, here they are!
- Cue 64, go!
(dramatic music)
- [Lorraine] You got it.
- Now pull it up!
- I gotta wait for the gum to stick!
- It's stuck, now pull it up!
- [All] Watch out for the subway grating!
- I got it!
- Well, what is it, a penny?
- [All] A nickel?
- Would ya hold your horses and lemme get the dirt off.
A dime!
♪ We're in the money ♪
♪ We've got a lot of what it takes to get along ♪
♪ We're in the money ♪
♪ The skies are sunny ♪
♪ Old man depression, you are through ♪
♪ You done us wrong ♪
♪ We never see a headline ♪
♪ 'Bout a breadline today ♪
♪ And when we see the landlord ♪
♪ We can look that guy right in the eye ♪
♪ We're in the money ♪
♪ Come on my honey ♪
♪ Let's spend it, lend it, send it ♪
♪ Rolling along ♪
(shoes tapping)
♪ We're in the money ♪
♪ We've got a lot of what it takes to get along ♪
♪ We're in the money ♪
♪ The skies are sunny ♪
♪ Old man depression, you are through ♪
♪ You done us wrong ♪
♪ We never see a headline ♪
♪ 'Bout a breadline today ♪
♪ And when we see the landlord ♪
♪ We can look that guy right in the eye ♪
♪ Look that guy right in the eye ♪
♪ We can look that guy right in the eye ♪
♪ We're in the money ♪
♪ Come on my honey ♪
♪ Let's spend it, lend it, send it ♪
♪ Roll, roll, roll, roll ♪
♪ Rolling along ♪
(shoes tapping)
(audience cheering)
- What are you waiting for?
Jose get out of here.
Hey Roxie, move it.
Places, places, act one finale, places!
- [Bert] How's it going, Julian?
- Like a Marsh show should, great!
But this is the number that counts.
Send 'em out for the intermission buzzing,
and that's the ballgame!
- Then we have nothing to worry about,
the finale's the best number in the act!
- Well, there won't be a finale unless Brock gets out here!
Dorothy, where the hell are you?
- [Dorothy] There's no need to shout, Julian.
I can hear you.
- All right, you're on in about ten seconds!
- I have never missed a cue in my life!
When I do, you can take me to task, not before.
- Excuse me, Miss Brock, I want to explain about last night.
- I don't want an explanation from you!
- But--
- Get away from me!
The farther the better!
- Quiet, quiet.
You're on.
- All right, everybody!
Cue 68, go!
(dramatic music)
♪ In the heart of little old New York ♪
♪ You'll find a thoroughfare ♪
♪ It's the part of little old New York ♪
♪ That runs into Times Square ♪
♪ A crazy quilt that Wall Street Jack built ♪
♪ If you've got a little time to spare ♪
♪ I want to take you there ♪
♪ Come and meet ♪
♪ Those dancing feet ♪
♪ On the avenue I'm taking ya to ♪
- [Peggy] Oh, oh.
(Dorothy screaming)
- [Julian] Curtain, curtain, bring it in!
(cast chattering)
What happened?
What the hell happened?
- She pushed me, Sawyer!
- Dammit, Sawyer, what were you doing out of line?
- I wasn't out of line!
- She pushed me, I want her fired!
- You little fool!
Take your things and get out of here!
No one steps out of line in a Marsh show, you're fired!
(cast chattering)
May I have your attention please!
Miss Dorothy Brock has had an accident
and will not be able to continue
with tonight's performance of Pretty Lady.
Ladies and gentlemen,
your tickets will be refunded at the box office.
House lights!
(audience clapping)
(audience chattering)
(upbeat orchestral music)
(audience cheering)
(solemn music)
- [Billy] Any word?
- [Andy] No, Billy, we're waiting for the Doctor.
- Well Doc, what is it?
- I'm afraid it's broken, compound fracture.
It'll be months before she can walk on that ankle again.
- Are you nuts?
She's got a show to do tomorrow night!
- She's a trouper, put a bandage on it.
(audience laughing)
- You don't seem to understand.
She won't even be able to stand up.
Miss Brock has a broken ankle.
- We'll get another doctor, a second opinion.
(cast chattering)
- Quiet, quiet, all of you.
We have no star and without a star,
there's no show, we're closing.
- What?
- You can't do that!
- My decision is final.
No star, no show!
Tell the kids to clear out of their dressing rooms.
Pretty Lady closes tonight!
(cast chattering) (dramatic music)
- [Andy] Boss, you can't be serious!
- [Lady] The show is closing!
- [Male] The show is closing!
- [Lady] The show is closing!
- [Male] I'm out of a job.
- [Lady] I can't pay my rent!
- [Lady] I'm broke!
- [All] The show is closing!
♪ Sing, tra la, la, la, la, la, la, la, la ♪
♪ The sun may never ever shine ♪
♪ But tra la la la la la la la ♪
♪ Somewhere the weather's fine ♪
♪ Long ago, one fine day ♪
♪ Some philosopher was heard to say ♪
♪ There's a sunny side to every situation ♪
♪ And the same applies to you ♪
♪ His philosophy's still true ♪
♪ There's a funny side to every situation ♪
♪ You've no dough, so relax ♪
♪ You don't have to pay an income tax ♪
♪ You've no job, so just pretend it's your vacation ♪
♪ Should the landlord raise your rent ♪
♪ Thumb your nose and pitch a tent ♪
♪ Every situation has a sunny side ♪
♪ Sing tra la la la la la la la la ♪
♪ The sun may never ever shine ♪
♪ But tra la la la la la la la ♪
♪ Somewhere the weather's fine ♪
♪ With no bonds and no stocks ♪
♪ In your little safe deposit box ♪
♪ You can never be affected by inflation ♪
♪ When you car is out of gas ♪
♪ Then no red light can you pass ♪
♪ Every situation has a sunny side ♪
♪ Every situation ♪
♪ Has a sunny ♪
- Wait a minute, why does the show have to close?
- Because our star broke her ankle!
- So we get someone to replace her!
- Someone to replace Brock?
- [All] Someone to replace Brock, yeah!
- [Lady] What about Marilyn Eaton?
- [Men] She's in London.
- [Man] Mary McKay!
- [Girls] Hollywood.
- Nora Sinclair!
She sings, she dances, she acts.
- And has been for the past 50 years!
- Wait a minute, I know someone who can do it!
- [All] Who?
- Peggy Sawyer!
- That kid?
- Yes, Peggy!
She's got a voice that'll panic 'em
and she can dance rings around Brock!
- [Boy] She has got something.
- [Boy] And she sure is pretty!
- [Girl] It might be worth a try.
- We'd have to get Mr. Marsh before he leaves the theater!
- Well, what are we waiting for?
Come on, let's go!
(cast chattering)
- Mr. Marsh, wait a minute.
You don't have to close the show!
- What?
- We've got someone right in the company
who can replace Brock!
- My dear Miss Reilly,
if there were someone in the company with that much talent,
don't you think I would have noticed her?
- Maybe not in this case.
- We're wasting our time.
- All you have to do is give her a chance!
Isn't anything better than closing the show?
- [All] Yeah!
- [Julian] Who is she?
- Peggy Sawyer!
- [Abner] That kid?
- Yes, Peggy!
She's got a voice that'll panic 'em
and she can dance rings around Brock.
- A raw beginner!
This is her first job in the chorus!
- Now wait, Boss.
She is the best dancer in the line.
- That's not carrying a show!
Brock's such an easy performer she's fooled you.
That sort of style takes years of experience to develop.
- Unless this kid's got it naturally.
Which she just might have!
- Do you know how many pages she'd have to learn?
Not to mention the songs and routines.
- She's young, kids can do anything.
(audience laughing)
- You could put the dancing back in the show, Boss.
- Julian, it's worth a try, isn't it?
- All right, send her in.
(cast chattering)
- [Billy] There's only one hitch, you just fired her.
- But it may not be too late to get her back!
She's taking the 1110 to Allentown.
That gives you twenty minutes
to get down to Broad Street Station.
- [Andy] What do we do, Boss?
- Get her off that train!
I want Sawyer in New York, ready to work,
at eight o'clock tomorrow morning.
- [Abner] Ain't we gonna stay here in Philadelphia?
- Not even a dog would come to a try-out without a star.
Our only chance is to ship the show to New York,
beat the part into her in thirty-six hours
and open cold on Thursday.
Now get going!
(cast chattering)
- No, wait a minute!
This is my job.
I fired her, it's up to me to get her back.
- But Julian, I'm the producer, I can go.
- No, you might scare her.
(audience laughing)
- I said I'll go!
Thank you, Annie, you may have done me quite a favor.
- Anytime, Mr. Marsh.
Anytime.
- All right, we'll give him 15 minutes to convince her,
then we bring in the big guns!
(cast cheering) (dramatic music)
(bells chiming) (solemn music)
- Sawyer, I know you're angry with me,
and I can't blame you.
It's not easy being fired.
- You did me a favor, Mr. Marsh.
It may not have been easy,
but I got the message loud and clear.
Go back to where you came from, Miss Peggy Sawyer.
And that's just what I'm gonna do.
- Miss Sawyer, I'm here to apologize for what happened
and to ask you to come back.
- I have a train to catch, Mr. Marsh.
- And take over Dorothy Brock's role in Pretty Lady.
Her ankle's broken, she's out of the show.
If you can do it, the part's yours.
- I'm sorry, Mr. Marsh, show business isn't for me.
I'm going back to Allentown.
- What was that word you just said?
Allentown?
I'm offering you a chance to star
in the biggest musical Broadway's seen
in 20 years and you say Allentown?
Now listen, Sawyer, and listen good.
Even if you don't give a damn about me,
think of all those kids
you'll be throwing out of work if you don't do this.
Think of the songs that will wither and die
if you don't get up there and sing them!
(upbeat music)
Think of the scenery that will never be seen,
the costumes never worn, the orchestrations never heard!
Think of Pretty Lady and the thrill and pleasure
it could give to millions!
Think of Musical Comedy,
the most glorious words in the English language!
Sawyer, think of Broadway, dammit!
♪ Come on along neighborhood listen to ♪
♪ The lullaby of Broadway ♪
♪ The hip hooray and ballyhoo ♪
♪ The lullaby of Broadway ♪
♪ The rumble of a subway train ♪
♪ The rattle of the taxis ♪
♪ The daffodils who entertain ♪
♪ At Angelo's and Maxie's ♪
♪ When a Broadway Baby says goodnight ♪
♪ It's early in the morning ♪
♪ Manhattan babies don't sleep tight ♪
♪ Until the dawn ♪
♪ Goodnight, baby ♪
♪ Goodnight, milkman's on his way ♪
♪ Sleep tight, baby ♪
♪ Sleep tight, let's call it a day ♪
♪ Listen to the lullaby ♪
♪ Of old Broadway ♪
You've got to be kidding me.
♪ Come on along and listen to ♪
♪ The lullaby of Broadway ♪
♪ The hi-dee-hi and whoop-di-doo ♪
♪ The lullaby of Broadway ♪
- [Julian] Get yourselves down here, I need some help.
♪ The band begins to go to town ♪
♪ And everyone goes crazy ♪
♪ You rock-a-bye your baby round ♪
♪ Till everything gets hazy ♪
♪ Hush-a-bye, I'll buy you this and that ♪
♪ You hear a daddy saying ♪
♪ And baby goes home to her flat ♪
♪ To sleep all day ♪
♪ Goodnight, baby ♪
♪ Goodnight ♪
♪ Milkman's on his way ♪
♪ Sleep tight, baby ♪
♪ Sleep tight ♪
♪ Let's call it a ♪
♪ Day ♪
♪ Listen to the lullaby ♪
♪ Of old Broadway ♪
♪ Come on along and listen to ♪
♪ The lullaby of Broadway ♪
♪ Doo-doo-doo ♪
♪ The hop hooray and ballyhoo ♪
♪ The lullaby of Broadway ♪
♪ The rumble of a subway train ♪
♪ The rattle of the taxis ♪
♪ The daffodils who entertain ♪
♪ Until the dawn ♪
- [Man] Hey guys, come on help me out!
(cast chattering)
- I'll do it!
(cast cheering)
♪ Come-a-long ♪
♪ Come on along and listen to ♪
♪ The lullaby of Broadway ♪
♪ The hi-dee-hi and whoop-de-doo ♪
♪ The lullaby of Broadway ♪
♪ The band begins to go to town ♪
♪ Then everyone goes crazy ♪
♪ You rock-a-bye your baby round ♪
♪ And sleep all day ♪
♪ Listen to the lullaby ♪
♪ Of old ♪
♪ Broadway ♪
(audience clapping)
(upbeat music)
(audience laughing)
- All right, Schmidt, and Kirk,
pack up those sets and costumes,
and get 'em back to New York!
♪ Cares fly by ♪
♪ They're going bye-bye ♪
♪ And we're shouting hoorah ♪
♪ Wings spreading ♪
♪ 'Cause we're heading ♪
♪ For hot cha ♪
♪ Hot cha cha cha ♪
♪ A new kind of company ♪
♪ Is just magnetizing me ♪
♪ I'm footloose and fancy-free ♪
♪ Heading ♪
♪ Heading back ♪
♪ Back to ♪
♪ Old Broadway ♪
- Sawyer, you're two minutes late.
- Sorry Mr. Marsh, I was looking for my good luck scarf.
- Sawyer, Pretty Lady opens on this stage
in exactly thirty-six hours.
You've got twenty-five pages, six songs,
and 10 dance routines to learn by 8:30 tomorrow night.
Do you think you can do it?
- Well, I ...
- [Julian] Do you think you can do it, Sawyer?
- Yes, Mr. Marsh, I can.
- Then we begin.
Oscar, Mac, where the hell's the piano?
- Coming in Mr. Marsh.
- Andy, let's go.
All right, I want to start with the opening number,
then work through all the songs and dances,
then go back and do the scenes.
There'll be a five minute break
every hour for food or coffee
and a full 15 minutes every four hours for rest.
And no one else on this stage unless I call them!
- [Andy] All right, clear the stage!
- [Mac] Clear the stage!
- By tomorrow night, I'll either have a live leading lady
or a dead chorus girl.
(audience laughing)
All right, what are we waiting for, let's go!
- All right, Peg, flaps on the right.
- [Julian] And.
- [Andy] One, two, three, four, five, six, left.
- [Julian] Come on.
Sharp, sharp.
Andy, show her how!
- [Andy] Turn, one, two, three, four, five, six, turn.
One, two, three, four, five, six, seven, eight.
- Smile Allentown, you're not in the back row now.
- [Andy] A-one, two, three, four,
five, six, seven, eight.
One, two, three. - Come on, come on.
five, six, seven, eight. - Show moxie.
- [Andy] All right, right down the back.
Okay, ballet combination.
One, two, three, four, five, move!
- Lyrical, elegant. - Three, four, five, six.
- Make every man fall in love. - One, two, three, four.
- Hold it, hold it.
She went too wide, Andy, she's late.
- Sorry, Mr. Marsh.
- All right, Boss, I'll fix it.
- [Julian] Fix it now!
- Girls, girls, come on.
From the balancé.
One, two, three, four, five, move!
- That's very pretty. - Two, two, three, four.
- Now, stay tight, stay tight. - Three, two, three, four.
- Come on.
- [Andy] Four, two, three, four.
Five, two, three, four, five, six,
six, two, three, four.
- [Julian] Very nice, Billy.
Very nice girls.
Andy, where the hell is she?
- She's right here, Boss, hold your horses!
- Which way do I turn?
- [Julian] Turn left.
- [Andy] Five, six, seven, eight.
- Turn right.
- [Andy] Five, six, seven, eight.
- just do it like you mean it.
- A one, two, three, four, five, six, seven, turn.
Two, three, four.
- [Julian] Single step going back.
- [Andy] Five, six, seven, eight.
And a one, two, three, four.
- And double it. - five, six, seven, eight.
A one, two, three, four.
(Peggy gasping)
- I can't do this.
- Crisscross and out.
(Julian clapping)
Andy, give the rest of them a break.
I want to run the love scene.
- Please, Mr. Marsh, I'm exhausted.
Can't we stop for a minute?
- It's 6:30, Sawyer,
that curtain goes up in exactly two hours.
It's now or never.
Take it from Jim's entrance.
Well, what are you waiting for?
From Jim's entrance!
- Jim, they didn't tell me you were here.
It was grand of you to come.
- No, no, that is impossible!
You are greeting the man you love!
Make it mean something.
Like this.
Jim, (audience laughing)
they didn't tell me you were here.
It was grand of you to come.
Try it again.
- Jim, they didn't tell me you were here.
It was grand of you to come.
- No, no, no!
It won't do!
Listen, have you ever been in love?
Have you ever had a man take you in his arms
and crush you to him and kiss you?
Now say the line.
- Jim, they didn't tell me you were here!
It was grand of you to come.
(audience laughing)
- Again!
- Jim, they didn't tell me you were here!
It was grand of you to come.
- Once more!
- Jim, darling, they didn't tell me you were here!
It was grand, grand, grand
of you to come!
- All right, that's it.
Now places for the finale!
- [Andy] Places for the finale, finale, everyone!
A five, six, seven, eight.
(upbeat music)
- [Julian] Come on!
- Mr. Marsh, I can't, I can't, I can't!
- [Julian] Sawyer!
- Now you've done it, Marsh!
- You pushed her too far!
- I had to!
That curtain goes up in 45 minutes.
Unless she knows this part way down in her gut,
she'll never get through.
And that goes for the rest of you, too!
Andy, I want them down in the lounge
and clean up those last 16 bars!
- All right, everybody, down in the lounge!
Come on, get a move on!
(solemn music)
- There, okay.
They said I'd find you here.
- Miss Brock.
- Pat, could you leave us alone for a moment.
- But Dorothy, they've just called a half-hour.
Do you think this is the time for this?
- Darling, I have some things to say to Miss Sawyer.
So, you're gonna take my place?
- I'm sorry, I know how tough it must be.
- Do you, I'm not sure.
When I started for the theater this afternoon,
I wanted to tear your heart out.
I wanted to hate you, I wanted to see you fail.
You, singing my songs, wearing my costumes, playing my role!
But sitting there in that theater and watching you rehearse,
I found I couldn't hate you.
Because you're good.
Maybe even better than I would have been.
The public wants youth, freshness, beauty,
and Peggy, that's what you've got.
Only I'm getting something too.
My whole life the theater has kept me away
from the only thing I've ever wanted.
And it was a broken ankle that finally made me realize it.
Pat Denning and I were married this morning.
- Oh, Miss Brock!
- I have only one last wish for you, my dear.
Get out there and be so swell you'll make me hate ya.
(Dorothy chuckles)
Oh, one more thing Sawyer, I hope you won't mind it,
but it's about the next to closing number.
You've got to take it easy, let the audience come to you.
Would you let me show you what I mean?
- I would appreciate it very much, Dorothy.
♪ Life begins ♪
♪ When somebody's eyes ♪
♪ Look into your own ♪
♪ Life begins ♪
♪ When you get your guy all alone ♪
♪ From morning until twilight ♪
♪ I don't know I'm alive ♪
♪ But I know ♪
♪ Love begins at 8:45 ♪
♪ The stars are gonna twinkle and shine ♪
♪ This evening ♪
♪ About a quarter to nine ♪
♪ His loving arms ♪
♪ Are gonna tenderly twine ♪
♪ Around me about a quarter to nine ♪
♪ I know I won't be late ♪
♪ 'Cause at half past eight ♪
♪ I'm gonna hurry there ♪
♪ I'll be waiting where the lane begins ♪
♪ Waiting for him on needles and pins ♪
♪ And then the world is gonna be mine ♪
♪ This evening, about a quarter to nine ♪
♪ I know I won't be late ♪
♪ 'Cause at half past eight ♪
♪ I'm gonna hurry there ♪
♪ I'll be waiting where the lane begins ♪
♪ Waiting for him on needles and pins ♪
♪ And then ♪
♪ The world is gonna be mine ♪
♪ This evening ♪
♪ About a quarter to nine ♪
(audience clapping)
- Now, Pat, get me the hell out of here!
- Thank you!
- [Dorothy] You can do it darling.
- Oh, Peggy!
- Are you nervous, Hon?
- That's a pretty dumb question, of course she's nervous!
- But she'll come through, won't you, kid?
- I'll try.
- She's gotta come through.
Not for Jones or Barry or any of those
stuffed-shirts out there, but for us, the kids in the line.
Oh you're not just Peggy Sawyer tonight,
you're every girl who ever kicked up a heel in the chorus.
Get out there in front, kid, and show 'em what we can do!
- Oh, Annie, Gladys, Lolly, Phyl,
I'll do my best, I promise.
- Best, that's not good enough!
I want better than your best,
I want sheer unadulterated brilliance.
Now what are you girls hanging around for?
Get into your places for the opening.
Scram!
(audience laughing)
Peggy, I want to talk to you.
- Julian, it's 8:40, we've got to call places.
- They've waited this long, they can wait another minute.
- Oh.
- Now listen and listen hard.
100 people, 100 jobs, $100,000,
Five weeks of grind and blood and sweat.
And it all depends on what you do out there tonight.
(Peggy gasping)
(audience laughing)
Oh, I know what you're thinking.
Here comes Marsh with another one of his pep talks.
Well, this is the last of them, Sawyer,
and it comes straight from the heart.
Our hopes, our futures, our lives are in your hands.
Go out there and make them shine with your golden talent.
This afternoon, it was acting.
This one I mean.
- Julian, we have got to begin!
- All right, tell them to take the house to half.
Sawyer, you're going out there a youngster,
but you've got to come back a star!
(upbeat orchestral music)
(shoes tapping)
♪ Oh baby what I couldn't do ♪
♪ With plenty of money and you ♪
♪ In spite of the worry that money brings ♪
♪ Just a little filthy lucre ♪
♪ Buys a lot of things ♪
♪ And I could take you to places ♪
♪ You'd like to go ♪
♪ But outside of that ♪
♪ I've no use for dough ♪
♪ It's the root of all evil ♪
♪ Of strife and upheaval ♪
♪ But I'm certain honey ♪
♪ That life could be sunny ♪
♪ With plenty of money and you ♪
♪ Baby what I couldn't do ♪
♪ With plenty of money and you ♪
♪ In spite of the worry that money brings ♪
♪ Just a little filthy lucre ♪
♪ Buys a lot of things ♪
♪ And I could take you to places ♪
♪ You'd like to go ♪
♪ But outside of that ♪
♪ I've no use for dough ♪
♪ It's the root of all evil ♪
♪ Of strife and upheaval ♪
♪ But I'm certain honey ♪
♪ That life could be sunny ♪
♪ With plenty of money and ♪
♪ You, you, you, you, you ♪
♪ Oh baby, what I couldn't do ♪
♪ With plenty of money and you ♪
♪ In spite of the worry ♪
♪ That money brings ♪
♪ Just a little filthy lucre ♪
♪ Buys a lot of things ♪
♪ And I could take you to places ♪
♪ You'd like to go ♪
♪ But outside of that ♪
♪ I've no use for dough ♪
♪ It's the root of all evil ♪
♪ Of strife and upheaval ♪
♪ But I'm certain honey ♪
♪ That life could be sunny ♪
♪ With plenty of money and ♪
♪ I'm certain honey ♪
♪ That life could be sunny ♪ (audience clapping)
♪ With plenty of money and you ♪
(audience cheering)
(cast chattering)
- Good, you got by, they like you.
But you're not finished yet, the toughest part is coming.
You've got to give more in the Finale.
So dig down there and pull it out, Sawyer,
you're going to need it!
Now get changed!
- Okay.
- [Mac] Ready with the wedding scene, Mr. Marsh!
- Well, what are you waiting for?
- Cue 23, go.
(ladies giggling)
♪ Now that we have had the rice and flowers ♪
♪ The knot is tied ♪
♪ I can visualize such happy hours ♪
♪ Close by your side ♪
♪ The honeymoon in store ♪
♪ Is one that you'll adore ♪
(both laughing)
(audience laughing)
♪ I'm gonna take you for a ride ♪
♪ You'll go home and get your panties ♪
♪ I'll go home and get my scanties ♪
♪ And away we'll go ooh ♪
♪ Off we're gonna shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ To Niagara in a sleeper ♪
♪ There's no honeymoon that's cheaper ♪
♪ And the train goes slow ooh ♪
♪ Off we're gonna shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ Some day the stork may pay a visit ♪
♪ And leave a little souvenir ♪
♪ Just a little cute what is it ♪
♪ But we'll discuss that later dear ♪
♪ For a little silver quarter ♪
♪ We can have the Pullman porter ♪
♪ Turn the lights down low ooh ♪
♪ Off we're gonna shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ You go home and get your clothies ♪
♪ I'll go get my these and thosies ♪
♪ And away we'll go ooh ♪
♪ Off we're gonna shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ To Niagara in a sleeper ♪
♪ There's no honeymoon that's cheaper ♪
♪ And the train goes slow ooh ♪
♪ Off we're gonna shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ Some day the stork may pay a visit ♪
♪ And leave a little souvenir ♪
♪ Just a little cute what is it ♪
♪ But we'll discuss that later dear ♪
♪ For a little silver quarter ♪
♪ We can have the Pullman porter ♪
♪ Turn the lights down low ooh ♪
♪ Off we're gonna shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ Matrimony is baloney ♪
♪ She'll be wanting alimony ♪
♪ In a year or so ♪
♪ Ooh ♪
♪ Still they go and shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ When she knows as much as we know ♪
♪ She'll be on her way to Reno ♪
♪ While he still has dough ♪
♪ Ooh ♪
♪ She'll give him the shuffle ♪
♪ When they're back from Buffalo ♪
♪ So if you're wise ♪ ♪ Ooh ♪
♪ You'll sew two trousseaus ♪ ♪ Ooh ♪
♪ One for getting wed of course ♪
♪ And the second trousseau you sew ♪
♪ You can wear for your divorce ♪
♪ Ooh ♪
♪ First you serve them with subpoenas ♪
♪ Then you take them to the cleaners ♪
♪ Then it's so long Joe ♪
♪ Ooh ♪
♪ Give the bum the shuffle ♪
♪ When you're back from Buffalo ♪
♪ Ooh ♪
- Hmm.
(girls screaming)
- [Girls] Ooh yeah.
♪ Ooh ♪
♪ Where'd he go to shuffle ♪
♪ Shuffle off to Buffalo ♪
♪ For a little silver quarter ♪
♪ We can have the Pullman porter ♪
♪ Turn the lights down low ooh ♪
♪ Off we're gonna shuffle ♪
♪ Come along and shuffle ♪
♪ Shuffle, shuffle ♪
♪ Shuffle, shuffle, shuffle, shuffle ♪
♪ Shuffle off ♪
♪ To Buffalo ♪
(audience clapping)
(dramatic music)
- [Julian] What is it?
What the hell's wrong?
- I don't think I can do the rest of the show,
I can't remember a single lyric.
- You will do the rest of the show!
And without any mistakes, and without that thing either!
I'm Julian Marsh, dammit, and I say you will!
(dramatic orchestral music)
♪ In the heart of little old New York ♪
♪ You'll find a thoroughfare ♪
♪ It's the part of little old New York ♪
♪ That runs into Times Square ♪
♪ A crazy quilt that Wall Street Jack built ♪
♪ If you've got a little time to spare ♪
♪ I want to take you there ♪
♪ Come and meet ♪
♪ Those dancing feet ♪
♪ On the avenue I'm taking you to ♪
♪ Come and meet ♪
♪ Those dancing feet ♪
♪ On the avenue I'm taking you to ♪
♪ 42nd Street ♪
♪ Hear the beat ♪
♪ Of dancing feet ♪
♪ It's the song I love the melody of ♪
♪ 42nd Street ♪
♪ Little nifties from the 50s ♪
♪ Innocent and sweet ♪
♪ Sexy ladies from the 80s ♪
♪ Who are indiscreet ♪
♪ They're side by side ♪
♪ They're glorified ♪
♪ Where the underworld can meet the elite ♪
♪ 42nd Street ♪
(shoes tapping)
- [Lady] My purse, he stole my purse!
(gun firing)
(everyone screaming)
(whistle blowing)
- [Officer] Wait, wait.
(Peggy breathing heavily)
(solemn music)
♪ The big parade ♪
♪ Goes on for years ♪
♪ It's the rhapsody of laughter and tears ♪
♪ Naughty ♪
♪ Bawdy ♪
♪ Gaudy ♪
♪ Sporty ♪
♪ 42nd ♪
(audience cheering)
♪ Little nifties from the 50s ♪
♪ Innocent and sweet ♪
♪ Sexy ladies from the 80s ♪
♪ Who are indiscreet ♪
♪ The big parade goes on for years ♪
♪ It's a rhapsody of laughter and years ♪
♪ 42nd Street ♪
♪ Come and meet ♪
♪ Those dancing feet ♪
♪ On the avenue I'm taking you to ♪
♪ Hear the beat of dancing feet ♪
♪ Little nifties from the 50s ♪
♪ Innocent and sweet ♪
♪ Sexy ladies from the 80s ♪
(shoes tapping)
(audience cheering)
♪ Naughty ♪
♪ Bawdy ♪
♪ Gaudy ♪
♪ Sporty ♪
♪ 42nd street ♪
(audience cheering)
(cast chattering)
- Annie, Peggy, Billy, kids, you've all got jobs!
- For the next two years!
- Wasn't she terrific?
- Aw, turn off the water works, would you?
We've got a party to go to.
- My place, the booze is on me
and everybody kicks in two bits for the eats!
- You're gonna be there, aren't you Peggy?
The whole shindig's in your honor!
- Of course she is!
Escorted by Mr. Billy Lawlor himself.
- [Maggie] Now come along, we're giving a little party
at the Ritz in your honor.
- For me?
I'll be there in a minute, Miss Jones.
- Girlie, you were just swell!
Now anytime you want a Kiddie Kar, you just say the word!
- Abner!
- Yes, dear?
- Come on.
- [Bert] See you at the Ritz!
- Billy, it's so exiting!
They all love the show!
- They all loved you, and that goes double for me.
Now come on, we got a party to go to!
- Gee, Billy, I'm not sure I can.
What about the party at the Ritz?
Billy, am I really a star?
- From now on and forever!
- And can stars do anything they want?
- Anything.
- Then I want to go to the kids' party.
- Ha Peggy!
- Billy, wait a minute.
- Well, you haven't changed your mind?
- Of course not, I'll be along in a minute.
Wait for me at the stage door.
- Okay, but just one minute.
You know how temperamental tenors are.
(Billy sizzling)
Ah.
(audience laughing)
(audience clapping)
- Mr. Marsh?
- Peggy, say, what is the matter with me?
In all the excitement, I forgot to congratulate you.
Congratulations, kid.
- Thank you, Mr. Marsh.
But you and I both know
who was really out there on that stage tonight.
Oh, I said the lines and sang the songs and did the steps.
But you were inside me pulling the strings.
So I congratulate you.
(audience laughing)
- You're quite a girl, Miss Peggy Sawyer.
Quite a girl.
And you're on your way to becoming quite a star.
You've broken through, Peggy.
You're the million to one shot that comes home a winner.
For years to come, thousands of little chorus girls
will go to auditions and say to themselves,
"Who knows, I might come out of this another Peggy Sawyer!"
I ask you only to be the sort of star
those little girls would want you to be.
Shine your light over this glorious gulch
they call 42nd Street.
Give it your talent, your strength, your youth.
But try, if you can, not to give it all your heart.
Because it's a very loving heart,
and I would never want to see it broken.
(audience laughing)
Now go along to the Ritz and enjoy yourself.
- I'm going to the kids' party.
- I was right, quite a girl.
- Goodnight. Mr. Marsh.
- [Julian] Goodnight, Allentown.
(Peggy giggles)
- Uh, where is the kids' party?
- At Lorraine's!
The address is on the callboard.
(audience laughing)
And Mr. Marsh,
it would be grand, grand,
grand if you would come!
(audience clapping)
- Goodnight, Mr. Marsh.
- [Julian] Goodnight Andy, Mac.
- Goodnight, Boss.
(Julian breathing heavily)
♪ Come and meet ♪
♪ Those dancing feet ♪
♪ On the avenue I'm taking you to ♪
♪ 42nd Street ♪
♪ Hear the beat ♪
♪ Of dancing feet ♪
♪ It's the song I love the melody of ♪
♪ 42nd Street ♪
♪ Little nifties from the 50s ♪
♪ Innocent and sweet ♪
♪ Sexy ladies from the 80s ♪
♪ Who are indiscreet ♪
♪ They're side by side ♪
♪ They're glorified ♪
♪ Where the underworld ♪
♪ Can meet the elite ♪
♪ Naughty ♪
♪ Bawdy ♪
♪ Gaudy ♪
♪ Sporty ♪
♪ 42nd ♪
♪ Street ♪
(audience clapping)
♪ Dames ♪
♪ Are temporary flames ♪
♪ To you ♪
♪ Dames ♪
♪ You don't recall their names ♪
♪ Do you ♪
♪ Slim, trim, or curvy ♪
♪ Sweet, shy, or nervy ♪
♪ There is nothing as divine as beautiful ♪
♪ No sun can shine like beautiful ♪
♪ Bring on that line of beautiful ♪
♪ Dames, dames, dames, dames ♪
♪ Come on along and listen to ♪
♪ The lullaby of Broadway ♪
♪ The hi-dee-hi and whoop-de-doo ♪
♪ The lullaby of Broadway ♪
♪ The band begins to go to town ♪
♪ And everyone goes crazy ♪
♪ You rock-a-bye your baby round ♪
♪ And sleep all day ♪
♪ Goodnight, baby ♪
♪ Sleep tight ♪
♪ Let's call it a day ♪
♪ Listen to the lullaby ♪
♪ Of old Broadway ♪
(audience cheering)
(upbeat music) (shoes tapping)
(audience cheering)
(upbeat orchestral music)