42nd Street: The Musical (2019) - full transcript

Peggy Sawyer, a talented young performer with stars in her eyes gets her big break on Broadway.

It's the song I love
the melody of

Next on
"Great Performances"...

42nd Street

The Tony Awardwinning

allsinging, alldancing
dream fable of Broadway.

With Clare Halse
as the ingenue Peggy Sawyer,

Tom Lister as the demanding
director Julian Marsh,

and Bonnie Langford
as Broadway diva Dorothy Brock.

We're in the money

With a cast of nearly 60,

this is a tapdance
musical extravaganza



like no other.

We've got a show to do.

Forty

Next.

Second Street

Hey. Did ya see this?

Julian Marsh is doing a show.

It's a variety.

Julian Marsh is doing a show!

Jobs!
Jobs!

We're gonna work again!

Get out your tap shoes,
Frances.

Julian Marsh is doing a show!
Julian Marsh is doing a show!

First audition
10:00 a.m. tomorrow!



Right arm over!

Left arm!

Good!

Change lines!

I'll get you back you wait!

Going right!

Pick this up!

Go!

Go!

Go!

One, two, three, four,
five, six, seven, eight

One, two, three, four, five,
six, seven, eight, break

Yeah!

Okay, kids.
Hold it down.

Quiet!

All of ya!

Here come the writers.

Well, Miss Jones,
what do you 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 $4.40 a seat
out there.

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.

Oh, we got the whole weekend.

Bert!
Alright.

Let's have those names
and addresses.

Phyllis Dale,
156 West 47th Street.

Lorraine Flemming,
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 Ann 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.

Quiet, all of ya!

This is still an audition,
damn it!

Anyone who doesn't
want this job,

the nearest breadline
is around the corner!

Alright, Mac,
get those names and addresses.

Alright, let's have 'em.

Looking for somebody?
The Dance Director.

I'm here to get into the show.
Well, you're a little late.

They've already
picked the course.

You should have been here
at 10:00.

Oh, I was,

but it took me an hour
to get up enough courage

to go through the stage door.

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 'em.
Such as...?

This would have been my first,
if they'd taken me.

I'd take you any day.
How about lunch?

Oh, no. I've
got to see the Dance Director.

Okay, then, dinner.
Or 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 no choice.

Come with me!

Watch out, honey.

He's a tenor,
but he's got "base" ideas.

Er, 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!

Er, what are you looking for?
My goodluck 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'm 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

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.

Andy!

Andy, Mr. Marsh is here.

I got no time for breaks.
Mr. Marsh is here.

Amscray, toots.
Alright. I'm going.

At least give me your name.

Mr. Marsh!
Excuse me. I'm sorry.

I didn't see you.

I don't know what
I was thinking.

What the hell was that?

She wanted to get
into the line, boss.

What as a quarterback?

Alright, everybody gather 'round
and listen to me.

This is April 2nd, 1933,

and today,
we start work on a new show.

You're gonna rehearse four weeks
then try out in Atlantic City.

You're gonna work 12 hours
a day, 7 days a week.

You're gonna dance
till your feet fall off,

and you 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.

So, anybody who doesn't

think he can take it
better quit right now.

Nobody? Good.

Take a halfhour, get measured
for wigs and costumes,

and let's get to work!

Come on, get a move on!

Hey! Someone left a purse
on the piano.

It must hers,
the kid Andy threw out.

Is there anything in it?
Er, yeah.

40 cents and a card

"Peggy Sawyer, 125 Elm Street,

Allentown, Pennsylvania."

Look, you go to your fitting,
and I'll see 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, we...

Never mind the soft soap,
Maggie.

I need this 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.

I'm still Julian Marsh, damn it,

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 roles.

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 Kar,
Kiddie Kar

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 $100,000

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.

I don't know, Maggie.
I think we need to

Easy, Marsh. Here she comes.
Dorothy, may I

Don't say a word!
I wanna 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.

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 her 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

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 lowdown dive.

The piano pounds out
a hot jazz beat

as you enter and sing!

Shadows on the wall

I can 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 want to sing
Stop her.

Thank you, Maggie.

Let me dream a dream
that I can bring to you

Here comes a big, fat dream,
pow!

Maggie!
Take me in your arms

And let me cling
Maggie!

What?!

That was fine.

Oscar, try it threequarter time
for Miss Brock.

Julian, we wrote that number
as a jazz

And down a tone.

From the top, Miss Brock?
I have no intention

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?
That's fine.

Andy, Mac!
Yeah, boss?

I want two shinbusters
one right, one left.

Miss Brock, right here,
if you please.

Willard!
Yeah?

You got a drop on line 28,
bring it in.

Coming in, Mr. Marsh.

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

Ow!
That's alright.

Look straight front.

To you

Let me dream a song
that I can bring

Got ya!

I've got you.

Look behind ya.

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
when I come and sing

In the shadows,
in the shadows

In the shadows

Oof.

Oop.

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

Love's old song will be new

In the shadows
when I come and sing

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

Not bad, Miss Brock.

Not bad.

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?

Had to see some booking agents
in the neighborhood

and thought I'd drop by
to see my best girl.

But, Pat, what if Mr. Dillon
had been here?

I don't care about
Abner Dillon.

No, no!

It's too dangerous!

Now Now, be a dear.

Take in a picture or something

and meet me in my dressing room
at 5:00.

Dorothy...

I can't take your money.

It was alright 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 isn't it better
than 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 5:00.

Dorothy, I can't
Till 5:00, my darling.

Come on, girls, get a move on.

We only have an hour for lunch.
An hour?

Hey, kid!
I've been looking for you.

You left this on the piano.
Oh.

And don't worry
the bankroll is intact.

Thank you, Miss...
Jones. Maggie Jones.

Say, you look like
you could use some grub.

How about putting on the feedbag
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 about 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?
Er, no thanks.

I'm looking for a mouthful,
not an earful,

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 them tenors.

Come on, girls.

I'm taking you to that
lovely place with the windows.

The Astor Roof?
The Astor Roof?

The Automat!

Oh.
Oh.

Alright.
The Gypsy Tea Kettle,

but you're gonna
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.

Okay.

Now with the pullback.

Hey, kid, you're good!
I know!

Well, come on.

Let's put it all together.

Five, six, seven, eight.

What'll ya have?

Five cups of boiling water

and one teabag.

Any gravy?
No thanks.

There was enough
on the tablecloth.

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.

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 sent $100 home
to her mother.

Let's face it.

The only thing she has
over anyone at this table

is Abner Dillon.
Who's he?

Her sugar daddy.
Her father?

You can't be just 21.

A girl can't get that dumb
in only 21 years.

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 a good reason.

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 businesses.

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 a while

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

Dance, girls, dance!

If it's a twostep,
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

Come on, girls.

Hey, Andy!

Not now, girls, I'm busy.

Too busy to dance?

Ha!

Haha!

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

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's wrong.

Boss, you told me
to pick two dozen.

Plus one for good measure.

I always pick one
for good measure.

You never pick one
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 can 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?

Ooh.

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.

Cramp rolls.

Buffaloes.

Shuffles!

Hey. Hey. Hey!

Allentown, take it easy.

You've got the job.

Thank you!
Andy, take her in there

and get her ready to rehearse
at 2:00 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.
Alright.

On my mother and father.
Alright.

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!

Mac, have you got
the kids in costume?

Yes, sir.
Good.

Now, get me Brock and Billy.

I wanna rehearse
the "Boardwalk" number

with the dialogue.

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 me 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.

No, no, no.

It is a summer afternoon
in Atlantic City.

The sun sparkles brightly on
a section of the Boardwalk

as we discover Rodney...

and Madeleine.

Oh.

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!

Now Rodney declares his love,

and they kiss.

Hold on a minute!

What's that fella doing
to Dorothy?!

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 loooove
kissed by no actor.

Alright, cut the kiss.
What?

Just say the speech...

and improvise something.

Oh, my darling, I love you!

I worship you!

I adore you!

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

Peggy?!

Stay with Hank!

Move it!
Sorry.

Watch it!

Sorry.

Who are you?

Julian!

Julian!
Peggy!

This is not what we rehearsed!

Wait there.

Miss Brock!
Miss Brock, don't...

Get over here!

He's over here.

He's the only one dancing round
on his own.

So sorry!
What are you waiting for?

Yes, sir!

Whoa!

Hold it! Hold it!

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.

Alright, Billy, Mac, put her
in Brock's dressing room.

The rest of you,

this is still a rehearsal!

Andy, come on.

I want to clean up that
last section before the pivot,

and this time...

do it like you mean it.

Hit it!

Five, six, seven, eight.

Easy, Mac.
Okay, set her down.

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.
Er, when she comes to,

tell her I'll be back
as soon as I get a break.

Er, the name's Lawlor
Billy Lawlor!

Yeah, yeah.
Come on, Billy.

Are you alright?

I guess I fainted.
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 is 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'll bet I know what
your third prescription is.

Dorothy, I didn't expect you

It's quite obvious
you didn't expect me, Doctor.

But, darling, she fainted,

and they brought her in here
till she came to!

And since when
is my dressing room

an emergency ward
for every webfooted 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
You, shut up!

And if my prescription
upsets you, Doctor,

you can 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
gentleman friend

happens to be in the house,

and I don't want him
to get any funny ideas.

Dorothy!

It's Abner!
Pat, quick, behind the shades!

You stay right where you are.

Come right in, Mr. Dillon.

We were just having
a little script conference.

Hm.
Hello, Sugarplum.

I just brought
these posies for ya.

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 want

to 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 wanna
be alone with you?

Just look at yourself!

Come on!

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 kid's 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.

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.

What?!
But everything's alright.

We picked up a week
at the Arch Street Theatre

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 coat

I'm leaving the cat a note

Quick, call me a ferryboat

Gettin' out of town

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?

Oh, 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?
Alright. I'll tell him.

Yeah?
This is so's you don't forget.

Pat!

Who were 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.

Will be gone
at least six months.

With no forwarding address!

I'm shining
my traveling shoes

Big scoop in
Th

e Daily News

Who's saying
his toodleoos?

Gettin' out of town!

I'm sorry, but I don't want
to 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 byebye

And we're shoutin',
"Hoorah!"

Wings spreadin'

'Cause we're headin'
for hot cha

Hot cha cha cha!

Alright, you got everything

hats, coats, trunks,
dogs, cats, canaries?

So let's get 'em aboard.

The dress rehearsal
in Philadelphia

starts at 8:00 sharp,
so get moving.

Say goodbye to
little old New York.

My neighbors are awful nice

They've promised
to feed the mice

Hey, Iceman,
don't need your ice

Gettin' out of town

Cares fly by

They're going byebye

And we're shouting,
"Hoorah!"

Wings spreading

'Cause we're heading
for hot cha

Hot cha cha cha

Hot cha cha cha

A new kind of company

Is just magnetizing me

I'm footloose and fancyfree

Getting

Getting out

Getting out of town!

Alright, 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.

One more thing.

Not all 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!

I can't hear my first note.

What is it?
No, no, no.

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 addresses

Linger in your mem'ry
of those beautiful

In your mem'ry,
see those beautiful

In your mem'ry,
all those beautiful dames

What's cute about
a little cutie?

It's her beauty, not brains

Oh, 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
Keep young and beautiful

Oh, yes

It's your duty
to be beautiful

Oh, yes

Keep young and beautiful
Keep young and beautiful

If you want to be loved
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
Keep young and beautiful

If you want to be loved
If you want to be loved

If you're wise,
exercise all the fat off

Take it off, offa here,
offa 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 villain 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?

Keep young and beautiful
Doodoowah

It's your duty

To be beautiful
Doowah

Keep young and beautiful
Doodoowah

If you want to be loved
Doowah, doowah, dames!

Don't fail to do your stuff
Doodoowah

With a little powder
and a puff

Doowah

Keep young and beautiful
Doodoowah

If you want to be loved
All those lovely dames

Those gorgeous dames

Are temporary flames to you

Are temporary playthings
to you

Dames
Yet, all the same

You don't recall
their names

You melt when
they cling to you

Slim, trim, or curvy

Sweet, shy, or nervy

There is nothing
as divine, as beautiful

No sun can shine
like beautiful

Bring on a line of beautiful

Dames, dames, dames, dames

Dames, dames, dames, dames

Dames!

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.

Are you suggesting I bring you
on after the blackout?

I'm 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.

Get out of my way!

Alright, 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.
Company dismissed!

Company dismissed!
Halfhour call, 8:00!

8:00 sharp!
Girls! That means you.

We heard ya!
We heard ya!

Willard!
I wanna check those spot cues.

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.

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 40 other specks of dust
I put there.

I know that, Mr. Marsh,

but but all those
specks together,

you have something
alive and beautiful

that can reach out
to thousands of people

we've never seen before.

Broadway dreams, Sawyer.
We've all had them.

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 ya?!

Right here, boss!
Comin'.

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.

Mr. Barry, d'you think
I'll ever be a star?

If you can make those sing,
you will be.

Aah! Mr. Barry, stop!

Let's dance.

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.

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,

they'll build a monument
over you.

Kitten, I turned around,
and you 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 ya.

Hey, wait a minute!

I got $100,000 in this show,

so you better not
give me the air!

So I better not give you
the air, huh?

Uh.

Well, how about
just a few bubbles?

Aah!
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,
with the opening tomorrow.

There ain't gonna
be no opening tomorrow,

not with Dorothy Brock.

She's out of the show!
Wrong!

Brock opens tomorrow night,
as scheduled.

Don't be a fool, Dillon.

You wanna 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.

You wanna 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.
Oh!

And a cobra!
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 our 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!

It's all set.

Two of the boys'll be over
in 10 minutes,

and they 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
I get it.

Good night, Peggy.
Billy, I...

Something the matter, Billy?

Not anymore.
Come on!

Let's have some fun!
Ooh!

Keep young and beautiful

It's your duty
to be beautiful

Keep young and beautiful

If you want to be loved

Who is it?

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 alright, Peggy.

Now, Dorothy
I said, "Both of you"!

Alright, 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

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 disappear
from view

'Cause I

Only have eyes

For

You

Garden drop, out!

Come on, ladies. Come on.
Step lively.

Keep moving. Keep going.
Quick, quick!

Is the chorus ready?
Yes, sir.

Is Brock ready yet?
Not yet.

That broad is starting
to work my last nerve.

Is she ready now?
Yes, sir.

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

Boss! Boss, we are in.

This is the best outoftown
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 in their place,
Mr. Marsh.

Alright.
Here they are.

Cue 64.

Go!

You got it.
Now pull it up.

I gotta wait
for the gum to stick.

It's stuck.
Now pull it up.

Watch out for
the subway grating!

I got it.
Well, what is it?!

A penny?

A nickel?
A nickel?

Would ya hold your horses

and let me get the dirt off?

A dime.

We're in the money

We're in the money

We 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've 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

We're in the money

We're in the money

We 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've 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

Look that guy
right in the eye

We're in the money

Come on, my honey

Let's spend it,
lend it, send it

Let's spend it,
lend it, send it

Roll, roll, roll, roll

Rolling along

Sunbursts! Come on!
What are you waiting for, roses?

Get out of here.
Hey, Roxy! Move it.

Places. Places!
Act one, finale.

Places!

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've 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 ya?!

There's no need to
shout, Julian.

I can hear you.
Right.

You're on in about 10 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

I don't want an explanation
from you.

But, Miss
Get away from me!

The farther the better.
Quiet.

Quiet.

You're on.
Alright, everybody.

Cue 68.

Go!

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

Curtain! Curtain! Bring it in.
What happened?

What the hell happened?

She pushed me!

Sawyer!
Damn it, 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 outta here.

No one steps out of line
in a Marsh show!

You're fired!

Oh!

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!

Any word?

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 trooper.
Put a bandage on it.

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.

Quiet. Quiet, all of ya!

We have no star.

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.

Boss, you can't be serious!

The show is closing!
The show is closing!

The show is closing?!
I'm out of a job!

I can't pay my rent!
I'm broke!

The show is closing!
The show is closing!

Sing
tra la la la la la la la

The sun may never ever shine

That's
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

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 your car is out of gas

Then no red lights
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?

Someone to replace Brock!
Yeah.

What about Marilyn Eaton?

She's in London.

Mary McKay?
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.

Who?
Who?

Peggy Sawyer.

That kid?
Yes, Peggy.

She's got a voice
that'll panic 'em,

and she can dance rings
around Brock.

She has got something.
She sure is pretty.

It might be worth a try!

We'd have to get to Mr. Marsh
before he leaves the theater.

Well, what are we waiting for?
Come on, let's go!

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?

Yeah!
Yeah!

Who is she?
Peggy Sawyer.

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.

D'you know how many pages
she'd have to learn,

not to mention
the songs and routines?

She's young.

Kids can do anything.

You could put the dancing
back in the show, boss.

Julian...

it's worth a try, isn't it?

Alright. Send her in.

There's only one hitch.
You just fired her.

But it may not be too late
to get her back.

She's taking the 11:10
to Allentown.

That gives you 20 minutes

to get down to
Broad Street Station.

What do we do, boss?
Get her off that train.

I want Sawyer in New York,

ready to work at 8:00
tomorrow morning.

Ain't we gonna stay here
in Philadelphia?

Not even a dog would come
to a tryout without a star.

Our only chance is to
ship the show to New York,

beat the part
into her in 36 hours,

and open cold on Thursday.

Now get going!

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.

I said I'll go.

Thank you, Annie.

You may have done me
quite a favor.

Anytime, Mr. Marsh.

Anytime.

Alright! We'll give him
15 minutes to convince her.

Then we bring in the big guns.

Sawyer!

I know you're angry with me,
and I can't blame ya.

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.

Think of the scenery
that'll 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, damn it!

Come on along and 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
good night

It's early in the mornin'

Manhattan babies
don't sleep tight

Until the dawn

Good night, baby

Good night

Milkman's on his way

Sleep tight, baby

Sleep tight

Let's call it a day

Listen to the lullaby

Of old Broadway

You gotta be kidding me.

Come on along and listen to

The lullaby of Broadway

The hidehi
and whoopdido

The lullaby of Broadway

Get yourself down here.
I need your help.

The band begins
to go to town

And everyone goes crazy

You rockabye
your baby 'round

Till everything gets hazy

"Hushabye,
I'll buy you this and that"

You hear a daddy saying

And baby goes home
to her flat

To sleep all day

Good night, baby

Good night

Milkman's on his way

Sleep tight, baby

Sleep tight

Let's call it a

Day

Oop!

Listen to the lullaby

Of old Broadway

Where you going?

Come on along and listen to

The lullaby of Broadway

That hip 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

Hey, guys. Come on.
Help us out.

I'll do it!

Come

Along

Come on along and listen to

The lullaby of Broadway

The hidehi and whoopdido

The lullaby of Broadway

The band begins
to go to town

And everyone goes crazy

You rockabye
your baby 'round

And sleep all day

Listen to

The lullaby of

Old

Broadway

Alright.

Schmidt and Kirk,
pack up those sets and costumes

and get 'em back to New York.

Cares fly by,
we're going byebye

And we're shouting,
"Hoorah!"

Wings spreading

'Cause we're heading
for hot cha

Hot cha cha cha

Hot cha cha cha

A new kind of company

Is just magnetizing me

I'm footloose and fancyfree

Heading

Heading back

Back to old Broadway

Sawyer!

You're two minutes late.
Sorry, Mr. Marsh.

I was looking for
my goodluck scarf.

Sawyer, "Pretty Lady"
opens on this stage

in exactly 36 hours.

You've got 25 pages, 6 songs,
and 10 dance routines to learn

by 8:30 tomorrow night.

You think you can do it?
Well, I...

Do you think you can
do it, Sawyer?

Yes, Mr. Marsh. I can.

Then we begin. Oscar...

Mac, where the hell
is the piano?

Coming in, Mr. Marsh.

Andy, let's go.

Alright.

I wanna start
with the opening number,

then work through
all the songs and dances,

then go back and do the scenes.

There'll be a fiveminute 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 it.

Alright! Clear the stage.
Clear the stage!

By tomorrow night,

I'll either have
a live leading lady...

or a dead chorus girl.

Alright.

What are we waiting for?
Let's go!

Alright, Peg.
Flaps on the right.

And...
One, two, three, four,

five, six, flapballchange.
Come on. Sharp, sharp!

One, two, three, four, five.
Andy, show her how.

One, two, three, four, five,
turn!

One, two, three, four, five...
Come on. Smile, Allentown.

You're not in the back row now.
...six, seven, eight.

Aone, two, three, four,
five, six, seven, eight.

A one, two, three...
Come on. Come on.

...five, six, seven, eight.
Show moxie.

Alright, Peg. Down the back.

Okay. Ballet combination.

One, two, three,
four, five, move.

Lyrical!
Four, five, six, two...

Elegant!
...two, three, four.

Make every man fall in love.
Three, two, three, four!

Hold it! Hold it!
She went too wide, Andy.

She's late.
Sorry, Mr. Marsh.

Alright, boss.
I'll fix it.

I'm sorry.
Fix it now.

Girls, girls, come on.
From the balancé.

Aone, two, three,
four, five, move.

Two, three, four, five, six.
Two, two, three, four.

That's very pretty.
Now stay tight.

Three, two, three, four.
Stay tight. Come on.

Four, two, three, four.

Five, two, three, four, five,
six, six, two, three, four.

Very nice, Billy.
Seven, two, three, four.

Beautiful.
Very nice, girls.

An Andy!
Where the hell is she?

She's right here, boss.
Hold your horses.

Which way do I turn?
Turn left.

Six, seven, eight.
Aone, two, three, four.

Turn right.
Five, six, seven, eight.

Do it like you mean it.
Aone, two, three, four,

five, six, seven, turn.

Two, three, four.
Single step, going back.

Five, six, seven, eight.
Aone, two, three, four...

And double it!
...five, six, seven, eight.

Aone, two, three.
Oh.

I can't do this.

I can't do this.
Crisscross.

And out.

Andy, give the rest
of them a break.

I wanna 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

Oh! No!
That is impossible.

You are greeting
the man you love.

Make it mean something.

Like this.

"Jim!

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?

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!

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!

Alright. That's it.

Now, places for the finale.

Places for the finale.
Finale, everyone!

Afive, six, seven, eight.

Come on!
Please, Mr. Marsh!

I can't. I can't. I can't!
Sawyer!

Now you've done it, Marsh.

You've 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 'em
down in the lounge,

and clean up those last 16 bars.

Alright.

Everybody down in the lounge.

Come on!
Get a move on!

They said I'd find you here.
Miss Brock!

Pat, could you leave us
alone for a moment?

But, Dorothy,
they just called a halfhour.

D'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 you.

Oh, one more thing, Sawyer.

I hope you won't mind it,

but it's about
the nexttoclosing number.

You've gotta 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 9:00

His loving arms
His loving arms

Are gonna tenderly twine
Are gonna tenderly twine

Around me about
a quarter to 9:00

I know I won't be late
'cause at half past 8:00

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 9:00

I know I won't be late

'Cause at half past 8:00
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
This evening

This evening
This evening

This evening

About a quarter to 9:00

Now, Pat,
get me the hell out of here.

Thank you!

You can do it, darling.

Oh, Peggy!
Are you nervous, hon?

Oh, well, that's
a pretty dumb question.

Of course she's nervous.

But she'll come through.

Won't ya, 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.

Now, 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!

Peggy, I wanna talk to you.

Julian, it's 8:40.
We've gotta call places.

They've waited this long.
They can wait another minute.

Ohh.

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.

I know what you're thinking.

"Here comes Marsh with another
one of his pep talks."

Well, it's 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.

Alright.

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!

Oh, oh, 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

Ahah

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

With plenty of money and you

Good.

You got by, they liked 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 gonna need it.

Now get changed.
Okay.

Ready with the wedding scene,
Mr. Marsh.

Well, what are you waiting for?

Cue 23, go!

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

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

Oohoohooh

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

Oohoohooh

Off we're gonna shuffle,
shuffle off to Buffalo

Someday,
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

Oohoohooh

Off we're gonna shuffle,
shuffle off to Buffalo

You'll go home
and get your clothies

I'll go get
my these and thosies

And away we'll go

Oohoohooh

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

Oohoohooh

Off we're gonna shuffle,
shuffle off to Buffalo

Someday,
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

Oohoohooh

Off we're gonna shuffle,
shuffle off to Buffalo

Matrimony is baloney

She'll be wanting alimony
in a year or so

Oohoohooh

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

Oohoohooh

She'll give him the shuffle

When they're back
from Buffalo

So if you're wise,
you'll sew two trousseaus

Oohoohooh

One for getting wed,
of course

And the second trousseau
you sew

You can wear
for your divorce

Oohooh

First you serve them
with subpoenas

Then you take them
to the cleaners

Then it's, "So long, Joel"

Oohoohooh

Give the bum the shuffle

When you're back
from Buffalo

Oohooh!

Oohoohooh

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

Yoohoo!
Oohoohooh

Off we're gonna shuffle,
come along and shuffle

Shuffle, shuffle

Shuffle, shuffle, shuffle,
shuffle, shuffle

To Buffalo

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, damn it,

and I say you will.

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

Where the underworld
can meet the elite

Forty

Second Street

My purse!

They stole my purse!

Hey, hey!

The big parade

Goes on for years

It's the rhapsody

Of laughter and tears

Naughty, bawdy

Gaudy, sporty

42nd

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 the rhapsody
of laughter and tears

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

Naughty, bawdy

Gaudy, sporty

42nd Street

Annie, Peggy, Billy, kids,

you've all got jobs!

For the next two years!

Wasn't she terrific?

Oh, turn off the waterworks,
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!

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, any time you want
a Kiddie Kar,

you just say the word.

Abner!
Yes, dear?

Come on.

See you at the Ritz.

Billy, it's so exciting!

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 wanna 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.

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.

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'd never
wanna see it broken.

Now, go along to The Ritz

and enjoy yourself.

I'm going to the kids' party.

I was right

quite a girl.

Good night, Mr. Marsh.

Good night...

Allentown.

Er...

Where is the kids' party?

At Lorraine's!

The address is on the callboard!

And, Mr. Marsh,

it would be grand,

grand, grand...

if you would come.

Good night, Mr. Marsh.

Night, Andy.

Mac.

Night, boss.

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

And glorified

Where the underworld
can meet the elite

Naughty

Bawdy

Gaudy

Sporty

Forty

Second

Street

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

Dames, dames, dames, dames

Come on along and listen to

The lullaby of Broadway

The hidehi
and whoopdidoo

The lullaby of Broadway

The band begins
to go to town

And everyone goes crazy

You rockabye
your baby 'round

And sleep all day

Good night, baby

Sleep tight

Let's call it a day

Listen to the lullaby

Of old

Broadway!