All language subtitles for 42nd.Street.1933.1080p.BluRay.X264-AMIABLE

(HORNS HONKING)

Okay. Say, Jones and Barry
are doing a show.

That's great!
Jones and Barry are doing a show.

Jones and Barry are doing a show.

Jones and Barry are doing a show.

VOICES:
Jones and Barry are doing a show.

Jones and Barry are doing a show.

- Jones and Barry are doing a show.
- Testing, testing.

Jones and Barry are doing a show.

You're telling me?

MAN: Well, of course, I'm not a lawyer.

I'm in the Kiddie Kar business.

I don't know much about contracts...

but it looks good to me.

DOT:
It's the biggest contract I ever signed.

Thanks to you, Mr. Dillon.

Aw, you could have your choice
of a dozen shows.

A pretty girl like you.

Not with this depression.

If not for you and your Kiddie Kars...

Oh, now, Miss Brock...

Dorothy, I mean.

You don't mind
my calling you Dorothy, do you?

Why, of course not.

Well, Dorothy,
I'd like to do something for you.

You've done entirely
too much for me already...

and I just can't tell you
how much I appreciate it.

No, no. I mean...

I mean, I'd like
to do something for you...

if you'd do something for me.

Why, Mr. Dillon, of course
I'd be very glad to...

but what could I possibly do
for a big man like you?

Call me Abner.

When we got Dorothy Brock,
we got a great break.

Abner Dillon guarantees
to finance anything she does.

These days, stars like Dorothy Brock
are a dime a dozen.

That's what we got you for.

Julian Marsh, the greatest musical
comedy director in America today.

What do you mean, today?

All right, tomorrow too.

Say, with your reputation...

Did you ever try to cash
a reputation at a bank?

I'm in this for one reason only:

Money.

JONES: Money? You?

With all your hits,
you ought to be worth plenty.

I ought to be, but I'm not.

Did you ever hear of Wall Street?

Excuse me, Mr. Marsh, there's
a phone call for you. A Dr. Chadwick.

- I'll call him back.
- He says it's urgent.

About your examination.

Use our private phone, Julian.

What is it, doc?

You have?

Good Lord, you're not a machine!

That body of yours
will stand just so much.

There's no other way.

You're not just headed
for another nervous breakdown.

Any undue strain on your part
might easily prove fatal.

Sorry, doc, but I've got to risk it.

Anything wrong?

- You won't have another breakdown?
- The contract's signed.

- That doesn't matter.
- That's all right. It holds.

You'll get your Pretty Lady.

You haven't got anything
to worry about.

I'm not gonna let you down...

because I can't afford to.

I've given everything I've had
to that gulch down there.

It paid me, sure,
in money I couldn't hang on to...

fair-weather friends, women, headlines.

Why, even the cops and the newsboys
recognize me on sight.

"Marsh the Magnificent."
"Marsh the Slave Driver."

Actors tell you how Marsh
drove them, bullied them...

and tore it out of them.

A few would tell you
how Marsh made them.

They've all got something to show,
except Marsh.

Well, this is my last shot.

I'll make more actors, but this time
I'll sock my money away so hard...

they'll have to blast
to find enough to buy a newspaper.

That's why I'm going ahead
with Pretty Lady.

Pretty Lady has to be a hit.

It's my last show,
and it's got to be my best.

You're counting on me.
I'm counting on Pretty Lady...

because it's got to support me
for a long time.

- BARRY: Wait!
- Remember...

my contract makes me boss with
a capital B. What I say, goes.

Now, make the chorus call
for 10:00 tomorrow.

(DOOR CLOSES)

He'll drive us crazy
before we get this show on.

Yeah, but suppose that guy
should pass out on us?

New York will see
its first triple funeral.

Good morning.
Mr. Marsh will be here soon.

Quiet now. Quiet, please!

Quiet, everybody, quiet!
Hello, Jerry. How are you?

Hello, Andy.

It's too good to be true.
How's the turnout, Mac?

About 50-50. Half are dumb
and the other half are dumber.

WOMAN: Andy! Hello.

He's so busy.

- Lorraine has been hitting the bottle.
- The peroxide bottle.

You wanna get me canned?
You're set, you're in. Now scram.

Darling, you're just too sweet,
the way you keep spoiling me.

I beg your pardon.

It's okay. This is a two-way street.

I beg your pardon.
But are you, by any chance, the?

What is the word?

The stage manager?

Hey, Ann, come out from
under that accent. I see you.

Lolly!

Darling.

You remember Ann Lowell?

Not Anytime Annie?
Who could forget her?

She only said no once,
when she didn't hear the question.

LORRAINE: You been abroad?

Andy?

Where's Andy Lee?

Yes, Mr. Marsh. Coming right up.

- Good morning, Mr. Marsh.
- Good morning.

- Line them up.
- Yes, sir.

Okay, girls, line up. Come on.

Quiet, now. Quiet!

Come on, now. Quiet, girls.

I want all the dancers to line up
and double-lined out front.

Showgirls can double-line in back
of them and the boys in back of them.

Don't spread out!
Come on, girls, hurry up.

I really had a charming summer
in Deauville, dear.

Yes, but don't you find Sir George
impossible at times?

Get a load of "Minnie the Mountaineer."

It must have been tough on your
mother, not having any children.

That's telling them.

Oh, dear.

You looking for somebody,
or just shopping around?

Where will I find
the gentleman in charge?

First door to your left, dearie.

- I know, but...
- Shh.

- WOMAN 1: He's expecting you.
- WOMAN 2: But that's the...

(LAUGHING)

WOMAN 1: Our mistake. The other door.

- Oh.
- BILLY: Hey, wait a minute.

Hey, what's the idea?

Oh, uh... They said...

Weren't you expecting me?

Well, not exactly,
but I'm afraid you'll do.

Well, I don't understand.

I don't either.
What are you looking for?

Well, isn't this the...?

Wait till I get my clothes on.
I'll show you where it is.

It isn't an "it," it's a "he."

Maybe I'm wrong about the whole thing.
Let's start over again.

I'm Billy Lawler,
one of Broadway's better juveniles.

Oh. I thought you were important.

That's the way most people
feel about juveniles.

Only most of them
aren't so frank about it.

- You're new to show business?
- Oh, I've had experience.

- How many shows?
- Why, any number of them.

- Come on, now.
- To tell you the truth...

I want the truth.

This'll be my first, if they take me.

If they take you? Say, you can't miss.

I'll take you in myself.

I'll steer you right up
to the stage director.

Come on, let's go.

A short order of ham, coming out.

Not good, but loud.
Honey, take a good look at them now.

Because after they make that back line,
you won't see them again.

If it isn't Little Lord Fauntleroy
and the village maiden.

Just a minute.
Where are you headed, sister?

- She wants to see Marsh.
- That'll make Marsh's day perfect.

Come on, girls, inside.

There's the boss right there.
His name is Julian Marsh.

He's the fellow with the light green
felt hat. Go over and talk to him.

WOMAN: Quit shoving.

Lift the skirts up a little higher.
Come on, come on.

Afraid I got a run.

- First door to your left.
- In my stocking.

First offense?

Yes, but I don't think
I ought to tell them that.

No, of course not.
And they'll never guess.

Do you think I'll do?

I only know what I read in the papers,
but you look all right to me.

- Andy! Get the first eight girls.
- Yes, sir.

Will the first eight girls line up here?

The first eight girls line up
down in front. Come on.

Now lift your dresses up.

MARSH: Come on, higher.
I want to see the legs.

Yeah, they got pretty faces too.

ANDY:
Turn around. Come on, turn around!

Oh, dear, not a calf in a carload.

- Get the next eight.
- Next eight, come on.

Stick with us,
and you'll come in on the tide.

- ANDY: Hurry up, hurry up.
- MAC: Line up, girls.

ANDY:
Hurry up, girls. Lift your dresses up.

- Do you mind holding Fifi for me?
- MARSH: Turn around now, please.

All right, back.

Three!

Okay those three on the left.
If I were you, I'd keep them.

I suppose if I don't, you'll have to.

Lorraine again, huh?

Andy, you're a panic.
All right, have it your way.

Mac, okay by special request
of the copyright owner.

- ANDY: All right, next eight. Hurry up.
- Next eight girls.

What's yours?

Diane Lorrimer. 333 Park Avenue.

And is her homework tough!

Next.

- ANDY: Adams!
- WOMAN 1: Here.

- ANDY: Kipling!
- WOMAN 2: Here.

- MARSH: Andy.
- What's the matter?

Well, what is it, what is it?
What's the matter now?

Must have been a slip-up someplace.
We're a girl short.

Well, that's great. Just great!

We also need a dance director who can
count to 40 without a pad and pencil.

- Mr. Marsh...
- Well, do something! Get another girl.

Are you gonna stand there
and shake a blond out your pantlegs?

Yeah, but Mr. Marsh...

- I don't want to butt in...
- A lot of people are like that.

- ANDY: I'll have one here in the morning.
- That's ducky. I can hardly wait.

Mr. Marsh, you don't have to wait.
And she's a swell dancer too.

You picked her, but she got
eliminated the third time through.

- Come out from behind there.
- You, with the legs! Come out of there.

(LAUGHING)

Quiet! Quiet, please!

- Quiet, please!
- Quiet, please!

Well, I'm a... Hey, kid! Hey, you!

Hey, come on, get up.

- The boss wants to see you again.
- Who? Me?

Come on, come on.

All right, she'll do.
They're all yours, Andy.

ANDY: All right, get in line.

All right, now, everybody.
Quiet, and listen to me.

Tomorrow morning,
we're gonna start a show.

We'll rehearse for five weeks,
and we'll open on scheduled time...

and I mean, scheduled time.

You'll work and sweat
and work some more.

You'll work days and nights...

and you'll work between time,
when I think you need it.

You'll dance until your feet fall off
and you can't stand up...

but five weeks from now,
we're going to have a show.

Some of you have been with me before.
You know it'll be tough.

It'll be the toughest five weeks
that you ever lived through.

Do you all get that?

Anybody who doesn't think he'll like it,
better quit right now.

What do I hear?

Nobody?

Good. Then that's settled.

We start tomorrow morning.

All right, 10:00 tomorrow morning,
we start with the lyrics.

In practice clothes.

(CHATTERING)

(SINGING "IT MUST BE JUNE")

What did I tell him?
This is what I told him:

"No, I won't run your stage
for that money."

Great. You beat Jerry
to the finish by two lengths.

All right, take your positions.
We'll try those routines again.

Quiet! Where do you
think you are, home?

I get back to New York
and I get this wire.

Come on, kids, make it snappy.

All right, Jerry, let's go!

(PIANO PLAYING)

MARSH: Dorothy, that's your cue.

Things can never be the same now.

I beg your pardon,
but would you mind saying:

"Things can never be the same now"?

- That's what I said.
- You did not.

You said, "Things can
never be the same now."

- I did not.
- You did.

- Who's directing this show?
- She's reading my lines wrong.

- I am not.
- What did you say?

I said, "Things can
never be the same now."

That's right.

Things can never be the same now.

MARSH: The scene ends with you on
the steps, and you go into the number.

That's where you take his hand.

The scene ends with you two
on the steps, and we go into the duet.

- Hello.
- Hi.

- You're doing fine for a beginner.
- Well, thanks. I'm trying.

I was so scared that first day,
I walked around the block four times...

before I had the courage to even
come and apply for this job.

It's tough, but you'll get along.

Well, I wouldn't mind, if I could
only get that routine set.

I'll show you those taps.
Come on with me.

Taps?

Say, I can do a tap dance on my ear.

What bothers me is that routine.

Then I'm just what
the doctor ordered. Come along.

Now, look.

Cross over.

(HUMMING)

You're gluttons for punishment.

Well, Mr...
Well, this boy's showing me.

- I was trying to make her...
- Trying to make her is right.

We'll just let that pass.
Now try it again.

(HUMMING)

(SINGING "IT MUST BE JUNE")

- Where you sitting?
- On a flagpole, dearie. On a flagpole.

I always said she was a nice girl.
She's so good to her mother.

She sure is. She makes $45 a week
and sends her mother 100 of it.

Get some feeling into it, will you?

What do you want me to do,
bite my nails?

You've got the busiest hands.

Wait a minute, wait a minute!

It's out.

That'll be enough of that. It smells.

You don't like this number?

Sure, I like it.
I've liked it since 1905.

You think this is a revival?

- It's out. The whole number!
- This number will be a riot.

That's what I'm afraid of.
Dismiss. An hour for lunch.

All right, everybody.
One hour for lunch.

Waiting long, darling?

Well, long enough.

My, but we're grouchy, aren't we?

- Oh, no, not that, but...
- What?

I'm getting tired of
this hiding in doorways...

sneaking in and out of places
and keeping under cover.

Why, I'm beginning
to feel like a criminal.

There's nothing criminal
in that, is there?

No, there's nothing criminal in that.

JONES: I thought we'd better tell you,
it looks like we're in trouble.

MARSH: That word has a familiar sound.

Are you married too?

This is serious, Julian.

Serious? Did you ever
leave your wife...

sitting alone in a nightclub,
holding the check?

You know Abner Dillon's
putting up the bankroll for our show.

I knew he wasn't here
because you liked his face.

I don't like his face
or any part of him.

He looks like a Bulgarian boll weevil
mourning its first-born.

Well, his interest in our show
is Dorothy Brock.

And his interest is our principal.

Very good. Very, very good.

Even I was able to gather that much.

Yes? Well, we stand a first-rate
chance of having him...

withdraw his financial support.
Now, did you gather that?

But why?

Because dear Miss Brock is two-timing
Abner right under his very nose.

Who with?

With a fellow who used
to be her partner in vaudeville.

She's come up in the business,
he hangs around.

He's been out of town
and just got back last week.

If Dillon finds out... And if he doesn't,
he's dumber than I thought...

Well, now, wait.
Nobody could be as dumb as all that.

He'll just walk out on us
and we'll be sunk, that's what...

if we don't do something.

Tried applying dough to the problem?

Give the Romeo 100 bucks.
Get him out of the way.

We might try using a little flint.

You don't know this guy Denning.
That's his name. Pat Denning.

He's not the kind of guy that
gets sent places just like that.

Oh, no, he gets train-sick.

Oh, I see. Hard-boiled, huh?

Well, it's going to be just too bad...

- ...but nobody's gonna ruin my show.
- What'll you do?

I'll talk it over with Murphy,
a friend of mine from downtown.

- Slim Murphy?
- Yeah.

Murphy will kill him.

That'll teach him a good lesson.

I don't want to be mixed up
with Murphy or any other gangsters.

No? One man's meat
is another man's Murphy.

I told you what this show means to me.

Well, this is what it does mean.

Hello, Murphy? This is Julian Marsh.

Yeah, I'm okay. Thanks. Listen to me.

You gotta do me a favor.
Did you ever hear of Dorothy Brock?

Good, that makes it so much easier.

Well, listen to me and get this.

It seems there's a certain guy
by the name of Denning.

D-E-N...

N-I-N-G.

I got you, Mr. Marsh. Sure.

Hey, pipe down!
What do you think I got on, earphones?

It's as good as done.

Say, you ain't gonna forget me
on ducats for the new show, are you?

Thattaboy! Okay.

Not another nickel, honey.
Just can't be done anymore, that's all.

Pat, don't be silly.

We've always shared
and shared alike, haven't we?

What's come over you?

Getting a sudden attack
of manhood, possibly.

Let's quit kidding ourselves.
I'm a regular anchor around your neck.

- You're not.
- I am.

Besides, never being able to see you...

except when nobody's looking
is getting me down.

But, darling,
I owe everything I am to you.

It was you and that act of ours
that started me in all this.

Why, you trained me and coached me
and taught me all I know.

I was pretty dumb too.

- I haven't forgotten.
- The act?

It was grand, Pat. Really grand.

- It was terrible.
- You didn't think so then.

You mean I didn't say so then.
Oh, Dot, you've gone ahead.

You've earned it. I've stayed
behind where I belong, I guess.

You've kept yourself behind.

Nothing of the sort. They wanted you.
They never wanted me.

Besides, I've been getting myself
some education...

and they have a name
for a man who doesn't work...

who accepts money from a woman.

It isn't a very nice name.

- Darling, you're talking like a child.
- No, I'm not.

- There isn't any other reason, is there?
- No.

- Sure?
- Sure, I'm sure.

It's late. I'll take you home.
Keep the change.

- Thank you, sir.
- Thank you.

- I wish you didn't feel that way.
- So do I, but I do.

(PIANO PLAYING)

Watch your tempo! Watch it, will you?

Get your feet off the floor.

Faster, faster!

Come on, faster! Faster!

Stop it, stop it, stop it!

It's brutal!

Oh!

May I remind you that Pretty Lady's
out-of-town opening is not far away?

It's been advertised as
a musical comedy with dancing!

If it isn't asking too much,
will you please show me a little?

All right, once again.
Give it something!

Come on. Ready, Jerry?
Get into it now. Come on!

(PIANO PLAYING)

Having fun?

After three weeks,
a leg ain't nothing to me...

but something to stand on.

MARSH:
Let me hear your number, Dorothy.

Come on, Jerry. The "Habit" number.

(DOROTHY HUMS)

Jerry, put it up a half tone, will you?

(SINGING "YOU'RE GETTING
TO BE A HABIT WITH ME")

Doesn't she sing gorgeous?

Seventy thousand bucks.

Watch this, honey.
I may want you to understudy her.

All right, okay.

Come on, folks, get ready for
the duet number. Start up.

Okay, Jerry, let's go.

Come on, faster!

Faster, Jerry, faster!

What's the matter with you?

- You all right, kid?
- I guess so.

ANDY: Come on, faster. Faster!

WOMAN: Peggy!

- ANDY: Stand back! Get back in line.
- LORRAINE: She's fainted.

Come on now, places.
This is a rehearsal, not a rest cue.

Mac, take her outside. Hurry up.
Come on, everybody.

ANDY: All right, come on,
get back. Jerry, let's go.

Come on, pick it up!

- Here, sir.
- Thank you.

- ANDY: Hold your places!
- Lawler, inside.

- The girl's okay.
- LAWLER: You feel better, honey?

I guess I fainted.

That's a good guess.

Well, I guess I'm all right now.

Woo. Bad guess. Better sit down
again. Now listen, you let me play now.

What would you suggest, doctor?

A little fresh air and conversation.

What about Mr. Marsh?

Never mind Mr. Marsh.
Let's sit this dance out.

And if I lose my job?

If you do, there just
won't be any show.

Anyway, it's a nice idea.

I've got a lot of nice ideas.
What I need are ears to spill them in.

Well, won't mine do?

Yes, you know, I think
they'd do very, very nicely.

When are your ears available?

At all sorts of odd hours.
You must look them up sometime.

Remind me to tell you you're swell.

- MARSH: That's all for tonight.
- ANDY: All right, dismissed, girls.

Well, thanks, doctor.
Your prescription was great.

Now for the workshop.

You gotta take it daily
to really do any good.

It'll have to be
absent treatment, I'm afraid.

At least for the time being.

- PAT: Good night.
- Bye.

- Good night, Jimmy.
- JIMMY: Good night.

Coming, Abner?

Dorothy, where will we eat?

You know, Abner, I'm not a bit hungry.

- But I'm all dressed for dinner.
- Oh, yes, so you are.

I'll get the car.

- Dorothy, the car's here.
- Yes, Abner.

Why, doctor, you must like it here.

I'm beginning to.
I'm not the doctor anymore, you are.

I've become the patient,
and I'd like a little advice.

Very well, but you might tell
the doctor your name.

I couldn't do that,
but my initials are Pat Denning.

What do you advise for a man
who's both hungry and lonesome?

- Company.
- Excellent.

Did you have anyone in mind?

- Did you?
- Will you?

- I'm very much afraid I will.
- Good.

Good night, Pat.
It was a wonderful evening.

- I'll see you again?
- I hope so.

- Good.
- Good night.

MURPHY: Hey, got a match?

Yep. I guess so.

Happen to know a guy named Pat Denning?

- Why, yes.
- We've got a message for him.

This guy Denning's a pretty wise mug,
but he ain't wise enough.

If he don't lay off Dorothy Brock,
it'll be just too bad...

for Denning. Get me?

- I'll tell him.
- Yeah, well...

Oh!

- That's so you don't forget.
- Pat! Pat!

Pat. Who were they?

- Friends with good advice.
- Are you hurt?

Not much.

But, Pat, tell me what happened.

Better let it drop.

Besides, it's hardly a bedtime
story for a nice girl like you.

What do you think this is?
Get that man out of here!

- But, Mrs. Holt...
- But nothing!

I have eyes.

Just because there's a depression on,
some folks think I'll stand for it.

But you don't know.

After running a rooming house for 19
years, there's nothing I don't know.

Now you get out, and no more talk!

Then if he goes, I go too!

Probably I'll be able to bear
up under that blow too.

Well...

where do we go from here?

- Hotel?
- I suppose so.

But it'll have to be inexpensive,
as I only have a dollar and a half.

- Uh, what about my place?
- Broke?

Not exactly. Not exactly flush either.

Then I guess it's your place
or a park bench.

Here you are.

That's better.

Hand me your coat.

Make yourself comfortable.

Will you excuse me a minute?

Rose-colored glasses.
Let's see how the world looks.

- Okay, doctor.
- Here we go.

- Things beginning to look any better?
- A little bit.

- Tired, aren't you?
- Dead tired.

And I feel just like beginning.

You hop, step and jump
as many miles as I have today...

and you'd be tired too.

Pat. Pat, what are you doing?
Please put me down!

Please, Pat. Please put me down.

Now you go right to sleep, youngster.

What you need is a good night's rest.

Good night.

- Oh, Pat.
- Yes?

Will you hand me my bag, please?

- Oh, which one?
- That one.

- Here you are.
- Thank you.

- Good night.
- Good night.

(PIANO PLAYING)

What do you do when you've
got left feet like mine?

- Just pick them up and lay them down.
- I'm doing the best I can.

Get a load of the juvenile.

Didn't know we had
elephants in the show.

MARSH: Wait a minute, hold it!

Hold it, Jerry!

Some director's gonna jail you for
taking money under false pretenses.

You're supposed to be a dancer!

You just need license plates
to look like a Model T Ford.

They've been going all night long...

I'll keep them here if it takes a week!
All right, get out!

- Take the last eight bars.
- Pick it up, Jerry.

Pick it up, Jerry.

(KNOCKING)

- Hello, honey.
- Oh, Dot, how are you?

Oh, tea for two.

Uh, yeah. Friend of mine dropped in.

- Love me?
- Mm-hm.

I wonder.

You're not going to get
serious on me, are you?

- You leaving town?
- Yeah.

Stock job in...

Philadelphia.

Oh, Pat, without telling me?

Well, I thought it was the best way.

Maybe you're right.

- Sit down, dear. I want to talk to you.
- Mm-hm.

I've done a lot of thinking
since the other night.

Pat, you know what's wrong
with me, or rather, with us?

We've grown too necessary
to one another.

You've been content in the shadows
while I basked in the spotlight...

simply because it's held us together.

- My success has been your failure.
- Well, dear...

my failure, as you put it,
has been my happiness.

But, darling, you're capable
of such great things.

You're not a quitter.

I've only wanted to help,
but I've been hurting you instead.

I realize that now.

That's why I came here this morning.

Pat.

We're not going to see
each other for a long time.

No more doorways.

No more secret meetings.

You're going out on your own
and make a success.

You're right, Dot. But you know...

somehow, I can't imagine
going on without you.

Nor I without you...

but it's got to be.

Yes, Dot. It's got to be.

And maybe, someday...

someplace?

Maybe.

Bye, Pat.

Oh, Dot...

I love you.

Me too.

(PIANO PLAYING)

ANDY: Up!

Up.

Up. Up.

Up.

- How are you, Bluebeard?
- Okay, just a touch of scarlet fever.

Oh, that's fine. Maybe it'll
develop into something serious.

(WHISTLING)

The curtain's just come down!

It's the end!

Is this what you call a finale?

What is this? Amateur night?

Have we been rehearsing for
five weeks, or did I dream it?

The show's ragged!

- What do you mean, the show's ragged?
- The numbers are ragged!

May I remind all you
shining lights that...

this is the company
that opens tomorrow night?

I am in the right theater, am I not?

This is the Pretty Lady company,
isn't it?

The all-star show that...

opens in Philadelphia tomorrow night?

- CROWD: Philadelphia?
- ANDY: Quiet.

MAC: Quiet!

Philadelphia, PA.

Yeah, and on Sundays, it's P-U.

- ANDY: Quiet!
- Quiet!

Julian...

- ...you mean Atlantic City, don't you?
- I mean Philadelphia.

Train leaves at 1 p.m., Penn Station.

Full dress rehearsal, 4:00.
Arch Street Theater.

But I don't want to go to Philadelphia.

Who does? We couldn't get
the house at Atlantic City.

But why Philadelphia?

Well, when you become stage director...

we'll open in your apartment.
But right now, it's Philadelphia.

Of all the cities in the United States,
he would pick Philadelphia.

ANDY: All right now, listen to me.

We open at the Arch Street
Theater tomorrow night.

So this is Philadelphia!

(SPEAKS INDISTINCTLY)

Why don't you stop that?!

Peggy.

- Getting a kick out of it?
- Of course, you?

I don't know. Do you suppose
anybody'll even know I'm in the show?

I will.

Does it make any difference to you?

Gee, Billy. I've been for you
since that first day.

ANDY: Places, everybody.

- I'll be seeing you.
- Okay.

You won't forget the modulation
on the last eight bars.

- You forgot your handkerchief.
- MARSH: Go ahead.

JERRY: Call those timers, hold them.

(SINGING "YOU'RE GETTING
TO BE A HABIT WITH ME")

- nice to the right people,
you'll get along.

When you walk downstage...

just give it a little life.
You know, sort of...

Quiet! Please!

Well, it's...

not good, it's not bad.

That's all for tonight.

- Wait.
- Hold it!

Come back here, girls.

I want you all to take
your minds off the show.

Get out and relax.

Forget it till 10:00 tomorrow morning.

I don't know. I think it'll do.

But I want you to come back tomorrow...

to give the best performance
that you ever gave in your lives.

Company dismissed.

- Dismissed, girls.
- Company dismissed!

ANDY: Go on out and have a good time.

You really was elegant, Miss Brock.

Pansy, did anyone telephone me?

Phone?

No, ma'am. Nobody at all.

- You're sure?
- I certainly is. Yes, ma'am, Miss Brock.

- Have a little supper with me, huh?
- I would have.

- But you thought of it too late.
- I've been thinking of it all day.

Well, I'm not a mind reader.
I've got a date.

- Billy.
- Huh?

- I'm free tomorrow night.
- Then it's a date.

- Okay.
- Don't forget, now.

I gotta get the stuff for the party.
Do you mind?

I'll see you at the hotel,
room 1061, and make it snappy!

She says for you to wait.
She'll be out in just a minute.

Oh.

MAC: Good night, Mr. Marsh.

I said, "What is it? A duck?"

Andy, you're terrible.
You know any more?

I've got a lot more...

MARSH: Andy?

- Yes, sir?
- Go on, yes man. Papa give you liver.

Shut up. This may be important.

Oh, it can't be, darling.
He's calling you.

SPEAKS SILENTLY: Hurry up!

Oh.

Sit down, Andy.

Anything wrong, chief?

Everything's wrong, Andy.

No, you're a great director, Mr. Marsh.

Maybe I was, but...

right now I'm a sick man.

They told me I was sick when
I started, but I started anyway.

Andy, I'm going to finish,
and I'm gonna have a show.

I know what they'll say.
They'll like it. They've got to.

"Marsh is a wizard.
He turns them out like clockwork.

The guy isn't human. He's a machine."

Well, I'm not a machine, Andy.

And for the first time, I'm counting
on someone else. I've got to.

I'm counting on you. And tomorrow
night, we're gonna give them a show.

The greatest show
Julian Marsh ever put on.

What are you doing? Got a date tonight?

No.

Come on home with me, will you?
I'm lonesome.

Sure.

Taxi.

Pat! What are you doing
in Philadelphia?

Got my passport and dropped over.

- Business or pleasure?
- I don't know yet, but it's a job.

Say, what about one of those cozy
midnight suppers one reads about?

I've been hoping you'd come out.

- Oh, dear, I have a date.
- Well, break it.

- I'd like to, but I can't.
- Well, you can try.

It's with the company and we open
tomorrow. I really should be on hand.

I understand. Let me drive
you to the main event.

All right.

Taxi.

Congress Hotel.

Forget something, Dorothy?

Oh, no.

Congress Hotel.

Oh, Abner. Isn't this car big
enough for two? Move over.

You ain't gonna have
another spell, are you?

I'm tired. Dress rehearsal is no picnic.

- A little party'll do you good.
- Yes.

Don't just being with me cheer you up?

Oh, tremendously.

I'm practically hysterical right now.

Oh, don't be afraid of me.
I got strength.

I used to be the intercollegiate
champion hop, skip and jumper.

- Come on now, hurry up.
- Here I come.

Give the little boy a big hand.

Right across your big mouth.

Please!

I tell you, I don't even know
my own strength. Wait a minute.

Just look here.

Oh, you're too, too divine.

Tomorrow you've got to give
a performance, not an exhibition.

Well, you'd never know it
from the manuscript.

I beg your pardon.

She's right.

- Let's dance.
- I don't want to.

- Come on, I wanna dance.
- Stop mauling me.

Let me alone.
You're not funny to me tonight.

- I've got half a mind...
- You're telling me.

Do you wanna cramp your act?

In a star, it's temperament,
but in a chorus girl, it's just bad taste.

What is this, target practice?
Why can't you let me alone?

Wisecracks, I'm sick of them!
I'm tired of you.

Tired of all of you, do you hear?

Why, Dorothy.

(DOOR SLAMS)

You know, you better hop on your
Kiddie Kar and go back to Cleveland.

Excuse me, it's the tight shoes.

Shut up!

- Where are you going?
- Maybe she needs me.

- Are you going to be a sucker for that?
- Sucker! You listen to me.

Seventy thousand dollars is a lot of
money to pay for a pack of insults.

So you've been calling me
a sucker behind my back, eh?

Well, I ain't a sucker for anybody.

Dorothy don't mean that to me!

If not for me, she wouldn't
have had a show to star in.

She better not try to
give me the air now.

Now...

So that's it, is it?
You small-town big shot.

- Now don't start...
- Shut up!

So I better not give you the air, eh?

Well, that's exactly what
I'm giving you right now.

Now get out of my room, you sucker!
Get out!

Try and make me!

- Don't do that again!
- Get out!

Get out!

No place for anybody
whose insurance ain't paid.

WOMAN: Wait for me.

And the next time you come to
a lady's apartment, act like a lady.

Please!

(PHONE RINGS)

- Hello.
- We've located Mr. Denning for you.

Get him for me, will you?

(PHONE RINGS)

Oh, now what?

Hello.

- Hello, Dorothy.
- Hello, Pat...

Pat, I can't stand it any longer.

I've gotta see you.

- Yes, but...
- Please don't ask me why.

Just come quickly, please.

All right, dear. I'll be right over.

(KNOCKING)

Come in.

Sorry, Julian.

More trouble.

- What's up?
- Dorothy's out of the show.

Definitely, once and for all, she's out.

Well, let me have it. What happened?

She threw me out of her room.
That's what.

Now you want to throw her out.
What is this? A game?

- You can't do it.
- ABNER: Oh, no?

Brock's in my show and that's final.

If Dorothy stays in...

this show don't open
tomorrow night. That's final.

Why, you potbellied sap.

I resent that.

You've sunk $70,000 already,
and you're gonna toss that away...

because of a dame?

That's my funeral, ain't it?

And the funeral of 200 other people:
chorus girls, boys, electricians.

You wouldn't be that mean, would you?

Well, I think she ought to apologize.

Why, of course she'll apologize.
She'll be sorry by morning.

I wish you wouldn't take it like this.

Back in New York, they're calling you
"The Angel of Broadway."

No.

- Sure.
- Are they?

Well...

I guess maybe I can overlook it,
if she apologizes.

But it must be tonight.

That's final.

What's the matter?
You don't seem to be warming up at all.

Oh, don't, Terry! Please!

Come on, this is no way to act.

You've got me wrong, Terry.
I'm not acting.

I just don't like to
be pawed, that's all.

Come here, honey.
Why, you don't know...

- MAN: Must have been a fuse.
- WOMAN: Yeah, a fuse named Charlie.

(LAUGHING)

TERRY: Peggy! Peggy!

MAN: Go get her, Terry!

Come on, let's have another drink.

- TERRY: Going down?
- No, sir. Up.

SPEAKS SILENTLY: Pat.

Pat.

If he cramps our show now...

BARRY: We fixed him once before,
and we can do it again. Let's get Marsh.

- What?
- Mr. Denning. Is he here?

- You know he is. What do you want?
- Mr. Denning.

Can't leave him alone for
five minutes, can you?

Please, Miss Brock. This is important.

What's the matter?

Oh, Pat, there's going
to be trouble. I saw...

Oh! So it's "Pat" to him,
but it's "Mr. Denning" to me.

You bet there's gonna be trouble.

- Let's see what it's about.
- I know what it's about!

She's been spying on us.

- Spying? I wasn't spying...
- You were!

You were peeking through the keyhole.
You were, because I saw you.

She's jealous.

You want him, but you won't get him!

- Wait a minute.
- Wait for what?

More spying and double-crossing?

- Let me go! Let me...
- Wait a minute.

- PEGGY: Oh, Miss Brock!
- Dorothy...

You pushed me, didn't you?

Dorothy, what's the matter with you?

(WHIMPERS)

Oh, Pat.

- My ankle.
- What is it?

My ankle.

- Get the house doctor right away.
- All right.

Hello. Hello. Please send the house
doctor to Miss Brock's apartment.

Yes, thank you.

PAT: Get her shoes off, quick.

(DOT WHIMPERS)

There, there, now.

Oh...

PEGGY: Pat, it's swelling.

(KNOCKING)

- Answer the door, it's the doctor.
- All right.

- You sent for me?
- Yes, doctor. Right in there.

- PAT: Oh, doctor. It's her ankle.
- Which one?

(GASPS)

- A glass of water, please.
- Yes, doctor.

(KNOCKING)

- Is your name Denning?
- Yeah.

I want to talk to you. Where is she?

- She's had an accident.
- What?

She fell and twisted her ankle.
It may be a break.

What are you talking about?

How bad is it?

- Can't tell definitely.
- Maybe it's only a sprain.

Looks like a fracture.
Can't tell till the x-rays are made.

- Will she be able to go on tomorrow?
- DOCTOR: Go on?

- She's got the show tomorrow night!
- Not a chance.

She's got to! Do something, doctor!

Get her a pair of crutches.

- Oh...
- There, there.

- Don't stand there gaping.
- But...

Oh, get out! Get out!

- I still don't know why you're here.
- If it was your business, I'd tell you.

A broken ankle, huh?

It's too bad it wasn't her neck.

May I have your attention?

- Quiet, quiet!
- ANDY: Quiet, please!

There'll be no performance tonight.

Wait a minute. Wait!

Our star, Miss Brock, has had
an accident. She's broken her ankle.

Don't leave the theater until
you're dismissed. Get that, Andy?

Hold the company here
for further instructions.

- Stick around, everybody.
- Don't anybody leave the theater!

You gotta think of something, someone.
There must be some way out of this.

Dillon just phoned.
He's got everything fixed.

- Up to and including Brock's ankle.
- No, he's going through with it.

He's going through with what?

He found someone to take Brock's place,
and he's on his way here with her now.

- Where?
- I don't know.

BARRY: Come on, Marsh.

No such luck.

Now, there's a Kiddie Kar
I could really go for.

Anytime Annie. Well, lay me low.

Your new leading lady, folks. I guess
I saved the day all right this time.

ANDY: We'd better go in
and talk it over with Marsh.

- You have a big investment in this show.
- You're telling him?

I appreciate your help,
but she won't do.

Sure! She didn't wanna do it at first,
but I convinced her.

She's all set.
Why, she'll be sensational.

- How about letting me talk?
- All right.

Let's quit kidding, Mr. Marsh.

Abbie, all those things sounded swell
at breakfast...

but I can't carry this show.

I know that as well as you do.

I appreciate your honesty.

Swell, because you've got somebody
here who can carry your show.

A great little trouper.

Aren't I capable
of selecting my own cast?

But you'd never pick her.
I say she can swing it.

How can you lose? You gotta try her.

- Who is she?
- Sawyer.

- MARSH: Sawyer.
- Yes, Peggy Sawyer.

She can dance rings around Brock.

Your show's half dancing.
She'd kill them.

Nobody ever heard of her.
She's a raw kid from the chorus.

Listen, I've been waiting years
for a chance like this...

and if I give it up to someone else,
believe me, she's gotta be good.

- Send her in.
- Do you mean it?

MARSH: Yes, send her in.

BARRY: Mac!

- Oh, Mac!
- MAC: Here.

- Andy!
- ANDY: Yes, sir.

- Get Sawyer.
- Yes, sir.

- The boss wants to see you.
- PEGGY: Who, me?

Not your brother. Come on.

- Lorraine, will you hold that?
- Go ahead.

Well, here she is.

Experience?

Just this show, Mr. Marsh.

You know the songs and dances?
Can you play the lead tonight?

The lead?

Sure, you can. Don't let him scare you.

I'll give you a chance
because I've got to.

Andy, send Jerry in.

I'll have a live leading lady
or a dead chorus girl.

Get out of here. I don't want
anybody in for the next five hours.

- Good luck, honey.
- Come on, you.

Pick it up right after the number.
There's your cue. Speak.

Jim, they didn't tell me you were here.
It was grand of you to come.

No, it's impossible. Impossible.

You're greeting the man you love.
Your entrance speech!

Make it mean something.
Put feeling into it!

Listen, like this:

"Jim, they didn't tell me
you were here.

It was grand of you to come."
Let me hear it.

Jim, they didn't tell me you were here.
It was grand of you to come.

No, it won't do.

Look, have you ever been in love?

Did you ever have a man hold you
in his arms and kiss you?

Now you're in the spirit of the thing.
You love this man.

Now, give it all you've got.
Let me hear it.

Jim, they didn't tell me you were here.

It was grand of you to come.

That's better.
Let me hear it from the beginning.

Go over there
and make your entrance again.

All right.

Jim, they didn't tell me you were here.

It was grand of you to come.

(SINGING "42ND STREET")

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

Look here.

You can't, but you will.

Please, Mr. Marsh.

You want this chance or don't you?

- All right. Let's try it again.
- All right.

(SINGING "42ND STREET")

All right, it's fair, only fair.

(KNOCKING)

MARSH: Come in.

Only an hour before the curtain.

Okay, Jerry, that's all.

You let me down, Sawyer, and I'll...

Come on, lie down and relax.

The wardrobe woman will have to
come in to fit your costumes.

But rest all you can, because
you're definitely going on tonight.

Julian, how about it?

All right, the show goes on.
Wardrobe, everybody.

Everybody, makeup.

- Oh, Billy.
- Hello.

I brought some coffee.
You can use a little, huh?

Oh, Billy, I'm so excited,
I think maybe I'm dreaming.

Oh, no, you're awake, all right.
Don't worry about that.

Billy, what's going to happen to me?

You'll be a hit. You'll be the
biggest thing that ever hit Broadway.

Oh, I hope so.

Say, I know so.

And I'm for you too. You know that.

Even if...

Even if what?

Oh, honey.

I've been for you ever since the day
you walked in on me in my BVDs.

I wanted to tell you, ever since
I first saw you, how I feel about you.

Oh, I don't know how to say it.

But you know what I mean, don't you?

I guess it does sound kind of
funny at that, the way I say it.

But the lines are new for me,
at least off-stage.

Well, I guess maybe I can read
between the lines, Billy...

but I wanna hear you say some more.

Billy, it was grand of you to come.

- They told me I'd find you here.
- Miss Brock!

You can't talk to her, nobody can.
It's Marsh's orders.

I wanna see her alone.

I know, but...

It's all right, Billy.

So you're going to take my place.

I'm sorry, Miss Brock.

You're nervous, aren't you?

Well, don't be.

The customers out there
want to like you.

Always remember that, kid.

I've learned it from experience.

And you've got so much to give them:

Youth and beauty and freshness.

Do you know your lines?

And your songs?

And your dance routine?

Well, you're a cinch.

But... But it's tough
on you, Miss Brock.

Come here.

Peggy, isn't it?

You know, Peggy, when I started
for the theater tonight...

I wanted to tear your hair out.

And then I started thinking.

Well, after all, I've had my chance.

And now it's your turn.

I've had enough.

For five years it's kept me away from
the only thing I ever wanted.

And a funny thing...

a broken ankle was the thing
that made me find it out.

You know, Peggy, most anyone can have
success with the proper breaks.

As for me...

I'll take Pat and vaudeville...

or whatever goes with him.

We're being married tomorrow.

Oh, I'm so glad.

(KNOCKING)

Come in.

You've gotta hurry, miss.

Come right in, boys. Right over here.

MAC: Overture, places, girls!

I think it looks very nice now.

Do I look all right?

You look adorable.

Now, go out there and be so swell
that you'll make me hate you.

PEGGY: Thanks.

Remember, girls, I want
a straight line all the way through.

Marguerite, you're first.
Give me a big smile.

Get ready. All right, curtain.

Come on, all right. Get Sawyer.

When she comes out, I don't want
any of you to say a word to her.

Here she comes.

All right, break up.
Pay no attention to her.

Sawyer, you listen to me,
and you listen hard.

Two hundred people, 200 jobs...

$200,000, five weeks of grind,
blood and sweat depend upon you.

The lives of these people
who've worked with you.

You've got to go on
and give and give and give.

They've got to like you, understand?

You can't fall down, because...

your future, my future
and all we have is staked on you.

Now I'm through.

Keep your feet on the ground,
your head on your shoulders...

and go out. Sawyer,
you're going out a youngster...

but you've got to come back a star.

- There she is.
- There's your cue.

ANDY: Good luck, honey.

(CHEERING)

Well, honey, we couldn't lose them,
and least of all, Jimmy.

Why, Jim, they didn't tell me
you were here.

It was grand of you to come.

MAN: All aboard the Niagara Limited!

Come on, let's go!

That's your light change.

All right, snap into it. Hurry up, kids.

Get going. Take it away!

(WIND BLOWING)

(SINGING "SHUFFLE OFF TO BUFFALO")

(SNORING)

(TRAIN WHISTLE BLOWS)

Break this up. Come here.

You got by, but you're not through yet.

The toughest part's coming.
Don't be a flash in the pan.

There isn't an actor here who doesn't
know what you're going through.

Now you gotta rest. Rest and relax.

Save it, because you're gonna need it.

I've been watching you
for a couple weeks.

If you're nice to the right people,
you'll get along.

- You know these routines?
- Quiet, please.

(SINGING "YOUNG AND HEALTHY")

Mike, dim those first three borders,
will you? Hurry up.

ANDY:
Places, everybody, for the finale.

She's a hit, Abner. She's a hit!

Who's a hit?

Peggy Sawyer.

- Oh.
- Did you do as I told you?

- Oh, no, I didn't.
- Well...

But I'll take her right out.
Come on, Fifi.

Well, hurry.

(SINGING "42ND STREET")

(SCREAMING)

(SCREAMS)

(SIREN WAILS)

Directors make me sick. Take Marsh.

Name all over the program,
gets all the credit.

If it wasn't for Sawyer,
he wouldn't have a show.

She'll have Broadway
in her pocket in a week.

- WOMAN: You're right.
- MAN: Marsh will say he discovered her.

Some guys get all the breaks.

(English - US - SDH)