Original subtitles

(MultiCom Jingle)

(slow paced music)

(determined music)

♪ You don't have to say ♪

♪ What's going on inside ♪

♪ You have to obey ♪

♪ What cannot be denied ♪

♪ Let the hunger have it's way with you ♪

♪ You're just doing what you've got to do ♪

♪ Isn't it everything ♪

♪ You ever dreamed you'd see ♪

♪ Isn't it everything ♪

♪ You knew that it would be ♪

♪ Why ♪

♪ Hide on the shelf ♪

♪ 'Cause you're afraid to fall ♪

♪ Try ♪

♪ Telling yourself ♪

♪ It doesn't hurt at all ♪

♪ Let the disbelievers stand aside ♪

♪ You can make the heavens open wide ♪

♪ Isn't it everything ♪

♪ You ever dreamed you'd see ♪

♪ Isn't it everything ♪

♪ You knew that it would be ♪

♪ Isn't it everything ♪

♪ You ever dreamed you'd see ♪

♪ Isn't it everything ♪

♪ You knew that it would be ♪

♪ You ♪

♪ Don't have to say ♪

♪ What's going on inside ♪

♪ And you ♪

♪ Have to obey ♪

♪ What cannot be denied ♪

♪ Let the hunger have it's way with you ♪

♪ You're just doing what you've got to do ♪

♪ Isn't it everything ♪

♪ You ever dreamed you'd see ♪

♪ Isn't it everything ♪

♪ You knew that it would be ♪

(applause)

- Oh lots of notes.

Does that mean you're gonna write a big story about us?

- I don't know.

I wonder--

- Yes?

- There was a pale blonde girl in the

second row in pink.

- Karin Bradley, you have good taste.

She's one of our best youngsters.

- What will happen to her?

- Dance is a demanding master.

When the girls get to be 17 or 18

they may develop

other interests.

Too bad we can't neuter them.

Would you like to talk to Karin?

- I was thinking of centering the story on her.

I don't know the first thing about dance.

But if I can focus on one person--

- I'll go and get her.

(upbeat music)

- What's the matter?

- What the hell do I know about ballet?

- Then why'd the paper send you?

- Because the dance critic just had a baby

and my editor has a morbid sense of humor.

- [Karin] What do you usually write about?

- Graft.

Political corruption, crime.

Ever been arrested?

- Sorry.

- [Reporter] You don't live with your parents.

- I can't.

It's too far from the conservatory.

Dad works at the Ford plant in Wayne

so I moved to Detroit with grandpa.

- Yeah, he's a minister right?

(loud slurping)

How old did you say you were?

- 17.

How old are you?

- 27.

I'll be 28 in three months.

- I'll be 18 in 10.

(loud slurping)

- You want another soda?

- [Narrator] The United Auto Workers have selected

the Ford Motor Company as the first target

in this years negotiations with the

big three auto makers.

Speaking for the UAW, Russell Noland announced

this morning that the board talks would

begin next week.

(loud ringing)

- Yeah.

- [Karin] It's me!

- Me? Me who?

- [Karin] Karin Bradley, the girl in the story!

- I know who Karin Bradley is for

crying out loud.

- It's here, I just got it!

What can I say?!

What can I do?!

(loud doorbell)

Hi.

- Here.

- Oh thank you!

- I made a reservation at Guido's.

I hope you eat Italian.

- You won't believe this.

- What?

- I just hung up this second!

- On what?

- I've got a job dancing in a recital

for people because of you Shakespeare!

And you said you couldn't write a good story.

You genius.

It's okay, grandpa won't be home til 11.

- It's got nothing to do with grandpa.

This is what I was afraid of.

- Why?

- Why?

Because you're barely 17 years old.

- [Karin] So, you're only 10 years older than me.

- Karin--

- You know what you're acting like?

A kid.

- Fine, one of us better start acting like a kid.

Karin, listen to me.

I don't want to be your first lover.

- Who said you would be?

You don't wanna make love to me?

- [Reporter] That is a world class lie.

- Then?

- Is this your first time or isn't it?

Tell me.

- Yes, but I've been thinking about it for months.

Years.

- I hate to tell you this,

but that doesn't count.

Karin,

none of this is your fault, it's mine.

You're just,

too old for me.

(solemn music)

- If you wait much longer

I'll be 19.

Oh and I've taken care of that other matter.

You can't be first anymore.

You wanna be third?

- This is blackmail.

- God is the supreme umpire.

We may think we have fooled him,

but he is keeping a score card on every one of us.

Marking down each error.

Mr. Philips.

- Yes sir.

- If you were asked to name the world's greatest athlete

in any sport, who's name would come to mind?

- Babe Ruth.

- Oh it's a reasonable answer.

But forget Babe Ruth, even Jake Dempsey.

Stand up.

- [Karin] Oh I was just stretching my--

- Stand up.

Feel that stomach.

- [Philips] Pardon?

- Feel her stomach.

- Papa--

- It's quite alright May this is scientific research.

Well go on young man, reach across the table

and poke her stomach.

You call that a poke?!

Dig in young man, dig in!

You can't hurt her!

(faint moaning)

(loud thunder)

- Karin.

Karin.

Karin what?

What is it?

What's wrong, what do you want?

- Candy, in my bag.

Please.

(loud thunder)

Candy.

It's not what you think.

- Oh, what is it?

- I have to take it.

- [Philips] What?

- Insulin.

- Diabetes?

You've been hiding it from me for a year and a half?

- People change when they know.

They think I'm gonna blind or drop dead in front of them.

- What,

what if this happens on stage?

- Pockets

in my dance clothes.

I sew them in so that

I can sneak a bite of candy if

I feel something happening.

- Sneak?!

- I can't stop the music and say wait a minute.

See, once you know about it that's all we talk about.

- Where are you going?

- Home.

- Your grandfather is in Lansing.

- What if he calls and I'm not there?

(loud sirens)

- Does he usually call in the middle of the night?

(slow paced music)

You alright?

- Yeah.

Are you?

(applause)

- Yeah, bravo!

Bravo!

Bravo!

Bravo, bravo!

(solemn music)

- [May] Papa!

Papa!

(faint knocking)

- [Philips] Hi.

What is it?

- Nothing.

Something, may I come in?

- Yeah of course.

- [Karin] You're working, I'm sorry.

- Oh no it's okay.

May I take your coat?

- I can't stay.

- I know how you feel.

You lost your cheerleader.

- It's not that.

I'm rich.

Grandpa's will he left me money for my career.

No, please stay there.

I've got $3,000 so...

- So?

- So I'm,

I'm leaving for New York.

- When?

- Tomorrow morning.

So it's okay?

- No.

It's not okay.

What did you expect me to say?

- Exactly what you're saying.

But I came over here to tell you that I love you.

And that I'm going to New York.

To study, to dance.

If I'm good enough.

- There are newspapers in New York.

- But you'd have to start all over again.

- [Philips] I'm willing.

- I'm not.

You're practically famous here.

You're not giving your career up for me.

- And you're not giving yours up for me.

- Chris.

I've been waiting my whole life.

Ever since I was six.

I didn't really believe I'd ever have a chance like this.

And now I do.

I feel like I'm gonna die without you.

And I may be back in a week.

- And you may not.

- And I may not.

(slow light music)

(loud thuds)

(slow light music)

(music too loud)

- I never actually read them.

- Ever wonder why?

- My name's Gino Rey.

I know your first name of course, but--

- Bradley.

- Hi.

- I want it on the record that I

had nothing to do with this--

(loud thuds)

- Want to talk, be an actor.

Want to be dancer, dance!

(slow light music)

- Weren't you here last month?

- I thought maybe--

- [Receptionist] No auditions.

Mr. Joffrey isn't seeing anyone.

(loud ringing)

(slow paced music)

(light music)

(applause)

- What's the matter?

Face it kid, you're not going anywhere

until you explain the water works in class.

What's that?

- The end of the road.

I'm going back to Detroit tonight.

What are you doing?

- There is an audition this afternoon

and I'm taking you with me.

- I've been to every ballet company in New York!

- This is Broadway, a new musical.

- I am not a Gypsy.

- [Brunette] Terry!

No not yet you're not.

- Diane the ticket.

- After the audition.

- Gypsy's have to do everything.

I can't sing, I can't act,

and I've had three jazz classes in my whole life.

- Ready?

- For what?

- [Diane] The audition.

- I'm not going.

- Would somebody please tell me what's

going on here today?!

My horoscope didn't say a word about

all this stupidity.

- Do you mind if we don't argue about this right now?

It'll just be another humiliation like last time,

and the time before.

(loud thud)

Ow!

- Terry sometimes forgets

that he is the greatest Gypsy who ever lived.

(loud honking)

- [Karin] A Gypsy's a Broadway dancer.

- [Diane] So?

- [Karin] I'm a ballet dancer.

- [Diane] You're a dancer, this is Broadway.

In two hours you'll be a Gypsy.

Just watch Terry.

- Yeah well if I'm so great would you

please tell me why in 20 years I never

got the Gypsy Robe?!

- Point!

- What's the Gypsy Robe?

- Fame, recognition, flory.

Every opening night it's passed on to

the most deserving dancer in the new show.

- Which eliminates me.

Look, Sonny picks kids.

And God knows I am no kid.

(loud thud)

That hurt.

- That was the general idea.

You'll dazzle them with your footwork.

- [Terry] You'll never see my footwork.

Sonny will laugh with the boys

and tie me out the first five minutes.

(faint taps)

(loud snapping)

(upbeat music)

- 237 and 238.

(upbeat music)

See the buns on 234?

They have got to be in the show.

- Have you caught the boobs on 233?

- [Narrator] You can not let talent like that

walk out of the theater.

- [Narrator] Okay girls, relax please.

- [Narrator] How about 231?

- Miss Personality?

- Ooh.

She's a little balletic for the choreography

I'm planning but, dynamite technique.

- [Narrator] I don't know Sonny, she's a little bit skinny.

- That's what interests me.

She can double as the little boy in act two.

- That's right.

- There you are gentlemen.

The two center groups are your dancing chorus.

The side groups are runner ups.

Is this your final decision?

- Now let's not rush this,

we're gonna have to live with it for a long time.

- He means that literally.

- Wally is an experienced producer Sonny.

He's thinking of the show.

- He's thinking of fun and games in Philadelphia.

- Sonny, I'd love to have you reconsider number 233.

She really does dress up the line.

- Okay.

Kevin, would you ask 233 to come back in.

And 234 would you step out?

- Would you step out please?

(perky music)

- 233 is in.

- 233 in.

- Alright yeah, yeah!

- Okay, everybody in the A groups,

rehearsal in two weeks in this theater.

The B groups will be our alternates

in case of replacements.

Thank you all very much.

(cheering)

- [Karin] We're in!

- Incredibly, indisputably in.

- Okay, you can have it back now.

Cash it in or hold it til rehearsals.

- Okay.

- [Narrator] Alright kids, pick up the schedule.

Five weeks of rehearsal then three weeks in Philly.

- You said you're not exactly nuts

about the place you're living in right?

- Right.

- And we have this extra room.

So, Terry and I thought,

what about three roommates?

- Maybe when the show opens in New York.

- But we've got a month before we go to Philly.

What's wrong with now?

Oh look, if you're worried about Terry,

it's just a matter of time 'til he's working again.

With his talent--

And we haven't even shown you the

number one advantage of the room.

Da da da da da da da!

Unobstructed view of a giant TV screen,

courtesy of Reggie.

- Reggie from class?

- Yeah.

He bought the TV when he hit the lotto last summer.

Now, if you want him to change channels

all you gotta do is yell.

He's into democracy.

- And bondage.

It makes a refreshing change from all those

I Love Lucy reruns.

- So, what do you say?

The three Mouseketeers?

- I don't wanna take your workroom.

- What's the difference?

Look, I'm not making it as a designer either.

It's not enough to be gay, you've gotta have talent.

(loud slap)

- So, looks like it's fine with everybody right?

- Yeah yeah.

- Okay, nothing left but the roommates oath.

Do you solemnly swear that you will

never check out, chat up, or mess around

with your roommates boyfriend so help you David Merrick?

- I do.

- I do.

- I do.

Oh yay!

(laughter)

- [Diane] I bet you're heartbroken to leave this place.

- [Terry] Come on.

I didn't see any tears.

- Taxi!

Yo!

53rd between eighth and nine.

- [Terry] Come on, come on, the meter's running.

- [Diane] Are we gonna get hernias?

How did you get this up there by yourself?

Let's go come on!

- [Narrator] No visit to the beautiful people.

- I've never had anything made on me before.

- Well I can't have my roommates looking

like bag ladies on their opening night.

- Boo, Reggie Reggie!

- Yeah!

- This channel is the pits.

- Yell when you see what you want.

- Hold it!

Ooh ooh ooh, we've got some ballet here.

Oh, that's gorgeous.

(slow paced music)

- That's how it started for me.

All of a sudden I saw my whole life

there on the screen.

- Yeah?

Me too.

It was some Broadway dance number

on the Ed Sullivan show.

I don't even remember what it was

but my mom and pop never knew what hit 'em.

Two days later I was taking tap, acrobatics, and ballet.

(laughter)

I used to practice my tap in the bathroom for the echo.

It sounded like all 36 Rockettes got lost in there.

(laughter)

The neighbors threatened to sue!

But I was happy, God was I happy.

And I still am.

- [Karin] What turned you on the first time?

- Actually my first time goes back

a little bit farther than Ed Sullivan.

Fred Astaire and Ginger Rogers.

Them flying down to Rio.

- A little bit farther?

- It was a revival at the Museum of Modern Art.

(loud grunting)

Ignore her, menopause.

- You couldn't pick a better model

for yourself than Fred Astaire.

- He's talking about Ginger Rogers.

- At least she had style.

You've never seen the film?

- No.

- There is this incredible number.

Try to imagine,

dozens of chorus girls,

in little white shorts

dancing on the wing of a plane.

And they're singing

my all-time, number one,

absolute favorite song.

Hit it.

♪ My Rio, Rio by the Sea-o ♪

♪ Flying down to Rio ♪

♪ Where there's rhythm and rhyme ♪

♪ Hey feller, twirl that old propeller ♪

♪ Got to get to Rio and we've got to make time ♪

Up girls.

Take it.

♪ You'll love it, flying high above it ♪

♪ Everything will be okay ♪

♪ We're singing ♪

♪ Winging our way to you ♪

(laughter)

(loud buzz)

Somebody expecting company?

- I wish.

(loud buzzing)

- Do you mind?

- No.

(loud scream)

(loud buzzing)

- Who are you?

- Isn't that a rather odd question

considering it was you who rang my bell?

- Oh.

Sorry, obviously I got the apartment number wrong.

There's a girl named Karin Bradley

who lives someplace in this building.

- Here.

- Pardon?

- Karin lives here.

Come on in.

Whom shall I say is calling?

- Chris Philips.

She'll recognize the name.

Isn't that Karin's bathrobe?

- I'll tell her you're here.

- Chris!

What's wrong?

- What's wrong?

I come 700 miles to find some guy

walking around in your bathrobe?

- We'll go for a walk, two minutes.

Terry and I are like sisters.

- [Chris] Your sister's lucky, I almost punched him out.

- [Karin] He'd be flattered to death.

His first fight over a girl.

- [Chris] I don't understand why you didn't tell me.

- [Karin] I told you I was moving.

- You told me about Dianne, period.

- Please Chris, can't we just be happy?

This is such a wonderful surprise.

- Obviously.

- Well it could be wonderful.

(slow paced music)

How long have we got?

- As long as we want.

(loud bells)

I quit my job.

- No.

- Apartment, car, and job, it's all gone.

So you're stuck with me.

As soon as I find a job we can look for a place to live.

- What are you talking about?

We've got one.

- Morning.

- Hi, Diane in here?

Hey Terry, Terry.

- [Terry] In here.

- Morning.

How'd you sleep?

- I don't know, forgot to take a number.

- Oh this is Gus everybody.

- Hi Gus, Chris.

- Gus.

- Hi Karin.

- Oh Wallace, hi I didn't even see you there.

Have you met Chris?

Chris Wallace.

- Wallace.

- Chris.

- Wallace, Gus.

- Gus.

- Wallace.

- [Terry] Gus, Terry.

(light music)

- Terrible!

Take five.

(upbeat music)

- We're gonna have a wedding!

Opal and Ernie got engaged last night!

(applause)

- Okay okay, hold it down.

May I suggest you save a little energy for the show?

If that isn't asking too much.

- Okay, we've got some serious business to take care of.

Now, Opal says she wants to get married

before we leave town.

When's the next day off?

- [Narrator] Saturday.

- Any conflicts?

Good.

We'll vote on the honeymoon, let's see.

We've only got one day so Atlantic City's out.

How many vote for Coney Island?

- What about Opal and Ernie?

- What about 'em?

- Shouldn't they decide where they wanna go?

It's only fair.

- Fair?

We're taking a vote, what could be fairer than that?

Alright, everyone for Coney Island raise your hand.

(cheering)

(instrumental music)

Hey hey, the bride's glass it empty!

Terry!

More champagne for the bride!

(cheering)

- Well, do we get to meet your trick?

- Trick?

- That's boyfriend.

- In what?

- New York.

This is Chris Philips.

This is Gino Rey.

- Coming to Philly with us?

- Probably not.

I just started a new job.

- [Gino] Work Saturday's and Sunday's?

- It's a newspaper, we work weekends.

- Oh, which newspaper?

I read the Times, and the Post.

- Oh you wouldn't know it, it's a neighborhood paper.

The Eastsider.

- Oh east side news.

Like local murders?

- No, no, no, that's our side of Manhattan dummy.

They have jewel robberies on the east side.

Shouldn't you be back at your table trying to make out?

- Is that an offer?

- No, an order.

- Look, it was nice meeting you.

You really ought to get to Philly.

There's nothing like a musical out of town.

Unforgettable.

- Okay, time to feed the jukebox!

(upbeat music)

Haven't you animals ever been to a wedding before!?

Bridal couple dances first.

♪ I say stop ♪

♪ The situation's far too hot ♪

♪ When it's late ♪

♪ You're impatience activates ♪

♪ You just can't wait ♪

♪ You're just causing me confusion ♪

♪ You're pushing for a quick solution ♪

♪ I need a little time ♪

♪ Just a little more ♪

♪ More more ♪

♪ You're over anxious ♪

♪ You're the kind to take ♪

♪ You're so over anxious ♪

♪ Oh I know what's on your mind ♪

♪ 'Cause I'm feeling it too ♪

♪ I think I'm over anxious over you ♪

- You kidding?

- [Karin] Why not?

- A little spastic.

But you go ahead, go out there.

- Alone?

- Well no.

♪ I move like ♪

♪ To be sure that this is right ♪

♪ Why do I ♪

♪ Feel insecure and oh so shy ♪

♪ I think I know why ♪

♪ Maybe it's because you might fall ♪

♪ I will give it less than my all ♪

♪ I need a little time ♪

♪ So that I'll be sure ♪

♪ Yeah, over anxious ♪

- [Terry] Do you mind?

♪ You're so kind to take your time ♪

♪ You're so over anxious ♪

♪ Oh I know what's on your mind ♪

♪ 'Cause I'm feeling it too ♪

♪ I think I'm over anxious ♪

♪ Over you ♪

♪ Over you ♪

♪ Maybe it's because if I fall ♪

♪ I wouldn't give it less than my all ♪

♪ I need a little time so that I'll be sure ♪

♪ Over anxious ♪

♪ And you're so kind to take your time ♪

♪ You're so over anxious ♪

♪ Oh I know what's on your mind ♪

♪ You're so over anxious ♪

♪ Not so kind to take your time ♪

- Oh, what happened?

- It was getting warm in there.

- [Karin] I went to the bus.

- I took the subway.

- [Karin] Chris, what's wrong?

- Life is,

is just a little crowded that's all.

- Gino's just that way.

Pushy with everybody.

- It's not Gino.

It's all of them, when you're with them

they swallow you up.

- That's what I came here for.

- To be swallowed up?

- No, to be part of this.

You could be too.

- Except for one small problem.

- [Karin] You don't wanna be.

- I want to be with you.

Just you.

I know that may be a revolutionary idea

in some circles but you're working now,

I'm working, we ought to be able to afford

a place where we know most of the people in the bathroom.

I'm sure there's something in the constitution

that guarantees your right to be a Gypsy in class

and at the theater and in rehearsal.

But when you come home...

- [Karin] Okay.

- I mean to our home.

One apartment, two people.

- I understand, honest.

As soon as I come back Philadelphia we'll start looking.

Every day.

(loud thuds)

- Did you check the answering machine when you came in?

- No.

- [Diane] You should of, guess what!

- What?

- Tell 'em.

- A job!

- [Karin] A job?!

- Where else would you find the king of the Gypsy's?!

Do you realize what this means?

We are never gonna have to hear Terry's

"Darn I'm growing old" garbage again!

- Hell, you know I didn't feel this young

when I was young.

- You forgot already!

You are young you idiot!

- That's right.

I'm a young idiot.

- You are a young rich idiot.

- I'm a young rich idiot.

- Okay friends, think about this.

With all four of us working

we can redo the bathroom.

Four sinks in a row!-

- Yes!

- No more standing in line, no more waiting,

and the conversation, the laughs,

can you picture it?!

(laughter)

(loud ringing)

Can someone tell me why hotel phones

are always so loud?

Philadelphia Line in.

What are you on?

No you don't have to talk to her sweetheart.

As soon as she finishes unpacking

she is going to bed alone.

If you don't count me.

You just turned down an intimate

little dinner with Guinness.

- Who?

- [Diane] Gino.

- I thought his name was Rey?

- Guinness is his Gypsy name.

It used to be the saucy Aussie,

but the last show he was in,

there were eight girls in the chorus

and he got it on with seven of 'em.

So the kids sent it into the Guinness Book of World Records.

Of course they were too chicken to print it.

What are you laughing at?

- You believing that story.

Gino probably made it up.

- You're talking to number seven.

It was out of town on a tryout like this.

After a week or so, the rest of the world disappears.

Nothing's real but the show

and the people you're working with.

- Did you know about the other girls?

- Stagehands knew.

Gino's not the kind to hide his light under a bushel.

- [Karin] But why?

- Curiosity maybe.

After all where there's all that smoke

there must be a hell of a fire.

- Is there?

- Curious?

- Let's see this cue without 55 through 60.

Good.

Sharon may we have the coat off?

I'd like to see how the yellow

looks under the lights.

Thank you dear.

- Karin Bradley, Sonny and Mr. Kagan

want to see you in dressing room D right now.

Where's Gino Rey?

You too.

- [Narrator] Put cue 55 back in.

Down a couple of points.

- Something has got to go.

I am throwing out the whole second act opening

and redoing it as a pas de deux.

It'll be more ballet than anything else in the show.

A lot of lifts.

Meet me at 3 o'clock at Lu Lu Temple.

We've gotta get this number in

in the show by opening night.

- But that's tomorrow night.

- If I can create it, you can learn it.

- I can learn it.

- [Gino] Sonny.

- Yeah?

- What about money?

- That's Phil's department.

- How much more are we getting?

An extra 25.

For eight performances a week?

That's a lousy three bucks a performance.

- I never heard of a dancing school

that taught business administration but

you seem to have found one.

- How much do you weigh?

- About 100.

- Sonny says it's gonna be a lot of lifts.

Say there's a dozen, how much is that?

- You're the one with the head for figures.

- 1,200 pounds.

That's how much I gotta lift every time I do that number.

And on matinee days it's 2,400 pounds.

That's more than a ton.

- That's how you judge a work of art?

By tonnage?

- Look,

how long does a male dancer last?

10 years?

15?

And what goes first?

The back.

- 30.

- What?

- 30 a week over minimum.

But don't bother to break down the five extra bucks.

It comes to 62.5 cents per performance

or 5.3 cents per lift.

Sign here.

- [Chris] You and Gino?

- [Karin] It's a pas de deux.

We're still in the chorus but,

when the second act starts, it's just us.

- Well listen,

I was supposed to cover this dumb charity

thing tomorrow night but I'm

sure I can get someone to cover for me.

- Are you talking about coming here?

- [Chris] Of course, it'll be the most

important night of your life.

- It'll be a miracle if I even remember the steps.

Wait til the number's been in a few days.

Then I want you to see me.

You know how you are about your first crafts.

- [Chris] Yeah.

- I gotta go to rehearsal, wish me luck.

- Right.

- [Karin] I'll call you tomorrow night after the show.

- Good.

- [Karin] Love you.

- Bye. (dial tone)

(piano solo)

(upbeat music)

- [Sonny] Let's go let's go.

(ominous music)

(upbeat music)

(dramatic music)

(loud grunting)

- [Sonny] Okay come on.

- [Gino] Karin are you okay?

- She's alright, she's alright, she's alright.

(solemn music)

What's wrong?

What's wrong?

Karin!

Oh temperament now, temperament!

- Are you alright?

Oh what is it your ankle?

- No, it's okay you caught me.

- Well Sonny's waiting for us.

What?

- It's over.

- What are you talking about?

- I can't, that's all.

- What, are you crazy?!

- This is crazy!

You think we'll remember a step?!

- Oh listen, when you hear the music--

- I'll drop dead right in front of the audience.

- Listen,

Andrew will be in the wings dancing every step.

And I mean if we get stuck,

we'll just improvise until we come

to something we can remember.

I mean when in doubt pour it out right?

- What?

- Please.

This will never happen again, never.

You don't know.

This is your first show.

I've been waiting.

It's not a question if we can or not

we've got to.

Because now or never.

- It's okay.

We'll do it.

And if we're lousy, what can they do?

Climb over the footlights and lynch us?

- Yeah screw 'em.

- Screw everybody but us.

- That's a tough spirit.

- How we doing?

Huh?

Okay, we're gonna go again from the same place.

Now take it easy.

You know, just mark it.

Don't dance full out.

Not full out huh?

Five, six, seven, eight!

(slow light music)

(light upbeat music)

Full out damn it!

How can I reach people like that if you don't do any?!

- Eight please.

Oh.

- What cramps?

- Knots.

- Well look, no matter how tired you are

make sure you have a hot bath before going to bed.

- I can't, Diane's sleeping.

God knows what time they finished rehearsal.

- Well come up to my room.

You won't keep me awake.

We're both in the same boat.

I said boat not bed.

- [Service Man] Eighth floor.

- Oh.

- Nine please.

- That was the best bath I ever had.

- Now let's see what we can do about those knots.

Well I don't wanna have to dance

a number with Andrew.

Lie down.

Lie down.

(slow paced music)

(ominous music)

Turn over.

Turn over.

(slow paced music)

Am I too heavy?

- No.

(slow paced music)

(slow light music)

(uplifting music)

(fast paced music)

What's next?

- Look at Andrew, look at Andrew.

(applause)

(laughter)

- Unbelievable, fantastic.

- Until I forgot the steps.

- Ah, three lousy seconds.

Who noticed?

- Sonny.

- If he says one word to you I'll break his leg.

How's it doing?

- I think I wrecked it tonight.

- Oh.

- What's that?

- Zen, it'll cut the healing time in half.

- If it works, I'll have it tattooed.

(laughter)

- [Diane] Hungry?

- No.

- Come on, it's opening night.

We gotta do something for God's sake.

A hamburger at least.

- You ready?

- Oh.

Welcome to the Guinness Book of World Records.

(loud buzzing)

- [TV] No I can't do that.

But I can love you, if you'll let me.

- Well, I didn't expect to see you again tonight.

- Who?

- Anybody.

- May I come in?

- I'm not dressed.

- I wouldn't recognize you if you were.

- Well it's different here.

- How?

- Not alone.

- I know, Karin's with you.

- No not tonight.

I got lucky.

One of the actor's, he's,

well I thought you were him.

- Then why did you say,

"I didn't expect to see you tonight?"

- Oh, Tony's moody.

He's sort of a Tom cat.

Never know where he's gonna wind up but,

as far as I know it's still on.

- So, where's Karin?

- That's what I'm trying to tell you Chris.

She's staying with another girl tonight, as a favor to me.

- Which girl?

- I don't know.

The whole thing happened so fast.

I just said I need some privacy tonight

and she said sure.

You probably thought only guys

helped each other out that way.

Look Chris, I don't wanna be rude but

if Eddie walks in and finds another guy here--

- [Chris] Tony.

- What?

- The Tom cat.

His name was Tony a minute ago.

And I see what you mean about the way

girls stick together.

It's impressive.

May I use your phone?

- Honest to God Chris, I don't know where she is.

- What's Gino's last name?

- Don't Chris.

- Alright, tell me his room number.

- You don't know what she's been through.

You can't imagine the pressure, the tension.

- To hell with the tension!

The hell with Philadelphia and the show

and this magical Gypsy world that

ordinary people like me aren't

qualified to understand.

You know what you look like to me?

A bunch of overaged Peter Pan's

that think they can get away with anything

so long as they refuse to grow up.

What the hell do you think that is out there?!

Disneyland?!

- Where are you going?

- New York, I'll be moved out by the time you get back.

- What do I tell her?

- Tell her.

Tell her I figured it would be alright

if I came after the show

when the pressure was off.

And,

I hope everything went great tonight.

I mean at the theater.

- [TV] Well there it is folks.

The bad news for the fourth day in a row

old man winter is socking it to the Philadelphia area.

Thermometer may not break 20 degrees today.

So if old Fido's out there in the garage,

you might think of letting him come into the house,

especially tonight because it's going to get,

you guessed it, colder.

Down into the single digits.

And this band of cold Canadian air that has.

- Hey, don't bother.

Bad news.

- Oh.

- But, there's something about Gino and me.

- Yeah?

Let me see.

"Hats off to choreographer Sonny Frye

"and the two lustrous young dancers

"he has thrown into the dance firmament.

"Miss Bradley alone is worth the price of admission."

What?!

"Even if the rest of the show isn't."

Well that's a death notice if I ever read one.

What are you doing?

- Calling Chris, he wanted to know what happened.

- He sorta does.

He was here last night.

- In Philadelphia?

- Yeah.

- But we decided he wouldn't come.

- [Diane] No you decided.

He waited til the show was over

so he wouldn't make you nervous.

- Where is he?

- In New York, moving out.

- You told him where I was?

- I made up a whole story! (dial tone)

He's a newspaper man.

He's used to digging out facts.

(slow paced music)

Here, blow.

Any improvement Suzie?

- Enough to get me through line A

at the unemployment office.

- Yeah.

- [Narrator] The robe!

The Gypsy Robe!

- I brought the robe.

- But that's for opening night New York.

- Yeah but when we heard the show

was never coming to New York,

I was delegated to come to Philly,

to present the Gypsy Robe to

Diane Davis!

(screaming)

- Oh my God!

Oh my God

Oh God, oh this is history!

Oh God!

Oh bigger than the Tony!

Oh my God!

100 years from now they're gonna know

that Diane Davis won the Gypsy Robe!

Oh and guess who picks the winner in the next show?!

Me!

Oh God, so guess who gets the robe next?!

The greatest Gypsy of all time.

Terry Dover.

God, it's the beginning of a dynasty!

Oh what's the matter?

- You don't know?

- [Diane] What?

- Terry got fired the third day of rehearsal.

- [Narrator] 15 minutes ladies and gentlemen,

15 minutes to magic time, 15 minutes.

- I've been calling since 8 o'clock.

- Well he's probably out.

- Celebrating?

- No, forgetting.

- He can't afford a beer.

- I know.

- No answer?

- I'm going to New York with Joanie.

- But we have a matinee tomorrow.

- Yeah and we close tomorrow night.

What are they gonna do, fire me?

- Well maybe if we keep calling we'll be able--

- No I know Terry.

When he's upset he won't answer the phone.

He's probably sitting there right now

eating himself up.

He needs me.

- Karin!

The guys wanna go out and drown their sorrows.

I'd take you but they said no girls.

- I wouldn't go anyway.

- Look, I'll call you when I get back to the hotel.

Okay?

- Yeah.

- Terry!

Terry!

(loud gunshot)

(cheering)

I just wanna know one thing,

were you here at 11 o'clock when the phone rang...

Reggie!

- [Reggie] Hi hon.

- [Diane] Have you seen Terry?

- [Reggie] No.

Aren't you supposed to be in Philadelphia?

(loud scream)

(solemn music)

- There,

there has to be something.

Some kind of service.

- [Diane] We'll take care of it.

Like always.

- What is he?

What was he?

- A Gypsy.

- [Karin] I mean his religion.

- So do I.

When the police came they assumed he was my husband.

So I said yes.

You know how some cops are about gays.

Anyway, I did love him.

Who did I ever love more?

- [Karin] Did he leave a note?

- Who needs a note, he got fired.

Tony said they came right out and told him

he was too old.

- 39 isn't that old.

- [Diane] It is when you're 44.

- 44?

- [Diane] You want another shock?

Diane Davis isn't 29.

- I don't care.

- [Diane] I do.

Next month I'll be--

(loud slam)

(loud ringing)

- Hello.

- [Karin] Gino?

- Hi.

I just walked in a few minutes ago,

I was gonna call you.

- May I come up?

- [Gino] Hey I admire your spirit,

but we've got two shows tomorrow.

- I've got to come up Gino, please.

- Well what's wrong?

- [Karin] I'll tell you when I get there.

- There's gotta be someone in the company

that's got a Valium or a Red.

I mean you're gonna freak out if you don't get something.

- Where are you going?

- To Kelly's room, he's a walking drugstore.

(melancholy music)

- Funeral directors said this was a first class cemetery.

- It's okay, you'll be facing the other way.

- The perpetual maintenance better be the real thing.

I'm coming back to check.

- Or he's gonna freeze to death.

(slow paced music)

♪ My ♪

♪ Rio ♪

♪ Rio by the Sea-o ♪

♪ Flying down to Rio ♪

♪ Where there's rhythm and rhyme ♪

♪ Hey feller ♪

♪ Twirl that old propeller ♪

♪ Got to get to Rio ♪

♪ And we've got to make time ♪

♪ You'll ♪

♪ Love it ♪

♪ Soaring high above it ♪

♪ Everything will be okay ♪

♪ We're singing ♪

♪ And winging our way ♪

♪ To you ♪

(slow paced music)

- Hi, this is Ozzy Moss.

Ozzy this is Karin.

He's here to look at the extra room.

- Diane.

Could I talk to you, like alone?

- Oh sure.

Why don't you go take a look at it.

It's down at the end of the hall.

- You never said a word.

- I just met him today in class.

What was I supposed to do, send a telegram?

- You're gonna put him in Terry's room?

- You want him in yours?

- You know what I mean.

- No I don't.

- It's like going out to get a new dog

after the old one dies.

- Are you accusing me of forgetting Terry?

- Well, what is it--

- Do you know where I went today?

I went back to the House of Crepes.

Well congratulate me, I'm a waitress again.

- [Karin] Diane--

- Don't apologize.

- [Karin] I wasn't going to.

- Why not?

- It just hurts to think

of somebody else in Terry's room so soon.

- Do you think it doesn't hurt me?!

But guess what?

Diane Davis is gonna survive!

I was born to dance.

- [Karin] I know.

- No!

Born to dance!

Not dish up slop for creeps who just wanna

pinch my butt and stiff me!

The House of Crepes is survival!

Ozzy is survival.

Nobody replaces Terry for one second, ever!

But Ozzy is one third of the rent so I can hang in

and you can hang in where we belong, here!

Til it happens.

And when it does, we'll be ready!

Do you understand?!

- [Karin] Yeah.

- Forget Terry?

I am gonna beat the system that beat Terry!

You call that forgetting? (loud buzzing)

Chris.

- [Chris] May I come in?

- Of course.

I'll get Karin.

- Sit down?

- I read about Terry in the paper.

Sorry.

I would have come to the funeral,

but I didn't wanna intrude.

- I know how you feel.

- No you don't.

I liked Terry.

Diane too.

I didn't understand.

But I think I do now.

- Let me get my coat.

- [Chris] I got a new job.

At a real paper.

The Washington Post.

- [Karin] Oh Chris, that's wonderful.

- Yeah.

Washington's a great city.

I don't know if they have a ballet company there

but I'm sure there are plenty of classes.

- What are you saying?

- Come along.

- With you to live?

- We could get married.

We should get married.

Well,

all I know is that I'm going tomorrow.

No matter what.

No more Eastsider.

No more Gypsy camp for me.

It's a plane ticket for Washington.

I'll be at the shuttle at LaGuardia at 2 o'clock.

(loud sigh)

- So much has happened.

So much to sort out.

The show, Terry--

- Gino.

- Gino.

Us.

I wish I could blame it all on Philadelphia.

- Why not, everyone else does.

You could probably tell Philadelphia jokes in Poland.

- Please don't make me laugh.

- I love you.

- Please don't make me cry.

I just know one thing.

And that is that I don't wanna hurt you anymore.

- Don't worry about it.

Before you nothing hurt because nothing mattered.

But now,

a lot of things hurt because they matter.

That's an important lesson for someone in my business.

I learned it from you.

But, I've always said you were too old for me.

Maybe I'm catching up.

I'll be at the shuttle at LaGuardia at 2 o'clock.

(solemn music)

(loud ringing)

(slow paced music)

- Didn't you hear the phone?

- No.

- [Diane] It's for you.

- Diane!

You won't believe who it was!

The woman in Joffrey!

There's an audition Saturday!

I left my Philadelphia review and they read it!

Oh!

- What's the matter?

- I haven't had my point shoes out in three months.

- So, take two classes a day.

- With what?

- There's an opening for a gifted waitress

at the House of Crepes.

(laughter)

Come on shake it.

You can make Madame Eugenia's one o'clock.

You okay?

- [Karina] I'm okay.

- Wait, what's this?

- My suitcase.

- I can see that, what's it doing here?

(loud winds)

(suspenseful music)

- [Narrator] Washington passenger Zela Torrington,

please contact the shuttle.

- If you're planning to take the 2 o'clock shuttle

you better board.

- One minute.

♪ You don't have to say ♪

♪ What's going on inside ♪

Karin!

♪ You have to obey ♪

♪ What cannot be denied ♪

I'm sorry.

♪ Let the hunger have it's way with you ♪

♪ You're just doing what you've got to do ♪

♪ Isn't it everything ♪

♪ You ever dreamed you'd see ♪

♪ Isn't it everything ♪

♪ You knew that it would be ♪

- May I inquire what is so important up there?

- Nothing Madame.

- You wish class was over maybe?

- No Madame.

- Hurt?

- Yes Madame.

- It's supposed to hurt.

♪ Fly high on the shelf ♪

♪ Because you're afraid to fly ♪

♪ Try telling yourself ♪

♪ It doesn't hurt at all ♪

♪ Let the disbelievers ♪

♪ Stand aside ♪

♪ You can make the heavens open wide ♪

♪ Isn't it everything ♪

♪ You ever dreamed you'd see ♪

♪ Isn't it everything ♪

♪ You knew that it would be ♪

(slow paced music)