All language subtitles for Give.a.Girl.A.Break.1953.1080p.VUDU.WEB-DL.DDP2.0.H.264

[orchestral music]

[music continues]

[soft music]

Give the dogs a break. They've
only had the part two days.

Come on, Mustard.
Turn around. Turn around.

Mustard, turn around.

(male #1)
'Please, anybody
that's in the sketches'

'will you please go down
to the smoking room. Please!'

- That's all. Just five yachts.
- Five will be enough?

No, no,
that's for Ms. Hallson.

Yo!

(male #1)
'Please, Ruth, Delmira,
Joe, let's go.'

Anybody in the sketches, please,
down to the smoking room.

Oh, Mr. Belney.

[clapping in rhythm]

Mr. Sturgis,
here's your lunch.

Put it there,
and get Janet Hallson.

- Okay.
- Now.

[clapping continues]

Ted, Ted, this is terrible.
Where are the girls?

Leo, this is Janet Hallson's
big entrance.

I want just the one girl,
and all the rest boys.

- It'll be great.
- Wonderful!

Ted, for Janet's entrance,
I've got the full orchestra.

Violins, flutes, oboes, brass,
timpani, drums.

Leo, it should be absolutely
silent. Just the hand claps.

- It will be sensational.
- You're absolutely right.

Now, we'll build this
into a big climax.

The guys all spread out and
disappear, and there she is.

Well, where is she?

She's in the dressing room

and Mr. Jordan would
like to speak to you.

Uh-oh. Take ten minutes.
Get some cigarettes, Bob.

Yes.

Well..

I'm afraid that if we
want to keep our star

an apology is in order.

- For what?
- Does it matter?

No.

[knock on door]

Janet, may we come in?

Ted Sturgis is here.

He'd like to apologize.
Wouldn't you, Ted?

I finish a number and what
happens? Does he say anything?

Oh, no.
It's okay. Okay!

Clear the stage.
Let's get on with the next.

Not a word to me,
the star of the show.

- Treats me like a chorus girl.
- Janet, I know that--

I've worked with the biggest
people in the business!

I don't have to take this.
I've got managers begging me.

This morning they called me from
London, give me anything I like.

We know that, Janet.
We know.

And Ted feels terribly

that you should be upset
even for a minute.

Does he?

Look, Janet,
I couldn't be sorrier.

I wouldn't have this
happen for the world.

I think you're a great artist.
You-you're great. Just great.

The way it is,
the number was great.

Honey, I got
a show to put on.

Just got so many weeks, no time
to stop and palaver over people.

Palaver? Listen to him!
This Johnny-come-lately!

This, oh.. He goes, or I go.
Make up your mind.

Janet, don't talk like that.
No one is going to go.

Oh, no? Fanny!

Now wait a minute.
A contract is a contract.

Sue me.

Linda Marlick. She'd be perfect.
Wonderful voice.

Magnificent personality. She can
dance rings around the others.

Doesn't know her left foot
from her right.

Calls herself a dancer.
It's embarrassing to watch her.

Besides, she's rehearsing
down the street already.

Anybody that's any good is set
this late in the season.

Ted, how about your ex-partner?
She can really dance.

'It'd be a big story,
the two of you together again.'

How about her?

She's out of the business.
She quit.

Maybe she's ready to come back.
Why not give her a try?

I tell you, she quit.

Hey, how about Hollywood? There
ought to be a star out there.

You could fly out.

Hey, do you know
what I think, Mr. Sturgis?

- Bobby, go for coffee, will ya?
- Yes, sir.

- Listen , do we need a star?
- Of course, we need a star.

- Who says so?
- That's what I wanna know.

This town's jumping
with talented kids.

Someone unafraid to work, who I
didn't have to palaver over.

- That word again.
- I'd make you a star.

You'd have a name to put up
in lights after the show opened.

I saw a girl three weeks ago.
If we could get--

- We haven't time for auditions.
- Just give me 24 hours.

You're not gonna get
any star before then.

Just give me 24 hours
and I guarantee

I'll come up with something.
Or phone the agents.

Get the newspapers
to lend us a story.

You're crazy. Give this
to the newspapers

you'll be swamped
with girls.

That's exactly
what I want.

If I could think
of this girl's name.

I want you to call
the newspapers.

Give them this item.
We're looking for a girl

to replace Janet Hallson.

We're gonna
give a girl a break.

[upbeat music]

[singing "Give A Girl A Break"]

♪ My singing has them winging
not hard to take ♪

♪ In school yet I played Juliet
give a girl a break ♪

♪ Sioux City says I'm pretty ♪

♪ And no mistake ♪

♪ Look at me I'm comical
and I'm anatomical ♪

♪ Nothing is a fake ♪

♪ He'll back it
with the packet ♪

♪ If they sign me for the part ♪

♪ So give a girl a break ♪

♪ Or you're going
to break my heart ♪

[tap dancing]

♪ Give a girl a break ♪

♪ Give a girl a break ♪

♪ Won't you
give a girl a break ♪

[music continues]

[indistinct chattering]

There he is!
It's Ted Sturgis!

[crowd screaming]

- Good morning, Mr. Sturgis.
- Morning.

[Jordan laughing]

You'll have to do
some palavering now.

Just a minute please.
Wait just a minute.

Uh, now as you can see,
it'll be quite impossible for

Ted Sturgis and myself
to see all of you dance.

However, we do want
to be completely fair.

But if you're not both
a dancer and a singer

you're just wasting
my time and your time.

What do they want? Jane Powell
and Nero rolled into one?

..any professional experience
will you dropout?

Thought they're gonna
give a girl a break.

Now, that'll be the day.

...both ballet and tap..

Just get in line, and I-I'll
be with you in just a minute.

- Hey, where you going?
- I haven't got a chance.

- How can you say that?
- Well--

Matter of fact,
if you ask me

you got the best chance
of 'em all.

I have?

I got it . Look,
you wait right here.

I'm gonna tell
Ted about ya.

But you don't know
anything about me.

Well, maybe we could
take that up later.

- Don't run away on me, now.
- No, I won't.

Look at them. Ever see
such beautiful girls?

Yeah, but have they
got talent?

Only important thing
in the world.

If a girl's got talent,
she need not be good looking.

She could be
real ugly.

- Not in this show, she can't.
- You said it.

- Oh, Mr. Sturgis--
- Bob, go for cigarettes.

- But, Mr. Sturgis --
- And get Bremlick.

Tell him to call or come. No
rehearsals, costume fittings.

Yes, sir. But there's a girl
here, a wonderful girl.

Just see her,
I'm sure--

- Later, Bobby, later.
- Thanks.

And now, there's one.
Third from the right.

That's my girl!

That's her!

Excuse me.
What's your name?

- Joanna Moss.
- That's it!

I want you
to meet Mr. Sturgis.

I saw your recital.
It was wonderful.

But I couldn't remember
your name.

I looked in all
the back papers. Watch out.

Ted, this is Miss Moss.
The one with the recital.

How are you?

I told him about
the wonderful reviews.

The Times said,
"It was sheer enchantment--"

- That was the Tribune.
- That was the Tribune.

The Times said,
"It was the dawn of a new era

in the art of the dance."
I still owe $475 on it.

It was worth. After all, a
dancer can't dance in a vacuum.

Can she? Wouldn't you
like me to show you my--

No, no, I-I really--

I have plenty of time.
I came prepared to--

No no, please. I-I have
all these other girls.

Won't you
give me a chance?

Yes. Not right now. I want
you to meet Mr. Jordan.

- Come upstairs to my office?
- Thank you.

Uh, Oh, Miss Moss, your,
uh, your slip is showing.

Ted, didn't I tell you she was
exactly what we're looking for.

I'll take her up.

Huh? There she is,
Mrs. Sturgis.

Well, an awful little girl,
for such a big part.

How much experience
have you had?

Well, I-I haven't had any.

Well, that's-that's just
what's so wonderful, you see.

She's not one of those,
those tired faces

you've seen around
in musicals and nightclubs.

I'm sorry.

I was afraid, but Mr. Daler told
me he telephoned you and you--

- Jim Daler?
- Yes.

You must be little
Suzy Doolittle.

Why didn't you say so?

I want Mr. Jordan
to meet you.

Will you wait upstairs
in my office?

You better make it
Mr. Jordan's outer office.

Thank you.
Thank you.

You know what I think?
I think--

She's exactly
what we're looking for.

Yeah.

Sorry to keep you waiting.
It just got through.

Have I still
got a chance?

You certainly have.
I've just had a 152 no's.

I'll be with you in a minute.
I've got to see Mr. Jordan.

Sorry to keep you waiting.
Gotta see Mr. Jordan.

- Be with you in a minute.
- It's in the bag.

(Jordan)
'You'll have four numbers..
Oh, Ted.'

'Isn't this
a wonderful surprise?'

'Miss Corlane said
she's ready to work again.'

'I was telling her about
the numbers you've worked out.'

Madelyn, we should find
another spot for you

in the middle of the second act.
Don't you think so?

Did you tell Ms. Corlane
we're opening in three weeks.

That's pretty
short notice for anyone

who's been out
of the business so long.

I've never stopped working,
not for a day.

You only have
to look at it to see that.

Okay, then she'd care
to audition for us tomorrow?

- Ted, aren't you being silly?
- The others are doing it.

I'm perfectly willing
to audition.

After all,
it's been a long time

since Mr. Sturgis
has seen my work.

When do you want me?

- I'm calling them at 10:00.
- 10:00?

10:00 it is.

Thank you very much
for remembering me.

Oh, this way please.

- See you tomorrow.
- I'll be right with you.

Ted, can't we forget
about the other girls?

Isn't she
exactly what we want?

Those kids've been knocking
themselves out for this chance.

They worked,
slaved, starved.

What's she been doing
for two years?

Having herself
a good time!

Alright, alright.
We'll see all three.

Ted, you're a doll!
I'll tell Joanna.

I'll tell Suzy.

[soft music]

Well, goodbye. Don't have to say
good luck. You don't need it.

Your name's gonna be
right up there.

And I'm gonna be the proudest
manager in New York.

- Goodbye.
- Thank you.

You don't have to worry
about the others.

Take my word for it.

Keep your fingers
crossed for me.

I will. I'll keep my fingers
crossed and my eyes crossed

and my heart crossed.

Besides, it's not necessary.
It's in the bag.

- Do you really think so?
- I know so.

Ted and Felix, the boys, they
always trust my judgment.

It's too good
to be true.

Bye.

- Don't forget our date?
- As if I could.

Bye.

Now don't be nervous
about tomorrow.

They haven't got a chance.
You're gonna win it hands down.

- If only I could believe that.
- But I'm telling you you are.

I've got a little say
around here, you know.

I'm telling you
you've got the part.

Oh, I can never
thank you enough.

[soft music]

[piano music]

Oh, Ted,
about Madelyn Corlane

I didn't mean to spring her
on you that way.

Oh, that's okay.

Whatever happened
between you two?

Oh, I guess it was
the same old thing, Felix.

I, uh, wouldn't
palaver over her, and, uh

she found somebody
who would.

She seemed very anxious to work.
Didn't you think so?

Did she know I was
gonna do the show?

Yes.

Mr. Sturgis, Mr. Belney
would like to see you.

Did she know it
before she came?

Yeah, she knew it
before she came.

Hmm.
Come on.

[humming]

[piano music]

Ted, you've
done it again.

You said you'll come up
with something good

and you certainly did.
We're in business.

Listen to this one.

Leo, we're in trouble.

You know we haven't got
Janet Hallson anymore.

You know we've to write
new songs, new dialogues

new sketches, new
orchestrations, new costume..

We've to paint a new sign
in front of the theatre.

Teddy, it's a cinch.
Listen to this one.

[singing]
Leo.

We'll never make it.

We'll never make it.

[soft music]

Hmm? Oh, uh. Wait a minute.
This is show business.

There's nothing you
can't do in show business.

You just gotta try
a little harder, that's all.

- That's all.
- That's all!

[all singing
"Nothing Is Impossible"]

♪ There's no other way
beginning today ♪

♪ You're going
to work under pressure ♪

♪ With pressure I will
not know where I'm at ♪

♪ You've gotta come through
and isn't it true ♪

♪ The new stuff you write
may be fresher ♪

♪ Yes, I've a thesis ♪

♪ Masterpieces often
happen like that ♪

♪ If I work
with might and mind ♪

♪ We have everything to gain ♪

♪ Nothing is impossible
put your shoulder to the wheel ♪

♪ Nothing is impossible that's
the way you've got to feel ♪

♪ They said it couldn't be built
our country said it shall ♪

♪ We struggled hard
and we built the Panama Canal ♪

♪ Napoleon was a corporal
and he had a tiny frame ♪

♪ But he became
the emperor just the same ♪

♪ Oh nothing is impossible
if a goal is to be won ♪

♪ But you are impossible
if you say it can't be done ♪

Leo, I may be impossible,
but I say it cannot be done.

Can't write a new show
in three weeks.

You got to be
artistically inspired.

In three weeks
I can't write a whole score.

I'm through with show business,
with music, with the theater.

- I won't try--
- Hey, wait a minute.

Didn't Chopin write the
"Minute Waltz" in 59 seconds?

- Yes.
- If he did it, so can you.

- So I can.
- So you will.

So I will.

♪ Nothing is impossible ♪

♪ Though the future
may look dim ♪

♪ Nothing is impossible
if you tackle it with whim ♪

♪ When Samson was in prison ♪

♪ They felt his hopes
were dashed ♪

♪ But fortitude was his
and the temple crashed ♪

♪ King George
of England fought ♪

♪ He throwed George Washington
for a loss ♪

♪ But Washington
at the Delaware came across ♪

♪ Oh, nothing is impossible
if you work and dig and strive ♪

♪ Or else it is possible
that you will not stay alive ♪

That's quite possible.
You're absolutely right.

I'm composed out.
There's no song left in me.

Bobby, I've
been thinking.

If you want to do something bad
enough, nothing can stop you.

What'd you mean? Something
like robbing a bank?

- Robbing a bank?
- Isn't that bad enough?

Bad enough?
That's terrible.

- What would I do that for?
- Do what?

- Rob a bank.
- Leo!

You can't rob a bank.
You got to write a new score.

- Three weeks.
- Three weeks.

- How dare they ask this?
- How dare they?

If I were you, I'd quit.

That's what I'll do.
Know what I'll do?

I'm going
to Felix Jordan's office

look him straight in the eye
and tell him that I am--

- You're gonna do it.
- Gonna do it.

- You'd be glad to do it.
- I'll be glad to do it.

♪ But nothing is ♪
♪ Nothing is ♪

♪ Nothing is impossible ♪

[music continues]

[peppy music]

[music continues]

That's impossible.

Higher! Higher! Higher!

♪ Oh nothing is impossible ♪

♪ Sound the trumpets
kick the door ♪

♪ By 12 o'clock tomorrow
we will write you 16 songs ♪♪

Ma! Ma!

Ma! Ma! Ma?

Suzy, what happened?
Did you get the part?

I'm gonna dance
for them tomorrow.

Oh, mother's
so proud of you!

- There are two other girls.
- Not with your talent.

Now get into your
practice clothes.

We'll go to the studio,
and get Mr. Daler

to work out something
for your audition.

Well, hurry, Suzy.
Hurry, Suzy, don't waste time.

I can't go now.
I have a date.

A date?

I have to change my dress
because I'm meeting him at 5:00.

Who is this boy?

Oh, he's not a boy, mother.
He's a man.

A very important man
in Mr. Jordan's office.

And I'm meeting him
at the corner drug store.

Oh!

Suzy.

You want to break
your mother's heart?

Oh, mum,
this is so crazy.

I'm old enough
to have a date.

The greatest opportunity
in your life.

And all you can
think about is the date.

Is this what I quarreled
with your father for?

That I gave up
an eight room house for?

Golly! Other girls
go out with boys.

You're not like other girls.
You have a gift.

It's time enough to think about
boys when you're 25 or 30.

Twenty-five?
I'll be dead by then.

Well, if you won't think
about me, think about Mr. Daler.

For two years
he's given you lessons free.

Absolutely free, so you
could get a chance like this

and pay him back.

You talk as if
I were giving up dancing.

I'm gonna do my best
to get that part tomorrow.

Only way you're
getting it is to work.

Now, this afternoon
we're going to work and work.

And we're not going
to think about anything else.

Then, maybe tonight?

Tonight we do
our manicure, our hair.

We have a light supper,
a hot bath and a good massage

and we're in bed by 10:00.

Alright.

Alright, but you know
it's gonna happen, don't you?

We're gonna be an old maid.

Burton! Burton!

Burton!

Burton!

Burton, are you in there?

Peter!
Oh, Peter!

Peter, have you seen my husband?
I've gotta get hold of him.

- Has anything happened?
- I've got a job, I think.

- You have?
- I'm gonna be in a Jordan show.

- Where could Burton be?
- Do they need a pianist?

Margo!

- Margo, have you seen Burton?
- No.

I'm gonna be
in the Jordan show.

You know Leo Belney,
the famous composer?

He's mad about my work.

Burton!

Oh, I'm looking
for my husband.

I've gotta get
a hold of him.

I saw him leave
about an hour ago.

Do you know
where he was going?

It must have been important.
He was wearing his tie.

I gonna star
in a Broadway revue.

They're writing a ballet
especially for me.

Isn't it wonderful?

What about your job
at the store?

- Oh, I gave it up.
- You think I could get it?

[classical music]

Burton!

- Darling. Darling.
- Hi.

Where you been?
I tried to get you at the store.

- Listen to what happened.
- Have I got news for you!

...compose a song,
and he's mad about my work.

You're not listening.
I'll be the head

of the music department
at a university.

I guess you didn't hear me.
I'm gonna be the star.

The star
of a Broadway show!

I've been with the trustees,
they liked me.

They'll give me a free hand.

I'll teach composition,
conducting.

In Gooseneck, Minnesota.

- Gooseneck? It's not Gooseneck.
- Hmph.

It's a perfectly good town
of 80,000 people.

The way you talk, you'd think
there's no place but New York.

For an artist,
there's no other place.

Oh, baby, you haven't heard
the whole proposition.

They're giving us a house.
We'll live like human beings.

Why, we'll
even have a kitchen.

I'm not leaving here.
You have no right to ask me.

Ask you? Joanie,
what's gotten into you?

Isn't this the chance
we've both been waiting for?

What about my chance?
I have a career, too.

Well, seems to me that teaching
kids is a lot more important

than hopping around on your toes
in a Broadway show.

Since we no longer
have a language

in which
we can communicate

it would be intolerable
to be confined

in this small
space with you.

Now, where're you going?

Home, to my folks,
in Montclair.

Oh? Well, I'll save you
the trouble.

I'll go home to mine.
In the Bronx.

[door shuts]

I, uh..
I forgot my tie.

Have you, uh..
Have you seen my tie?

(crying)
No.

Oh!

Now, what are we
fighting for?

Maybe neither of us
will get the job.

[doorbell buzzes]

Hi, darling.

I'm sticky. I've been
doing my daily dozen.

You forgot your costume
for the party tonight.

I went to the shop
to pick mine up.

They said you didn't
come in for your fitting.

- I'm sorry, I forgot.
- You better try it right away.

They're keeping a fitter
in case there's something to do.

I thought maybe
I wouldn't go tonight.

We don't have to stay.

If the party's dull,
we go someplace else.

Anson, what would you say
if I told you

I want to go back
on the stage?

I went to see
about a job today.

Madelyn.

Forget the theatre. Marry me.
Marry me, and we'll go abroad.

There's so many places
I want to take you.

So many things to see.

I told them
I'd audition tomorrow.

They asked you to audition?
Like any beginner?

Everyone does it nowadays.

What's the show?

If you don't mind,
I'd, I'd rather not say.

Well, it's bad luck to talk
about a job till it's settled.

Darling, don't do this.

If they really wanted you, they
wouldn't ask you to audition.

You'd go there and put yourself
on a par with the others.

It doesn't do any good.
It does you harm.

Suppose they tell you no.

Don't subject yourself
to this humiliation.

You're pretty
discouraging.

I don't want you to be hurt.

Now, you're tired.

Sleep for an hour,
I'll pick you up at 9:00.

Oh, Mr. Sturgis?
Your cigarettes.

You don't think you'd be needing
me anymore tonight, do you?

Not tonight, Bobby.

Well, then, if you
don't mind, I got a date.

With a girl "who's exactly
the girl we're looking for"?

Yeah. Would it be alright
if I told her what you said?

I mean...
that she might be it.

Tell her she's got the same
chances as the other two.

I know. Other one.
Miss Corlane?

Well, she's backed out,
she left word with Mr. Jordan.

Why?
Did she say why?

No, just that
she thanked him

and that she wouldn't
be there tomorrow.

Oh, that's fine.
That's great!

I've worked out new routines for
her, and now she's quit again.

- Well, uh..
- I should have know.

As long as you
won't be needing me..

...like I said,
I got a date.

So long.

[tap dancing]

- Suzy, wha--
- Shh-h.

Wha-what happened?

I held a stool at the drugstore
for you for an hour and a half.

I might as well be a prisoner.
My mother wouldn't let me come.

I feel terrible about
you waiting there alone

but there wasn't
anything else to do.

Ah, it doesn't matter.

One night doesn't matter

when I'm gonna see you
every night from now on.

Come on,
you've worked enough.

Oh, I have to go home.
Mother's making dinner for me.

I-I'm sorry
I cant ask you.

Oh, that's okay.
I had five banana splits.

The guy behind the counter kept,
kept looking at me kinda funny

so I had to keep ordering.

Come on, get your things,
I'll walk you home.

I know the perfect way to go.

- What way is that?
- Slowly.

[laughs]

Well, Suzy, there it is.

That's exactly what
I was trying to explain

to the boys down
at the theater.

I don't know. If they
just listen to me more often

they wouldn't get
themselves into those jams.

If anybody back home
had told me

I'd be out walking with
a theatrical man, well..

Where is back home, Suzy?

Monroe City, Missouri.
Where are you from?

- Oh, Dickinson, Montana.
- Golly!

Funny thing, you know.

I've been kinda
figuring this out.

Got it
pretty well figured.

Almost everybody in New York
City comes from someplace else.

You know what I mean?

Now, back home
it's different, see.

They don't come to Dickinson

they're there because
well, they're born there.

You know what I mean?

I never
thought about that.

You know what?

I'll bet, I'll bet you could
walk around New York City

for one hour, one hour..

...and you could find somebody
from every state in the union

every country in the world.

You know what I mean?
Right here.

Can you imagine?

Suzy..

...you don't know how wonderful
it is to meet someone like you.

Someone I can...
converse with.

That's the way
I feel, too.

Everything's so crazy nowadays

that there's so many
things I'd like to ask you.

Thing's I couldn't
talk to my mother about.

Like, for instance,
rocket ships

and what if you
get to like someone

and the first think you know,
he might have to go off.

And oh,
all sorts of things.

Yeah.

[Bobby singing
"In Our United State"]

♪ The state
of the world is such ♪

♪ That the world
is in quite a state ♪

♪ But let's not worry too much ♪

♪ Let the rest
of the world debate ♪

♪ Right now,
the thing to discuss ♪

♪ Is the wonderful
status of us ♪

♪ The state of our union ♪

♪ Hearts in communion ♪

♪ Never will know
any foreign entanglements ♪

♪ Outsiders will not rate ♪

♪ In our united state ♪

♪ We'll make the altar
strong as Gibraltar ♪

♪ Fooling around will
be unconstitutional ♪

♪ Great will be
our united state ♪

♪ With nothing but true love
in the ascendance ♪

♪ We'll always sign and renew ♪

♪ A declaration of dependence ♪

♪ Where you depend on me
and I depend on you ♪

♪ We'll have a white house ♪

♪ Small but a bright house ♪

♪ Built on the pursuit
of star-spangled happiness ♪

♪ Hurry let's name the date ♪

♪ Darling for
our united state ♪

[music continues]

[whistles]

[music continues]

[whistles]

[tap dancing]

♪ Can't wait for our ♪

♪ United state ♪♪

[Bobby whistling]

I'm sorry about your suit.

Oh, ha.
Oh, that's okay.

It'll stretch out
after I wear it a while.

It's a good suit.

Let me have your hat,
I'll fix it for you.

Okay.

Here's where I live.

Well, I'll be
waiting for you tomorrow.

Gee, you know,
I'm scared to death.

Well, how can you say that,
Suzy? You're gonna be wonderful.

Just be like you were tonight.

It won't be the same with all
those other people watching.

Well, I'll be there.
Just keep lookin' at me.

Pretend we're all alone.

- 'Suzy, is that you?'
- Yes, mother.

Well hurry up.
Your liver's getting cold.

Well, goodbye.

Goodnight.

Suzy.

[romantic music]

♪ Peaceful and cozy ♪

♪ We'll have a rosy future ♪

♪ With a house
of cute representatives ♪

♪ So I can hardly wait ♪

♪ Darling, for
our united state ♪♪

[music continues]

[tires screech]

[doorbell buzzes]
Come in.

It's open. Come in.

Now, what are we made up for?
The Snow Queen's revenge.

How did you get in?

You just now said,
"Come in." Remember?

Well, I just
now say, "Get out."

Okay, I won't stay a minute,
I wanted to tell you

you're not giving up that
audition tomorrow morning.

- No?
- No.

So be at the
theater at 10:00 sharp.

Really, this
is a little ridiculous.

Don't give yourself any airs.

I know you well, remember?

Madelyn Newspickle.

You were a butterfly in
Miss Caxley's annual recital.

The pride of Tulsa.

You're very merry all
of a sudden. Quite a change.

I was mad as a wet hen,
when I walked in the office

this morning and saw you sitting
there cool as a cucumber.

Condescending to honor
the theater with your presence.

But when I heard you
so sweet and penitent

I said to myself, maybe there's
some good in her after all.

Let's give the poor
little girl a break.

Please, will you go?

I'm not gonna audition
tomorrow, and that's final.

Madelyn, look,
if it's me I promise you--

Oh, you flatter yourself.
It has nothing to do with you.

What was it?
What made you change your mind?

It was a silly impulse,
and I though better of it.

Began to think those
rehearsals all day, all night

the work. The hours,
for what?

I'm perfectly happy as I am.

Don't try to kid me.

Why have you kept on practicing?

Why have you kept
at it day after day?

So you could go
to a fancy dress ball?

I know you. This kind
of thing isn't your dish.

You belong in the theater.

You need the theater
as much as it need you.

What's the use, Ted?
You know I haven't got a chance.

Ah. Now we're
getting down to it, ah?

You're scared.

Don't you know you can dance
circles around those kids.

You just have to keep dancing,
and dancing, and dancing.

Got the jitters,
that's all.

The best dancer I ever knew.

Come on give me your hand.
One, two, three, four.

Left, right, left. That's it.

Now, come on, let's go.
Let it go.

One, two, double it.

A one, two, three,
four, five, six, seven, go.

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

One and two, three, four.

[snapping fingers]

What's the matter?
You're tired already?

[upbeat music]

[tap dancing]

[music continues]

[music continues]

[clapping]

Charming. Charming.

I'll expect you
tomorrow morning at 10 o'clock.

And don't let anybody
talk you out of it.

Especially Prince Charming.

Well, that was
quite an exhibition.

If you don't mind, Anson,
I'd rather not go tonight.

I've never asked anything
of you before, Madelyn.

This is one thing I think
I have a right to ask.

I couldn't bear it if you
went back into the theater.

I couldn't be
a stage door Johnny.

Madelyn, did you hear?

Yes, I heard.

Well, what are you
gonna do?

I don't know, Anson.

I just don't know.

[romantic music]

[peppy music]

[mellow music]

[peppy music]

[slow music]

[peppy music]

Good morning.

- How are you?
- Hi.

- Hi.
- You all set?

- Suzy?
- Huh?

I said, are you all set?

- Well, I'm dying of fright.
- There's no sense in that.

That's what I say.

Oh, this is my mother.

Thought it was.
How are you, Mrs. Doolittle?

Bobby'll show you
your dressing room.

- He will?
- Come on.

- Good luck.
- Oh, thank you.

You look wonderful!

- You think so?
- Just wonderful!

Oh, there you are
Mrs. Doolittle. Good morning.

You know, Ted, I used
to act just like that Bobby.

- Attentive, eager--
- Good morning.

I'm not late am I?
There was a subway jam.

No, there's plenty of time.

Bob will show
you a dressing room--

I'll take her.

- Good luck.
- Oh, thank you.

There's nothing
to be frightened about.

I'll be there
pulling for you.

Don't get excited,
don't get nervous.

Just take it easy, relax.

I mustn't. I can't
relax for a minute

Not for a second.
You'll be a dead duck.

Go in, and knock 'em
for a loop. Good luck.

- Well, thanks.
- Come on, Ted.

'No use waiting. If she isn't
here, she isn't coming.'

Come on, Ted.

Well, you came.
I wasn't sure.

Yes I came. I haven't
slept a wink, but I'm here.

I'll put you on last,
so you won't have to rush.

It would be better
to get it over with quickly.

Don't talk that way.

Just remember what
I said last night.

- Good luck.
- Thanks.

[piano music]

[tap dancing]

[clapping]

[music continues]

[clapping]
Bravo.

[all clapping]

[music continues]

[music continues]

[clapping]

- House lights, Bob.
- House light.

And please, I'd like to see
all three girls on stage.

Well, Miss Moss,
Miss Doolittle. If you please.

Mr. Jordan
would like to see you.

Right over there.

[whispering]
It's in the bag.

I wanna to thank you for giving
me the chance to see your work.

'You're fine
performers, all of you.'

My problem is that
I need only one of you.

'And that is a problem.'

'Which one?'

You're all so good, you'd all
be an asset to the show.

Before I decide,
I must consult the others.

When we reach
a decision, I'll phone you.

Mr. Jordan,
you'll phone either way?

Either way, and thank you.

- 'Thank you.'
- 'Thank you.'

Oh, Mr. Jordan, forgive me.

But the telephone's in the hall

and sometimes
there's some confusion.

So when you telephone,
would you ask for Mrs. Bradshaw?

- That's my married name.
- Your married name?

- You're married?
- Yes, I thought you knew.

No...no.

Oh, dear.

- Tough luck, Romeo.
- I still think she's the best.

- Bob Dowdy.
- 'Coming.'

Felix, listen.
How can you have any doubts?

There's no question about
it, Madelyn's our girl.

I would have settled
for her yesterday, but now.

Well, maybe I sound
disloyal to Madelyn

but, I don't know.
They're all three so good.

You can't beat the Moss girl.

She's okay for me too,
and little Suzy Doolittle.

She's wonderful, I'm willing
to settle for Suzy right now.

- Bob, go for coffee, will you?
- Wow! Yes, sir.

Hey, wait, wait.

May I have a word with
the future Broadway star.

Oh, is it true?

Didn't take me long
to convince them of that.

- Thank you!
- You boy!

Mr. Jordan's
waiting for me to get back.

We gotta get
busy on our plans.

I'll see you soon
as the conference is over.

What did I tell you.
Isn't he wonderful?

Oh, wait till
I tell your father.

[laughing]

I don't agree with you.
Felix, listen to me.

If I thought Madelyn wasn't good
or better than two years ago.

- I wouldn't be yelling.
- Joanna Moss has got something.

It's getting over
and above the rest.

She's got style, intelligence.

She's great for modern dance,
but what about the comedy stuff?

I'll write new ones.
I can write for Joanna Moss.

The only one who can do it all

'who can handle all
the dances is Madelyn.'

'Madelyn.'

[all laughing]

We've only got three
weeks. I want a professional.

Know what I think Mr. Sturgis--

I know, I know, Suzy Doolittle.
I've got to have a professional.

Somebody who can pick it up
fast and who knows routines.

And that's just what
you'll get, routine performance.

Stop it! I've had
all that I can stand.

We're not getting anywhere.
I'm going out.

Now, think this thing over.
Make up your minds.

Come to some kind of a decision.
Somebody's gotta compromise.

[slow music]

[Suzy Doolittle singing
"Give A Girl A Break"]

♪ Give a girl a break ♪

♪ Give a girl a break ♪

♪ Give my girl a break ♪♪

(male announcer)
'Suzy hailed as sensation.'

'Last night, Suzy Doolittle
was an absolute sensation in'

'Give A Girl A Break.'

'Miss Doolittle said'

I owe it all to Bob Dowdy.

[trumpet music]

[upbeat music]

[music continues]

[music continues]

[tap dancing]

[orchestral music]

[upbeat continues

[music continues]

[orchestral music]

[jazz music]

[music continues]

Hey!

[slow music]

♪ I look and see
the stormy skies ♪

♪ You look at me
with laughing eyes ♪

♪ December days are like July ♪

♪ It happens every time ♪

♪ When trouble brings
a tail of woe ♪

♪ The phone bell rings
it's your hello ♪

♪ The room I'm in
begins to glow ♪

♪ It happens every time ♪

♪ Life is good ♪

♪ Without you days
were sun less ♪

♪ I just could ♪

♪ Not settle for anyone less ♪

♪ Each time
I hold you in my arms ♪

♪ Lo and behold
a million charms ♪

♪ And gone are all
the world's alarms ♪

♪ You make it happen ♪

♪ It happens every time ♪♪

[orchestral music]

[slow music]

[music continues]

[music continues]

[music continues]

Ted.

Ted.

Well, have you
come to a decision?

Who's it going to be?

[clamoring]

There's just one way
to settle this.

We've been at this for eight
hours now and no one has budged.

So, we're going to write each
girls name on a piece of paper.

We're going to put
all three names in a hat.

We're going to draw out one and
that is going to be the girl.

You understand?

- Alright.
- Okay.

Here.

Operator, please, can't
you get Monroe City?

I've got to
talk to Mr. Doolittle.

It's my father and he's..

Just a minute. She's asking
if we'll accept a call.

- Someone's trying to get us.
- I suppose so.

Tell her to keep trying
to get your father.

Okay. Alright, operator.

Hello, Suzy, this is
Felix Jordan speaking.

It's Felix Jordan.

I called to tell you that after
hours of exhaustive discussion

I regret to say that we've
decided to use someone else.

I understand.

Thank you
for calling, Mr. Jordan.

Goodbye.

I didn't get the part after all.

That boy said
it was all settled.

How could he?
How could he?

I'll never get the job. Never.

There's only one man
the composer was going for.

- Then, the day he..
- Yeah.

Yeah, yeah. Go on, honey.
I'm listening.

He found out
I was married.

Found out? Say, what's
going on around here?

Well, I knew he liked me,
but I thought it was for my art.

As one artist
to another.

[telephone ringing]

Ah, there's your call.
Go on, answer it.

Oh, I can't.
I'd cry. You answer it.

Hello.

Oh, yes, Mr. Jordan.

No, this is
Mr. Bradshaw, her husband.

She asked me to take a message.

A-ha..

Right.

I'll tell her.

Oh, I knew it. I knew it.

Oh, what's the matter with you?

You got the part.

I got it?

I got it?

Isn't it wonderful?

Isn't it marvelous?

You see, it was
my art he liked.

I'm not gonna take
your answer as final Madelyn.

- Even if you get the part--
- There's no even, if.

They've got to take me.

They need someone
who can jump in there fast.

Those girls can't do it.
They haven't had the experience.

Alright then.
When do you get the part?

You may still decide
that you made a mistake--

[telephone ringing]

Hello, he..hello, daddy.

Look, daddy.
Daddy, listen--

[door bell]

That's the door.
Would you get it?

Hello, daddy, I'm crazy
to hear all about it

but I'm expecting
a terribly important phone call.

- Can I call you back?
- Oh.

- Come in.
- Thanks.

(Ted)
'I...I wanted to talk to you.'

It's bad news.

Yes, you didn't get it.

'It had nothing to do
with your audition.'

You were fine, fine,
but afterward

Well, I know
it sounds ridiculous but..

We put all three names
in a hat and we drew.

I just wanted to say
I-I did everything I could.

It's alright.
I'm sure you did.

- I can't tell you how much I--
- 'Who got the part?'

- Joanna Moss.
- She's lovely.

(Ted)
'Madelyn.'

It was good of you, Ted,
to come and tell me

instead of telephoning.

I know how busy you are
bu-but it really doesn't matter.

The whole thing
was a silly impulse.

It doesn't matter,
one way or the other.

Good bye, Ted.
Good luck.

I'm sorry.
Truly sorry.

I can't say
you didn't warn me.

I'll call you later.

'You're very sweet, Anson,
but I'm afraid I won't be here.'

I'm going away.

'Where?'

Where all dancers go
when they're washed up.

Home.

Back home and open up
a dancing school.

Brag to all the little monsters

what a glorious
and happy career I've had.

Goodbye, Anson.

[orchestral music]

Okay, here we go.

Now, we got
four counts for nothing.

You come in, in the first
count of eight. Alright?

And one, two, three, four.

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

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

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

Take up the curtain.

Hold it! hold it!

What is this?
Where is Joanna Moss?

- Where is she, Bobby?
- I called her, Mr. Jordan.

- Well, where is she?
- She's in the dressing room.

She's crying
and she won't come out.

Don't look at me.
I've been milk and honey.

Take ten minutes.

Joanna, do you realize
that you're holding up

an entire company, 87 people.
Time and overtime?

- You alright, Joanna?
- He's walking out on me.

Darling, I'm doing
no such thing.

This is a fine time to pull
a stunt, upsetting the girl.

- Goodbye, baby.
- Oh, no.

Look, why don't you postpone
this scene for another time?

Because I've a train to catch.
I'm due in Minnesota on Monday.

Now, darling. It'll only
be for a couple of weeks.

- Then you can join me.
- What do you mean?

This show isn't gonna fold.
It'll be a hit.

You'll could get another husband
but you won't get this part.

- Why, you cheap--
- No, no, no, hold it.

We're all
very tired and nervous.

Let's forget this
and get back to rehearsal.

No. I've changed my mind.

- She's coming with me.
- Oh, darling.

Well, there's a
little matter of contract.

Joanna has a run-of-the-play
contract. She's gotta to go on.

You've all been
terribly sweet.

You too, Mr. Belney.

But it wouldn't
be really worthwhile.

You see, I'm gonna
have a little act of God.

Mr. Bradshaw, I ought to
punch you right in the nose.

[fast music]

[knocking on the door]

Listen, Suzy. I got the--

Do I have to keep telling you?

- I never want to see you again.
- Listen, Suzy, please--

You lied to me.
Unforgivable lie.

- Ah, Suzy, could I help if--
- I'm not listening to you.

The job is yours. Joanna quit.
She's gonna have a baby.

- I don't believe a word.
- What's he saying?

- Is it true? Has she left?
- I'm telling you.

- Joanna's out and Suzy's in.
- I am?

You have to be at the theater
early tomorrow morning.

- Goodbye.
- Oh, Suzy, isn't it wonder--

Oh, Suzy, I've got to admit it.
He's a lovely boy.

A man, mother. A man.

Oh, Suzy.

Mr. Sturgis,
anything I can do for you?

Bobby, where have you been?
Call the papers.

Have them get the
photographers in the morning.

Madelyn's gonna
jump into the part.

You know what that means?

Corlane and Sturgis
are back together again.

Oh, baby. Now, we're
really in business.

[slow music]

Boom, boom, ba-boom.

I see, you heard the news, eh?

Well, cheer up.
It's not as bad as all that.

I don't know.

The way I feel now,
my life is over.

I might just walk out
and never to be heard of again.

That's right.
A man can't take it.

That girl Joanna throwing
away a chance like that.

A chance to sing my song,
dance my music.

I tell you, this is the end.
I'm through with women.

- I am through.
- Yeah? I'm through with Suzy.

- It's all over between us.
- No, when did that happen?

Any minute now.

But at least one of us is happy.

Ted. Ted is
positively delirious.

He's walking on air.

I...couldn't find her.

She's gone.

Apartments closed up, no
forwarding address. No nothing.

Nobody knows
where she is.

No kidding.
I guess, you win.

Go tell your girl
she's got the part.

I don't need to.
I already told her.

I'll tell her again.

[orchestral music]

[swing music]

♪ Applause applause ♪

♪ We like applause because ♪

♪ It means we made a striking ♪

♪ As the audience is liking us ♪

♪ Our work demands ♪

♪ You don't sit on your hands ♪

♪ And if the hands commend us ♪

♪ You send us ♪

♪ We live we thrive ♪

♪ You keep us all alive ♪

♪ With bravo and bravissimo ♪

♪ We're dead
if it's pianissimo ♪

♪ Art work is work ♪

♪ Is work we never shirk ♪

♪ In a happy land
of tinsel and Gods ♪

♪ Because ♪

♪ We like applause ♪

♪ Whether you're
a cymbal ringer ♪

♪ Or a crooner ♪
♪ Or a singer ♪

♪ Or monologist ♪
♪ Ventriloquist ♪

♪ Or a dog act ♪
♪ Or a magician ♪

♪ Or a musical for musician ♪

♪ Or an ingenue ♪
♪ Organist who is hot ♪

♪ Whether you play Punchinello ♪

♪ Little evil ♪
♪ Or a fellow ♪

♪ Having heard the call
you've given all you've got ♪

♪ And what better
reward for a trooper ♪

♪ Than the star
we consider super ♪

♪ Applause applause ♪

♪ Vociferous applause ♪

♪ From orchestra to gallery
could mean a raise in salary ♪

♪ Give up give in ♪

♪ Be noisy like a kid ♪

♪ The manager the artist ♪

♪ Are boys ♪

♪ We're going out of town ♪

♪ Because we cannot
run away ♪

♪ We earn applause
along the way ♪

♪ If we come through
give credit where it's due ♪

♪ Let the major
theaters operate ♪

♪ Because ♪

♪ Because ♪

♪ Because ♪

♪ Because we like applause ♪

[swing music]

♪ Bravo bravo bravissimo ♪

♪ Bravo bravo bravissimo ♪

♪ Bravo hurray bravo hurray
bravissimo hurray ♪

♪ Bravo hurray bravo hurray
bravissimo hurray ♪

♪ Bravo hurray bravo hurray
bravissimo hurray ♪

♪ Bravo hurray bravo hurray
bravissimo hurray ♪

♪ Bravo hurray bravo hurray
bravissimo hurray ♪

♪ Because because ♪

♪ Because we like applause ♪♪

[crowd applauding]

- Suzy.
- Bobby.

Papa.

Momma.

Oh, Ted.
This is my father, Ted.

You should be a very proud man.

- She's wonderful.
- Thank you.

Ted, where..

- Darling, you were wonderful.
- Truly, truly remarkable.

Ted...Ted.

Maddy. Maddy,
where have you been?

I've been worried about you.
We wanted you for the show.

Oh no.
Suzy, was wonderful.

But not as wonderful
as you would have been.

Why did you disappear that way?
Why did you run away?

I wanted to find out
something...and I did.

It wasn't the stage
I wanted to come back to.

- It was you.
- Oh, Maddy, Maddy.

[romantic music]

[orchestral music]