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  • 8 hours ago
When revered Broadway director Julian Marsh (Warner Baxter) falls on hard times with both his health and his finances, he helms an ambitious musical as a final production before his retirement. His lead actress, Dorothy Brock (Bebe Daniels), is torn between two loves--the show's wealthy backer, Abner Dillon (Guy Kibbee), and the earnest but penniless actor Pat Denning (George Brent) --while aspiring young performer Peggy Sawyer (Ruby Keeler) waits in the wings, hoping for her big break.
Transcript
00:00:00The End
00:00:30The End
00:01:00The End
00:01:42The End
00:01:46Jones and Barry are doing a show.
00:01:48Jones and Barry are doing a show.
00:01:51Jones and Barry are doing a show.
00:01:53Jones and Barry are doing a show.
00:01:55Testing.
00:01:56Testing.
00:01:57Jones and Barry are doing a show.
00:01:58You're telling me?
00:02:01Well, of course, I'm not a lawyer.
00:02:04I'm in the kiddie car business.
00:02:06I don't know much about contracts.
00:02:10But it looks good to me.
00:02:14It's the biggest contract I ever signed.
00:02:17Thanks to you, Mr. Dillon.
00:02:18Oh, you could have your choice of a dozen shows.
00:02:22A pretty girl like you.
00:02:24Not with this depression.
00:02:27Say, if it hadn't been for you and your little kiddie car.
00:02:29Oh, now, Miss Brock.
00:02:31Dorothy, I mean.
00:02:33You don't mind my calling you Dorothy, do you?
00:02:37Why, of course not.
00:02:39Well, Dorothy, I'd like to do something for you.
00:02:42You've done entirely too much for me already.
00:02:45And I just can't tell you how much I appreciate it.
00:02:48No, no, no.
00:02:49I mean, I mean, I'd like to do something for you.
00:02:54If you'd do something for me.
00:03:00Why, Mr. Dillon, of course I'd be very glad to.
00:03:03But what could I possibly do for a big man like you?
00:03:07Call me Abner.
00:03:23When we got Dorothy Brock, we got a great break.
00:03:26Abner Dillon guarantees to finance anything she does.
00:03:31Say these days, stars like Dorothy Brock are a dime a dozen.
00:03:34That's what we got you for, Julian.
00:03:36Julian Marsh, the greatest musical comedy director in America today.
00:03:41What do you mean, today?
00:03:43All right, tomorrow, too.
00:03:44Say, with your reputation...
00:03:47Yeah, did you ever try to cash your reputation at a bank?
00:03:50I'm in this for one reason only.
00:03:52Money.
00:03:53Money?
00:03:54You?
00:03:55Say, with all the hits you've had, you ought to be worth plenty.
00:03:58Yeah, I ought to be, but I'm not.
00:04:00Did you ever hear of Wall Street?
00:04:03Excuse me, Mr. Marsh.
00:04:04There's a phone call for you.
00:04:05A Dr. Chadwick.
00:04:07Tell him I'll call him back.
00:04:09But he says it's urgent, about your examination.
00:04:13Use our private phone, Julian.
00:04:20What is it, Doc?
00:04:23You have?
00:04:24Good Lord, man, you're not a machine.
00:04:26That body of yours will stand just so much.
00:04:29I know, but there's no other way.
00:04:33You're not just headed for another nervous breakdown.
00:04:35And the undue strain on your part might easily prove fatal.
00:04:39Sorry, Doc, but I've got to risk it.
00:04:41Anything wrong, Julian?
00:04:43You're not going to have another breakdown.
00:04:45Because if that's what it is...
00:04:46The contract sign is it.
00:04:46It doesn't matter.
00:04:47That's all right, it holds.
00:04:51You'll get your pretty lady.
00:04:54You haven't got anything to worry about.
00:04:56I'm not going to let you down.
00:04:59Because I can't afford to.
00:05:01I've given everything I've had to that gulch, darling.
00:05:04It's taken all I had to offer.
00:05:05Oh, it paid me, sure.
00:05:06And money I couldn't hang on to.
00:05:08Fair weather friends, women, headlines.
00:05:11Why?
00:05:12Even the cops and the newsboys recognize me on sight.
00:05:15Marsh the Magnificent.
00:05:16Marsh the Slave Driver.
00:05:18Actors tell you how Marsh drove them and bullied them.
00:05:20And even tore it out of them.
00:05:22And maybe there's a few that'll tell you how Marsh really made them.
00:05:24And they all got something to show for it, except Marsh.
00:05:27Well, this is my last shot.
00:05:29I'll make a few more actors.
00:05:30But this time, I'm going to sock my money away so hard
00:05:33that they'll have to blast to find enough to buy a newspaper.
00:05:36That's why I'm going ahead with Pretty Lady.
00:05:38And Pretty Lady's got to be a hit.
00:05:40It's my last show and it's got to be my best.
00:05:42You're counting on me while I'm counting on Pretty Lady.
00:05:45Because it's got to support me for a long time to come.
00:05:48But, Julian, wait a minute.
00:05:49Remember, my contract makes me boss with a capital B.
00:05:52And what I say goes.
00:05:53Uh, make the chorus call for 10 o'clock tomorrow.
00:05:59He'll drive us crazy before we get this show on.
00:06:02Yeah, but suppose that guy should pass out on us.
00:06:05New York will see its first triple funeral.
00:06:24Good morning, gentlemen.
00:06:25Mr. Marsh will be in here in just a few moments.
00:06:27Quiet, now. Quiet, please.
00:06:29Quiet, please.
00:06:29Quiet, everybody. Quiet.
00:06:30Hello, Jerry. How are you?
00:06:32Hello, Andy.
00:06:33Well, it's too good to be true.
00:06:35How's the turnout, Mac?
00:06:36About 30-50.
00:06:37Half are dumb and the other half are dumber.
00:06:40Oh, Andy.
00:06:42Hello.
00:06:48He's so busy.
00:06:50Little Lorraine has been hitting the bottle again.
00:06:52Yeah, the peroxide bottle.
00:06:54What do you know, get me canned?
00:06:56Now, listen, you're set.
00:06:56You're in.
00:06:57Now, scram, will you?
00:06:58Oh, darling, you're just too sweet the way you keep spoiling me.
00:07:02I beg your pardon.
00:07:04It's okay, lady.
00:07:05This is a two-way street.
00:07:06I beg your pardon.
00:07:07But are you by any chance the, the, what is the word, the stage manager?
00:07:13Hey, Ann, come out from under that accent.
00:07:16I see you.
00:07:17Lolly!
00:07:19Darling!
00:07:20You remember Ann Lowe.
00:07:23Not any time Annie.
00:07:24Say, who could forget her?
00:07:25She only said no once and then she didn't hear the question.
00:07:28Gee, you been abroad?
00:07:30Oh, no.
00:07:36Andy, where's Andy Lee?
00:07:37Yes, Mr. Marsh, coming right up.
00:07:41Good morning, Mr. Marsh.
00:07:43Good morning.
00:07:43Line them up, Andy.
00:07:44Yes, sir.
00:07:45Okay, girls, line up.
00:07:46Come on.
00:07:47Quiet now, quiet.
00:07:49All right, come on now, quiet, girls.
00:07:52I want all the guys in the line up, double line out front.
00:07:56Showgirls in double line in back of them, and the boys in back of them.
00:08:00Don't scramble.
00:08:02Come on, girls, hurry up.
00:08:04I really had a charming summer in Dovelde.
00:08:08Yes, but don't you find, sir George, impossible at Thames?
00:08:12Oh, bet.
00:08:13Get a lot of men in the mountaineer.
00:08:15Must have been tough on your mother not having any children.
00:08:18That's telling them.
00:08:24Oh, dear.
00:08:29Oh, dear.
00:08:33You looking for somebody?
00:08:35Or just shopping around?
00:08:37Could you tell me where I'll find the gentleman in charge?
00:08:40First door to your left, dearie.
00:08:42I know, but shh.
00:08:45Don't knock.
00:08:46He's expecting you.
00:08:47But that's the...
00:08:52Parker's safe.
00:08:53The other door.
00:08:58Hey, wait a minute.
00:09:00Hey, what's the idea?
00:09:02Oh, they said, weren't you expecting me?
00:09:06Well, not exactly, but I'm afraid you'll do.
00:09:10Well, I don't understand.
00:09:12Say, I don't either.
00:09:13What do you want?
00:09:14What are you looking for?
00:09:15Well, isn't this the...
00:09:17No, no.
00:09:18When I get my clothes on, I'll show you where it is.
00:09:20Oh, it isn't a knit.
00:09:21It's a he.
00:09:22Maybe I'm wrong about the whole thing.
00:09:24Let's start all over again.
00:09:25I'm Billy Lawler, one of Broadway's better juveniles.
00:09:28Oh, I thought you were important.
00:09:31Say, that's the way a lot of people feel about juveniles.
00:09:34Only most of them aren't so frank about it.
00:09:39You're new to show business, aren't you?
00:09:40Oh, I've had experience.
00:09:43How many shows?
00:09:43Oh, why any number of...
00:09:45Come on now, come on.
00:09:46Well, to tell you the truth...
00:09:48I want the truth.
00:09:49This will be my first, if they take me.
00:09:52If they take you?
00:09:53Say, you can't miss.
00:09:55I'll take you and myself.
00:09:57I'll steer you right up to the stage, director.
00:09:59Come on, let's go.
00:10:03A short order of hand coming out.
00:10:06Not good, but loud.
00:10:07Honey, take a good look at them now, will you?
00:10:09Because after they make that back line,
00:10:11you'll never see them again.
00:10:12Well, but it's to the Lord Bambaloy in the village Maine.
00:10:15Maine in New York and all places.
00:10:17Just a minute.
00:10:18Where are you headed for, sister?
00:10:20She wants to see Marsh.
00:10:21That'll just about make Marsh's day perfect.
00:10:23Come on, girls, inside.
00:10:25There's the boss right over there, honey.
00:10:26See him?
00:10:26His name is Julian Marsh.
00:10:27He's a fellow with a light gray felt hat.
00:10:29Go over and talk to her.
00:10:30Go ahead.
00:10:40Quit shoving.
00:10:48Left the skirts up a little higher.
00:10:49Come on, come on.
00:10:51I'm afraid I've got to run.
00:10:53First order you're left.
00:10:54Oh, my stocking.
00:10:56Oh.
00:10:57First offense, kid?
00:10:59Yes, but I don't think maybe I ought to tell them that.
00:11:01No, of course not.
00:11:03And they'll never guess.
00:11:04Do you think I'll do?
00:11:07Well, I only know what I read in the papers,
00:11:09but you look all right to me.
00:11:10Andy.
00:11:11Yes, sir, Mr. Marsh?
00:11:12That's the first eight girls.
00:11:13Yes, sir.
00:11:13All right, and the first eight girls line up here.
00:11:15Come on, Ruth.
00:11:15First eight girls line up down in front.
00:11:17Come on, come on, come on, girls.
00:11:21Now lift your dresses up.
00:11:23Come on, higher, higher.
00:11:24I want to see the legs.
00:11:27Yeah, they got pretty faces, too.
00:11:31Turn around.
00:11:32Come on, turn around.
00:11:35Oh, dear.
00:11:36Not a calf in a carload.
00:11:39Get the next eight, will you?
00:11:40All right, next eight.
00:11:41Come on down.
00:11:42Stick with us, kid.
00:11:43You'll come in on the tide.
00:11:44Come on, girls.
00:11:45Hurry up, hurry up.
00:11:45Line up, girls.
00:11:48Hurry up, girls.
00:11:49Come on.
00:11:49Lift your dresses up.
00:11:51Do you mind holding Fifi for me?
00:11:52Turn around now, please.
00:11:55All right, back.
00:12:02Okay, though, straight on the left, Mr. Marsh.
00:12:04If I were you, I'd keep them.
00:12:07I suppose if I don't, you'll have to.
00:12:10Ah, Lorraine again, huh?
00:12:13Andy, you're a panic.
00:12:14All right, have it your way.
00:12:15Mac, okay, by special request of the copyright owner.
00:12:20All right, next eight.
00:12:20Come on, hurry up, girls.
00:12:21Next eight, girls.
00:12:22Come on.
00:12:24What's yours?
00:12:25Dionne Lormore, 333 Park Avenue.
00:12:29And is her homework tough?
00:12:32Next.
00:12:35Adnan.
00:12:35Here.
00:12:35Arnold.
00:12:36Here.
00:12:36Can't wait.
00:12:37Here.
00:12:39Andy, what's the matter?
00:12:42Well, what is it?
00:12:43What is it?
00:12:43What's the matter now?
00:12:45Must have been a slip-up someplace, Mr. Marsh.
00:12:47It was a girl's short.
00:12:49Well, that's great.
00:12:50Just great.
00:12:52Now all we need is a girl and a dance director who can count up to 40 without a pad
00:12:55and pencil.
00:12:56Mr. Marsh.
00:12:56Well, do something.
00:12:57Get another girl.
00:12:58You don't expect to stand there and shake a blonde out of your pants leg, do you?
00:13:01Yeah, but Mr. Marsh.
00:13:02Hey, Mr. Marsh, I don't want to buddy in but...
00:13:03Oh, a lot of people are like that.
00:13:04Sorry, Mr. Marsh, but I can have one up here the first thing in the morning.
00:13:07Yeah, that's just ducky.
00:13:08I can hardly wait.
00:13:09Hey, Mr. Marsh, that's what I'm trying to tell you.
00:13:10You don't have to wait.
00:13:11And she's a swell dancer, too.
00:13:13And you picked her once, but she got eliminated the third time through.
00:13:18Say, you, come out from behind there.
00:13:20Hey, you, with the legs, come out.
00:13:21Come on.
00:13:22Quiet, quiet, please.
00:13:24Quiet, please.
00:13:25Quiet, please.
00:13:29Well, I'm up.
00:13:31Hey, kid.
00:13:31Hey, you.
00:13:33Hey, come on, get up.
00:13:37The boss wants to see you again.
00:13:39Who, me?
00:13:40Come on, come on.
00:13:46All right, she'll do.
00:13:48They're all yours, Andy.
00:13:49All right.
00:13:51All right, get in line.
00:13:55All right, now, everybody.
00:13:58Quiet, listen to me.
00:14:00Tomorrow morning, we're going to start a show.
00:14:02We're going to rehearse for five weeks, and we're going to open on scheduled time.
00:14:06And I mean scheduled time.
00:14:09You're going to work and sweat and work some more.
00:14:11You're going to work days, and you're going to work nights, and you're going to work between time, when I
00:14:15think you need it.
00:14:16You're going to dance until your feet fall off, and you're not able to stand up any longer.
00:14:20But five weeks from now, we're going to have a show.
00:14:25Now, some of you people have been with me before.
00:14:27You know it's going to be a tough grind.
00:14:29It's going to be the toughest five weeks that you ever lived through.
00:14:32Do you all get that?
00:14:35Now, anybody who doesn't think he's going to like it had better quit right now.
00:14:38What do I hear?
00:14:41Nobody?
00:14:42Good.
00:14:43Then that's settled.
00:14:45We start tomorrow morning.
00:14:48All right, kids.
00:14:50Ten o'clock tomorrow morning, we start with the lyrics.
00:14:52In practice clothes.
00:14:54Oh, I don't get higher.
00:15:01November or November, April, August or December.
00:15:09November, it must, it must, it must, it must, it must, it must be you.
00:15:26What did I tell him?
00:15:27This is what I told him.
00:15:28No, I won't run your stage for that money.
00:15:30Well, he tried, he tried.
00:15:32One way, I went home for him, you see.
00:15:33That's great.
00:15:34You beat Jerry to the finish by two lends.
00:15:36All right, kids.
00:15:37Take your positions.
00:15:38We're going to try those routines together.
00:15:39Get me down.
00:15:41One, two, three.
00:15:42Quiet.
00:15:43What did you put it here, home?
00:15:45Now, get back to New York when I get this wire.
00:15:47She and I pop right up to the house.
00:15:49Come on, kids.
00:15:50Let's go.
00:15:51All right, Jerry.
00:15:53Let's go.
00:15:58All right, Dorothy.
00:15:59That's your cue.
00:16:01Things can never be the same now.
00:16:03I beg your pardon, Miss Brock, but would you mind saying things can never be the same now?
00:16:08Well, that's what I said.
00:16:09You did not.
00:16:10You said things can never be the same now.
00:16:12I did not.
00:16:13You did.
00:16:13Now, wait a minute.
00:16:14Who's directing this show?
00:16:15She's reading my lines wrong.
00:16:17I am not.
00:16:18What did you say?
00:16:18I said things can never be the same now.
00:16:21That's right.
00:16:22Things can never be the same now.
00:16:24The scene ends with you two on the steps.
00:16:26Then you go into the number.
00:16:28All right, Dorothy.
00:16:28Now, that's where you take his hand.
00:16:30Now, the scene ends with you two on the steps.
00:16:31Then we go right into the duet.
00:16:32Number's over.
00:16:39Hello.
00:16:40Hi.
00:16:41You're doing fine for a beginner.
00:16:42Well, thanks.
00:16:43I'm trying.
00:16:44Say, I was so scared that first day I walked around the block four times before I had courage
00:16:49enough to even come and apply for this job.
00:16:52I know it's tough, but you'll get along.
00:16:53Well, I wouldn't mind if I could only get that routine set.
00:16:57Listen, sister.
00:16:57I'll show you those taps.
00:16:59Come on with me.
00:16:59Taps?
00:17:00Say, I can do a tap dance on my ear.
00:17:03What bothers me is that routine.
00:17:06Then I'm just what the doctor ordered.
00:17:07Come along.
00:17:12Now, look.
00:17:13Cross over.
00:17:19You kids are gluttons for punishment.
00:17:21Well, mister, mister.
00:17:23Well, this boy's showing me.
00:17:24I was just trying to make her.
00:17:25Trying to make her is right.
00:17:29We'll just let that pass.
00:17:31I'll try it again.
00:17:32Bum, bum, bum, bum, bum, bum, bum, bum, bum, bum, bum.
00:17:35When water stood beneath the moon
00:17:41And when it was true, a dream he knew
00:17:47When golden red began to bloom
00:17:54It must be true
00:17:57Where you sitting, where you at?
00:17:59On a flagpole, dearie, on a flagpole.
00:18:02When you are true
00:18:06You shall wonder
00:18:09It's true to you
00:18:12I always say, dearie, she's a nice girl
00:18:14And she's so good to her mother.
00:18:16She sure is.
00:18:16Do you know that she makes $45 a week
00:18:18and sends her mother a hundred of it?
00:18:20When I love you
00:18:23It must, it must be you
00:18:30Not September or November
00:18:33April, August
00:18:35Get some feet against me, will you?
00:18:38What do you want me to do, wipe my nails?
00:18:41It must, it must
00:18:45It must, it must
00:18:55It must, it must
00:19:09Wait a minute, wait a minute
00:19:10Hold it, Jerry
00:19:11It's out
00:19:13It'll be about enough of that, it smells
00:19:15You mean you don't like this number?
00:19:17Sure I like it
00:19:18I've liked it since 1905
00:19:20What do you think we're putting on, a revival?
00:19:22It's out, the whole number
00:19:23Why, Mr. Marsh, this number will be a riot
00:19:25That's exactly what I'm afraid of
00:19:27Dismiss, Andy
00:19:28An hour for lunch
00:19:28All right, everybody
00:19:29One hour for lunch
00:19:30One hour
00:19:31One hour
00:20:03Waiting long, darling?
00:20:05Well, long enough
00:20:07I would wear, uh, rouchy, aren't I?
00:20:09Oh, no, not that, but, uh
00:20:11What?
00:20:12Well, dear, it's just that I'm getting tired of this hiding in doorways
00:20:15and sneaking in and out of places
00:20:16and always keeping under cover
00:20:18while I'm beginning to feel like a criminal
00:20:22There, there's nothing criminal in that, is there?
00:20:25No, there's nothing criminal in that
00:20:34Listen, Julian, I thought we'd better come over and tell you
00:20:36Looks like we're in trouble
00:20:37That word has a familiar sound
00:20:39Are you married, too?
00:20:41This is serious, Julian
00:20:43Serious?
00:20:44Did you ever leave your wife sitting alone in a nightclub holding the check?
00:20:49Now, you know, of course, that Admiral Dillon's putting up the bankroll for our show
00:20:52I know he wasn't hanging around because you liked his face
00:20:55I don't like his face or any part of him
00:20:57He looks like a Bulgarian ball weevil mourning its firstborn
00:21:02Well, his interest in our show is Dorothy Brock
00:21:05And his interest is our principal
00:21:07Very good
00:21:09Very, very good
00:21:11Even I was able to gather that much
00:21:13Yes?
00:21:14Well, we stand a first-rate chance of having him withdraw his financial support right now
00:21:18Now, did you gather that?
00:21:20But why?
00:21:21Because dear little Miss Brock is two-timing Abner right under his very nose
00:21:25Now, that's why
00:21:25Who with?
00:21:26With a fellow who used to be her partner for years when she was in Vaudeville
00:21:29Now she's come up in the business, well, he just hangs around
00:21:31He's been out of town somewhere and just got back last week
00:21:34If Dillon finds this out, and if he doesn't, he's dumber than I thought even he could be
00:21:37Oh, now, wait
00:21:38Nobody can be as dumb as all that
00:21:41Well, he'll just walk out on us and we'll be sunk
00:21:44That's what, if we don't do something quick
00:21:46Try applying a little dough to the problem
00:21:48Give the Romeo a hundred bucks
00:21:50Get him out of the town
00:21:51Get him out of the way
00:21:51We might try using a little flip
00:21:54Say, you don't know this guy Denning
00:21:57That's his name, Pat Denning
00:21:58He's not the kind of a guy that gets sent places just like that
00:22:00No, no
00:22:01He gets train sick
00:22:03I see, hard-boiled, huh?
00:22:06Well, it's going to be just too bad
00:22:09But no Vaudeville chump is going to ruin my show
00:22:12Why, what are you going to do?
00:22:13I'm going to talk about it with Murphy, a friend of mine from downtown
00:22:15He never did like Vaudeville
00:22:17Slim Murphy?
00:22:17Yes
00:22:18Why, Murphy will kill him
00:22:19Well, that'll teach him a good lesson
00:22:21Now, listen, I don't want to be mixed up with Murphy or any other gangsters
00:22:25No?
00:22:25Well, what's one man's meat is another man's Murphy
00:22:27I told you what this show means to me
00:22:29Well, this is what it does mean
00:22:31Hello
00:22:31Hello, Murphy
00:22:32This is Julian Marsh
00:22:34Yeah, I'm okay, thanks
00:22:35Say, listen to me
00:22:36You've got to do me a favor
00:22:37Did you ever hear of Dorothy Brock?
00:22:40Good
00:22:41That makes it so much easier
00:22:43Well, listen to me and get this
00:22:45It seems there's a certain guy by the name of Denning
00:22:50D-E-N
00:22:53N-I-N-G
00:22:55I got you, Mr. Marsh
00:22:57Sure
00:22:59Hey, pipe down
00:23:00What do you think I got on?
00:23:01Earphones?
00:23:04It's as good as done
00:23:06And say
00:23:07You ain't going to forget me on ducats for the new show, are you?
00:23:10That a boy
00:23:12Okay
00:23:21Here, not another nickel, honey
00:23:23You know, just can't be done anymore, that's all
00:23:25Oh, Pat, don't be silly
00:23:28We've always shared and shared alike, haven't we?
00:23:30Mm-hmm
00:23:30Oh, what's come over you?
00:23:32Oh, getting a sudden attack of manhood, possibly
00:23:34Oh, Dot, let's quit kidding ourselves
00:23:37Well, I'm getting to be a regular anchor around your neck
00:23:39You're not
00:23:40Yes, I am
00:23:40And besides, this business of never being able to see you
00:23:43Except when nobody is looking
00:23:44Is beginning to get me down
00:23:45But, darling
00:23:47I owe everything I am to you
00:23:49It was you and that little act of ours that started me in all this
00:23:52Why, you trained me and coached me
00:23:54And taught me all I know
00:23:56I was pretty dumb, too
00:23:58I haven't forgotten
00:23:59The act?
00:24:00Oh, it was grand, Pat
00:24:01Really grand
00:24:02It was terrible
00:24:03Well, you didn't think so then
00:24:04You mean I didn't say so then
00:24:06Oh, Dot
00:24:07You've gone ahead
00:24:08You've earned it
00:24:09I've stayed behind where I belong, I guess
00:24:11You've deliberately kept yourself behind
00:24:14Nothing of the sort
00:24:15Well, they wanted you
00:24:16They never wanted me
00:24:20Besides, Dot, I've been getting myself some education
00:24:22And I've discovered they have a name for a man who doesn't work
00:24:25Who accepts money from a woman
00:24:29It isn't a very nice name, Dot
00:24:31Oh, darling, you're talking like a child
00:24:33No, I'm not
00:24:34There isn't any other reason, is there?
00:24:36No
00:24:37Sure
00:24:37Well, sure, I'm sure
00:24:39Now it's getting late
00:24:40I'd better take you home
00:24:41Yeah, keep the change
00:24:42Thank you, sir
00:24:43Thank you
00:24:44I wish you didn't feel the way you do
00:24:45So do I
00:24:47But I do
00:24:57Watch that temple
00:24:58Watch it, will you?
00:25:00Come on, get the feet off of the floor
00:25:02Get them up
00:25:06Faster
00:25:07Faster
00:25:08Come on
00:25:09Faster, faster
00:25:12Stop it, stop it, stop it
00:25:14It's brutal
00:25:17Oh
00:25:18May I remind you that pretty lady's out-of-town opening is not far away
00:25:23It's been advertised as a musical comedy with dancing
00:25:28If it isn't asking too much, will you please show me a little
00:25:32All right, now, once again, give it something
00:25:34Come on, ready, Jerry?
00:25:36Get into it now
00:25:37Come on
00:25:58Having fun?
00:26:01After three weeks of this, a leg ain't nothing to me but something to stand on
00:26:06All right
00:26:06Let me hear your number, Dorothy
00:26:08Come on, Jerry
00:26:08The, uh, habit
00:26:09Habit number
00:26:13Jerry, put it up a half a tone, will you?
00:26:16Every kiss, every hug
00:26:18Seems to act just like a drug
00:26:21You're getting to be a habit with me
00:26:24Doesn't she sing gorgeous?
00:26:26Seventy thousand bucks
00:26:29You're getting to be a habit with me
00:26:34I used to think your love was something that I could take or leave alone
00:26:42But now I couldn't do without my supply
00:26:46I need you for my own
00:26:50Watch this, honey
00:26:51I may want you to understudy
00:26:52I must have you every day
00:26:55As regularly as coffee or tea
00:26:59You've got me in your clutches and I can't get free
00:27:03You're getting to be a habit with me
00:27:07Can't break it
00:27:08You're getting to be a habit with me
00:27:16All right, okay
00:27:17Come on, now, folks
00:27:18Get ready for the duet number
00:27:19Come on
00:27:19Stab it up
00:27:20All right, now, folks
00:27:21Go away, Jerry
00:27:23Let's go
00:27:27Come on
00:27:28Faster, Jerry, faster
00:27:39Faster, Jerry, faster
00:27:53What's the matter with you?
00:27:55All right, come on
00:27:56All right, kid
00:27:57I guess so
00:27:59Come on, faster
00:28:00All right, faster
00:28:05Piggy
00:28:07Get back, everybody
00:28:08Get back in the line
00:28:10All right, come on now
00:28:11Police is everybody
00:28:12This is a rehearsal, not a rescue
00:28:13Back, take her outside
00:28:15Hurry up now
00:28:15Come on, everybody, Jerry
00:28:16All right, come on
00:28:18Get back, Jerry
00:28:19Hurry up
00:28:19Hurry up
00:28:23Up, up
00:28:25Take him up
00:28:29Here's my
00:28:29Thank you
00:28:30Come on
00:28:35Hold your places, everybody
00:28:36All right, Lola, inside
00:28:37The girl's okay
00:28:38Feel better, honey?
00:28:44All right
00:28:53I guess I fainted
00:28:54That's a good guess
00:28:56I guess I'm all right now
00:29:02Bad guess
00:29:03Better sit down again
00:29:04Now listen
00:29:05You let me play now
00:29:07What would you suggest, doctor?
00:29:09Well, a little fresh air
00:29:10And conversation
00:29:11But what about Mr. Marsh?
00:29:13Oh, never mind, Mr. Marsh
00:29:15Let's sit this dance out, huh?
00:29:17And if I lose my job?
00:29:18If you do
00:29:19There just won't be any show
00:29:22Anyway, it's a nice idea
00:29:23Say, listen
00:29:24I got a lot of nice ideas
00:29:26What I need are ears
00:29:27To spill them in
00:29:28Well, won't mine do?
00:29:31Yes, you know
00:29:31I think they do
00:29:32Very, very nicely
00:29:34One of your ears available
00:29:35Oh, at all sorts of odd hours
00:29:38You must look them up sometime
00:29:40Remind me to tell you
00:29:41I think you're swell
00:29:43That's all for me
00:29:44All right, dismissed, Carol
00:29:45How many dismissed?
00:29:52Well, thanks, doctor
00:29:53Your prescription was great
00:29:55Now for the workshop
00:29:59Oh, wait a minute
00:30:00You know, you've got to take it daily
00:30:01To really do any good
00:30:02It'll have to be absent treatment, I'm afraid
00:30:05At least for the time being
00:30:07Good night
00:30:08Good night
00:30:13Good night
00:30:13Good night, Miss Rock
00:30:14Oh, well, coming, Abner
00:30:19Dorothy, where will we eat?
00:30:22Oh, you know, Abner
00:30:23I'm not a bit hungry
00:30:24Oh, but look
00:30:25I'm all dressed for dinner
00:30:26Oh, yes, so you are
00:30:27I'll get the car
00:30:31Dorothy, the car's here
00:30:33Yes, Abner
00:30:56Why, doctor, you must like it here
00:30:58I'm beginning to, but you know
00:31:00I'm not the doctor anymore
00:31:01You are
00:31:01I've become the patient
00:31:02And believe me
00:31:03I'd like a little advice
00:31:04Very well
00:31:05But you might tell the doctor your name
00:31:07Oh, I couldn't do that
00:31:08But my initials are Pat Denning
00:31:11What do you advise for a man
00:31:13Who's both hungry and lonesome
00:31:14And who hates to eat alone?
00:31:15Company
00:31:16Excellent
00:31:16Did you have anyone in mind
00:31:18In particular?
00:31:19Did you?
00:31:19Will you?
00:31:20I'm very much afraid I will
00:31:23Good
00:31:25Well, good night, Pat
00:31:27It's been a wonderful evening
00:31:28Will I see you again?
00:31:29I hope so
00:31:30Good
00:31:30Good night
00:31:31Good night
00:31:33Hey, got a match?
00:31:35Yep
00:31:36Guess so
00:31:37Yeah
00:31:37Don't happen to know a guy named Pat Denning, do you?
00:31:40Why, yes
00:31:41We've got a message for him
00:31:42This guy Denning's a pretty wise mug
00:31:44But he ain't wise enough
00:31:45And if he don't lay off that Dorothy Brock dame
00:31:48It's going to be just too bad
00:31:49For Denning, get me?
00:31:51All right, I'll tell him
00:31:52Yeah, well
00:31:53Oh
00:31:54That's so you don't forget
00:31:55Pat
00:31:55Come on
00:31:56Pat
00:31:59Pat
00:32:00Who were they?
00:32:02Oh, friends with good advice
00:32:03Are you heard?
00:32:04Well, I'm not sure
00:32:07But, Pat, tell me what happened
00:32:10Better let it drop
00:32:12Besides, it's hardly a bedtime story
00:32:14For a nice little girl like you
00:32:16What kind of a house do you think this is?
00:32:18Get that man right out of here
00:32:19But, Mrs. Hull
00:32:21But nothing
00:32:21I have eyes
00:32:22Just because there's a depression on
00:32:24Some folks thinks that a landlady can stand for anything
00:32:26Oh, but you don't know
00:32:28After running a rooming house for 19 years
00:32:31There's nothing that I don't know
00:32:32Now you get out
00:32:33And no more talk
00:32:35Then if he goes, I go too
00:32:37Huh
00:32:38Probably I'll be able to bear up under that blow, too
00:32:43Well, where do we go from here?
00:32:47Hotel
00:32:47I suppose so
00:32:49But it'll have to be an inexpensive one
00:32:51As I only have about a dollar and a half
00:32:57What about my place?
00:32:58Broke?
00:32:59Not exactly
00:33:00Not exactly flush, either
00:33:02Then I guess it's your place
00:33:04Or a park bench
00:33:17There you are
00:33:29It's better
00:33:32Have your coat
00:33:45Make yourself comfortable
00:33:48Will you excuse me a minute?
00:33:50Sure
00:34:19Just a couple of rose-colored blitzes
00:34:20Just a couple of rose-colored blitzes
00:34:20Let's try and see how the world looks
00:34:22Okay, doctor
00:34:24Here you go
00:34:32Things beginning to look any better?
00:34:33A little bit
00:34:36Tired, aren't you?
00:34:38Dead tired
00:34:49And I feel just like beginning
00:34:51You hop, step, and jump as many miles as I have today
00:34:55And you'd be tired, too
00:35:15Pat, Pat, what are you doing?
00:35:18Please put me down
00:35:19Please, Pat
00:35:20Please put me down
00:35:26Now, you go right to sleep, youngster
00:35:28What you need is a good night's rest
00:35:32Good night
00:35:33Good night
00:35:38Oh, Pat
00:35:39Yes
00:35:41Will you hand me my bag, please?
00:35:43Oh, uh, which one?
00:35:45That one
00:35:51There you are
00:35:51Thank you
00:35:52Good night
00:35:53Good night
00:36:15What are you doing?
00:36:16You got a couple left feet like mine
00:36:21Just pick him up and lay him down
00:36:23Well, I'm doing the best I can, honey
00:36:28Get a load of the juvenile
00:36:32Didn't know we had elephants in the show
00:36:37Hold it! Hold it! Hold it! Hold it! Hold it! Hold it! Hold it!
00:36:40Hold it, Jerry
00:36:43Lawler
00:36:44Someday some director's gonna jail you for taking money under false pretenses
00:36:47You're supposed to be a dancer
00:36:49All you need is a couple of license plates and you look like a Model T Ford
00:36:52Listen, Mr. Marsh, they've been going all night long
00:36:54I'll keep them here till they get it if it takes a week
00:36:57All right, now get out
00:36:58Take the last eight bars
00:37:00All right, pick it up, Jerry
00:37:01Figure it up, Jerry
00:37:20Hello, honey
00:37:21Oh, Dan, how are you?
00:37:23Oh, tea for two
00:37:26Uh, yeah
00:37:27Friend of mine dropped in
00:37:30Love me?
00:37:31Mm-hmm
00:37:33I wonder
00:37:35Oh, now you're not going to go and get serious on me, are you?
00:37:42You leaving town?
00:37:43Yeah
00:37:44Stock job in
00:37:46Philadelphia
00:37:48Oh, Pat, without telling me
00:37:50Well, dear, I thought it was the best way
00:37:55Maybe you're right
00:37:58Sit down, dear, I want to talk to you
00:38:00Mm-hmm
00:38:06I've done a lot of thinking since the other night
00:38:09Pat, do you know what's wrong with me, or rather with us?
00:38:14We've grown too necessary to one another
00:38:16You've been content to rest in the shadows while I've basked in the spotlight
00:38:19Simply because it's held us together
00:38:22My success has been your failure
00:38:24Well, dear, my failure, as you put it, has been my happiness
00:38:28But, darling, you're capable of such great things
00:38:32You're not a quitter
00:38:34I've only wanted to help you, but I've been hurting you instead
00:38:37I realize that now
00:38:39That's why I came here this morning
00:38:42Pat
00:38:43We're not going to see each other for a long time
00:38:46No more doorways
00:38:48No more secret meetings
00:38:50You're going out on your own and make a success
00:38:55You're right, darling
00:38:57But, you know, somehow
00:38:58I can't imagine going on without you
00:39:02Nor I without you
00:39:04But it's got to be
00:39:07Yes, darling
00:39:07It's got to be
00:39:09Maybe
00:39:11Maybe
00:39:12Someday
00:39:12Someplace
00:39:15Maybe
00:39:19Bye, Pat
00:39:24Oh, darling
00:39:30I love you
00:39:32Me, too
00:39:56Up
00:39:58Look
00:39:59Up
00:40:01Up
00:40:06Hiya, Bluebeard
00:40:07Okay
00:40:08Just a little touch of Scarlet Beaver
00:40:10Oh, that's fine
00:40:11Maybe we'll develop to something serious
00:40:21The curtain's just come down
00:40:23It's the end
00:40:25And is this what you call a finale?
00:40:31What is this?
00:40:32Amateur night?
00:40:34Have we been rehearsing for five weeks?
00:40:38Or did I dream it?
00:40:39The show's ragged
00:40:41What do you mean the show's ragged?
00:40:43The numbers are ragged
00:40:44May I remind all you shining lights
00:40:47That this is the company that opens tomorrow night?
00:40:52I am in the right theater, am I not?
00:40:55This
00:40:56This is the pretty lady company, isn't it?
00:40:58The all-star show that opens in Philadelphia tomorrow night?
00:41:04Philadelphia
00:41:05Quiet
00:41:06Quiet
00:41:09Philadelphia, PA
00:41:11Yeah, and on Sundays it's PU
00:41:14Yeah, and on Sundays it's PU
00:41:15Quiet
00:41:16Quiet
00:41:17Julian
00:41:19You mean Atlantic City, don't you?
00:41:21I mean Philadelphia
00:41:23Train leaves at 1 p.m. Penn Station
00:41:25Full dress rehearsal, 4 o'clock, Art Street Theater
00:41:27But I...
00:41:28I don't want to go to Philadelphia
00:41:31Who does?
00:41:32We couldn't get the house in Atlantic City
00:41:34But why Philadelphia?
00:41:37Well, when you become stage director
00:41:39We'll open in your apartment if you say so
00:41:41But right now it's Philadelphia
00:41:43You've got the call, read him the call
00:41:44Of all the cities in the United States
00:41:46He would pick Philadelphia
00:41:48All right, now listen to me
00:41:51We open the Archer's Theater for Philadelphia tomorrow night
00:41:58So this is Philadelphia
00:42:05Come on, boys, get that old
00:42:08Quiet
00:42:08Why don't you stop that?
00:42:11You're taking
00:42:12So are you getting a kick out of it?
00:42:14Of course, aren't you?
00:42:15Oh, I don't know
00:42:16You suppose anybody will even know I'm in the show?
00:42:19I will
00:42:20Gosh, does it make any difference to you?
00:42:23Gee, Billy, I've always been for you
00:42:25Ever since that first day
00:42:26Places, everybody
00:42:27Rehearsing with the office
00:42:28I'll be seeing you
00:42:29Okay
00:42:29Goodbye
00:42:30You won't forget the modulation on the last eight bars, will you?
00:42:33Okay
00:42:33You forgot your handkerchief
00:42:35All right, go ahead
00:42:35Okay, Bill, tie it off
00:42:37Hold those hammers
00:42:38Hold them
00:42:42I don't know exactly how to do it
00:42:44How it started
00:42:45But it started in fun
00:42:48I just wanted someone to be gay with
00:42:52Just to play with someone
00:42:56But now I realize that I could never let him go
00:43:00And I'm going to tell him a song
00:43:05Every kiss, every hug
00:43:07Seems to act just like a drug
00:43:09You're getting to be a habit with me
00:43:13Let me stay in your arms
00:43:16I'm addicted to your charms
00:43:18You're getting to be a habit with me
00:43:22I used to think your love was something that I could take or leave alone
00:43:30But now I couldn't do without my supply
00:43:34I need you for my own
00:43:37Oh, I can't break away
00:43:40I must have you every day
00:43:42As regularly as for your tea
00:43:46You've got me in your clutches
00:43:48And I can't get free
00:43:50You're getting to be a habit with me
00:43:54I can't break you
00:43:55You're getting to be a habit with me
00:43:58I can't break you
00:44:31If you're nice to the right people
00:44:32You're going to get along
00:44:33You know, in that young and healthy number
00:44:34When you walk down stage
00:44:35Well, give it a little life, you know, sort of
00:44:37And not a prep, sort of
00:44:39Quiet, please!
00:44:58You're getting to be a habit with me
00:45:01You can't break it
00:45:03You're getting to be a habit with me
00:45:07You're getting to be a habit with me
00:45:29Well, it's...
00:45:31It's not good
00:45:32It's not bad
00:45:34That's all for tonight
00:45:37Wait a minute
00:45:38Hold it!
00:45:38Come back here, girls
00:45:40I want you all to take your...
00:45:41To take your minds off the show
00:45:43Get out and relax
00:45:45And forget it
00:45:46Till 10 o'clock tomorrow morning
00:45:50I don't know
00:45:51I think it'll do
00:45:52But I want you to come back tomorrow
00:45:55To give the best performance
00:45:56That you ever gave in your lives
00:45:59All right, company dismissed
00:46:01Dismissed, girl
00:46:02All right, company dismissed
00:46:03All right, go on out, kiss
00:46:04Have a good time
00:46:05You really was elegant, Miss Pratt
00:46:11Pansy, did anyone telephone me?
00:46:12Who?
00:46:14No, ma'am, nobody at all
00:46:16You're sure?
00:46:17I certainly is, yes, ma'am, Miss Pratt
00:46:22I just thought maybe...
00:46:23Maybe you'd like to have a little supper with me, huh?
00:46:25Oh, I would have
00:46:26But I'm afraid you thought it was too late, Billy
00:46:28Gosh, I've been thinking of it all day long
00:46:30Well, I'm not a mind reader
00:46:32I've got a date
00:46:33Oh
00:46:35Billy
00:46:35Huh?
00:46:36I'm not doing anything tomorrow night
00:46:37All right, then that's a date, huh?
00:46:39Okay
00:46:39Don't forget now
00:46:42Oh, listen, kid
00:46:43I've got to rush ahead
00:46:44And get the stuff for the party
00:46:44Do you mind?
00:46:45I'll see you at the hotel
00:46:46Room 1061
00:46:47Make it snappy
00:46:50Oh, she says for you to wait
00:46:52She'll be out in just a minute
00:46:54Oh
00:46:59Good night, Mr. Marsh
00:47:04I said to the guy
00:47:06I said, what do you think it is?
00:47:08Is that dark?
00:47:08Oh, Andy, you're terrible
00:47:10You know any more?
00:47:11Oh, I've got a lot of mimes
00:47:12Stop it
00:47:12I can wait a lot of times
00:47:13Annie
00:47:14Yes, sir?
00:47:15Go on, yes, man
00:47:16Jump, pop, or keep you lip up
00:47:18Shut up
00:47:18This may be very important
00:47:20Oh, it can't be, darling
00:47:22He's calling you
00:47:50Oh, sit down, Andy
00:47:59Anything wrong, Chief?
00:48:04Everything's wrong, Andy
00:48:06No, you're a great director, Mr. Marsh
00:48:16Maybe I was, but
00:48:18Right now I'm a sick man
00:48:21They told me I was sick
00:48:22When I started
00:48:22But I started anyway
00:48:25Andy, I'm going to finish
00:48:27And I'm going to have a show
00:48:29Oh, I know what they'll say
00:48:30They'll like it
00:48:31They've got to
00:48:33Say Marsh is a wizard
00:48:35He turns them out like clockwork
00:48:36The guy isn't human
00:48:37He's a machine
00:48:40Well, I'm not a machine, Andy
00:48:42And for the first time
00:48:43I'm counting on someone else
00:48:45I've got to
00:48:46I'm counting on you
00:48:48And tomorrow night
00:48:49We're going to give them a show
00:48:52The greatest show
00:48:53Julian Marsh ever put on
00:48:56What are you doing?
00:48:57Got a date tonight?
00:48:58No
00:49:03Come on home with me, will you?
00:49:05I'm launched
00:49:06Sure
00:49:10Taxi
00:49:11Why, Pat
00:49:12What are you doing in Philadelphia?
00:49:14Just got my passport
00:49:15And thought I'd drop over
00:49:16Business or pleasure?
00:49:18Well, I don't know yet
00:49:18But it's a job
00:49:19Say
00:49:20What about one of those
00:49:21Nice, cozy little midnight suppers
00:49:23One reads about?
00:49:24You know, I've been hanging about here
00:49:25Hoping you'd come out
00:49:26Oh, dear, I have a date
00:49:28Don't break it
00:49:29Well, I'd like to, but I can't
00:49:31Well, you can try
00:49:32Well, you see, it's with the company
00:49:34And we open tomorrow night
00:49:35And I really should be on hand
00:49:37Oh, I understand
00:49:38Well, in that case
00:49:38Suppose you let me drive you to the main event
00:49:40All right
00:49:42Taxi
00:49:49Congress Hotel
00:49:51Get something, Dorothy
00:49:55Oh, no
00:50:00Congress Hotel
00:50:03Oh, Ann
00:50:04There isn't this car big enough for two
00:50:05Move over
00:50:06You ain't gonna have another one of your spells, are you?
00:50:09I'm tired
00:50:10The dress rehearsal is no picnic
00:50:12A little party will do you good
00:50:14Yes
00:50:15Don't just be in with me cheer you up
00:50:18Oh, tremendously
00:50:20I'm practically hysterical right now
00:50:28Oh, don't be afraid of me
00:50:29I got strength
00:50:30I used to be the inner collegiate champion hop, skip, and jumper of our town
00:50:34Come on now
00:50:35You better be close
00:50:36Here I come
00:50:40Give the little boy a big hand
00:50:43Right across your big mouth
00:50:45Oh, for me
00:50:55Why, honey, I tell you
00:50:57I don't even know my own strength
00:50:59Wait a minute
00:50:59Just look at it
00:51:01Oh, you're too, too deboiled
00:51:05Well, tomorrow, you've got to give a performance, not an exhibition
00:51:11Well, you'd never know it from the manuscript
00:51:14I beg your pardon
00:51:16She's right
00:51:18Come on, Dorothy, let's dance
00:51:20I don't want to dance
00:51:21Oh, come on, let's dance
00:51:22I want to dance
00:51:23Let me alone
00:51:25You're not funny to me tonight
00:51:26I've got half of mine
00:51:28Oh, you're telling me
00:51:29What's the matter, whether you do want to cramp your act
00:51:31In a star, it's temperament
00:51:32But in a chorus girl, it's just bad taste
00:51:36What is this, toga practice?
00:51:38Why can't you let me alone?
00:51:40Wisecracks
00:51:40I'm sick of them
00:51:41I'm tired of you
00:51:43Tired of all of you, do you hear?
00:51:46Why, Dorothy?
00:51:50You know, you better hop on your kiddie car and go back to Cleveland
00:51:55Shoes me, it's the tight shoes
00:51:57Shut up
00:51:59Where are you going?
00:52:00Maybe little Dorothy needs me
00:52:02Are you going to be a sucker for that?
00:52:03Sucker?
00:52:04Now, you listen to me, Barry
00:52:06$70,000 is a lot of money to pay for a pack of insults
00:52:10So that's what you've been calling me behind my back
00:52:12Sucker, eh?
00:52:13Well, I ain't a sucker for anybody, see?
00:52:16Dorothy Brock don't mean that to me
00:52:18If it hadn't have been for me, she wouldn't have had the show to start in
00:52:21She better not try to give me the air now
00:52:25Now
00:52:27So that's it, is it, you small-town big shot?
00:52:31Now, don't sit down, Dorothy
00:52:32So I better not give you the air, eh?
00:52:34Well, that's exactly what I'm giving you right now
00:52:37Now get out of my rooms, you sucker
00:52:40Get out!
00:52:41Try and make me
00:52:42Don't do that again!
00:52:44Stop!
00:52:44Stop!
00:52:45Wait a minute!
00:52:46Stop!
00:52:49Stop!
00:52:50Get out of here!
00:52:51There's no place for anybody whose insurance ain't paid up
00:52:53You can't wait for me!
00:52:55And the next time you come to a lady's apartment, act like a lady
00:53:00Please!
00:53:11Hello?
00:53:12We've located Mr. Denning for you, Miss Brock
00:53:15Get him for me, will you?
00:53:22Hello?
00:53:28Hello?
00:53:29Hello?
00:53:30Hello, Dorothy?
00:53:31Hello, Pat
00:53:34Pat
00:53:34Pat, I can't stand it any longer
00:53:37I've got to see you
00:53:39Well, yes, but...
00:53:40Please don't ask me why
00:53:41Just come quickly, please
00:53:44Well, all right, dear, I'll be right over
00:53:57Come in
00:54:00Come in
00:54:15Sorry, Julian
00:54:16More trouble
00:54:19What's up?
00:54:20Dorothy's out of the show
00:54:21Definitely, once and for all
00:54:24She's out
00:54:27Well
00:54:28Let me have it
00:54:29What happened?
00:54:30She threw me out of her room
00:54:32That's what
00:54:33And now you want to throw her out
00:54:36Say, what is this, a game?
00:54:37You can't do it
00:54:38Oh, no?
00:54:40No, Brock's in my show to stay and that's final
00:54:42If Dorothy stays in, this show don't open tomorrow night
00:54:48That's final
00:54:49Why, you pot-bellied sap
00:54:51I resent that
00:54:53You've got $70,000 sucking this show already
00:54:55Are you going to toss that away just because of a dame?
00:54:57Any dame?
00:54:58That's my funeral, ain't it?
00:55:00Yes, and the funeral of 200 other people besides
00:55:02Chorus girls, boys, electricians
00:55:05You wouldn't be that mean, would you?
00:55:07Well, I think she ought to apologize
00:55:10Why, of course she'll apologize
00:55:12Brock isn't like that
00:55:13She'll be sorry by morning
00:55:16I wish you wouldn't take it like this, Mr. Dillon
00:55:18Why, do you know that back in New York
00:55:21They're calling you the Angel of Broadway
00:55:23No
00:55:24Sure
00:55:25Are they?
00:55:26Well
00:55:27I guess maybe I can overlook it
00:55:30If she apologizes
00:55:37But
00:55:37It must be tonight
00:55:40That's final
00:55:43Hey, come on
00:55:46Hey!
00:55:50What's the matter, baby?
00:55:52You don't seem to be warming up at all
00:55:54Oh, don't Terry, please
00:55:56Oh, come on
00:55:58This is no way to act
00:55:59Oh, you got me wrong, Terry
00:56:01I'm not acting
00:56:02I just don't like to be poor
00:56:04When it's a fool
00:56:05Oh, honey
00:56:06Why you don't know me?
00:56:08Must have been a feud
00:56:09Yeah, a beautiful name, Charlie.
00:56:25Come on, let's have another drink.
00:56:27I'll burst, sir. Let's go.
00:56:33Going down?
00:56:34No, sir. Up.
00:56:58Come on.
00:57:03Hi.
00:57:08That guy thinks he's going to crab our show now.
00:57:11We fixed him once before and we can do it again.
00:57:13Let's get Marsh.
00:57:36What do you want?
00:57:37I want to see Mr. Denning. Is he here?
00:57:39You know he's here. What do you want?
00:57:41Mr. Denning.
00:57:42You can't leave him alone for five minutes, can you?
00:57:45Oh, please, Miss Brock. This is important.
00:57:48What's the matter, Dorothy?
00:57:49Oh, Pat. Pat, there's going to be trouble. I saw...
00:57:52Oh, so it's Pat to him. But it's Mr. Denning to me.
00:57:57You bet there's going to be trouble.
00:57:58Wait a minute, Dorothy. Let's find out what it's all about.
00:58:01I know what it's all about. She's been spying on us.
00:58:03Spying? I wasn't spying.
00:58:05You were.
00:58:06You were speaking through the Kiko.
00:58:08Now, don't tell me you were because I saw you.
00:58:11She's jealous.
00:58:12You want him for yourself, don't you?
00:58:14Well, you're not going to get him.
00:58:15Wait a minute, Dorothy.
00:58:16Wait for what? More spying and more double-crossing?
00:58:19Now, now, wait.
00:58:19Wait a minute.
00:58:20Let me...
00:58:21Don't move, Miss Brock.
00:58:23Dorothy.
00:58:26You pushed me, didn't you?
00:58:29Dorothy, what's the matter with you?
00:58:33Oh!
00:58:34Oh, Pat.
00:58:36What?
00:58:36My ankle.
00:58:37What's the matter?
00:58:37My ankle.
00:58:39Get the house doctor right away, will you?
00:58:40All right.
00:58:41Oh.
00:58:43Oh.
00:58:44Oh.
00:58:44Hello.
00:58:45Hello.
00:58:45Please send the house doctor to Miss Brock's apartment immediately.
00:58:48Yes.
00:58:48Yes.
00:58:53Get her shoes off, quick.
00:58:58Oh.
00:58:59There, there.
00:59:00Oh.
00:59:03Pat, it's swelling.
00:59:07Better answer the door.
00:59:08That may be the doctor.
00:59:09All right.
00:59:14You sent for me?
00:59:15Yes, doctor.
00:59:15Right in there.
00:59:22Oh, doctor.
00:59:23It's her ankle.
00:59:24Which one?
00:59:25Oh.
00:59:26There, there, there.
00:59:27A glass of water, please.
00:59:28Yes, doctor.
00:59:38Your name Denning?
00:59:39Yeah.
00:59:40I want to talk to you.
00:59:41Wait a minute.
00:59:41Where's Dorothy?
00:59:42In there.
00:59:42She's had an accident.
00:59:44She's what?
00:59:44She fell and twisted her ankle.
00:59:46It may be a break.
00:59:47What are you talking about?
00:59:52How bad is it, doc?
00:59:53Can't tell, definitely.
00:59:55Maybe it's only a sprain.
00:59:56Looks like a fracture.
00:59:57Can't tell until the x-rays are made.
01:00:00You mean she might not be able to go on tomorrow?
01:00:02Go on?
01:00:02The show.
01:00:03She's got to play tomorrow night.
01:00:04Not a chance.
01:00:05She's got to.
01:00:06You've got to do something, doctor.
01:00:07The only thing anyone can do is to get her a pair of crutches.
01:00:09Oh.
01:00:10Damn it.
01:00:12Don't stand there gaping.
01:00:13Do something.
01:00:14Oh, get out.
01:00:15Get out.
01:00:16I still don't know what you're doing here.
01:00:18Well, if I thought it was any of your business, I'd tell you.
01:00:22A broken ankle, huh?
01:00:27It's too bad it wasn't her neck.
01:00:32May I have your attention a minute, please?
01:00:34Quiet.
01:00:34Quiet.
01:00:35Quiet, please.
01:00:37There'll be no performance tonight.
01:00:39What?
01:00:39Wait.
01:00:40Wait a minute.
01:00:40Wait.
01:00:41Our star, Miss Brock, has had an accident.
01:00:44She's broken her ankle.
01:00:47Now, you're not to leave the theater until you're officially dismissed.
01:00:49You get that, Andy?
01:00:50Get a hold of the company here for further instructions.
01:00:52All right.
01:00:53All right.
01:00:54Stick around, everybody.
01:00:54Don't anybody leave the theater.
01:00:57Marsh, you've got to think of something.
01:00:59You've got to think of someone.
01:01:00There must be some way out of this.
01:01:02Listen, Dylan just pulled.
01:01:04He's got everything fixed.
01:01:05Up to and including Brock's ankle, I suppose.
01:01:07No, don't you understand?
01:01:08He's going through with it.
01:01:09He's going through with what?
01:01:11I tell you, he has found someone to take Brock's place,
01:01:14and he's on his way over here with her now.
01:01:16Where is she?
01:01:16I don't know.
01:01:17Come on, Marsh.
01:01:19No such luck.
01:01:26Now, there's a kiddie car I could really go for.
01:01:31Any time, Andy.
01:01:33Well, lay me low.
01:01:35You're a new leading lady, folks.
01:01:37I guess I saved the day all right this time.
01:01:40Well, we better go in and talk it over with Marsh.
01:01:46You've got a big investment in this show already.
01:01:48You're telling him.
01:01:49While I appreciate you trying to help, I'm afraid this young lady won't do.
01:01:52Sure she will.
01:01:53She didn't want to do it at first, but I convinced her.
01:01:55She's all set.
01:01:57She'll be sensational.
01:01:58How about letting me talk, huh?
01:01:59All right, darling.
01:02:00Let's quit kidding, Mr. Marsh.
01:02:02Abby, all those things sounded swell at breakfast.
01:02:05But I haven't got a chance of carrying this show.
01:02:08I know that as well as you do.
01:02:09Maybe better.
01:02:10Well, I appreciate your honesty.
01:02:11That's swell.
01:02:12Because, listen, you've got somebody in this outfit who can carry your show.
01:02:15A great little trooper.
01:02:16Honest, Mr. Marsh.
01:02:17Don't you think I'm capable of selecting my own cast?
01:02:19Sure, but you'd never pick this one.
01:02:20And I'm telling you, she can swing it.
01:02:22How can you lose?
01:02:23All you've got to do is try her.
01:02:24Who is she?
01:02:26Sawyer.
01:02:26Sawyer.
01:02:27Huh.
01:02:28Yes, Peggy Sawyer.
01:02:29Her voice may not panic, but she can dance rings around Brock.
01:02:32And your show's half-dancing anyway.
01:02:34She'd kill him.
01:02:34I mean it.
01:02:35Sawyer, nobody ever heard of her.
01:02:36She's just a raw kid out of the chorus.
01:02:38Listen, Mr. Marsh.
01:02:39I've been waiting years for a chance like this.
01:02:42And if I give it up for somebody else, believe me, she's got to be good.
01:02:47Send her in.
01:02:49Do you mean it?
01:02:50Yes, send her in.
01:02:53Mac.
01:02:54Hello, Mac.
01:02:55Hey, Andy.
01:02:56Yes, sir.
01:02:57Get Sawyer.
01:02:58Yes, sir.
01:03:02Come on.
01:03:02The boss wants to see you.
01:03:03Who?
01:03:04Me?
01:03:04Not your brother.
01:03:05Come on, will you?
01:03:06Oh, Lorraine, will you...
01:03:07Sure.
01:03:07Go ahead.
01:03:08Come on.
01:03:08Well, here she is.
01:03:21Experience?
01:03:22Uh, just this show, Mr. Marsh.
01:03:25You know the songs, the dance routines.
01:03:26You think you can play the lead tonight?
01:03:28The...
01:03:28No.
01:03:28The lead?
01:03:31Sure you can, honey.
01:03:32Don't let them scare you.
01:03:40All right, I'll give you a chance.
01:03:41Because I've got to.
01:03:43Andy, send Jerry in.
01:03:44Yes, sir.
01:03:44I'll either have a live leading lady or a dead chorus girl.
01:03:47Now get out of here, all of you.
01:03:48And I don't want anybody in for the next five hours.
01:03:50Good luck, honey.
01:03:51Come on.
01:03:51Come on, you.
01:03:54Pick it up.
01:03:54Pick it up.
01:03:55Right after the number.
01:03:55Come on, there's your cue.
01:03:56Speak.
01:03:57Jim, they didn't tell me you were here.
01:04:00It was grand of you to come.
01:04:02No, it's impossible.
01:04:04Impossible.
01:04:05You're greeting the man you love.
01:04:07It's your entrance speech.
01:04:08Make it mean something.
01:04:10Put some feeling into it.
01:04:11Listen like this.
01:04:13Jim, they didn't tell me you were here.
01:04:15It was grand of you to come.
01:04:17Now let me hear it.
01:04:18Jim, they didn't tell me you were here.
01:04:21It was grand of you to come.
01:04:23No, it won't do.
01:04:24Look, have you ever been in love?
01:04:26Did you ever have a man hold you in his arms and kiss you?
01:04:37Now, now you're in the spirit of the thing.
01:04:38You'll love this man.
01:04:40Now give it all you've got.
01:04:41Let me hear it.
01:04:43Jim, they didn't tell me you were here.
01:04:46It was grand of you to come.
01:04:49That's better.
01:04:50That's better.
01:04:51Now let me hear it from the beginning.
01:04:52Go over there and make your efforts again.
01:04:55All right.
01:04:56Jim, they didn't tell me you were here.
01:04:59It was grand of you to come.
01:05:02Come and meet those dancing feet.
01:05:07On the avenue of taking you to 42nd Street.
01:05:11Hear the beat of dancing feet.
01:05:15It's the song I love, the melody of 42nd Street.
01:05:19I can't.
01:05:21I can't.
01:05:23I can't.
01:05:23Look here.
01:05:24You can't.
01:05:25But you will.
01:05:27Please, Mr. Moore.
01:05:28You want this chance or don't you?
01:05:31All right.
01:05:32Let's try it again.
01:05:33All right.
01:05:58It's fair.
01:05:59Only fair.
01:06:01Come in.
01:06:03Well, you got an hour before the curtain, boss.
01:06:05Okay, Jerry.
01:06:06That's all.
01:06:13You let me down, Sawyer, and I'll...
01:06:17Come on, lie down and relax.
01:06:21I'll call in plenty of time.
01:06:22The wardrobe woman will have to come in to fit your costumes.
01:06:24And rest all you can.
01:06:25Because you're definitely going on tonight.
01:06:33All right.
01:06:33Julian.
01:06:34Well, how about it?
01:06:35All right.
01:06:35The show goes on.
01:06:36Wardrobe, everybody.
01:06:37All right.
01:06:38All right.
01:06:39All right.
01:06:39All right.
01:06:39All right.
01:06:40All right.
01:06:41All right.
01:06:41All right.
01:06:41Everybody in my cup.
01:06:45Oh, Billy.
01:06:46Hello.
01:06:47Say, I brought you some coffee.
01:06:48I guess you can use a little, huh?
01:06:50Oh, Billy, I'm so excited.
01:06:52I think maybe I'm dreaming.
01:06:53Oh, no.
01:06:54You're awake, all right.
01:06:55Don't worry about that.
01:06:57Billy, what's going to happen to me?
01:06:59Well, honey, you're going to be a terrific hit.
01:07:02You're going to be the biggest thing you'd ever hit broadly.
01:07:03Oh, I hope so.
01:07:05Say, I know so.
01:07:06And I'm for you, too.
01:07:07You know that.
01:07:09Even if...
01:07:10Even if what?
01:07:12Oh, honey.
01:07:13I've been for you ever since the day you walked in on me and my BVDs.
01:07:18And I wanted to tell you, ever since I first saw you, how I feel about you.
01:07:22But...
01:07:23Oh.
01:07:24I don't know how to say it.
01:07:26But you know what I mean, don't you?
01:07:29I guess it does sound kind of funny at that, the way I say it.
01:07:33But the lines are new for me.
01:07:35At least off stage.
01:07:37Well, I guess maybe I can read between the lines, Billy.
01:07:41But I want to hear you say some more.
01:07:53Billy, it was grand of you to come.
01:08:04They told me I'd find you here.
01:08:06Come on, Miss Brock.
01:08:07You can't talk to her.
01:08:08Nobody can.
01:08:09It's Marsha's orders.
01:08:10I want to see you alone, Billy.
01:08:12I know, but...
01:08:15It's all right, Billy.
01:08:35So you're going to take my place.
01:08:37I...
01:08:38I'm sorry, Miss Brock.
01:08:40You're nervous, aren't you?
01:08:44Well, don't be.
01:08:46The customers out there want to like you.
01:08:49Always remember that, kid.
01:08:51I've learned it from experience.
01:08:53And you've got so much to give them.
01:08:56Youth and beauty and freshness.
01:08:59Do you know your lines?
01:09:00And your songs?
01:09:02And your dance routine?
01:09:05Well...
01:09:06You're a cinch.
01:09:12But...
01:09:13But it's tough on you, Miss Brock.
01:09:18Come here.
01:09:19Peggy, isn't it?
01:09:22You know, Peggy...
01:09:23When I started for the theater tonight...
01:09:25I wanted to tear your hair out.
01:09:28And then I started thinking...
01:09:30Well, after all, I've had my chance.
01:09:33And now it's your turn.
01:09:35I've had enough.
01:09:37For five years, it's kept me away from the only thing I ever wanted.
01:09:42And a funny thing...
01:09:43A broken ankle was the thing that made me find it out.
01:09:48You know, Peggy...
01:09:50Most anyone can have success with the proper breaks.
01:09:53As for me...
01:09:55I'll take Pat...
01:09:56And Vaudeville, or...
01:09:58Whatever goes with him.
01:10:01We're being married tomorrow.
01:10:04Oh...
01:10:04I'm so glad.
01:10:07Come in.
01:10:09You've got a hurry, Miss.
01:10:11Come right in, boys.
01:10:13Right over here.
01:10:13Let's go...
01:10:20Go ahead.
01:10:21Come in, boys.
01:10:33Ah...
01:10:33Come in.
01:10:35Get out.
01:10:35There's a great thing.
01:10:39Come in, boys.
01:10:41Come in, boys.
01:10:42Come in, boys.
01:10:42Come in, boys.
01:10:42Come in, boys.
01:10:43Come in.
01:10:43Do you think I look all right?
01:10:46You look adorable.
01:10:49Now go out there and be so swell that you'll make me hate you.
01:10:55Remember, girls, I want a straight line all the way through, understand?
01:10:58I'll reach you the first one.
01:11:00Now give me a great big smile.
01:11:01Come on.
01:11:01Now get ready.
01:11:02All right, curtain.
01:11:20Come on, all right.
01:11:21I'll get Sawyer.
01:11:24Look here.
01:11:25I don't want anybody to say a word to her.
01:11:27Not a single word.
01:11:31All right, break up.
01:11:31Pay your attention to her.
01:11:32Break up.
01:11:38Sawyer, you listen to me.
01:11:39You listen hard.
01:11:41200 people.
01:11:42200 jobs.
01:11:42It's $200,000, five weeks of grind, and blood and sweat depend upon you.
01:11:46It's the lives of all these people who've worked with you.
01:11:48You've got to go on.
01:11:49You've got to give and give and give.
01:11:51They've got to like you.
01:11:51They've got to.
01:11:52Do you understand?
01:11:53You can't fall down.
01:11:54You can't because your future's in it.
01:11:56My future and everything all of us have is staked on you.
01:11:59All right, now I'm through.
01:12:00But you keep your feet on the ground and your head on those shoulders of yours and go out
01:12:03and Sawyer.
01:12:04You're going out a youngster.
01:12:06But you've got to come back a star.
01:12:10Oh, there she is now.
01:12:11There's your cue.
01:12:11Good luck, honey.
01:12:17Well, honey, we couldn't lose them.
01:12:19And least of all, Jimmy.
01:12:21Why, Jim, they didn't tell me you were here.
01:12:24It was grand of you to come.
01:12:26All aboard, the Niagara Limited.
01:12:28Come on, let's go.
01:12:31All right, let's go.
01:12:32All right, girls.
01:12:33Come on, snap into it.
01:12:34Hurry up.
01:12:34Come on, kids.
01:12:35Get going.
01:12:35All right, take it away.
01:12:38All right.
01:12:40All right.
01:12:40Take it away.
01:12:42All right.
01:12:44Now that we have had the rice and flowers, the knot is tied.
01:12:48I can visualize such happy hours right by your side.
01:12:54The honeymooning store is one that you'll adore.
01:12:57I'm going to take you for a ride.
01:13:01I'll go home and pack my panties.
01:13:03You go home and get your scannies and away we'll go.
01:13:08Off we're going to shuffle, shuffle off to Buffalo.
01:13:13To Niagara in a sleeper.
01:13:15There's no honeymoon that's cheaper and the train goes slow.
01:13:20Off we're going to shuffle, shuffle off to Buffalo.
01:13:25Someday, I hope we'll be elected to buy a lot of baby clothes.
01:13:31We don't know when to expect it, but it's a cinch, we shall know.
01:13:38For a little silver quarter, we can have the Pullman Porter turn the lights down low.
01:13:44Off we're going to shuffle, shuffle off to Buffalo.
01:13:51Shuffle off, shuffle off, shuffle off, shuffle off, shuffle off to Buffalo.
01:14:11Uh-oh.
01:14:13Oh-oh!
01:14:17Ho-oh!
01:14:18Ha-ha-ha-ha!
01:14:19Ha-ha-ha!
01:14:23Ho-ha-ha-ha!
01:14:24Ha-ha-ha-ha!
01:15:26I'll bet that she's the farmer's daughter, and he's that well-known traveling man.
01:15:33He once got down at the farmhouse, that's how the horse fell again.
01:15:39He did right by little Nellie with a shotgun at his best tummy, how could he say no?
01:15:46He just had to shuffle, shuffle off to Buffalo.
01:15:51You go home and pack your panties, I'll go home and get the scanties and away we'll go.
01:15:57Oh, off we're gonna shuffle, shuffle off to Buffalo.
01:16:02Shuffle off to Buffalo.
01:16:03To Niagara in a sleeper, there's no honeymoon, it's cheaper and the train goes slow.
01:16:09Oh, off we're gonna shuffle, shuffle off to Buffalo.
01:16:14Buffalo, someday I hope we'll be elected to buy a lot of baby clothes.
01:16:21So we don't know when to expect it, but it's a cinch that Winchell knows.
01:16:28For a little silver quarter, we can have the phone before we turn the lights down low.
01:16:33Oh, off we're gonna shuffle, shuffle off to Buffalo.
01:16:40Shuffle off, shuffle off, shuffle off, shuffle off to Buffalo.
01:17:26Come on, break this up.
01:17:27Come here.
01:17:28Good girl, you got by.
01:17:29You got by, but you're not through yet.
01:17:30The toughest part's coming.
01:17:31You can't be a flash in the pan.
01:17:33There isn't a natter on this stage who doesn't know what you're going through or isn't pulling for you.
01:17:36Oh, it's fine.
01:17:37Now you gotta rest.
01:17:38Rest and relax.
01:17:39And save it, because you're gonna need it.
01:17:45You know, honey, I've been watching you for a couple of weeks.
01:17:48And if you're nice to the right people, you're gonna get along.
01:17:50You know these routines?
01:17:52Quiet, please.
01:18:02Say, I know a bundle of humanity.
01:18:04She's about so high.
01:18:06And I'm nearly driven to insanity.
01:18:09When she passes by, she's a snooty little cutie.
01:18:14She's been so hard to kiss.
01:18:16I'll try to overcome her vanity.
01:18:19And then I'll tell her why this.
01:18:26I'm young and healthy, and you've got charms.
01:18:30It'd really be a sin not to have you in my arms.
01:18:35I'm young, healthy, and so are you.
01:18:40When the moon is in the sky, tell me what am I to do, say.
01:18:44And if I could hate you, I'd keep away.
01:18:49But there ain't my nature.
01:18:51I'm full of item, what they say.
01:18:53I'm young and healthy, so let's be bold.
01:18:58In a year, two, three, maybe we will be too old.
01:19:03I'm young and healthy, and you've got charms.
01:19:07It'd really be a sin not to have you in my arms.
01:19:12I'm young and healthy, and so are you.
01:19:16When the moon is in the sky, tell me what am I to do.
01:19:20If I could hate you, I'd keep away.
01:19:25But there ain't my nature.
01:19:26I'm full of vitamin A, say.
01:19:29I'm young and healthy, so let's be bold.
01:19:34In a year, two, three, maybe we will be too old.
01:19:38I'm young and healthy, and you've got charms.
01:19:43It'd really be a sin not to have you in my arms.
01:19:47I'm young and healthy, and so are you.
01:19:52When the moon is in the sky, tell me what am I to do, say.
01:19:55If I could hate you, honey, I'd keep away.
01:20:00But there ain't my nature.
01:20:02I'm full of vitamin A.
01:20:04Oh, I'm young and healthy, so let's be bold.
01:20:09In a year, two, three, maybe we will be too old.
01:20:13Oh, I'm young and healthy, so let's go.
01:20:43Oh, I'm young and healthy, so let's go.
01:21:37Oh, I'm young and healthy, so let's go.
01:21:44In a year, two, three, maybe we will be too old.
01:21:47Oh, I'm young and healthy, so let's go.
01:21:51In a year, two, three, maybe we will be too old.
01:22:00Come on, Mike.
01:22:00Give those first three balls, will you?
01:22:02Call me up.
01:22:03Thank you, little man.
01:22:04Come on.
01:22:05She's a hit, Abner.
01:22:07She's a hit.
01:22:08Who's a hit?
01:22:09Peggy Sawyer.
01:22:11Oh.
01:22:11Did you do as I told you?
01:22:13Huh?
01:22:15Oh, no, I didn't.
01:22:17Well...
01:22:17But I'll take her right out.
01:22:19Come on, baby.
01:22:20Well, hurry.
01:22:26In the heart of little old New York, you'll find a thoroughfare.
01:22:31It's the part of little old New York that runs into Times Square.
01:22:35There are crazy quilts at Wall Street, Jackbill.
01:22:40If you've got a little time to spare, I'd like to take you there.
01:22:45Come and meet those dancing feet.
01:22:49On the avenue, I'm taking you to 42nd Street.
01:22:54Hear the Vs of dancing feet.
01:22:58It's the song I love, the melody of 42nd Street.
01:23:04Little nifties from the 50s, innocent and sweet.
01:23:08Sexy ladies from the 80s who are indiscreet.
01:23:13Oh, they're side by side.
01:23:15They're glorified.
01:23:17Where the underworld can meet the elite, 42nd Street.
01:23:47Where the underworld can meet the elite, 42nd Street.
01:23:59Oh, my gosh.
01:24:06Go, boys.
01:24:07Let's do it, Sarah.
01:24:07Little nifties from the 50s, innocent and sweet.
01:24:11Sexy ladies from the 80s who are indiscreet.
01:24:16They're side by side.
01:24:17They're glorified.
01:24:20Where the underworld can easily
01:24:23Naughty, gaudy, bawdy, sporty, bawdy,
01:24:26Jack and sweet
01:25:06All right, all right, all right.
01:25:41All right, all right.
01:25:49All right, all right.
01:25:55All right, all right, all right.
01:26:07The big parade goes on for years
01:26:14It's a rhapsody of laughter and tears
01:26:18Naughty, bawdy, gaudy, sporty, 40-second speed
01:27:27On the avenue I'm taking a view
01:27:3140-second street
01:27:33And the beat of dancing queers
01:27:37This is a song I love, the melody of
01:27:4040-second street
01:27:42Left from the king
01:27:43From up to the king
01:27:45Gave us chill and sweet
01:27:46Crazy ladies from the 80s
01:27:49Who are in the streets
01:27:51The big parade goes on for years
01:27:55It's a rhapsody of laughter and tears
01:27:58It's a rhapsody of laughed and tears
01:28:19Oh, 17.
01:28:2217.
01:28:23All these directors make me sick.
01:28:25Take Marsh.
01:28:25Puts his name all over the program, gets all the credit.
01:28:28Well, if the kid's like Sawyer, he wouldn't have a show.
01:28:30Sawyer's aware she'll have Broadway in a pocket a week.
01:28:33You're right.
01:28:33Yeah, Marsh would probably say he discovered her.
01:28:35Some guy's got all the breaks.
01:28:39Hold it.
01:28:41Look right up.
01:28:46China.
01:28:50China.
01:28:55China.
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