Say, Jones and Barry are doing a show.
That's great! Jones and Barry are doing a show.
Testing, testing.
Jones and Barry are doing a show.
You're telling me?
Of course, I'm not a lawyer.
I'm in the Kiddie Kar business.
I don't know much about contracts...
...but it looks good to me.
It's the biggest contract I ever signed.
Thanks to you, Mr. Dillon.
You could have your choice of a dozen shows.
A pretty girl like you.
Not with this depression.
If not for you and your Kiddie Kars...
Oh, now, Miss Brock...
Dorothy, I mean.
You don't mind my calling you Dorothy, do you?
Why, of course not.
Well, Dorothy, I'd like to do something for you.
You've done entirely too much for me already...
...and I can't tell you how much I appreciate it.
No, no. I mean...
I mean, I'd like to do something for you...
...if you'd do something for me.
Why, Mr. Dillon, of course I'd be very glad to...
...but what could I possibly do for a big man like you?
Call me Abner.
When we got Dorothy Brock, we got a great break.
Abner Dillon guarantees to finance anything she does.
These days, stars like Dorothy Brock are a dime a dozen.
That's what we got you for.
Julian Marsh, the greatest musical comedy director in America today.
What do you mean, today?
All right, tomorrow too.
Say, with your reputation...
Did you ever try to cash a reputation at a bank?
I'm in this for one reason only:
Money.
Money? You?
With all your hits, you ought to be worth plenty.
I ought to be, but I'm not.
Did you ever hear of Wall Street?
Excuse me, Mr. Marsh, there's a phone call for you. A Dr. Chadwick.
- I'll call him back. - He says it's urgent.
About your examination.
Use our private phone, Julian.
What is it, doc?
You have?
Good Lord, you're not a machine!
That body of yours will stand just so much.
There's no other way.
You're not just headed for another nervous breakdown.
Any undue strain on your part might easily prove fatal.
Sorry, doc, but I've got to risk it.
Anything wrong?
- You won't have another breakdown? - The contract's signed.
- That doesn't matter. - That's all right. It holds.
You'll get your Pretty Lady.
You haven't got anything to worry about.
I'm not gonna let you down...
...because I can't afford to.
I've given everything I've had to that gulch down there.
It paid me, sure, in money I couldn't hang on to...
...fair-weather friends, women, headlines.
Why, even the cops and the newsboys recognize me on sight.
"Marsh the Magnificent." "Marsh the Slave Driver."
Actors tell you how Marsh drove them, bullied them...
...and tore it out of them.
A few would tell you how Marsh made them.
They've all got something to show, except Marsh.
Well, this is my last shot.
I'll make more actors, but this time I'll sock my money away so hard...
...they'll have to blast to find enough to buy a newspaper.
That's why I'm going ahead with Pretty Lady.
Pretty Lady has to be a hit.
It's my last show, and it's got to be my best.
You're counting on me. I'm counting on Pretty Lady...
...because it's got to support me for a long time.
- Wait! - Remember...
...my contract makes me boss with a capital B. What I say, goes.
Now, make the chorus call for 10:00 tomorrow.
He'll drive us crazy before we get this show on.
Yeah, but suppose that guy should pass out on us?
New York will see its first triple funeral.
Good morning. Mr. Marsh will be here soon.
Quiet now. Quiet, please!
Quiet, everybody, quiet! Hello, Jerry. How are you?
It's too good to be true. How's the turnout, Mac?
About 50-50. Half are dumb and the other half are dumber.
Andy!
He's so busy.
- Lorraine has been hitting the bottle. - The peroxide bottle.
You wanna get me canned? You're set, you're in. Now scram.
Darling, you're just too sweet, the way you keep spoiling me.
I beg your pardon.
It's okay. This is a two-way street.
I beg your pardon. But are you, by any chance, the...
What is the word?
The stage manager?
Hey, Ann, come out from under that accent. I see you.
Lolly!
Darling.
You remember Ann Lowell?
Not Anytime Annie? Who could forget her?
She only said no once, when she didn't hear the question.
You been abroad?
Andy?
Where's Andy Lee?
Yes, Mr. Marsh. Coming right up.
Good morning, Mr. Marsh.
- Line them up. - Yes, sir.
Okay, girls, line up. Come on.
Quiet, now. Quiet!
Come on, now. Quiet, girls.
I want all the dancers to line up and double-lined out front.
Showgirls can double-line in back of them and the boys in back of them.
Don't spread out! Come on, girls, hurry up.
I really had a charming summer in Deauville, dear.
Yes, but don't you find Sir George impossible at times?
Get a load of "Minnie the Mountaineer."
It must have been tough on your mother, not having any children.
That's telling them.
Oh, dear.
You looking for somebody, or just shopping around?
Where will I find the gentleman in charge?
First door to your left, dearie.
I know, but...
- Don't knock. He's expecting you. - But that's the...
Our mistake. The other door.
Hey, wait a minute.
Hey, what's the idea?
They said...
Weren't you expecting me?
Well, not exactly, but I'm afraid you'll do.
Well, I don't understand.
I don't either. What are you looking for?
Well, isn't this the...?
Wait till I get my clothes on. I'll show you where it is.
It isn't an "it," it's a "he."
Maybe I'm wrong about the whole thing. Let's start over again.
I'm Billy Lawler, one of Broadway's better juveniles.
I thought you were important.
That's the way most people feel about juveniles.
Only most of them aren't so frank about it.
- You're new to show business? - Oh, I've had experience.
- How many shows? - Why, any number of them.
- Come on, now. - To tell you the truth...
I want the truth.
This'll be my first, if they take me.
If they take you? Say, you can't miss.
I'll take you in myself.
I'll steer you right up to the stage director.
Come on, let's go.
A short order of ham, coming out.
Not good, but loud. Honey, take a good look at them now.
Because after they make that back line, you won't see them again.
If it isn't Little Lord Fauntleroy and the village maiden.
Just a minute. Where are you headed, sister?
- She wants to see Marsh. - That'll make Marsh's day perfect.
Come on, girls, inside.
There's the boss right there. His name is Julian Marsh.
He's the fellow with the light green felt hat. Go over and talk to him.
Quit shoving.
Lift the skirts up a little higher. Come on, come on.
Afraid I got a run.
- First door to your left. - In my stocking.
First offense?
Yes, but I don't think I ought to tell them that.
No, of course not. And they'll never guess.
Do you think I'll do?
I only know what I read in the papers, but you look all right to me.
- Andy! Get the first eight girls. - Yes, sir.
Will the first eight girls line up here?
The first eight girls line up down in front. Come on.
Now lift your dresses up.
Come on, higher. I want to see the legs.
Yeah, they got pretty faces too.
Turn around. Come on, turn around!
Oh, dear, not a calf in a carload.
- Get the next eight. - Next eight, come on.
Stick with us, and you'll come in on the tide.
- Hurry up, hurry up. - Line up, girls.
Hurry up, girls. Lift your dresses up.
- Do you mind holding Fifi for me? - Turn around now, please.
All right, back.
Three!
Okay those three on the left. If I were you, I'd keep them.
I suppose if I don't, you'll have to.
Lorraine again, huh?
Andy, you're a panic. All right, have it your way.
Mac, okay by special request of the copyright owner.
- All right, next eight. Hurry up. - Next eight girls.
What's yours?
Diane Lorrimer. 333 Park Avenue.
And is her homework tough!
Next.
Adams! Arnold!
Kipling!
What's the matter?
Well, what is it, what is it? What's the matter now?
Must have been a slip-up someplace. We're a girl short.
Well, that's great. Just great!
We also need a dance director who can count to 40 without a pad and pencil.
Well, do something! Get another girl.
Are you gonna stand there and shake a blond out your pantlegs?
- I don't want to butt in... - A lot of people are like that.
- I can have one up here in the morning. - That's ducky. I can hardly wait.
Mr. Marsh, you don't have to wait. And she's a swell dancer too.
You picked her, but she got eliminated the third time through.
Come out from behind there.
Hey, you, with the legs! Come out of there.
Quiet! Quiet, please!
Quiet, please!
Well, I'm a... Hey, kid! Hey, you!
Hey, come on, get up.
- The boss wants to see you again. - Who? Me?
Come on, come on.
All right, she'll do. They're all yours, Andy.
All right, get in line.
All right, now, everybody. Quiet, and listen to me.
Tomorrow morning, we're gonna start a show.
We'll rehearse for five weeks, and we'll open on scheduled time...
...and I mean, scheduled time.
You'll work and sweat and work some more.
You'll work days and nights...
...and you'll work between time, when I think you need it.
You'll dance until your feet fall off and you can't stand up...
...but five weeks from now, we're going to have a show.
Some of you have been with me before. You know it'll be tough.
It'll be the toughest five weeks that you ever lived through.
Do you all get that?
Anybody who doesn't think he'll like it, better quit right now.
What do I hear?
Nobody?
Good. Then that's settled.
We start tomorrow morning.
All right, 10:00 tomorrow morning, we start with the lyrics.
In practice clothes.
What did I tell him? This is what I told him:
"No, I won't run your stage for that money."
Great. You beat Jerry to the finish by two lengths.
All right, take your positions. We'll try those routines again.
Quiet! Where do you think you are, home?
I get back to New York and I get this wire.
Come on, kids, make it snappy.
All right, Jerry, let's go!
Dorothy, that's your cue.
Things can never be the same now.
I beg your pardon, but would you mind saying:
"Things can never be the same now"?
- That's what I said. - You did not.
You said, "Things can never be the same now."
- I did not. - You did.
- Who's directing this show? - She's reading my lines wrong.
- I am not. - What did you say?
I said, "Things can never be the same now."
That's right.
Things can never be the same now.
The scene ends with you on the steps, and you go into the number.
That's where you take his hand.
The scene ends with you two on the steps, and we go into the duet.
- You're doing fine for a beginner. - Well, thanks. I'm trying.
I was so scared that first day, I walked around the block four times...
...before I had the courage to even come and apply for this job.
It's tough, but you'll get along.
Well, I wouldn't mind, if I could only get that routine set.
I'll show you those taps. Come on with me.
Taps?
Say, I can do a tap dance on my ear.
What bothers me is that routine.
Then I'm just what the doctor ordered. Come along.
Now, look.
Cross over.
You're gluttons for punishment.
Well, Mr... Well, this boy's showing me.
- I was trying to make her... - Trying to make her is right.
We'll just let that pass. Now try it again.
- Where you sitting? - On a flagpole, dearie. On a flagpole.
I always said she was a nice girl. She's so good to her mother.
She sure is. She makes $45 a week and sends her mother 100 of it.
Get some feeling into it, will you?
What do you want me to do, bite my nails?
You've got the busiest hands.
Wait a minute, wait a minute!
It's out.
That'll be enough of that. It smells.
You don't like this number?
Sure, I like it. I've liked it since 1905.
You think this is a revival?
- It's out. The whole number! - This number will be a riot.
That's what I'm afraid of. Dismiss. An hour for lunch.
All right, everybody. One hour for lunch.
Waiting long, darling?
Well, long enough.
My, but we're grouchy, aren't we?
- Oh, no, not that, but... - What?
I'm getting tired of this hiding in doorways...
...sneaking in and out of places and keeping under cover.
Why, I'm beginning to feel like a criminal.
There's nothing criminal in that, is there?
No, there's nothing criminal in that.
I thought we'd better tell you, it looks like we're in trouble.
That word has a familiar sound.
Are you married too?
This is serious, Julian.
Serious? Did you ever leave your wife...
...sitting alone in a nightclub, holding the check?
You know Abner Dillon's putting up the bankroll for our show.
I knew he wasn't here because you liked his face.
I don't like his face or any part of him.
He looks like a Bulgarian boll weevil mourning its first-born.
Well, his interest in our show is Dorothy Brock.
And his interest is our principal.
Very good. Very, very good.
Even I was able to gather that much.
Yes? Well, we stand a first-rate chance of having him...
...withdraw his financial support. Now, did you gather that?
Because dear Miss Brock is two-timing Abner right under his very nose.
With a fellow who used to be her partner in vaudeville.
She's come up in the business, he hangs around.
He's been out of town and just got back last week.
If Dillon finds out... And if he doesn't, he's dumber than I thought...
Well, now, wait. Nobody could be as dumb as all that.
He'll just walk out on us and we'll be sunk, that's what...
...if we don't do something.
Tried applying dough to the problem?
Give the Romeo 100 bucks. Get him out of the way.
We might try using a little flint.
You don't know this guy Denning. That's his name. Pat Denning.
He's not the kind of guy that gets sent places just like that.
Oh, no, he gets train-sick.
Oh, I see. Hard-boiled, huh?
Well, it's going to be just too bad...
...but nobody's gonna ruin my show. - What'll you do?
I'll talk it over with Murphy, a friend of mine from downtown.
Slim Murphy?
Murphy will kill him.
That'll teach him a good lesson.
I don't want to be mixed up with Murphy or any other gangsters.
One man's meat is another man's Murphy.
I told you what this show means to me.
Well, this is what it does mean.
Hello, Murphy? This is Julian Marsh.
Yeah, I'm okay. Thanks. Listen to me.
You gotta do me a favor. Did you ever hear of Dorothy Brock?
Good, that makes it so much easier.
Well, listen to me and get this.
It seems there's a certain guy by the name of Denning.
D-E-N...
N-l-N-G.
I got you, Mr. Marsh. Sure.
Hey, pipe down! What do you think I got on, earphones?
It's as good as done.
Say, you ain't gonna forget me on ducats for the new show, are you?
Thattaboy!
Not another nickel, honey. Just can't be done anymore, that's all.
Pat, don't be silly.
We've always shared and shared alike, haven't we?
What's come over you?
Getting a sudden attack of manhood, possibly.
Let's quit kidding ourselves. I'm a regular anchor around your neck.
- You're not. - I am.
Besides, never being able to see you...
...except when nobody's looking is getting me down.
But, darling, I owe everything I am to you.
It was you and that act of ours that started me in all this.
Why, you trained me and coached me and taught me all I know.
I was pretty dumb too.
- I haven't forgotten. - The act?
It was grand, Pat. Really grand.
- It was terrible. - You didn't think so then.
You mean I didn't say so then. Oh, Dot, you've gone ahead.
You've earned it. I've stayed behind where I belong, I guess.
You've kept yourself behind.
Nothing of the sort. They wanted you. They never wanted me.
Besides, I've been getting myself some education...
...and they have a name for a man who doesn't work...
...who accepts money from a woman.
It isn't a very nice name.
- Darling, you're talking like a child. - No, I'm not.
- There isn't any other reason, is there? - No.
- Sure? - Sure, I'm sure.
It's late. I'll take you home. Keep the change.
- Thank you, sir. - Thank you.
- I wish you didn't feel that way. - So do I, but I do.
Watch your tempo! Watch it, will you?
Get your feet off the floor.
Faster, faster!
Come on, faster! Faster!
Stop it, stop it, stop it!
It's brutal!
May I remind you that Pretty Lady's out-of-town opening is not far away?
It's been advertised as a musical comedy with dancing!
If it isn't asking too much, will you please show me a little?
All right, once again. Give it something!
Come on. Ready, Jerry? Get into it now. Come on!
Having fun?
After three weeks, a leg ain't nothing to me...
...but something to stand on.
Let me hear your number, Dorothy.
Come on, Jerry. The "Habit" number.
Jerry, put it up a half tone, will you?
Doesn't she sing gorgeous?
Seventy thousand bucks.
Watch this, honey. I may want you to understudy her.
All right, okay.
Come on, folks, get ready for the duet number. Start up.
Okay, Jerry, let's go.
Come on, faster!
Faster, Jerry, faster!
What's the matter with you?
- You all right, kid? - I guess so.
Come on, faster. Faster!
Peggy!
- Stand back! Get back in line. - She's fainted.
Come on now, places. This is a rehearsal, not a rest cue.
Mac, take her outside. Hurry up. Come on, everybody.
All right, come on, get back. Jerry, let's go.
Come on, pick it up!
- Here, sir. - Thank you.
- Hold your places! - Lawler, inside.
- The girl's okay. - You feel better, honey?
I guess I fainted.
That's a good guess.
Well, I guess I'm all right now.
Bad guess. Better sit down again. Now listen, you let me play now.
What would you suggest, doctor?
A little fresh air and conversation.
What about Mr. Marsh?
Never mind Mr. Marsh. Let's sit this dance out.
And if I lose my job?
If you do, there just won't be any show.
Anyway, it's a nice idea.
I've got a lot of nice ideas. What I need are ears to spill them in.
Well, won't mine do?
Yes, you know, I think they'd do very, very nicely.
When are your ears available?
At all sorts of odd hours. You must look them up sometime.
Remind me to tell you you're swell.
- That's all for tonight. - All right, dismissed, girls.
Well, thanks, doctor. Your prescription was great.
Now for the workshop.
You gotta take it daily to really do any good.
It'll have to be absent treatment, I'm afraid.
At least for the time being.
- Good night, Jimmy. - Good night.
Coming, Abner?
Dorothy, where will we eat?
You know, Abner, I'm not a bit hungry.
- But I'm all dressed for dinner. - Oh, yes, so you are.
I'll get the car.
- Dorothy, the car's here. - Yes, Abner.
Why, doctor, you must like it here.
I'm beginning to. I'm not the doctor anymore, you are.
I've become the patient, and I'd like a little advice.
Very well, but you might tell the doctor your name.
I couldn't do that, but my initials are Pat Denning.
What do you advise for a man who's both hungry and lonesome?
- Company. - Excellent.
Did you have anyone in mind?
- Did you? - Will you?
- I'm very much afraid I will. - Good.
Good night, Pat. It was a wonderful evening.
- I'll see you again? - I hope so.
- Good. - Good night.
Hey, got a match?
Yep. I guess so.
Happen to know a guy named Pat Denning?
- Why, yes. - We've got a message for him.
This guy Denning's a pretty wise mug, but he ain't wise enough.
If he don't lay off Dorothy Brock, it'll be just too bad...
...for Denning. Get me?
- I'll tell him. - Yeah, well...
- That's so you don't forget. - Pat!
Who were they?
- Friends with good advice. - Are you hurt?
Not much.
But, Pat, tell me what happened.
Better let it drop.
Besides, it's hardly a bedtime story for a nice girl like you.
What do you think this is? Get that man out of here!
- But, Mrs. Holt... - But nothing!
I have eyes.
Just because there's a depression on, some folks think I'll stand for it.
But you don't know.
After running a rooming house for 19 years, there's nothing I don't know.
Now you get out, and no more talk!
Then if he goes, I go too!
Probably I'll be able to bear up under that blow too.
Well...
...where do we go from here?
- Hotel? - I suppose so.
But it'll have to be inexpensive, as I only have a dollar and a half.
- What about my place? - Broke?
Not exactly. Not exactly flush either.
Then I guess it's your place or a park bench.
Here you are.
That's better.
Hand me your coat.
Make yourself comfortable.
Will you excuse me a minute?
Rose-colored glasses. Let's see how the world looks.
- Okay, doctor. - Here we go.
- Things beginning to look any better? - A little bit.
- Tired, aren't you? - Dead tired.
And I feel just like beginning.
You hop, step and jump as many miles as I have today...
...and you'd be tired too.
Pat, what are you doing? Please put me down!
Please, Pat. Please put me down.
Now you go right to sleep, youngster.
What you need is a good night's rest.
Good night.
Will you hand me my bag, please?
- Oh, which one? - That one.
- Here you are. - Thank you.
Good night.
What do you do when you've got left feet like mine?
- Just pick them up and lay them down. - I'm doing the best I can.
Get a load of the juvenile.
Didn't know we had elephants in the show.
Wait a minute, hold it!
Hold it, Jerry!
Some director's gonna jail you for taking money under false pretenses.
You're supposed to be a dancer!
You just need license plates to look like a Model T Ford.
They've been going all night long...
I'll keep them here if it takes a week! All right, get out!
- Take the last eight bars. - Pick it up, Jerry.
Pick it up, Jerry.
- Hello, honey. - Oh, Dot, how are you?
Tea for two.
Friend of mine dropped in.
Love me?
I wonder.
You're not going to get serious on me, are you?
- You leaving town? - Yeah.
Stock job in...
...Philadelphia.
Oh, Pat, without telling me?
Well, I thought it was the best way.
Maybe you're right.
Sit down, dear. I want to talk to you.
I've done a lot of thinking since the other night.
You know what's wrong with me, or rather, with us?
We've grown too necessary to one another.
You've been content in the shadows while I basked in the spotlight...
...simply because it's held us together.
- My success has been your failure. - Well, dear...
...my failure, as you put it, has been my happiness.
But, darling, you're capable of such great things.
You're not a quitter.
I've only wanted to help, but I've been hurting you instead.
I realize that now.
That's why I came here this morning.
We're not going to see each other for a long time.
No more doorways.
No more secret meetings.
You're going out on your own and make a success.
You're right, Dot. But you know...
...somehow, I can't imagine going on without you.
Nor I without you...
...but it's got to be.
Yes, Dot. It's got to be.
And maybe, someday...
...someplace?
Maybe.
Bye, Pat.
Oh, Dot...
I love you.
Me too.
Up!
Up.
- How are you, Bluebeard? - Okay, just a touch of scarlet fever.
Oh, that's fine. Maybe it'll develop into something serious.
The curtain's just come down!
It's the end!
Is this what you call a finale?
What is this? Amateur night?
Have we been rehearsing for five weeks, or did I dream it?
The show's ragged!
- What do you mean, the show's ragged? - The numbers are ragged!
May I remind all you shining lights that...
...this is the company that opens tomorrow night?
I am in the right theater, am I not?
This is the Pretty Lady company, isn't it?
The all-star show that...
...opens in Philadelphia tomorrow night?
- Philadelphia? - Quiet.
Quiet!
Philadelphia, PA.
Yeah, and on Sundays, it's P-U.
- Quiet! - Quiet!
Julian...
...you mean Atlantic City, don't you? - I mean Philadelphia.
Train leaves at 1 p.m., Penn Station.
Full dress rehearsal, 4:00. Arch Street Theater.
But I don't want to go to Philadelphia.
Who does? We couldn't get the house at Atlantic City.
But why Philadelphia?
Well, when you become stage director...
...we'll open in your apartment. But right now, it's Philadelphia.
Of all the cities in the United States, he would pick Philadelphia.
All right now, listen to me.
We open at the Arch Street Theater tomorrow night.
So this is Philadelphia!
Why don't you stop that?!
Peggy.
- Getting a kick out of it? - Of course, you?
I don't know. Do you suppose anybody'll even know I'm in the show?
I will.
Does it make any difference to you?
Gee, Billy. I've been for you since that first day.
Places, everybody.
I'll be seeing you.
You won't forget the modulation on the last eight bars.
- You forgot your handkerchief. - Go ahead.
Call those timers, hold them.
- nice to the right people, you'll get along.
When you walk downstage...
...just give it a little life. You know, sort of...
Quiet! Please!