42nd Street

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

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

Jones and Barry are doing a show.

Jones and Barry are doing a show.

Jones and Barry are doing a show.

Jones and Barry are doing a show.

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

Jones and Barry are doing a show.

You're telling me?

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

I'm in the Kiddie Kar business.

I don't know much about contracts...

but it looks good to me.

It's the biggest contract I ever signed.

Thanks to you, Mr. Dillon.

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

A pretty girl like you.

Not with this depression.

If not for you and your Kiddie Kars...

Oh, now, Miss Brock...

Dorothy, I mean.

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

Why, of course not.

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

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

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

No, no. I mean...

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

if you'd do something for me.

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

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

Call me Abner.

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

Abner Dillon guarantees to finance anything she does.

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

That's what we got you for.

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

What do you mean, today?

All right, tomorrow too.

Say, with your reputation...

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

I'm in this for one reason only:

Money.

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?

Hello, Andy.

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

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

Andy! Hello.

He's so busy.

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

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

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

I beg your pardon.

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

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

What is the word?

The stage manager?

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

Lolly!

Darling.

You remember Ann Lowell?

Not Anytime Annie? Who could forget her?

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

You been abroad?

Andy?

Where's Andy Lee?

Yes, Mr. Marsh. Coming right up.

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

- Line them up. - Yes, sir.

Okay, girls, line up. Come on.

Quiet, now. Quiet!

Come on, now. Quiet, girls.

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

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

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

I really had a charming summer in Deauville, dear.

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

Get a load of "Minnie the Mountaineer."

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

That's telling them.

Oh, dear.

You looking for somebody, or just shopping around?

Where will I find the gentleman in charge?

First door to your left, dearie.

- I know, but... - Shh.

He's expecting you. But that's the...

Our mistake. The other door.

- Oh. Hey, wait a minute.

Hey, what's the idea?

Oh, uh... They said...

Weren't you expecting me?

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

Well, I don't understand.

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

Well, isn't this the...?

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

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

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

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

Oh. I thought you were important.

That's the way most people feel about juveniles.

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

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

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

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

I want the truth.

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

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

I'll take you in myself.

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

Come on, let's go.

A short order of ham, coming out.

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

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

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

Just a minute. Where are you headed, sister?

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

Come on, girls, inside.

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

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

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.