DAVID MERRICK • presents FORTY-SECOND STREET (Based on the novel "Forty-Second Street" by Bradford Ropes) Music

by HARRY WARREN Lyrics by AL DUBIN Book by MICHAEL STEWART and MARK BRAMBLE Directed and Choreographed by' GOWER CHAMPION

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42ND STREET 1986 Michael Stewart and Labrador Entertainment Ltd. Compositions-"Getting Out Of Town" 0 1931 (Renewed), 1980 Warner Bros., Inc.; "42nd Street", ·Shuffle Off To Buffalo·, ·Young and Healthy·, ·You're Ge~~ing To Be A Habit With Me· 1932 (Renewed), Warner Bros., Inc.; ·Shadow Waltz·, ·We're In The Money· C!) 1933 (Renewed), Warner Bros., Inc.; ·Dames· 01934 (Renewed), Warner Bros., Inc., ·~out A Quarter To Nine·, "Go Into Your Dance", "Lullaby Of Broadway· 0 1935 (Renewed), Warner Bros., Inc.; ·1 Know Now· 0 1937 (Renewed), Warner Bros., Inc.; "There's A Sunny Side To Every Situation· 01938 (Renewed), Warner Bros., Inc. All Rights Reserved.

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Property of: Tams-Witmark Music Library, Inc. 560 Lexington Avenue New York, New York 10022 (212) 688-2525

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Time:
scenes: ACT I scene Scene scene Scene Scene Scene 2 4
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1933

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Scene 7 Scene 8 ACT II Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 Scene 7

Overture - Voices of Kids in darkness. Stage of the Forty-Second Street Theatre, New York The Gypsy Tea Kettle, restaurant Stage of the Forty-Second Street Theatre Dorothy Brock's Dressing Room Stage of the Forty-Second Street Theatre Stage of the Arch Street Theatre, Philadelphia PRETTY LADY "Maison des Dames" exterior & interior The Regency Hotel, Philadelphia, a duplex set: Dorothy Brock's room above, The Regency Club with Bar, below. PRETTY LADY, Opening Night, Philadelphia

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Outside the Stage Door, Arch Street Theatre Voices of Kids in darkness The Kids Dressing Rooms, a thre,-tiered unit Outside the Stage Door, Arch Street Theatre Broad Street Station, Philadelphia, the Train Platfor.m with two Staircases leading down from the Main Hall above. Backstage, The Forty-Second Street Theatre, New York Peggy Sawyer1s Dressing Room PRETTY LADY Cross-section of a Pullman Car w/curtained berths Full· Stage - Behind a dark scrim Full Stage - Glittering Marquees of Forty-Second Street On Stage, immediately following the performance.

Cast

An established Broadway Star Young, Talented & Hopeful.U Co-author of PRETTY LADY l)O (Jv Chorus Girl, sub-principal PRETTY LADY Chorus Girl PHYLLIS DALE LORRAINE FLEMMING Chorus Girl GLADYS (singer, non-speaking) Chorus Girl DIANE LORIMER Chorus Girl ETHEL Chorus Girl DOROTHY BROCK PEGGY SAWYER MAGGIE JONES ANN REILLY (ANYTIME ANNIE) JULIAN MARS a BERT BARRY BILLY LAWLOR ANDY LEE OSCAR MAC PAT DENNING ABNER DILLON FRANKIE YOUNG MAN W/CLIPBOARD TWO THUGS (one non-speaking) DOCTOR WAITER MILLIE (non-speaking) WILLARD (non-speaking) ROBIN (non-speaking) TWO POLICEMEN (non-speaking) PICKPOCKET/THIEF (non-speaking) YOUNG SOLDIER (non-speaking) GANGSTER (non-speaking) CONDUCTOR (non-speaking) Broadway Show Director Co-author of PRETTY LADY Juvenile lead, PRETTY LADY Dance Director Rehearsal pianist Stage Manager Former Vaudeville partner of Do~othyfs ftAngelft for PRETTY LADY

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A stagehand A stagehand Employees of gangster Nick Murphy Philadelphia theatre physician Gypsy Tea Kettle employee Dancer Theatre electrician Dancer Dancers Dancer Dancer Dancer Theatre pit-orchestra musician
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ENSEMBLE: Various Kids' voices. Theatre personnel. BOYS & GIRLS - Singers and Dancers of·the Chorus.

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Maggie "SHADOW WALTZ: .Orchestra "YOU'RE GETTING TO BE A HABIT WITH ME" .Billy' Chorus Chorus SCENE CHANGE/UNDERSCORE .Maggie. Annie.Orchestra . Phyllis. Lorraine and Andy TAG: "GO INTO YOUR DANCE" .Orchestra "You're Getting To Be A Habit With Me" "GETTING OUT OF TOWN" . Billy IN FOUR: IN THREE: PRODUCTION: REPRISE: "SHADOW WALTZ" . Billy. Bert.Orchestra "Go Into Your Dance" "GO INTO YOUR DANCE" . Chorus 10 . Girls 2 3 3A 3B 3C 4 S SA 6 6A 6B 7 8 9 "SHADOW WALTZ" .FORTY-SECOND STREET Musical Numbers: 1 OVERTURE' OPENING ACT ONE . Peggy.Dorothy SCENE CHANGE .Orchestra "You're Getting To Be A Habit With Me" "Young And Healthy" "I KNOW NOW" .Orchestra "You're Getting To Be A Habit With Me" INCIDENTAL . Pat.Dorothy "SHADOW WALTZ" .Peggy .Maggie. Dancers "We're In The Money" "Dames" "Lullaby Of Broadway" "Forty-Second Street" "YOUNG AND HEALTHY" .Dorothy .Dorothy.Dorothy SCENE CHANGE . "DAMES" .

Orchestra "We're In The Money" ACT ONE FINALE .Annie & Chorus INCIDENTAL/SCENE CHANGE .Orchestra "Lullaby Of Broadway" MONTAGE .Orchestra "There's A Sunny Side To Ev'ry Situation" SCENE CHANGE . Maqqie.Musical Numbers 11 11A lIB 12 12A INTRO.Orchestra "Forty-Second Street" ACT ONE FINALE CONTINUED .Julian.Orchestra "We're In The Money" "WE'RE IN THE MONEY" . Annie Phyllis.Orchestra "There's A Sunny Side To Ev'ry Situation" "LULLABY OF BROADWAY" . Billy & Chorus PLAYOFF . Bert.Orchestra "You're Getting To Be A Habit With Me" "We're In The Money" "There'S A Sunny Side To Ev'ry Situation" "THERE'S A SUNNY SIDE TO EV'RY SITUATION" . Andy.Dorothy "Forty-Second Street" ACT TWO 13 ENTR'ACTE . Phyllis. Lorraine./UNDERSCORE . Lorraine. Gladys.-2. Abner & Chorus PLAYOFF . Billy.Annie.Orchestra "There's A Sunny Side To Ev'ry Situation" UNDERSCORE .Orchestra "Younq And Healthy" II Shadow Wal tz" "Dames" "You're Getting To Be A Habit With Me" "Forty-Second Street" 14 14A 14B 14C 15 15A 16 . Peggy.

Orchestra ·We're In The Money" "Dames· "Lullaby Of Broadway" ·Forty-Second Street" 25 .Orchestra "About A Quarter To Nine" "ABOUT A QUARTER TO NINE" .Bert.Dorothy & Peggy PLAYOFF .Orchestra "About A Quarter To Nine" PRETTY LADY .Orchestra "Dames" SCENE CHANGE .SCENE CHANGE .Orchestra "Dames" "SHUFFLE OFF TO BUFFALO· .Julian "Forty-Second Street· BOWS ~ Full Company "Dames" "Lullaby Of Broadway· EXIT MUSIC . Annie & Girls "FOR~Y-SECOND STREET" .Musical N~mbers 17 18 19 19A 20 21 22 23 24 PLAYOFF .Peggy & Dancers FINALE ACT TWO .-3. Maggie.

Julian Marsh is doinq a show I Jobs I Welre qonna work aqainl SECOND MAN SECOND GIRL GIRL'S VOICE Get out your tap shoes. VARIOUS VOICES buildinq in intensity as THEY relay the news. then immediately seques to first bar of OPENING NUMBER as CURTAIN starts to slowly rise on •••• ALL . Francesl Julian Marsh is doinq a show I I MAN'S VOICE (A shout) First audition ten A. tomorrow I (VOICES finish as ORCHESTRA picks up last few notes of OVERTURE.OVERTURE & OPENING ACT ONE ACT I Overture As OVERTURE nears completion we reach a fermata in the ORCHESTRA and hear. did ya see this. Julian Marsh is doinq a show I GIRL'S VOICE It's in Variety.M. over the loudspeakers. MANIS VOICE Hey.

" OSCAR. whadda ya think? MAGGIE Not a bad bunch. BILLY LAWLOR. get these names and addresses. the dance director. (To ONE GIRL) Gladys. the stage manager) Mac. Bert. AUDITION NUMBER ends with KIDS shouting numbers for the last dance combination. let's have those names and addresses! FIRST GIRL Phyllis Dale. Miss Jones. hold it downl Quiet. keep those knees up. "PRETTY LADY. I want everything set when Julian Marsh gets here! (As SHE starts off Right) Come on. applause. . THE STAGE OF THE FORTY-SECOND STREET THEATRE where an AUDITION is in progress for the CHORUS of the new musical. plays as ANDY LEE. "Change places. ya gotta' pick lem up and lay 'em down. we still have four songs to write! BERT (As HE follows MAGGIE off Right). as KIDS chatter to one another and ANDY says) A~Y (As MAGGIE JONES and BERT BARRY start On from Right) Okay. (To ANOTHER GIRL) Winnie. We got the whole weekend! ~C All right. the rehearsal pianist. kids. watches from behind the piano. 156 West 47th Street. the show's juvenile. pick 'em up!". you're improving. Boys.1-1-1 ACT I Scene 1 NEW YORK CITY. etc. Andy.". here come the writers! (To MAGGIE) Well. (Pointing into auditorium) They're paying four-forty a seat out therel (Turning to MAC. leads THE KIDS in their steps and barks out directions--"All right.

Mac. ANNIE Hey. Ethel. qet those names and addresses.: J (Suddenly a YOUNG GIRL bounds on staqe Riqht. look who's here. Well.1-1-2 SECOND GIRL Lorraine Flemminq. ANYTHING ANNIE (Cominq up alonqside her) And I'll bet she qets a little behind in her rent. II • ~! . 333 Park Avenue. you're a little late. BILLY Well.! I I . piano beqins under dialoque) All riqht. You should've been here at ten. (MUSIC CUE: OSCAR on staqe. SHE stops Riqht Center and looks out into the auditorium as BILLY LAWLOR crosses to her) Lookinq for somebody? BILLY PEGGY (For that is who the YOUNG GIRL is) The dance director. and then she didn't hear the question.I . all of yal We're doinq a show. Ii . I'm here to qet into the show. let's have 'em! ~C I . the nearest breadline is around the cornerJ All riqht. They've already picked the chorus. same address as herJ ELEGANT GIRL (Steppinq forward) Diane Lorimer. I . (Ad-lib reactions from OTHER KIDS as ETHEL starts anqrily towards ANNIE and ANDY LEE hollers) ANDY Ouiet. it musta been touqh on your mother' not havinq any children. ELEGANT GIRL You remember Ann Reilly. dammit. ETHEL (Cominq down) Anytime Annie? Who could forqet 'er? She only said 'no' once.I I i . '. and anyone who doesn't want this job.

I've got to see the dance director. Inc. I was. Mar~h. Such as? PEGGY BILLY PEGGY BILLY to go better jevenilesl Say. but it took me an hour to get up enough courage through the stage door. I'll bet PEGGY (Weakening) This would've been my first if they'd taken me. are you? BILLY (Bowing) Billy Lawlor. Warner @ 1932 Bros. BILLY How about lunch? PEGGY Oh no. . but I really must see the dance director •••• 127 "YOUNG AND HEALTHY" BILLY (Taking her hand as OSCAR accompanies) I KNOW A BUNDLE OF HUMANITY SHE'S ABOUT SO HIGH I'M NEARLY DRIVEN TO INSANITY WHEN SHE PASSES BY SHE'S A SUNNY LITTLE HONEY BUT OH SO HARD TO KISS I'LL TRY TO OVERCOME HER VANITY AND THEN I'LL TELL HER THIS ••• (Following PEGGY as SHE starts Left. How many shows? Any number of 'em. BILLY Or lunch tomorrowl PEGGY That's very kind of you. one of Broadway's you're new to show business.1-1-3 PEGGY Oh. then Right) "Young And Healthy" (Renewed). Okay. Oh. then dinner. I'd take you any day. I've had experience. You're not Mr..

but •••• Okay. and •••• Come on. BILLY (Taking her to piano) You do know this song. but I •••• PEGGY Come on. yes. I have an ideal You're not going to get Andy Lee to audition you unless he's got no choice. Co~e with me. kid. and Miss Junior Elk. finally producing a long yellow scarf which SHE proceeds to tie around her neck) PEGGY My good luck scarf.1-1-4 BILLY (Continued) I'M YOUNG AND HEALTHY AND YOU'VE GOT CHARMS IT WOULD REALLY BE A SIN NOT TO HAVE YOU IN MY ARMS I'M YOUNG AND HEALTHY AND SO ARE YOU WHEN THE MOON IS IN THE SKY TELL ME WHAT AM I TO DO? IF I COULD HATE-YUH I'D KEEP AWAY BUT THAT AIN'T MY NATURE I'M FULL OF VITAMIN A SAYJ (Suddenly stopping as MUSIC continues) Say. don't ya? PEGGY BILLY PEGGY Well. now fumbles through it. sing! BILLY . I wore it when I was elected Miss Allentown. Oh. kid. To what? Go to itl BILLY Your first notes on Broadway! What're you looking for? (PEGGY has placed purse on piano.

Oscar! (MAGGIE and BERT enter Right and listen) . BILLY PEGGY IN A YEAR OR TWO OR THREE MAYBE WE WILL BE TOO OLD. BILLY Take it from the top. BILLY urges her on and indicates to OSCAR to play the melody) BILLY I'D KEEP AWAY BUT THAT AIN'T MY NATURE I'M FULL OF VITAMIN A SAYl BILLY/PEGGY (PEGGY grows in confidence as KIDS move in closer to listen) PEGGY I'M YOUNG AND HEALTHY SO LET'S BE BOLD Face front. realizes KIDS are watching her.1-1-5 BILLY I'M YOUNG AND HEALTHY AND YOU'VE GOT CHARMS BILLY & PEGGY IT WOULD REALLY BE A SIN NOT TO HAVE YOU IN MY ARMS I'M YOUNG AND HEALTHY AND SO ARE YOU WHEN THE MOON IS IN THE SKY TELL ME WHAT AM I TO DO? PEGGY IF I (COULD HATE-YUH ••• ) (SHE stops.

. ANDY I said beat All right. tootsl BILLY Don't go. OSCAR clears Who told you to sing? Hold it! It was my idea. Oscar! (MUSIC out. it! PEGGY I'm going. I'll talk to Julian myself. You.1-1-6 PEGGY (As SHE becomes more and more confident. That's a pretty BILLY piano stool) ANDY fresh idea.) liM YOUNG AND HEALTHY AND YOU'VE GOT CHARMS IT WOULD REALLY BE A SIN NOT TO HAVE YOU IN MY ARMS I'M YOUNG AND ••• (ANDY LEE brea~s through the CROWD that has gathered around PEGGY) ANDY Hold it. Andy. Mr. give BILLY 'er a break. beat itl Aw. throws !n some extravagant arm movements. Marsh is here) I just saw the taxi pull up! I got no time for breaks. Andy. ANDY Mr. begins 'selling' the number. She's great! MAC (Entering Right) Andy. Marsh is here. Amscray. PEGGY (Overlapping BILLY) I don't want to get you into trouble. etc.

on. the kid Andy threw out! it? . kids. someone MAGGIE left-a purse on the piano! Is there anything in Come BILLY It must be hers. You're going to rehearse four weeks. then tryout in Atlantic City. but five weeks from now. THEY exit at MAC's direction. You're going to dance til your feet falloff and you aren't able to stand up. Take a half-hour to get measured for wigs and costumes and then let's get to work.1-1-7 BILLY At least give me your name I (PEGGY starts off Right as JULIAN MARSH starts on Right. Today we start work on a new show. (General shouts of joy and excitement as the KIDS realize THEY'VE been hired. seven days a week. everybody gather around and listen to me. "Pretty Lady"'s going to be the best damn show this town's ever seen! You're on your way to glory and thirty-two bucks a week so anybody who doesn't think he can take it better quit right now I Nobody? Good. JULIAN Ours or Notre Dame's? (HE crosses Left and stands on piano stool to address the KIDS) All right. JULIAN clears piano stool and crosses to Center as) MAC Okay. Boss. costumes downstairs. wigs in dressing room A. says "I'm sorry" then bumps into JULIAN who staggers back as PEGGY exits Right) JULIAN (Looking after her) What the hell was that? She wanted ANDY to get into the line. get a move onl Hey. You're going to work twelve hours a day. SHE bumps into BERT.

1-1-8 MAGGIE Yeah." Look. (Reading card) "Peggy Sawyer. forty cent~ and a card. Her last hit was ten years ago. Dillon's Kiddie Kars--and he's agreed to put up the whole hundred thousand if she's the star. I need this show as much as you do. (As BILLY exit~. and ·Pretty Lady·'s gonna put me back on top! Let's talk about the cast. Allentown. Wall Street got you too? BERT JULIAN You know the old saying: There's a horse's ass for every light on Broadway. 125 Elm Street. Okay. But she can't dance. BERT Me and Maggie for the character parts. you go to your fitting and I'll see that she gets it. She's got Abner Dillon in her back pocket. crossing to JULIAN Center) Julian. but I'm still Julian Marsh. so the crash got me down for the count. that was a great speech and you won't regret a word of it! ·Pretty Lady"'s the best show we've ever written. JULIAN . BERT You know. MAGGIE We have to use her. dammit. MAGGIE And Dorothy Brock in the lead! J~IAN It's Brock I'm worried about. Best in town! MAGGIE Billy Lawlor for the juvenile. Julian. Bert. P.A. I've given all I had to that glittering gulch out there and it's been a hell of a ride. BERT And now with the greatest director on Broadway •••• JULIAN Never mind the soft soap.

Miss Brock." answer is no! (SHE starts to exit) Mr. so I wrote them in. here she comes! Dorothy. Now see here. I won't insist. JULIAN BERT Easy. I'd like to try you out on one of the numbers. joy. ABNER Hold on. Marsh. redecorated dressing room. Limousine. Dillon. DOROTHY (Angrily) If you're asking me to "audition. We'll just JULIAN You're not hearing me. private maid--no problem about the salary. (SHE bows) JULIAN Thanks. peddle our Kiddie Kars. At last that day has come. Now before we go any further. Marsh. I want to do this myself! Mr. what would I do without you? By the way. already got her contract! She's DOROTHY (Taking contract out of her purse) Mr. Marsh. Dorothy don't have to tryout. I'm feeling a little full myself. I'd like to try you on one of the songs to see if you can handle the role. and humility. Dorothy •.1-1-9 MAGGIE Put a lot of girls around her. Mr. I just added another zero. Marsh. Maggie. and I am filled with pride. may I •••• DOROTHY (Sweeping on Right. I don't know. there were a few items you forgot to mention. and you go peddle your fish. followed by ABNER DILLON) Don't say a word. let her wave her arms a lot. ever since I was a tiny little girl and saw my first Julian Marsh show I've dreamed of the day when I might work with the King of Broadway. I'm afraid the . the public'll never know the difference. Miss Brock.•• BERT DOROTHY Of course. if there's any objection.

And down a tone. Inc. Maggie. Marsh..1-1-10 BERT It's not an audition.. . with all the growls and bumps.• From the top. Mr. Dorothyl it's in the right key! Julian just wants to find out if MAGGIE Try that new one we went over yeserday. Miss Brock1 JULIAN © "Shadow Waltz" 1933 (Renewed).) JULIAN (Calming down MAGGIE who has gotten carried away) Thank you. you are going to love it! Now Bert and I see you in this low-down dive •••• (Signalling to OSCAR who starts playing) The piano pounds out a hot jazz beat as you enter. but •. try it in wait ~minute. DOROTHY I'm sorry. (SING TO YOU. three-quarter time for Miss Brock. and sing1 (And in a jazz rhythm. MAGGIE Julian. Dorothy. Warner Bros. Miss Brock. BABY WHERE ARE YOU? IN THE SHADOWS LET ME COME AND ••. Magsie1 That was fine. we wrote that song in •••• JULIAN From the top. Now Oscar. SHE sings) 117 IN FOUR: "SHADOW WALTZ" MAGGIE SHADOWS ON THE WALL I CAN SEE THEM FALL HERE AND THERE EV'RYWHEREI SILHOUETTES IN BLUE DANCING IN THE DEW HERE AM I.

Yeah.1-1-11 IN THREE: "SHADOW WALTZ II DOROTHY (After a pause. top of the chorus. Marsh. Miss Brock. Boss! Mac! Andy I playing under dialogue) JULIAN ANDY JULIAN I want two shin-busters. . FRANKIE Bring it in. One right and one left! (Crossing Center with DOROTHY) Miss Brock. if you please. (From Offstaqe) Coming in. (The "scrim" flies in as ANDY and MAC enter Right and Left with shinbusters) JULIAN Oscar. Inc. nice and easy. Mr.. Frankie I (From Offstaqe) FRANKIE Yeah? JULIAN See if you've got a scrim on twenty-eiqht. pointedly) WHERE ARE YOU? (OSCAR continues That's fine. right here if you please. Warner Bros. an angry blast) SHADOWS ON THE WALL! I CAN SEE THEM FALL HERE AND THERE EVIRYWHERE SILHOU~TTES IN BLUE DANCING IN THE DEW HERE AM I (To JULIAN. DOROTHY IN THE SHADOWS LET ME COME AND SING (As Right shin-buster liqht hits her in eyes) Kill the workliqhtsl Owl @ 1933 "Shadow Waltz" (Renewed).

(As second light goes on) Got ya! I've got youl JULIAN Look behind you. II ..her) IN THE WINTER LET ME BRING THE SPRING TO YOU LET ME FEEL THAT I MEAN EV'RYTHING TO YOU LOVE'S OLD SONG WILL BE NEW IN THE SHADOWS WHEN I COME AND SING IN THE SHADOWS WHEN I COME AND SING ••• IN THE SHADOWS IN THE SHADOWS IN THE SHADOWS ••• (MUSIC: attacca. JULIAN Look straight front! DOROTHY . (As DOROTHY plays with shadows behind. then crosses behind "scrim" as GIRLS lie at footlights and sing) LlD7 PRODUCTION: ·SHADOW WALTZ· GIRLS (As DOROTHY. dances with GIRLS.. LET ME LIVE MY SONG.TO YOU LET ME DREAM A SONG THAT I CAN SING. DOROTHY.That's all right. conducts) IN THE SHADOWS LET ME COME AND SING TO YOU LET ME DREAM A SONG THAT I CAN SING TO YOU TAKE ME IN YOUR ARMS AND LET ME CLING TO YOU LET ME LINGER LONG. a giant shadow behind them.hadow Waltz S @1933 (Renewed). Inc. ALL exit but JULIAN as GIRLS enter.•. (DOROTHY turns Upstage and sees her double reflection on the "scrimP) DOROTHY •••TO YOU TAKE ME IN YOUR ARMS AND LET ME CLING TO YOU LET ME LINGER LONG. Warner Bros. a bit heavyfooted. LET ME LIVE MY SONG IN THE WINTER LET ME BRING THE SPRING TO YOU LET ME FEEL THAT I MEAN EV'RYTHING TO YOU LOVE'S OLD SONG WILL BE NEW IN THE SHADOWS WHEN I COME AND SING IN THE SHADOWS WHEN I COME AND SING IN THE SHADOWS WHEN I COME AND SING TO YOU ••• .

Miss Brock. and sings) DOROTHY IN THE WINTER LET ME BRING THE SPRING TO YOU LET ME FEEL THAT I MEAN EV'RYTHING TO YOU LOVE'S OLD SONG WILL BE NEW IN THE SHADOWS WHEN I COME AND SING TO YOU DEAR IN THE SHADOWS WHEN I COME AND SING •••• (GIRLS. holding her head. smiles valiantly as spot hits her. k'd 1 Pat! ~ DOROTHY What are you doing here? ~ I'd tO. crosses downstage. Lights came up as "scrim" flies out and JULIAN and ANDY start briskly past DOROTHY) JULIAN Not bad.see some booking agents in the neighborhood drop by to see my best girl. not bad. (BOY enters. then unfortunately raises her head just as last two BOYS crash together with her in the middle. Miss Brock. where are you? How do you expect me to dance when these sleeves are halfway to the ground1 (Stepping out of shadows) • out of you? ~N Hello. what does it take to get a compliment JULIAN (Exiting Left with ANDY) That was a compliment. A moment of this then DOROTHY gets mixed up and BOY disgustedly exits as shadows of OTHER BOYS leap at her from all directions. DOROTHY. dances off as DOROTHY sings) TO YOU. DOROTHY ducks. in shadow. then up to scrim where HE dances with DOROTHY'S shadow. (BLACKOUT. Marsh. have been exiting behind her. Now last GIRL . and thought .1-1-13 ~ . DOROTHY (Angrily starting off Right) Wardrobe. DOROTHY Mr. starts out from behind scrim.

Dillon had been here? No. girls.1-1-14 DOROTHY And what if Mr. LORRAINE and PHYLLIS) MAGGIE Come on. I've been looking for And don't worry. it's too dangerous! (DOROTHY hands PAT a dollar) Now be a dear. (As SHE starts to protest) It was all right in the old days when we had the act in vaudeville. Warner Bros.. (Seeing PEGGY who has Hey. the bankroll's We only have an hour for lunchl entered down Right) youl You left this on the piano. Pat. kid. Oh. leaving PAT alone. get a move on. . I ••. How about putting on the feedbag with me and the girls? (Over PEGGY'S protests) Not another word. take in a picture or something.• PAT DOROTHY Till five. intact. my dearest. Miss . Pat. and I'll see you in my dressing room at five. Say. PAT I can't take your money. Dorothy. (MUSIC begins quietly under dialogue) DOROTHY What difference does that make if we still care for each other? Oh. but now you're a star. you look like you could use some grub. it's all settled! © "Sh adow Waltz ll 1933 (Renewed). followed by ANNIE.••• PEGGY MAGGIE Jones. HE hastily exits Left as MAGGIE enters Right. don't you think I hate meeting in corners like this. but isn't it better than not meeting at all? REPRISE: "SHADOW WALTZ" (And SHE tenderly sings) IN THE WIN~ER LET ME BRING THE SPRING TO YOU LET ME FEEL THAT I MEAN EV'RYTHING TO YOU (Putting bill in his pocket) Now run along. Maggie Jones. and I'll meet you in my dressing room at five. my darling! (MUSIC out as DOROTHY exits. Inc. thank you. Dorothy.

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does it twice as fast) ANNIE (Astonished) OkaYJ Now with the pullback. I just promised to eat with Miss Jones and the girls. I'm looking for a mouthful. I'm taking But MAGGIE No. PEGGY ANNIE (With a wink to OTHER GIRLS) If you think you can pick it up. you to that lovely place with the windows. you're goodl PEGGY . don't feel bad. MAGGIE Would you like to join us? BILLY No. but you're gonna dance your way over.. I'll show it to you. I don't want to waste any time.1-1-15 BILLY (Coming on from Left) Hey. PEGGY (ANNIE does tap combination. Come on. all right. The Astor Roof? GIRLS MAGGIE The Automat. PHYLLIS (As BILLY exits Right) What makes tenors such wolves? LORRAINE I think it's that tight underwear they wear. (THEY groan) Oh. not an earful. girls. I don't know your steps. (SHE does it. Okay. I'll let you have a raincheck. kid. that's what makes them tenors. kid. thanks. PEGGY follows) Hey. I've been looking for youl How about having lunch? PEGGY I'm sorry. the Gypsy Tea Kettle.

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as we come up on •••• . catches up with the GROUP.1-1-16 I know. fearful of his remembering" the "morning's incident. three. PEGGY ANNIE One. two. Come on. put it together. MAGGIE and GIRLS sit. JULIAN enters and PEGGY. then ALL start to circle Left with MAGGIE marching before them as band leader. four •••• lI7 SCENE CHANGE (THEY repeat the combination as GIRLS join them. As GYPSY TEA KETTLE sign comes in. WAITERS bring on table and five chairs.

Dorothy's worked very hard to qet where she is. there's enough on the tablecloth. you still want to get into show business after today? More than ever! Dorothy Brock! I I Imagine PEGGY someday dancing on the same stage as understand PHYLLIS how she feels. Peggy. (As HE exits) Now. Now bring us five combination dinners and get the lead out. the only thing she has over anyone at this table is Abner Dillon. A girl canlt get that dumb in only . I remember on her first show. as WAITER says •••• WAITER What'll ya have? (MUSIC out) Five cups of boiling Any gravy? MAGGIE water and one teabag. PEGGY PHYLLIS PEGGY MAGGIE You can't be just twenty-one. we're heavy tippers. my grandmother felt the same way. WAITER MAGGIE No thanks. twenty-one years." Oh.1-2-17 ACT I Scene 2 The GYPSY TEA KETTLE. MAGGIE don't know how you can say that. she made thirty bucks a week and sent a hundred home to her mother. Who's he? Her "sugar daddy. her father. ANNIE Let's face it.

you can chirp like a bird.. the next one! You're a looker. IF YOU'VE BEEN SINGING A SAO AND BLUE SONG GIRLS (ANNIE/PHYLLIS/LORRAINE) GO INTO YOUR DANCE! MAGGIE UNTIL YOU LEARN HOW TO SING A NEW SONG GO INTO YOUR DANCE DON'T BE COMPLAININGl GIRLS (ANNIE/PHYLLIS/LORRAINE) ® ~Go In~o Your Dance" 1935 (Renewed). PEGGY I still wish I were in the show with you. Inc. we're gonna have to teach you the Broadway Oh. . kidl If not this show.1-2-18 LORRAINE Kid. and it's for a good reason. MAGGIE Eugene O'Neill would have given his eye teeth to have written that line. Warner Bros. and you're pretty hot stuff in the steps department too. you've got all you need to cheer you up right there at the end of your ankles. PEGGY I learned all about men in Allentown. (And SHE sings) lS7 "GO INTO YOUR DANCE" IF YOU'VE GOT A MELANCHOLY CASE OF THE BLUES I'VE GOT A REMEDY FOR YOU IF YOU'VE AN OUNCE OF RHYTHM DOWN IN YOUR SHOES THEN I'LL CHANGE YOUR POINT OF VIEW. facts of life. You hoofers are the luckiest ones in the whole darn business! (MUSIC: start vamp for next number) So what if you had a bit of bad luck this A.M. MAGGIE You will be. ANNIE Should we tell her about musicians? MAGGIE All she has to know is that they keep them in a pit. don't worry about me..

as GYPSY TEA KETTLE sign flies and we find ourselves in the STREET OUTSIDE FORTY-SECOND STREET THEATRE) GIRLS TO GET A JOB IN A BROADWAY CHORUS GO INTO YOUR DANCE I JUST STRUT YOUR STUFF AND THEY CAN'T GO INTO YOUR DANCE I IGNORE US GIRLS (Except ANNIE) IF IT'S A TWO-STEP GIVE 'EM A SMILE IF IT'S A NEW STEP DO IT WITH GRACE AND STYLE A RAW BEGINNER ANNIE CAN BE A WINNER PEGGY JUST GIVE ME A CHANCEl ALL SHAKE YOUR SHOES AND GO INTO YOUR DANCE I (GIRLS dance. dances first with GIRLS then with PEGGY. MAGGIE exits after them. then ANDY enters. PEGGY does not know what to do and ANDY and GIRLS encourage her as THEY sing) (Except PEGGY) .1-2-19 LEARN HOW TO SMILE AND IF IT'S RAINING ! MAGGIE GIRLS DANCE MAGGIE IN THE RAIN A WHILE! ALL (MAGGIE/PEGGY/PHYLLIS/ ANNIE/LORRAINE) PUT OFF YOUR SORROW UNTIL TOMORROW GO INTO YOUR DANCE! (WAITERS dance off with table. HE sees how good SHE is as JULIAN suddenly enters.

just great! Is there something Wrong? We're ANDY wrong. that's what's wrong! ANDY But. Boss? JULIAN shy one girl. ties it around her neck and slides closer to JULIAN and ANDY) ANDY I could have one here first thing in the morning." then quickly pulls out her good-luck scarf. SHAKE YOUR SHOES AND GO INTO YOUR GO INTO YOUR ••• (PEGGY makes up her mind.••• JULIAN Plus one for good measure! I always pick one for good measure. Boss. (ANDY protests) Now don't give me any of your excuses.1-2-20 ANDY/GIRLS (Except PEGGY) TO GET A JOB IN A BROADWAY CHORUS GO INTO YOUR DANCE! JUST STRUT YOUR STUFF AND THEY CAN'T IGNORE US GO INTO YOUR DANCE. you told me to pick two dozen . applause. big finish. and THEY all turn to JULIAN) JULIAN And just what the hell do you think you're doing? Here I am knocking my brains out to put on a show they'll pay good money to see. . just get me another girl! (PEGGY has stopped dead in her tracks when SHE hears the words "shy one girl. dances as hard as SHE can. this is great. and you're giving it away free on the street! Now you kids get back in there! (ANNIE and GIRLS hurry off Right as JULIAN indicates to ANDY how impressed HE is with PEGGY as HE feigns exasperation) Well.

Pennsylvania. wait a minutel (PEGGY stops) Aren't you the Mack truck who tried to run me down this morning? PEGGY I'm sorry. my ••• JULIAN Relax. Marshl !S!7 TAG: "GO INTO YOUR DANCE" (ANDY and PEGGY exit Right and the scene changes to the •••• . Mr. kid. on my uncles. we've got a show to dol PEGGY (As ANDY carries her off) Thank you. on my father.1-2-21 JULIAN That's just duckyl I can hardly wait. I kinda enjoyed it. Andy. And I'm supposed to set the Boardwalk number this afternoonJ You know I've got a good mind to pick the first girl I see on the street. hey. I didn't know it was you. invented. JULIAN calms her down) JULIAN Hey. (As SHE demonstrates) WingsJ Cramp rollsl Buffaloesl (By now PEGGY is going like a locomotive. youl PEGGY I'm from Allentown. just go up to the first dame who passes and say--Youl PEGGY (At first looking away) JULIAN Can you dance? and I can do any tap step ever Shuffles ••• Who? Me? Yeah. Al lentown I Take it easyl (SHE finally stops) You've got the job. take her in there and get her ready to rehearse at two o'clock sharp. Now get·in there and start learning those routines. it'll never happen aqain: I swear on my mother. Hey.

of course. lMa~aleine speaks. Then use Winnie. Billy. Now get me Brock and Bi number with the dialogue. the sun sparkles brightly on a section of ~he \boardwalk at Atlantic City. JULIAN rsh. darling. We can I t do the dance sectioft". I want to r~hearse this number right now.ndRodney says •••• JULIAN . why did you take so long to declare yourself. the answer is yes." DOROTHY (Reading) "Darling. / MAC . JULIAN s in costume? Mac. (As DOROTHY and BILLY enter Right.1-3-22 ACT I Scene 3 STAGE OF THE FORTY-SECOND STREET THEATRE with CAST gathered about as JULIAN comes on. Gladys is out with a ANDY (Entering with PEGGY) Oh. / ABNER DILLON sits Left to observe the rehearsal) \ . Boss. weill live together in a cottage by the sea and every morning weill have breakfast and kisses in bed.. A.Mr.'Winnie is in the number before. no. did you get the k Yeah.Miss Brock. make the change. Boss. Weill put a costume on her \er. let I s go I /(~~ (Reading from script MAC gives him) \ "It is morning. as we discover Rodney and Madal'~ine. ~ want to run the Boardwalk / JULI Good." oh my God. Shelll never JULIAN Then get me any girl. c y. cold.

yes. Inc. .. ABNER I don't care what you call it.. my darling. yes. ·Oh. I ain't putting up good money to see the lady I love kissed by no actor. finally puts out his arm and shakes her hand) LE7 "YOU'RE GETTING TO BE A HABIT WITH ME" DOROTHY I DON'T KNOW EXACTLY HOW IT STARTED BUT IT STARTED IN FUN I JUST WANTED SOMEONE TO BE GAY WITH TO PLAY WITH SOMEONE BUT NOW I REALIZE THAT I COULD NEVER LET YOU GO AND I'VE COME TO TELL YOU SO EV'RY KISS. yes •. EV'RY HUG SEEMS TO ACT JUST LIKE A DRUG YOU'RE GETTING TO BE A HABIT WITH ME LET ME STAY IN YOUR ARMS I'M ADDICTED TO YOUR CHARMS YOU'RE GETTING TO BE A HABIT WITH ME ~You're Getting To Be A Habit With Me" 1932 (Renewed). II DOROTHY Now Rodney delcares JULIAN his love and they kiss. Dillon. what's BILLY I'm just acting. Madaleine?" "Yes. cut the kissl somet~ing.. All right. Mr. JULIAN Just say the speech and improvise BILLY I love youl I worship youl I adore youl" (HE hesitates. (Turning page) Yes. Warner Bros.1-3-23 BILLY "And will you always love me. ABNER that fella doin' to Dorothy? Hold on a minute.

1-3-24

DOROTHY (Continued) I USED TO THINK YOUR LOVE WAS SOMETHING THAT I COULD TAKE OR LEAVE ALONE BUT NOW I COULDNtT DO WITHOUT MY SUPPLY I NEED YOU FOR MY OWN OH, I CANtT BREAK AWAY I MUST HAVE YOU EVtRY DAY AS REGULARLY AS COFFEE OR TEA YOUtVE GOT ME IN YOUR CLUTCHES AND I CANtT GET FREE YOUtRE GETTING TO BE A HABIT WITH ME. (CHORUS enters, among them the new girl PEGGY SAWYER. SHE tries to follow the routine and in her eagerness somehow manages to be in every place but the right one until the number ends with bumps and stumbles and a crash of tumbling bodies) JULIAN (Restoring order) All right. Hold it, (MUSIC out) hold it. Who is that person? DOROTHY

BILLY Her name is Peggy Sawyer. Shets new. (As PEGGY keels over) Shets fainted! (Exiting Right) DOROTHY

Are you okay, kid?

Thank God!

Itts not Peggyts

fault.

MAGGIE She didntt eat any lunch.

JULIAN All right. Billy, Mac, put her in Brockts dressing room. The rest of you, this is still a rehearsal. Andy, come on, I want to clean up that last section before the pivot. All right. the pivot. A~Y Oscar, hit it! The last section before

l2!7

SCENE CHANGE (MAC lifts PEGGY in his arms, starts Right followed by BILLY and MAGGIE as ANDY moves KIDS upstage and continues the rehearsal as we come up on ••••

1-4-25

ACT

I

Scene 4 DOROTHY'S DRESSING ROOM. PAT DENNING sitting at dressing table as MAC carries PEGGY to chaise with BILLY following. Through following, KIDS exit leaving JULIAN, ANDY, BERT and OSCAR at upstage piano. BILLY Okay, set her down. PAT

Easyl

What happened?

MAC One of the kids fainted. Par for the course on a Julian Marsh show. Get ler some water, will ya? (To BILLY) And you'd better get back out there before the Boss starts yelling for you. BILLY When she comes to, tell her I'll be back as soon as I get a breakl The name's Lawlor, Billy Lawlor.
(AS THEY exit)

MAC

Yeah, come on, Billy.

(A moment, and PEGGY opens her eyes) You all right? I guess I fainted. Good guess. PAT PEGGY PAT

PEGGY (Begins to stand) But I guess lim all right now •••• (PAT catches PEGGY as her knees buckle) PAT ~ad guess. Now, let me be the doctor for awhile. 18 SOme rest. What you need

1-4-26

But the rehearsal

PEGGY isn't over.

PAT Oh yes it is, young lady. For you, anyway. Now as your doctor, my first prescription is for you to sit on this chaise. (PEGGY protests, HE helps her) That's it. And as your doctor, my second prescription is for you to get those legs up. DOROTHY (At dressing room door as PAT lifts PEGGY'S legs onto chaise) And I'll bet I know what your third prescription Dorothy, I didn't PAT expect you till ••••

isl

DOROTHY (Entering) It's quite obvious you didn't expect me •••• Doctorl Darling, PAT she fainted and they brought her in here till she came

to.

DOROTHY And since when is my dressing room an emergency ward for every clumsy chorine who throws a little fainting act? Now get her out of here before I prescribe some medication she won't like so much I Please, Miss Brock, I •••• PEGGY

DOROTHY (By now quite loud) You shut upl And if ~ prescription just get out with hert

upsets you, Doctor, you can

J~I~ (Hearing the noise, crossing to dressing room) What the hell is going on here? I'm trying to conduct a rehearsal on that stage •.••Who are you?

My name is Pat Denning, Mr. Marsh.
Srock's.

PAT

I was a guest of Miss

JULIAN Well, beat it. Miss Brock's official gentleman friend happens be in the house and I don't want him to get any funny ideas. (A knock at dressing room door)

to

1-4-27

Dorothy! It's Abner!

ABNER DOROTHY Pat, quick, behind the chaisel

JULIAN Stay where you are! (ABNER enters) Come right in, Mr. Dillonl We were just having a little script conference. Hello, Sugarplum, Thank you. ABNER (A bit suspiciously) I hope I wasn't interrupting anything. JULIAN No, no, not at all. We were just winding up. By the way, this is one of our dancers, Peggy Sawyer, and her boyfriend, Pat Denning. Now, just a moment, DOROTHY Julian •••• ABNER I just brought these posies for you. DOROTHY

JULIAN Say, Mr. Dillon, do you realize it's your fault this conference is breaking up? ~ fault? ABNER

JULIAN Dorothy said she didn't want to discuss the script any further because she wanted to be alone with you. ABNER (Delighted) Do you mean that, Dorothy? DOROTHY Of course I mean it! What girl wouldn't want to be alone with you? Just look at yourself ..•• (Brusquely, as 5H~ leads him Upstage) Come on.

1-4-28

l[B7

INCIDENTAL

JULIAN Mr. Denning, your presence in this dressing room has caused a great deal of unnecessary turmoil and I suggest such visits to not occur again. (Turning to door, sees PEGGY) And Mr. Denning, this kid's a pretty good hoofer and I don't want to lose her for ~he price of a bowl of chili. Take her out and get her something to eat. (DRESSING ROOM exits with PAT and PEGGY as we come back up on ••••

Julian. I shall see whom I please when I please. Marsh. I think we've qot ourselves a little problem. . (Taking phone from off Left and dialing) And I think I've got myself a little solution. I want you to give him up. is going to stand in my wayl and no show (DOROTHY exits Right. JULIAN crosses Left as BERT comes on brinqing a piece of music to show him) JULIAN Bert. Is it about the charactet I'm playing? JULIAN It's about the character you're playing around withl I don't know what went on in that dressing room. Julian. DOROTHY Aren't you a bit confused. if you don't like the song. When your personal tool You're the director of my JULIAN life gets in the way of my show. please. ~Urphy.far too much to me to let any gigolo stand in its way. (Into phone) ~iCk Murphy. but ·Pretty Lady" means . Julian? show. not my personal life. he's a killerl lust say sol BERT Look. I direct that DOROTHY (Defiantly) Mr.1-5-29 ACT I Scene 5 THE STAGE OF THE FORTY-SECOND THEATRE JULIAN May I please have a word with you? STREET Miss Brockl (MUSIC out) DOROTHY (As OSCAR exits and BERT leads ABNER off Left) Of course.

there's a fella been hanging around our rehearsals by the name of Pat Denning and I thought that since your place is right across the street. Re's right. and he owes me a favor. 1980 Warner Bros. We picked up a week at the Arch Street Theatre in Philadelphia I BERT But all our shows have opened in Atlantic Cityl JULIAN (Exiting) Maybe Philly'll change your luck. I believe. Thank you. maybe you could send a couple of boys over to persuade him to make himself scarce for the next few weeks. Julian Marsh. and TWO THUGS start on up Right) ~Getting Out Of Town" @1931 (Renewed). as MAGGIE starts On) And that. You see. Right. (SHE sings) lZ7 "GETTING OUT OF TOWN" I'M GRABBIN' MY HAT AND COAT BERT I'M LEAVIN' THE CAT A NOTE MAGGIE/BERT QUICK. is the end of thatl MAGGIE (As MUSIC comes up) Ju1ianl I just got a call from Atlantic City. they've cancelled our booking.. Pleasure doing business with you. I'm calling about a bit of a problem I'm having. . PAT and PEGGY enter. Nick. CALL ME A FERRYBOAT G!TTIN' OUT OF TOWN I (MUSIC continues as THEY exit. let's get packing. Inc. Nick. (Into pho~e) Hello. but everything's all right.1-5-30 JULIAN I put a girlfriend of his in my last show. BERT MAGGIE Come on. (Hanging up.

•• PAT but the old purse THUG We got a message for him. but •. Get it? All right. but I don't want to go to Philadelphial says I ~ust play out-of-town in Atlantic Cityl My contract . (As YOUNG MAN with clipboard the company? ' YOUNG MAN passes) PAT I'd like to leave a message for Miss Dorothy Brock. who were they? Friends. FIRST THUG (Crossing to PAT) You know a guy named Pat Denning? Well. Tell her that Pat Denning has joined a stock company in Philadelphia and will be gone at least six months. yes. With ~ forwarding addressl (HE sings) I'M SHININ' MY TRAVELIN' SHOES BIG SCOOP IN THE DAILY NEWS WHO'S SAYIN' HIS TooDLE-OOS GETTIN lOUT OF TOWN 1 (PAT and PEGGY exit in opposite directions as DOROTHY enters with ABNER) DOROTHY 1'm sorry. You with Yeah. strings are a bit frayed at the moment.1-5-31 PAT Sorry I couldn't take you any place fancier. He better layoff it's gonna be too bad for him. this Brock dame or THUG This is so's you don't forgetl (THUG punches PAT who hits the floor) PEGGY (As THUGS exit) Pat. PAT With good advice. Yeah? PAT I'll tell him.

ICEMAN. Dorothy. cats. Miss Brock. you got everything--hats. birdcages. canaries--so get 'em aboard! That dress rehearsal in Philly starts at eight o'clock sharp--so let's get moving! ALL (As set revolves and we begin to make the transition from the FORTY-SECOND STREET THEATRE to the ARCH STREET THEATER. DON'T NEED YOUR ICE GETTIN' OUT OF TOWN! CARES FLY BY THEY'RE GOIN' BYE-BYE AND WE'RE SHOUTIN' HOORAH WINGS SPREADIN' CAUSE WE'RE HEADIN' FOR HOT CHA HOT CHA CRA CHA HOT CHA CHA CHA . But. trunks. ABNER why don't you want to go to Philadelphia? DOROTHY (Reading note) Who says I don't want to go to Philadelphia? I want to go to Philadelphia. coats. my contract says I must play out-of-town in Philadelphia I (BILLY joins them as CAST starts on with suitcases. Philadelphia) MY NEIGHBORS ARE AWFUL NICE THEY'VE PROMISED TO FEED THE MICE HEY. etc. as THEY sing) ALL CARES FLY BY THEY'RE GOIN' BYE-BYE AND WE'RE SHOUTIN' HOORAH WINGS SPREADIN' CAUSE WE'RE HEADIN' FOR HOT CHA HOT CHA CHA CHA JULIAN (Entering Right) All right. trunks. dogs. YOUNG MAN Fella left it last night.1-5-32 Note for you.

•• .1-5-33 ALL (Continued) A NEW KIND OF COMPANY IS JUST MAGNETIZIN' ME I'M FOOTLOOSE AND FANCY-FREE GETTIN' GETTIN' OUT GETTIN' OUT OF TOWNl (By now we are upon •.

(To CONDUCTOR) Professor.. BILLY to give BILLY (CONDUCTOR'continues his "note") I know. etc. and we'll be adding things as we go along. ask MAC about dressing rooms.1-6-34 ACT I Scene 6 THE ARCH STREET THEATRE. I know. (And HE sings) lD "DAMES" WHO WRITES THE WORDS AND MUSIC FOR ALL THE GIRLIE SHOWS NO ONE CARES AND NO ONE KNOWS © "Dames'" 1934 (Renewed). we're late! Let's gol (General din and bustle as KIDS talk~ start off with suitcases. please! Quiet! I Thank you. Inc. JULIAN All right now. Not all of the scenery and costumes have arrived yet. . the company got you all to Philadelphia. finally shouts to MAC for assistance) BILLY I can't hear my first note. cannot hear note from orchestra. BILLY tries to begin production number. Philadelphia as JULIAN addresses the assembled COMPANY. but it's up to you to see that we get out of here alive! There are twnety-five musicians in that pit just dying to go on overtime so let's get this dress rehearsal started! One more thing. What is it? (A roar) MAC Mac! Mac. Warner Bros. so don't let it throw you.

and I don't appreciate making my entrance ten seconds before the blackout. that was damn good! DOROTHY roo damn good. come out one by one of MAISON DES DAMES door as MEN continue) BILLY/MEN DAMES ARE TEMPORARY FLAMES TO YOU DAMES YOU DON'T RECALL THEIR NAMES. now fully attired in extravagant gowns. Julian. DAMES DAMES! (Applause broken by JULIAN and ANDY who enter from house) Congratulations. ~re you suggesting JULIAN I bring you on after the blackout? . JULIAN kids. DAMES (DOROTHY enters in elaborate gown as chandelier starts in above her) DAMES.1-6-36 (GIRLS. TRIM OR CURVY SWEET. I am the star of this show. YOU GO TO SEE THOSE BEAUTIFUL DAMES YOU SPEND YOUR DOUGH FOR BOUQUETS THAT GROW FOR ALL THOSE CUTE AND CUNNING YOUNG AND BEAUTIFUL DAMES THOSE GORGEOUS DAMES ARE TEMPORARY PLAYINGS YET ALL THE SAME YOU MELT WHEN THEY CLING TO YOU TO YOU DO YOU? MEN DAMES DOOT DOO-WAH DOO-WAH. SHY OR NERVY THERE IS NOTHING AS DIVINE AS BEAUTIFUL NO SUN CAN SHINE LIKE BEAUTIFUL BRING ON THAT LINE OF BEAUTIFUL DAMES. DAMES DAMES. DAMES DAMES. BILLY DAMES WHAT DO YOU GO FOR GO SEE A SHOW FOR TELL THE TRUTH. DOO-WAH. DOO-WAH DAMES DOOT DOO-WAH OOH •••• 000000-000 THOSE CUNNING LITTLE CUTIES DAMES ARE TEMPORARY FLAMES TO YOU DAMES YOU DON'T RECALL THEIR DO YOU NAMES MEN . WOMEN/BILLY SLIM.

indistinguishable from the forty other specks of dust I put therel - . I want everything on a hanger. Millie. you·ve earned it. Peggy. (A short laugh from JULIAN) Is something funny? JULIAN You are. Eyes shining like a kid at Christmas. Just look at yourself--a speck of dust on this stage. Then I want you to come back here and give the performance of your livesl Company dismissedl Company dismissedl Company dismissedl ANDY nc exits Right and Left) (Excited bustle as COMPANY ANDY (As THEY go) Oh. Mr. furious) You'll regret that remark. so I want you to go out and relax. the tinsel and glitter of musical Comedy. and forget all about "Pretty Lady" till tomorrow. Marsh? HUh? JULIAN to him) PEGGY To the Regency Clubl Miss Jones and Mr. Everything on a hanger. I want to check those spot cues •••• BILLY (Crossing up Right to Left) I'll finish changing.1-6-37 I am suggesting DOROTHY you re-do the dance to suit my talents. You may be the director of this show. Mr. pleasel Willard. and meet you at the stage doorl PEGGY Be there in a minute. but I'm driving the Kiddie Karl JULIAN (After a moment) All right. the rest of you. Miss Brock. crossing Are you coming to the party. Barry just invited everyone. dreaming of Parties and opening nights. Billyl (Seeing JULIAN down Left. nothing on the floor. DOROTHY (Exiting Right. JULIAN That might make it a rather short number. Marsh.

Come on. coming. have something alive and beautiful that can reach out to a thousand people we've never seen before. But put all those specks together. PEGGY I'm a speck of dust in your show.) Andy! JULIAN Andy. Mr. Sawyer 1 JULIAN We've all had 'em1 you PEGGY Well. Let's go dream a little! L!7 SCENE CHANGE/UNDERSCORE (MUSIC up as JULIAN and ANDY exit up Left as we come upon •••. They are. Mr. Marsh. Got all the notes typed out. all JULIAN The notes can wait. . where the hell are you? ANDY (Entering Right) I'm right here. I mean to hold on to mine. Broadway dreams. Jones and Barry are throwing a party at the Regency Club. kid.1-6-38 PEGGY I know that. JULIAN Sweet dreams. (ANDY protests) I've just decided to take some of my own advice and forget about everything till tomorrow. Boss. (A moment. JULIAN is alone. then PEGGY hurries off. Marsh! So did I. seven pages •••.

will ya? (OSCAR stops playing) Something not from the show. MAGGIE I. another one of those and they'll build a bridge over you. A few more songs. (OSCAR continues with ·YOUNG AND HEALTHY" music under dialogue) BERT (Taking her glass) Say. a duplex set with DOROTHY BROCK'S room above. Hey. I Dorothy1 ABNER . Bar Left.1-7-39 ACT I Scene 7 THE REGENCY HOTEL. I turned around and you'd disappeared1 j (Putting his arm around DOROTHY) I How does that feel. Miss Brock.I DOROTHY finally figured out what the show needs. play something gay. DOROTHY over you. Sweetie-pie? Like a dead. DOROTHY (Taking his glass from him) Another crack like that and they'll build a monument ABNER Kitten. as DOROTHY and ABNER enter) DOROTHY (A little "high.Say. what's eating you tonight? I I 1 . . OSCAR at piano Right continues playing under dialogue. wet cobra. the Regency Club with party in progress below. By Irving Berlinl Now get away from me and take Buffalo Bill \fithyou.· drink in hand) Hey. Mac 1 Are you sure there were no calls for me? No. MAC DOROTHY (Crossing to piano) I need another drink.

(She winks. huh? Well. Don't be a fool.kids who've been dancing their feet off to give you a show you could be proud ofl Do you want to put them out on the street too? Oh. And now 1 triedl Try the Belvedere. What you need is some fun!' Why don't you come to a quiet corner and I'll sing you the scores of my last six shows. She's out of the show I Not with Dorothy JULIAN Wrong. ABNER But she called me a whale. wait a minute! I've got a hundred thousand show. in show business that's a compliment. so you'd better not give me the qirl dollars in this DOROTHY So I better not give you the air. flashes a bit of shoulder. you beached whale! (DOROTHY exits as MAGGIE She didn't mean it. the opening MAGGIE She's all excited. . Mr. Dillon. tries to smooth things over) You know. then leads him off as Lights come up on DOROTHY on phone upstairs) DOROTHY I don't care how many hotels you've too. ABNER There ain't gonna be no opening tomorrowl Brock. ABNER ain't it? JULIAN And the funeral of half-a-hundred . Dillon! Are you going to toss away all that money because of a dame? It's my funeral. tomorrow. how about just a few bubbles? (And SHE throws contents of glass in his face.ABNER Hey. MAGGIE Listen. Brock opens tomorrow night as scheduled. And a cobra. GIRL you wouldn't do that. would you? ANNIE Not after we've put all our faith in you. MUSIC abruptly stops) Now get on your Kiddie Kar and pedal back to Tulsa.

Billy. will you calm down and tell me what's wrong? In a minute. begins playing again under dialogue) BERT (Downstairs. DOROTHY Just hold me first. DOROTHY (As PAT enters upstairs) Oh. Pat. so please come back at oncel At once I BILLY (Downstairs) Hey. and she just told me Dorothy Brock's been calling allover town to get Pat Denning. how about the next dance? In a minute. you idiotl You do? Well. So I was right I JULIAN Denning's in town I DOROTHY (Upstairs) Oh. smell a rat. Pat darlingl I can't go on like this. Belvedere? Have you a Pat Denning there? give him to me. I She was fine this afternoon. Bossi It's Flo at the switchboard. darling. ANDY (Coming on downstairs) Hey. to JULIAN) I don't know what's got into her. Hold me and never let me gol . at party below. I think he's got a couple of Philadelphia cousins who might be able to handle the situation. Bert. I can't take it anymore. but I can't. Pat. She's an old pal of mine. JULIAN And the rat's initials are Pat Denning I DOROTHY ! (Upstairs) Hello. Peggy. I've tried to forget you. I can'tl PAT Dorothy. PEGGY ANDY (As PEGGY listens) What're you gonna do about Denning. Boss? JULIAN Call Nick Murphy.(OSCAR.

Billy? Not any more. is in trouble. . there's (PARTY PIANO stops) going to be trouble. let's have some fun! (OSCAR starts playing again in fast tempo. PEGGY (Entering) I've got to see Pat. BILLY dances with ANNIE as PEGGY knocks on DOROTHY'S door upstairs) DOROTHY Who is it? PEGGY Peggy Sawyer. Billy. BILLY Come on. Mr. Pat. but a friend of mine BILLY A man friend or a lady friend? PEGGY A man. Miss Brock. how about that dance now? PEGGY Sorry. but •••• I get it. the fainting violet dinner last week. BILLY Hey. they'd better not find Denning here.1-7-42 JULIAN (Hanging up phone downstairs) It's all set. I •••• (Peggy exits) MAC Something the matter. Good night. Denning took out to DOROTHY Peggy Sawyer? Oh. BILLY Peggy. Two of the boys'll be over in ten minutes. And (OSCAR stops playing) PEGGY Billy.

and sings. Now. PARTY PIANO fades out under DOROTHY'S first phrase and pit orchestra enters when SHE reaches the word "Lonely") . realizing what SHEIS done. Peggy? PEGGY Two men. Dorothy I PAT What is it. friends of Murphy's . Peggy. if that's the way you want it! DOROTHY (As PAT exits) That's the way I want it.1-7-43 DOROTHY You're darn right there is unless you get the hell out of herel (PARTY PIANO short cue) Wait a minute. And how come you'~e sticking you don't.••• (PARTY PIANO short cue) DOROTHY Don't you tell me to wait a minutel up for her in the first place? PAT Dorothy. Dorothy •••• DOROTHY I said the both of youl (PARTY PIANO cue) PAT Alright. leans against the door. you don't understand. Miss Brock •••• PEGGY PAT (As PEGGY exits) It's all right. DOROTHY I think I understartd all too well! No. Get outl out! Out •••• (DOROTHY. PAT DOROTHY Get out of here. the both of youl But.

1-7-44 nI KNOW NOWn DOROTHY I KNOW NOW HE'S THE ONLY ONE I KNOW NOW I'M THE LONELY ONE I HAD TO LEARN HOW A HEART CAN YEARN HOW TEARS CAN BURN WITH NO ONE TO TURN TO I KNOW NOW THAT I CAN'T FORGET I CAN'T FOR I DON'T KNOW HOW ••• I GUESS I NEVER KNEW HOW I NEEDED YOU BUT SWEETHEART I KNOW NOW (Spoken:) I CAN1T FORGET (Sunq:) I CAN'T FOR I DON'T KNOW HOW I GUESS I NEVER KNEW HOW I NEEDED YOU BUT SWEETHEART I KNOW NOW (The drunken party downstairs builds in volume as Liqhts come down on DOROTHY) I KNOW NOW YOU'RE THE ONLY ONE I KNOW NOW I'M THE LONELY ONE BARFLIES I HAD TO LEARN HOW A HEART CAN YEARN HOW TEARS CAN BURN WITH NO ONE TO TURN TO •••• (Drunken lauqhter continues as TRELLIS DROP comes in as we seque directly to •••• It @1937 1 Know Now" (Renewed). Inc. .. Warner Bros.

Mac. revealing GIRLS dressed as RAGAMUFFINS kneeling in semi-circle) You got itl LORRAINE .1-8-45 ACT I Scene 8 "PRETTY LADY" OPENING NIGHT IN PHILADELPHIA as BILLY LAWLOR. in tuxedo. BUT SWEETHEART I KNOW •••• (Last TRELLIS GIRL has placed her trellis directly in front of his face. finishes same song with TRELLIS GIRLS behind him.on't love it for long unless we speed up these changes. They love itl JULIAN They . BILLY and TRELLIS GIRLS exit. gol MAC MAC lII7 INTRO. (ANNIE./UNDERSCORE (Scrim up. and we see ANDY and JULIAN) ANDY Boss. Marsh. we're inl This is the best out-of-town opening we've ever had. BILLY I GUESS I NEVER KNEW HOW I NEEDED YOU BUT SWEETHEART. Mr. PHYLLIS and LORRAINE hurriedly take their places) JULIAN All right. BILLY firmly pushes it down) NOW I ("PRETTY LADY" scrim comes in. PEGGY. where the hell is that cue? Just waiting for the kids to get into place. here they arel Cue sixty-four. SWEETHEART.

a penny? A nickel? LORRAINE/PEGGY ANNIE Will ya hold your horses and lemme get the dirt off.. ALL (ANNIE/PHYLLIS/LORRAINE/PEGGY) WE NEVER SEE A HEADLINE 'BOUT A BREADLINE TODAY AND WHEN WE SEE THE LANDLORD WE CAN LOOK THAT GUY RIGHT IN THE EYE. © "We're In The Money" 1933 (Renewed). what is it. . YOU ARE THROUGH. get it up before it falls off! LORRAINE/PEGGY Watch out for the subway gratingl I got it! ANNIE PHYLLIS Well. Inc. (Dazzled) A dime! (And with a big smile SHE sings) IlIA! "WE'RE IN THE MONEY" WE'RE IN THE MONEY WE'RE IN THE MONEY RAGAMUFFINS: (PHYLLIS/LORRAINE/PEGGY) WE'VE GOT A LOT OF WHAT IT TAKES TO GET ALONG.1-8-46 Now pull it up! PEGGY ANNIE I gotta wait for the gum to stick! PHYLLIS It's stuck. Warner Bros. WE'RE IN THE MONEY THE SKIES ARE SUNNY ANNIE PHYLLIS/LORRAINE/PEGGY OLD MAN DEPRESSION. YOU DONE US WRONG.

YOU ARE THROUGH. WE'RE 'IN THE MONEY THE SKIES ARE SUNNY OLD MAN DEPRESSION.1-8-47 ALL (ANNIE!PHYLLIS!LORRAINE!PEGGY) (Continued) WE'RE IN THE MONEY COME ON. MY HONEY LET'S SPEND IT. tap number ending with ALL onstage dancing on the dimes. Julian? i . WE NEVER SEE A HEADLINE 'BOUT A BREADLINE TODAY AND WHEN WE SEE THE LANDLORD WE CAN LOOK THAT GUY RIGHT IN THE EYE LOOK THAT GUY RIGHT IN THE EYE LOOK THAT GUY RIGHT IN THE EYE. Last pose. LEND IT. (BILLY enters. behind which we see KIDS exiting as MAC herds them off) PLAYOFF (MUSIC immediate ACT ONE FINALE (MUSIC continues Places I under dialogue) segue) YOU DONE US WRONG. MAC Places. DANCE builds to FULL COMPANY. and "PRETTY LADY" scrim comes in. applause. ROLL ROLLING ALONG. Act One Finale! BERT (Coming on) ao\oj"st going. MY HONEY LET'S SPEND IT. LEND IT. LEND IT. WE'RE IN THE MONEY COME ON. SEND IT ROLLING ALONG. ROLL. ROLL. SEND IT ROLL. (GIRLS~exit as CHORUS enter dressed in silver and green money costumes carrying outsized Liberty dimes) MONEY KIDS WE'RE IN THE MONEY WE'RE IN THE MONEY WE'VE GOT A LOT OF WHAT IT TAKES TO GET ALONG. SEND IT LET'S SPEND IT.

1-8-48 JULIAN Like a Marsh show should. there won't be a finale unless Brock gets out herel Dorothy. everybody I (Scrim up. When I do. I just wanted to explain I about last night. Miss Brock •••• Get away from me! Ouietl Quieti You're All right. you can take me PEGGY (In finale costume. where the hell are you? DOROTHY (Coming on from Left) There's no need to shout. you're on in about ten secondsl DOROTHY I have never missed a cue in my lifel to task--not before. Miss Brock. Greatl But this is the number that counts. Send lem out for the intermission buzzing. Julian. and that's the ballgame 1 MAGGIE (Joining them) Then we have nothing to worry about. hurrying on) Excuse me. DOROTHY don't want an explanation from youl PEGGY DOROTHY The farther the better! JULIAN onl MAC Cue sixty-eight--Gol But. revealing DOROTHY alone with backdrop of FORTY-SECOND STREET behind her) . JULIAN All right. I can hear you. the finale's in the actl the best number JULIAN Well.

DOROTHY falls in pain as COMPANY rushes On around her) JULIAN Curtain! Bring it inl (MUSIC out. . who stumbles into DOROTHY. KIDS react. Through scrim we see backstage What the hell happened? Curtainl She pushed mel Sawyerl DOROTHY action) ANDY Dammit. I wasn't out of linel PEGGY She pushed me.. as lights go out backstage and up on JULIAN as HE steps out in front of scrim and addresses the audience) "Forty-Second Street" ~ 1932 (Renewed). As THEY do ONE BOY accidently pushes PEGGY.••• (DANCERS enter. Warner Bros. what were you doing out of line?.CONTINUED DOROTHY IN THE HEART OF LITTLE OLD NEW YORK YOU'LL FIND A THOROUGHFARE IT'S THE PART OF LITTLE OLD NEW YORK THAT RUNS INTO TIMES SQUARE A CRAZY QUILT THAT WALL STREET JACK BUILT IF YOU'VE GOT A LITTLE TIME TO SPARE I WANT TO TAKE YOU THERE COME AND MEET THOSE DANCING FEET ON THE AVENUE I'M TAKING YOU TO . DOROTHY I want her firedl No one JULIAN You little fooll Take your things and get out of herel steps out of line in a Marsh show--you're firedl (Hubub. Sawyer.1-8-49 ACT ONE FINALE . Inc.

House lightsl {The house lights come sharply on as the CURTAIN falls on the •••• END ACT I .1-8-50 JULIAN (Continued) May I have your attention pleasel Miss Dorothy Brock has had an accident and will not be able to continue with tonight's performance of "Pretty Lady. II Ladies and gentlemen--your tickets will be refunded at the box office.

We're closing. DOCTOR You don't seem to understandl She won't even be able to stand up. what is it? DOCTOR I'm afraid it's broken. We have no star and without a star. JULIAN. No star. ARCH STREET THEATRE. there's no show. Are you nuts? BERT She's got a show to do tomorrow MAGGIE Put an Ace bandage on it. MAGGIE and BERT pace back and forth. PHILADELPHIA. (Over their protests) My decision is final. Miss Brock has a broken ankle. (MUSIC fade out) It'll be months before she'll be able to walk on that ankle again. Compound fracture. BILLY (Coming on Left) ANDY for the Doctor. BERT (As DOCTOR exits) We'll get another doctor ••••A second opinion. JULIAN QUiet! Quieti All of you. no showl Tell the kids to clear Out of their dressing rooms. moments later as ANDY.2-1-1 ENTR'ACTE ACT II Scene 1 OUTSIDE STAGE DOOR. Any word? No. We're waiting JULIAN (As DOCTOR enters) Well" Doc. nightl She's a trouper. (Starting off Left) .

"Boss. you can't be serious. after all that work •••• " as scene fades to black and we hear •••• (MUSIC: cue to start under for next number) .2-1-2 JULIAN (Continued) "Pretty Lady" closes tonightl (ANDY says.

. as each KID or GROUP sings) ANOTHER KID BUT TRA LA LA LA LA LA LA LA SOMEWHERE THE WEATHER'S FINE TWO OTHERS LONG AGO ONE FINE DAY SOME PHILOSOPHER WAS HEARD TO SAY THERE'S TWO OTHERS A SUNNY SIDE TO EVERY SITUATION TWO OTHERS AND THE SAME APPLIES TO YOU HIS PHILOSOPHY'S STILL TRUE "There's A Sunny Side To Ev'ry Situation" 1938 (Renewed). Warner Bros. and ANOTHER KID sings. part of a threetiered unit of ALL KIDS' DRESSING ROOMS. then off. as SHE sings) "THERE'S A SUNNY SIDE TO EV'RY SITUATION" ANNIE SING TRA LA LA LA LA LA LA LA THE SUN MAY NEVER EVER SHINE (Her light goes off. Inc. © . her dressing table. VOICE ANOTHER VOICE THIRD VOICE The show is closingl The show is closing! The show is closing! (A babble of VOICES. a second light snaps on.2-2-3 ACT II Scene 2 VOICES of KIDS in the darkness. NOTE: Lights go on. "I'm out of a job! I can't pay my rentl What are we going to do? The show is closingl: as first light snaps on and we see ANNIE at .

2-2-4 ALL SIX THERE'S A FUNNY SIDE TO EVERY SITUATION BOY (SOLO) YOU'VE NO DOUGH SO RELAX YOU DON'T HAVE TO PAY AN INCOME TAX OTHERS (GIRLS) YOU'VE NO JOB SO JUST PRETEND IT'S YOUR VACATION OTHERS (ALL) SHOULD THE LANDLORD RAISE YOUR RENT THUMB YOUR NOSE AND PITCH A TENT EVERY SITUATION BOTTOM ROW HAS A SUNNY SIDE ALL SING TRA LA LA LA LA LA LA LA THE SUN MAY NEVER EVER SHINE BUT TRA LA LA LA LA LA LA LA SOMEWHERE THE WEATHER'S FINE ONE GIRL (SOLO) WITH NO BONOS AND NO STOCKS IN YOUR LITTLE SAFE DEPOSIT BOX ALL YOU CAN NEVER BE AFFECTED BY INFLATION ONE BOY (SOLO) WHEN YOUR CAR IS OUT OF GAS THEN NO REO LIGHTS YOU CAN PASS ALL (As lights go out group by group) EVERY SITUATION HAS A SUNNY SIDE EVERY SITUATION HAS A SUNNy •••• (MUSIC abruptly out) ANNIE (Her light coming back on) Wait a minute! Why does the show have to close? INCIDENTAL/SCENE CHANGE lines) PHYLLIS (Her light on. same for following Because our star broke her anklel So we get someone ANNIE to replace herl .

she acts •••• LORRAINE (Her light coming on) And has been for the past sixty years! ANNIE Wait a minute. And she sure is pretty! It might be worth a try. A BOY ANOTHER BOY A GIRL PHYLLIS We'd have to get Mr. Peggy! She's got a voice that'll panic 'em and she can dance rings around Brock! She has got something. she dances.2-2-5 Someone to replace Brock? Someone to replace Brock? What apout Marilyn Eaton? She's in London I Mary McKay! Hollywood. I know someone who can do it! Who? Peggy Sawyer! That kid? ALL ANNIE LORRAINE ANNIE Yes. Marsh before he leaves the theatre! . Nora Sinclair! GIRL FOUR KIDS A GIRL TWO BOYS ANOTliER BOY ANOTHER GIRL PHYLLIS She sings.

what are we waiting for? Come on. let's gal (The KIDS pour out of THEIR DRESSING ROOMS as LIGHTS come up DOWNSTAGE and we find ourselves •••• .2-2-6 ANNIE Well.

ARCH STREET where JULIAN and ANDY to leave the Theatre as hurries on.2-3-7 . We're wasting our time. BERT JULIAN MAGGIE All you have to do is give her a chancel than closing the show? Who is she? Peggy Sawyer I That kid? JULIAN ANNIE MAN Isn't anything better ANNIE Yes. . ANNIE (Dashing on. music button and out when ANNIE reaches her position) Mr. Act II Scene 3 OUTSIDE THEATRE prepare COMPANY STAGE DOOR. if there were someone in the company with that much talent. Boss. A raw beginner! No JULIAN This is her first job in the chorus! ANDY She is the best dancer in the line. Peggy I She's got a voice that'll panic 'em and she can dance rings around Brock. wait a minute I You don't have to close the show I What? JULIAN ANNIE We've got someone right in the company who can 'replace Brock I JULIAN My dear Miss Reilly. Marsh. don't you think I would have noticed her? Maybe not in this case. wait.

beat the part into her in thirty-six hours. wait a minute! (MUSIC out) This is my job. and open cold on Thursday. MAGGIE Unless this kid's got it naturally. you just fired her. ANNIE But it may not be too late to get her backl eleven-ten to Allentown. ABNER Ain't we gonna stay here in Philadelphia? JULIAN And lose ten thousand dollars a night? Our only chance is to ship the show to New York. Boss? ANDY JULIAN Get her off that trainl I want Sawyer in New York. What do we do. send her in. ready to work. That sort ot style takes years of experience to develop. isn't it? JULIAN All right. at eight o'clock tomorrow morning. I fired her. She's taking the 11487 UNDERSCORE ANNIE (Continued) That gives you twenty minutes to get down to Broad Street Station. Now get goingl No. BERT Kids can do anything. Not to mention ANDY You could put the dancing back in the show. (Each word quivering with passion) Which she just might ~JJ JULIAN Do you know how many pages she'd have to learn? the songs and routines.2-3-8 JULIAN That's not carrying a showl Brock's such an easy·performer she's fooled you. BILLY There's only one hitch. Boss. . it's up to me to get her back. Julian. She's young. it's worth BERT a try.

JULIAN Thank you. Marsh. Anytime! to convihce her.. I can go •. we'll give him fifteen minutes we bring in the big guns! SCENE CHANGE (MUSIC up as COMPANY exits Right and Left and we come up on •••• .• BERT I said I'll gol favor. ANNIE (As HE exits) Mr. then MAGGIE All right. You may have done me quite a Anytime. Annie.2-3-9 Julian.

I'm here to apologize for what happened and to ask you to come back •••• PEGGY I have a train to catch. I'm going JULIAN What was that word you just said? Allentown? I'm offering you the chance to star in the biggest musical Broadway's seen in twenty years and you say Allentown? Now listen. Mr. back to Allentown. the orchestrations never heard! Think of "Pretty Lady" and the thrill and pleasure it could give to millions! Think of ~Usica~ comedy. she's out of the show. If you can do it. the costumes never ~orn. Sawyer. It may not have been easy but I qot the message loud and clear. r'm sorry. .PEGGY You did me a favor. Marsh. think of Broadway. PHILADELPHIA. then JULIAN appears at the top of the stairs. JULIAN And take over Dorothy Brock's role in "Pretty Lady!" Her ankle's broken. dammit! . and I can't blame you. A moment. think of all those kids you'll be throwing out of work if you don't do this! Think of the songs that will wither and die if you don't get up there and sing them! (MUSIC: cue to start under for next number) lhink of the scenery that will never be seen. PEGGY Show business isn't for me. and listen good. the most glorious words in the English language! Sawyer. Even if you don't give a damn about me. Marsh. fired. Mr. Sawyer! JULIAN It's not easy being (MUSIC out) You're angry at me.2-4-10 ACT II Scene 4 BROAD STREET STATION. the part's yours. Miss Peggy Sawyer! And that's just what I'm going to do. Mr. JULIAN Miss Sawyer. Go back where you came from. PEGGY sitting on suitcase on platform with two staircases leading down from main hall above. Marsh.

BABY SLEEP TIGHT. GLADYS enter) LORRAINE and tJ -Lullaby Of Broadway" 1935 (Renewed).. BABY GOODNIGHT. then suddenly steels herself. MILKMAN'S ON HIS WAY SLEEP TIGHT. Inc.2-4-11 lIS] "LULLABY OF BROADWAY" JULIAN COME ON ALONG AND LISTEN TO THE LULLABY OF BROADWAY THE HIP HOORAY AND BALLYHOO THE LULLABY OF BROADWAY THE RUMBLE OF A SUBWAY TRAIN THE RATTLE OF THE TAXIS THE DAFFYDILS WHO ENTERAIN AT ANGELO'S AND MAXIE'S WHEN A BROADWAY BABY SAYS GOODNIGHT IT'S EARLY IN THE MORNING MANHATTAN BABIES DON'T SLEEP TIGHT UNTIL THE DAWN •. LET'S CALL IT A DAY LISTEN TO THE LULLABY OF OLD BROADWAY. JULIAN stops her by placing his foot on suitcase. ANDY. Warner Bros. gets up and reaches for suitcase.• GOODNIGHT. . despite herself. (PEGGY.COME ON ALONG AND LISTEN TO THE LULLABY OF BROADWAY ANNIE (Coming on after him) THE HI-DEE-HI AND WHOOP-DE-DOO BILLY/ANNIE THE LULLABY OF BROADWAY (BERT. then turns away in frustration as BILLY suddenly enters top of stairs) BILLY . PHYLLIS. has been carried along by his words.

DOO-WAH 000. ABNER and COMPANY enter) MAGGIE COME ON ALONG AND LISTEN TO THE LULLABY OF BROADWAY THE HIP HOORAY AND BALLYHOO THE LULLABY OF BROADWAY ABNER THE RUMBLE OF A SUBWAY TRAIN THE RATTLE OF THE TAXIS ALL THE DAFFYDILS WHO ENTERTAIN UNTIL THE DAWN ••• (FULL COMPANY dances as THEY try to convince PEGGY. BOYS (4) 000.2-4-12 ALL SEVEN (ANNIE/PHYLLIS/LORRAINE/ GLADYS/BILLY/ANDY/BERT) THE BAND BEGINS TO GO TO TOWN AND EVERYONE GOES CRAZY YOU ROCKABYE YOUR BABY ROUND TILL EVERYTHING GETS HAZY (JULIAN joins them) HUSHABYE. 000. Finally SHE can resist no longer) 000.• MEN (JULIAN/BILLY/ANDY/BERT) GIRLS (ANNIE/PHYLLIS/ LORRAINE/GLADYS) MILKMAN'S ON HIS WAY! SLEEP TIGHT. DOO-WAH 000. gestures to BILLY) DAY! BILLY HE ALL EIGHT LISTEN TO THE LULLABY OF OLD BROADWAY (MAGGIE. 000. I'LL BUY YOU THIS AND THAT YOU HEAR A DADDY SAYING AND BABY GOES HOME TO HER FLAT TO SLEEP ALL DAY GOODNIGHT. 000. DOO-WAH 000. BABY SLEEP TIGHT ALL JULIAN LET'S CALL IT A ••• (The note's too high. . 000. BABY GOODNIGHT •.

BROAD STREET STATION goes off and we find ourselves ••• ALL .2-4-13 I'll do it! PEGGY ALL (Triumphantly joining PEGGY) COME ALONG COME ON ALONG AND LISTEN TO THE LULLABY OF BROADWAY THE HI-DEE-HI AND WHOOP-DE-DOD THE LULLABY OF BROADWAY THE BAND BEGINS TO GO TO TOWN AND EVERYONE GOES CRAZY YOU ROCK-A-BYE YOUR BABY ROUND AND SLEEP ALL DAY JULIAN LISTEN TO THE LULLABY OF ••• OLD BROADWAYl 11SAI PLAYOFF (As COMPANY excitedly exits.

I ••. and ten dance routines to learn by eight-thirty tomorrow night. Well. six songs. MAC clear the stage I JULIAN By tomorrow night I'll either have a live leading lady or a dead chorus girl.2-5-14 ACT II Scene 5 BACKSTAGE. Marsh. And no one else on this stage until I call them I All right. let's gol Now I want to start with the opening number. . then work through all the songs and dances. I was looking for my good luck scarf. what are you waiting for? Let's gol . Mr. Macl Where the hell's the piano? (MAC and OSCAR roll piano into place as ANDY and DANCERS enter) Andy. then go back and do the scenes. PEGGY JULIAN Do you think you can do it. There'll be a five minute break every hour for food or coffee and a full fifteen minutes every four hours for rest. Marsh. New York.I . Do you think you can do it? . JULIAN two minutes latei Sawyer! You're PEGGY (Rushing On) I'm sorry. You've got twenty-five pages. JULIAN alone. . Mr. Sawyer? Yes. PEGGY JULIAN Then we begin. I can. . Oscar. FORTY-SECOND STREET THEATRE. ·Pretty Lady" opens on this stage in exactly thirty-six hours. JULIAN Sawyer. .

That's it! Show moxie! ANDY (As "SHADOW WALTZ" begins) Good work. six. four. two. six. . JULIAN (Overlaps ANDY'S "six") Sharp. eight. involving PEGGY and various DANCERS. three. five. five. Peggy. three. five. Bits and pieces of "YOUNG AND HEALTHY. three. slaps on the right foot and ••. six. Pick 'em up! JULIAN Pick 'em up! ANDY four. five. Alright.2/5/15 MONTAGE (OSCAR starts pounding the piano and we have a collage of the next thirtyfour hours. eight. four. Yes. 00 I turn now? PEGGY ANDY JULIAN You're not in the back row now. eight. now. four." etc. eight. JULIAN and ANDY'S comments through this are constant but ~ necessarily audible) ANDY (As "YOUNG AND HEALTHY" begins) All right. two. (Simultaneous) JULIAN And •••• ANDY (Counting out) One. seven. six. C'mont ANDY Two. seven. seven. two." IISHADOW WALTZ. sharp! Show her how. two. Smile. Allentown! ANDY (Continuing the count) One. seven.. Peggy. three. JULIAN Step. down the back.

Move. elegantl PEGGY JULIAN ANDY One. two. now remember. three.• Girls. ANDY Don't worry about it. segues into "HABIT") ANDY Hold your horses.2-5-16 Okay. BOBS. PEGGY She's late. And ••. PEGGY ANDY Turn left. three. ANDY One. That-a-girl. JULIAN just do it like you mean two. Here we go. four. ANDY stay close to Robin! Close to Robin! Hold it. One. Alright. And. from the balance. two. Oscar. Turn. two. Good. One. Peggy. Left. Now. right. stay close to Robin. bop! Bop! Alright. JULIAN Make every man fall in love. Boss. I'm sorry. three. where the hell is shel Andy! She's Left? Yes. Lyrical. move. Peggy. JULIAN Right knee •••. . One.yes! (PEGGY goes Upstage as Music Alright. ANDY Right knee up sharp. three. please. Alright. ANDY I'll fix it. five. JULIAN (Overlaps second "Close to Robin") Hold it! She went too wide. Andy. JULIAN stay tight. right here. Very pretty. two three. it. Peggy.

PEGGY (Imitating him precisely) "Jim. two. That's Sharp.. no." It was grand of you to . very nice. three. boys. one. Take it from Jim's entrance. five. Can't we stop for a minute? two Well. it won't dol Look. come. Hats together. Single JULIAN step going back. Andy. they didn't tell me you were here.. have you ever been in love? (HE seizes her) Have you ever had a man take you in his arms and crush you to him and kiss you? (HE kisses her) Now say the line. Right! Alright. PEGGY (As ANDY and DANCERS start off) Mr. six. that curtain goes up in exactly hours. come. "Ji-iml They didn't tell me you were herel It was grand of you to cornel" Try it again. I'm exhausted. Marsh. it.T j 2-5-17 JULIAN Keep it up. (MUSIC continues with quiet clarinet under dialogue) and I Please. seven. ANDY four. keep it up! ANDY Turn. gol JULIAN (As ANDY continues the count) Very nice. JULIAN It's six-thirty." It was grand of you to JULIAN No. what are you waiting for? From Jim's entrance I PEGGY (Wearily) "Jim. And •. they didn't tell me you were herel come. PEGGY (A bit stunned) "Jim. give the rest of them a break. that's impossible! You're greeting the man you lovel Make it mean something. they didn't tell me you were here." It was grand of you to JULIAN No. And crisscross out. want to run the love scene. Like this •••. And. Sawyer. It's now or never.

Marsh •••• Oscar! JULIAN PLAYOFF ANDY Moving left. Marsh.They didn't tell me . everyone! PEGGY Mr. grand. grand of you to come!! It was JULIAN (As HE gives her a shove Upstage and OTHER KIDS start on) All right. two. darling! .ou were herel! grand. fJIJ Ready? PEGGY (Breaking down) I can't. they didn't tell me you were here. and one. please ••••Mr. three four •••. MAC Places for the finale. It was grand of you to come. Marsh! You pushed her too far! BERT . please! ANDY (By now ALL DANCERS are on) Finale. I can't. that's it! Now places for the end of the finale. I can't! (MUSIC out) Peggy! ANDY MAGGIE Now you've done it.2-5-18 Again! JULIAN (Kisses her again) (MUSIC fades out) PEGGY (Reacting to second kiss) "Jim." JULIAN (Another kiss) Once morel PEGGY "Jim.

down in the lounge! (ALL but PEGGY exit. MAC puts robe over her shoulders and we come up on •••• . she'll never get through. Unless she knows this part way down in her gut. I want them down in the lounge and clean up those last sixteen barsl 1H1 . That curtain goes up in forty-five minutes.2-5-19 JULIAN I had to. SCENE CHANGES Get a move on •••• ANDY All right. tool Andy. everybody. (To KIDS) And that goes for the rest of you.

I hope you won't mind. PEGGY alone as DOROTHY. I found I couldn't hate yOu ••••Because you're good. DOROTHY They said I'd find you here. MUSIC out» So you're going to take my place. Maybe even better than I would have been. PEGGY DOROTHY PAT Is this the time for this.2-6-20 ACT II Scene 6 PEGGY'S DRESSING ROOM. I wanted to see you fail. Miss Brock •••• Pat. one more thing. Get out there and be so swell you'll make me hate you. my dear. DOROTHY Do you? I'm not sure. When I started for the theatre this afternoon. For ten years the theatre has kept me away from the only thing I've ever wanted. is wheeled on by PAT. I wanted to tear your heart out. freshness. beauty. playing ~ role! But sitting there 1n that theatre and watching you rehearse. her right leg in a cast. and Peggy. let the audience come to you. Miss Brock! PEGGY DOROTHY I have only one last wish for you. Dorothy? half-hour. Only I'm getting something too. singing ID¥ songs. Sawyer. leave us alone.got to take it easy. I wanted to hate you. I. Would you let me show you what I mean? (MUSIC starts) . but it's about the next to closing number. wearing ~ costumes. that's what you've got. (PAT goes. PEGGY I'm sorry. You. Pat Denning and I were married this morning! Oh. And it was a broken ankle that finally made me realize it. They've just called DOROTHY I've got some things to say to Miss Sawyer.know how tough it must be. You've . The public wants youth.

TO NINE" ABOUT A QUARTER LIFE BEGINS WHEN SOMEBODY'S EYES LOOK INTO YOUR OWN DOROTHY LIFE BEGINS WHEN YOU GET YOUR GUY ALL ALONE FROM MORNING UNTIL TWILIGHT I DON'T KNOW I'M ALIVE BUT I KNOW LOVE BEGINS AT EIGHT FORTY-FIVE THE STARS ARE GONNA TWINKLE AND SHINE THIS EV'NING ABOUT A QUARTER TO NINE DOROTHY HIS LOVING ARMS ARE GONNA TENDERLY AROUND ME ABOUT A QUARTER PEGGY HIS LOVING ARMS ARE GONNA TENDERLY TWINE DOROTHY/PEGGY TWINE TO NINE DOROTHY I KNOW I WON'T BE LATE CAUSE AT HALF PAST EIGHT I'M GONNA HURRY THERE I'LL BE WAITING WHERE THE LANE BEGINS WAITING FOR HIM.2-6-21 I would ill] appreciate II PEGGY it very much ••••Dorothy. ON NEEDLES AND PINS AND THEN THE WORLD IS GONNA BE MINE THIS EV'NING ABOUT A QUARTER TO NINE DOROTHY/PEGGY (As PEGGY does DOROTHY'S arm movements with her) I KNOW I WON'T BE LATE CAUSE AT HALF PAST EIGHT I'M GONNA HURRY THERE "Abdut A Quarter To Ninell © 1935 (Renewed).. Warner Bros. . Inc.

MUSIC continues quiet clarinet under dialogue) Thank youl Oh. kid? I'll try. Lolly. Annie. Gladys.2-6-22 DOROTHY/PEGGY (Continued) I'LL BE W~ITING WHERE THE LANE BEGINS WAITING FOR HIM ON NEEDLES AND PINS AND THEN THE WORLD IS GONNA BE MINE THIS EV'NING ABOUT A QUARTER TO ••. I promise. and show 'em what we can dol PEGGY Oh. Hon? ANNIE PHYLLIS LORRAINE That's a pretty dumb question. You're not just Peggy Sawyer tonight. you're every girl who ever kicked up a heel in the chorus. (Taking over) PEGGY NINE! DOROTHY (After a moment) Pat. PEGGY ANNIE She's gotta come through! Not for Jones or Barry or any of those stuffed-shirts out there. of course . . Peggy! Are you nervous. I'll do my best.she's nervous! A GIRL But she'll come through. kid. won't you. get me the hell out of here a f19Af PLAYOFF PEGGY (As PAT wheels DOROTHY off Right) (DOROTHY goes as several GIRLS enter and surround PEGGY. Phyl. Get out there in front. but for usl The kids in the line.

Oh. One hundred people. I know what you're thinking. Here comes Marsh with another one of his pep talks. I want sheer unadulterated brilliancel (To GIRLS) Now what are you girls hanging around for? Get into your places for the opening. I want to talk to you. (At door) it's eight-forty. Lights start down on PEGGY standing alone as "Pretty Lady" scrim flies in and we come upon . Sawyer. MUSIC fades out) MAGGIE (At door) Julian. our lives are in your hands. tell 'em to take the house to half. our futures. it was acting. we've got to begin! JULIAN All right.••• . Well. Go out there and make them shine with your golden talent!! (Takes her in his a~s) This afternoon. One hundred jobs. and it comes straight from the heart. This one I mean. One hundred thousand dollars! Five weeks of grind and blood and sweat. they can wait another minute! (MAGGIE hurries Off) Now listen and listen hard. (MAGGIE exits) Sawyer. (The GIRLS exit) Peggy.SCENE CHANGE (MUSIC immediately number) segues into next qot to (JULIAN exits. But you've come back a star! PRETTY LADY . you're going out there a youngster. JULIAN They've waited this long. and it all depends on what you do out there tonight. MAGGIE we've got to call places! Julian. Our hopes. (HE tenderly kisses her. this is the last of them.JULIAN (Entering) Best? That's not good enoughl I want better than your best.

. "Shuffle Off To Buffalo" . a cross section of Pullman car is revealed) @ 1932 (Renewed). Inc. BERT and ANNIE are alone as THEY sing. the last to come on. "SHUFFLE OFF TO BUFFALO" BERT NOW THAT WE HAVE HAD THE RICE AND FLOWERS THE KNOT IS TIED ANNIE I CAN VISU'LIZE SUCH HAPPY HOURS CLOSE BY YOUR SIDE BERT THE HONEYMOON IN STORE IS ONE THAT YOU'LL ADORE I'M GONNA TAKE YOU FOR A RIDE BERT/ANNIE YOU'LL GO HOME AND GET YOUR PANTIES I'LL GO HOME AND GET MY SCANTIES AND AWAY WEILL GO OOH-OOH-OOH OFF WE'RE GONNA SHUFFLE SHUFFLE OFF TO BUFFALO TO NIAG'RA IN A SLEEPER THERE'S NO HONEYMOON THAT'S CHEAPER AND THE TRAIN GOES SLOW OOH-OOH-OOH OFF WE'RE GONNA SHUFFLE SHUFFLE OFF TO BUFFALO SOME DAY THE STORK MAY PAY A VISIT AND-LEAVE A LITTLE SOUVENIR JUST A LITTLE CUTE "WHAT IS IT" BUT WE'LL DISCUSS THAT LATER. the groom and bride. OTHERS exit. DEAR (As "Pretty Lady" drop goes up. Warner Bros.2-7-24 ACT II Scene 7 WEDDING PARTY that enters Right and Left with BERT and ANNIE.

as SHE sings) MAGGIE MATRIMONY IS BALONEY SHE'LL BE WANTING ALIMONY IN A YEAR OR SO GIRLS OOH-OOH-OOH . DEAR FOR A LITTLE SILVER QUARTER WE CAN HAVE THE PULLMAN PORTER TURN THE LIGHTS DOWN LOW OOH-OOH-OOH OFF WE'RE GONNA SHUFFLE SHUFFLE OFF TO BUFFALO (Center berth has remained closed through this. now MAGGIE opens it revealing herself in a mariboutrimmed dressing gown. GIRLS open curtains on TRAIN berths and sing) GIRLS YOU GO HOME AND GET YOUR CLOTHIES I'LL GO GET MY THESE AND THOSIES AND AWAY WE'LL GO OOH-OOH-OOH OFF WE'RE GONNA SHUFFLE SHUFFLE OFF TO BUFFALO TO NIAG'RA IN A SLEEPER THERE'S NO HONEYMOON THAT'S AND THE TRAIN GOES SLOW OOH-OOH-OOH OFF WE'RE GONNA SHUFFLE SHUFFLE OFF TO BUFFALO CHEAPER SOME DAY THE STORK MAY PAY A VISIT AND LEAVE A LITTLE SOUVENIR JUST A LITTLE CUTE "WHAT IS IT" BUT WE'LL DISCUSS THAT LATER.2-7-25 BERT/ANNIE (Continued) FOR A LITTLE SILVER QUARTER WE CAN HAVE THE PULLMAN PORTER TURN THE LIGHTS DOWN LOW OOH-OOH-OOH OFF WE'RE GONNA SHUFFLE SHUFFLE OFF TO BUFFALO (BERT and ANNIE exit Right and Left to change.

in brief nightgown come back. Thinking HE'S made a mistake. closing curtains) SO IF YOU'RE WISE.2-7-26 MAGGIE STILL THEY GO AND SHUFFLE SHUFFLE OFF TO BUFFALO (Showing off her diamond rings) WHEN SHE KNOWS AS MUCH AS WE KNOW SHE'LL BE ON HER WAY TO RENO WHILE HE STILL HAS DOUGH OOH-OOH-OOH GIRLS MAGGIE SHE'LL GIVE HIM THE SHUFFLE WHEN THEY'RE MAGGIE/GIRLS BACK FROM BUFFALO MAGGIE (Stepping out of berth. HE goes to middle berth. YOU'LL SEW TWO TROUSSEAUS ONE FOR GETTING WED. now in pajamas. HE opens curtains of next berth. YOU SEW YOU CAN WEAR FOR YOUR DIVORCE FIRST YOU SERVE 'EM WITH SUBPOENAS THEN YOU TAKE 'EM TO THE CLEANERS THEN IT'S SO LONG JOE OOH-OOH-OOH GIRLS MAGGIE GIVE THE BUM THE SHUFFLE WHEN YOU'RE MAGGIE/GIRLS BACK FROM BUFFALOl (MAGGIE exits and BERT. nobody's there. opens curtains. GIRLS giggle and pull him inside as ANNIE. looks for BERT) OOH-OOH-OOH WHERE'D GIRLS ANNIE HE GO TO SHUFFLE? . GIRLS inside scream. HE tries another. comes back on. OF COURSE AND THE SECOND TROUSSEAU.

SHUFFLE. and without that thing either! (Grabs her lucky scarf and sticks it in his pocket) I'm Julian Marsh. MUSIC up and PEGGY stands center as TWO POLICEMEN cross Right to Left. MUSIC segues on applause into next number. a red-gloved PICKPOCKET starts out from Left and with a gesture raises dark scrim as we find ourselves surrounded with all the thousands of light bulbs that spell out the glittering marquees of FORTY-SECOND STREET. train goes. As THEY do. SHUFFLE. SHUFFLE. SHUFFLE. as JULIAN hurries in) What is it? JULIAN What the hell's wrong? PEGGY I don't know if I can do the rest of the show. PICKPOCKET exits and PEGGY sings) . BERT jumps from his section and runs down track after her through following) OFF WE'RE GONNA SHUFFLE COME ALONG AND SHUFFLE.2-7-27 GIRLS SHUFFLE OFF TO BUFFALO (As BERT is pushed out of still another berth and ANNIE whistles for him) FOR A LITTLE SILVER QUARTER WE CAN HAVE THE PULLMAN PORTER TURN THE LIGHTS DOWN LOW OOH-OOH-OOH (BERT climbs into berth with ANNIE. SHUFFLE SHUFFLE. THEY are just about to embrace when train separates in middle going Right and Left leaving BERT on one side. her good-luck scarf round her neck. SHUFFLE OFF TO BUFFALO •••• (BLACKOUT as BERT leaps toward ANNIE. and I say you will! (JULIAN exits. ANNIE waves him on. I can't remember a single lyric ••• JULIAN You will do the rest of the show! And without any mistakes. ANNIE on other. dammit. and we are in full stage behind a dark scrim with a single spot on PEGGY.

••• © "Forty-Second Street" 1932 (Renewed).. Warner Bros. The soldier is carried off and the rhythm of Forty-Second picks up where it left off as if nothing had happened. Inc. meets a young soldier who is accidently killed by a gangster trying to shoot a pickpocket who made off with his moll's purse. "Pretty Lady" scrim in. caught up in the rhythm. gets caught up in the rhythm of the city. Applause. and FULL COMPANY dance the FORTY-SECOND STREET BALLET. dances frantically with them as the BALLET ends. and the girl. then immediately up again as we find ourselves .• (DANCERS enter) COME AND MEET THOSE DANCING FEET ON THE AVENUE I'M TAKING YOU TO FORTY-SECOND STREET HEAR THE BEAT OF DANCING FEET IT'S THE SONG I LOVE THE MELODY OF FORTY-SECOND STREET LITTLE NIFTIES FROM THE FIFTIES INNOCENT AND SWEET SEXY LADIES FROM THE EIGHTIES WHO ARE INDISCREET THEY'RE SIDE BY SIDE THEY'RE GLORIFIED WHERE THE UNDERWORLD CAN MEET THE ELITE WHERE THE UNDERWORLD CAN MEET THE ELITE FORTY-SECOND STREET (PEGGY. . a tale of a girl who comes to Forty-Second Street. BILLY.2-7-28 lXXl "FORTY -SECOND STREET" PEGGY IN THE HEART OF LITTLE OLD NEW YORK YOU'LL FIND A THOROUGHFARE IT'S THE PART OF LITTLE OLD NEW YORK THAT RUNS INTO TIMES SQUARE A CRAZY QUILT THAT WALL STREET JACK BUILT IF YOU'VE GOT A LITTLE TIME TO SPARE I WANT TO TAKE YOU THERE COME AND MEET THOSE DANCING FEET ON THE AVENUE I'M TAKING YOU TO •.

exit) PEGGY it's so exciting! They all love the show! . in your honor. kids.. Peggy? You're gonna be there. you were just swelll Anytime just say the word! Now come along. party at the Ritz in I'll be there Miss Jones. BERT and ABNER Oh. Of course she is! The whole shindig's BILLY Escorted by Mr. BERT you want a Kiddie Kar. MAGGIE and ABNER rush On. You all got jobs! BERT PHYLLIS Annie. The booze for the eats! we got a party kicks to go to. BERT. your honor. Billy Lawlor himself. ANDY (Over a babble of excited voices) Peggy. in two-bits LORRAINE is on me and everybody PHYLLIS aren't you. ABNER (As KIDS start off) Girlie. immediately following performance as ANDY. Billy. 2-8-29 ACT II Scene 8 ONSTAGE. See you at the Ritzl (MAGGIE. For me? MAGGIE We're giving a little PEGGY in a minute. Billy. For the next two years! Wasn't she terrific? ANNIE Will you turn off the waterworks. My place.

PEGGY I'll be along in a minute. changed PEGGY Peggy! You haven't BILLY your mind? Wait for me at Of course not. am I really a star? From now on and foreverl And can stars do anything Anything. PEGGY makes up her mind) Billy. on. You know how impatient (And HE exits. chin forward. now sits at footlights down left staring out into house) Billy. the stage door. BILLY But just one minute. Then I want BILLY PEGGY they want? BILLY PEGGY to go to the kids' party. to JULIAN) tenors and PEGGY crosses PEGGY Mr. we gotta go to the kids' party at Lorraine's. are. Marsh? . wait a minute. I'm not sure I can. What about the party at the Ritz? (BILLY looks disappointed. Okay. Billy. BILLY (JULIAN has come quietly in through this. And that goes double for me. stalwart very Nelson Eddy A moment.2-8-30 BILLY They all love you. Now come PEGGY Gee.

Quite a girl. But you were inside me pulling the strings. Marsh. Marsh. (A moment) Uh. and I would never want to see it broken. And you're on your way to becoming quite a star. So I congratulate you. not to give it all your heart. looks at the darkened light bulbs of the Forty-Second Street marquees. (JULIAN is alone on the empty stage. Marsh. Allentown. kid. (JULIAN turns away again. Mr. PEGGY I was right. HE turns upstage. "Who knows? I might come out of this another Peggy Sawyerl" I ask you only to be. if you can. ·Peggy. I said the lines and sang the songs and did the steps.L-~-jl JULIAN Peggy? Say. JULIAN (As PEGGY starts up Right) Goodnight. Congratulations. For years to come. JULIAN (Looking at her closely) You're quite a girl. Oh. PEGGY starts off. your strength. your youth. You're JULIAN quite a girl. Now go along to the Ritz and enjoy yourself. Goodnight. PEGGY Thank you. thousands of little chorus girls will go to auditions and say to themselves. Shine your light over this glorious gulch they call Forty-Second Streetl Give it your talent. But try. what is the matter with me? In all the excitement. But you and I both know who was really out there on that stage tonight. the sort of star those little girls would want you to be. grand •••• (Very much a woman as SHE starts slowly out) If you would come. it would be grand. I forgot to congratulate you. You're the million to one shot that comes home a winner. You've broken through. Miss Peggy Sawyer. grand. I'm going PEGGY to the kids' party. Orchestra bells begin a soft tremolo and HE sings) . Mr. Because it's a very loving heart. then stops) And Mr. where is the kids' party? PEGGY (Eagerly) At Lorraine's! The address is on the callboard.

and that's the •••• END OF THE SHOW @ 1932 (Renewed).. Inc. CURTAIN starts down.2-8-32 FINALE ACT TWO JULIAN COME AND MEET THOSE DANCING FEET ON THE AVENUE 11M TAKING YOU TO FORTY-SECOND STREET HEAR THE BEAT OF DANCING FEET IT'S THE SONG I LOVE THE MELODY OF FORTY-SECOND STREET LITTLE NIFTIES FROM THE FIFTIES INNOCENT AND SWEET SEXY LADIES FROM THE EIGHTIES WHO ARE INDISCREET THEY'RE SIDE BY SIDE THEY'RE GLORIFIED WHERE THE UNDERWORLD CAN MEET THE ELITE NAUGHTY! BAWDY! GAUDYl SPORTYl (HE has put his hands in his pockets through this. "Forty-Second Street" . Warner Bros. now pulls his right hand out revealing PEGGY'S good luck scarf) FORTY-SECOND •••• (HE whips the scarf over his shoulder and starts up Right after PEGGY) STREETll (Spotlight remains center.

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