[piano and drums playing]
[people chattering]
[man] Guys, could you get up on stage, please?
[man #2] Hi, how are you?
It's good to see you. How have you been?
[woman laughing]
[man laughing] How you doing?
[piano playing]
[man #3] ♪ Da, da, da, da, da
Okay, a little bit quicker. A little punchier.
♪ Da, da, ba, ba, da, da
♪ Ba, da, da, ba-dee-ya
One more time. One, two...
[cars honking]
[Larry] Pivot, step, walk, walk, walk.
This part is pivot, step, walk, walk, walk.
Hold on till the end and five, six, seven, eight.
[drums playing]
Ah-ha!
Again! Step, push, step, step, touch, kick.
Again. Step, push, step, step. Strong arms.
Again. Step, push, sharp pivot, touch, kick.
Good. Bob it.
Right. Back, connect, swift. Turn, turn, right and left.
Hop, step, pivot, step. Touch, kick, and down. You got it?
Going on, and turn, turn, right and left.
Chest, step. Five, six, seven, eight.
Turn, turn, right and left. Chest, step. Five, six, seven, eight.
Turn, turn, right and left. Chest, step, pivot, step.
Walk, walk, walk.
The last part is pivot, step, walk, walk, walk.
Going to the end, and five, six, seven, eight.
Okay. You. Girl in the white, girl in the blue,
boy in the green, Cheryl, Greg. Boy with the headband, Deanna,
yellow sweats and the pink, stage left. The rest, thank you very much.
Next group. Second combination.
Oh, boy.
Let's go!
Five, six, seven, eight.
Again.
[clapping]
Reviewing from the last turn. Five, six, seven, eight.
[stomping]
Again.
Left, right, point, turn. Clap, point.
Okay, left, right, up, down.
Look, look. And move. One, two, turn, turn and up.
Ball change. Left, right, leap, cross.
Contract.
Okay.
Connie, girl with the red headband, girl in gray, stage left.
The rest, thank you very much. Next group.
[woman laughing] Great.
- 138, boy. - [woman] We could never tell him--
139, girl.
-What's he looking for? -Baryshnikov.
[indistinct chatter]
Don't worry. You're going to be terrific.
[scoffs]
[man] Okay, move along.
Okay, that's enough.
Now, as soon as you get inside, pick up your numbered card.
[Larry] Step, stretch, kick. Shoulders back.
Gentlemen, get ready.
Girl here in the pink, Sheila, stage left.
The rest, thank you very much. First group of guys.
[people groaning]
Five, six, seven, eight.
Step, kick,
and down.
Come on, make it strong, guys.
Step, kick.
Strong arms!
[all grunting]
Turn, turn, right, left.
Push.
And down.
[all grunting]
You, in the blue. You got to hit it on six.
That's it.
Great little body, huh?
[chattering]
Hi.
[Larry] All the way to the floor.
[cars honking]
Oh, come...
Hold it. This is all wrong. Everybody back it up.
You, in the green. You, honey. Come on.
Watch this. This is right.
Five, six, seven, eight.
Hit it. Hit it. Hit it. Hit it.
Down. Up. Push it.
Back.
Okay. See what I'm saying? Just like that.
Everybody, from the last section. Six, seven, eight.
Al, guy on your left. Girl in green in the center.
You, boy in the blue in the back. Stage left.
The rest, thank you very much.
[people moaning]
I've never been cut this soon.
Zach!
That's it. That's all of 'em.
Okay, everybody on stage.
Let's do the whole combination, from the top.
[Larry] Let's go.
Right! I want it strong.
Make it sharp. Take it on the downbeat.
Ready, and five, six, seven, eight.
[all clap]
[all snap fingers]
[all clap]
[all snapping fingers]
[all clapping rhythmically]
[all grunting]
[man] Awoo!
[all] Uh!
[woman] Huh!
[man shrieking]
[all clapping]
[man cheering]
[woman screams]
[man] Whoo!
[men barking]
[all grunting]
[Larry] Five, six, seven, eight!
[woman] Huh!
[all] Oh!
[whistle blowing]
Larry.
[man] Uh-oh.
[chattering]
Honey, you were great.
[laughing]
Whoo.
[speaking Spanish]
[man gasps]
[man coughs]
Clear stage, please.
I'm gonna put you into groups. Listen up for your number.
First group is upstage, right.
-That is, number four-- -Oh, I forgot my number.
When I come to a number without a name that'll be you.
-Right. 12. -Here.
-19. -Yes.
-228. -Yes.
-131 . -Here.
-32. -Right here.
-46? -Yes.
-41 . -Yeah.
-29. -Here.
-52. -Here.
-6. -Yeah.
♪ God, I hope I get it
♪ I hope I get it
♪ How many people does he need? How many people does he need?
♪ God, I hope I get it
♪ I hope I get it
♪ How many boys, how many girls?
♪ How many boys, how many... ♪
-101 . -Yes.
23.
23!
-Judy Monroe. -23!
-5. -Yeah.
-25. -Here.
-40. -Yes.
-2. -Yes.
-243. -Yes.
-13. -Yo.
128.
♪ Look at all the people At all the people
♪ How many people does he need? How many boys?
♪ How many girls? How many people does he
♪ I really need this job
♪ Please, God, I need this job
♪ I've got to get this job ♪
[Larry] Okay. First group, ballet combination.
Everybody else, clear the stage. Second group, be ready.
One, two, three, four, five, six.
Morales, you're dancing with your tongue out again.
Aw, shit.
Next group.
One, two, three, four, five, six.
The girl in the yellow trunks.
Who, me?
Yes. Any ballet?
No.
Don't dance.
Don't dance!
[music stops]
[sobs]
[Larry] Come on.
[microphone feedback]
Larry, let's go.
One, two, three, four, five, six.
Sounds like God got out of the wrong side of bed this morning.
I hate his auditions. I don't mind being treated like puppets, but worms?
Or merchandise.
I wouldn't mind him being such a shit if he wasn't so goddamn talented.
One, two, three, four, five, six.
Boy in the headband, head up.
Headband, head up!
-How long is he gonna keep us? -Long.
-My day job starts at 4:00. -You better call in sick.
Make 'em sharp.
[Larry] Next group of girls, jazz combination.
♪ God, I really blew it I really blew it
♪ How could I do a thing like that?
[men] ♪ How could I do a thing like
[chorus] ♪ Now, I'll never make it I'll never make it
♪ He doesn't like the way I look
-♪ He doesn't like the way I dance -♪ He doesn't like the way I-- ♪
Blond girl in the front, that's much better, but still too much tension.
Relax.
[fingers snapping]
[car honks]
I'm sorry.
[baseball game on T.V.]
Hi. Uh, I know there's an audition going on,
but is there any way I could see the director for a minute?
You can leave him a note.
[TV announcer] ...drops in, a run scored!
[crowd cheering]
[Larry] Okay, let's try it under tempo. Out. In.
Push. Reach. Now, take your time,
and snap.
Walk, walk, out. Walk, walk. Good.
With tempo. Seven, eight.
Left, right. Around. Clap.
Big step, big step and down.
Right, next group of girls.
Okay, hope everybody was listening.
I don't want to go through the same thing twice.
Ready? Five, six, seven, eight!
[fingers snapping]
Hold it, hold it.
Sheila, do me a favor. Dance upstage.
And you, in the peach, downstage.
Five, six, seven, eight.
[fingers snapping]
Okay, next group of boys.
-Don't you know the combination, Sheila? -I knew it when I was in the front.
Next group.
Chewing gum? Get rid of it.
Six, seven, eight.
I'll pick it up in 15 minutes.
Uh, it's, uh, really important I get this to the director, right away.
Um, I'm his secretary. Can I help you? Sammy.
Sammy, the messenger is going to pick this up.
-Could you give this to Zach, please? -Yes. What is this in reference to?
Just tell him that Cassie wants to see him.
Cassie?
Didn't you used to be a dancer?
I saw you. It was in this theater. You stopped the show.
God, I was in high school.
I'm sorry.
I didn't mean to say it that way. That's not what I meant.
I'll get this to Zach, right away.
Thanks.
[laughs] My God.
I don't believe it. Come on.
What are you doing here?
Did anybody know you were coming?
No. I just came right from the airport.
Hang on.
Zach?
Look who's here.
Hi, Cassie.
[laughing] I'm sorry to bust in on you like this.
No, it's good to see you.
We're running late. I'm gonna have to call you.
Zach, it's really important that I see you.
I'll call you, Cassie. Leave your number with Larry.
[paper shuffling]
Thank you.
Cass, wait. Hang around till the first break. You know how Zach--
Larry, let's go.
Five, six, seven, eight.
[instrumental pop music starts]
[inaudible]
[Larry] Give me the last group of guys.
Five, six, seven, eight.
[all grunting]
[fingers snapping]
[all cheering]
Uh...
You're doing just fine. Bring it down a bit.
-Bring it down? -Yeah.
[laughing]
[music playing in distance]
[Larry in distance] Come on, make it strong, guys.
Step, kick.
Strong arms.
Turn, turn, right, left. Push.
And down.
[cars honking]
[Larry] You came down a little hard on Cassie, don't you think?
Thanks, Kim.
Okay, we're eliminating down.
When Larry calls your number please stand in the line.
Okay, girls first. 14.
19.
12.
364.
-23. -23!
496.
43.
10.
[gasping]
The other girls, thank you very much.
[women sighing]
[murmuring]
Come on.
[Larry] Now boys. 18.
45.
44.
-17. -That's me.
16.
53.
Excuse me.
[sighs]
365.
146.
[Zach] The rest of the guys, thanks a lot.
[men murmuring]
[chorus] ♪ God, I really got it I really got it
-♪ I knew he liked me all the time -♪ I knew he liked me all the time
[all] ♪ I knew he liked me all the-- ♪
Listen up, everybody.
We're late and we have a lot to do before the next elimination.
Would you all get your pictures and resumes and give them to Larry?
Thank you.
-[woman] ♪ What's coming next? -[chorus] ♪ It isn't over
[man] ♪ What happens now?
[chorus] ♪ I can't imagine what he wants
♪ God, I hope I get it I hope I get it
♪ I've come this far, but even so It could be yes, it could be no
♪ How many people does he--
♪ I really need this job
[man] ♪ My unemployment is gone
[chorus] ♪ Please, God, I need this job
[woman] ♪ I thought I had it from the start
[chorus] ♪ I've got to get this job ♪
Larry, would you collect them?
Kim, would you pick them up, please?
[whispers] Thank you.
♪ Who am I, anyway?
♪ Am I my resume?
♪ That is a picture
♪ Of a person I don't know
♪ What does he want from me?
♪ What should I try to be?
♪ So many faces all around
♪ And here we go
♪ I need this job
♪ Oh, God, I need
♪ This show ♪
Zach?
Cassie, please, we're running late.
I'm here to audition, Zach.
Aw, come on, it's nothing but chorus.
Okay, fine, I'll audition for chorus.
Oh, Cassie, come on.
Okay, Larry, line 'em up. Let's continue, please.
Starting from stage right. Step forward, tell me your real name,
your stage name if it's different, where you were born and how old you are.
Cassie.
First, please.
Uh, my real name is, uh--
Cass, what's all this about the chorus?
Cass, what's all this chorus stuff?
Uh, is Tina Mason still in that apartment on 85th?
Tina Mason hasn't been here for years.
-She went to teach or something. -I'd like to make a credit call to LA.
213-555-8535.
[man] Larry, come here a minute, will ya?
Yeah, sure.
No, that's 213-555-8535-7298.
[woman] Okay, hold the line.
-Thank you. Hang on. -Okay, I'll wait.
[Zach] Next, please.
Maggie Winslow.
Sometimes known as Margaret, Margie, Peggy.
I was born in San Mateo, California on a Thursday evening at 10:40 p.m.,
August 17, 1965.
Mike Cass,
but not always.
Used to be Timothy Michael Cassideo Donahue in Trenton,
New Jersey, where I was born, July 9, 1960.
Connie Wong. Always wong, never wight.
Bad joke.
I was born in Chinatown, Lower East Side.
How old are you?
I was born December 5,
4642, the Year of the Chicken.
My real name is Sidney Kenneth Bechenstein.
My Jewish name is Rachmelev
Benyukov Meyer Bechenstein.
And my professional name
is Gregory Gardner.
Very East Side, and I do not deny it.
I happen to be a mere 28 years old.
Sheila Bryant.
Born Colorado Springs, Colorado.
But I've always felt more like Park Avenue.
[laughing]
Oh, yes. I'm going to be 30 real soon,
and I'm real glad.
[woman] You want to rent for three months?
Right.
We do have some furnished studios available.
I'm Robert Charles Joseph Henry Mills III.
That's my real name, too.
I come from upstate New York, near Buffalo.
I can't remember the name of the town. I blocked it out.
Age?
Tell him, Bobby.
Why should I lie?
Age is only a state of mind. What age do you want me to be?
Bobby, how old are you?
Twenty... five.
[softly] My name is--
Louder please.
My name is Bebe Benson.
Beatrice Ann Benson.
Washington, D.C.
I'm 19 years old.
My name is Judy Monroe,
but my real name is Marilyn Monroe.
[all laughing]
No, no, no. Uh,
it's always been Judy Monroe.
I'm 22 years old, and I'm from El Paso.
[southern accent] El Paso, Texas.
Hi. My name is Richie Walters.
21 years old. I was born on a full moon in Herculaneum, Missouri.
And I'm black.
Uh, we've met before, Zach.
Alan Deluca. 28 years old, from the Bronx.
Go ahead.
I'm Kristine Erlich.
Kristine Evelyn Erlich.
I'm 18 years old. In last September.
- Tell him where you're from. - Oh.
I'm from St. Louis...
Missouri.
Oh, and wait--
My married name is Deluca.
That's great.
Congratulations, Al. I didn't know.
Thanks.
[laughs]
Hi.
[laughs]
As far as I'm concerned I'm Valerie Clarke,
but my parents seem to think I'm Margaret Mary Hoolihan.
Couldn't you just die?
I was born in the middle of nowhere. I mean, it wasn't even a town, really.
Near Arlington, Vermont.
How old are you?
Old.
24.
[laughing] And a half.
Uh,
Mark Antony, I think, is going to be my stage name.
I'm really Mark Philip Tobori from Tempe, Arizona.
I'm 17 years old,
and if I get this show, I'll work real hard.
Jesus.
-Paul San Marco, that's my stage name. -Sorry to bother you.
My real name is Ephram Ramirez. I was born in--
Could you hold it a minute?
[mumbling]
Sorry, uh,
Paul, was it?
Paul San Marco. That's my stage name.
My real name is Ephram Ramirez.
I was born in Spanish Harlem and I'm 22 years old.
My name is Diana Morales.
I didn't change it 'cause I figured ethnic was in.
Born 4-10-62 on a Hollywood bed in the Bronx.
Go on, Diana.
Go on, what?
I just gave you a picture and resume. Everything's on the back.
Now tell me what's not on it.
Like what?
Tell me about the Bronx.
What's to tell about the Bronx? It's uptown and to the right.
What made you start dancing?
Who knows?
I'm Puerto Rican. We jump around a lot.
Look, you want to know if I can act? Give me a scene to read. I'll act.
I'll perform.
But I can't just talk.
Please, I'm too nervous.
You want the job, don't you?
[whispering] Of course I want the job.
Back in line.
Before we do any more dancing, which we will be doing later,
let me explain what I'm doing.
This is not gonna be like other auditions.
We're looking for a strong dance chorus...
I'm sorry, what?
People who can work together as a group,
but I'm gonna try to shake you up,
see who you really are.
We've got some small, but important, parts
to be played by people in the chorus. Since I need great dancers,
I can't expect you all to be great actors.
So I don't want anybody
to try to act.
You understand?
Just to be exactly who you are,
which is just as important to me as how well you dance.
I'm gonna ask you some questions.
What I want to know is details about yourself.
Things you're proud of, things you're ashamed of.
So if anybody can't handle it and wants to leave,
right now is the time to make up your mind.
-Honey? -What?
Could we please go?
We're gonna be fine.
Okay.
[speaking Spanish]
Screw him.
If I could think of anything I was ashamed of I'd have tried it years ago.
Zach?
Look, Zach, I just need a minute.
[inaudible]
-[Mark] Uh, how many jobs are there? -Four and four.
-[Judy] 44? -[Sheila] No, four and four.
Four boys, four girls.
-Need any women? -[Larry laughing]
Cassie.
Dick, I'm gonna need the spotlight. Could you set it up for me, please?
[man] You think he's going to keep us here much longer?
I'm really sorry,
but Zach said he'll call you as soon as he can.
And he told me to ask you in a nice way
if you'd...
Would you mind leaving?
[door slams]
Shit.
Taxi!
Cassie!
Taxi!
Oh! Oh!
-Honey, you all right? -That was a hell of a fall.
-You okay? -I'm fine. I'm fine.
[woman] Taxi.
-Bloomingdale's. Jesus. -Thanks a lot.
Okay, Mike, I'll start with you.
Me?
Aren't you supposed to start at the end?
So what would you like to tell me?
I'd like to tell you to start at the end.
- You can wait in the musicians' room. - [Mike] What would you like to know?
Oh, come on, Larry, what am I doing here? He told me to leave.
I don't care if there's a tornado out there.
Shut up, will you? I'm sorry.
-You all right? -I'm fine.
-You want to put some ice on that elbow? -I look like a drowned rat.
What made you start dancing?
Because of my sister.
She was a girl.
So my mom decided she should get all the dancing lessons.
Every Saturday, my mother would take her.
Once in a while, she'd take me along.
How old were you?
4. 5.
I'd sit there all eager, and
♪ I'm watchin' Sis go pit-a-pat
♪ Said, "I can do that
♪ "I can do that"
♪ Knew every step right off the bat
♪ Said, "I can do that
♪ "I can do that!"
♪ One morning, Sis won't go to dance class
♪ I grabbed her shoes and tights and all
♪ But my foot's too small, so
♪ I stuffed her shoes with extra socks
♪ Ran seven blocks
♪ In nothin' flat
♪ Hell, I can do that
♪ That I can do!
♪ Give a man some room
[all laughing]
Yeah!
Meow!
Huh!
- Safe! Yeah! - [whistle blowing]
Huh!
[woman laughing]
Huh! Huh! Huh!
[karate yell]
Whoa? Aah!
[fingers snapping]
[women giggling]
[man] All right.
[Tarzan yell]
Ahh!
♪ All thanks to Sis
♪ I can do that ♪
[all murmuring]
Bobby.
You got any ice for my ego? It hurts worse than my elbow.
You know what he's like when he's workin'.
You keep interrupting him again--
What are you talking to me like I'm a grown up for?
Just stay put.
-And keep that ice on your elbow. -Larry.
Does Zach still think I...
Cassie, let's get one thing clear.
You can stay with me till you find a place.
But as far as you and Zach are concerned,
I'm not getting in the middle here.
[Bobby] ...the circumstances of my birth.
It's nothing short of a miracle.
Actually, I don't know how I turned out as heavenly as I did.
Are you gonna do a routine?
No. Moving right along.
Start with your family.
Do you want to know all the wonderful,
exciting things that have happened to me?
Or do you want the truth?
I'll, uh, I'll take the truth.
Well...
Uh, my mother had a lot of card parties
and was one of the foremost bridge cheaters in America.
My father worked for this big corporation.
They used to send him out into the field a lot.
To drink.
But they were okay.
I was the strange one.
How strange?
Real, real strange.
Bizarre.
[all laughing]
[laughing] As I got older I got stranger and stranger.
That's when I started breaking into people's houses.
I didn't steal anything. I'd just rearrange their furniture.
[all chuckling]
I went to this very expensive private school
for the exceptionally stupid.
Jock city.
I was a kid who was always getting slammed into lockers.
Not only by the students, by the teachers, too.
[all chuckle]
I couldn't catch a ball if it had Elmer's glue on it,
and wouldn't my father have to be this big ex-football hero.
He was so humiliated, he didn't know what to tell his friends,
so he told them all I had polio.
On Father's Day, I used to limp for him.
[all laughing]
Oh! And I was always thinking up
these spectacular ways how to kill myself.
But then I realized to commit suicide in Buffalo is redundant.
Okay, Bobby.
Exactly what you don't want, right?
Exactly.
Dick...
Give me the spotlight, will you?
Back to the left. A little more.
Hold it. Sheila.
Yes?
Is there anything you want to tell me?
What do I want to be when I grow up?
Okay.
Young.
That light...
Don't you have anything softer?
Come closer.
Can I sit on your lap?
Do you always come on like this?
No. Sometimes I'm aggressive.
[all chuckling]
All right, Sheila. Tell me about your parents.
My parents?
Tell me about your mother.
My mother.
My poor, dear, sweet, gray-haired, darling old mother.
She was raised in an orphanage.
By nuns. They wouldn't let her go out--
Goddamn it! Now, can't anybody up there hear me?
Just let your hair down!
-Ooh! -Can't you talk?
All of you, just talk to me, to each other.
Jesus Christ.
Better?
Your mother.
Right.
My mother was kind of middle-aged and frumpy.
Whose isn't?
At 14, she was middle-aged and frumpy.
[men chuckle]
Is that the kind of woman your father liked?
No. My father liked them very young, tall,
and filled out in all the right places.
Anyway, uh,
God knows why, they had this daughter.
Me.
And just to get away from her frumpy middle-aged life,
she used to take me to every ballet that came to town.
I think, probably because it was cheaper than getting a babysitter.
But that's when I saw that movie...
The Red Shoes.
[Diana] You, too? It changed my whole life.
I saw that movie 1 12 times.
I swear on the grave of my mother.
Go on, Sheila.
Let's face it.
My family scene was, uh,
not good.
♪ Daddy always thought that he married beneath him
♪ That's what he said, that's what he said
♪ When he proposed, he informed my mother
♪ He was probably her very last chance
♪ And though she was 22
♪ Though she was 22
♪ She married him
♪ Life with my dad wasn't ever a picnic
♪ More like a come-as-you-are
♪ When I was 5, I remember my mother
♪ Dug earrings out of the car
♪ I knew that they weren't hers
♪ But it wasn't something you wanna discuss
♪ He wasn't warm
Not to her
Not to us
♪ But everything was beautiful
♪ At the ballet
♪ Graceful men lift lovely girls
♪ In white
♪ Yes, everything was beautiful
♪ At the ballet, hey
♪ I was happy
♪ At the ballet
That's when I started ballet class.
♪ Up a steep and very narrow stairway
♪ To the voice like a metronome
♪ Up a steep and very narrow stairway
♪ It wasn't paradise
♪ But it was home
♪ Mother always said I'd be very attractive
♪ When I grew up, when I grew up
♪ "Different," she said, "with a special something"
♪ And a very, very personal flair
♪ And though I was eight or nine
♪ Though I was eight or nine
[crying] ♪ I hated her
♪ Now, different is nice But it sure isn't pretty
♪ Pretty is what it's about
♪ I never met anyone who was different
♪ Who couldn't figure that out
♪ So, beautiful
♪ I'd never live to see
♪ But it was clear
If not to her
Well, then to me
♪ That everyone is beautiful
♪ At the ballet
♪ Every prince has got to have
♪ His swan
♪ Yes, everyone is beautiful
♪ At the ballet
♪ Ah
♪ I was pretty
♪ At the ballet
I was born to save their marriage,
but when my father came to pick me and my mother up from the hospital,
he said, "Well, I thought this was going to help,
"but I guess not."
A few months later, he left and never came back.
Anyway, I had this incredible fantasy life.
I used to dance around the living room with my arms up,
like this.
And in my fantasy, there was this Indian chief.
And he'd say to me:
"Maggie, do you want to dance?"
And I'd say:
"Daddy, I would love to dance."
♪ Yes, everything was beautiful
♪ At the ballet
♪ Raise your arms
♪ And someone's always there
♪ Yes, everything was beautiful
♪ At the ballet
♪ The ballet
[woman] ♪ Yes, everything was beautiful
♪ At the ballet
♪ Hey
♪ I was pretty
♪ I was happy
♪ I would love to
♪ At the ballet ♪
Where the hell is that resume of that blond girl in the two-piece?
This one? Bebe Benson.
[man clearing throat]
Can we smoke?
Can the adults please smoke?
No break, Sheila.
Well, then, can I discuss that with my kidneys?
[all chuckling]
-Fine. -Thank you.
Kristine.
Me?
I don't know where to begin.
[whispering] Tell him how you got started dancing.
Oh, um...
Well,
it was when this man came around to my home,
-selling... -Lessons.
Yeah, um, lessons.
Um, dancing lessons.
And, ever since then,
I watched everything on television that had any dancing on it,
especially...
Oh, God, um,
what do you call them?
-[whispering] Variety shows. -Right. Variety shows.
Specials.
I can't remember what I was talking about.
Variety shows.
No. Uh, no. I wasn't-- I wasn't...
Oh, the specials. The specials.
Right.
Um, specials.
Oh, my God.
I'm sorry. Um,
it's just, I'm really nervous.
Want to take a minute and pull yourself together?
Ah, Zach,
for her, this is together.
[Kristine] So, anyway...
Robbie,
they're in a suitcase over there, somewhere. Cass--
Sheila, get your ass up on stage.
Ooh.
Why is it only my ass that ever gets invited places?
Al, your turn, please.
Uh, the costumes are in there. Uh, hats should be in this one.
[sighing] Listen, go up to the prop room on the third floor.
We've been using it for an office.
You better stay out of sight for a while.
Larry, I know I'm putting you on the spot, but I need a job.
I really do need--
Hey, hey, hey.
I'll talk to Zach, but you gotta stay put, for Christ's sake.
No more interruptions, okay?
You promise?
Say, "I promise."
-[laughs] I promise. -Okay.
But I'm straight.
I'm not too bright, but I'm not too dumb.
And, uh,
I'm not too talented.
But you know me, Zach. You show me what to do,
and I'm gonna do the exact same way,
eight shows a week, forever.
Uh, c-can I go next?
Well, I don't really have anything to say, it's just that--
Well, it's this waiting. It's killing me.
Okay.
Why don't we, uh, start with your childhood?
It was terrible. Just like everybody else's.
All of it?
Well, none of it, really.
But, I mean, who wants to admit you had a happy childhood?
How about sex?
Sex?
Oh, sex!
Now-- now that was really terrible.
[woman laughing]
How?
Well, I was 12 years old and... Well, I didn't really know much about it.
So I went to the library and I took out this medical book
with pictures of the... the male and female anatomy in it.
And, well, I thought that was pretty interesting.
And, oh, I used to read that book a lot.
Well, were you interested in medicine
or did you just want to look at the pictures?
Well, I--I knew what I wanted to do--
♪ Hello, 12
♪ Hello, 13
♪ Hello, love
Well, anyway, after I had my first...
wet dream, I went straight to the medical book and looked it up.
"Milky discharge."
Oh, my God! Gonorrhea!
♪ Changes, oh
♪ Down below
♪ Up above
I couldn't imagine asking my dad about it. I mean, I was in shock.
I mean, golly, I... Well, I didn't have anybody to talk to.
So I went to the priest.
And when I told him I had gonorrhea, was he in shock.
♪ "Who have you been with, my son?"
Nobody.
Uh, nobody.
♪ "Then how can you have gonorrhea?"
Well, finally, I told him about the book, and,
well, he set me straight...
which is the only time the church ever helped me out.
♪ Time to doubt
♪ To break out
♪ It's a mess
[chorus] ♪ It's a mess
Sex happens to be the one subject I can speak about
with absolutely no authority, whatsoever.
♪ Too young to take over
It took me five years of--
♪ Too old to ignore
Finally I got a girl who was actually willing to do it.
So there I am making out in the back seat with Sally Ketchum.
A little of this, a little of that.
Very little of that.
[all laughing]
After about an hour of this, she said, "Don't you wanna do anything else?"
[laughs]
I suddenly thought to myself:
"No, I don't."
Did this come as a big surprise to you?
I guess.
Yeah.
It was the moment I realized I was gay.
♪ Hello, 12
♪ Hello, 13
[chorus] ♪ Hello, love
Talk about love. Man, my first time was with this girl, Paulette.
Forget about it. We did it in a graveyard.
♪ The first time we made love
♪ It was a great big deal
♪ I was too scared to feel
♪ Nervous from tryin'
♪ Next time we made love
♪ Still we were not a hit
♪ Oh, I thought if this is it
♪ Everyone's lyin'
♪ But then we did it again
♪ And I forgot to be scared, I guess
♪ 'Cause when we did it again
♪ I closed my eyes
♪ Surprise
♪ Sweet, icicle hot
♪ Smooth as a lemon pie
♪ Sailing across the sky
♪ Into the ocean
♪ We liked it a lot
♪ You can imagine why
♪ We had begun to fly
♪ Feelings in motion
♪ And then we did it again
♪ I'm thinkin', was it beginner's luck?
♪ Or is it wonderful once
♪ In each three tries?
♪ Surprise!
[chorus] ♪ Surprise
♪ Surprise
♪ First time
♪ Love
♪ Again
♪ So I closed my eyes
♪ It was a sweet surprise
♪ Icicle hot
[men] ♪ Huh
♪ Smooth as a lemon pie
[women] ♪ Huh
♪ Surprise, surprise
[chorus] ♪ Huh
♪ Surprise
♪ Surprise ♪
[cars honking in distance]
[cars honking]
I mean it. How would you like to stay 12 years old all your life?
My last show, I played a 14-year-old, and I just turned 23.
The Year of the Chicken?
[giggles]
Caught.
Hey, didn't you go to the High School of Performing Arts?
[gasps] I thought you looked familiar.
Do you remember Mr. Karp, the acting teacher?
[laughing] Oh, yeah.
"In order to be a real actor, it is not enough to act like a king.
-"You also got to act like a throne." -[all chuckle]
Tell me about him, Morales.
On the first day of acting class, Mr. Karp puts us on stage
with our legs around each other, one in back of the other, and he says:
"We're going to do improvisations.
"You're on a bobsled.
"It's snowing out.
"And it's cold.
"Okay. Go."
♪ Every day for a week We would try to feel the motion
♪ Feel the motion Down the hill
♪ Every day for a week We would try to hear the wind rush
♪ Hear the wind rush Feel the chill
♪ So I dug right down To the bottom of my soul
♪ To see what I had inside
♪ Yes, I dug right down To the bottom of my soul
♪ And I tried
♪ I tried
And everybody's going "Whoosh! Whoosh!"
"I feel the snow. I feel the cold."
"I feel the air."
And Mr. Karp comes up to me, and he says:
"Okay, Morales, what did you feel?"
And I said:
♪ "Nothing, I'm feeling nothing."
♪ And he said, "Nothing could get a girl transferred"
♪ They all felt something But I felt nothing
♪ Except the feeling that this bullshit was absurd
So I said to myself, "Don't worry about it.
"It's only the first week. Maybe it's genetic.
"They don't have bobsleds in San Juan."
[all laughing]
♪ Second week, more advanced And we had to be a table
♪ Be a sports car Ice cream cone
Mr. Karp, he would say, "Very good, except Morales.
"Try, Morales, all alone."
♪ So I dug right down To the bottom of my soul
♪ To see how an ice cream felt
♪ Yes, I dug right down To the bottom of my soul
♪ And I tried to melt
♪ And the kids yelled "nothing" They called me "nothing"
♪ And Karp allowed it Which really makes me burn
♪ They were so helpful They called me "hopeless"
♪ Until I really didn't know Where else to turn
[crying] Mr. Karp comes up to me, and he says:
"You know what, Morales? I think you should transfer to Girls High.
"You'll never be an actress. Never."
Jesus Christ.
♪ Went to church praying "Santa Maria send me guidance
♪ "Send me guidance" On my knees
♪ Went to church praying "Santa Maria, help me feel it
♪ "Help me feel it, pretty please"
♪ And the voice from down At the bottom of my soul
♪ Came up to the top of my head
♪ And the voice from down At the bottom of my soul
♪ Here is what it said:
♪ "This man is nothing This course is nothing
♪ "If you want something Go find a better class
♪ "And when you find one You'll be an actress"
♪ And I assure you That's what finally came to pass
♪ Six months later, I heard that Karp
♪ Had died
♪ So I dug way down To the bottom of my soul
♪ And cried
♪ 'Cause I felt
♪ Nothing ♪
Okay, Todd.
Um,
well, to be honest, I've been listening to these people, all day long,
trying to be honest. I mean, um, say I pull a hamstring, you know?
Let's be honest. Here today, gone tomorrow. You know what I mean?
Like the couple over here that just got married.
Every time I tell my wife I'm going to audition--
We-- She's got a right to, you know?
I mean, uh, what the hell? It's not a question of--
You know what I mean? Um, I'm a damn good waiter.
I got two kids and a wife,
and a mother on Social Security I'm trying to keep from eating cat food.
So my daytime job is not a question of--
Look, I'm a waiter. That's what I am.
On applications it says, "occupation." I put "dancer."
Do you know how many waiterjobs I'm fired off?
One time late is-- Sure. But, uh, auditions, never, you know?
One of my kids sometimes, like my wife says--
But come on, on applications?
Tuesday, Wednesday. Summer, winter. I mean, Jesus.
Look, uh, I'm married to the sweetest little wife in the world, but,
I don't know.
[sighs]
Listen, um, before madam here makes a big deal out of it,
Cassie's upstairs in the prop room till the rain stops. I told her to.
What is she doing this for?
I don't think she's been working too much.
What do you mean? She's broke? Is that it? Does she need money?
-I have no idea. -I don't know.
Talk to her.
[siren in distance]
Val?
[sirens wailing]
Goddamn it, Larry! Is the loading door closed?
I'll get it.
Go ahead, Val. I'm sorry.
First of all, let's get one thing straight.
I never heard of The Red Shoes, I never saw The Red Shoes,
I don't give a shit about the Red Shoes.
I came to New York because I wanted to be a Rockette at Radio City.
Because there was this girl in my hometown, Betty Lou Hyner,
and she'd actually gotten out, and she made it in New York.
She was a Rockette.
One Christmas, she came home for a visit, and they gave her a parade.
A goddamn parade!
[chuckling]
I had to stand outside and twirl a friggin' baton
in the pouring rain for two hours.
Unfortunately, though, she got knocked up over Christmas.
Merry Christmas.
[laughing]
Anyway, that was my plan. To be a Rockette.
But the problem was, I was so ugly, you wouldn't believe it.
I mean, was homely. Skinny.
Flat as a pancake.
But anyway, there I was.
I got off the bus.
I was wearing my little white tights, my little white shoes,
my little white dress.
-I looked like a fuckin' nurse. -[laughing]
Six months later, I finally got my audition at Radio City.
You know what the man said to me?
[scoffs]
He said he didn't like my fan kicks.
I can do terrific fan kicks.
So I said, "Screw you, Radio City and the Rockettes.
"I'm gonna make it on Broadway."
But at every audition,
I would dance rings around the other girls,
and I'd wind up in the alley with the other rejects.
Until one day,
after an audition, I swiped my dance card.
And on a scale of 1 to 10, they gave me, for dance...
10.
For looks...
3.
Well.
♪ Dance, 10, looks, 3?
♪ And I'm still on unemployment
♪ Dancing for my own enjoyment
♪ That ain't it, kid That ain't it, kid
♪ Dance, ten, looks, three
♪ Is like to die
♪ Left the theater and called the doctor
♪ For my appointment to buy
♪ Tits and ass
♪ Bought myself a fancy pair
♪ Tightened up the derriere
♪ Did the nose with it, all that goes with it
♪ Tits and ass
♪ Had the bingo-bongos done
♪ Suddenly I'm getting national tours
♪ Tits and ass
♪ Won't get you jobs
♪ Unless they're yours
♪ Didn't cost a fortune, either
♪ Didn't hurt my sex life, either
♪ Flat and sassy
♪ I would get the strays and losers
♪ Beggars really can't be choosers
♪ That ain't it, kid That ain't it, kid
♪ Fix the chassis
♪ How do you do?
♪ Life turned into an endless medley of
♪ "Gee, it had to be you"
♪ Why? Tits and ass
♪ Where the cupboard once was bare
♪ Now you knock, and someone's there
♪ You have got 'em, hey! Top to bottom
♪ It's a gas
♪ Just a dash of silicone
♪ Shake your new maracas
♪ And you'll find
♪ Tits and ass
♪ Can change your life
♪ They sure changed mine
You're all looking at my tits now, aren't you?
-[all chuckling] -I'd settle for just one of yours.
[man] Ooh...
Go out and buy them.
♪ Have it all done
♪ Honey, take my word
♪ Grab a cab, come on, see the wizard
♪ On Park and 73rd
♪ For tits and ass
♪ Orchestra and balcony
♪ What they want is what you see
♪ Keep the best of you, do the rest of you
♪ Pits or class
♪ I have never seen it fail
♪ Debutante or chorus girl or wife
♪ Tits and ass
♪ Yes, tits and ass
♪ Have changed my life ♪
[laughing]
Thank you, Val.
Paul.
Sir?
When did you start dancing?
Not until pretty late.
Why?
I don't know why. I just didn't.
What did you do?
Nothing much.
What was your family like?
We were close.
Any brothers and sisters?
Two sisters. One died when I was 14.
How?
I really don't want to talk about that.
I mean, why do we have to talk about that?
Okay, Paul. Thank you. Back in line.
[whispering]
Can he keep us standing here this long?
Zach,
we've been standing here for quite a while.
So, maybe we could take a five?
Take five, everybody.
[Larry] Five means five, guys. Not 15.
Stanley, can I hear the "One" routine, starting after the insert?
[piano playing]
[piano playing in distance]
[footsteps approaching]
Uncle Larry's heartburn kit.
One totally indigestible, cold hot-pastrami.
One lukewarm celery tonic.
I'm going back on a 6:30 plane.
Naturally, since you just got here, and I just talked to Zach.
Oh, come on, Larry, what's the point? He doesn't think I came in for a job.
Larry, the truth.
When I left, how did he take it?
[sighing]
You know how I know how bad he wanted me back?
'Cause he didn't call me once.
Not once to beg me, "Please come back."
[scoffs]
As if I would, of course.
It's not that he can't be sweet and funny and even warm, but I--
Look, Larry, do me a favor, will you?
He is what he is, and that's that, so stop talking about him, okay?
Cassie, Zach asked me to give you this.
It's the telephone number of his business manager, in case you...
He thought you might need some money.
-Cassie, he didn't mean-- -Money? If I need some money!
-All he meant was-- -Please.
If you change your mind about going back...
[laughing]
My sister was such a little brat was the reason.
But still, I guess it was a little extreme, shaving her head.
[all laughing]
Would you like to hear about the first time I saw a dead body?
[men laughing]
I guess I was 6 or 7.
-Larry! -[woman] Oh, yes! I even tried--
Where the hell is Larry?
[woman] ...my best friend.
Larry, do me a favor.
Everybody go downstairs and learn the lyrics to the "One" routine.
[Larry] Okay, let's go.
Kill the rail and hit the work lights, please.
Cassie, I'm trying to work.
Me, too. That's what I'm trying to do.
I don't need a handout. I need a job.
And goddamn it, it's my turn to audition now, like everybody else!
No. No, you shouldn't have come.
If you'd called me, I could've saved you the trouble.
This is for chorus. It's not for you.
But this is the only place there is for me.
Oh, Zach, I'm a gypsy.
I never had an apartment in my life that wasn't a sublet.
[laughing]
All I know how to do is to point my toes and leap.
♪ I, oh, Zach
♪ I'm a dancer
♪ That's who I am
♪ What I do, ahh
Cassie!
♪ I
♪ I am a dancer
♪ Give me the steps
♪ I'll come through
♪ Give me somebody to dance for
♪ Give me somebody to show
♪ Let me wake up in the morning to find
♪ I have somewhere exciting to go
Christ, Cassie, how can I put you in the line?
You don't fit. You're too goddamn good.
You bet I am. And I'm so good, I can dance any way you want me to.
♪ Let me dance for you
♪ Let me try
♪ Let me dance for you
♪ We made a lot of music dancing, you and I
We? You talking about us?
No, Zach, I'm talking about a job.
I haven't worked in over a year.
♪ Please
♪ Give me an answer
♪ Give me a place
♪ To begin
♪ I
♪ I am a dancer
♪ I have come home
[gasps] ♪ Let me in
♪ Give me somebody to dance with
♪ Give me somebody to be!
♪ Let me wake up feeling terribly proud
♪ That the girl in the mirror
♪ Is me
♪ Let me dance for you
♪ Let me try
♪ Let me dance for you
♪ We made a lot of music dancing, you and I
[inaudible]
[crying] ♪ Let me dance for you
♪ Let me try
♪ Let me dance for you
♪ We made a lot of music dancing, you and I ♪
Cassie!
[gasps]
All right.
Go down with the others and learn the lyrics.
We'll see.
[gasps]
Hello?
Yes, Paul?
I just wanted to ask,
if I can't talk about myself, I'm out?
Well, I think you're a hell of a dancer, Paul.
I can't do it.
I wish I could.
I just can't.
Could I ask you something? I'm curious.
If you're gonna change your name,
why do you go from Puerto Rican to Italian?
Well, people always used to say I don't look Puerto Rican.
So you figure you look Italian?
No.
I just wanted to be somebody new.
So I became Paul San Marco.
But why would you want to be somebody new?
I don't know.
I'm not too proud of myself, I guess.
When did you decide to become a dancer?
My father loves movies.
When I was a kid, he'd take us all the time to 42nd Street.
The ones I loved were the musicals.
How old were you?
Ten or 1 1 .
On 42nd Street, with all those crazies?
He didn't know that. It was cheap, and...
Anyway,
because of my eyes, I wear contacts now.
I'd have to move down front by myself, so I could see.
And these strange men would come and sit beside me...
and play with me, you know?
-Look, Paul, if this is too rough-- -No. I mean, I knew I was gay.
In school, they'd whistle at me in the halls, and everything.
But what really bothered me was I didn't know how to be a man.
What, uh, what was your first job as a dancer?
At the Jewel Box Revue. The drag show. I was 15.
I went to audition, but they weren't interested in my dancing.
They said, "Show us your legs,"
and they took me upstairs to this filthy rat hole.
And they shaved my legs
put a pair of nylon stockings on me and high heels.
There I was, in show business.
The asshole of show business, but a job.
-What did you tell your parents? -I was a dancer in a show.
Not what kind, of course. They couldn't stop bragging.
Go on, Paul.
Then the show was going to Chicago.
My parents wanted to bring my suitcase down to the theater after the show,
to say goodbye, and I don't know why, I said, "Okay."
Well, we were doing this oriental number,
and I was wearing this slinky oriental dress, and this enormous headdress
with gold balls hanging all over it.
I was going down the steps for the finale
when I saw my parents by the stage door.
They got there too early. I freaked out. I didn't know what to do.
So I ran past them as quick as I could hoping they wouldn't recognize me.
But the minute I passed, I heard my mother say:
"Oh, my God."
I died.
After the show, I took off my makeup and put on my clothes,
not knowing if they'd be downstairs or what.
But there they were, standing in the middle of all these freaks.
You should've seen my parents. They didn't know where to look.
My mother had the guts to look me in the eyes.
I could tell she'd been crying.
"Make sure you eat good," she said.
But then my father couldn't even look at me.
"Take care of yourself," he said.
And they started out.
But then my father turned around and went over to the producer.
[crying] "Take care of my son," he said.
And that was the first time he ever called me that.
Come on.
Zach?
You okay?
Go grab a hat.
Let's go, Larry. Let's bring them in.
[Larry] Okay, everybody, we're back up on stage! Let's go!
[woman singing]
[man] You can, you can.
[woman] ♪ One smile ♪
[all chattering]
[Larry] Take one that fits. Don't keep him waiting.
[man] All right.
[Zach] All right, let's go over the combination
that goes with the lyrics you just learned.
Everybody on stage, spread out.
[Larry] Kill the work lights. Hit the rail, please.
[man] Is this where he picks the eight?
This is important. I want to see unison dancing.
Every head, arm, body angle, exactly the same.
I don't want anybody to pull my focus.
Okay, Larry.
Okay, let's review it.
Starting position is upstage, just to remind you.
[piano playing]
Chin up, hat down.
Pop the right heel.
Reverse directions.
Five, six, seven, eight!
[chorus] ♪ One singular sensation
♪ Every little step she takes
[Larry] Okay, hold it. Hold it.
[chorus] ♪ One
You with us? Okay.
On "singular sensation," make sure your arm goes all the way across your face
and back to shoulder.
Three, four!
[chorus] ♪ Singular sensation
♪ Every little step she takes
♪ One thrilling combination
♪ Every move that she makes
[Larry] Six, seven, eight.
[chorus] ♪ One smile and suddenly nobody else will do
Oh! I'm sorry.
♪ You know you'll never be lonely
♪ With you-know-who
♪ One
Okay, hold it. Let's go on, away from the mirrors.
-Excuse me. -Yeah?
After the grapevine, when do we pop the chin?
-Pop the chin on two. -And when does the hat go up?
Hat goes up on five. One, two, three, four, five.
Okay, listen up.
Larry's got the exact style I'm looking for.
Very '30s. Everybody, keep your eye on Larry.
Let's continue now from "Moment in her presence."
And five, six, seven, eight!
[chorus] ♪ One moment in her presence
♪ And you can forget the rest
[man] ♪ Rest
♪ For the girl is second best to none
♪ Son
♪ Ooh, sigh
♪ Give her your attention
♪ Do I really have to mention
♪ She's the
[out of sync] ♪ One?
[Larry] Okay. Let me see you in your groups of four.
This time I want to hear the lyrics from each group.
And five, six, seven, eight.
-[Group 1] ♪ One singular sensation -[Group 2] One, turn, up, down.
♪ Every little step she takes
[Group 3] One, turn. Up and down.
Spot to the right, toe out, toe in. Step back--
♪ One thrilling combination
♪ Every move that she makes
Five, six, seven, eight.
♪ One smile, and suddenly
♪ Nobody else will--
Spot to the front, sharp, hat.
One, two, three, four, swing around.
♪ You-know-who
♪ One moment in her presence
♪ And you can forget the rest
Stand in place.
♪ For the girl is second best
Hat down, turn, down, ball change, knee, hip, ball change, knee, and kick.
♪ Ooh sigh, give her your attention
♪ Do I really have to mention
♪ She's the one?
[Larry] Okay, girls. Just the girls, from the second section.
Here we go. Five, six, seven, eight.
[girls] ♪ One moment in her presence
Cassie, don't roll the shoulders.
♪ And you can forget the rest
♪ For the girl is second best
Diana, sharp in with the leg.
♪ Son
♪ Ooh, sigh, give her your attention
♪ Do I really have to mention
♪ She's the one?
Cassie, there is no release in the head.
[Larry] Boys, from the top.
Five, six, seven, eight.
♪ One
-Cassie. -♪ Singular sensation
Do it again with the boys. You're still doing too much.
♪ One
Don't pop the head, Cassie.
♪ Every move that she makes
♪ One smile, and suddenly
♪ Nobody else will do
♪ You know you'll never be lonely
♪ With you-know-who
♪ One
-Cassie, this isn't Vegas. -♪ ...presence
♪ And you can forget the rest
♪ For the girl is second best
[Zach] This isn't a solo, Cassie. Look around.
Get your kicks even.
♪ Ooh, sigh, give her your attention
♪ Do I really have to mention
Goddamn it, Cassie! You distorted the combination! Now pull it in!
♪ One
[Larry] Okay, everybody, from the top.
Here we go. Five, six, seven, eight.
♪ One singular sensation
♪ Every little step she takes
♪ One thrilling combination
♪ Every move that she makes
♪ One smile, and suddenly
♪ Nobody else will do
♪ You know you'll never be lonely
♪ With you-know-who
♪ One moment in her presence
♪ And you can forget the rest
♪ For the girl is second best to none
♪ Son Ooh, sigh
Cassie!
♪ Give her your attention
Come down here!
♪ Do I really have to mention
♪ She's the one?
♪ One smile, and suddenly
♪ Nobody else will do
♪ You know you'll never be lonely
♪ With you-know-who
Turn around and look at the routine.
Is that what you really want?
♪ One moment in her presence
♪ And you can forget the rest
♪ For the girl is second best to none
♪ Son
♪ Ooh, sigh, give her your attention
♪ Do I really have to mention
♪ She's the one?
♪ One!
[piano playing]
That's who I am.
No, you're not! You're special!
Zach, we're all special. Paul is special, Bebe, Sheila,
everybody up on that stage is special.
Goddamn it! You know what I'm talking about.
Look at them.
Why did you leave me?
Why, Zach, you noticed.
You could've told me about the job in Hollywood.
What would you tell me if I told you? "Take it," right?
-I didn't want you to tell me. -What are you talking about?
That's one thing. You're telling me "take it" is something else.
You're the one who left, not me. Months before I went to Hollywood.
I left? We were living together.
Sharing the same apartment, maybe. But when did I ever see you?
Now what are you giving me? The neglected-woman bullshit?
You jealous of my work?
-You acted so proud of what I was-- -Zach, I was proud. I still am.
And I know that directing a show takes 24 hours a day,
which I wanted for you as much as--
As long as I spent an equal 24 hours a day with you, right?
Exactly, that's all I wanted.
You're gonna tell me how I could have done that?
If I knew that, then I'd be the hit, and you'd be asking me for a job.
[laughs]
Cassie.
Jesus.
Don't you know why I took that job in Hollywood?
Not for me. For you.
It was the only way that I could hold you, I thought,
was to be a star, like you.
Make you want me again.
[crying] Treat me important.
Ready, Zach?
Who do you want to pick?
I don't know yet.
Let's do the tap combination. Start matching 'em up.
Okay, everybody, for the tap combination,
we're going to start after the second eight-count.
Girls downstage, boys upstage.
Nice and easy. And five, six, seven, eight.
[piano playing]
♪ Kiss today good-bye
♪ The sweetness and the sorrow
♪ Wish me luck
♪ The same to you
♪ But I can't regret
♪ What I did for love
♪ Look, my eyes are dry
♪ The gift was ours to borrow
♪ It's as if we always
♪ Knew
♪ And I won't regret
♪ What I did for love
♪ Gone
♪ Love is never gone
♪ As we travel on
♪ Love's what we'll remember
♪ Kiss today good-bye
♪ And point me toward tomorrow
♪ We did what we had to do
♪ Won't forget, can't regret
♪ What I did for love
♪ What I did for
♪ Love ♪
[feet tapping]
Okay, we're going to put you into groups of four.
Two and two. Let me see.
Mike, Maggie. Paul, Connie.
Girls, downstage, boys, upstage. Let's go.
Ready?
Five, six, seven, and eight.
[piano playing]
Connie, smile bigger if you're going to fake it.
Tapping's not my strongest point.
What?
Tapping's not my strongest point!
I see that.
Be right back.
Ohh!
-[man] You all right? -[Larry] Don't move him! Don't move--
Larry, call Dr. Rhodes. 838-1393.
[Diana] It's his knee, the cartilage. He had it operated on last year.
Don't move him. Don't move him.
Maybe we should prop something under his knee.
-[Zach] Get his dance bag. -It's okay, really. I just twisted it.
-Does anyone have any Darvon? Valium? -I do.
-[woman] Somebody get some water. -[man] I'll get it.
-[Mark groans] -It's already swelling.
You're going to be okay, Paul. You're going to be just fine.
You think we should give him that?
I mean, we don't know what's wrong.
Please, I've had three already today. Since lunch.
-[man] It's just a muscle relaxer. -[Larry] Rhodes is at St. Joseph's.
He said bring him to Emergency, he'll be waiting for him.
-[woman] Where's his dance bag? -[Diana] I'll get it.
-[Zach] You got the knee? -Yeah, I got it.
You're going to be all right. Rhodes is the best knee doctor in the city.
-[Diana] Paul, I got your bag. -[man] Good luck, Paul.
Call me from the hospital.
Do you ever think about what you're going to do if you stop dancing?
For me?
Yeah.
Real life, I guess.
What? Getting married, having babies?
Go off my diet.
[women laughing]
What about you, Mark?
You want to spend your life dancing in the chorus?
Well, I'd just like to get in one.
You don't remember, but we were in a show together,
in a chorus, about a hundred years ago.
Of course I remember.
You were a rotten dancer.
[all laughing]
Why do you think I became a choreographer?
How you been, Sheila?
God, since then, I don't know. Good, terrific,
[laughing] okay, so-so.
You know, I actually found the glass slipper once,
and it fit.
Then it broke.
I have a daughter. She's 9.
She loves me a lot, hates me a lot.
[crying] And, uh...
[chuckles]
God help her, she wants to be a dancer.
[Diana] What's so wrong about that?
How can anybody in their right mind want to be anything else?
I remember I used to stand outside the stage door
and watch the girls come out and think,
"Can anything like that ever happen to me?"
But now, I meet somebody,
and they say, "Wow, you dance on Broadway?
"You got somewhere. You're something."
[sirens wailing in the distance]
Hell of a day, huh?
Yeah.
A few months ago,
the night before I was going to audition for a new show,
I-- I had a kind of breakdown.
I started crying, and I couldn't stop for about two weeks.
I just now got out of the hospital,
and my doctor told me it was too soon to try again.
But I did.
And now, even if I lose,
I've won.
[sighing]
Hell of a day.
Larry.
-Line 'em up, Zach? -Yeah. Line 'em up.
Okay. Everybody on the line.
Before we start eliminating...
You're all terrific
and special.
Very special.
I wish I could hire you all, but I can't.
So will the following people please step forward?
Judy...
[laughs]
Don...
[sighs]
Greg...
Sheila...
Al...
Diana.
No. Excuse me.
Diana, could you get back in line, please?
Kristine...
Connie...
Maggie.
Front line, thank you very much. I'm sorry.
Rehearsals will begin September 22nd.
We're going to rehearse for six weeks.
Two-week out-of-town tryout either in Boston or Philadelphia.
The New York opening will be sometime in mid-January.
Be prepared to sign a standard minimum contract,
with a six-month rider.
Check with Larry to set up an appointment for costume measurements.
Bring a dance pair of shoes and sneakers to all rehearsals.
Please do not, repeat, do not change your hairstyle.
I'm really happy to have you working here.
I got to say, I'm very excited.
[Zach speaking inaudibly]
Thank you. Very much.
Thank you.
Dick?
That's it. Thanks a lot.
[laughs]
[Zach] Cassie.
How you dress.
You know, you can get arrested for wearing those colors.
[laughing]
[percussion playing]
[chorus] ♪ One
♪ Singular sensation Every little step she takes
♪ One
♪ Thrilling combination Every move that she makes
♪ One smile, and suddenly nobody else
♪ Will do
♪ You know you'll never be lonely
♪ With you-know-who
[women] ♪ She walks into a room
♪ And you know she's uncommonly rare
♪ Very unique, peripatetic, poetic, and chic
♪ She walks into a room
♪ And you know from her
♪ maddening poise, effortless whirl
♪ She's a special girl
[man] ♪ Strolling
[men] ♪ Can't help
♪ All of her qualities extolling
[all] ♪ Loaded with charisma is my jauntily sauntering
♪ Ambling shambler
-[men] ♪ One -[women] ♪ She walks into a room
-♪ Moment in her presence -♪ And you know you must
♪ Shuffle along, join the parade
♪ She's the quintessence of making the grade
♪ For the girl is second best
♪ To none
♪ So, strut your stuff
-♪ Son -♪ Can't get enough
-♪ Ooh, sigh -♪ Of
-♪ Give her your attention -♪ Her
-♪ Do I -♪ Love
-♪ Really have to mention -♪ Her
-♪ She's -♪ I'm a son of a gun
-♪ The -♪ She is one of a
-♪ One -♪ Kind
[chorus] ♪ One
♪ Singular sensation
♪ Every little step she takes
♪ One
♪ Thrilling combination
♪ Every move that she makes
♪ One smile, and suddenly nobody else
♪ Will do
♪ You know you'll never be lonely
♪ With you-know-who
♪ One
♪ Moment in her presence
♪ And you can forget the rest
♪ For the girl is second best
♪ To none
♪ Son
♪ Ooh, sigh
♪ Give her your attention
♪ Do I
♪ Really have to mention
♪ She's the
♪ She's the one? ♪
TCS Subtitling