The Spectacular

At rehearsal the following day, Marion considers the implications of Simon’s revelation about Lucille. She confirmed the story with Mrs. Hornsby, who clarifies that the acting role was meant to be temporary, for the play would eventually move to New York. Mrs. Hornsby understands Simon’s perspective, recognizing that he lived through a time when women always stayed home and tended to their families. However, she acknowledges that his way of thinking is antiquated, and she doesn’t blame Lucille for leaving. Needing to relax and blow off steam, Marion jokes around with Bunny. They dance freestyle, making the other Rockettes laugh. Russell enters the rehearsal studio and startles Bunny, who falls and sprains her ankle. Russell scolds Marion for encouraging reckless behavior during a rehearsal, and Marion resolves to be more serious and disciplined during practices.

Marion struggles through the Christmas Spectacular performances after Bunny’s injury. Distracted by her friend’s injury, the Big Apple Bomber, Judy’s death, and Simon’s revelation about Lucille, Marion makes several errors in front of the audience. Most notably, Marion “kicks out,” which means that she miscounts and adds an extra kick, ruining the illusion of unison. Marion visits Bunny after the performances are complete; Bunny has a minor sprain and should be able to perform again in a day or two. Bunny informs Marion that another bomb went off in a phone booth at Macy’s; no injuries occurred. Marion is angry at Somers and Ogden for ignoring Peter and Marion and arresting the wrong man.

Marion overhears Russell speaking about her with another producer. He compares Marion to Vera-Ellen, a famous dancer and actress. Although Marion feels complimented by this comparison, she soon realizes that Russell dislikes how much Marion stands out. She draws attention away from the other performers, ruining the unison intended by the choreography. Needing fresh air, Marion walks to Radio City’s roof. She admires the city’s lights while contemplating her life choices, feeling more unsure about neglecting Simon and Nathaniel by pursuing dance. Suddenly, Marion hears the door slam behind her. She attempts to reenter Radio City, but someone grabs her from behind, wrapping their arm around her neck. Marion realizes that she is trapped alone on the roof of Radio City with the Big Apple Bomber.

Marion remembers Simon’s self-defense lesson from when she and Judy were girls. She relaxes her body and leans into her attacker, which throws him off balance. Marion stomps on his foot hard, causing him to loosen his grip. She falls to the floor and rolls away, sprinting from her attacker, who follows close behind. The Big Apple Bomber chases Marion onto the tall catwalk over Radio City’s stage, and Marion recognizes his face. Terrified, she removes her shoes and crosses the catwalk. Athletic and accustomed to strenuous exercise, Marion outruns her pursuer in a stairwell on the other side of the catwalk. She runs into a security guard and shouts for help, fearing for Bunny and the other people inside Radio City. The guard communicates via radio with other security workers; he tells Marion that a man fitting her description exited Radio City and left via taxi.

Marion calls Peter, who immediately rushes to Radio City to be with her. Ogden and the other police arrive, reporting that Somers is busy elsewhere. Disappointed by the prospect of dealing with Ogden, Marion leads him and Peter through Radio City, detailing her attack. Ogden casts doubt on Marion’s account, questioning her emotional state and her ability to remember what she saw. Marion angrily confronts Ogden, calling him incompetent and accusing him of not caring about the loss of life that the Big Apple Bomber has caused. Somers arrives and dismisses Ogden. He apologizes for Ogden’s lack of tact and accepts criticism from Peter. Somers informs Marion that the Big Apple Bomber killed the usher, another witness, which explains his delay in arriving at Radio City. His actions reveal that he is attempting to eliminate any witnesses to his crimes. Marion realizes how close she came to being killed. She imagines Simon receiving another phone call informing him of the death of his last living child so soon after Judy’s death. Distraught, she loses consciousness.

The narrative returns to 1992. Piper and Marion arrive outside a very busy Radio City Music Hall. Piper mentions the planned agenda for the evening, and Marion panics upon hearing about the intended homage to those affected by the Big Apple Bomber. Marion frets that some kind of gimmicky dance performance will commemorate the grief and loss, and she does not want Judy’s death to turn into a spectacle. Piper reassures Marion that they plan on calling for a moment of silence, nothing more. Marion agrees that this approach will be appropriate. Marion again mentions Piper’s dancing ambition, recognizing her own characteristics in Piper’s demeanor. She suggests introducing Piper to a choreographer she knows, and Piper is excited by the idea.

The narrative returns to 1956. Marion awakens at Radio City with Peter and Somers at her side. Somers suggests that Marion should not be left alone for the next several days, and she asks to go to her father’s house. Simon comforts Marion, expressing deep concern and forbidding Marion to return to the city. For once, Marion doesn’t argue with him. She decides that it is unsafe to continue working as a Rockette, reasoning that she is putting herself and the other performers and employees in danger. Moreover, she knows that Judy would want Marion to look after their father. Simon apologizes for revealing Lucille’s history while he was so angry, and Marion acknowledges that she contributed to the escalation of their argument. Marion believes that she and Simon are making strides toward improving their relationship. Marion questions Simon about the personnel files at Met Power. Peter believes that the Big Apple Bomber is a disgruntled former employee of Met Power who likely worked there during the 1930s. Simon calls all files before 1940 “dead.” While Simon works the following day, Marion searches his home office, sensing that he isn’t being entirely honest.

Nathaniel drives Marion into the city to speak with Russell and retrieve her belongings at the Rehearsal Club. He gives Marion a headache by dramatically expressing outrage for the attack. At Radio City, Russell reassures Marion that she can take as much time off as needed before returning to the stage. Holding back tears, Marion clearly states that she’s finished as a Rockette, and Russell needs to replace her. She returns to Nathaniel’s car, and he drops her off at the Rehearsal Club. Marion avoids his departing kiss as she exits his vehicle.

Marion runs into Peter as she attempts to enter the Rehearsal Club. She dodges his questions about Nathaniel but starts crying when she tells Peter the reason for her trip to Manhattan. Peter offers to take Marion on a walk to clear her head. They travel to the Empire State Building observation deck and talk about their life plans. Although Marion attempts to avoid conversation about Nathaniel, she notices Peter grows tense at mentioning his name. Peter admits that he doesn’t want to get married or have children, though he refuses to explain this decision. Marion confesses feeling conflicted. She can envision being a wife and mother, but she believes that life will be unfulfilling if she cannot dance. Marion feels torn, thinking that either path will lead to great sacrifice, much like Lucille experienced. Peter talks about genetics, telling Marion that she has much more choice with her life’s outcome than those with inherited medical conditions. He encourages Marion to envision a future in which she caters to her creativity and nurturing ability. Suddenly, Marion remembers Judy and Simon discussing the “dead files” being moved to Simon’s office floor. She connects this remembrance with Simon’s conversation from the previous evening. She doesn’t know why, but Marion feels sure that Simon is hiding the Big Apple Bomber’s personnel file in his office building. Marion insists that she and Peter immediately go to Met Power to search for the dead files.

Marion convinces the security guard at Met Power to allow her and Peter to enter the building by using Judy as an excuse, saying she must collect her sister’s personal items. Once alone inside, Marion spots a reference for the dead files on Judy’s well-organized desk, and Marion and Peter head to a room down the hall. Although the door is locked, Marion locates a key in Simon’s office. Peter and Marion find four boxes filled with hundreds of complaints from Met Power employees injured on the job from dangerous working conditions in the 1930s. They quickly scan the files; Peter finds one belonging to George Martinek, who perfectly fits the profile that Peter has established. Seeing several handwritten letters accompanying his file, Peter identifies phrases and sayings that match the notes from the Big Apple Bomber. Marion and Peter disguise the file in a box of random items. They find the nearest phone booth and attempt to call Somers. Ogden answers instead, dismissing Marion’s claims of discovering the identity of the Big Apple Bomber. Frustrated, Peter and Marion return to Peter’s apartment to consider their next move.

Marion and Peter review George Martinek’s file, learning that he suffered terrible injuries to his lungs and stomach after a boiler explosion exposed him to toxic chemicals. Met Power neglected to provide immediate medical care and attempted to force Martinek to continue working his shift that day. When Martinek lost consciousness, Met Power simply sent him home. Once there, he experienced severe medical symptoms and was finally taken to the hospital. He received painful injections that did not help manage his symptoms, and he is now unable to work. Martinek received a minor insurance settlement along with a portion of his salary. Met Power waited until Martinek’s incident was past the statute of limitations to suggest that he apply for workers’ compensation. This way, Met Power wouldn’t be responsible for his claim. Martinek attempted to appeal the decision with the Workman’s Comp Board several times, but all efforts failed. Several coworkers from Met Power also spoke out against Martinek.

Marion decides that they should drive to Martinek’s last known address to confirm their suspicions, but Peter dislikes this idea. Because Marion has stayed out past curfew, she spends the night at Peter’s apartment. Peter lends her clothes and sleeps on the couch. Though they both acknowledge a romantic desire, they quickly fall asleep without kissing again. The following morning, Peter drives Marion to Martinek’s address in Connecticut. Not long after they arrive, two women leave the dilapidated house, with Marion’s attacker soon following. Peter and Marion make several inquiries with neighbors; one little boy claims that the man who lives nearby is building a monster in his garage. Marion insists on peeking through the garage windows. She sees two tickets for Radio City Music Hall the following day and realizes that Martinek intends to target the Rockette’s noon performance with his next bomb. Peter and Marion are alerted to Martinek’s return by several young boys taunting him in the street. Martinek begins coughing while trying to shout at the kids.

Marion and Peter attempt to tell Ogden about locating the Big Apple Bomber, but he is unwilling to listen to the pair. They consider storming into Somers’s office but fear that they will be arrested, so they return to Peter’s apartment and develop a plan to stop Martinek alone. Marion sleeps over at Peter’s place again, and Peter rushes to hold and comfort her when he hears her crying. Although Marion is mad at Simon for withholding Martinek’s file from the police, she worries about the prospect of leaving her father alone if anything should happen to her. Peter and Marion fall asleep clinging to each other. The following morning, Peter purchases a ticket for the noon show. Marion walks into the dressing room under the guise of saying goodbye to Russell and the other Rockettes. Marion swipes her costume from the back of her chair and sneaks it out of the fitting room. In the bathroom, she dresses and applies stage makeup. At the final moment before the start of the performance, Bunny switches places with Marion. Onstage, Marion can see Martinek about 30 feet from where she is performing.