Words and Music (1948) Movie Script
1
You've just heard some words and music
written by Rodgers and Hart.
This is the Metro-Goldwyn-Mayer
sound stage number one.
In this film, Mickey Rooney
will portray Larry Hart,
or Lorenz Hart, as the song sheets read,
and I am Richard Rodgers.
If in telling you about Larry
I talk quite a bit about myself,
it's because there hasn't been
a day in my life
that didn't have something
to do with Larry Hart.
I'm almost sorry to say
there were none of the standard trials
and tribulations you'd ordinarily expect.
In fact, we were just two lucky fellows
who had success very young.
From a dramatic standpoint,
we didn't even have the advantage
of being very poor.
We weren't very rich, either.
When I first met Larry,
he had already acquired quite a reputation
at Columbia University as a poet and wit,
and I was a little scared.
Anyhow, one day Herb Fields,
a mutual friend of ours
who later wrote the books
for some of our shows,
arranged a meeting.
- Is this it?
- Yep.
Maybe we ought to come back
some other time.
- Oh, relax, will you?
- Yeah. But you think...
Look, you wanna do a show with him,
don't you?
- Oh sure, sure.
- All right, then.
Meet him,
play a couple of songs and you're in.
- Hi, Herb.
- Hi, Larry.
- Come on in.
- Thanks.
Larry, I'd like
to have you meet Dick Rodgers.
You know,
the fellow I was telling you about.
Oh, hiya, Dick.
Heard a lot about you.
You're the fellow who writes music, eh?
- Well, I...
- Come on in. Make yourself at home.
You hungry? Want something to eat?
How about some nuts?
- Oh, no. Thanks.
- Apples? Oranges?
- How about a piece of coffee cake?
- No...
Corned beef sandwich? I'll send out,
get a corned beef sandwich.
- No, thanks very much, anyway.
- Smoke? Cigar?
- Light ones? Dark ones?
- I never use them.
How about you, Herb? That's right.
You don't smoke, do you?
Go ahead.
Play something.
Go ahead.
Hey, hey, Herb, I got a new rhyme for you.
What rhymes with Coolidge?
- Coolidge?
- Yeah.
- Nothing rhymes with Coolidge.
- You wanna bet?
- Coolidge?
- Sure, say it over to yourself.
Coolidge, Coolidge, Coolidge.
Come on, quick.
Oh, I'm ashamed of you.
When you speak of Coolidge,
he deserves a eulogy.
Coolidge he, eulogy.
Hey, that's very good, Larry.
That's all.
Herb, did you read this article yet?
- No, I didn't.
- It's not bad at all.
Operator, give me Trafalgar 4599, please.
Hello, Jack? This is Larry Hart.
Have you got that book of Heine's in yet?
No, no, no. Not the translation.
That was the later edition.
Yeah, will you look around please?
Hey, that's not bad at all.
Hello? You have? Jack, you're a doll.
Yeah, yeah, right away. Yeah.
What does he do now?
Shoot himself out of a cannon?
Say, that's a pretty elaborate
musical phrase, isn't it?
- Well, it's a...
- Not that it bothers me, you understand.
I gotta go pick up a book.
I'll talk to you later, Herb.
Go ahead. Keep playing.
He liked it.
Oh, sure, I could tell he liked it.
He did everything but card tricks.
- Now, Dick...
- No, brother, I've seen everything.
Here I sit at this piano,
and this nutcracker...
But, Dick, he's always like that.
- Mrs. Hart. How are you?
- Hello, Herb.
Well, introduce me to this nice young man.
- This is Dick Rodgers.
- I'm very happy to meet you, Mrs. Hart.
- That was you playing the songs?
- Yes.
- You wrote them?
- Well, sure. He's a real composer.
Isn't that nice?
You know something?
I like your songs
and your playing, very much.
Well, thank you, Mrs. Hart.
Here, what am I standing here for?
Have a bite.
For quite a while, I didn't hear from Larry
and it began to look as though
neither my tunes nor I
had scored much of a hit with Mr. Hart.
I stuck with it.
But, believe me, a tune without a lyric
is a mighty lonesome thing.
Hello.
Oh, hello, Herb.
Yeah?
- What?
- Yeah, yeah, you heard me.
- He's crazy about the songs.
- Yeah, he's crazy all right.
No, no, not just crazy.
He's crazy about the music.
I haven't heard from him in two weeks.
- He wrote a lyric.
- A lyric?
A lyric. You know, words.
Be there at 5:30 sharp.
And don't be late, please.
Okay, fine. Goodbye.
5:30 came, 5:30 went.
And I got my first introduction
to something I soon learned
I could count on,
the business of waiting for Larry.
- Now don't worry. He'll be here.
- So he's crazy about it, huh?
I tell you, the guy called me and
he was jumping through the telephone.
Hi, Herb.
Morn! Morn! Mary!
Herb, have you seen
the September issue of Vanity Fair?
- The what?
- No, I can tell you haven't seen it.
- What is it, dear?
- Mom, have you seen
the September issue of Vanity Fair?
- No, I haven't.
- Mary, what have you done with it?
You know I don't
read that stuff, Mr. Larry.
Can we find it, please? Can we find it?
It's getting so you can't find anything
in this house anymore.
- Hi, Dick.
- Hi, Larry.
Play that first thing for me, will you?
- What thing?
- You know.
- Hey, I got a new rhyme for you.
- Yeah?
Yeah, what rhymes with tapestry?
- Tapestry?
- Half-past three. Please.
I found it in your room, Mr. Larry.
Oh, good. Boy, you're wonderful.
You're a doll.
- Listen, get me something to eat, will you?
- It's near suppertime.
There's some knockwurst and salami
in the packages there.
Cut some up, please.
Here we are. Here we are.
That's it. There you are.
Manhattan.
- You like Manhattan?
- Manhattan? Yeah, yeah, I like Manhattan.
Manhattan.
We've got Manhattan
The Bronx and Staten Island, too
It's lovely going through the zoo
You know the rest. Go ahead. Play it, Dick.
Summer journeys to Niagara
And to other places
aggravate all our cares
We'll save our fares
I've a cozy little flat in what
is known as old Manhattan
We'll settle down
Right here in town
We'll have Manhattan
The Bronx and Staten Island, too
It's lovely going through the zoo
It's very fancy
on old Delancey Street, you know
The subway charms us so
When balmy breezes blow to and fro
And tell me what street
compares with Matt Street in July
Sweet pushcarts gently gliding by
The great big city's a wondrous toy
Just made for a girl and boy
We'll turn Manhattan
Into an isle of joy
I'd like to take a sail
on Jamaica Bay with you
And fair Canarsie's lakes we'll view
The city's clamor can never spoil
The dreams of a boy and girl
We'll turn Manhattan
Into an isle of joy
Well, it's nice,
but a bit off the beaten track. I'm sorry.
But when you're riding the crest of youth,
you don't get easily upset,
even by turndowns.
Larry, in particular, was tireless,
and his enthusiasm was boundless.
This kind of netter-sireiter writing, singing,
demonstrating went on for two years.
But nothing happened.
They all thought the songs
were fresh, different, engaging,
but nobody bought them.
And after a while, this gets monotonous.
After two years, it can get desperate.
Finally, when I felt
I couldn't take it any longer,
I had a talk with my father.
Can I help, Richard?
What would you say if I told you
I were giving up being a composer?
I'd say all right,
if I could think of a good reason,
but just offhand I can't think of one.
Well, I'll give you one. Nothing happens.
Two years, almost three and I'm nowhere.
- Where do you want to be?
- What's the sense of kidding, Pop?
You've been carrying the freight too long.
College, Academy of Music, and now this.
Months and months
of knocking our brains out.
Nobody cares.
I think you've written many good things.
Sure, and they can't even get me
a cup of coffee.
Well, Richard, the coffee will come.
Maybe you have to boil it a little more.
- No, it's no good. I'm going into business.
- Business? Doing what?
Selling infants' wear.
How did you happen to
select this vocation?
Well, a friend of mine
offered me $50 a week to start.
Well!
I never knew you were so interested
in getting $50 a week.
- Do you need $50?
- What I need is self-respect.
Well, you sound desperate.
Gee, Pop. It's not only living off you.
But I'm getting so
I'm envious of everyone.
A counterman,
a taxi driver, a shoe shiner.
Anybody who can earn anything.
Richard, I went through
four years of college,
two years of med school,
interned for two more years.
And just about that time,
I was in the same place
as any kid leaving grammar school,
except I had a slight added handicap.
I was also in love with your mother.
Sol can only tell you, Son,
just keep writing those nice songs.
Work with Larry.
Dream a little longer,
and work a little harder.
Be a little patient.
No, it's no good, Pop.
I've made up my mind.
Well, nothing better for a man than to
finally know exactly what he wants to do.
So, I guess that's the way it's gotta be.
Hope you don't think
I'm running out on you, Larry.
Don't be silly.
Of course, it is quite a switch
from musical comedy,
but I think the diaper business
is a good business.
Want something to eat?
Something to drink? Cigar?
- No, thanks.
- That's right, you don't smoke, do you?
Let's have a party. Want to have a party?
It's an occasion. Might wind up
the greatest party we ever had.
A farewell party.
Farewell to the maestro of music
and a welcome
to the mogul of baby clothes, huh?
Come on, now.
Look out. Hot coffee.
Hot coffee coming through.
Harry, how about you? A little coffee, boy?
That's right. Just fresh made.
- Hey, Larry, how about some more coffee?
- It'll stunt your growth.
No, I'm sorry.
In that corner you get no coffee.
- Good evening, Mr. Eddie.
- Hi, Mary. How are you?
- Fine.
- Miss Grant. Miss McNeil.
- Hello, Mary.
- Good evening. May I take your wraps?
- Hey, a party.
- Now, Mr. Eddie.
- Hey, Eddie. Hi!
- Hi, everybody. Hi!
- Hey, hi, baby. Where you been?
- Auditioning.
- Tough year for singers, you know.
- It's a tough year. Period.
Or maybe not. Will you have some coffee?
- Thanks.
- Let's assume this is for you.
Look, this is my house.
Don't I get to meet the...
Oh, sure, sure.
Everybody gets to meet everybody.
Ladies and gentlemen,
I want you to meet two protges of mine,
Miss Margo Grant and Miss Peggy McNeil.
Say, Herb,
you know Eddie Anders, of course?
Of course. May I say
there's no one I'd rather hear sing?
- Well, how about a song now, huh, kid?
- Oh, not now. Later maybe.
What I really want
is for you to hear this one.
She sings, too? What are we waiting for?
Gee, let me catch my breath.
A little later maybe.
What is this,
singers want to sing a little later, maybe?
Come here, honey. I want to talk to you.
- You're a singer, too?
- Well, not exactly. I dance.
Yes, of course.
May I say
there's no one I'd rather dance with?
- Ah-ah, ah-ah, ah-ah.
- "Ah-ah, ah-ah," what?
This one is for the boy.
- Tell me all about yourself.
- Well, there's really not much to tell.
That's a wonderful song.
I'm glad you like it.
I had no idea it was that good
when we wrote it.
- Oh, are you...
- Larry Hart. Yeah, I wrote the words.
Really?
- Do you sing for a living?
- Kind of. I work in a caf.
It's really a Speakeasy.
- Have you been here long?
- No. I'm hot out of Boston.
- Have you ever been in a show?
- A couple.
Why? Are you looking for someone
for a show?
Because if you are,
they call me "Available" McNeil.
No, honey. We're looking for a producer.
- You know any?
- Producers?
- What are they?
- Yeah.
I never got past the elevator boy.
Well, if either one of us
ever find a producer to produce our show,
I'll bet you'd be wonderful in it.
You mean me?
I'll bet you'd be the best thing in it.
- Shall we dance?
- Yeah. Sure. Come on.
So you're a little fellow, aren't you?
But on you, it's very becoming.
That's another song
from our un-produced show.
I know and I love it.
- You do?
- Eddie taught it to me.
Well, what are we waiting for?
Excuse me just a minute,
will you, honey, please?
Thank you. Pardon me, Dick. Everybody.
From the un-produced works
of Rodgers and Hart,
Miss Peggy McNeil is going to sing
an unknown song entitled
There's A Small Hotel.
Miss McNeil, Mr. Rodgers.
Mr. Rodgers, Miss McNeil.
- How do you do?
- I hope you all like it. You're on, honey.
There's a small hotel
With a wishing well
I wish that we were there
Together
There's a bridal suite
One room bright and neat
Complete far us ta share
Together
Looking through the window
You can see a distant steeple
Not a sign of people
Who wants people?
When the steeple bell
Says, "Good night, sleep well"
We'll thank the small hotel
We'll creep into our little shell
And we will thank the small hotel
Together
- How about that, Herb?
- Oh, that was great.
You really got something here, Eddie.
- You do sing awful good, Peggy.
- It's an awful good song.
There's another one.
We've got a million of them.
And I'll bet you could sing them all.
Wouldn't it get kind of monotonous,
me singing all those songs?
No, honey, not to me it wouldn't.
Peggy, how tall are you?
I don't know. About 5'4", I guess.
That's what I figured.
There we are.
- What is this?
- I'm filing you away for future reference.
This is Dick, he's 6',
this is Herb, this is my mother.
This is a little girl named Helen
and this is the milkman.
I don't think I quite understand.
You will, after you've known me
10 or 15 years.
Larry! Larry! Larry! Dick!
Look, you know what happened?
It's the darnedest thing.
Look. Dick! Dick! Mr. Kay just phoned.
- Mr. who?
- Mr. Kay.
- The Theatre Guild. They want us.
- Who wants us?
The Theatre Guild.
They want us to do a show.
- The Garrick Gaieties.
- Oh, yeah. I heard about that.
The kids are putting on
some kind of a benefit to buy tapestries
- for the Guild's new theater.
- But, Dick, it's the Theatre Guild.
- But it's only another benefit.
- Well, can't we talk it over, anyway, huh?
Watch me change the mogul
of baby clothes back into a musician.
Wanna bet? Come on. Come on.
And darned if he didn't.
So there it was in big, bright lights,
The Garrick Gaieties.
On the first of May
It is moving day
Spring is here so blow your job
Throw your job away
Now's the time to trust
To your Wanderlust
In the city's dust you wait
Must you wait?
Just you wait
In a mountain greenery
Where God paints the scenery
Just two crazy people together
While you love your lover
Let blue skies be your coverlet
When it rains, we don't mind the weather
And if you're good
I'll search for wood
$0 you can cook
While I stand looking
Beans could get no keener reception
in a beanery
Bless our mountain greenery home
When the world was young
Old Father Adam with sin would grapple
So we're entitled to just one apple
I mean, to make apple sauce
Underneath the bough
We'll learn a lesson from Mister Omar
Beneath the eyes of no Pa and no Ma
Old Lady Nature is boss
And if you're good
I'll search for wood
$0 you can cook
While I stand looking
Beans could get no keener reception
in a beanery
Bless our mountain greenery home
Simple cooking means
More than French cuisines
I've a banquet planned
which is sandwiches and beans
Coffee's just as grand
With a little sand
Eat and you'll grow fatter, boy
Shatter, boy?
Attaboy
In a mountain greenery
Where God paints the scenery
Just two crazy people together
How we love sequestering
Where no pests are pestering
No dear Mama holds us in tether
Mosquitoes here won't bite you, dear
I'll let them sting me on the finger
We could find no cleaner retreat
from life's machinery
Than our mountain greenery home
Down with city slickings
Up with cows and chickens
Down with noise and clutter
Up with milk and butter
Down with life's machinery
Bless our mountain greenery
home!
- Hi, Eddie.
- Hi, Mr. Hart. Here's your morning papers.
- Three of each.
- Yeah. How much do I owe you?
- That'll be 24 cents for the works.
- 24 cents?
24 cents I haven't got, but here's a buck.
Buy yourself a railroad.
- Gee, thanks!
- That's all right, Eddie.
Hey, Morn! Morn!
- The papers are here.
- Coffee is ready, Lorry.
Just a minute, will you, darling?
Just a minute.
Here it is, here it is.
"Last night a group
of the younger Theatre Guild actors
"came up with a little hand-built revue
called The Garrick Gaieties.
"And to my utter amazement,
I found it jammed throughout
"with talented young people, bright tunes,
sparkling lyrics and smart sketches."
- Mom, we're in. We're a hit.
- But naturally, Lorry.
I'll get that.
- Good morning, Richard.
- Hello, darling.
Have you heard the good news?
- We're a hit. We're in.
- But of course.
And if the Theatre Guild has any notions
about this little show running for just a
few performances, they'd better forget it.
- Hi.
- Hi.
- Uh-oh.
- "Uh-oh," what?
- "The music."
- What about the music?
"The music," it says here,
"is fresh and melodic and engaging,
"and these qualities are bound to carry
composer Richard Rodgers to the top
"in years to come.
"Meanwhile, by the way,
just who is Mr. Richard Rodgers?"
Mr. Richard Rodgers
is the young gentleman
who is making my coffee get cold.
Now just a minute, Mrs. Hart.
I want to prove to you
that Larry isn't so famous, either.
- "The lyrics."
- What about the lyrics?
"The lyrics are bright, witty and adult
and in good taste.
"In short, they are excellent.
"And it is a pleasure to greet a new writer
as gifted as he is unknown,
"Mr. Lorenz Hart."
- Mr. Hart.
- Mr. Rodgers.
I'll get it.
- Hiya, Morn.
- Hello, Eddie.
Have you seen the notices?
They're terrific. Morn, we're a smash.
- But certainly.
- Hi, Dick. Hi, Larry.
Have you seen what's in the papers
here about Herbie Fields?
- No. What does it say?
- Oh, boy, it says right here,
"The original sketches were concocted
"by a young man nobody ever heard of,
Herbert Fields.
"Outstanding in a smart cast
was singer Eddie Anders who will be..."
- Eddie Anders? Hey, that's me!
- Congratulations.
- You're in, Eddie!
- I'll get it. I'll get it.
Good morning, Herb.
Oh, you bet it's a good morning.
Have you heard the news?
- Sure. We are smash.
- Yes, that's right. We are.
- Hi, fellows.
- Hi, Herbie.
Have you read these write-ups?
- They're the most sensational...
- Yeah, I read them.
- Well, what's the matter?
- Nothing's the matter.
- Everything's fine.
- What is it? What is it?
James Kelly.
He wants to produce a show.
- What? Kelly?
- Yes, I was up all night with him.
He saw the Gaieties last night
and he wants to do a show with us.
- On Broadway?
- Not in Bridgeport!
- That's great.
- What are we waiting for?
Mom, cook some breakfast,
will you, please?
Mary. Mary, honey,
cook some breakfast, too.
We'll start right away. 3:00 sharp.
We've already got My Funny Valentine
and You're Nearer.
- What time is it?
- 9:30.
9:30. I've got to make a phone call.
Talk to yourselves, will you?
Hello. Give me Trafalgar 2098, please.
Hello.
Hello. Hello. Is this my blue-eyed friend
from Boston?
This is your red-eyed friend from Boston.
- Who is it?
- This is Larry. Larry Hart, yeah.
Now, look, don't get excited.
Don't even wake up.
You're dreaming this, only it's true.
We sold our musical comedy.
Gee, Larry, that's marvelous,
really and truly.
You're going to be in it, hear me?
I'll see you at the club tonight.
And I'm gonna bring
Herb and Dick with me.
And aside from that,
I don't know anything new.
Thank you, Larry.
Larry, I'd like to measure you right now.
I'll bet you're really taller. I know I am.
Goodbye.
There you are, sir,
and if I do say so myself, they look fine.
- They look all right, huh?
- Oh, yes, sir.
Get up.
Go ahead, walk.
One, two, three, four.
One, two, three, four,
turn, two, three, four.
They feel fine, but I feel
as if I were walking downhill, you know?
Well, naturally.
- What about the trousers?
- Oh, yes. You see, I forgot to tell you.
When the lifts move you up,
the trousers, shall we say,
move up proportionately.
- However, with a slight adjustment...
- Slight adjustment?
You're completely defeating your purpose.
Well, they feel very comfortable,
- but I get a little... In the back of it.
- Oh, yes.
For a while, you'll notice a slight
tenseness in those back muscles.
However, after a while,
that too will adjust itself.
- Look all right?
- Oh, excellent, sir.
Oh, I must warn you.
When you take your shoes off at night,
if you notice a slight popping of the ears,
don't let it alarm you.
- 3:00 sharp, huh?
- Well, you know Larry.
Here it is 5:15, he's not here yet.
Hiya, baby. Hiya, kid.
Notice anything different? Look, you guys.
- Haircut?
- No.
- Shave?
- No. Well?
- Well, what?
- Well, what? The shoes. Look.
- The shoes?
- Certainly. The shoes.
2" taller. How about that?
- Taller?
- Sure.
- Are you serious?
- Certainly. 2".
No kidding. Built up on the inside.
You can't even see it.
You ought to get some sometime.
Anybody call?
Peggy-
- Yeah?
Say, we've got to go over to the club
and see her tonight.
And is she excited about doing the show.
- What show?
- What show?
Why, our new show, of course.
Why? Does she want to be in the chorus?
Chorus? Why, she's going to do the part.
You both like her, don't you?
Oh, sure, but, Larry,
this isn't The Garrick Gaieties.
- Did you ever hear of Joyce Harmon?
- Yeah. Certainly.
Well, Mr. Kelly's got her signed
to a personal contract.
That's one of the main reasons
he's doing our show,
because she's right for it.
Why, Joyce Harmon's
the greatest thing you've ever seen.
Yeah, I know. But you said that she was...
Look, Larry, we're not producing the show.
A man investing that much money
in a couple of new authors,
he wants some protection.
You can understand that.
Yeah. I can understand that.
Oh, the wild herd gathers
where the moon is full
There's not much buffalo but lots of bull
Way out West
In the wild, wild West
Away out West on West End Avenue
Yippee-ay-yay! You!
Well, tell me all about it.
Drinks are on me tonight.
25% off.
Well, herds to our show.
- Peggy...
- What's wrong, Larry?
Nothing the matter with the show?
After I talked to you this morning,
I talked to Dick and Herb,
and it seems as though the producer
has Joyce Harmon under contract and...
- She's going to do the part.
- Yeah.
I'm awfully sorry, Peggy.
It's going to take all the boot
out of doing this show, for me, anyway.
Don't worry. It's not so bad.
I got a call this afternoon
from the Schubert office.
They want me to go on the road
with some operetta.
It's not the greatest part in the world,
but the money's pretty good
and I guess I could use the experience.
Peggy, this isn't the time,
but ever since I saw you...
Larry, please.
We're both a little off-balance now,
and we both have many things to do.
I know I have.
Well, I went on record, anyway.
Let's drink some of this before it gets flat.
That was the touch-off spark
that was to affect
everything Larry Hart ever did again.
But, frankly, I was more concerned
with our new musical comedy
and our new leading lady.
Fortune never smiles, but in my case
It just laughs right in my face
looked for a horseshoe, I suppose
It would bop me right in the nose
My luck will vary surely
That's purely a curse
My luck has changed
It's gotten from rotten
to worse
Where's that rainbow you hear about?
Where's that lining they cheer about?
Where's that love nest
where love is king ever after?
Where's that blue room they sing about?
Where's that sunshine they fling about?
I know morning will come
But pardon my laughter
In each scenario
you can depend on the end
Where the lovers agree
Where's that Lothario?
Where does he roam?
With his dame Vaseline-d as can be
It is easy to see all right
Everything's gonna be all right
Be just dandy for everybody
but me
It is easy to see all right
Everything's gonna be all right
Be just dandy for everybody but me
It is easy to see all right
Everything's gonna be all right
Be just dandy for everybody
and me
- Got that blue room
- To sing about
- Sun is shining
- To fling about
- Got that love nest
- You hear about
- A silver lining
- To cheer about
You can have that rainbow
'Cause we got that rainbow
now
- Who is it?
- It's me.
Oh, come in.
I ran back before the crowd got in.
- Well, how was it?
- You were only sensational.
Thank you, Dick, for everything.
The flowers, your help,
the way you conducted.
You're welcome.
Joyce, would you like to go out tonight?
- Have a drink maybe?
- Oh, Dick, I'm sorry.
But you know me, opening night.
I'm going right home,
get a hamburger and crawl into bed.
- Give me a rain check, will you?
- Sure.
- How about tomorrow? It's Sunday.
- Oh, that's right.
I tell you what, come over around 4:00
and I'll make you a nice cup of tea.
4:00? I'll be there.
More flowers.
Dick, they're perfectly beautiful.
Thank you again.
There.
- Well, sit down.
- Thanks.
I hate Saturday night openings, don't you?
Yeah.
Waiting till Monday for the notices
is kind of like a Chinese execution.
Is something troubling you, Dick?
Look, Joyce,
I can't say this the way I want to,
so I'll just say it plain.
I'm in love with you.
And I've been in love with you a long time
and I don't know what to do about it.
Do you...
- Are you serious?
- I'd like to marry you.
Well, I guess that's all there is to it.
Dick, come here.
I can't tell you how sweet that was,
your telling me just that way.
You're one of the nicest persons
I've ever known.
But nice as it is to hear,
it just doesn't make sense.
But why does it have to make sense?
Because being in love
is more than just saying it,
or wanting to be, or thinking you are.
And your being in love with me
is impossible.
- Believe me, it is.
- Why?
Well, mathematics.
I'm 33, you're 23.
What difference does that make?
Dick, when a woman's 33,
a day's a difference, a week's a difference,
a month's a difference.
Ten years, that's a century.
Well, I guess that's that.
How would you like your tea?
With or without sugar?
Two lumps are fine for me.
Sugar or no,
I was a very bitter young man.
The girl of my dreams didn't love me
and all the world was sad and dreary.
In black despair, I decided to do
what every young fellow
with a broken heart does.
I decided to go to the movies.
But I was in no mood to be alone
and so in search of company,
I dropped in on an old friend,
Ben Feiner.
- Hello, Dorothy. Is Ben home?
- No, but come in.
Thanks.
I'm sorry. Ben went out.
Say, when did you get so big?
Oh, I don't know. Just lately, I guess.
Well, I thought maybe Ben would like
to see a movie or something.
- Well, I don't know when he'll be back.
- It doesn't matter.
You've been away at school, haven't you?
- Came in to see your show last night.
- Really?
- Liked it very much.
- Thank you.
- I've seen all your shows.
- Both of them?
Excuse me. Won't you sit down?
I was just making some tea.
Would you like some?
No, thank you. I had my tea today.
- How are the folks?
- Fine. They'll be in soon.
Well, I guess I'll go to the movie myself.
They say it's a good picture.
- Camille. Have you seen it?
- No, I haven't, but I'm going to.
- Well, tell Ben to call me.
- All right.
Oh, say, Dorothy, you wouldn't like
to see the movie with me?
- Oh, thank you, but I'm afraid not.
- Why not?
Well, you see, I...
Well, I never go out with older men.
- With what?
- You know what I mean.
- All of Ben's friends are kind of...
- Kind of old men, huh?
Well, I'm sure you understand.
Oh, certainly. I understand perfectly.
Good night.
That was really Black Sunday for me.
Shut out twice.
Once because I was too young,
and once because I was too old.
I pictured myself tragically wandering
around the globe for the rest of my days.
And in my grief I was certainly
in the right frame of mind to see Camille.
But I'd clean forgotten
that there was a big stage show,
all built around one of our numbers.
Remember the youth amid snow and ice
Who bore the banner
with the strange device
"Excelsior"
This motto applies to those who dwell
In Richmond Hill or New Rochelle
In Chelsea or in Sutton Place
You've got to reach the heights
To win the race
See the pretty apple, top of the tree
The higher up, the sweeter it grows
Picking fruit you've got to be
Up on your toes
See the pretty penthouse, top of the roof
The higher up, the higher rent goes
Get that dough, don't be a goof
Up on your toes
They climb the clouds
To come through with air mail
The dancing crowds
Look up to some rare male
Like that Astaire male
See the pretty ladies, top of the crop
You wanna know the way the wind blows?
Then, my boy, you'd better hop
Up on your toes
Up on your toes
That day I was very much alone.
Larry was away seeing Peggy, and I hoped
things were going a lot better for him
than they had for me.
Now you've really got me surrounded.
A bolted door, a Rodgers and Hart song.
What's the next twist to the plot?
Well, that shouldn't be hard to guess.
It's the love scene.
You know, where the fellow tells the girl
that she's like a Roman candle,
a Greek chorus, an Italian gondola,
only here we are in Indianapolis.
Then when he runs out of things to say,
instead of coming to the point,
he reaches into his pocket
and hands her a prop.
Go ahead. Try it on for size.
Excuse me.
What's the matter, Peggy?
Don't you want it?
Sure, I want it. I want it very much.
But I just can't.
Hey, hey, hey, wait a minute,
will you, Peg? This is Larry Hart.
Remember me?
The fellow who wants to marry you.
Larry, that's just the trouble.
What?
I love you too much to fool you,
but I don't love you enough to marry you.
- A little too much but not quite enough.
- Please don't, Larry.
Look, you're a big success,
you're talented, you're funny and nice,
and there's so much else in life for you.
None of that seems important to me now.
I only wish you were the guy.
I hate hurting you.
No, it's not your fault. It's mine.
It always hurts when you find out
you've been kidding yourself.
And deep down,
I always knew I really wasn't the guy.
I wanted it to be you.
- So much.
- I knew.
For me, your heart doesn't pound,
your stars don't sing,
and your world doesn't stop.
That's why I'm not the guy.
- Larry, where you going?
- Who knows?
The thing is to go and go fast.
Lexington 5400.
Hello, Dick?
Lorry is home.
- Hiya, Mr. Hart.
- Hiya, Dick.
- Well, what do you say?
- Oh, I'm fine.
Missed you. Where've you been?
Oh, went to a couple of places
I always wanted to see.
- Did you see them real good?
- Yeah.
I saw them great.
- How's the show doing?
- Selling out.
Oh, that's fine. Anything else new?
What's new?
Oh, nothing much.
Been fooling around with a tune or two.
That's good.
What's wrong, Larry?
The usual thing.
The love song is slowing up
the show a bit.
- Anything I can do?
- No.
No, everything's been done.
No more love songs. That's all. No.
Just those fast, bright things
from here on in, huh? Huh?
Larry, I hate to see you like this.
I'm sorry. I didn't mean to get lost.
I didn't mean to get everybody in a storm.
- It's all over.
- It's all over.
Finie la guerre. The boat has sailed.
It's all over. Well...
What do we do next, huh?
- Feel like working?
- Sure. Sure, anything.
Make me an offer.
- We got a wire from Cochran in London.
- Yeah?
- He wants us to bring our show over.
- The Girl Friend?
- That's right.
- Oh. Gosh.
- Cochran, huh?
- Right away.
Oh, good. Is it a good deal?
- What do we think about it?
- I'm ready.
I'm with you. When do we sail?
"This London,
this hub of the British empire,
"is a city of traditions and of history.
"It's the city of Shakespeare.
It's the city of Chaucer."
It's a city where you can't get
a hot dog or an ice-cream soda.
Look, do you want
to listen to this or not?
Of course we do.
Don't pay any attention to him. Go on.
Now. Now about Parliament. It says,
"This impressive monument
to free institutions
"covers 8 acres, has 1,100 rooms,
"100 staircases and 2 miles of passages."
I'm glad I don't have to clean it.
"It's the mother of Parliaments
dedicated to the right of..."
Holy smoke! That reminds me.
I forgot to write my mother.
Come on, let's go, Eddie.
From all visitors and inquisitors
We'll keep our apartment
I won't change your plans
You arrange your plans
Just the way your heart meant
Here we'll be ourselves
And we'll see ourselves
Doing all the things we're scheming
Here I've planned for us
Something grand for us
Where no one can see us
dreaming
We'll have a blue room
A new room, for two room
Where every day's a holiday
Because you're married to me
Not like a ballroom
A small room
A hall room
Where I can smoke my pipe away
With your wee head upon my knee
We will thrive on
Keep alive on
Just nothing but kisses
With mister and missus
On little blue chairs
You sew your trousseau
And Robinson Crusoe
Is not so far from worldly cares
As our blue room
far away upstairs
They will thrive on
Keep alive on
Just nothing but kisses
With mister and missus
On little blue chairs
She'll wear her trousseau
And Robinson Crusoe
Is not so far
from worldly cares
As our blue room
far away
upstairs
"Rodgers and Hart, Girl Friend.
"London click.
"R. and H. sail for NY
to do Connecticut Yankee."
Goodbye, peace and quiet.
After all the dizzy excitement
of our first show abroad,
the trip home was a letdown.
And once again Larry became restless.
- Here you are.
- Hi.
I just thought who would be great to play
the lead in A Connecticut Yankee.
- Yeah, who?
Peggy-
She's just right for it.
- Do you really think so?
- Sure. Why don't you call her?
Ship to shore. What are you waiting for?
Hello! Hello!
Well, aren't you excited?
Oh. Well, tomorrow morning.
I'll meet you at the dock.
No, you'll have to be there. I won't listen.
I'll see you tomorrow.
Now don't forget. Goodbye.
- Well, hello, Brian.
- Hello.
- Do you see her at all, Dick?
- Not yet.
Hi, Dick! Dick Rodgers!
- Hello, Ben.
- Hi, Larry.
- Hi, Ben.
- Good to see you, boy.
- You just get in?
- Yeah.
Well, so did I. On the Roma, from Naples.
Excuse me, will you, fellows?
I got to find somebody.
- I didn't know you'd been in Europe.
- Yeah, yeah. In fact, the whole family.
- Mr. Feiner.
- Glad to see you.
- Mrs. Feiner.
- So nice to see you.
- Hello, Dick. How are you?
- Hello, Dorothy. I didn't recognize you.
- Mr. Feiner, your baggage is ready, sir.
- Thank you.
- We'll see you in customs, Dorothy.
- All right, fine, Ben.
- See you later, Dick.
- So long, Ben.
Goodbye, Dick.
How would you like to go
to a movie with me sometime?
Be glad to ask
my mother and father. Goodbye.
Oh, I'm having a birthday party
in three weeks at Tarrytown.
Would you like to come?
- How old?
- Eighteen.
Gee, I don't know.
Eighteen-year-old girls
are pretty old for me.
But I'll be glad
to ask my mother and father.
Well, I'll see you then.
Telegram for Mr. Hart.
Telegram for Mr. Hart.
Right here, fellow.
- Mr. Lorenz Hart?
- Yeah, that's right.
Sign here, please.
Oh, wait a minute. Here.
- There you go.
- Thank you, sir.
Dear Larry. Sorry I couldn't meet you.
Signed a contract for pictures.
Left for the coast this morning.
Good luck with your new show.
Love, Peggy.
Oh, thank you.
- Happy birthday, Sis.
- Ben.
- Would you like to dance?
- I'd like to climb a tree.
- Well, I don't happen to have one on me.
- Oh, but I do. Come on.
So we're going to climb a tree, huh?
Any tree I know?
Oh, you'll see. Follow me, monsieur.
- What is this?
- My private tree.
I spend half my life up here.
In fact, it's where I spin my finest dreams.
- Well.
- This is wonderful.
And now, Mr. Rodgers,
I would like the story of your life.
At this altitude?
You can skip your boyhood
and start at the part
where you fell in love
with the leading lady, Joyce Harmon.
- I see you've been reading my mail.
- Did she really break your heart?
You bet. And I didn't get over it
for, oh, an hour and a half.
Oh, that's not what I heard.
What did you hear?
I heard that's why you went to London,
to forget her.
I'm going to have plenty of trouble
with you.
All right, I was in love with her.
And I did go to London to forget her.
But she's a very remarkable woman,
and we both should be very grateful
to her because she saved me.
- Saved you?
- She saved me for you.
Gee, I never thought of that.
Remind me to send her some flowers.
We can't rehearse that other number
because we...
- Any word from Larry?
- He'll show up. He always does.
What do we do now?
We need extra lyrics for Thou Swell.
I'd better go with them.
Hi, Dick.
Hi.
How's it going?
What's the matter? Is something wrong?
Let's take a walk.
Well, where have you been?
I went out on the coast.
- Oh, great. And?
- And nothing. She'd gone to Mexico.
You mean you just went out there?
I wired her first,
but she went to Mexico, anyway.
- Well, I don't know what to tell you, Larry.
- There's nothing to tell.
Oh, yes, there is, there's plenty.
And if I don't, who will?
- Oh, I know.
- Oh, sure, you know.
But here we are in rehearsals,
the whole company waiting for the lyrics,
everybody going crazy and where are you?
- I know.
- It's murder.
You're murdering yourself,
your work, everybody.
You've got to pull yourself together.
You can't keep running around
the world chasing rainbows.
- They're ready with that number, Dick.
- Okay, Tommy. I'll be right there.
Dick. Dick!
Are not mine eyes fair to view?
They're there to view thee
Wilt not thine own dare to view
What love canst be?
Ah, see my color pale for thee
Hear my heart fail for thee, too
I have a sweet tale for thee
'Tis sad but true
'Tis sad
but true
Thy words are queer, sir
Unto mine ear, sir
Yet thou art a dear, sir, to me
Thou couldst woo me
Now couldst thou try, knight
I'd murmur swell, too
And like it well, too
More thou wilt tell to
Sandy, thou art dandy
Now art thou my knight
Thine arms are martial
Thou hast grace
My cheek is partial to thy face
And if thy lips grow weary
Mine are their resting place
Thou swell, thou witty
Thou sweet, thou grand
Wouldst kiss me pretty?
Wouldst hold my hand?
Both thine eyes are cute, too
What they do to me
Hear me holler
I choose a sweet lollapalooza in thee
I'd feel so rich in
a hut for two
Two rooms and kitchen
I'm sure would do
Give me just a plot of
Not a lot of land
And thou swell
Thou witty
Thou grand
Thou swell
Thou witty
Thou sweet
Thou pretty
Thou terrific
Thou sensational
Thou grand
With a song in my heart
I behold your adorable face
Just a song at the start
But it soon was a hymn to your grace
But I always knew
I would live life through
With a song in my heart
for you
- Do you like it?
- It's lovely. Play it again, please.
You know, that's the kind of a song
that could solve
everyone's romantic problems.
Now imagine two people in love,
and the fellow is, you know,
one of those bashful types.
All he has to do
is take her to hear this song.
Wouldn't have to propose,
ask her father, nothing.
I think I know what you mean.
A song like this,
she might even end up marrying him.
Couldn't she?
But she'd have to know him
a little bit better first.
Ladies and gentlemen, Miss Lena Horne.
It seems we've stood and talked
like this before
We looked at each other
in the same way then
But I can't remember
where or when
The clothes you're wearing
are the clothes you wore
The smile you are smiling
you were smiling then
But I can't remember
where or when
Some things that happened
for the first time
Seem to be happening again
And so it seems
That we have met before
And laughed before
And loved before
But who knows where
or when
Quite a coincidence that she happens
to be singing a Rodgers and Hart song.
If you think that's a coincidence,
wait until you hear the next number.
I've wined and dined on Mulligan stew
And never asked for turkey
As I hitched and hiked and grifted, too
From Maine to Albuquerque
Alas, I missed the Beaux Arts Ball
And what is twice as sad
I was never at a party
Where they honored Noel Ca'ad
But social circles spin too fast for me
My hobohemia is the place to be
I get too hungry for dinner at eight
I like the theater, but never come late
I never bother with people I hate
That's why the lady is a tramp
I don't like crap games
with barons and earls
Won't go to Harlem in ermine and pearls
Don't dish the dirt
with the rest of the girls
That's why the lady is a tramp
I like the free, fresh wind in my hair
Life without care
I'm broke, that's oke
Hate California
It's cold and it's damp
That's why the lady is a tramp
I go to Coney, the beach is divine
I go to ballgames, the bleachers are fine
I get the columns and read every line
That's why the lady is a tramp
I like a prizefight when it's not a fake
I like the rowing on Central Park Lake
I go to opera and stay wide awake
That's why the lady is a tramp
I like the green grass under my shoes
What can I lose?
I'm flat, that's that
I'm all alone when I lower my lamp
That's why the lady
is a tramp
Now's a good time.
- For what?
- To ask a girl to marry someone.
Are you sure
we're well enough acquainted?
Well, it's hard to answer a question
like that unless you've just been kissed.
We're well enough acquainted.
Dick, how do you think
Larry's going to feel about us?
It's not going to be easy for him.
Here we are happy, in love,
going to be married,
a whole bright future ahead of us.
And what's he got?
- Shall I try to talk to him?
- What would you say?
Well, I don't know,
I'm so lucky these days,
I might think of something.
I'm awful glad
you talked me into marrying you.
So am I.
- Well, now, what's the big secret?
- Dick and I are going to be married.
Married? That's wonderful!
- She's going to be married.
- Congratulations. Very nice.
Yes, married. That is wonderful.
Dick and I have been together for so long,
the thought of him getting married,
it's a little strange.
But you're going to be very happy
because he's a wonderful guy.
- So are you.
- Me?
I'm just a guy that writes lyrics,
runs away, hides, has a few laughs,
- comes back and writes lyrics.
- Yes, I know.
- And in between, you fall in love.
- We don't talk about that.
Oh, yes, we do.
Our being happy won't mean as much
if you're miserable.
Miserable? Me? Why, I'm always happy.
- No one's always happy.
- All right, so I'm slightly miserable.
You're a woman,
so maybe you can tell me.
Why couldn't she have loved me
just a little bit when I...
When I loved her so much?
Maybe she loves you more than you think.
No, no, it's not that.
There's something about me.
When we'd get right up to the wire,
it would stop her.
What is it? Am I that ugly?
Am I that repulsive?
Oh, don't say that about yourself.
How corny can I get?
Dick thinks that you and he ought
to go to the coast to do some pictures,
and he feels you don't want to.
Would you like to give me
a real nice wedding present?
Sure, anything, darling. What?
Well, after we're married,
we want you to come to California with us
- on our honeymoon.
- On your honeymoon?
You've talked me into it.
Hollywood, here I come.
- So this is Hollywood.
- No. Beverly Hills.
Beverly Hills Hotel on your left.
Chinese Theatre.
Well, there's nothing like
a house with a view.
When do we start taking oxygen?
As I understand it,
you'll be here quite a while, Mr. Hart.
Just you and your mother.
And an occasional friend or two.
Well, you'll need a nice, comfortable spot,
plenty of privacy, but not too ostentatious.
This is it.
- Nice cozy little place.
- Yeah.
The place leases with or without the staff.
Let's see, butler, houseman,
cook, pastry cook,
downstairs maid, upstairs maid.
- Where's the bell?
- Oh, right here, right here.
Gardener, chauffeur, footman, watchman.
I'm from the Hollywood Realty Company.
- Oh, yes, of course. Come in, please.
- Thank you.
Thank you, sir, very much.
Hello!
One thing, a fellow
would never be lonesome in this place.
- The study is there.
- That's the study.
The music room is there
and the dining room is there.
The projection room is there.
Miniature theater is there.
And the billiard room is there.
Who built this place,
Metro-Goldwyn-Mayer?
This is the living room.
Yes, it's very livable.
Come and take a look outside.
The patio.
The pool.
Oh, yes, the pool.
And look at that view.
Pretty complete, I'd say.
Yeah, but what good is it?
There's no airport.
No, but there's room for one.
Well, Mr. Hart, what do you think?
What do I think?
I think it's sensational. I'll take it.
- Well, that's fine.
- Yeah.
Any resemblance between me and a fellow
in his right mind is purely coincidental.
"Mr. and Mrs. Dick Rodgers,
Santa Fe Chief, en route Los Angeles.
"Dear Dick. Come directly to my party.
"Have rented the cutest little cabin
you ever saw.
"Just tell driver top of Summit Road
in Hollywood Hills.
"Black tie and a girl preferred.
Love and kisses, Larry."
Well, that's what it says,
top of Summit Road.
There's dancing in the patio, sir.
Nothing like sneaking into town.
Hey, Dick, Dick, boy!
- Hiya, Larry.
- How are you?
- Larry.
- Dorothy, honey.
Hey, wait just a minute, pal. There you go.
Hey, what do you think of all this, huh?
- Very intimate.
- Come on. Let's go.
- What's the party for?
- What do you mean what's it for?
Does there have to be a reason?
It's a party.
Everybody in Hollywood is here.
This looks like everybody
west of the Rockies is here.
Well, you certainly proved that
a New Yorker can outdo Hollywood.
Come on. Mom's over here.
Or will you have a drink first?
- No, thanks.
- How about it, Dorothy?
How about an hors d' oeuvre?
Here they are.
Keep them going around, will you, fellow?
Here we go.
Morn. Morn, look who's here.
- Hello, Mrs. Hart.
- Dick and Dorothy.
Oh, it is good to see you.
- Oh, you look so nice.
- Why, thank you.
Hey, there's Judy Garland. Hiya, Judy.
Hi, Larry.
Judy, you know my morn, of course.
And Dick and Dorothy Rodgers.
- Hello, Judy.
- Sure, hello.
- It's a wonderful party.
- I'm glad. But excuse me.
I must keep the customers happy.
- Are you coming, Larry?
- Coming, Mother.
Oh, that's all I need. Fine.
Take care. I'll be right back.
- Always in action.
- Yeah.
Say, when are we going to do
that show together, Judy?
Oh, we've been talking about
that show for so long,
it's gotten to be a running gag.
That's only because you're never
in New York long enough to sing a chorus.
I know. But look,
we're all in Hollywood now.
Is there any chance
of our doing a picture together?
- Oh, Judy, I'd love to.
- Now, I know you've got a story
'cause Larry told me so.
And I bet you've got
some spare songs, too.
- But, look, sweetie, you see, we...
- What?
Oh, Dorothy, I'm so sorry.
Here you two have just started
on your honeymoon
- and I'm trying to shanghai the groom.
- I don't mind.
I knew what I was getting into
when I married a composer.
- I might just as well be getting used to it.
- That's marvelous.
- What's marvelous?
- We're going to do a picture together.
- No kidding.
- You heard the lady.
Why, that's fine, but you've got to audition
for us if you're going to work for us.
- Okay.
- I'll give you my personal assistance, too.
Come on.
Mel, take I Wish I Were in Love Again,
will you?
You don't know that I felt good
When we up and parted
You don't know I knocked on wood
Gladly brokenhearted
Worrying is through, I sleep all night
Appetite and health restored
You don't know how much we're bored
Sleepless nights, the daily fights
The quick toboggan
when you reach the heights
I miss the kisses and I miss the bites
I wish I were in love again
The broken dates, the endless waits
The lovely loving and the hateful hates
The conversation with the flying plates
I wish I were in love again
No more pain
No more strain
Now I'm sane, but I would rather be gaga
The pulled-out fur of cat and cur
The fine mis-mating of a him and her
We've learned our lesson
and we wish we were in love again
The furtive sigh, the blackened eye
The words, "I'll love you till the day I die"
The self-deception that believes the lie
I wish I were in love again
When love congeals, it soon reveals
The faint aroma of performing seals
The double-crossing of a pair of eels
I wish I were in love again
No more care
No despair
I'm all there now
but I'd rather be punch-drunk
Believe me, sir, I'd much prefer
The classic battle of a him and her
We don't like quiet
and we wish we were in love
again
More, more.
Let's try Johnny One Nate in E flat, huh?
Mel, will you ask some of the boys
to come down here?
It'll be a little more friendly.
Johnny could only sing one note
And the note he sang was this
Poor Johnny One Note
Sang out with gusto
And just overlorded the place
Poor Johnny One Note yelled willy-nilly
Until he was blue in the face
For holding one note was his ace
Couldn't hear the brass
Couldn't hear the drum
He was in a class by himself, by gum
Poor Johnny One Note got in Aida
Indeed a great chance to be brave
He took his one note
Howled like the north wind
Brought forth wind that made critics rave
While Verdi turned round in his grave
Couldn't hear the flute
Or the big trombone
Everyone was mute
Johnny stood alone
Cats and dogs stopped yapping
Lions in the zoo all were
jealous of Johnny's big trill
Thunderclaps stopped clapping
Traffic ceased its roar
And they tell us Niagara stood still
He stopped the train whistles
Boat whistles, steam whistles
cop whistles
All whistles bowed to his skill
Sing, Johnny One Note
Sing out with gusto
And just overlord all the crowd
So sing, Johnny One Note, out loud
Sing, Johnny One Note
Sing, Johnny One Note
out loud
- This is a swell party, huh?
- It certainly is.
- Good night, Larry.
- Good night.
Hey, wait a minute.
Where you going, Eddie?
- Oh, it's late.
- It's after 4:00.
What's 4:00? It's early yet.
Come on, stick around.
- Good night.
- We're gonna have some fun.
- Good night.
- Thanks. Good night.
- Well, we have to go, too, Larry.
- Wait a minute, Dick.
- You two are going to stay here.
- We can't, Larry.
We're staying at the Beverly Hills Hotel.
But we'll see you tomorrow.
Well, let's have one for the road,
huh, Dick?
- No, thanks, Larry.
- How about it, Dorothy?
No, thank you.
It sure has been a swell party, hasn't it?
- Yeah, it sure has.
- Mighty fine.
- Good night, Larry.
- Good night, Dorothy.
- Good night, Larry.
- Good night. Good night, Dick.
- Good night, Dick.
- Good night, Larry.
All right, that's it for tonight, boys.
Hey! Hey, Mel! Wait a minute. Hey.
Hey, Mel, what's going on here?
Well, we kind of figured
with everybody leaving...
Oh, we don't need people.
Hey, hey, wait a minute, fellows.
Keep going, will you?
Waiter, give the fellows champagne,
lots of champagne, will you?
- Yes, sir. Yes, sir.
- That's what we want. Sure.
Anything special you'd like to hear,
Mr. Hart?
Yeah, play...
No, no, better not play that.
Play anything, anything at all, fellows.
Just so it's Rodgers and Hart.
Number 16, boys. Sixteen. Here we go.
Blue moon
You saw me standing alone
Without a dream in my heart
Without a love of my own
Blue moon
You knew just what I was there for
You heard me saying a prayer for
Someone I really could care for
And then there suddenly
appeared before me
The only one my arms could ever hold
I heard somebody whisper
Please adore me
And when I looked
The moon had turned to gold
Blue moon
Now I'm no longer alone
Without a dream in my heart
Without a love of my own
Blue moon
In spite of everything, we made
quite a few pictures in Hollywood
and the years slipped pleasantly by.
But when we were asked
to do a Broadway show,
we decided that change would be good,
and so we started East.
When Dorothy and I left New York,
we were a family of two, two adults.
But when we returned, we were a family
of four, two adults and two children.
Board!
I beg your pardon.
We were a family of five,
two adults and three children.
Well?
They're great, Larry,
five of the best lyrics you've ever done.
Thanks, baby.
But don't forget
we start rehearsing Monday,
and you still haven't written
anything for the love song.
Don't worry, you'll get it. Come in.
Chicago in 20 minutes, gentlemen.
All right.
We're going to go over to the hotel
and freshen up. Corning along?
Thanks very much, but there are
a couple of places I'd like to see and...
Okay-
But don't forget, the Century
leaves at 4:00 and it doesn't wait.
Don't worry. I'll be there.
- You sure?
- You can count on me.
You can't count on him, Dick!
For weeks he's been promising us
the lyrics for the love song.
And if we don't get them,
we have no love song.
- And if we have no love song...
- We have no show. Yes, yes, I know.
Oh, how can he act this way?
I'm worried, Eddie.
This time I'm really worried.
I'd go after him myself,
but I have to stay with the show.
Of course, you do.
Even if I caught up with him,
I don't know how much good it would do.
He's taken an awful lot of sermons
from me.
But we gotta get him back.
Look, Dick, you know how much
I love the little guy.
Why don't you let me take a crack at it?
- Will you?
- You know I will.
But Larry couldn't be located anywhere.
Confused and dispirited,
among strange people and strange places,
he was just a lost guy
and no one could help him.
He had to find his way back alone.
Warm for spring, isn't it?
Nice breeze, though.
It's a lovely night with the stars and all.
So I hear.
Wait a minute.
Spring is here.
Why doesn't the breeze delight me?
Stars appear.
Why doesn't the night invite me?
Maybe it's because nobody loves me.
Spring is here,
I hear.
- Taxi!
- Taxi.
Yeah.
Yeah, taxi. Of course, taxi!
Sea, you later, baby. Take care. Here.
If you don't like it,
trade it in on a lawn mower.
- Hey, where are you going?
- I gotta see somebody.
Airport, driver.
- There you are.
- Thank you.
Thank you.
How about coming down here
and helping a fellow, huh?
- Uncle Larry!
- Larry!
- Larry.
- Larry.
- Hello, Linda.
- Uncle Larry!
- Linda, darling.
- Hiya, Larry.
Why, it's so good to see you.
- Hello, Dorothy.
- What are those? Presents?
- Oh, Linda, now, really.
- Oh, boy!
Here this is for you
and the purple and blue one is for you.
- Oh, boy.
- All right, sweetheart.
- Oh, Larry.
- Don't I get a kiss?
All right. This is for you, too, Dorothy.
Thank you, Linda.
And this is, of course, for you, Dick.
Well, thank you, Mr. Hart.
- Mr. Rodgers.
- Larry, you look tired.
Tired? Me? Don't be silly.
Well, I am.
Let's go over and sit on the terrace.
- Us, too?
- No, Mary, not us two, us three.
You two take your presents,
say thank you, and go play.
- Thank you, Uncle Larry.
- Thank you, Uncle Larry.
- All right, darlings.
- Go on.
- Oh, Larry.
- It's good to see you, Larry.
Good to see you, too, darling.
This is very nice.
I like this.
I even like the grass and the trees.
Well, why don't you try it for a while?
Yes, Larry, why don't you?
Why don't you stay?
I'd like to very much.
I'd like to.
Well, Mr. Hart, tell us where you've been.
To a couple more places.
Would you like something to eat
or something to drink?
No. No, thank you. I'd just like to
sit here and look at you and the children
and this place.
The air here is so wonderful.
Coffee, darling?
Thanks.
- Remember Peggy?
- Peggy?
Yeah.
I hear she hasn't been doing so well.
Do you think I ought to try and help her?
If it would help you.
Probably won't.
Nothing seems to add up.
I'm not kidding myself.
Peggy isn't real anymore.
She's a symbol, a symbol of failure.
- A long line of failures.
- What failures?
- Stop talking that way, Larry.
- It's the truth.
I've done all right with my work, yes.
But I've failed in everything else.
Everything. Don't ask me why.
I don't know why.
I'm on a constant merry-go-round.
And that's no good, baby.
Let's face it,
maybe Mr. Hart's lyrics are a hit,
but Mr. Hart's life is a flop.
Don't you know
you're one of the sweetest,
most generous,
talented men in the world?
Look, Larry,
why don't you stay here with us? Close.
And start working again.
Dick has a play lined up for Gene Kelly.
- He needs you.
- Yeah, I know, baby, but I...
You're confused, darling.
And it takes time.
But, Larry,
you can't let yourself go like this.
You must go on with your work.
It's too important.
Stay here and go back to work?
Okay, baby. I'll try.
I'll start trying right now.
And thanks.
Congratulations, Larry.
The show is terrific.
- Larry! Oh, Larry!
- Darling!
- You were wonderful.
- Thanks a million.
- Just great.
- Oh, thanks.
- Where's Dick?
- He's right over there.
Tremendous.
Superb performance, Mr. Hart.
I am proud of you.
Oh, Vera. Vera, I can't tell you
how wonderful you were.
Thank you. Thanks very much.
Another hit.
The music, every single thing...
- Larry!
- Larry!
Somebody call a doctor!
Call a doctor, somebody!
Call a doctor!
Somebody call a doctor!
Months later, Larry was still very ill.
During those months we had completed
a revival of a Connecticut Yankee.
To do it, Larry had
to call on his last reserves.
And by opening night,
his condition was desperate.
Dick, can I go with you?
You've heard most of the songs before.
And my singing won't make
you feel any better.
I'll come back after each number
and tell you everything.
- Here, Larry.
- What is it?
Take it, and when you wake up
you'll have a big hit.
Mr. Hart.
Mr. Rodgers.
Theater.
I gotta get to the theater.
The theater.
Taxi, mister? Hey, mister! Taxi?
- Martin Beck Theater, please.
- Okay.
- What happened? Get a doctor.
- Stand back. Stand back.
Hurry, hurry, get a doctor. Get a doctor.
Some time later,
before a packed audience,
the greatest figures in show business
joined in paying tribute
to the memory of the little guy
who thought that he was all alone.
Ladies and gentlemen,
I am one of hundreds of people in
the theater, in pictures and on the radio,
who has had the happy experience
of being in a Rodgers and Hart show.
And it was a happy experience
because as show people,
we respected and admired them
for what they were doing.
Larry's lyrics were
gay and clever and witty,
but in them all was the note of sadness.
They were and are and will be a source of
beauty and pleasure to millions of people.
Among the best loved
of Larry's lyrics are these
that Perry Como sings for us tonight,
With a Song in My Heart.
With a song in my heart
I behold your adorable face
With a song at the start
But it soon is a hymn to your grace
When the music swells
I'm touching your hand
We'll have Manhattan
The Bronx and Staten Island, too
It's lovely going through the zoo
Where's that rainbow you hear about?
Where's that lining they cheer about?
Thou swell, thou witty
Thou sweet, thou grand
Wouldst kiss me pretty?
Wouldst hold my hand?
I like the free, fresh wind in my hair
Life without care
I'm broke, that's oke
The pulled-out fur of cat and cur
The fine mis-mating of a him and her
We've learned our lesson
and we wish we were in love again
But I always knew
I always knew
I would live life through
I would live life through
With a song in my heart
for you
With a song in my heart
for you
With a song in my heart
You've just heard some words and music
written by Rodgers and Hart.
This is the Metro-Goldwyn-Mayer
sound stage number one.
In this film, Mickey Rooney
will portray Larry Hart,
or Lorenz Hart, as the song sheets read,
and I am Richard Rodgers.
If in telling you about Larry
I talk quite a bit about myself,
it's because there hasn't been
a day in my life
that didn't have something
to do with Larry Hart.
I'm almost sorry to say
there were none of the standard trials
and tribulations you'd ordinarily expect.
In fact, we were just two lucky fellows
who had success very young.
From a dramatic standpoint,
we didn't even have the advantage
of being very poor.
We weren't very rich, either.
When I first met Larry,
he had already acquired quite a reputation
at Columbia University as a poet and wit,
and I was a little scared.
Anyhow, one day Herb Fields,
a mutual friend of ours
who later wrote the books
for some of our shows,
arranged a meeting.
- Is this it?
- Yep.
Maybe we ought to come back
some other time.
- Oh, relax, will you?
- Yeah. But you think...
Look, you wanna do a show with him,
don't you?
- Oh sure, sure.
- All right, then.
Meet him,
play a couple of songs and you're in.
- Hi, Herb.
- Hi, Larry.
- Come on in.
- Thanks.
Larry, I'd like
to have you meet Dick Rodgers.
You know,
the fellow I was telling you about.
Oh, hiya, Dick.
Heard a lot about you.
You're the fellow who writes music, eh?
- Well, I...
- Come on in. Make yourself at home.
You hungry? Want something to eat?
How about some nuts?
- Oh, no. Thanks.
- Apples? Oranges?
- How about a piece of coffee cake?
- No...
Corned beef sandwich? I'll send out,
get a corned beef sandwich.
- No, thanks very much, anyway.
- Smoke? Cigar?
- Light ones? Dark ones?
- I never use them.
How about you, Herb? That's right.
You don't smoke, do you?
Go ahead.
Play something.
Go ahead.
Hey, hey, Herb, I got a new rhyme for you.
What rhymes with Coolidge?
- Coolidge?
- Yeah.
- Nothing rhymes with Coolidge.
- You wanna bet?
- Coolidge?
- Sure, say it over to yourself.
Coolidge, Coolidge, Coolidge.
Come on, quick.
Oh, I'm ashamed of you.
When you speak of Coolidge,
he deserves a eulogy.
Coolidge he, eulogy.
Hey, that's very good, Larry.
That's all.
Herb, did you read this article yet?
- No, I didn't.
- It's not bad at all.
Operator, give me Trafalgar 4599, please.
Hello, Jack? This is Larry Hart.
Have you got that book of Heine's in yet?
No, no, no. Not the translation.
That was the later edition.
Yeah, will you look around please?
Hey, that's not bad at all.
Hello? You have? Jack, you're a doll.
Yeah, yeah, right away. Yeah.
What does he do now?
Shoot himself out of a cannon?
Say, that's a pretty elaborate
musical phrase, isn't it?
- Well, it's a...
- Not that it bothers me, you understand.
I gotta go pick up a book.
I'll talk to you later, Herb.
Go ahead. Keep playing.
He liked it.
Oh, sure, I could tell he liked it.
He did everything but card tricks.
- Now, Dick...
- No, brother, I've seen everything.
Here I sit at this piano,
and this nutcracker...
But, Dick, he's always like that.
- Mrs. Hart. How are you?
- Hello, Herb.
Well, introduce me to this nice young man.
- This is Dick Rodgers.
- I'm very happy to meet you, Mrs. Hart.
- That was you playing the songs?
- Yes.
- You wrote them?
- Well, sure. He's a real composer.
Isn't that nice?
You know something?
I like your songs
and your playing, very much.
Well, thank you, Mrs. Hart.
Here, what am I standing here for?
Have a bite.
For quite a while, I didn't hear from Larry
and it began to look as though
neither my tunes nor I
had scored much of a hit with Mr. Hart.
I stuck with it.
But, believe me, a tune without a lyric
is a mighty lonesome thing.
Hello.
Oh, hello, Herb.
Yeah?
- What?
- Yeah, yeah, you heard me.
- He's crazy about the songs.
- Yeah, he's crazy all right.
No, no, not just crazy.
He's crazy about the music.
I haven't heard from him in two weeks.
- He wrote a lyric.
- A lyric?
A lyric. You know, words.
Be there at 5:30 sharp.
And don't be late, please.
Okay, fine. Goodbye.
5:30 came, 5:30 went.
And I got my first introduction
to something I soon learned
I could count on,
the business of waiting for Larry.
- Now don't worry. He'll be here.
- So he's crazy about it, huh?
I tell you, the guy called me and
he was jumping through the telephone.
Hi, Herb.
Morn! Morn! Mary!
Herb, have you seen
the September issue of Vanity Fair?
- The what?
- No, I can tell you haven't seen it.
- What is it, dear?
- Mom, have you seen
the September issue of Vanity Fair?
- No, I haven't.
- Mary, what have you done with it?
You know I don't
read that stuff, Mr. Larry.
Can we find it, please? Can we find it?
It's getting so you can't find anything
in this house anymore.
- Hi, Dick.
- Hi, Larry.
Play that first thing for me, will you?
- What thing?
- You know.
- Hey, I got a new rhyme for you.
- Yeah?
Yeah, what rhymes with tapestry?
- Tapestry?
- Half-past three. Please.
I found it in your room, Mr. Larry.
Oh, good. Boy, you're wonderful.
You're a doll.
- Listen, get me something to eat, will you?
- It's near suppertime.
There's some knockwurst and salami
in the packages there.
Cut some up, please.
Here we are. Here we are.
That's it. There you are.
Manhattan.
- You like Manhattan?
- Manhattan? Yeah, yeah, I like Manhattan.
Manhattan.
We've got Manhattan
The Bronx and Staten Island, too
It's lovely going through the zoo
You know the rest. Go ahead. Play it, Dick.
Summer journeys to Niagara
And to other places
aggravate all our cares
We'll save our fares
I've a cozy little flat in what
is known as old Manhattan
We'll settle down
Right here in town
We'll have Manhattan
The Bronx and Staten Island, too
It's lovely going through the zoo
It's very fancy
on old Delancey Street, you know
The subway charms us so
When balmy breezes blow to and fro
And tell me what street
compares with Matt Street in July
Sweet pushcarts gently gliding by
The great big city's a wondrous toy
Just made for a girl and boy
We'll turn Manhattan
Into an isle of joy
I'd like to take a sail
on Jamaica Bay with you
And fair Canarsie's lakes we'll view
The city's clamor can never spoil
The dreams of a boy and girl
We'll turn Manhattan
Into an isle of joy
Well, it's nice,
but a bit off the beaten track. I'm sorry.
But when you're riding the crest of youth,
you don't get easily upset,
even by turndowns.
Larry, in particular, was tireless,
and his enthusiasm was boundless.
This kind of netter-sireiter writing, singing,
demonstrating went on for two years.
But nothing happened.
They all thought the songs
were fresh, different, engaging,
but nobody bought them.
And after a while, this gets monotonous.
After two years, it can get desperate.
Finally, when I felt
I couldn't take it any longer,
I had a talk with my father.
Can I help, Richard?
What would you say if I told you
I were giving up being a composer?
I'd say all right,
if I could think of a good reason,
but just offhand I can't think of one.
Well, I'll give you one. Nothing happens.
Two years, almost three and I'm nowhere.
- Where do you want to be?
- What's the sense of kidding, Pop?
You've been carrying the freight too long.
College, Academy of Music, and now this.
Months and months
of knocking our brains out.
Nobody cares.
I think you've written many good things.
Sure, and they can't even get me
a cup of coffee.
Well, Richard, the coffee will come.
Maybe you have to boil it a little more.
- No, it's no good. I'm going into business.
- Business? Doing what?
Selling infants' wear.
How did you happen to
select this vocation?
Well, a friend of mine
offered me $50 a week to start.
Well!
I never knew you were so interested
in getting $50 a week.
- Do you need $50?
- What I need is self-respect.
Well, you sound desperate.
Gee, Pop. It's not only living off you.
But I'm getting so
I'm envious of everyone.
A counterman,
a taxi driver, a shoe shiner.
Anybody who can earn anything.
Richard, I went through
four years of college,
two years of med school,
interned for two more years.
And just about that time,
I was in the same place
as any kid leaving grammar school,
except I had a slight added handicap.
I was also in love with your mother.
Sol can only tell you, Son,
just keep writing those nice songs.
Work with Larry.
Dream a little longer,
and work a little harder.
Be a little patient.
No, it's no good, Pop.
I've made up my mind.
Well, nothing better for a man than to
finally know exactly what he wants to do.
So, I guess that's the way it's gotta be.
Hope you don't think
I'm running out on you, Larry.
Don't be silly.
Of course, it is quite a switch
from musical comedy,
but I think the diaper business
is a good business.
Want something to eat?
Something to drink? Cigar?
- No, thanks.
- That's right, you don't smoke, do you?
Let's have a party. Want to have a party?
It's an occasion. Might wind up
the greatest party we ever had.
A farewell party.
Farewell to the maestro of music
and a welcome
to the mogul of baby clothes, huh?
Come on, now.
Look out. Hot coffee.
Hot coffee coming through.
Harry, how about you? A little coffee, boy?
That's right. Just fresh made.
- Hey, Larry, how about some more coffee?
- It'll stunt your growth.
No, I'm sorry.
In that corner you get no coffee.
- Good evening, Mr. Eddie.
- Hi, Mary. How are you?
- Fine.
- Miss Grant. Miss McNeil.
- Hello, Mary.
- Good evening. May I take your wraps?
- Hey, a party.
- Now, Mr. Eddie.
- Hey, Eddie. Hi!
- Hi, everybody. Hi!
- Hey, hi, baby. Where you been?
- Auditioning.
- Tough year for singers, you know.
- It's a tough year. Period.
Or maybe not. Will you have some coffee?
- Thanks.
- Let's assume this is for you.
Look, this is my house.
Don't I get to meet the...
Oh, sure, sure.
Everybody gets to meet everybody.
Ladies and gentlemen,
I want you to meet two protges of mine,
Miss Margo Grant and Miss Peggy McNeil.
Say, Herb,
you know Eddie Anders, of course?
Of course. May I say
there's no one I'd rather hear sing?
- Well, how about a song now, huh, kid?
- Oh, not now. Later maybe.
What I really want
is for you to hear this one.
She sings, too? What are we waiting for?
Gee, let me catch my breath.
A little later maybe.
What is this,
singers want to sing a little later, maybe?
Come here, honey. I want to talk to you.
- You're a singer, too?
- Well, not exactly. I dance.
Yes, of course.
May I say
there's no one I'd rather dance with?
- Ah-ah, ah-ah, ah-ah.
- "Ah-ah, ah-ah," what?
This one is for the boy.
- Tell me all about yourself.
- Well, there's really not much to tell.
That's a wonderful song.
I'm glad you like it.
I had no idea it was that good
when we wrote it.
- Oh, are you...
- Larry Hart. Yeah, I wrote the words.
Really?
- Do you sing for a living?
- Kind of. I work in a caf.
It's really a Speakeasy.
- Have you been here long?
- No. I'm hot out of Boston.
- Have you ever been in a show?
- A couple.
Why? Are you looking for someone
for a show?
Because if you are,
they call me "Available" McNeil.
No, honey. We're looking for a producer.
- You know any?
- Producers?
- What are they?
- Yeah.
I never got past the elevator boy.
Well, if either one of us
ever find a producer to produce our show,
I'll bet you'd be wonderful in it.
You mean me?
I'll bet you'd be the best thing in it.
- Shall we dance?
- Yeah. Sure. Come on.
So you're a little fellow, aren't you?
But on you, it's very becoming.
That's another song
from our un-produced show.
I know and I love it.
- You do?
- Eddie taught it to me.
Well, what are we waiting for?
Excuse me just a minute,
will you, honey, please?
Thank you. Pardon me, Dick. Everybody.
From the un-produced works
of Rodgers and Hart,
Miss Peggy McNeil is going to sing
an unknown song entitled
There's A Small Hotel.
Miss McNeil, Mr. Rodgers.
Mr. Rodgers, Miss McNeil.
- How do you do?
- I hope you all like it. You're on, honey.
There's a small hotel
With a wishing well
I wish that we were there
Together
There's a bridal suite
One room bright and neat
Complete far us ta share
Together
Looking through the window
You can see a distant steeple
Not a sign of people
Who wants people?
When the steeple bell
Says, "Good night, sleep well"
We'll thank the small hotel
We'll creep into our little shell
And we will thank the small hotel
Together
- How about that, Herb?
- Oh, that was great.
You really got something here, Eddie.
- You do sing awful good, Peggy.
- It's an awful good song.
There's another one.
We've got a million of them.
And I'll bet you could sing them all.
Wouldn't it get kind of monotonous,
me singing all those songs?
No, honey, not to me it wouldn't.
Peggy, how tall are you?
I don't know. About 5'4", I guess.
That's what I figured.
There we are.
- What is this?
- I'm filing you away for future reference.
This is Dick, he's 6',
this is Herb, this is my mother.
This is a little girl named Helen
and this is the milkman.
I don't think I quite understand.
You will, after you've known me
10 or 15 years.
Larry! Larry! Larry! Dick!
Look, you know what happened?
It's the darnedest thing.
Look. Dick! Dick! Mr. Kay just phoned.
- Mr. who?
- Mr. Kay.
- The Theatre Guild. They want us.
- Who wants us?
The Theatre Guild.
They want us to do a show.
- The Garrick Gaieties.
- Oh, yeah. I heard about that.
The kids are putting on
some kind of a benefit to buy tapestries
- for the Guild's new theater.
- But, Dick, it's the Theatre Guild.
- But it's only another benefit.
- Well, can't we talk it over, anyway, huh?
Watch me change the mogul
of baby clothes back into a musician.
Wanna bet? Come on. Come on.
And darned if he didn't.
So there it was in big, bright lights,
The Garrick Gaieties.
On the first of May
It is moving day
Spring is here so blow your job
Throw your job away
Now's the time to trust
To your Wanderlust
In the city's dust you wait
Must you wait?
Just you wait
In a mountain greenery
Where God paints the scenery
Just two crazy people together
While you love your lover
Let blue skies be your coverlet
When it rains, we don't mind the weather
And if you're good
I'll search for wood
$0 you can cook
While I stand looking
Beans could get no keener reception
in a beanery
Bless our mountain greenery home
When the world was young
Old Father Adam with sin would grapple
So we're entitled to just one apple
I mean, to make apple sauce
Underneath the bough
We'll learn a lesson from Mister Omar
Beneath the eyes of no Pa and no Ma
Old Lady Nature is boss
And if you're good
I'll search for wood
$0 you can cook
While I stand looking
Beans could get no keener reception
in a beanery
Bless our mountain greenery home
Simple cooking means
More than French cuisines
I've a banquet planned
which is sandwiches and beans
Coffee's just as grand
With a little sand
Eat and you'll grow fatter, boy
Shatter, boy?
Attaboy
In a mountain greenery
Where God paints the scenery
Just two crazy people together
How we love sequestering
Where no pests are pestering
No dear Mama holds us in tether
Mosquitoes here won't bite you, dear
I'll let them sting me on the finger
We could find no cleaner retreat
from life's machinery
Than our mountain greenery home
Down with city slickings
Up with cows and chickens
Down with noise and clutter
Up with milk and butter
Down with life's machinery
Bless our mountain greenery
home!
- Hi, Eddie.
- Hi, Mr. Hart. Here's your morning papers.
- Three of each.
- Yeah. How much do I owe you?
- That'll be 24 cents for the works.
- 24 cents?
24 cents I haven't got, but here's a buck.
Buy yourself a railroad.
- Gee, thanks!
- That's all right, Eddie.
Hey, Morn! Morn!
- The papers are here.
- Coffee is ready, Lorry.
Just a minute, will you, darling?
Just a minute.
Here it is, here it is.
"Last night a group
of the younger Theatre Guild actors
"came up with a little hand-built revue
called The Garrick Gaieties.
"And to my utter amazement,
I found it jammed throughout
"with talented young people, bright tunes,
sparkling lyrics and smart sketches."
- Mom, we're in. We're a hit.
- But naturally, Lorry.
I'll get that.
- Good morning, Richard.
- Hello, darling.
Have you heard the good news?
- We're a hit. We're in.
- But of course.
And if the Theatre Guild has any notions
about this little show running for just a
few performances, they'd better forget it.
- Hi.
- Hi.
- Uh-oh.
- "Uh-oh," what?
- "The music."
- What about the music?
"The music," it says here,
"is fresh and melodic and engaging,
"and these qualities are bound to carry
composer Richard Rodgers to the top
"in years to come.
"Meanwhile, by the way,
just who is Mr. Richard Rodgers?"
Mr. Richard Rodgers
is the young gentleman
who is making my coffee get cold.
Now just a minute, Mrs. Hart.
I want to prove to you
that Larry isn't so famous, either.
- "The lyrics."
- What about the lyrics?
"The lyrics are bright, witty and adult
and in good taste.
"In short, they are excellent.
"And it is a pleasure to greet a new writer
as gifted as he is unknown,
"Mr. Lorenz Hart."
- Mr. Hart.
- Mr. Rodgers.
I'll get it.
- Hiya, Morn.
- Hello, Eddie.
Have you seen the notices?
They're terrific. Morn, we're a smash.
- But certainly.
- Hi, Dick. Hi, Larry.
Have you seen what's in the papers
here about Herbie Fields?
- No. What does it say?
- Oh, boy, it says right here,
"The original sketches were concocted
"by a young man nobody ever heard of,
Herbert Fields.
"Outstanding in a smart cast
was singer Eddie Anders who will be..."
- Eddie Anders? Hey, that's me!
- Congratulations.
- You're in, Eddie!
- I'll get it. I'll get it.
Good morning, Herb.
Oh, you bet it's a good morning.
Have you heard the news?
- Sure. We are smash.
- Yes, that's right. We are.
- Hi, fellows.
- Hi, Herbie.
Have you read these write-ups?
- They're the most sensational...
- Yeah, I read them.
- Well, what's the matter?
- Nothing's the matter.
- Everything's fine.
- What is it? What is it?
James Kelly.
He wants to produce a show.
- What? Kelly?
- Yes, I was up all night with him.
He saw the Gaieties last night
and he wants to do a show with us.
- On Broadway?
- Not in Bridgeport!
- That's great.
- What are we waiting for?
Mom, cook some breakfast,
will you, please?
Mary. Mary, honey,
cook some breakfast, too.
We'll start right away. 3:00 sharp.
We've already got My Funny Valentine
and You're Nearer.
- What time is it?
- 9:30.
9:30. I've got to make a phone call.
Talk to yourselves, will you?
Hello. Give me Trafalgar 2098, please.
Hello.
Hello. Hello. Is this my blue-eyed friend
from Boston?
This is your red-eyed friend from Boston.
- Who is it?
- This is Larry. Larry Hart, yeah.
Now, look, don't get excited.
Don't even wake up.
You're dreaming this, only it's true.
We sold our musical comedy.
Gee, Larry, that's marvelous,
really and truly.
You're going to be in it, hear me?
I'll see you at the club tonight.
And I'm gonna bring
Herb and Dick with me.
And aside from that,
I don't know anything new.
Thank you, Larry.
Larry, I'd like to measure you right now.
I'll bet you're really taller. I know I am.
Goodbye.
There you are, sir,
and if I do say so myself, they look fine.
- They look all right, huh?
- Oh, yes, sir.
Get up.
Go ahead, walk.
One, two, three, four.
One, two, three, four,
turn, two, three, four.
They feel fine, but I feel
as if I were walking downhill, you know?
Well, naturally.
- What about the trousers?
- Oh, yes. You see, I forgot to tell you.
When the lifts move you up,
the trousers, shall we say,
move up proportionately.
- However, with a slight adjustment...
- Slight adjustment?
You're completely defeating your purpose.
Well, they feel very comfortable,
- but I get a little... In the back of it.
- Oh, yes.
For a while, you'll notice a slight
tenseness in those back muscles.
However, after a while,
that too will adjust itself.
- Look all right?
- Oh, excellent, sir.
Oh, I must warn you.
When you take your shoes off at night,
if you notice a slight popping of the ears,
don't let it alarm you.
- 3:00 sharp, huh?
- Well, you know Larry.
Here it is 5:15, he's not here yet.
Hiya, baby. Hiya, kid.
Notice anything different? Look, you guys.
- Haircut?
- No.
- Shave?
- No. Well?
- Well, what?
- Well, what? The shoes. Look.
- The shoes?
- Certainly. The shoes.
2" taller. How about that?
- Taller?
- Sure.
- Are you serious?
- Certainly. 2".
No kidding. Built up on the inside.
You can't even see it.
You ought to get some sometime.
Anybody call?
Peggy-
- Yeah?
Say, we've got to go over to the club
and see her tonight.
And is she excited about doing the show.
- What show?
- What show?
Why, our new show, of course.
Why? Does she want to be in the chorus?
Chorus? Why, she's going to do the part.
You both like her, don't you?
Oh, sure, but, Larry,
this isn't The Garrick Gaieties.
- Did you ever hear of Joyce Harmon?
- Yeah. Certainly.
Well, Mr. Kelly's got her signed
to a personal contract.
That's one of the main reasons
he's doing our show,
because she's right for it.
Why, Joyce Harmon's
the greatest thing you've ever seen.
Yeah, I know. But you said that she was...
Look, Larry, we're not producing the show.
A man investing that much money
in a couple of new authors,
he wants some protection.
You can understand that.
Yeah. I can understand that.
Oh, the wild herd gathers
where the moon is full
There's not much buffalo but lots of bull
Way out West
In the wild, wild West
Away out West on West End Avenue
Yippee-ay-yay! You!
Well, tell me all about it.
Drinks are on me tonight.
25% off.
Well, herds to our show.
- Peggy...
- What's wrong, Larry?
Nothing the matter with the show?
After I talked to you this morning,
I talked to Dick and Herb,
and it seems as though the producer
has Joyce Harmon under contract and...
- She's going to do the part.
- Yeah.
I'm awfully sorry, Peggy.
It's going to take all the boot
out of doing this show, for me, anyway.
Don't worry. It's not so bad.
I got a call this afternoon
from the Schubert office.
They want me to go on the road
with some operetta.
It's not the greatest part in the world,
but the money's pretty good
and I guess I could use the experience.
Peggy, this isn't the time,
but ever since I saw you...
Larry, please.
We're both a little off-balance now,
and we both have many things to do.
I know I have.
Well, I went on record, anyway.
Let's drink some of this before it gets flat.
That was the touch-off spark
that was to affect
everything Larry Hart ever did again.
But, frankly, I was more concerned
with our new musical comedy
and our new leading lady.
Fortune never smiles, but in my case
It just laughs right in my face
looked for a horseshoe, I suppose
It would bop me right in the nose
My luck will vary surely
That's purely a curse
My luck has changed
It's gotten from rotten
to worse
Where's that rainbow you hear about?
Where's that lining they cheer about?
Where's that love nest
where love is king ever after?
Where's that blue room they sing about?
Where's that sunshine they fling about?
I know morning will come
But pardon my laughter
In each scenario
you can depend on the end
Where the lovers agree
Where's that Lothario?
Where does he roam?
With his dame Vaseline-d as can be
It is easy to see all right
Everything's gonna be all right
Be just dandy for everybody
but me
It is easy to see all right
Everything's gonna be all right
Be just dandy for everybody but me
It is easy to see all right
Everything's gonna be all right
Be just dandy for everybody
and me
- Got that blue room
- To sing about
- Sun is shining
- To fling about
- Got that love nest
- You hear about
- A silver lining
- To cheer about
You can have that rainbow
'Cause we got that rainbow
now
- Who is it?
- It's me.
Oh, come in.
I ran back before the crowd got in.
- Well, how was it?
- You were only sensational.
Thank you, Dick, for everything.
The flowers, your help,
the way you conducted.
You're welcome.
Joyce, would you like to go out tonight?
- Have a drink maybe?
- Oh, Dick, I'm sorry.
But you know me, opening night.
I'm going right home,
get a hamburger and crawl into bed.
- Give me a rain check, will you?
- Sure.
- How about tomorrow? It's Sunday.
- Oh, that's right.
I tell you what, come over around 4:00
and I'll make you a nice cup of tea.
4:00? I'll be there.
More flowers.
Dick, they're perfectly beautiful.
Thank you again.
There.
- Well, sit down.
- Thanks.
I hate Saturday night openings, don't you?
Yeah.
Waiting till Monday for the notices
is kind of like a Chinese execution.
Is something troubling you, Dick?
Look, Joyce,
I can't say this the way I want to,
so I'll just say it plain.
I'm in love with you.
And I've been in love with you a long time
and I don't know what to do about it.
Do you...
- Are you serious?
- I'd like to marry you.
Well, I guess that's all there is to it.
Dick, come here.
I can't tell you how sweet that was,
your telling me just that way.
You're one of the nicest persons
I've ever known.
But nice as it is to hear,
it just doesn't make sense.
But why does it have to make sense?
Because being in love
is more than just saying it,
or wanting to be, or thinking you are.
And your being in love with me
is impossible.
- Believe me, it is.
- Why?
Well, mathematics.
I'm 33, you're 23.
What difference does that make?
Dick, when a woman's 33,
a day's a difference, a week's a difference,
a month's a difference.
Ten years, that's a century.
Well, I guess that's that.
How would you like your tea?
With or without sugar?
Two lumps are fine for me.
Sugar or no,
I was a very bitter young man.
The girl of my dreams didn't love me
and all the world was sad and dreary.
In black despair, I decided to do
what every young fellow
with a broken heart does.
I decided to go to the movies.
But I was in no mood to be alone
and so in search of company,
I dropped in on an old friend,
Ben Feiner.
- Hello, Dorothy. Is Ben home?
- No, but come in.
Thanks.
I'm sorry. Ben went out.
Say, when did you get so big?
Oh, I don't know. Just lately, I guess.
Well, I thought maybe Ben would like
to see a movie or something.
- Well, I don't know when he'll be back.
- It doesn't matter.
You've been away at school, haven't you?
- Came in to see your show last night.
- Really?
- Liked it very much.
- Thank you.
- I've seen all your shows.
- Both of them?
Excuse me. Won't you sit down?
I was just making some tea.
Would you like some?
No, thank you. I had my tea today.
- How are the folks?
- Fine. They'll be in soon.
Well, I guess I'll go to the movie myself.
They say it's a good picture.
- Camille. Have you seen it?
- No, I haven't, but I'm going to.
- Well, tell Ben to call me.
- All right.
Oh, say, Dorothy, you wouldn't like
to see the movie with me?
- Oh, thank you, but I'm afraid not.
- Why not?
Well, you see, I...
Well, I never go out with older men.
- With what?
- You know what I mean.
- All of Ben's friends are kind of...
- Kind of old men, huh?
Well, I'm sure you understand.
Oh, certainly. I understand perfectly.
Good night.
That was really Black Sunday for me.
Shut out twice.
Once because I was too young,
and once because I was too old.
I pictured myself tragically wandering
around the globe for the rest of my days.
And in my grief I was certainly
in the right frame of mind to see Camille.
But I'd clean forgotten
that there was a big stage show,
all built around one of our numbers.
Remember the youth amid snow and ice
Who bore the banner
with the strange device
"Excelsior"
This motto applies to those who dwell
In Richmond Hill or New Rochelle
In Chelsea or in Sutton Place
You've got to reach the heights
To win the race
See the pretty apple, top of the tree
The higher up, the sweeter it grows
Picking fruit you've got to be
Up on your toes
See the pretty penthouse, top of the roof
The higher up, the higher rent goes
Get that dough, don't be a goof
Up on your toes
They climb the clouds
To come through with air mail
The dancing crowds
Look up to some rare male
Like that Astaire male
See the pretty ladies, top of the crop
You wanna know the way the wind blows?
Then, my boy, you'd better hop
Up on your toes
Up on your toes
That day I was very much alone.
Larry was away seeing Peggy, and I hoped
things were going a lot better for him
than they had for me.
Now you've really got me surrounded.
A bolted door, a Rodgers and Hart song.
What's the next twist to the plot?
Well, that shouldn't be hard to guess.
It's the love scene.
You know, where the fellow tells the girl
that she's like a Roman candle,
a Greek chorus, an Italian gondola,
only here we are in Indianapolis.
Then when he runs out of things to say,
instead of coming to the point,
he reaches into his pocket
and hands her a prop.
Go ahead. Try it on for size.
Excuse me.
What's the matter, Peggy?
Don't you want it?
Sure, I want it. I want it very much.
But I just can't.
Hey, hey, hey, wait a minute,
will you, Peg? This is Larry Hart.
Remember me?
The fellow who wants to marry you.
Larry, that's just the trouble.
What?
I love you too much to fool you,
but I don't love you enough to marry you.
- A little too much but not quite enough.
- Please don't, Larry.
Look, you're a big success,
you're talented, you're funny and nice,
and there's so much else in life for you.
None of that seems important to me now.
I only wish you were the guy.
I hate hurting you.
No, it's not your fault. It's mine.
It always hurts when you find out
you've been kidding yourself.
And deep down,
I always knew I really wasn't the guy.
I wanted it to be you.
- So much.
- I knew.
For me, your heart doesn't pound,
your stars don't sing,
and your world doesn't stop.
That's why I'm not the guy.
- Larry, where you going?
- Who knows?
The thing is to go and go fast.
Lexington 5400.
Hello, Dick?
Lorry is home.
- Hiya, Mr. Hart.
- Hiya, Dick.
- Well, what do you say?
- Oh, I'm fine.
Missed you. Where've you been?
Oh, went to a couple of places
I always wanted to see.
- Did you see them real good?
- Yeah.
I saw them great.
- How's the show doing?
- Selling out.
Oh, that's fine. Anything else new?
What's new?
Oh, nothing much.
Been fooling around with a tune or two.
That's good.
What's wrong, Larry?
The usual thing.
The love song is slowing up
the show a bit.
- Anything I can do?
- No.
No, everything's been done.
No more love songs. That's all. No.
Just those fast, bright things
from here on in, huh? Huh?
Larry, I hate to see you like this.
I'm sorry. I didn't mean to get lost.
I didn't mean to get everybody in a storm.
- It's all over.
- It's all over.
Finie la guerre. The boat has sailed.
It's all over. Well...
What do we do next, huh?
- Feel like working?
- Sure. Sure, anything.
Make me an offer.
- We got a wire from Cochran in London.
- Yeah?
- He wants us to bring our show over.
- The Girl Friend?
- That's right.
- Oh. Gosh.
- Cochran, huh?
- Right away.
Oh, good. Is it a good deal?
- What do we think about it?
- I'm ready.
I'm with you. When do we sail?
"This London,
this hub of the British empire,
"is a city of traditions and of history.
"It's the city of Shakespeare.
It's the city of Chaucer."
It's a city where you can't get
a hot dog or an ice-cream soda.
Look, do you want
to listen to this or not?
Of course we do.
Don't pay any attention to him. Go on.
Now. Now about Parliament. It says,
"This impressive monument
to free institutions
"covers 8 acres, has 1,100 rooms,
"100 staircases and 2 miles of passages."
I'm glad I don't have to clean it.
"It's the mother of Parliaments
dedicated to the right of..."
Holy smoke! That reminds me.
I forgot to write my mother.
Come on, let's go, Eddie.
From all visitors and inquisitors
We'll keep our apartment
I won't change your plans
You arrange your plans
Just the way your heart meant
Here we'll be ourselves
And we'll see ourselves
Doing all the things we're scheming
Here I've planned for us
Something grand for us
Where no one can see us
dreaming
We'll have a blue room
A new room, for two room
Where every day's a holiday
Because you're married to me
Not like a ballroom
A small room
A hall room
Where I can smoke my pipe away
With your wee head upon my knee
We will thrive on
Keep alive on
Just nothing but kisses
With mister and missus
On little blue chairs
You sew your trousseau
And Robinson Crusoe
Is not so far from worldly cares
As our blue room
far away upstairs
They will thrive on
Keep alive on
Just nothing but kisses
With mister and missus
On little blue chairs
She'll wear her trousseau
And Robinson Crusoe
Is not so far
from worldly cares
As our blue room
far away
upstairs
"Rodgers and Hart, Girl Friend.
"London click.
"R. and H. sail for NY
to do Connecticut Yankee."
Goodbye, peace and quiet.
After all the dizzy excitement
of our first show abroad,
the trip home was a letdown.
And once again Larry became restless.
- Here you are.
- Hi.
I just thought who would be great to play
the lead in A Connecticut Yankee.
- Yeah, who?
Peggy-
She's just right for it.
- Do you really think so?
- Sure. Why don't you call her?
Ship to shore. What are you waiting for?
Hello! Hello!
Well, aren't you excited?
Oh. Well, tomorrow morning.
I'll meet you at the dock.
No, you'll have to be there. I won't listen.
I'll see you tomorrow.
Now don't forget. Goodbye.
- Well, hello, Brian.
- Hello.
- Do you see her at all, Dick?
- Not yet.
Hi, Dick! Dick Rodgers!
- Hello, Ben.
- Hi, Larry.
- Hi, Ben.
- Good to see you, boy.
- You just get in?
- Yeah.
Well, so did I. On the Roma, from Naples.
Excuse me, will you, fellows?
I got to find somebody.
- I didn't know you'd been in Europe.
- Yeah, yeah. In fact, the whole family.
- Mr. Feiner.
- Glad to see you.
- Mrs. Feiner.
- So nice to see you.
- Hello, Dick. How are you?
- Hello, Dorothy. I didn't recognize you.
- Mr. Feiner, your baggage is ready, sir.
- Thank you.
- We'll see you in customs, Dorothy.
- All right, fine, Ben.
- See you later, Dick.
- So long, Ben.
Goodbye, Dick.
How would you like to go
to a movie with me sometime?
Be glad to ask
my mother and father. Goodbye.
Oh, I'm having a birthday party
in three weeks at Tarrytown.
Would you like to come?
- How old?
- Eighteen.
Gee, I don't know.
Eighteen-year-old girls
are pretty old for me.
But I'll be glad
to ask my mother and father.
Well, I'll see you then.
Telegram for Mr. Hart.
Telegram for Mr. Hart.
Right here, fellow.
- Mr. Lorenz Hart?
- Yeah, that's right.
Sign here, please.
Oh, wait a minute. Here.
- There you go.
- Thank you, sir.
Dear Larry. Sorry I couldn't meet you.
Signed a contract for pictures.
Left for the coast this morning.
Good luck with your new show.
Love, Peggy.
Oh, thank you.
- Happy birthday, Sis.
- Ben.
- Would you like to dance?
- I'd like to climb a tree.
- Well, I don't happen to have one on me.
- Oh, but I do. Come on.
So we're going to climb a tree, huh?
Any tree I know?
Oh, you'll see. Follow me, monsieur.
- What is this?
- My private tree.
I spend half my life up here.
In fact, it's where I spin my finest dreams.
- Well.
- This is wonderful.
And now, Mr. Rodgers,
I would like the story of your life.
At this altitude?
You can skip your boyhood
and start at the part
where you fell in love
with the leading lady, Joyce Harmon.
- I see you've been reading my mail.
- Did she really break your heart?
You bet. And I didn't get over it
for, oh, an hour and a half.
Oh, that's not what I heard.
What did you hear?
I heard that's why you went to London,
to forget her.
I'm going to have plenty of trouble
with you.
All right, I was in love with her.
And I did go to London to forget her.
But she's a very remarkable woman,
and we both should be very grateful
to her because she saved me.
- Saved you?
- She saved me for you.
Gee, I never thought of that.
Remind me to send her some flowers.
We can't rehearse that other number
because we...
- Any word from Larry?
- He'll show up. He always does.
What do we do now?
We need extra lyrics for Thou Swell.
I'd better go with them.
Hi, Dick.
Hi.
How's it going?
What's the matter? Is something wrong?
Let's take a walk.
Well, where have you been?
I went out on the coast.
- Oh, great. And?
- And nothing. She'd gone to Mexico.
You mean you just went out there?
I wired her first,
but she went to Mexico, anyway.
- Well, I don't know what to tell you, Larry.
- There's nothing to tell.
Oh, yes, there is, there's plenty.
And if I don't, who will?
- Oh, I know.
- Oh, sure, you know.
But here we are in rehearsals,
the whole company waiting for the lyrics,
everybody going crazy and where are you?
- I know.
- It's murder.
You're murdering yourself,
your work, everybody.
You've got to pull yourself together.
You can't keep running around
the world chasing rainbows.
- They're ready with that number, Dick.
- Okay, Tommy. I'll be right there.
Dick. Dick!
Are not mine eyes fair to view?
They're there to view thee
Wilt not thine own dare to view
What love canst be?
Ah, see my color pale for thee
Hear my heart fail for thee, too
I have a sweet tale for thee
'Tis sad but true
'Tis sad
but true
Thy words are queer, sir
Unto mine ear, sir
Yet thou art a dear, sir, to me
Thou couldst woo me
Now couldst thou try, knight
I'd murmur swell, too
And like it well, too
More thou wilt tell to
Sandy, thou art dandy
Now art thou my knight
Thine arms are martial
Thou hast grace
My cheek is partial to thy face
And if thy lips grow weary
Mine are their resting place
Thou swell, thou witty
Thou sweet, thou grand
Wouldst kiss me pretty?
Wouldst hold my hand?
Both thine eyes are cute, too
What they do to me
Hear me holler
I choose a sweet lollapalooza in thee
I'd feel so rich in
a hut for two
Two rooms and kitchen
I'm sure would do
Give me just a plot of
Not a lot of land
And thou swell
Thou witty
Thou grand
Thou swell
Thou witty
Thou sweet
Thou pretty
Thou terrific
Thou sensational
Thou grand
With a song in my heart
I behold your adorable face
Just a song at the start
But it soon was a hymn to your grace
But I always knew
I would live life through
With a song in my heart
for you
- Do you like it?
- It's lovely. Play it again, please.
You know, that's the kind of a song
that could solve
everyone's romantic problems.
Now imagine two people in love,
and the fellow is, you know,
one of those bashful types.
All he has to do
is take her to hear this song.
Wouldn't have to propose,
ask her father, nothing.
I think I know what you mean.
A song like this,
she might even end up marrying him.
Couldn't she?
But she'd have to know him
a little bit better first.
Ladies and gentlemen, Miss Lena Horne.
It seems we've stood and talked
like this before
We looked at each other
in the same way then
But I can't remember
where or when
The clothes you're wearing
are the clothes you wore
The smile you are smiling
you were smiling then
But I can't remember
where or when
Some things that happened
for the first time
Seem to be happening again
And so it seems
That we have met before
And laughed before
And loved before
But who knows where
or when
Quite a coincidence that she happens
to be singing a Rodgers and Hart song.
If you think that's a coincidence,
wait until you hear the next number.
I've wined and dined on Mulligan stew
And never asked for turkey
As I hitched and hiked and grifted, too
From Maine to Albuquerque
Alas, I missed the Beaux Arts Ball
And what is twice as sad
I was never at a party
Where they honored Noel Ca'ad
But social circles spin too fast for me
My hobohemia is the place to be
I get too hungry for dinner at eight
I like the theater, but never come late
I never bother with people I hate
That's why the lady is a tramp
I don't like crap games
with barons and earls
Won't go to Harlem in ermine and pearls
Don't dish the dirt
with the rest of the girls
That's why the lady is a tramp
I like the free, fresh wind in my hair
Life without care
I'm broke, that's oke
Hate California
It's cold and it's damp
That's why the lady is a tramp
I go to Coney, the beach is divine
I go to ballgames, the bleachers are fine
I get the columns and read every line
That's why the lady is a tramp
I like a prizefight when it's not a fake
I like the rowing on Central Park Lake
I go to opera and stay wide awake
That's why the lady is a tramp
I like the green grass under my shoes
What can I lose?
I'm flat, that's that
I'm all alone when I lower my lamp
That's why the lady
is a tramp
Now's a good time.
- For what?
- To ask a girl to marry someone.
Are you sure
we're well enough acquainted?
Well, it's hard to answer a question
like that unless you've just been kissed.
We're well enough acquainted.
Dick, how do you think
Larry's going to feel about us?
It's not going to be easy for him.
Here we are happy, in love,
going to be married,
a whole bright future ahead of us.
And what's he got?
- Shall I try to talk to him?
- What would you say?
Well, I don't know,
I'm so lucky these days,
I might think of something.
I'm awful glad
you talked me into marrying you.
So am I.
- Well, now, what's the big secret?
- Dick and I are going to be married.
Married? That's wonderful!
- She's going to be married.
- Congratulations. Very nice.
Yes, married. That is wonderful.
Dick and I have been together for so long,
the thought of him getting married,
it's a little strange.
But you're going to be very happy
because he's a wonderful guy.
- So are you.
- Me?
I'm just a guy that writes lyrics,
runs away, hides, has a few laughs,
- comes back and writes lyrics.
- Yes, I know.
- And in between, you fall in love.
- We don't talk about that.
Oh, yes, we do.
Our being happy won't mean as much
if you're miserable.
Miserable? Me? Why, I'm always happy.
- No one's always happy.
- All right, so I'm slightly miserable.
You're a woman,
so maybe you can tell me.
Why couldn't she have loved me
just a little bit when I...
When I loved her so much?
Maybe she loves you more than you think.
No, no, it's not that.
There's something about me.
When we'd get right up to the wire,
it would stop her.
What is it? Am I that ugly?
Am I that repulsive?
Oh, don't say that about yourself.
How corny can I get?
Dick thinks that you and he ought
to go to the coast to do some pictures,
and he feels you don't want to.
Would you like to give me
a real nice wedding present?
Sure, anything, darling. What?
Well, after we're married,
we want you to come to California with us
- on our honeymoon.
- On your honeymoon?
You've talked me into it.
Hollywood, here I come.
- So this is Hollywood.
- No. Beverly Hills.
Beverly Hills Hotel on your left.
Chinese Theatre.
Well, there's nothing like
a house with a view.
When do we start taking oxygen?
As I understand it,
you'll be here quite a while, Mr. Hart.
Just you and your mother.
And an occasional friend or two.
Well, you'll need a nice, comfortable spot,
plenty of privacy, but not too ostentatious.
This is it.
- Nice cozy little place.
- Yeah.
The place leases with or without the staff.
Let's see, butler, houseman,
cook, pastry cook,
downstairs maid, upstairs maid.
- Where's the bell?
- Oh, right here, right here.
Gardener, chauffeur, footman, watchman.
I'm from the Hollywood Realty Company.
- Oh, yes, of course. Come in, please.
- Thank you.
Thank you, sir, very much.
Hello!
One thing, a fellow
would never be lonesome in this place.
- The study is there.
- That's the study.
The music room is there
and the dining room is there.
The projection room is there.
Miniature theater is there.
And the billiard room is there.
Who built this place,
Metro-Goldwyn-Mayer?
This is the living room.
Yes, it's very livable.
Come and take a look outside.
The patio.
The pool.
Oh, yes, the pool.
And look at that view.
Pretty complete, I'd say.
Yeah, but what good is it?
There's no airport.
No, but there's room for one.
Well, Mr. Hart, what do you think?
What do I think?
I think it's sensational. I'll take it.
- Well, that's fine.
- Yeah.
Any resemblance between me and a fellow
in his right mind is purely coincidental.
"Mr. and Mrs. Dick Rodgers,
Santa Fe Chief, en route Los Angeles.
"Dear Dick. Come directly to my party.
"Have rented the cutest little cabin
you ever saw.
"Just tell driver top of Summit Road
in Hollywood Hills.
"Black tie and a girl preferred.
Love and kisses, Larry."
Well, that's what it says,
top of Summit Road.
There's dancing in the patio, sir.
Nothing like sneaking into town.
Hey, Dick, Dick, boy!
- Hiya, Larry.
- How are you?
- Larry.
- Dorothy, honey.
Hey, wait just a minute, pal. There you go.
Hey, what do you think of all this, huh?
- Very intimate.
- Come on. Let's go.
- What's the party for?
- What do you mean what's it for?
Does there have to be a reason?
It's a party.
Everybody in Hollywood is here.
This looks like everybody
west of the Rockies is here.
Well, you certainly proved that
a New Yorker can outdo Hollywood.
Come on. Mom's over here.
Or will you have a drink first?
- No, thanks.
- How about it, Dorothy?
How about an hors d' oeuvre?
Here they are.
Keep them going around, will you, fellow?
Here we go.
Morn. Morn, look who's here.
- Hello, Mrs. Hart.
- Dick and Dorothy.
Oh, it is good to see you.
- Oh, you look so nice.
- Why, thank you.
Hey, there's Judy Garland. Hiya, Judy.
Hi, Larry.
Judy, you know my morn, of course.
And Dick and Dorothy Rodgers.
- Hello, Judy.
- Sure, hello.
- It's a wonderful party.
- I'm glad. But excuse me.
I must keep the customers happy.
- Are you coming, Larry?
- Coming, Mother.
Oh, that's all I need. Fine.
Take care. I'll be right back.
- Always in action.
- Yeah.
Say, when are we going to do
that show together, Judy?
Oh, we've been talking about
that show for so long,
it's gotten to be a running gag.
That's only because you're never
in New York long enough to sing a chorus.
I know. But look,
we're all in Hollywood now.
Is there any chance
of our doing a picture together?
- Oh, Judy, I'd love to.
- Now, I know you've got a story
'cause Larry told me so.
And I bet you've got
some spare songs, too.
- But, look, sweetie, you see, we...
- What?
Oh, Dorothy, I'm so sorry.
Here you two have just started
on your honeymoon
- and I'm trying to shanghai the groom.
- I don't mind.
I knew what I was getting into
when I married a composer.
- I might just as well be getting used to it.
- That's marvelous.
- What's marvelous?
- We're going to do a picture together.
- No kidding.
- You heard the lady.
Why, that's fine, but you've got to audition
for us if you're going to work for us.
- Okay.
- I'll give you my personal assistance, too.
Come on.
Mel, take I Wish I Were in Love Again,
will you?
You don't know that I felt good
When we up and parted
You don't know I knocked on wood
Gladly brokenhearted
Worrying is through, I sleep all night
Appetite and health restored
You don't know how much we're bored
Sleepless nights, the daily fights
The quick toboggan
when you reach the heights
I miss the kisses and I miss the bites
I wish I were in love again
The broken dates, the endless waits
The lovely loving and the hateful hates
The conversation with the flying plates
I wish I were in love again
No more pain
No more strain
Now I'm sane, but I would rather be gaga
The pulled-out fur of cat and cur
The fine mis-mating of a him and her
We've learned our lesson
and we wish we were in love again
The furtive sigh, the blackened eye
The words, "I'll love you till the day I die"
The self-deception that believes the lie
I wish I were in love again
When love congeals, it soon reveals
The faint aroma of performing seals
The double-crossing of a pair of eels
I wish I were in love again
No more care
No despair
I'm all there now
but I'd rather be punch-drunk
Believe me, sir, I'd much prefer
The classic battle of a him and her
We don't like quiet
and we wish we were in love
again
More, more.
Let's try Johnny One Nate in E flat, huh?
Mel, will you ask some of the boys
to come down here?
It'll be a little more friendly.
Johnny could only sing one note
And the note he sang was this
Poor Johnny One Note
Sang out with gusto
And just overlorded the place
Poor Johnny One Note yelled willy-nilly
Until he was blue in the face
For holding one note was his ace
Couldn't hear the brass
Couldn't hear the drum
He was in a class by himself, by gum
Poor Johnny One Note got in Aida
Indeed a great chance to be brave
He took his one note
Howled like the north wind
Brought forth wind that made critics rave
While Verdi turned round in his grave
Couldn't hear the flute
Or the big trombone
Everyone was mute
Johnny stood alone
Cats and dogs stopped yapping
Lions in the zoo all were
jealous of Johnny's big trill
Thunderclaps stopped clapping
Traffic ceased its roar
And they tell us Niagara stood still
He stopped the train whistles
Boat whistles, steam whistles
cop whistles
All whistles bowed to his skill
Sing, Johnny One Note
Sing out with gusto
And just overlord all the crowd
So sing, Johnny One Note, out loud
Sing, Johnny One Note
Sing, Johnny One Note
out loud
- This is a swell party, huh?
- It certainly is.
- Good night, Larry.
- Good night.
Hey, wait a minute.
Where you going, Eddie?
- Oh, it's late.
- It's after 4:00.
What's 4:00? It's early yet.
Come on, stick around.
- Good night.
- We're gonna have some fun.
- Good night.
- Thanks. Good night.
- Well, we have to go, too, Larry.
- Wait a minute, Dick.
- You two are going to stay here.
- We can't, Larry.
We're staying at the Beverly Hills Hotel.
But we'll see you tomorrow.
Well, let's have one for the road,
huh, Dick?
- No, thanks, Larry.
- How about it, Dorothy?
No, thank you.
It sure has been a swell party, hasn't it?
- Yeah, it sure has.
- Mighty fine.
- Good night, Larry.
- Good night, Dorothy.
- Good night, Larry.
- Good night. Good night, Dick.
- Good night, Dick.
- Good night, Larry.
All right, that's it for tonight, boys.
Hey! Hey, Mel! Wait a minute. Hey.
Hey, Mel, what's going on here?
Well, we kind of figured
with everybody leaving...
Oh, we don't need people.
Hey, hey, wait a minute, fellows.
Keep going, will you?
Waiter, give the fellows champagne,
lots of champagne, will you?
- Yes, sir. Yes, sir.
- That's what we want. Sure.
Anything special you'd like to hear,
Mr. Hart?
Yeah, play...
No, no, better not play that.
Play anything, anything at all, fellows.
Just so it's Rodgers and Hart.
Number 16, boys. Sixteen. Here we go.
Blue moon
You saw me standing alone
Without a dream in my heart
Without a love of my own
Blue moon
You knew just what I was there for
You heard me saying a prayer for
Someone I really could care for
And then there suddenly
appeared before me
The only one my arms could ever hold
I heard somebody whisper
Please adore me
And when I looked
The moon had turned to gold
Blue moon
Now I'm no longer alone
Without a dream in my heart
Without a love of my own
Blue moon
In spite of everything, we made
quite a few pictures in Hollywood
and the years slipped pleasantly by.
But when we were asked
to do a Broadway show,
we decided that change would be good,
and so we started East.
When Dorothy and I left New York,
we were a family of two, two adults.
But when we returned, we were a family
of four, two adults and two children.
Board!
I beg your pardon.
We were a family of five,
two adults and three children.
Well?
They're great, Larry,
five of the best lyrics you've ever done.
Thanks, baby.
But don't forget
we start rehearsing Monday,
and you still haven't written
anything for the love song.
Don't worry, you'll get it. Come in.
Chicago in 20 minutes, gentlemen.
All right.
We're going to go over to the hotel
and freshen up. Corning along?
Thanks very much, but there are
a couple of places I'd like to see and...
Okay-
But don't forget, the Century
leaves at 4:00 and it doesn't wait.
Don't worry. I'll be there.
- You sure?
- You can count on me.
You can't count on him, Dick!
For weeks he's been promising us
the lyrics for the love song.
And if we don't get them,
we have no love song.
- And if we have no love song...
- We have no show. Yes, yes, I know.
Oh, how can he act this way?
I'm worried, Eddie.
This time I'm really worried.
I'd go after him myself,
but I have to stay with the show.
Of course, you do.
Even if I caught up with him,
I don't know how much good it would do.
He's taken an awful lot of sermons
from me.
But we gotta get him back.
Look, Dick, you know how much
I love the little guy.
Why don't you let me take a crack at it?
- Will you?
- You know I will.
But Larry couldn't be located anywhere.
Confused and dispirited,
among strange people and strange places,
he was just a lost guy
and no one could help him.
He had to find his way back alone.
Warm for spring, isn't it?
Nice breeze, though.
It's a lovely night with the stars and all.
So I hear.
Wait a minute.
Spring is here.
Why doesn't the breeze delight me?
Stars appear.
Why doesn't the night invite me?
Maybe it's because nobody loves me.
Spring is here,
I hear.
- Taxi!
- Taxi.
Yeah.
Yeah, taxi. Of course, taxi!
Sea, you later, baby. Take care. Here.
If you don't like it,
trade it in on a lawn mower.
- Hey, where are you going?
- I gotta see somebody.
Airport, driver.
- There you are.
- Thank you.
Thank you.
How about coming down here
and helping a fellow, huh?
- Uncle Larry!
- Larry!
- Larry.
- Larry.
- Hello, Linda.
- Uncle Larry!
- Linda, darling.
- Hiya, Larry.
Why, it's so good to see you.
- Hello, Dorothy.
- What are those? Presents?
- Oh, Linda, now, really.
- Oh, boy!
Here this is for you
and the purple and blue one is for you.
- Oh, boy.
- All right, sweetheart.
- Oh, Larry.
- Don't I get a kiss?
All right. This is for you, too, Dorothy.
Thank you, Linda.
And this is, of course, for you, Dick.
Well, thank you, Mr. Hart.
- Mr. Rodgers.
- Larry, you look tired.
Tired? Me? Don't be silly.
Well, I am.
Let's go over and sit on the terrace.
- Us, too?
- No, Mary, not us two, us three.
You two take your presents,
say thank you, and go play.
- Thank you, Uncle Larry.
- Thank you, Uncle Larry.
- All right, darlings.
- Go on.
- Oh, Larry.
- It's good to see you, Larry.
Good to see you, too, darling.
This is very nice.
I like this.
I even like the grass and the trees.
Well, why don't you try it for a while?
Yes, Larry, why don't you?
Why don't you stay?
I'd like to very much.
I'd like to.
Well, Mr. Hart, tell us where you've been.
To a couple more places.
Would you like something to eat
or something to drink?
No. No, thank you. I'd just like to
sit here and look at you and the children
and this place.
The air here is so wonderful.
Coffee, darling?
Thanks.
- Remember Peggy?
- Peggy?
Yeah.
I hear she hasn't been doing so well.
Do you think I ought to try and help her?
If it would help you.
Probably won't.
Nothing seems to add up.
I'm not kidding myself.
Peggy isn't real anymore.
She's a symbol, a symbol of failure.
- A long line of failures.
- What failures?
- Stop talking that way, Larry.
- It's the truth.
I've done all right with my work, yes.
But I've failed in everything else.
Everything. Don't ask me why.
I don't know why.
I'm on a constant merry-go-round.
And that's no good, baby.
Let's face it,
maybe Mr. Hart's lyrics are a hit,
but Mr. Hart's life is a flop.
Don't you know
you're one of the sweetest,
most generous,
talented men in the world?
Look, Larry,
why don't you stay here with us? Close.
And start working again.
Dick has a play lined up for Gene Kelly.
- He needs you.
- Yeah, I know, baby, but I...
You're confused, darling.
And it takes time.
But, Larry,
you can't let yourself go like this.
You must go on with your work.
It's too important.
Stay here and go back to work?
Okay, baby. I'll try.
I'll start trying right now.
And thanks.
Congratulations, Larry.
The show is terrific.
- Larry! Oh, Larry!
- Darling!
- You were wonderful.
- Thanks a million.
- Just great.
- Oh, thanks.
- Where's Dick?
- He's right over there.
Tremendous.
Superb performance, Mr. Hart.
I am proud of you.
Oh, Vera. Vera, I can't tell you
how wonderful you were.
Thank you. Thanks very much.
Another hit.
The music, every single thing...
- Larry!
- Larry!
Somebody call a doctor!
Call a doctor, somebody!
Call a doctor!
Somebody call a doctor!
Months later, Larry was still very ill.
During those months we had completed
a revival of a Connecticut Yankee.
To do it, Larry had
to call on his last reserves.
And by opening night,
his condition was desperate.
Dick, can I go with you?
You've heard most of the songs before.
And my singing won't make
you feel any better.
I'll come back after each number
and tell you everything.
- Here, Larry.
- What is it?
Take it, and when you wake up
you'll have a big hit.
Mr. Hart.
Mr. Rodgers.
Theater.
I gotta get to the theater.
The theater.
Taxi, mister? Hey, mister! Taxi?
- Martin Beck Theater, please.
- Okay.
- What happened? Get a doctor.
- Stand back. Stand back.
Hurry, hurry, get a doctor. Get a doctor.
Some time later,
before a packed audience,
the greatest figures in show business
joined in paying tribute
to the memory of the little guy
who thought that he was all alone.
Ladies and gentlemen,
I am one of hundreds of people in
the theater, in pictures and on the radio,
who has had the happy experience
of being in a Rodgers and Hart show.
And it was a happy experience
because as show people,
we respected and admired them
for what they were doing.
Larry's lyrics were
gay and clever and witty,
but in them all was the note of sadness.
They were and are and will be a source of
beauty and pleasure to millions of people.
Among the best loved
of Larry's lyrics are these
that Perry Como sings for us tonight,
With a Song in My Heart.
With a song in my heart
I behold your adorable face
With a song at the start
But it soon is a hymn to your grace
When the music swells
I'm touching your hand
We'll have Manhattan
The Bronx and Staten Island, too
It's lovely going through the zoo
Where's that rainbow you hear about?
Where's that lining they cheer about?
Thou swell, thou witty
Thou sweet, thou grand
Wouldst kiss me pretty?
Wouldst hold my hand?
I like the free, fresh wind in my hair
Life without care
I'm broke, that's oke
The pulled-out fur of cat and cur
The fine mis-mating of a him and her
We've learned our lesson
and we wish we were in love again
But I always knew
I always knew
I would live life through
I would live life through
With a song in my heart
for you
With a song in my heart
for you
With a song in my heart