Merrily We Roll Along (2025) Movie Script

1
[AUDIENCE CHATTER]
[LIGHT LAUGHTER]
[ORCHESTRA PLAYING
LIVELY BIG BAND MUSIC]
[AUDIENCE CHEERING]
[ORCHESTRA PLAYING FLOURISH]
-[SONG ENDS]
-[AUDIENCE CHEERING]
[HOPEFUL MUSIC PLAYING,
MERRILY WE ROLL ALONG ]
WAITRESS: Yesterday is done
See the pretty countryside
JEROME: Merrily we roll along
Roll along
Bursting with dreams
KT: Traveling's the fun
BUNKER:
Flashing by the countryside
MEG: Everybody merrily
BUNKER: Merrily
GROUP I: Catching at dreams
Rolling along
Rolling along
Rolling along
Dreams don't die
So keep an eye
on your dream
GROUP II: And before you know
where you are, there you are
GROUP I: Time goes by
and hopes go dry
But you still can try
for your dream
MEG: Tend your dream
GROUP II:
How does it happen?
TYLER: Dreams take time
GROUP II:
Once it was all so clear
BUNKER: Time goes by
GROUP II: How can you get
So far off the track?
Why don't you turn around
and go back?
MEG: Bend your dream
GROUP II:
How does it happen?
- Where is the moment?
- GROUP I: With the road
GROUP II: How can
you miss it? Isn't it clear?
How can you let it
slip out of gear?
ALL: How did you ever
get there from here?
GROUP I: You roll
GROUP II: How does
it happen?
- How does it happen?
- GROUP I: You just roll
GROUP II AND GROUP III:
Once it was all so clear
GROUP I: Everybody roll
GROUP II:
How does it start to go?
GROUP II AND GROUP III:
Does it slip away slow
ALL: So you never even notice
It's happening?
How did you get to be here?
ALL: What was the moment?
How did you get to be here?
CHARLEY AND MARY:
Pick yourself a road
Get to know the countryside
Soon enough, you're merrily
ALL: Merrily
practicing dreams
Dreams that will explode
Waking up the countryside
Making you feel
merrily, merrily
What can go wrong?
- Rolling along
- GROUP II: Some roads
are soft
And some are bumpy
Some roads you really fly
Some rides are rough
And leave you jumpy
Why make it tough by
getting grumpy?
Plenty of roads to try
- Some roads are soft
- GROUP I: One trip
GROUP II: And some
are bumpy
GROUP I: All you get
- Some roads you really fly
- GROUP I: Is one
quick ride
Look around a bit
GROUP II:
Some rides are rough
GROUP I: One quick ride
GROUP II:
And leave you jumpy
-Why make it tough
-GROUP I: Through
the countryside
GROUP II: By getting
grumpy?
GROUP I: Stay on the track
Plenty of roads to try
- Never look back
- Some roads you really fly
ALL: Never look back
Never look back
Never look back
Never look back, never look
[BRIGHT MUSIC PLAYING]
How did you get to be here?
What was the moment?
How did you get to be here?
Bending with the road
Gliding through
the countryside
Merrily we roll along,
roll along
Catching at dreams
Dreams that will explode
Waking up the countryside
Everybody merrily, merrily
Sing 'em your song
Rolling along
Rolling along
- Rolling along
- Rolling a...
-[WHOOPS]
-[LAUGHTER]
[ THAT FRANK PLAYING]
Hey.
[LIVELY CHATTER]
I said, "Frank, this picture
Is a watershed"
Hey, let me tell you
about my new...
I said, "Frank, one day
You'll run my studio"
[LIVELY CHATTER, LAUGHTER]
I said, "Frank, will you
Listen to that response?"
I said, "Frank really knows
What the public wants"
I said, "Frank, this picture
Is a watershed"
-Know what I'm having?
-What?
Not much fun.
-Party!
-Oh, my God, look at him.
GROUP I: That Frank
That guy is too much
Hey, the party's outside.
That Frank
Do you like the picture?
The platinum touch
How about more champagne?
He has taste,
he has talent
Is he the best?
Plus, a fine head
for business
- The man is blessed
- That Frank
[LIVELY CHATTER, LAUGHTER]
I wrote the screenplay
for Frank's movie.
Your secret's safe with me.
MEG: Frank.
FRANK: Oh, Tyler,
I want you to meet Meg,
the star of my movie.
My old friend Tyler here
is the man who invented
the telephone answering machine.
And people are living in fear
I'll invent something else.
GROUP I: That Frank
So, what do you do?
GROUP I:
He's full of advice
I drink.
That Frank
No, what do you really do?
ALL: And, God, is he nice
I really drink.
What a friend,
what a host
And his work is great
Has a wife
who is gorgeous
A son who's straight
He's a type
You can easily learn to hate
That Frank
[LIVELY CHATTER, LAUGHTER]
Who says,
"Lonely at the top"?
[LIVELY CHATTER, LAUGHTER]
I say, "Let it never stop"
[LIVELY CHATTER]
It's our time
coming through
All our dreams coming true
Working hard, getting rich
-[LAUGHS]
- Being happy
- There's a switch
- That smile
BUNKER: Don't you miss
writing music?
He's hot, but he's cool
That was the old Frank Shepard.
What style
This guy's the American dream.
And what a great pool
If you had no idea
What "charisma" meant
And you just can't be jealous
He's such a gent
He's the kind of a man
- That you can't resist
- That Frank
-Franklin.
-Meg, this is Mary Flynn.
Mary is my deepest, closest,
best friend in all the world.
Congratulations on the movie.
Your performance will stay
with me for a long time.
We go way back.
But seldom forward.
Actually, Franklin gave me
the novel you wrote,
and I read it over and over.
Well, didn't you get it
the first time?
Hey, gang,
we've got dancing outside!
Come on!
I said, "Frank, you're
coming down to Mexico"
Honestly...
I think Frank is moving
Back to Paramount
What?
These are the movers
These are the shapers
These are the people
- Who fill the papers
-GROUP I: Mexico
MARY: These are
the friends of Frank
- Moving back to Paramount
- Each one a perfect blank
When you see a movie
that's successful
What can you say?
-Congratulations!
-Thank you.
MARY: These are the movers
These are the shapers
These are the people
Who give you vapors
20 years ago,
who'd have guessed?
Who'd have guessed
We'd be standing here?
God, we would have been
so impressed
Now we're here
with the most
GROUP I: Mexico
Brilliant minds
on the coast
GROUP II: Moving back
to Paramount
And notice
who is their host
-GROUP: Mexico
- Beautiful, Frank
Acapulco, Mexico
Beautiful, Frank
When you've made a movie
That's successful
Where do you go?
Paramount!
No!
Here's to us.
Who's like us?
-Damn few.
-Damn few.
Thanks, pal, for flying out.
[CHUCKLES]
Thanks, pal, for the ticket.
[FRANK CHUCKLES]
I got a letter from Frankie.
Well, at least my son
writes to you.
Yeah, to thank me
for coming to his graduation.
-He didn't invite me.
-He didn't invite me either.
-How is he anyway?
-[SCOFFS]
I mean, he asked
the same thing about you.
-Frank, look,
why don't the two of you...
-KT: Frank!
-...finally get on...
-I am beginning my broadcast.
Where Franklin Shepard goes,
I go,
because that is where
the A-list goes.
[FRANK AND KT CHUCKLE]
I just figured out
what the "A" stands for.
Now, I heard a reliable rumor
that you're selling
the Malibu house.
You don't want it. The place
doesn't even have a pool.
No pool?
[LAUGHS]
In my rat's hole in New York,
the john is terminally busted,
and the kitchen
should be condemned.
But no pool?
Trash it!
Let's have some coffee, Mary.
GROUP II: Poor Frank
I never drink coffee.
He handled that well
Caffeine isn't good for you.
That Frank
Look, I'm aware
this was just a formula movie.
He's loyal as hell
But my next picture, you wait.
I gave up waiting.
He's polite and considerate
Rain or shine
It began when I tasted
Communion wine
That Frank
[LIVELY CHATTER]
Who says,
"Mustn't go too far"?
[LIVELY CHATTER]
I say,
"Look at where we are"
[LIVELY CHATTER]
It's our time
coming through
I say, "Good, me and you"
I say, "Roll,"
I say, "Ride"
I say, "Hey,
there's food outside"
GROUP II: That Frank
Frank's movie was fun.
GROUP II:
You'd think he'd relax
Frank knows
what the public wants.
Not Frank
And Frank made a star!
He's laying new tracks
I love a movie movie!
If you had no idea
What "charisma" meant
And you just can't be jealous
He's such a gent
He's the kind of a man
Who could be president
- That Frank
-[IMPERCEPTIBLE]
That Frank
That Frank
[LIVELY CHATTER]
That Frank
[AUDIENCE CHEERING]
Frank.
Tonight I saw a falling star.
I was running across the lawn,
and then right there
in front of me, I see...
And what do we see
in front of us?
-A rising star.
-[CHUCKLES] Oh.
Because no matter
what the critics say
about this picture,
they are certain to love you.
They're certain to, no matter
what they say about the picture.
The plot thins.
Meg, you know my wife Gussie.
Everybody who's been
to a Broadway show
knows Gussie Carnegie.
The hem of your garment.
I say, by tomorrow,
all of that
will be at your feet.
-Oh.
-[CHUCKLES]
Scotty, that's the Valley.
Have you been outside
all this time?
It's customary when you give
a party to attend it.
Did you sing?
No one asked.
MEG: Franklin.
FRANK: Later.
You're ignoring me.
Yes, I am.
-I've got feelings.
-And I've got a wife.
I love you so much.
And I love you, too.
[TYLER CLEARS THROAT]
Anyway, I'm off.
Tomorrow I fly to New York.
While you're there,
do not miss
the new Charles Kringas play.
That is the only show in years
that actually deserves
its Pulitzer Prize. [CHUCKLES]
I say, in every generation,
there's one playwright.
Oh, my God, what did I say?
[CHUCKLES] Don't you know
that in this joint,
you must never, ever mention
the name Charles Kringas?
-Mary, for God's sake.
-MARY: Yeah, see,
Charley, Frank and I were once
these devoted,
inseparable friends.
GUSSIE: Would anyone
care to come outside?
Up until that famous
television interview
where Charley,
in front of the whole nation...
-Mary, enough!
-Mary, I've warned you.
Hey, the house numbers
are in from the East Coast.
And it went through the roof.
[CHEERING, EXCITED CHATTER]
"The surprise of
Darkness Before Dawn
"is Meg Kincaid,
a starry-eyed find."
TYLER: To Franklin Shepard,
who I've known ever since
we started out together
back in a crummy little
Greenwich Village saloon.
JEROME: To Frank Shepard,
congratulations to the client
every lawyer dreams of:
Forty years old,
a hit in New York,
-now a hit in Hollywood...
-[GROUP WHOOPS]
-...married to
this Broadway legend...
-Oh, stop.
...surrounded by the people who
work for him, by his money...
-[LAUGHTER, LIVELY CHATTER]
-[LOUD CLANKING]
[CHATTER STOPS]
Are we making speeches?
To Franklin Shepard...
[MOCKINGLY] ...the producer,
the man who has everything.
[CHUCKLES]
And... [CHUCKLES]
fat, drunk and finished...
I would rather be me any day.
Well, look at the time.
I've got to go to bed.
He'll wait.
Hoo-hoo-hoo, call him.
-GUSSIE: Get out of here, drunk.
-Gussie.
GUSSIE: Get that fat sot
out of here.
FRANK: Mary,
may I take your glass?
No, you may not take my glass.
-Frank.
-Oh, my God.
GUSSIE: Frank!
[LAUGHTER]
[LAUGHING]
MARY: Well...
now I won't be invited back.
Well, please don't all feel
you have to leave
just because I'm leaving.
[GROUP CHATTERING]
First, attention.
[CHATTER CONTINUES]
-I said "attention"!
-[CHATTER STOPS]
Are you all listening? Because I
have something I must say.
You are all junk.
[SOFTLY] And you...
[SNIFFLES]
You deserve them.
[MARY SNIFFLES]
Damn sad.
TERRY: Isn't she somebody?
DORY: No, she's a critic.
JEROME: She wrote
a bestseller once.
I would never have believed it.
She's finally
out of Frank's life.
Yeah, and the loss
is unbearable.
MEG: [WINCES] Ow.
DORY: What happened?
SCOTTY: Ooh, she cut her
hand on a piece of glass.
MEG: Oh, no, no.
It's nothing. Please, no.
No, Meg's cut her hand
rather badly.
-No, honestly, it's nothing.
-Ru, go get something.
-Get some iodine.
-Oh, see. [CLEARS THROAT]
When you're young
and the star,
how the slightest thing
and you're everybody's focus.
[CHUCKLES]
Bitch.
It's stopping. I'm just
going to let it air out.
You two sure know
how to bring down a curtain.
I've got the iodine.
Where's the patient?
Down at the foot of the lawn.
-Doing her fawn imitation.
-RU: Mr. Shepard.
Frank.
Before I go,
I just want to know:
How do I get to be you?
[FRANK CHUCKLES]
The worst vice
in the world is advice,
so I don't give any.
Hey.
Don't just write what you know.
Write what you know.
Now get out of here.
GUSSIE: "The worst vice
is advice"?
Did you get that
off a T-shirt, Frank?
I'm sorry. What's wrong?
You and that little punchboard
are what's wrong.
Please, please don't do this.
We've got a party
going on out there.
You may have betrayed me,
but you are not going
to humiliate me.
Gussie, when are you
gonna let it go?
I never said you were
too old for the part.
The studio said you were
too old for the part.
To think I divorced a husband
who worshipped
the ground I walked on
to marry a pitiful excuse
for a man like you.
I've made only one mistake
in my life,
but I've made it
over and over and over.
That was saying yes
when I meant no.
-Forgive me.
-Don't you dare...
All right, you want to know
if it's true? It's true.
But what you would never
understand is she's sensitive.
She cares. She's an inspiration.
She's the raft
that keeps me from drowning.
Pathetic.
After all these years,
I finally have to hand it
to Charley Kringas.
That driven little runt
was always the one smart enough
to read your label.
And I envy Charley Kringas
every day of my life.
[LAUGHS] Hilarious.
This coming from a man
whose work isn't remembered
by the time audiences
reach the parking lot!
I swear, if I could go back
to the beginning,
if I could somehow
be starting over with Charley,
writing shows,
trying to change the world,
I would give
all this up like that.
GUSSIE: Oh, you've lied
to yourself so long,
you probably believe that.
Do you really not see
that I'm ashamed of all this?
That I'm as sick of myself
as you are?
I'm just acting
like it all matters
so people can't see
how much I hate my life
and how much I wish the whole
goddamn thing was over.
I found her running
along the lawn, singing.
-Ah, sorry. Here.
-Now, stand still and let me put
-some iodine on that hand.
-Okay.
My significant other and I
want to say good night.
GUSSIE: Meg!
My husband was just telling me
that you're
the starry-eyed slut
-that keeps him from drowning.
-Gussie, stop it!
GUSSIE: Oh, absolutely,
Frank. I will stop it.
But maybe she won't be
so starry-eyed now.
-[MEG SCREAMING]
-[FRANTIC CHATTER]
GUSSIE: He was sleeping
with her, Dory!
You said we were
finished, Frank!
Well, now we're finished!
[DISTANTLY] You and her and me
and every goddamn thing
is finished!
[BRIGHT MUSIC PLAYING,
FIRST TRANSITION ]
SCOTTY: How did you
get to be here?
GROUP: What was the moment?
How did you get to be here?
BUNKER: Dreams don't die
So keep an eye on your dream
GROUP: Or before you know
Where you are, there you are
Roads may wind
And you may find
What you've left behind
- Is your dream
- Dream
- Tend your dream
- How does it happen?
- Dreams take time
- GROUP II: Once it was
all so clear
Time goes by
How can you get
so far off the track?
Why don't you turn around
and go back?
- TERRY: Bend your dream
- How does it happen?
- Where is the moment?
- With the road
When did the road
behind disappear?
Where did you let things
Slip out of gear?
GROUP: How did you
ever get to be here?
- 1975
- 1974
1973
[SONG ENDS]
[ GOOD THING GOING (GOING GONE)
BY FRANK SINATRA PLAYS]
And that is Frank Sinatra
singing Good Thing Going
from the Broadway and film hit
Musical Husbands.
The composers of that show,
Franklin Shepard
and Charles Kringas,
are in our studio tonight,
and we will be meeting
and talking with them.
But first, the news.
Hal?
[DRAMATIC NEWS THEME PLAYING]
The lead-in story
from tonight's edition
of "News from New York."
Today our nation is at long last
celebrating a ceasefire
in Vietnam,
the tragic death toll there
now having cost
nearly 46,000 American lives.
Judy?
On the local front,
Mayor Abe Beame...
MAKEUP ARTIST: Well,
Mr. Kringas, what do you think?
I think my worst nightmare
has come true.
-I look like Richard Nixon.
-Charley.
-MARY: Oh, Charley!
-No, Mary.
-No, do not speak to me.
-Oh!
This whole goddamn thing
is your fault.
I don't know why,
in Christ's name,
I let you talk me
into this humiliation.
Here is the drink
you ordered, Miss Flynn.
-Ooh.
-Oh, Mary, how thoughtful.
Oh, come on, Charley.
I need a drink.
Yeah, one drink.
What would you like?
A bottle of vodka and a straw.
-Where's Frank?
-Frank?
Probably off signing
to score another movie
or closing a record deal.
I can only tell you
where Frank never is,
and that is with me,
working on our show.
All right, well, when I called
KT to set up this interview,
I made it very clear
that the only thing you two
were here to talk about...
[EXCLAIMS]
was your next show and how long
you both been working on it.
Oh, Mary,
since Frank married Gussie,
the only working he knows
is working the room.
And just where did
he learn that, Charley?
Off on that goddamn yacht
is where.
And, wait, who was it who sent
him off on that goddamn yacht?
-I say to hell with Frank.
-Ugh.
Look, I have started a play
all on my own.
And if Frank doesn't show up
in the next 30 seconds,
me, I am walking
right out that door.
Look, Charley, I know Frank.
If you connect with him again,
if you commit the guy
today, publicly,
I swear, by tomorrow,
you two are gonna be
back together working again.
You got to help
save him, Charley.
-[OLD FRIENDS
(PART 1) PLAYS]
-Hey, old friend
What do you say,
old friend?
- Make it okay, old friend
-[JAUNTY MUSIC PLAYING]
Give the old friendship
a break
Why so grim?
We're going on forever
You, me, him
Too many lives are at stake
Friends this long
Has to mean
something strong
So, if our
old friend's wrong
Shouldn't an old friend
come through?
It's us, old friend
What's to discuss
Old... [GRUNTS] ...friend?
Here's to us
Who's like us?
Damn few
[MARY CHUCKLES]
[PENSIVE MUSIC PLAYING,
LIKE IT WAS ]
Charley
Why can't it be
like it was?
I liked it
the way that it was
Charley, you and me
We were nicer then
We were nice
Kids and cities
and trees were nice
Everything
I don't know
who we are any more
And I'm starting
not to care
Look at us, Charley
Nothing's the way
that it was
I want it
the way that it was
Help me stop
remembering then
Don't you remember?
It was good
It was really good
Help me out, Charley
Make it like it was
Come on. Ugh.
Look, we both know
it was better, Charley,
the three of us.
And you, come on. Mary, we are
not the three of us anymore.
Now we are
one and one and one.
Charley
Nothing's the way
that it was
I want it
the way that it was
God knows,
things were easier then
Trouble is, Charley
That's what everyone does
Blames the way it is
On the way it was
On the way it never
Ever
Was
Jesus, Mary.
After all these years, you're
still in love with the guy?
[CHUCKLING]
[VOICE BREAKING] You got to
help save me, then, Charley.
KT: Charley, Frank,
we are on the commercial break,
and then it's us. Follow me.
-Frank isn't here.
-He isn't here?
Where the hell is Frank?
Frank is here,
and Frank is sorry.
But ever since
Gussie and I got married,
life is this series of meetings,
meetings, meetings.
-Hey, pal!
-Hey, pal. Long time no see.
FRANK: Oh,
and I missed you, buddy.
-Mm.
-And, Mary...
[CHUCKLES] Oh, God, Mary,
you look wonderful.
Lost a little weight?
A hundred and eighty pounds.
He still calls, though.
[FINGERS SNAP]
Please, Frank.
Frank, in the chair.
Charley, you come with me.
GUSSIE: KT, I think...
I think I saw my ex-husband
hovering around outside.
Could you see to it
that nobody's allowed in?
He's become the eternal sponge.
-Got it. Charley, move, please.
-Thank you.
-We got to go!
-Excuse me.
Mrs. Shepard,
I know this is inappropriate,
but I wrote a film script,
Darkness Before Dawn,
that is so perfect for you.
It is inappropriate.
Give it to me.
I have accepted
that if I don't want people
handing me scripts,
then I can never go out.
Frank, did you tell Mary about
closing the three-picture deal?
Uh, no.
But please let me be
the one to tell Charley.
I am waiting to choose
the exact moment.
Oh, God.
I've explained to Frank:
You compose a Broadway show,
you're something in New York,
but you produce a movie,
you're something
all over the world.
Frank, we're up! We got to move.
Oh.
Gussie.
[EXHALES SHARPLY]
Hiya, Gus.
-Oh, Joe.
-JOE: You look great.
[CHUCKLES] You've caught me
in the middle, Joe.
Yeah, I was hoping,
I was, I was... [CHUCKLES]
I was hoping...
I was hoping maybe
you could spare me 100 or so.
GUSSIE: Joe. Joe, I...
God.
You can't keep
doing this to me, Joe.
Now, this...
this is the last time.
I'm lining up backers
for my next play.
Oh.
Excuse me, Joe.
-They're waiting for me.
-Yep.
[SIGHS]
GUSSIE: I'm sorry.
[NEWS THEME PLAYING]
And now our evening's
top news story.
Today the Supreme Court
made its final ruling
legalizing abortion.
The court stated
abortion should be a decision
between a woman
and her physician.
A longtime controversy
now ended.
Judy?
[FRANK SINATRA SINGING
IN BACKGROUND]
For those who have
tuned in late,
we are hearing Frank Sinatra
singing the hit song
by Franklin Shepard
and Charles Kringas,
our next guests
live from New York.
Oh, and, Frank, I cannot
thank you enough for this favor.
"Favor"? After what you did
for me during my divorce?
That's why we're here.
-Oh, and how's your son?
-Want to see a picture?
No, but do that on air,
and I'll coo, and I'll tear,
and I'll carry on
like a mad thing.
-[CHUCKLES]
-People love cheap sentiment.
And I understand
congratulations are in order.
I hear you just signed
a three-picture deal
to produce movies.
-Where'd you hear that?
-KT: Now, don't worry.
I understand I'm not supposed
to bring it up on the air.
I think you weren't supposed
to bring it up in front of me.
Oh? Oh.
Charley, I was waiting for
the exact moment to tell you.
But, see, it doesn't
change our plan.
It's only two or three
months at a time.
Frank, it is always
two or three months at a time.
I haven't even signed
the contract yet.
Do you know
how long I have sat
and waited for you
to finish this project?
Hold it for one second, guys,
will you? We're just about on.
Charley, I have
a son to support.
I have an ex-wife draining me.
What happens if we finish
this show, we get it on,
and they say it's no good?
Frank, I have four kids
to support.
I don't give a rat's ass
what they say.
If I say it's good,
if you say it's good...
-[BELL RINGS]
-Okay, fellas,
we're just about to start.
He only knows it's good
if it makes a fucking fortune.
Hi! We're back.
And welcome to "Today
in New York's Celebrity Spot."
Here next to me, we have two
brilliantly talented people.
The gentleman on my right is...
Oh, uh, Franklin Shepard.
-I almost forgot.
-[CHUCKLES] And?
And he is. Why would he lie?
And I have no idea who I am.
This is my great friend
and even greater collaborator,
Charley Kringas.
They are the songwriters
for Musical Husbands,
both the show and the movie.
They also wrote Sweet Sorrow.
And their newest collaboration
will be called Take a Left.
But more about that later.
Apparently much later.
And you recently married
the star of those shows,
Gussie Carnegie.
-Did you not?
-Yes, that's correct.
And I'm married to Evelyn.
Now, all of Broadway says
that you two are the next
Rodgers and Hammerstein,
Lerner and Loewe.
-Irving and Berlin.
-[CHUCKLING]
Let's start at the beginning.
You're both from Chicago.
You both went to the same
school and the same college?
Uh, nope. Me, Columbia.
Him, Juilliard.
So, your entire lives you've
been very, very close friends.
Until today.
FRANK: Like all partners,
we have had fights
and other commitments,
but the magic is only there
when it's me and Charley.
Charley and me.
I love it.
Now, how do you two
work together?
Oh. May I answer that?
Please.
How do we work together?
Sure.
Well, he goes...
[LIGHT PIANO RIFF PLAYS]
And I go...
[TYPEWRITER CLICKING MUSICALLY]
-And soon we're
-[ FRANKLIN SHEPARD, INC.
PLAYING]
- Humming along
-[UPBEAT MUSIC PLAYING]
Hmm-mm-hmm
And that's called
writing a song
Hmm-mm-hmm
- Then he goes
- [LIGHT PIANO RIFF PLAYS]
And I go
[TYPEWRITER CLICKING MUSICALLY]
And the phone goes,
"Drrrrring!"
And he goes, mutter, mutter,
mutter, mutter
"Yes, Jerome,"
mutter, "No, Jerome"
Mutter, mutter,
mutter, mutter
That's his lawyer, Jerome
Mutter, mutter, mutter,
mutter, mutter
"Do it, Jerome"
Click, "Sorry, Charley"
[LIGHT PIANO RIFF PLAYS]
So I go
[TYPEWRITER CLICKING MUSICALLY]
And he goes
-[LIGHT PIANO RIFF PLAYS]
-[SIGHS]
And I go
[TYPEWRITER CLICKING MUSICALLY]
And soon we're tapping away
Hmm-mm-hmm
"Bzz!" "Sorry, Charley"
"Bzz!"
It's the secretary, "Bzz!"
On the intercom,
"Yes, Ms. Bzz"
"It's a messenger"
"Thanks, Ms. Bzz
Will you tell him to wait?
"Will you order the car?
Will you call up the bank?
"Will you wire the coast?
Will you..."'Drrrrring!'"
"Sorry, Charley"
Mutter, mutter,
mutter, mutter
"Sell the stock," mutter
"Buy the rights"
Mutter, mutter, mutter,
mutter, mutter
"Bzz!" "Let me put you
on hold"
"Bzz!" "Yes, Ms. Bzz"
"It's the interview"
"Thanks, Ms. Bzz
Will you tell him to wait?
"Will you wire the car?
Will you order the coast?
"Will you send up
the bank?"
And the telephones blink
And the stocks get sold
And the rest of us
he keeps on hold
And he's into making movies
And he's now
a corporation, right
So I play at home
With my wife and kids
And I wait to hear
the movie bids
And I've got
a little sailboat
And I'm into
meditation, right
He flies off to California
I discuss him
with my shrink
That's the story
of the way we work
Me and
Franklin Shepard, Inc.
-[MUSIC STOPS]
-I am beginning to enjoy this.
I promise to be honest if you
promise to handle the lawsuit.
Now, Frank,
when you do work together,
I have always been curious,
which generally comes first,
the words or the music?
-Generally, the contract.
-Oh.
That sounds like
you think making money
is a bad thing for an artist.
Sorry, money?
[LIGHT PIANO RIFF PLAYS]
Did I say "money"?
[ELECTRONIC RIFF PLAYS]
No, I like
Money a lot, hmm-mm-hmm
I mean,
it's better than not
Hmm-mm-hmm
But when it's
[GRUNTING AGGRESSIVELY]
Money. Money.
When you're into...
[GRUNTING AGGRESSIVELY]
Money...
And you should be...
[LIGHT PIANO RIFF PLAYS]
Listen.
Frank does the money thing
very well.
But you know what?
Other people do it better.
Yeah, and Frank does
the music thing very well.
And you know what?
No one does it better.
Still, the telephones blink
And the buzzers buzz
And I really don't know
what he does
But he makes a ton of money
And a lot of it for me
Right, so I think, "Okay"
And I start a play
But he somehow knows,
'Cause right away
It's, "Drrrrring!"
"Hiya, buddy
"Want to write a show?
I got a great idea
"We'll own all the rights
With a two-week out
"And a turnaround
on the guarantee
"Plus a gross percent
of the billing clause"
And there I am
in California
Talking deals
and turning pink
Back in business,
and I mean just that
Back with
Franklin Shepard, Inc.
Very sneaky how it happens
Much more sneaky
than you think
You start with nothing
but a song to sing
And next,
you're Franklin Shepard...
Wait a second, wait one second.
I am getting in too deep here.
Franklin, let me ask you...
You see, Frank and I
are not that kind of close.
-Not like we used to be.
-Now, Frank...
And friendship
is like a garden.
You have to water it
and tend it and care about it.
And you know what? I miss it.
And I want it back.
-Look.
-[PENSIVE MUSIC PLAYING]
Nothing permanent
has happened
It's just a temporary kink
Friendship's something
You don't really lose
Ladies and gentlemen,
don't let me lose
the greatest composer
any lyricist has ever had.
Phone him. Write him.
Stop him on the street.
You will recognize him.
He's the one going
through his checkbook.
And tell that man
to get back to his piano.
Very sneaky how it happens
Every day,
you're on the brink
First the prizes,
then the interviews
- Oh, my God
-[UPBEAT MUSIC PLAYING]
I think it's happened
Stop me quick
before I sink
One more triumph
that I can't refuse
In case you didn't notice,
this is my first time on TV
and my last! No!
Here's the point,
whatever happens
Then we'll all go
have a drink
That's the guy I love
The fella who's inside
Mutter, mutter,
mutter, mutter
"Quick, Jerome,
get the president
"There's a crazy man
on my TV screen"
Inside
"Bzz, bzz!" "Drrrrring!"
Inside Franklin Shepard
Just write him,
care of Any Bank, USA.
Inc.
-[SONG ENDS]
-[AUDIENCE CHEERING]
Now let's take
a commercial break.
Oh, thanks, guys.
Jesus Christ!
That was a real slaughter,
Charley. Congratulations.
-Frank, I...
-I think you said enough.
I know for years
you've been attacking me
and constantly putting me
in the position
of having to defend myself,
but that...
See, I don't know why anyone
would want to so humiliate
and betray the guy
who is his oldest friend
in the world like that,
but I do know
you're never gonna
have the opportunity
to do it again.
You're goddamn
out of my life, Charley.
No, Frank, I'm sorry. I...
You're sorry
after you publicly mock
and ridicule and belittle me,
when, man, I swear I would
lay down my life for you.
-I know. If you let me...
-Shut up!
Charley, all these years,
I've loved you
no matter what you did,
but I guess because
I don't live my life like you
or the way you'd like me to,
you had to shoot me down
and watch me bleed.
Well, I like my life, Charley.
So you can just
get the hell out of it!
Hey, guys, now, what do you say
the three of us, we just...
we go for a humongous drink
and we talk, okay?
-I mean, we need to talk.
-GUSSIE: Oh, Frank.
-Frank, are you all right?
-Frank, can we go talk?
You know, in some cultures, when
someone does something cruel
or evil or betrays them,
they never see him again.
They simply never see him.
They never talk to him
or look at him
or acknowledge him in any way.
For them, he is dead,
absolutely and irrevocably dead.
-Can I just explain...
-Frank!
...what all that came out of?
[FOOTSTEPS DEPARTING]
[BRIGHT MUSIC PLAYING,
SECOND TRANSITION ]
Some roads are soft
and some are bumpy
Some roads you really fly
Some rides are rough
And leave you jumpy
Why make it tough
by getting grumpy?
Plenty of roads to try
- 1972
- MEG: 1971
- Some roads are soft
- One trip
- And some are bumpy
- All you get
- Some roads you really fly
- Is one quick ride
Look around a bit
- Some rides are rough
- One quick ride
And leave you jumpy
- Through the countryside
- Why make it tough
- By getting grumpy?
- Stay on the track
Plenty of roads to try
1970
Some roads you really fly
1969
How does it start to go?
Does it slip away slow
So you never even notice
It's happening?
- 1968
-[SONG ENDS]
What? You say she's not there?
Well, do you know
when she's expected back?
-[DOORBELL BUZZES]
-It's open!
Sorry. You don't expect
her back until when?
Until after the theater?
No, no message.
Wait, yes, actually. Will you
tell her that Franklin...
Ta-da!
Frankie!
Oh, my God, Frankie!
I don't believe my eyes!
Oh, did your daddy miss you!
And look how big you got, huh!
Daddy, we saw your boat,
but we didn't see you.
-No?
-MARY AND CHARLEY: Ta-da!
-FRANK: Wha...?
-[LAUGHING]
What is really amazing
is we're not all still waiting
-at that dock to surprise you.
-[LAUGHING]
God, was our face red.
Well, first class
doesn't get off at the dock!
We have this big ramp
at the prow
and a captain who leads you
right into your limousine.
Right, of course. Silly us.
Mary, you should
have known that.
[FRANK GRUNTS EXCITEDLY]
He got Beth to send
Frankie from Houston.
Daddy, I have 32 postcards
all over my wall.
My favorite are the alligator
and the Panama Canal.
[LAUGHING]
CHARLEY: Wow, look at that.
He brought Frankie
an alligator back with him.
What a nice little...
Oh, God, Frankie!
Frankie, you have to help me!
-Oh, God!
-[LAUGHTER]
[SIGHS] Thanks, Uncle Charley.
That's bound to give
someone here real nice dreams.
All right, start with the trip,
and then I want a Sherpa guide
to show me this
gargantuan apartment.
FRANKIE: Well, I owe it all
to you guys for making me go.
I didn't do anything
that wasn't rich.
Rich living, rich food,
rich people.
Well, poor Evelyn, my poor wife,
who never comes in
from our poor house
in the poor country, poor thing,
is dropping off our four poor
children with her poor mother.
Got it, Charley.
Where they are
expecting Frankie.
And then Evelyn is meeting
the three of us at...
Wait. Wait, wait,
wait, wait, wait.
Where? Where?
-You're never gonna guess where.
-[MOUTHING] Downtown Club.
-The Downtown Club.
-Charley.
-[CHARLEY MUTTERS]
-Now, let me think.
A smoky, dingy
Greenwich Village dive
or the homecoming party
at the Colony Club?
Hmm, what a choice.
Oh, Frank, I'm so sorry.
You must give us a list
of what's in and what's out.
You know how important
all of that is to me.
Ah! Wait.
Wait, wait, wait.
Presents.
I forgot... presents.
This is for Aunt Mary.
[GASPS] Ooh, thank you.
And this is for Uncle Charley.
MARY: [CHUCKLES] Well...
[FEET THUDDING]
Son, about 40 of yours
are right now up in the air
between Gibraltar and Texas,
but trust me, they are
absolutely worth the wait.
It's my book in Spanish.
I bought it
in Valparaiso, Chile,
where there it was
in all these store windows.
CHARLEY: Oh, Mary, tell Frank
the story of how success
has affected you.
Okay, I'll start.
-Mary has joined the enemy.
-[CHUCKLES]
-Charley.
-Frankie, tell Aunt Mary,
how many kids in your class say,
"When I grow up,
I want to be a drama critic"?
Oh, Charley, just shut your
mouth and open your present.
I did.
What is it?
-What is it?
-It's an option agreement.
We have been offered
a small fortune
to do a movie version
of Musical Husbands!
Oh, my God!
-That is unbelievable! [LAUGHS]
-Frankie. Frankie, come here.
So, take this over to Daddy
and say very clearly,
"There isn't enough money
in the universe."
You're welcome, Charley.
I appreciate the gratitude.
Thanks very much.
There isn't enough money
in the universe.
MARY: [LAUGHS] Oh, boy.
Frankie, um, what do you say
the two of us go,
and we'll explore
this monster apartment?
FRANK JR.: I'm tired.
Well, of course you are, tiger.
It's been a long day.
Yeah, you know, we can have
a lie-down upstairs.
-Good night, Daddy.
-[LAUGHS] Good night.
MARY: Aw. All right, come on.
Let's see what we can
find you up there.
What do you think they have?
Charley, I'm 31 years old.
Beth wiped me out
with the divorce.
I have a son to consider.
So forgive me, Charley,
if I happen to need money.
So let's us do the work,
and the money will come.
Frank, we cannot keep
making our stuff
-the other thing we do.
-Shh. Guys, not now.
Why do I have to be poor
to write music?
Because once you're rich,
you never will.
Charley, I am telling you,
we can make a statement
with this movie.
Nurse, doctor, guard,
attendant, matron,
-anybody else.
-Trust me.
-You trust me.
-Charley, listen!
Frank, you listen.
You listening?
No. No, no, never, ever. No.
Hey!
[ OLD FRIENDS (PART 2) PLAYS]
Here's to us
Who's like us?
Damn few
[PENSIVE MUSIC PLAYING]
Hey, old friend
Are you okay, old friend?
What do you say,
old friend?
Are we or are we unique?
Time goes by
Everything else
keeps changing
You and I
We get continued next week
Most friends fade
Or they don't make
the grade
New ones are quickly made
And in a pinch, sure,
they'll do
But us, old friend
What's to discuss,
old friend?
Here's to us
Who's like us?
Damn few
[JAUNTY MUSIC PLAYING]
So, old friend
Fill me in slow, old friend
Start from hello,
old friend
I want the when,
where and how
Old friends
Do tend to become old habit
Never knew
How much
I missed you till now
BOTH: Most friends fade
Or they don't make the grade
New ones are quickly made
Some of them
worth something, too
ALL: But us, old friends
What's to discuss,
old friends?
- Tell you something
-Huh.
Good friends
point out your lies
Whereas old friends
live and let live
Good friends
like and advise
Whereas old friends
love and forgive
FRANK: And old friends
Let you go your own way
Help you find your own way
Let you off
when you're wrong
- If you're wrong
- When you're wrong
Right or wrong,
The point is, old friends
Shouldn't care
if you're wrong
Should but not for too long
- What's too long?
- If you're wrong
- When you're wrong
- The thing is, old friends
Do leave
their brands on you
But old friends
shouldn't compete
Old friends don't make
demands on you
Should make demands on you
Well, don't make demands
You can't meet
Well, what's the point
Of demands you can meet?
Well, there's a time
For demands whether you...
-No, you are never wrong!
-If you were right, I would
-be the first one to admit it!
-[CLAMORING]
There is only your way
and the wrong way!
[SCREAMS]
ALL: Hey, old friends
How do we stay old friends?
Who is to say, old friends
How an old friendship
survives?
One day chums having
a laugh a minute
One day comes
And they're
a part of your lives
New friends pour
Through the revolving door
Maybe there's
one that's more
Stop.
If you find one that'll do
But us, old friends
What's to discuss,
old friends?
Here's to us
Who's like us?
Two old friends
Fewer won't do, old friends
Got to have two old friends
Helping you balance along
One upbraids you
For your faults and fancies
One persuades you
That the other one's wrong
Most friends fade
Or they don't make
Shit.
The grade
New ones are quickly made
Perfect as long
as they're new
But us, old friends
What's to discuss,
old friends?
Here's to us
- Who's like us?
-[CLEARS THROAT]
-Ah, okay.
-[ALL LAUGH]
Whoo!
[HARMONIZING] Damn few
-[SONG ENDS]
-[AUDIENCE CHEERING]
Ah!
[EXCITED CHATTER]
Oh, anguish!
I hate it when
I've missed everything.
The wife here,
she misses nothing.
Well, I had no idea
the gang would be dropping in.
My understudy's been going on
for the last few weeks,
and Joe insisted,
as a courtesy, I must see her.
But first, I insisted Joe
must see Frank's new apartment.
Have you ever seen
that disaster he was living in?
I decorated it.
I am calling
the surgeon general tomorrow
to have him cut out my tongue!
Oh, ho, promises, promises.
Look, Joe, it's Charles.
[GASPS] Now we can call
the night a success.
[CHUCKLES] Hey, Gussie.
Um, I didn't hear a doorbell.
Oh, I bet that's because
I didn't ring one. [SCOFFS]
I never do
when I have keys.
I'm decorating this pad.
The price was right.
-Free.
-[CHUCKLES]
Here, I picture
all of the furniture in here,
the hues of anemones,
a chair...
a chair, a footstool...
and a sofa.
Oh, I should have
a brain transplant.
I forgot we bought this teeny,
tiny housewarming nothing,
some awesomely
expensive champagne.
-[IMITATES CORK POPPING]
-I'll open it.
"Do." All right, I will.
Ugh, I'm gonna go
check outside.
Always good to see you, Joe.
And your wife.
Joe, precious, there are glasses
in the kitchen,
and it's Frank's house,
so he can do the honors.
Oh. [CHUCKLES]
-Mushi-mushi, darling.
-I... I... I...
-We have a curtain to make.
-Oh. [CHUCKLES]
Home one day, and already
she's ordering me around.
-GUSSIE: St--
-[LAUGHING]
How nice to see the old gang.
[CHUCKLES]
Can they see us?
FRANK: Yes.
GUSSIE: I didn't even unpack.
I've made up my mind.
I'm leaving Joe.
-He'll be destroyed.
-Or I will be.
I'll call you when I arrive
at the theater.
-I'm supposed to go out.
-Please.
Please, you've got
to wait for my call.
-Gussie.
-I'm desperate.
I'll wait for your call.
Consider yourself kissed.
JOE: You got this guy everything
anybody could ever want
in a kitchen except for glasses.
FRANK: Here, I'll get them.
They're still packed.
Ugh, eek, look at me.
Oh, that means don't.
I'm going to the little
boys' room to repair.
JOE: That's real
first-class champagne.
Oh, I don't drink.
What? Never?
Mmm, hardly ever.
No, I'm a very
excessive personality.
[CHUCKLES]
You know,
it's too much caffeine,
too much cigarettes,
too much food.
Too much Frank.
Is Frank the only person
in the world
who doesn't know
you're in love with him?
And how many people know
about those two? Oh.
Uh, I mean, I'm sure
there must be one or two...
[JOE CHUCKLES]
...who don't.
I have decided not to know.
She is now
Broadway's hottest star.
And the guy,
he's hot, too, obviously,
in more than one sense.
[CHUCKLES]
I say, let them
get it out of their systems.
As long as, please, God,
she don't leave me.
[POURS DRINK]
MARY: Well, uh... [CHUCKLES]
I think Frank's being on a boat
for the last eight months
has put an end to it.
Gussie flew over and joined
the cruise, you know.
-What?
-Yeah. [CHUCKLES]
We had no idea
Gussie was on the cruise.
JOE: Mm-hmm.
It will never cease to amaze me
how everyone in this town
knows everything I do.
It was only
for the last two weeks.
FRANK: Okay.
Pretend these
are champagne glasses.
GUSSIE: You've got yours.
Now, Charles...
-Oh, just one, Joe.
-Yeah, yeah, yeah.
Mary.
No.
-Thank you.
-GUSSIE: Oh.
Oh, that's right.
You never do.
-Well, more for us.
-[GUSSIE AND JOE CHUCKLE]
To our genius.
Thank you. Thank you.
It's always nice
-to be appreciated.
-Yes.
Okay, Gus, curtain, curtain!
We got a curtain.
Oh, pooh.
But one minute late,
God, every column.
[CHUCKLES] And Frank,
we will see you after.
Oh, uh, Frank's coming with us.
-Oh?
-Actually, what I should do
is stay here and look
after Frankie.
-Frankie's here.
-You're kidding, aren't you?
Oh, now, Mary,
let's all let Franklin
get himself settled in.
Good night,
Mr. All-Work-And-No-Play.
And everybody's favorite,
Charley.
CHARLEY: Hmm.
Don't you guys
stay strangers now.
CHARLEY: Good night, Joe.
MARY: Bye.
JOE: Yep.
-So you're really not coming?
-FRANK: I can't leave.
-[LAUGHING]
-Not right now, Mary.
-Frank...
-Just accept that, will you?
Please.
-Here's to us.
-FRANK: Mary.
MARY: [VOICE BREAKING]
Come on, Charley.
Let's go have ourselves
one hell of a time.
CHARLEY:
I'll be down in a minute.
-[DOOR CLOSES]
-Get rid of Gussie, Frank.
Gussie's none of
your business, Charley.
But you are.
Get rid of this
whole pathetic life.
Charley, I love success, okay?
I love having
two out of two shows hit,
moving up in the world.
[SIGHS]
Sorry, I need
some time to think.
CHARLEY: Okay, well,
begin by thinking about
joining Mary and me tonight.
Frank, there is something going
on with Mary right now, okay?
She hasn't written a word
since her book took off.
She needs us. Frank,
she needs both of us.
I made a promise
I would wait for a phone call.
I have to. I promised.
Wait for her call and get
out of it, once and for all.
Drop Frankie at ours and meet us
at the Downtown Club.
I'll be there. Come here.
You know I love you.
I love you.
I missed you.
I missed you.
And I just want us to get back
working together.
Look, get out of here before
the both of us start wailing.
[DOOR OPENS, CLOSES]
[SIGHS]
[SIGHS]
[PLAYS LIGHT PIANO RIFF]
[PLAYS LIGHT PIANO RIFF]
[PLAYING GENTLE MUSIC]
[GENTLE MUSIC CONTINUES]
Bum, bum, bum, bum
[GENTLE MUSIC PLAYING,
GROWING UP ]
[HUMMING TO MUSIC]
Thanks, old friends
[HUMMING]
Keep reminding me
Frank's old friends
Always seem to come through
Frank will, too
- So, old friends
-[ORCHESTRA JOINS IN]
Now it's time
to start growing up
Taking charge
Seeing things as they are
Facing facts
Not escaping them
Still with dreams,
just reshaping them
Growing up
Charley is a hothead
Charley won't budge
Charley is a friend
Charley is a screamer
Charley won't bend
Charley's in your corner
Mary is a dreamer,
Mary's a friend
Mary is a nudge
Mary is a purist
Charley's a judge
Charley is a dropout
Everything's a cop-out
Why is it old friends
Don't want old friends
To change?
Every road has a turning
That's the way
you keep learning
So, old friends
Don't you see
we can have it all?
Moving on
Getting out of the past
Solving dreams
Not just trusting them
Taking dreams,
readjusting them
Growing up
Growing up
Trying things
Being flexible
Bending with the road
Adding dreams
When the others don't last
Growing up
Understanding that growing
never ends
Like old dreams
Some old dreams
Like old friends
[HUMMING]
[MUSIC ENDS]
Don't stop.
I thought you were
going to call.
I said I had a headache and had
the car bring me back here.
I have plans, Gussie.
I'm going to meet
Mary and Charley.
And there's something
I have to say to you.
-I think that it's...
-Frank!
I did it.
I had the driver
take my things to a hotel.
Gussie, don't.
No, you can't do that.
We've already
destroyed one marriage.
I could never live
with you leaving Joe for me.
-I'm leaving him for me.
-FRANK: But why?
Why suddenly? Why tonight?
I saw tonight I could lose you.
My friends are waiting.
Your friends will be there
for you tomorrow.
[PENSIVE MUSIC PLAYING]
I need you tonight.
Life is knowing
What you want
Darling
That's the only thing
To know
As I told you moons ago
Darling
Nothing wrong with wanting
Nothing wrong
with wanting me
Darling
Also, nothing wrong with
Not
Though it's only fair
That you should be aware
That I want you a lot
Growing up
Means admitting
The things you want the most
Can't pursue
Every possible line
Letting go
Making choices
Ignoring all other voices
Including mine
You're divine
You decide on what you want
Darling
Not on what you think
You should
Not on what
you want to want
Darling
Not from force of habit
Once it's clearly
understood
Darling
Better go and grab it
Things can slip away
for good
Darling
What is it you really
Hmm?
[LIGHT MUSIC PLAYING,
THIRD TRANSITION ]
-Yesterday is done
- Yesterday is done
See the pretty countryside
See the pretty countryside
Merrily we roll along,
roll along
Gathering dreams
MEN: Traveling's the fun
WOMEN: Traveling's the fun
Flashing by the countryside
Flashing by the countryside
ALL: Everybody
merrily, merrily
Following dreams
Rolling along
Rolling along
Rolling along
Rolling a...
[GAVEL BANGING]
JUDGE: In the case
of Shepard v. Shepard,
after serious consideration,
I have made a decision
to close this courtroom
to both the press
and the public.
After a one-hour recess, we will
reconvene behind closed doors
with the next
subpoenaed witness.
-[CAMERA CLICKS]
-This court is now adjourned.
-[GAVEL BANGING]
-PHOTOGRAPHER: Hey!
You missed the star going in.
Stay close. We'll try
to grab her coming out.
I left as soon as
the peace march broke.
-What do you got?
-Composer's wife,
who wants every last cent,
plus the kid.
This cat's gonna be lucky if
they let him keep his clothes.
I thought you got something hot.
After the judge
reads the deposition
from the star witness
and suddenly closes
the courtroom to the public,
trust me, I got something hot.
[CHUCKLES]
You're a big star.
You got to know better.
It's an innocent
little friendship
that's been blown
totally out of proportion.
KT: Hold it. Miss Carnegie,
why were you subpoenaed?
Financial records,
percentage chazerei.
Miss Carnegie, how are you two
involved in this scandal?
-We are not involved.
-And it is not a scandal.
We have no comment.
Can you tell us why you were
subpoenaed to testify today?
The wife and me?
We are Mr. Shepard's
best friends, I guess, is why.
Do you not understand
that we have no comment?
-[SCOFFS]
-Excuse me. I'm sorry.
-[REPORTERS CLAMORING]
-I'm very sorry.
And the public knows
"no comment"
means guilty as hell.
Do you have any statement
for the press, Counselor?
I have no statement.
Stay with me.
KT: I understand
that Gussie Carnegie
is scheduled to testify
this afternoon
-in a closed courtroom.
-That's what we understand.
-Why?
-We have no idea.
Maybe Mr. Shepard can explain.
Isn't Mr. Shepard coming out?
Mr. Shepard just left
by a side exit.
PHOTOGRAPHER:
I know that exit! Come on!
Go get him, Charley.
Frank, Frank, this has
gone on long enough.
Yeah, we all think
you should just
get out of this
any way you can.
-Give Beth whatever she wants.
-Charley, she wants everything.
JEROME: I warned you
in the beginning, Frank.
Settle for whatever, but settle.
A woman charging abandonment
of a wife and child, come on!
Beth wants to move
back to Houston with my son,
and I will never
allow that, never.
You know what they're planning
to do today, Frank.
With Beth sitting there,
with your kid on her lap.
MARY: Just stop it now,
Frank. Walk away.
-Take a trip.
-Save yourself all this pain.
-I cannot just lose my family.
-Frank, I've taken that yacht.
Come on the cruise.
Get away. Get some rest.
Yeah, and when you come back,
you can stay with me.
Just go, Frank.
We all want you out of this.
-Just get away.
-I can't live without my son.
Beth.
-Beth!
-FRANK JR.: Daddy!
I am not gonna give up, Jerome.
-Daddy, wait for me.
-Don't be a fool, Elizabeth.
I said wait.
Honey, Mommy will be
right back, okay?
You go with Grandpa.
-Daddy!
-Your mother would
-turn over in her grave.
-Daddy!
Daddy! I want to see my daddy!
-I want you to give up, Frank.
-FRANK: Never.
You're not gonna like
what you hear this afternoon.
It's not life without my son.
I am not out
to hurt you, Frank,
but I will hurt you
if I have to.
[PENSIVE MUSIC PLAYING,
NOT A DAY GOES BY ]
How is Frankie?
How do you think
he is, Frank?
I keep thinking,
"I could have stopped it."
I was warned about Gussie.
I could have stopped it.
Do you still love me?
Did you sleep with her,
Frank?
Do you still love me?
Not a day goes by
Not a single day
But you're somewhere
a part of my life
And it looks like
you'll stay
As the days go by
I keep thinking
When does it end?
Where's the day
I'll have started forgetting?
But I just go on thinking
and sweating
And cursing and crying
And turning and reaching
And waking and dying
[VOICE CRACKS] And, no
Not a day goes by
Not a blessed day
But you're still somehow
Part of my life
And you won't go away
So there's hell to pay
And until I die
[CRYING]
I'll die day after day
After day after day
After day after day
after day
Till the days go by
Till the days go by
Till the days go by
[SOBBING]
Did you sleep with Gussie?
[SONG ENDS]
I love you, Beth.
[SOBBING SOFTLY]
Did you want that life so much
that you went with her?
I will always love you.
But did you?
Yes.
[SOBBING SOFTLY]
-Frank, I want us to...
-Daddy, Daddy, Daddy!
Frankie, you're to stay
with Grandpa.
He's my child, too.
Get out of here!
Franklin, I can't!
I can't live like this, Frank!
-I can't!
-For God's sakes, wait!
Are you satisfied?
It's my job, man.
-Then go find a decent one, man!
-MARY: Careful!
-Whoa, whoa!
-Come on, Frank!
CHARLEY: Break it up, Frank!
MARY: Stop it!
-Stop this. Stop.
-[SOBBING]
I'll kill these photos, genius,
but you owe me one.
Right?
[SOBBING CONTINUES]
MARY: Frank, we want you
to just get away.
Hold me, Mary.
All I want to do is get back
to work! I have to work!
No, you're in no shape
to write, pal.
Look, just go off
with Tyler for a while.
I don't want to go away!
I am your agent,
and I'm telling you,
-now is not the time to work.
-I love you, Frank.
[STUTTERING] And Charley
loves you, all right?
You just listen to us.
[LIGHT MUSIC PLAYING,
NOW YOU KNOW ]
Living well is the best revenge.
So you made a mistake
So you're singing the blues
So you'll take some time
Go visit some places
You gotta be somewhere
Where there's nothing
to remind you
Right?
What you need is a break
I'll arrange a nice cruise
You'll relax a bit
And see some new faces
You gotta do something
Only never look behind you
GROUP: Right?
Best thing that ever
Could have happened
Right.
So you'll sit in the sun
You'll come back with a tan
Then we'll do that show
You've always been talking
The side is retired
So we start another inning
Right?
On a boat is such fun
You'll come back
a changed man
I've had lots of guests
And no one's squawking
Feels like an ending
But it's really a beginning
CHARLEY AND MARY: Right?
SCOTTY: Best thing
That ever could have happened
Best thing that ever
Could have happened
- I say, best thing...
-[OVERLAPPING SINGING]
It was all getting
much too complicated
-Right!
-[SINGING STOPS]
All right.
-[JAZZY MUSIC PLAYING]
-Now you know
life is crummy
Well, now you know
I mean, big surprise
People love you
and tell you lies
Bricks can tumble
From clear blue skies
Put your dimple down,
now you know
Okay, there you go
That's the sum of it
Now you know
It's called flowers wilt
It's called apples rot
It's called thieves get rich
And saints get shot
It's called God don't
Answer prayers a lot
Okay, now you know
Okay, now you know
Now forget it
Don't fall apart at the seams
It's called letting go
your illusions
And don't confuse them
with dreams
If the going's slow
Don't regret it and don't
let's go to extremes
It's called
what's your choice
It's called count to ten
It's called burn your bridges
Start again
You should burn them
Every now and then
Or you'll never grow
Because now you grow
That's the killer
Is now you grow
You're right,
nothing's fair
And it's all a plot
And tomorrow
doesn't look too hot
Right?
You better look
at what you got
Over here
Hello?
Okay, now you know
Right?
GROUP: So you find a new gal
So you write a new play
In a month or two
You're going to thank us
You may have
missed one road
But there's plenty more
to follow
Right?
We'll go through the canal
Up the coast to L.A.
You'll come see the place
I'm building at Trancas
Hang around here, pal
And you're only gonna wallow
Right?
Best thing
that ever could have
I mean, you'll come back
I mean, what's the fuss?
I mean, sea and sun
and comfort plus
Happened
I mean, after all,
you still got us
GROUP: Best thing
That ever could have happened
It was all getting
Much too complicated
Best thing that ever
Could have happened
Right, you gotta let go
Gotta do it from scratch
Take a long, deep breath
Go back to your sources
A little vacation
Which is all about forgetting
-Right? Right!
-GROUP: Right.
Then we'll do a new show
No, we'll do a whole batch
Maybe one that's all
about divorces
I mean, a divorce court
What a fascinating setting,
right?
GROUP: Right.
FRANK: Right.
GROUP I: Best thing that ever
Could have happened
GROUP II: Yesterday is done
GROUP I: Best thing that
Ever could have happened
GROUP II:
See the pretty countryside
GROUP III:
So you'll sit in the sun
You'll come back with a tan
GROUP II: Soon enough
you're merrily, merrily
- Rolling along
-CHORUS: It's your time,
your time
GROUP II: Rolling along
CHORUS: It's your time
[EXCITED CHATTER]
What's your choice?
It's called count to ten
It's called burn your bridges
Start again
You should burn them
Every now and then
- Or you'll never grow
-[IMPERCEPTIBLE]
Because now you grow,
life's a killer
So now you grow
MARY: You're right
Nothing's fair
And it's all a plot
And tomorrow
doesn't look too hot
CHORUS: Right.
You better look
at what you got
CHORUS: Over here, hello?
GROUP I: Hello?
GROUP II: Hello?
GROUP I: Over here, hello
GROUP II: Now you know it
GROUP I: It's here,
hello, hello
GROUP II: Now you know it
GROUP I: It's here,
hello, hello
GROUP II: Now you know it
GROUP I: It's here,
hello, hello
GROUP II: Now you know it
-Right!
-Right!
-Write!
-Right!
-Right! Right! Right! Right!
-Right! Right! Right! Right!
-I love you, Frank!
-[INCOHERENT YELLING]
CHORUS: Now you know!
-[SONG ENDS]
-[AUDIENCE CHEERING]
[SULTRY MUSIC PLAYING,
GUSSIE'S OPENING NUMBER ]
He's only a boy
Why do I think he loves me?
Maybe he loves
what I can do for him
Maybe he thinks that
I'll come through for him
Maybe the moon is cheese
And yet maybe
Maybe
Something real
is happening here
But, baby
You're a baby
And the man I'm married to
Needs me near
Ha!
Okay
The moon is cheese
And I love the guy
I shouldn't
And I don't
the one I should
Ah, but love is blind
And I go for the kind
That I finally find
Is no good
- Ah
-BACKUP SINGERS: Is no good
And as we're going along
And as we're going along
You take for granted
Some love will wear away
We took for granted a lot
But still I say
We could have
kept on growing
Growing, bop
Instead of just kept on
BACKUP SINGERS:
Kept on growing
On
-We had a good thing
-BACKUP SINGERS:
Ba, ba-da
-going
-ba-da
BACKUP SINGERS: Going
- Going
- BACKUP SINGERS: Gone
-[BACKUP SINGERS SCATTING]
- Gone
BACKUP SINGERS: Going
BACKUP SINGERS: Gone
-[SONG ENDS]
-[AUDIENCE CHEERING]
Just in time,
but we got to go fast.
We're gonna make it
just in time for the ending!
[WHIMPERING]
-Shh!
-Shush!
You got an opening night inside,
or did you forget?
We're sorry, we're very sorry,
but something amazing happened.
Ah, I'll say amazing.
When, suddenly,
right before the 11:00 number,
the whole pack of you
jumps right out of your seats,
turns and runs straight up the
center aisle, like a bunch of...
-like a bunch of meshuggeners.
-Yes.
It... It was Evelyn.
Suddenly, just like that,
she went into labor.
And being Evelyn,
she didn't tell us
until her pains were
only five minutes apart.
We just a second ago
got her into a cab.
What in the hell
are you doing here?
No, my wife would not
let me into the cab.
Evelyn refused to let Charley
miss our first opening night.
She even brought a tape recorder
to record the applause.
[CHUCKLES] From your mouth
to God's ear.
At the very second
the applause is over,
Charley,
I have that cab waiting.
We are gonna fly
to the hospital in record time.
-I promise.
-Shh.
They're quiet.
Very quiet.
When an audience
is quiet like that,
it means that they are
really concentrating.
"Shut up, Mary."
We should go back in
for the closing.
[STAMMERS]
I didn't mean "the closing."
BETH: Okay, Mama,
now, the cab there
with the meter running
is for Charley,
so you and Daddy take
the one right behind it.
And I will see you very soon,
little bit, and I'll tell you
every single thing
that happened.
Oh, I wanted him
to be here opening night.
Oh, Frank, he's been here
-opening night.
-[FRANK CHUCKLES]
-Mwah! We love you very much.
-[CAB HORN HONKING]
And we thank you very much.
MR. SPENCER: I don't understand
why in hell any human being
in his right mind would...
-Ever, ever live...
-ALL: Ever, ever live...
-...in New York City.
-ALL: ...in New York City.
Charley, let's do another show.
BETH: Yes.
MARY: Yes, and then another,
and then another,
and then another.
Yeah, and, and...
I'll produce it.
Wait a minute, Joe.
You'll produce "Take a Left"?
[LAUGHS]
First I say, get yourselves
a couple of hits.
Show 'em you can make money.
Then, then you can do
that political flop
and show 'em you got...
[SCOFFS] ...integrity.
Me, I got such an idea
for you guys, so commercial.
First you'll hate it,
then you'll love it.
Frank, you know
I never say anything,
but I'm gonna say this.
For me, for me,
just do one more for Joe,
and then you can
go and do "Take a Left."
I know the kind of music
I want to write.
I also know that it's very
hard on you right now,
but Beth, I am asking you
to trust me.
And I am asking you
to trust me.
Beth, guys,
right now is the time.
You got to do your own stuff.
Mary, you don't have a child
and you just had yourself
a bestseller,
so that's very easy
for you to say.
Yeah, Beth, trust me,
success ain't all
it's cracked up to be.
I think Charley and I
will handle success very well.
Look how well
we've handled failure.
[CROWD CHEERING AND APPLAUDING]
[STAMMERS]
[IMITATES CORK POPPING]
-Listen to that
-[ IT'S A HIT PLAYING]
- Will you listen to that
-[HOPEFUL MUSIC PLAYING]
Do you know
what that means?
Let me tell you
what that means
Wait, no, anyone
who even thinks it
Don't say it,
you'll jinx it
[CHEERING AND APPLAUSE CONTINUE]
- Listen to that
-[LAUGHING]
Did you listen to that?
Does that
make you feel proud?
Well, feel more
than just proud
Okay, wait, I'll tempt fate
And I'll state it out loud
[CHEERING AND APPLAUSE CONTINUE]
That's the sound
Of a
Hit
It's a hit
Gang, I think this is it
No more writing
clever little shows
For those basement saloons
No more proclamations
from the pros
That you can't hum the tune
No more sneaking in
at intermission
To the plays you wish
you could afford
Or producers
having you audition
Whenever they're bored
And who say right away
As you play the first chord
"Boys, boys, it's very...
-"What is the word? Interesting.
-[OTHERS GROAN]
"And if I had
the slightest belief
"any audiences would come,
I would do it in a minute.
"Next!"
We're a hit, we're a hit
Standing up, the whole bit
No more coaching
those sopranos
With voices like bees
No more secondhand pianos
With six broken keys
No more agents
giving you opinions
As they turn you over
to their minions
GROUP:
As for these guarantees
We should please
thank the Lord
It's a hit, it's a hit
Will my folks have a fit
After all of that baloney
They made me go through
All that, "Honey,
not that he's a phony
"But what does he do?"
Will their faces be stony
When they see on their Sony
Someone handing the phony
a Tony Award
I would like to begin
by thanking
all the hundreds of people
who have turned down
every show I have ever written
so that I could win tonight
for this one.
[CROWD CHEERING
OVER TAPE RECORDER]
Thank you.
Listen to that
Will you listen to that
Tell me, is that a noise
Or is that a noise?
That is a noise
we've been waiting
The whole
of our lives to hear
BETH: Listen to that
FRANK: Listen to that
- Will you listen to that
- To that
- Honey, is that a noise
- I can't stand it
Or is that a noise?
That is the loveliest noise
For a breadwinning wife
to hear
Listen to that,
that's obscene
-JOE: Listen to that
- Listen to that
That is a noise,
that is really a
That's the noise
I've been waiting
- My life to hear
-[OVERLAPPING SINGING]
Listen to that,
listen to that
ALL: Will you listen to that
Will you listen to that
That's the sound of
An audience losing its mind
It's the Pope on his balcony
Blessing mankind
Folks, it's Funny Girl,
Fiddler
And Dolly combine...
...d
[CHUCKLING]
It's a hit
It's a hit,
it's a palpable hit
If it only even runs
a minute
At least it's a wedge
It's the theater
And we're really in it
Not just on the edge
If your spirits
ever need improving
You can drop in
any night for free
But the thing
that's positively moving
You could have fooled me
FRANK AND CHARLEY:
Is we're still old friends
Nothing can
kill old friends
FRANK, CHARLEY AND MARY:
Where there's a will,
old friends
Don't need success
to survive
ALL: And us, old friends
What's to discuss,
old friends?
We've got a surefire
Genuine, walkaway
Blockbuster,
lines down to Broadway
Boffola, sensational
Box office, lollapalooza
Gargantuan
Hit
It's a hit
It's a hit, it's a hit,
it's a hit
It's a hit!
-[SONG ENDS]
-[AUDIENCE CHEERING]
[ALL LAUGHING, MURMURING]
This is what
everybody lives for!
Now we go back in
and fake being modest.
[LAUGHING]
No, no, no, I'm having a baby!
-We're coming!
-God! Wait, wait, wait!
What about the opening party?
You two, go to the party.
Frank, I will do one more
for Joe Josephson,
-but just one more.
-One more.
-And then it's our time.
-One more. Okay, come on.
[BOTH SCREAM EXCITEDLY]
Frank, I was there
for Evelyn's last baby,
and I don't want to miss
this one, but you,
you go to the party without me.
No, honey. Absolutely not.
No, no, no.
Yes, yes, yes.
I am so proud of you.
Okay, if I don't see you
at the hospital,
I'll see you at home later.
-[FRANK LAUGHING]
-[GRUNTING EXCITEDLY]
I love you so much!
Wait, Beth.
Wait, wait, wait, wait.
Now, look, with,
with Gussie there, I urge you,
you go with Frank.
Sometimes you just
have to trust, Mary.
Well, and sometimes you don't.
I would never want
a man I couldn't trust.
JOE: Hey! Hey, hey.
-Big man.
-[FRANK CHUCKLES]
You got a ride to this
fancy-schmancy party?
I can only stay
one or two minutes.
GUSSIE: Oh!
Was that not
why we do all this?
Was that not just heaven?
[JOE GRUNTS EXCITEDLY]
I got to go make nice
with the backers.
You two, take our car.
I won't be able to afford
this big man now.
You watch.
[JOE CHUCKLES]
What a blessing it has been
to find another pure artist.
-[LAUGHS]
-So often I have just
wanted to thank you.
But Franklin Shepard, I think
that there's been a conspiracy
to keep you from me.
Miss Carnegie,
I owe you so much.
Didn't I tell you
a few years ago...
it's fate that brought us
together?
Now you, all you've done
these past months
-is work, work, work!
-[CHUCKLES]
Tonight, let me show you how
divine it is to be number one.
Everyone is waiting to meet
the man of the hour.
[CROWD CHEERING
OVER TAPE RECORDER]
[PENSIVE MUSIC PLAYING,
FOURTH TRANSITION ]
TYLER: Dreams don't die
So keep an eye
on your dream
GROUP: 'Cause before
you know where you are
There you are
Time goes by
and dreams go dry
But you can't give up
on your dream
Tend your dream
CHORUS: Some roads are easy
Dreams take time
CHORUS:
Some roads are all uphill
BUNKER: All uphill
CHORUS: Time goes by
Some roads
you plod along with a will
Some roads you travel
Just for the thrill
- Bend your dreams
-DORY: Some roads
are breezy
- Some roads are breezy
-CHORUS: With the road
Some roads are full
Of jiggles and bumps
Can't let it get you down
in the dumps
Don't let it get you down
in the dumps
1964
1963
ALL: 1962
-[ THE BLOB - PART 1 PLAYING]
-[WHOOPING EXCITED CHATTER]
[LIVELY MUSIC PLAYING]
- Have you seen?
- How was it?
- You're not serious
- Do you mean?
- That does it
- You're not serious
- Have you seen?
- Darling
How was it?
- You're not serious
- We bought the most
- Darling
- That does it
- You're not serious
-MAN: We had the best
- How was it?
-[OVERLAPPING SINGING]
-WOMEN: Darling
- Did you ever
- You're not serious
-CHORUS: It's the best
It's the first,
it's the finest
It's the latest,
it's the least
It's the worst,
It's the absolutely lowest
It's the greatest,
it's the single
It's the only,
it's the perfect
It's the... Hi! Dreadful
BETH: Oh, Frank, Frank.
-That's the mayor. [EXCLAIMS]
-FRANK: I know. I know.
[GASPS]
She's my favorite actress.
FRANK: I see, I see.
BETH: Oh, do you see
who she's with?
Beth, I'm not looking
for celebrities.
-I'm looking for Charley.
-Oh, Frank, you can do both.
I've never seen
so many famous people.
[SCREAMS EXCITEDLY]
ALL: What? Who? Where?
Oh.
So, what did he say?
I haven't talked to him yet,
but it's obvious
he didn't invite us here
because we fit in so well.
I am more sure than ever that
he wants to option our show.
I'm sure, too,
but let's not be too sure.
I just have
the pastry concession.
You are the one who's supposed
to be handling the business.
I am handling it.
Charley, you watch.
All this time we put into our
writing, it is gonna pay off.
Well, I don't care what he asks.
You just say yes.
All I want is for us to be rich
as long as we've been poor.
FRANK: There are a lot
of sophisticated people here.
BETH: Oh, God.
If I had known that,
I would have worn earrings.
-Oh, gosh.
-Oh, what's going on?
-Those people over there.
-Uh-huh?
They're smoking marijuana.
I've smelled it before.
In the Village.
I thought it was autumn.
-[JAUNTY MUSIC PLAYING]
-ALL: What? [GASPING]
ALL: Darling,
we saw the new
Darling, we had the most
Bad, it was good
- It's the biggest
- He's a genius
Well, he can't,
but he used to
It's the dumbest,
she's a genius
It's the...
FRANK: Hi, hi, hi.
I don't know if you remember me.
I'm Franklin Shepard,
and this is Charley Kringas,
-who writes my lyrics.
-Remember you?
You're the reason
we're giving this bash,
according to
our accountant, anyway.
[GRUNTS] Oh, God.
Sorry.
And this is Beth, my wife Beth.
-Do you write songs, too?
-Oh, no.
Right now,
I'm the family breadwinner.
You don't mind
if I kidnap him, do you?
I have invited the richest
and the most influential people
in this town tonight.
Not one of whom
is as rich or influential
as you're going to be.
I call them "the Blob."
They absorb everything.
Meet the Blob
The bodies you read about
The ones who know everyone
That everyone knows
GROUP: Hi! Dreadful!
- Fabulous!
-GUSSIE: Meet the Blob
- Not many and yet
- GROUP: Oh, right
- You never see one
- GROUP: What? No
- They come as a set
- GROUP: Who, him?
GUSSIE:
And we're in their debt
GROUP:
But what do you think?
GUSSIE: 'Cause, honeybunch,
They write the books
And put on the shows
And run the saloons
- And design the clothes
-[GRUNTS]
- They keep us natives
on our toes
-[MOANING]
GROUP:
Albee, Warhol, Kurosawa
They read the books
And go to the shows
And swamp the saloons
Wearing all the clothes
What you might call a glut
But they're the most
important people
In the most important city
In the most important country
In the you-know-what
GROUP: Heavy! Miltown!
Gestalt
-[SONG ENDS]
-GUSSIE: [CHUCKLES] Beth,
darling.
You don't have any hooch.
Oh, oh! Oh!
Oh, I'm going to open my veins.
Oh, no, no, no, no.
That's okay.
It better be,
'cause now I own it.
[STUTTERS]
Joe, Joe, come quick.
We have a gigantic catastrophe.
Oh, this is scandalous.
Joe? Joe?
Come and take this gorgeous
person up to my closet,
and she is gonna choose
some rag of mine.
Move! Joe, please.
I am paralyzed with shame.
Oh, did you talk to my wife?
We have something in mind
maybe for Broadway.
GUSSIE:
Joe, if you don't hurry,
I'm going to throw myself
down the garbage disposal.
-Now move!
-[JOE CHUCKLES]
Your new songs
are just beautiful.
I've got some newer ones.
[LAUGHS] You're wonderful.
I just admire
people like you so much.
You seem to know everyone
and do everything.
Yes, I do.
One day, I just made myself up.
And now I never change.
Instead, I change
the people around me.
-[FINGERS SNAP]
-Scotty,
precious,
this is your new client,
Franklin Shepard.
Well, I'll holler
on you tomorrow.
Or you can yell on me.
I'm in the book.
So am I.
See how much you two
have in common?
-[SQUEALS, GIGGLES]
-[LAUGHS]
I just found you an agent.
Joe gave me this greenhouse
as a wedding present.
He has a tendency
to worship me.
It's great.
If you like it, take it home.
I married Joe
because he liked me
and I liked this life.
I married the one before him
because, well,
I believed him
when he said he could write.
-[CHUCKLES]
-And the first one...
I don't really think
first ones count.
Do you?
This greenhouse seems as out
of place in New York as I do.
Only at first, darling.
Now I find it to be
the best thing about this dump.
-How old are you?
-Twenty-five.
Which doesn't bother me,
and then I think I'm a quarter
of a century, and I panic.
There's so much I want to do,
and I can't get started.
I can't even... [CHUCKLES] What?
Here's something I like to do
when I want to get to know
someone very well, very fast.
It's a game.
I tell you something
honest about me,
and you answer me right away
with something honest about you.
I call it "Trading Hostages."
[CHUCKLES, MUTTERS NERVOUSLY]
I'm not very happy.
Go on. [CHUCKLES]
-I'm not very happy.
-I'm very happy.
Huh.
I am inches away from the top.
I am miles away from the top.
Make that hundreds
of thousands of miles away.
-Performing is my life.
-Composing is my life.
Success is not happening
fast enough.
Success is not happening at all.
I have been
in five Broadway shows.
I have seen the second act
of every one.
[LAUGHING]
Someone's cheating.
I've done five Broadway shows.
Me, I can't get started.
I can't even...
-My first love is singing.
-My first love is music.
-My second love is acting.
-My second love is music.
I think it's fate
that brought us together!
I...
Anyhoo. [CHUCKLES]
I did all those Broadway shows.
Most of which didn't last
as long as this conversation.
And Joe...
Joe has just optioned a vehicle
that could change my life.
And yours.
We both want you and
your partner to do the score!
Do I see disappointment
on that sweet face?
We were hoping that
he wanted to do Take a Left,
the show that Charley and I
auditioned for him.
Oh, no, darling, not at all.
It's just we've been
working on it for three years.
Well, you can do this one
much faster.
But he wants me
to make sure you understand,
we want it fast, loud and funny.
I need a hit. What do you say?
[PENSIVE MUSIC PLAYING,
GROWING UP (REPRISE) ]
Life is knowing
what you want
Darling
That's the thing
you have to
Know
You'll get everything
you want
Darling
Have a little patience
Climbing mountains
can be slow
Darling
Take it easy as you
Climb
I'd say you're a winner
Also a beginner
One step at a time
Growing up
It's what they call
growing up
It's when we're all
starting out
And starting to sway
Growing up
You hate the delay
But after today
You'll be on your way
So what do you say?
Hmm?
Okay.
[LAUGHING EXCITEDLY]
Now... Now, this is not
a show about subtle.
It's not big on depth.
It's flash, bam, curtain.
It's fun!
It's opulent!
It's Broadway.
[LAUGHS] God.
Okay.
Oh, what was that?
-A second thought.
-Oh, no, no.
That's something I do when
I want to hold on to a moment.
I close my eyes very tight
and I swallow,
like I take a picture
that I can treasure.
You're a treasure.
-[LIVELY MUSIC PLAYING]
-[LIVELY CHATTER]
-[DISCORDANT PIANO NOTES]
-[MUSIC AND CHATTER STOP]
Now, I want everyone
who hasn't drunk, smoke
or gorged themselves too much
to hurry over here. Chop-chop!
Ah, Frank, look at this!
Oh, honey, it's beautiful!
Mary, where have you been?
I had to borrow a dress
from the guy upstairs.
Oh, darling!
It looks wonderful on you.
Keep it.
I'm too fat for it anyway.
Oh, uh, Gussie,
this is our friend, Mary Flynn.
Mary's a copy editor,
but she's gonna have her own
book published very soon.
MARY: Sorry I'm late.
[CHUCKLES]
So glad you didn't wait.
Mary, Charley and Frank
are these totally
inseparable friends.
Well, I have to separate
for a minute.
-I got to go find Charley.
-Oh, no.
I've got plans for you.
Mary Flynn,
would you be as sweet as
you look and go get Charley?
Oh, thank you this much.
Come, come, come.
[HISSING]
Your husband is the most
talented composer
I've ever heard.
-Oh.
-[BOTH LAUGH]
I hope it's all right that
I am just crazy about him.
I hope it's all right, too.
All right.
All right! Quiet now!
Listen now, please, because...
one day,
you are all going
to be able to say,
"I was there when."
TYLER: Oh, my God.
I have next to me
the most exciting composer
ever, ever, ever.
[GIGGLES] And he is going
to play a song he's written.
[CLICKS TONGUE]
And when he finishes,
you are all going to want
to swallow poison,
because there will be nothing
more to live for.
[LAUGHTER]
So, so, find a place to park it.
Fermez all those bouches.
And I am now honored to present
Franklin Shepard and Charles...
Some funny little name.
Anyway, this song
is from a little show
that they want to do
that we hope will be in a big
show that we want to do!
[APPLAUSE, EXCITED CHATTER]
Wait. What, Frank? A big show?
-What is she talking about?
-Later.
Sing.
[GENTLE PIANO MUSIC PLAYING,
GOOD THING GOING ]
[CLEARS THROAT]
It started out like a song
We started quiet and slow
With no surprise
And then one morning I woke
To realize
We had a good thing going
MARY: Psst!
-[MOUTHING] Take off the...
- CHARLEY: It's not that
Nothing went wrong
Some angry moments,
of course
But just a few
And only moments, no more
Because we knew
We had this
good thing going
And if I wanted too much
Was that such a mistake
At the time?
You never wanted enough
All right, tough
I don't make that a crime
[GENTLE PIANO MUSIC CONTINUES]
And while it's going along
You take for granted
Some love will wear away
We took for granted a lot
And still I say
It could have
kept on growing
Instead of just kept on
We had a good thing going
Going
Gone
[SONG ENDS]
[APPLAUSE, EXCITED CHATTER]
GUSSIE: Just wait.
Wait, wait, wait.
CHARLEY: One time?
[EXCITED CHATTER CONTINUES]
We want to hear it again.
Tell them,
wouldn't you all just like
to live your entire lives
to that music?
-Yes.
-Down.
Everybody, down, down, down.
They're going to do it again.
One more time!
No. Frank, say no.
-Yeah, Charley's right.
-BETH: They loved it.
They thought we were great.
And do you know
what true greatness is?
It's knowing when to get off.
I'll sing with you. Come on.
[GENTLE PIANO MUSIC PLAYING,
THE BLOB - PART 2 ]
[OFFBEAT CLAPPING]
CHARLEY AND FRANK:
It started out like a song
[CHIMES IN] Song
We started quiet and slow
With no surprise
And then one morning
I woke to realize
DORY:
I said, "Joe, this show
- "Will be a watershed"
- We had a good thing going
[SHUSHING]
JEROME:
Can you pass me the wine?
It's not that nothing
went wrong
- Some angry moments...
- Did you hear
- TYLER: No kidding
- You're not serious
-[LAUGHTER]
-[SHUSHING]
- And only moments
no more...
-[JOE VOCALIZING]
DORY: It's a clear case
of Tammany politics
GROUP: We were stuck
in the tunnel
till half past six
It's a show that'll
murder 'em in the sticks
- Did you read?
-[CHARLEY AND FRANK
CONTINUE SINGING]
It'll never,
they just don't mix
WOMEN: What we need
GROUP: Did you ever
-[FRANTIC MUSIC PLAYING]
-GROUP: Till half past six
It's a clear case
of Tammany politics
Did you read, it'll never
They just don't mix
What we need, did you ever,
till half...
CHARLEY AND FRANK:
Wanted enough
All right, tough
I don't make that a crime
-[LAUGHING WILDLY]
-[FRANTIC MUSIC PLAYING]
CHORUS: Darling
GROUP: We saw the new
CHORUS: Darling
GROUP: We had the most
Did you read, it'll never
They just don't mix
What we need, did you ever
Till half past six
- It's a show
that'll murder 'em
-[IMPERCEPTIBLE]
- In the sticks
-[OVERLAPPING SINGING]
It's a clear case of
Tammany politics
It's the greatest,
it's the single
It's the only,
it's the perfect
It's the one
It's the real, it's the true
It's the final, it's the...
-[WILD CHATTER, WHOOPING]
-[ FIFTH TRANSITION PLAYING]
[LIVELY MUSIC PLAYING]
CHORUS: Traveling's the fun
Flashing by the countryside
Merrily we roll along,
roll along
Catching at dreams
Yesterday is done
See the pretty countryside
Everybody merrily, merrily
1961
CHORUS: Some roads are easy
Some roads are breezy
Some roads,
the ride gets out of control
Grinds to a halt
and ends in a hole
Some roads you stall
Before you can roll
1960
It's 1960
And, gosh,
what a swell year it's been
CHARLEY, FRANK AND BETH:
So many blessings
Such wonders it has brought
You hardly know
where to begin
There's Xerox and lasers
The twist and the pill
- A city in Brazil
-[RHYTHMIC SHAKING]
That no one wants to fill
Khrushchev
stopped screaming
And Librium came in
And Nixon didn't win
[MOCK SOBBING]
Goodbye, then,
to Ike and the brass
To years that were cozy
but crass
It's true, Ike was icky
But better him than Dicky
Now meet the first
First Family with class
En masse
-Ow!
-Sorry.
[LIGHTHEARTED MUSIC PLAYING]
[WOMAN LAUGHS NERVOUSLY]
- There's Bobby
- And Jackie
And Jack
And myriads more
in the back
There's Ethel and Teddy
and Pat alone
CHARLEY: Plus Eunice
BETH: And Peter
- And Jean
- And Joan
- And what's-his-name
- Stephen
And hold the phone
The one in the Army
- One in the Army?
- Captain? Major?
- Sargent
- That's it
So many cards in the pack
You want to know
how to keep track
Well, one is good-looking
and young and rich
While one is good-looking
and young and rich
The rest are good-looking
And young and rich
There isn't a lot
that they lack
Not Bobby and Jackie
and Jack
And Ethel and Ted
and Eunice and Pat
And Joan and Steve
and Peter and Jean and Sarge
There's probably dozens
of others at large
God knows
29, 32, 54! Hut, hut, hut!
Bobby, go long!
Hey. Hi. Nice to have you there.
We're bringing back style
to the White House
I'm painting it beige
for a start
We're making it into
A cultural lighthouse
- For glamour
- And beauty
And art
Evenings of the Budapest
Playing Vivaldi
And Munch
doing bits of Ravel
- I'll get Leontyne Price
to sing her
-[MOUTHING]
Medley from "Meistersinger"
And Margot Fonteyn
to dance "Giselle"
Together?
Won't it be
perfectly swell?
We'll have
Bernstein play next
On The Bechstein piano
And Auden
read poems and stuff
This is for you.
And Galina Vishnevskaya
FRANK AND CHARLEY: Gesundheit.
The Russian soprano
Just pronouncing her name
Is refreshing enough
[HOLDING HIGH NOTE]
[GLASS SHATTERING]
We're bringing back style
To the White House
With casual culture
the rule
Let's have Tebaldi
She makes a guy feel good
- And Oleg Cassini
-[FRANK AND CHARLIE GASP]
Well, I think
he's real good
And how about Heifetz
- And Callas
- And Gielgud
And later,
when everything's cool
We'll push them
all into the pool
-Last one.
So sorry, sir. Thank you.
-[WHISTLE BLOWING]
Oh!
[GRUNTING]
[FRANK AND CHARLEY YELL]
Okay, Bobby, I'll make you
attorney general.
Just get off my back.
- With Bobby
- And Jackie
And Jack
The White House
is under attack
Eight years is the limit
But eight will do
- By then,
there'll be Bobby
- And Teddy, too
Or Peter or Stephen
Or even you
Oh.
And then
there's the Colonel
- Colonel?
- Major?
- Major?
- You know
- Sargent
- Yes
Dozens to pick up the slack
If anything
goes out of whack
And someday elections
will be unknown
'Cause each of our kids
Will ascend the throne
And their kids have more kids
with kids of their own
It's sort of a family knack
Till most of the nation's
made up of relations
Of Bobby and Jackie
and Jack
And Ethel and Ted
and Eunice and Pat and Joan
And Steve and Peter
and Jean
And Sarge and Joe and Rose
and rows and rows
And rows and rows
and rows and rows
The decade is starting anew
And maybe
the country is, too
-[SONG ENDS]
-[AUDIENCE CHEERING]
Thank you. Thank you. Thank you.
Thank you.
The entire cast of our revue,
Frankly Frank,
now in its fifth successful,
not quite record-breaking month,
would like to thank you all
for coming to the Downtown Club,
where we do two shows here
every night
-with the exception of tonight.
-[WHISTLE BLOWING]
[CHUCKLES] Cut that out.
[HORN SQUEAKING]
Anyway, please come back
and bring a friend,
or come back and make a friend,
or just come back
and be a friend. Thank you.
TYLER: Excuse me. Um, hey.
Excuse me,
but I got really excited
when I saw your name
on the reservation list,
Mr. Josephson.
Uh, me, I'm just a waiter here.
Well, actually,
I'm holding down
three different jobs
at the moment,
but only until I can
get my invention launched.
Uh, you see, I have invented
a brand-new machine
that can answer your telephone
when you're not at home.
Or even if you are.
-[OTHERS CHUCKLING]
-But I just somehow cannot
-get all the investors...
-JOE: Yeah. Hey, kid, kid!
They have answering services
with operators already
that, guess what,
do exactly for people
what you want this verkakte
machine here to do.
Mr. Josephson, for only $4,000,
I will right now sign a contract
giving you 50% of the return.
Whoa, whoa.
I live in a penthouse, kid,
not in an asylum.
Now, I will, however,
I will invest
my last red cent if you can
come up with a sound idea,
something like this new
Smell-O-Vision movie process.
I... I...
When the hell am I gonna meet
a waiter who's just a waiter?
Mr. and Mrs. Spencer, hi.
I... I'm Mary Flynn.
Frank and Beth will be out in
less than a minute. [CHUCKLES]
So, uh, I bet you two are
excited about the wedding.
"Excited" is not the word.
You cannot imagine how important
Frank is gonna be someday.
No, we can't.
Are you in
the show business, too?
Oh, no. I'm just a fan.
But I have never heard
music like Frank's.
Us neither.
[BOTH LAUGHING]
I work for Look magazine...
See, now there is a steady,
secure job.
I hate it.
Well, maybe that's why
they call it "work."
FRANK: Excuse me, Mr. Josephson.
-[GUSSIE GASPS]
-Frank Shepard.
Do you remember me?
Our entire cast is overwhelmed,
is what they are,
that an important man like you
would actually come down
to see our little revue.
Aw. And you recall
Shirley Akinola here?
-[CLEARS THROAT]
-Now Gussie Carnegie.
She fixed the nose.
She fixed the clothes.
She fixed the name.
And take a look
at what was underneath all that.
Oh, you. [GIGGLES]
I used to work part-time as
his secretary to pay for class.
We've all seen and admired you
onstage so much.
-Oh, thank you.
-A big talent
wasted in little shows,
up until me.
But you boys, you boys must be
doing something right,
because the, uh...
fiance here
is going through
one hell of a divorce,
and you boys made her laugh.
-GUSSIE: Joe, Joe, Joe.
-[JOE CHUCKLES]
I thought it was just peaches.
Oh, see, us, we're usually
light-years better,
but everybody was just,
God, so nervous
that the two of you were here.
And it's a pretty nervous
night for me anyway.
I'm getting married.
-Is it the girl in the show?
-FRANK: Beth.
-Ah... you're awfully young.
-[GUSSIE SIGHS]
Marry in haste,
repent in Reno.
I'm 23. The guy who does
the lyrics, he's my age,
he's got a baby already.
Oh, excuse me, Mr. Josephson.
You remember Charley Kringas
from the time
we auditioned for you,
my collaborator.
Uh, yes, I collabor him
and he collabors me.
-Sorry.
-[JOE CLEARS THROAT]
Mazel tov.
Your stuff is getting
more commercial,
which is good,
because, trust me,
if you're gonna get married,
you're gonna need bucks.
[CHUCKLES] But I say,
unless the girl is pregnant,
get out of it.
[CHUCKLES]
Oh.
Have a good wedding. [CHUCKLES]
Um, Frank, look, you know...
unless you really want to,
you don't have to.
-I want to, Charley.
-Okay, great.
Frank, if there's
any truth at all
in "we turn out
like our parents,"
[CHUCKLES]
you are in big trouble.
[FRANK AND MARY LAUGHING]
Mary, do you think
I'm making a wrong decision?
Well...
I mean, if you really want to
know what I think, Frank...
Frank, don't faint,
but my parents want to speak
to us before the ceremony.
Frank...
-I'm not pregnant.
-What?
Do you still want us
to get married?
Do you?
[CHUCKLES SOFTLY]
Before, my reason was the baby.
But now my reason is you.
And my reason is you.
[LAUGHING]
-I am pregnant.
-Beth!
I just wanted to be sure.
MRS. SPENCER: Elizabeth!
Oh, God. Mama.
-How do I look?
-Elizabeth, your father and I
have one thing we want to say.
Mama, you've said it all
for two days.
Elizabeth, the man
doesn't even have a job.
My daughter is going back
to being a legal secretary
just to support you.
Mama, I told you that
in private.
Mrs. Spencer, what I want
to do with my life
isn't to play in this club.
I want to write music.
And to be able
to do that, I play here.
I accompany singers
at auditions.
I play for dance classes.
I do arrangements.
I do anything that I can just so
I can keep on writing music.
Boy...
we are prepared to give you
$2,000 right here, right now.
-Daddy.
-MR. SPENCER: Just call
this sorry excuse
for a wedding off!
Mr. Spencer, Beth and I
are getting married.
We hope that
it's with your blessing,
but we are getting married.
Um, the minister just got here.
-Where's Evelyn?
-Who's Evelyn?
Oh, the minister, I suppose!
Uh, no, Evelyn is my wife,
and she is way
at the back of the room.
See, they often have to stop
weddings right in the middle
because of her sobbing.
Which I try not
to take personally.
Let's get started.
MRS. SPENCER: Elizabeth.
Here's Grandma's ring.
Thank you, Mama.
[LAUGHS]
Daddy?
Elizabeth.
[WHISPERS] Come here, baby.
[SIGHS]
-[BETH CRYING SOFTLY]
-[SNIFFLES]
Oh, honey, it could be worse.
BOTH: At least
she's not pregnant.
My dear friends, good evening.
Before the marriage vows,
Frank and Beth have each
asked to speak.
Frank?
Beth...
I'm so happy to be marrying you
in the very place
where I met you
and grew to love you.
Actually, I'm just happy
to be marrying you, period.
And I very much would like to
thank our dear close friends
for being with us on this,
the most important moment
in both of our lives.
MINISTER: Beth?
Not a day goes by
Not a single day
ALL: But you're somewhere
a part of my life
And it looks like
you'll stay
As the days go by
I keep thinking
"When does it end?"
That it can't get much better
Much longer
But it only gets better
and stronger
And deeper and nearer
BOTH: And simpler and freer
And richer and clearer
ALL: And no
Not a day goes by
Not a blessed day
But you somewhere
come into my life
And you don't go away
And I have to say
If you do, I'll die
I want day after day
After day after day after
[CRYING] I'll die
Day after day after day
After day after day
Till the days go by
Till the days go by
[VOICE BREAKING]
Till the days go by
[BRIGHT MUSIC PLAYING,
SIXTH TRANSITION ]
How does it happen?
Once it was all so clear
How did you get so far
off the track?
Why don't you turn around
and go back?
How does it happen?
Where is the moment?
When did the road
behind disappear?
Where did you let things
Slip out of gear?
BOTH: How did you ever
get to be here?
1959
1958
-[RHYTHMIC TYPING]
-[PIANO PLAYING SIMPLE MELODY]
[TYPEWRITER DINGS AND RATTLES
RHYTHMICALLY]
[PIANO MUSIC CONTINUES]
[RHYTHMIC TYPING]
-[BANGS PIANO KEYS]
-[OPENING DOORS PLAYING]
-How's it going?
-Good. You?
-Fair.
-Yeah, tell me.
-[PHONE RINGS]
-Russian Tea Room.
-Hi.
-Mary.
-Say hello.
-I think I got a job.
-Where?
-True Romances.
-Posing?
-Thank you. Writing captions.
-What about the book?
-What about the book?
-Nothing. Are you working
on the book?
-Yes.
-FRANK: Good.
-No.
-Mary.
-Right. I know.
Yes, me and Balzac.
[RHYTHMIC TYPING]
[PIANO PLAYING SIMPLE MELODY]
[RHYTHMIC TYPING]
-[PIANO PLAYING SIMPLE MELODY]
-[RHYTHMIC TYPING AND RATTLING]
Ugh.
-[JAUNTY MUSIC PLAYING]
-[GRUNTS]
[GRUNTS SOFTLY]
I finished the one-act
- I got an audition
- I started the story
- Rehearsal pianist
- So where are we eating?
- I'm moving to Playboy
- The publisher called me
- I'm doing a rewrite
- My parents are coming
- I saw My Fair Lady
- I rewrote the rewrite
- I sort of enjoyed it
- I threw out the story
I'm meeting an agent
ALL: We'll all get together
on Sunday
We're opening doors
Singing, "Here we are"
We're filling up days
On a dime
That faraway shore's
Looking not too far
We're following every star
There's not enough time
[WHISTLES TO MUSIC]
- I called a producer
- I sent off the one-act
- I started the story
- He said to come see him
- I dropped out of college
- I met this musician
- I'm playing a nightclub
- They're doing my one-act
- I'm working for Redbook
- I rewrote the ballad
- I finished the story
- We started rehearsal
I threw out the story
And then the musician
I'm moving
to Popular Science
We're opening doors
Singing, "Look who's here"
Beginning to sail on a dime
That faraway shore's
getting very near
We haven't a thing to fear
We haven't got time
[RHYTHMIC TYPING]
[WHISTLES TO MUSIC]
[RHYTHMIC TYPING]
Bum-bum-bu-bum-bum bum-bum
La-da-da-da-da da-dum
-How's it coming?
-Good. You?
Done!
-One minute.
-[PHONE RINGS]
Hamburg Heaven.
-Hi.
-Mary.
-Say hello.
-I got another job.
-FRANK: Where?
-Chic.
-What's that?
-A brand-new concept,
pop-up pictures.
-What about the book?
-What about the book?
Did you give
the publisher the book?
-Yes. No.
-Good. Mary.
-MARY: Look, I never...
-Finished!
-Let me call you back.
-Right.
-This is just a draft.
Probably it stinks.
-Right. Right.
Haven't had the time
to do a polish.
-Will you sing?
-Right.
Who wants
to live in New York?
Who wants
the worry, the noise
The dirt, the heat?
Who wants the garbage cans
Clanging in the street?
Suddenly I do
They're always popping
their cork
I'll fix that line
The cops, the cabbies
The salesgirls up at Saks
You gotta have a real taste
For maniacs
- Suddenly I do
-[JOE SCOFFS]
That's great, that's swell
The other stuff as well
It isn't every day
You hear a score this strong
But, fellas, if I may
There's only one thing wrong
It's not a tune you can hum
It's not a tune you go
Bum-bum-bum-di-dum
You need a tune you go
Bum-bum-bum-di-dum
Give me a melody
Why can't you
throw 'em a crumb?
What's wrong with letting 'em
Tap their toes a bit?
I'll let you know
When Stravinsky has a hit
Give me a melody
Oh, sure, I know
It's not that kind of show
But can't you have a score
That's sort of in-between?
Look, play a little more
I'll show you what I mean
Who wants
to live in New York?
I always hated the dirt
The heat, the noise
But ever since
I met you, I...
Listen, boys, maybe it's me
But that's just not a
Hum-mm-mm-mm-mm-mm-mm-mable
melody!
Write more, work hard
Leave your name with the girl
Less avant-garde
Leave your name
with the girl
Just write a plain old
Melodee-dee-dee-dee-dee-dee
[LAUGHS]
A-dee-dee-dee-dee-dee-dee
[JAUNTY MUSIC PLAYING]
They're stopping rehearsal
They ran out of money
We lasted one issue
My book was rejected
The nightclub was raided
I had to start coaching
- My parents are coming
- I screwed up the laundry
- My wallet was stolen
- I saw the musician
- We're being evicted
- I'm having a breakdown
We'll all get together
on Sunday
They're slamming the doors
Singing, "Go away"
It's less of a sail
than a climb
That faraway shore's
farther every day
We're learning to ricochet
We still have a lot to say
You know what we'll do?
What?
We'll do a revue
-CHARLEY: What?
-What?
We'll do a revue of our own
-What?
-Where?
-Why?
-CHARLEY: When?
Not just songs
but stories, scenes,
-piano pieces, mime!
-Yeah.
"Frankly Frank!"
A showcase of our own
-Where?
-The club's reopening.
-We'll write a lot of new stuff.
-Rewrite old stuff.
-What about the girl?
-What about the girl?
Only that
we're gonna need a girl.
-Well, Mary.
-Thanks.
[IN POSH ACCENT] I don't
perform except at dinner.
[IN SHRILL VOICE] Who wants
to live in New York?
Who wants
the worry, the noise
The dirt, the heat?
Who wants the garbage cans
clanging?
-Next!
-I can sing higher!
[PIANO PLAYING LIGHT MUSIC]
Who wants
to live in New York?
Who wants
to live in New York?
Who wants to live...
Thank you for coming!
They're always popping
their cork
Up a tone.
The cops, the cabbies
The salesgirls up at Saks
Up a tone.
You gotta have a real taste
For maniacs
Thank you! You're hired!
-[EXCLAIMS] I'm Beth
- I'm Frank
I really thought I stank
- I'm Mary
- Charley
By the way, I'm told
we open Saturday
- What? You're not serious
- Nobody's ready
Apparently, somebody canceled
A booking
- The songs aren't finished
- And what about costumes?
And how do I learn
all these numbers?
I'll bring you the copies
of everything
- Later this evening
- Not to mention
I still haven't finished
Okay, but I'll have to
Have all of the music
[RAPID OVERLAPPING SINGING]
ALL: We'll worry about it
on Sunday
We're opening doors
Singing, "Here we are"
We're filling up days
on a dime
That faraway shore's
looking not too far
We're following every star
There's not enough time
We're banging on doors
Shouting, "Here again"
We're risking it all
on a dime
That faraway shore's
looking near again
The only thing left is when
We know
we should count to ten
We haven't got time
We haven't got time
-[SONG ENDS]
-[AUDIENCE CHEERING]
[CHUCKLING]
[PENSIVE MUSIC PLAYING,
SEVENTH TRANSITION ]
GROUP:
Bending with the road
Gliding through
the countryside
Merrily we roll along,
roll along
Catching at dreams
Dreams that will explode
Waking up the countryside
GROUP:
Everybody merrily, merrily
Sing 'em your song
Rolling along
Rolling along
Rolling along
Rolling along
[GENTLE MUSIC PLAYING]
Oh, hey. Hey, what are you doing
up on the roof?
I don't know.
I just came up here.
Well, you could have
told a person.
-You were asleep.
-Yeah, the alarm just went off.
-You see anything?
-Mmm-mmm.
-Is something wrong?
-[CHUCKLES] No.
What are you doing
up here so early?
I couldn't sleep.
Charley... I read
your two plays last night.
They were so wonderful,
I couldn't sleep.
-I thought you were mad.
-[CHUCKLES]
I have to tell everyone
who stays over
to always wake me whenever
you think I'm wonderful.
[FRANK CHUCKLES]
I tossed and turned.
I kept thinking about wasting
these last two years
in the Army,
then to come back
and read your plays...
"Wasting"?
What about that music
you played for me?
-Talk about wonderful.
-What?
Really?
Yes.
Yeah, Frank, you... you don't
just write what you know.
You write what you know.
Okay.
This play, Pretty Politics,
about the Senate pages.
What do you think about
making it into a musical?
-Go on.
-I've got a better title.
Take a Left.
That's a better title?
[LAUGHS]
I think it's important.
-Musicals are popular.
-[ OUR TIME PLAYING]
They're a great way
to state important ideas,
ideas that could really
make a difference.
Charley, we can
change the world.
[CHUCKLES]
Something is stirring,
shifting ground
It's just begun
Edges are blurring
all around
And yesterday is done
Feel the flow
Hear what's happening
- We're what's happening
-[CHUCKLES]
Don't you know?
We're the movers
and we're the shapers
We're the names
- In tomorrow's papers
-[CHUCKLES]
Up to us, man, to show 'em
It's our time
Breathe it in
Worlds to change
and worlds to win
Our turn coming through
Me and you, man
Me and you
-Uh, uh.
-Hi.
Uh, we just wanted to see,
my roommate and... I. [CHUCKLES]
Excuse me.
She's probably from Barnard.
Barnard girls are dippy.
[BOTH LAUGH]
-Do you have the time?
-Uh, yep.
Uh, quarter to 6:00.
Do you ever think
about getting married?
No.
Me neither.
But when I'm
a lot older, maybe.
Feel how it quivers
on the brink
What?
Everything
Gives you the shivers
Makes you think
There's so much
stuff to sing
And you and me
We'll be singing it
like the birds
[CHUCKLES] Me with music
And you the words
Tell 'em things
they don't know
Up to us, pal, to show 'em
BOTH: Our time,
breathe it in
Worlds to change
and worlds to win
Our turn, we're what's new
Me and you, pal, me and you
- Feel the flow
- Feel the flow
Hear what's happening
We're what's happening
Long ago
All we had
was that funny feeling
Saying someday
we'd send 'em reeling
Now it looks like we can
Someday just began
It's our heads on the block
Give us room
and start the clock
Our time coming through
Me and you, pal, me and you
Me and you
I didn't mean to be
so overdressed before.
-[LAUGHS]
-Am I too late?
No, I think
it's just about now.
Oh, my roommate's
coming up, too.
Oh, I'm Charley Kringas.
This is Frank Shepard.
-Mary Flynn. Hi.
-Hi.
-Hi.
-Um, we just took the apartment
-on five.
-Oh, I'm not officially moved in
until I'm discharged
from the Army next week.
Frank just got a weekend pass
to help us move in.
-Um, a lot to move in.
-[MUSIC FADES]
A typewriter, two mattresses
and a piano.
Are you the one playing
the piano the last two days?
-We're evicted.
-Oh, no.
You are wonderful.
I mean, sincerely wonderful.
I'm sincerely grateful.
Yeah, I even came up on the roof
so I could hear you better.
[LAUGHS AWKWARDLY]
[SIGHS] I tell everything,
then go home and suffer.
[CHUCKLES] So, are you
sincerely wonderful, too?
-I write.
-He is.
Aw.
Me, Columbia. Him, Juilliard.
Well, that's what
I want to do, write.
But how does anyone
compose music, though?
I mean, to me,
that is the gift of gifts.
I just met the girl
I ought to marry.
Did anybody ever tell you
you say all the right things?
Never.
[LAUGHS]
Well, but I...
I really want to know.
Well, writing music
is not about words.
It's about sounds and feelings.
And, to me, music is about
everything. [LAUGHS]
Well, anyway, it's so creative.
If I didn't have music, I'd die.
Someday, Frank is gonna be
a very important composer.
He is?
I think you already are.
Mary? Are you up here?
Oh.
You're with guys.
-[SHRIEKING] Oh, no!
-[CHUCKLES]
MARY: Evelyn.
Evelyn.
[CHUCKLES]
That was Evelyn.
Oh! [STAMMERS]
We should probably look now.
It's supposed to be right now.
-FRANK: See anything?
-God, I hope we didn't miss it.
It should come right over.
-Oh, yeah, there. There it is.
-[GASPS] Yeah, I see it.
-Where?
-There it is. There.
It's just phenomenal.
It's phenomenal.
Do you call it Sputnik or
"Spootnik"? [VOICE CRACKS]
Mmm. Call it a miracle.
God.
We got to be the luckiest people
who ever lived.
After this moment,
this moment that the three of us
are sharing here together,
nothing is ever gonna be the way
that it was, not ever again!
Do you guys realize that now
we're gonna be able
to do anything?
I mean, anything
we ever dreamed of.
What a time to be starting out.
What a time to be alive.
Something is stirring,
shifting ground
It's just begun
Edges are blurring
all around
And yesterday is done
Feel the flow,
hear what's happening
We're what's happening
Don't you know?
We're the movers
and we're the shapers
We're the names
in tomorrow's papers
Up to us now to show 'em
[EXHALING PLAYFULLY]
ALL: It's our time,
breathe it in
Worlds to change
and worlds to win
Our turn coming through
Me and you, pal, me and you
Years from now,
we'll remember
And we'll come back
Buy the rooftop
and hang a plaque
"This is where we began
"Being what we can"
It's our heads on the block
Give us room
and start the clock
Our dreams coming true
Me and you, pal, me and you
GROUP: Me and you
Me and you, me and you
Me and you
Me and you, me and you
Me and
You
[SONG ENDS]
[GENTLE, HOPEFUL MUSIC PLAYING]
-[MUSIC ENDS]
-[AUDIENCE CHEERING]
-[LIVELY MUSIC PLAYING]
-[AUDIENCE APPLAUDING]
[AUDIENCE CHEERING]
-[MUSIC ENDS]
-[AUDIENCE CHEERING]
[JAZZ MUSIC PLAYING]
[MUSIC ENDS]
[AUDIENCE CHEERING]
[CHEERING FADES]