Words and Music (1948) Script

You've just heard some words and music written by Rodgers and Hart.

This is the Metro-Goldwyn-Mayer sound stage number one.

In this film, Mickey Rooney will portray Larry Hart, or Lorenz Hart, as the song sheets read, and I am Richard Rodgers.

If in telling you about Larry I talk quite a bit about myself, it's because there hasn't been a day in my life that didn't have something to do with Larry Hart.

I'm almost sorry to say there were none of the standard trials and tribulations you'd ordinarily expect.

In fact, we were just two lucky fellows who had success very young.

From a dramatic standpoint, we didn't even have the advantage of being very poor.

We weren't very rich, either.

When I first met Larry, he had already acquired quite a reputation at Columbia University as a poet and wit, and I was a little scared.

Anyhow, one day Herb Fields, a mutual friend of ours who later wrote the books for some of our shows, arranged a meeting.

-Is this it? -Yep.

Maybe we ought to come back some other time.

-Oh, relax, will you? -Yeah. But you think...

Look, you wanna do a show with him, don't you?

-Oh sure, sure. -All right, then.

Meet him, play a couple of songs and you're in.

-Hi, Herb. -Hi, Larry.

-Come on in. -Thanks.

Larry, I'd like to have you meet Dick Rodgers.

You know, the fellow I was telling you about.

Oh, hiya, Dick.

Heard a lot about you. You're the fellow who writes music, eh?

-Well, I... -Come on in. Make yourself at home.

You hungry? Want something to eat? How about some nuts?

-Oh, no. Thanks. -Apples? Oranges?

-How about a piece of coffee cake? -No...

Corned beef sandwich? I'll send out, get a corned beef sandwich.

-No, thanks very much, anyway. -Smoke? Cigar?

-Light ones? Dark ones? -I never use them.

How about you, Herb? That's right. You don't smoke, do you?

Go ahead.

Play something.

Go ahead.


Hey, hey, Herb, I got a new rhyme for you. What rhymes with Coolidge?

-Coolidge? -Yeah.

-Nothing rhymes with Coolidge. -You wanna bet?

-Coolidge? -Sure, say it over to yourself.

Coolidge, Coolidge, Coolidge. Come on, quick.

Oh, I'm ashamed of you.

When you speak of Coolidge, he deserves a eulogy.

Coolidge he, eulogy.

Hey, that's very good, Larry.

That's all.

Herb, did you read this article yet?

-No, I didn't. -It's not bad at all.


Operator, give me Trafalgar 4599, please.

Hello, Jack? This is Larry Hart. Have you got that book of Heine's in yet?

No, no, no. Not the translation. That was the later edition.

Yeah, will you look around please?

Hey, that's not bad at all.

Hello? You have? Jack, you're a doll.

Yeah, yeah, right away. Yeah.

What does he do now? Shoot himself out of a cannon?

Say, that's a pretty elaborate musical phrase, isn't it?

-Well, it's a... -Not that it bothers me, you understand.

I gotta go pick up a book. I'll talk to you later, Herb.

Go ahead. Keep playing.

He liked it.

Oh, sure, I could tell he liked it. He did everything but card tricks.

-Now, Dick... -No, brother, I've seen everything.

Here I sit at this piano, and this nutcracker...

But, Dick, he's always like that.

-Mrs. Hart. How are you? -Hello, Herb.

Well, introduce me to this nice young man.

-This is Dick Rodgers. -I'm very happy to meet you, Mrs. Hart.

-That was you playing the songs? -Yes.

-You wrote them? -Well, sure. He's a real composer.

Isn't that nice?

You know something?

I like your songs and your playing, very much.

Well, thank you, Mrs. Hart.

Here, what am I standing here for? Have a bite.

For quite a while, I didn't hear from Larry and it began to look as though neither my tunes nor I had scored much of a hit with Mr. Hart, 1 stuck with it.

But, believe me, a tune without a lyric is a mighty lonesome thing.

Hello.

Oh, hello, Herb.

Yeah?

-What? -Yeah, yeah, you heard me.

-He's crazy about the songs. -Yeah, he's crazy all right.

No, no, not just crazy. He's crazy about the music.

I haven't heard from him in two weeks.

-He wrote a lyric. -A lyric?

A lyric. You know, words.

Be there at 5:30 sharp. And don't be late, please.

Okay, fine. Goodbye,

5,30 came, 5,70 went.

And I got my first introduction to something I soon learned / could count on, the business of waiting for Larry.

-Now don't worry. He'll be here. -So he's crazy about it, huh?

I tell you, the guy called me and he was jumping through the telephone.

Hi, Herb.

Mom! Mom! Mary!

Herb, have you seen the September issue of Vanity Fair?

-The what? -No, I can tell you haven't seen it.

-What is it, dear? -Mom, have you seen the September issue of Vanity Fair?

-No, I haven't. -Mary, what have you done with it?

You know I don't read that stuff, Mr. Larry.

Can we find it, please? Can we find it?

It's getting so you can't find anything in this house anymore.

-Hi, Dick. -Hi, Larry.

Play that first thing for me, will you?

-What thing? -You know.

-Hey, I got a new rhyme for you. -Yeah?

Yeah, what rhymes with tapestry?

-Tapestry? -Half-past three. Please.

I found it in your room, Mr. Larry.

Oh, good. Boy, you're wonderful. You're a doll.

-Listen, get me something to eat, will you? -It's near suppertime.

There's some knockwurst and salami in the packages there.

Cut some up, please.

Here we are. Here we are.

That's it. There you are.

Manhattan, -You like Manhattan? -Manhattan? Yeah, yeah, I like Manhattan.

Manhattan, We've got Manhattan The Bronx and Staten Island, too It's lovely going through the zoo You know the rest. Go ahead. Play it, Dick.

Summer journeys to Niagara And to other places aggravate all our cares We'll save our fares I've a cozy little flat in what is known as old Manhattan We'll settle down Right here in town We'll have Manhattan The Bronx and Staten Island, too It's lovely going through the zoo

It's very fancy on old Delancey Street, you know The subway charms us so When balmy breezes blow to and fro And tell me what street compares with Mott Street in July Sweet pushcarts gently gliding by The great big city's a wondrous toy Just made for a girl and boy We'll turn Manhattan Into an isle of joy

I'd like to take a sail on Jamaica Bay with you And fair Canarsie’s lakes we'll view The city's clamor can never spoil The dreams of a boy and girl We'll turn Manhattan Into an isle of joy Well, it's nice, but a bit off the beaten track. I'm sorry.

But when you're riding the crest of youth, you don't get easily upset, even by turndowns, Larry, in particular, was tireless, and his enthusiasm was boundless.

This kind of helter-skelter writing, singing, demonstrating went on for two years.

But nothing happened.

They all thought the songs were fresh, different, engaging, but nobody bought them.

And after a while, this gets monotonous.

After two years, it can get desperate, Finally, when I felt / couldn't take it any longer, ! had a talk with my father.

Can I help, Richard?

What would you say if I told you I were giving up being a composer?

I'd say all right, if I could think of a good reason, but just offhand I can't think of one.

Well, I'll give you one. Nothing happens.

Two years, almost three and I'm nowhere.

-Where do you want to be? -What's the sense of kidding, Pop?

You've been carrying the freight too long.

College, Academy of Music, and now this.

Months and months of knocking our brains out.

Nobody cares.

I think you've written many good things.

Sure, and they can't even get me a cup of coffee.

Well, Richard, the coffee will come.

Maybe you have to boil it a little more.

-No, it's no good. I'm going into business. -Business? Doing what?

Selling infants' wear.

How did you happen to select this vocation?

Well, a friend of mine offered me $50 a week to start.

Well!

I never knew you were so interested in getting $50 a week.

-Do you need $50? -What I need is self-respect.

Well, you sound desperate.

Gee, Pop. It's not only living off you.

But I'm getting so I'm envious of everyone.

A counterman, a taxi driver, a shoe shiner.

Anybody who can earn anything.

Richard, I went through four years of college, two years of med school, interned for two more years.

And just about that time, I was in the same place as any kid leaving grammar school, except I had a slight added handicap.

I was also in love with your mother.

So I can only tell you, Son, just keep writing those nice songs.

Work with Larry.

Dream a little longer, and work a little harder.

Be a little patient.

No, it's no good, Pop. I've made up my mind.

Well, nothing better for a man than to finally know exactly what he wants to do.

So, I guess that's the way it's gotta be.

Hope you don't think I'm running out on you, Larry.

Don't be silly.

Of course, it is quite a switch from musical comedy, but I think the diaper business is a good business.

Want something to eat? Something to drink? Cigar?

-No, thanks. -That's right, you don't smoke, do you?

Let's have a party. Want to have a party?

It's an occasion. Might wind up the greatest party we ever had.

A farewell party. Farewell to the maestro of music and a welcome to the mogul of baby clothes, huh?

Come on, now.

Look out. Hot coffee. Hot coffee coming through.

Harry, how about you? A little coffee, boy?

That's right. Just fresh made.

-Hey, Larry, how about some more coffee? -It'll stunt your growth.

No, I'm sorry. In that corner you get no coffee.

-Good evening, Mr. Eddie. -Hi, Mary. How are you?

-Fine. -Miss Grant. Miss McNeil.

-Hello, Mary. -Good evening. May I take your wraps?

-Hey, a party. -Now, Mr. Eddie.

-Hey, Eddie. Hi! -Hi, everybody. Hi!

-Hey, hi, baby. Where you been? -Auditioning.

-Tough year for singers, you know. -It's a tough year. Period.

Or maybe not. Will you have some coffee?

-Thanks. -Let's assume this is for you.

Look, this is my house. Don't I get to meet the...

Oh, sure, sure. Everybody gets to meet everybody.

Ladies and gentlemen, I want you to meet two protégées of mine, Miss Margo Grant and Miss Peggy McNeil.

Say, Herb, you know Eddie Anders, of course?

Of course. May I say there's no one I'd rather hear sing?

-Well, how about a song now, huh, kid? -Oh, not now. Later maybe.

What I really want is for you to hear this one.

She sings, too? What are we waiting for?

Gee, let me catch my breath. A little later maybe.

What is this, singers want to sing a little later, maybe?

Come here, honey. I want to talk to you.

-You're a singer, too? -Well, not exactly. I dance.

Yes, of course.

May I say there's no one I'd rather dance with?

-Ah-ah, ah-ah, ah-ah. -"Ah-ah, ah-ah," what?

This one is for the boy.

-Tell me all about yourself. -Well, there's really not much to tell.

That's a wonderful song.

I'm glad you like it.

I had no idea it was that good when we wrote it.

-Oh, are you... -Larry Hart. Yeah, I wrote the words.

Really?

-Do you sing for a living? -Kind of. I work in a café.

It's really a speakeasy.

-Have you been here long? -No. I'm hot out of Boston.

-Have you ever been in a show? -A couple.

Why? Are you looking for someone for a show?

Because if you are, they call me "Available” McNeil.

No, honey. We're looking for a producer.

-You know any? -Producers?

-What are they? -Yeah.

I never got past the elevator boy.

Well, if either one of us ever find a producer to produce our show, I'll bet you'd be wonderful in it.

You mean me?

I'll bet you'd be the best thing in it.

-Shall we dance? -Yeah. Sure. Come on.

So you're a little fellow, aren't you? But on you, it's very becoming.

That's another song from our un-produced show.

I know and I love it.

-You do? -Eddie taught it to me.

Well, what are we waiting for?

Excuse me just a minute, will you, honey, please?

Thank you. Pardon me, Dick. Everybody.

From the un-produced works of Rodgers and Hart, Miss Peggy McNeil is going to sing an unknown song entitled There's A Small Hotel, Miss McNeil, Mr. Rodgers. Mr. Rodgers, Miss McNeil.

-How do you do? -1 hope you all like it. You're on, honey.

There's a small hotel With a wishing well

1 wish that we were there Together

There's a bridal suite One room bright and neat Complete for us to share Together Looking through the window You can see a distant steeple Not a sign of people Who wants people?

When the steeple bell Says, "Good night, sleep well” We'll thank the small hotel We'll creep into our little shell And we will thank the small hotel Together

-How about that, Herb? -Oh, that was great.

You really got something here, Eddie.

-You do sing awful good, Peggy. -It's an awful good song.

There's another one. We've got a million of them.

And I'll bet you could sing them all.

Wouldn't it get kind of monotonous, me singing all those songs?

No, honey, not to me it wouldn't.

Peggy, how tall are you?

I don't know. About 5'4", I guess.

That's what I figured.

There we are.

-What is this? -I'm filing you away for future reference.

This is Dick, he's 6, this is Herb, this is my mother.

This is a little girl named Helen and this is the milkman.

I don't think I quite understand.

You will, after you've known me 10 or 15 years.

Larry! Larry! Larry! Dick!

Look, you know what happened? It's the darnedest thing.

Look. Dick! Dick! Mr. Kay just phoned.

-Mr. who? -Mr. Kay.

-The Theatre Guild. They want us. -Who wants us?

The Theatre Guild. They want us to do a show.

-The Garrick Gajeties. -Oh, yeah. I heard about that.

The kids are putting on some kind of a benefit to buy tapestries

-for the Guild's new theater. -But, Dick, it's the Theatre Guild.

-But it's only another benefit. -Well, can't we talk it over, anyway, huh?

Watch me change the mogul of baby clothes back into a musician.

Wanna bet? Come on. Come on.

And darned if he didn't, So there it was in big, bright lights, The Garrick Gaieties.

On the first of May It is moving day Spring is here so blow your job Throw your job away Now's the time to trust To your wanderlust In the city's dust you wait Must you wait?

Just you wait In a mountain greenery Where God paints the scenery Just two crazy people together While you love your lover Let blue skies be your coverlet When it rains, we don't mind the weather And if you're good I'll search for wood So you can cook While I stand looking Beans could get no keener reception in a beanery Bless our mountain greenery home

When the world was young Old Father Adam with sin would grapple So we're entitled to just one apple I/ mean, to make apple sauce Underneath the bough We'll learn a lesson from Mister Omar Beneath the eyes of no Pa and no Ma Old Lady Nature is bass And if you're good I'll search for wood So you can cook While I stand looking Beans could get no keener reception in a beanery Bless our mountain greenery home


Simple cooking means More than French cuisines I've a banquet planned which is sandwiches and beans Coffee's just as grand With a little sand Fat and you'll grow fatter, boy S’matter, boy?

Attaboy

In a mountain greenery Where God paints the scenery Just two crazy people together How we love sequestering Where no pests are pestering No dear Mama holds us in tether Mosquitoes here won't bite you, dear I'll Jet them sting me on the finger We could find no cleaner retreat from life's machinery Than our mountain greenery home Down with city slickings Up with cows and chickens Down with noise and clutter Up with milk and butter Down with life's machinery Bless our mountain greenery home!

-Hi, Eddie. -Hi, Mr. Hart. Here's your morning papers.

-Three of each. -Yeah. How much do I owe you?

-That'll be 24 cents for the works. -24 cents?

24 cents I haven't got, but here's a buck. Buy yourself a railroad.

-Gee, thanks! -That's all right, Eddie.

Hey, Mom! Mom!

-The papers are here. -Coffee is ready, Lorry.

Just a minute, will you, darling? Just a minute.

Here it is, here it is.

"Last night a group of the younger Theatre Guild actors

"came up with a little hand-built revue called The Garrick Gaieties.

"And to my utter amazement, I found it jammed throughout

"with talented young people, bright tunes, sparkling lyrics and smart sketches.”

-Mom, we're in. We're a hit. -But naturally, Lorry.

I'll get that.

-Good morning, Richard. -Hello, darling.

Have you heard the good news?

-We're a hit. We're in. -But of course.

And if the Theatre Guild has any notions about this little show running for just a few performances, they'd better forget it.

-Hi. -Hi.

-Uh-oh. -"Uh-oh,"” what?

-"The music."” -What about the music?

“"The music,” it says here, "is fresh and melodic and engaging, “and these qualities are bound to carry composer Richard Rodgers to the top

"in years to come.

"Meanwhile, by the way, just who is Mr. Richard Rodgers?” Mr. Richard Rodgers is the young gentleman who is making my coffee get cold.

Now just a minute, Mrs. Hart.

I want to prove to you that Larry isn't so famous, either.

-"The lyrics."” -What about the lyrics?

“"The lyrics are bright, witty and adult and in good taste.

“In short, they are excellent.

"And it is a pleasure to greet a new writer as gifted as he is unknown, "Mr. Lorenz Hart.”

-Mr. Hart. -Mr. Rodgers.

I'll get it.

-Hiya, Mom. -Hello, Eddie.

Have you seen the notices? They're terrific. Mom, we're a smash.

-But certainly. -Hi, Dick. Hi, Larry.

Have you seen what's in the papers here about Herbie Fields?

-No. What does it say? -Oh, boy, it says right here, "The original sketches were concocted

"by a young man nobody ever heard of, Herbert Fields.

"Outstanding in a smart cast was singer Eddie Anders who will be..."

-Eddie Anders? Hey, that's me! -Congratulations.

-You're in, Eddie! -I'll get it. I'll get it.

Good morning, Herb.

Oh, you bet it's a good morning. Have you heard the news?

-Sure. We are smash. -Yes, that's right. We are.

-Hi, fellows. -Hi, Herbie.

Have you read these write-ups?

-They're the most sensational... -Yeah, I read them.

-Well, what's the matter? -Nothing's the matter.

-Everything's fine. -What is it? What is it?

James Kelly. He wants to produce a show.

-What? Kelly? -Yes, I was up all night with him.

He saw the Gaieties last night and he wants to do a show with us.

-On Broadway? -Not in Bridgeport!

-That's great. -What are we waiting for?

Mom, cook some breakfast, will you, please?

Mary. Mary, honey, cook some breakfast, too.

We'll start right away. 3:00 sharp.

We've already got My Funny Valentine and You're Nearer, -What time is it? -9:30.

9:30. I've got to make a phone call.

Talk to yourselves, will you?

Hello. Give me Trafalgar 2098, please.

Hello.

Hello. Hello. Is this my blue-eyed friend from Boston?

This is your red-eyed friend from Boston.

-Who is it? -This is Larry. Larry Hart, yeah.

Now, look, don't get excited. Don't even wake up.

You're dreaming this, only it's true.

We sold our musical comedy.

Gee, Larry, that's marvelous, really and truly.

You're going to be in it, hear me?

I'll see you at the club tonight.

And I'm gonna bring Herb and Dick with me.

And aside from that, I don't know anything new.

Thank you, Larry.

Larry, I'd like to measure you right now.

I'll bet you're really taller. I know I am.

Goodbye.

There you are, sir, and if I do say so myself, they look fine.

-They look all right, huh? -Oh, yes, sir.

Get up.

Go ahead, walk.

One, two, three, four.

One, two, three, four, turn, two, three, four.

They feel fine, but I feel as if I were walking downhill, you know?

Well, naturally.

-What about the trousers? -Oh, yes. You see, I forgot to tell you.

When the lifts move you up, the trousers, shall we say, move up proportionately.

-However, with a slight adjustment... -Slight adjustment?

You're completely defeating your purpose.

Well, they feel very comfortable, -but I get a little... In the back of it. -Oh, yes.

For a while, you'll notice a slight tenseness in those back muscles.

However, after a while, that too will adjust itself.

-Look all right? -Oh, excellent, sir.

Oh, I must warn you. When you take your shoes off at night, if you notice a slight popping of the ears, don't let it alarm you.

-3:00 sharp, huh? -Well, you know Larry.

Here it is 5:15, he's not here yet.

Hiya, baby. Hiya, kid.

Notice anything different? Look, you guys.

-Haircut? -No.

-Shave? -No. Well?

-Well, what? -Well, what? The shoes. Look.

-The shoes? -Certainly. The shoes.

2" taller. How about that?

-Taller? -Sure.

-Are you serious? -Certainly. 2".

No kidding. Built up on the inside. You can't even see it.

You ought to get some sometime. Anybody call?

-Peggy. -Yeah?

Say, we've got to go over to the club and see her tonight.

And is she excited about doing the show.

-What show? -What show?

Why, our new show, of course.

Why? Does she want to be in the chorus?

Chorus? Why, she's going to do the part.

You both like her, don't you?

Oh, sure, but, Larry, this isn't The Garrick Gaieties.

-Did you ever hear of Joyce Harmon? -Yeah. Certainly.

Well, Mr. Kelly's got her signed to a personal contract.

That's one of the main reasons he's doing our show, because she's right for it.

Why, Joyce Harmon's the greatest thing you've ever seen.

Yeah, I know. But you said that she was...

Look, Larry, we're not producing the show.

A man investing that much money in a couple of new authors, he wants some protection. You can understand that.

Yeah. I can understand that.

Oh, the wild herd gathers where the moon is full There's not much buffalo but lots of bull Way out West In the wild, wild West Away out West on West End Avenue Yippee-ay-yay! You!

Well, tell me all about it.

-Drinks are on me tonight. -Oh.

25% off.

Well, here's to our show.

-Peggy... -What's wrong, Larry?

Nothing the matter with the show?

After I talked to you this morning, I talked to Dick and Herb, and it seems as though the producer has Joyce Harmon under contract and...

-She's going to do the part. -Yeah.

I'm awfully sorry, Peggy.

It's going to take all the boot out of doing this show, for me, anyway.

Don't worry. It's not so bad.

I got a call this afternoon from the Shubert office.

They want me to go on the road with some operetta.

It's not the greatest part in the world, but the money's pretty good and I guess I could use the experience.

Peggy, this isn't the time, but ever since I saw you...

Larry, please.

We're both a little off-balance now, and we both have many things to do.

I know I have.

Well, I went on record, anyway.

Let's drink some of this before it gets flat.

That was the touch-off spark that was to affect everything Larry Hart ever did again.

But, frankly, I was more concerned with our new musical comedy and our new leading lady.


Fortune never smiles, but in my case It just laughs right in my face If 1 looked for a horseshoe, I suppose It would bop me right in the nose My luck will vary surely That's purely a curse My luck has changed It's gotten from rotten to worse Where's that rainbow you hear about?

Where's that lining they cheer about?

Where's that love nest where love is king ever after?

Where's that blue room they sing about?

Where's that sunshine they fling about?

I know morning will come But pardon my laughter In each scenario you can depend on the end Where the lovers agree Where's that Lothario?

Where does he roam?

With his dome Vaselined as can be It is easy to see all right Everything's gonna be all right Be just dandy for everybody but me

It is easy to see all right Everything's gonna be all right Be just dandy for everybody but me


It is easy to see all right Everything's gonna be all right Be just dandy for everybody and me

-Got that blue room -To sing about

-Sun is shining -To fling about

-Got that love nest -You hear about

-A silver lining -To cheer about You can have that rainbow

'Cause we got that rainbow now

-Who is it? -It's me.

Oh, come in.

I ran back before the crowd got in.

-Well, how was it? -You were only sensational.

Thank you, Dick, for everything.

The flowers, your help, the way you conducted.

You're welcome.

Joyce, would you like to go out tonight?

-Have a drink maybe? -Oh, Dick, I'm sorry.

But you know me, opening night.

I'm going right home, get a hamburger and crawl into bed.

-Give me a rain check, will you? -Sure.

-How about tomorrow? It's Sunday. -Oh, that's right.

I tell you what, come over around 4:00 and I'll make you a nice cup of tea.

4:00? I'll be there.

More flowers.

Dick, they're perfectly beautiful.

Thank you again.

There.

-Well, sit down. -Thanks.

I hate Saturday night openings, don't you?

Yeah.

Waiting till Monday for the notices is kind of like a Chinese execution.

Is something troubling you, Dick?

Look, Joyce, I can't say this the way I want to, so I'll just say it plain.

I'm in love with you.

And I've been in love with you a long time and I don't know what to do about it.

Do you...

-Are you serious? -I'd like to marry you.

Well, I guess that's all there is to it.

Dick, come here.

I can't tell you how sweet that was, your telling me just that way.

You're one of the nicest persons I've ever known.

But nice as it is to hear, it just doesn't make sense.

But why does it have to make sense?

Because being in love is more than just saying it, or wanting to be, or thinking you are.

And your being in love with me is impossible.

-Believe me, it is. -Why?

Well, mathematics.

I'm 33, you're 23.

What difference does that make?

Dick, when a woman's 33, a day's a difference, a week's a difference, a month's a difference.

Ten years, that's a century.

Well, I guess that's that.

How would you like your tea? With or without sugar?

Two lumps are fine for me.

Sugar or no, !/ was a very bitter young man.

The girl of my dreams didn't love me and all the world was sad and dreary.

In black despair, I decided to do what every young fellow with a broken heart does, / decided to go to the movies.

But ] was in no mood to be alone and so in search of company, ! dropped in on an old friend, Ben Feiner.

-Hello, Dorothy. Is Ben home? -No, but come in.

Thanks.

I'm sorry. Ben went out.

Say, when did you get so big?

Oh, I don't know. Just lately, I guess.

Well, I thought maybe Ben would like to see a movie or something.

-Well, I don't know when he'll be back. -It doesn't matter.

You've been away at school, haven't you?

-Came in to see your show last night. -Really?

-Liked it very much. -Thank you.

-I've seen all your shows. -Both of them?

Excuse me. Won't you sit down?

I was just making some tea. Would you like some?

No, thank you. I had my tea today.

-How are the folks? -Fine. They'll be in soon.

Well, I guess I'll go to the movie myself.

They say it's a good picture.

-Camille. Have you seen it? -No, I haven't, but I'm going to.

-Well, tell Ben to call me. -All right.

Oh, say, Dorothy, you wouldn't like to see the movie with me?

-Oh, thank you, but I'm afraid not. -Why not?

Well, you see, I...

Well, I never go out with older men.

-With what? -You know what I mean.

-All of Ben's friends are kind of... -Kind of old men, huh?

Well, I'm sure you understand.

Oh, certainly. I understand perfectly.

Good night.

That was really Black Sunday for me. Shut out twice, Once because I was too young, and once because I was too old.

] pictured myself tragically wandering around the globe for the rest of my days.

And in my grief] was certainly in the right frame of mind to see Camille.


But I'd clean forgotten that there was a big stage show, all built around one of our numbers.,

Remember the youth amid snow and ice Who bore the banner with the strange device

“Excelsior” This motto applies to those who dwell In Richmond Hill or New Rochelle In Chelsea or in Sutton Place You've got to reach the heights To win the race See the pretty apple, top of the tree The higher up, the sweeter it grows Picking fruit you've got to be Up on your toes See the pretty penthouse, top of the roof The higher up, the higher rent goes Get that dough, don't be a goof Up on your toes They climb the clouds To come through with air mail The dancing crowds Look up to some rare male Like that Astaire male See the pretty ladies, top of the crop You wanna know the way the wind blows?

Then, my boy, you'd better hop Up on your toes Up on your toes


That day I was very much alone.

Larry was away seeing Peggy. and I hoped things were going a lot better for him than they had for me.

Now you've really got me surrounded.

A bolted door, a Rodgers and Hart song.

What's the next twist to the plot?

Well, that shouldn't be hard to guess. It's the love scene.

You know, where the fellow tells the girl that she's like a Roman candle, a Greek chorus, an Italian gondola, only here we are in Indianapolis.

Then when he runs out of things to say, instead of coming to the point, he reaches into his pocket and hands her a prop.

Go ahead. Try it on for size.

Excuse me.

What's the matter, Peggy? Don't you want it?

Sure, I want it. I want it very much.

But I just can't.

Hey, hey, hey, wait a minute, will you, Peg? This is Larry Hart.

Remember me? The fellow who wants to marry you.

Larry, that's just the trouble.

What?

I love you too much to fool you, but I don't love you enough to marry you.

-A little too much but not quite enough. -Please don't, Larry.

Look, you're a big success, you're talented, you're funny and nice, and there's so much else in life for you.

None of that seems important to me now.

I only wish you were the guy. I hate hurting you.

No, it's not your fault. It's mine.

It always hurts when you find out you've been kidding yourself.

And deep down, I always knew I really wasn't the guy.

I wanted it to be you.

-So much. I knew.

For me, your heart doesn't pound, your stars don't sing, and your world doesn't stop. That's why I'm not the guy.

-Larry, where you going? -Who knows?

The thing is to go and go fast.


Lexington 5400.

Hello, Dick?

Lorry is home.

-Hiya, Mr. Hart. -Hiya, Dick.

-Well, what do you say? -Oh, I'm fine.

Missed you. Where've you been?

Oh, went to a couple of places I always wanted to see.

-Did you see them real good? -Yeah.

I saw them great.

-How's the show doing? -Selling out.

Oh, that's fine. Anything else new? What's new?

Oh, nothing much. Been fooling around with a tune or two.

That's good.

What's wrong, Larry?

The usual thing.

The love song is slowing up the show a bit.

-Anything I can do? -No.

No, everything's been done.

No more love songs. That's all. No.

Just those fast, bright things from here on in, huh? Huh?

Larry, I hate to see you like this.

I'm sorry. I didn't mean to get lost. I didn't mean to get everybody in a storm.

-It's all over. -It's all over.

Finie la guerre. The boat has sailed.

It's all over. Well...

What do we do next, huh?

-Feel like working? -Sure. Sure, anything.

Make me an offer.

-We got a wire from Cochran in London. -Yeah?

-He wants us to bring our show over. -The Girl Friend?

-That's right. -Oh. Gosh.

-Cochran, huh? -Right away.

Oh, good. Is it a good deal?

-What do we think about it? -I'm ready.

I'm with you. When do we sail?

"This London, this hub of the British empire, "is a city of traditions and of history.

"It's the city of Shakespeare. It's the city of Chaucer.” It's a city where you can't get a hot dog or an ice-cream soda.

Look, do you want to listen to this or not?

Of course we do.

Don't pay any attention to him. Go on.

Now. Now about Parliament. It says, "This impressive monument to free institutions

"covers 8 acres, has 1,100 rooms, "100 staircases and 2 miles of passages.” I'm glad I don't have to clean it.

"It's the mother of Parliaments dedicated to the right of..."

Holy smoke! That reminds me. I forgot to write my mother.

Come on, let's go, Eddie.


From all visitors and inquisitors We'll keep our apartment

!/ won't change your plans You arrange your plans Just the way your heart meant Here we'll be ourselves And we'll see ourselves Doing all the things we're scheming Here I've planned for us Something grand for us Where no one can see us dreaming We'll have a blue room A new room, for two room Where every day's a holiday Because you're married to me Not like a ballroom A small room A hall room Where I can smoke my pipe away With your wee head upon my knee We will thrive on Keep alive on Just nothing but kisses With mister and missus On little blue chairs You sew your trousseau And Robinson Crusoe Is not so far from worldly cares

As our blue room far away upstairs They will thrive on Keep alive on Just nothing but kisses With mister and missus On little blue chairs She'll wear her trousseau And Robinson Crusoe Is not so far from worldly cares As our blue room far away upstairs

"Rodgers and Hart, Girl Friend.

“London click.

"R. and H. sail for NY to do Connecticut Yankee.” Goodbye, peace and quiet.

After all the dizzy excitement of our first show abroad, the trip home was a letdown.

And once again Larry became restless.

-Here you are. -Hi.

I just thought who would be great to play the lead in A Connecticut Yankee.

-Yeah, who? -Peggy.

She's just right for it.

-Do you really think so? -Sure. Why don't you call her?

Ship to shore. What are you waiting for?

Hello! Hello!

Well, aren’t you excited?

Oh. Well, tomorrow morning.

I'll meet you at the dock.

No, you'll have to be there. I won't listen.

I'll see you tomorrow. Now don't forget. Goodbye.

-Well, hello, Brian. -Hello.

-Do you see her at all, Dick? -Not yet.

Hi, Dick! Dick Rodgers!

-Hello, Ben. -Hi, Larry.

-Hi, Ben. -Good to see you, boy.

-You just get in? -Yeah.

Well, so did I. On the Roma, from Naples.

Excuse me, will you, fellows? I got to find somebody.

-1 didn't know you'd been in Europe. -Yeah, yeah. In fact, the whole family.

-Mr. Feiner. -Glad to see you.

-Mrs. Feiner. -So nice to see you.

-Hello, Dick. How are you? -Hello, Dorothy. I didn't recognize you.

-Mr. Feiner, your baggage is ready, sir. -Thank you.

-We'll see you in customs, Dorothy. -All right, fine, Ben.

-See you later, Dick. -So long, Ben.

Goodbye, Dick.

How would you like to go to a movie with me sometime?

Be glad to ask my mother and father. Goodbye.

Oh, I'm having a birthday party in three weeks at Tarrytown.

Would you like to come?

-How old? -Eighteen.

Gee, I don't know.

Eighteen-year-old girls are pretty old for me.

But I'll be glad to ask my mother and father.

Well, I'll see you then.

Telegram for Mr. Hart. Telegram for Mr. Hart.

Right here, fellow.

-Mr. Lorenz Hart? -Yeah, that's right.

Sign here, please.

Oh, wait a minute. Here.

-There you go. -Thank you, sir.

Dear Larry. Sorry I couldn't meet you.

Signed a contract for pictures., Left for the Coast this morning.

Good luck with your new show, Love, Peggy.


Oh, thank you.

-Happy birthday, Sis. -Ben.

-Would you like to dance? -I'd like to climb a tree.

-Well, I don't happen to have one on me. -Oh, but I do. Come on.

So we're going to climb a tree, huh? Any tree I know?

Oh, you'll see. Follow me, monsieur.

-What is this? -My private tree.

I spend half my life up here.

In fact, it's where I spin my finest dreams.

-Well. -This is wonderful.

And now, Mr. Rodgers, I would like the story of your life.

At this altitude?

You can skip your boyhood and start at the part where you fell in love with the leading lady, Joyce Harmon.

-I see you've been reading my mail. -Did she really break your heart?

You bet. And I didn't get over it for, oh, an hour and a half.

Oh, that's not what I heard.

What did you hear?

I heard that's why you went to London, to forget her.

I'm going to have plenty of trouble with you.

All right, I was in love with her. And I did go to London to forget her.

But she's a very remarkable woman, and we both should be very grateful to her because she saved me.

-Saved you? -She saved me for you.

Gee, I never thought of that.

Remind me to send her some flowers.

We can't rehearse that other number because we...

-Any word from Larry? -He'll show up. He always does.

What do we do now? We need extra lyrics for Thou Swell, I'd better go with them.

Hi, Dick.

Hi.

How's it going?

What's the matter? Is something wrong?

Let's take a walk.

Well, where have you been?

I went out on the Coast.

-Oh, great. And? -And nothing. She'd gone to Mexico.

You mean you just went out there?

I wired her first, but she went to Mexico, anyway.

-Well, I don't know what to tell you, Larry. -There's nothing to tell.

Oh, yes, there is, there's plenty. And if I don't, who will?

-Oh, I know. -Oh, sure, you know.

But here we are in rehearsals, the whole company waiting for the lyrics, everybody going crazy and where are you?

-l know. -It's murder.

You're murdering yourself, your work, everybody.

You've got to pull yourself together.

You can't keep running around the world chasing rainbows.

-They're ready with that number, Dick. -Okay, Tommy. I'll be right there.

Dick. Dick!


Are not mine eyes fair to view?

They're there to view thee Wilt not thine own dare to view What love canst be?

Ah, see my color pale for thee Hear my heart fail for thee, too

! have a sweet tale for thee

'Tis sad but true

'Tis sad but true

Thy words are queer, sir Unto mine ear, sir Yet thou art a dear, sir, to me Thou couldst woo me Now couldst thou try, knight

I'd murmur swell, too And like it well, too More thou wilt tell to Sandy, thou art dandy Now art thou my knight

Thine arms are martial Thou hast grace My cheek is partial to thy face And if thy lips grow weary Mine are their resting place

Thou swell, thou witty Thou sweet, thou grand Wouldst kiss me pretty?

Wouldst hold my hand?

Both thine eyes are cute, too What they do to me Hear me holler

/ choose a sweet lollapalooza in thee I'd feel so rich in a hut for two Two rooms and kitchen I'm sure would do Give me just a plot of Not a lot of land And thou swell Thou witty Thou grand


Thou swell Thou witty Thou sweet Thou pretty Thou terrific Thou sensational Thou grand


With a song in my heart

] behold your adorable face Just a song at the start But it soon was a hymn to your grace But I always knew

! would live life through With a song in my heart for you

-Do you like it? -It's lovely. Play it again, please.

You know, that's the kind of a song that could solve everyone's romantic problems.

Now imagine two people in love, and the fellow is, you know, one of those bashful types.

All he has to do is take her to hear this song.

Wouldn't have to propose, ask her father, nothing.

I think I know what you mean.

A song like this, she might even end up marrying him.

Couldn’t she?

But she'd have to know him a little bit better first.


Ladies and gentlemen, Miss Lena Horne.

It seems we've stood and talked like this before We looked at each other in the same way then But ] can't remember where or when

The clothes you're wearing are the clothes you wore The smile you are smiling you were smiling then But ] can't remember where or when

Some things that happened for the first time Seem to be happening again

And so it seems That we have met before And laughed before And loved before But who knows where

or when

Quite a coincidence that she happens to be singing a Rodgers and Hart song.

If you think that's a coincidence, wait until you hear the next number.

I've wined and dined on Mulligan stew And never asked for turkey As ] hitched and hiked and grifted, too From Maine to Albuquerque Alas, I missed the Beaux Arts Ball And what is twice as sad

!/ was never at a party Where they honored Noel Ca'ad But social circles spin too fast for me My hobohemia is the place to be

! get too hungry for dinner at eight

1 like the theater, but never come late I never bother with people I hate That's why the lady is a tramp I don't like crap games with barons and earls Won't go to Harlem in ermine and pearls Don't dish the dirt with the rest of the girls That's why the lady is a tramp

1 like the free, fresh wind in my hair Life without care I'm broke, that's oke Hate California It's cold and it's damp That's why the lady is a tramp

! go to Coney, the beach is divine

] go to ballgames, the bleachers are fine

/ get the columns and read every line That's why the lady is a tramp

] like a prizefight when it's not a fake

/ like the rowing on Central Park Lake

1 go to opera and stay wide awake That's why the lady is a tramp

1 like the green grass under my shoes What can I lose?

I'm flat, that's that I'm all alone when I lower my lamp That's why the lady

is a tramp

Now's a good time.

-For what? -To ask a girl to marry someone.

Are you sure we're well enough acquainted?

Well, it's hard to answer a question like that unless you've just been kissed.

We're well enough acquainted.

Dick, how do you think Larry's going to feel about us?

It's not going to be easy for him.

Here we are happy, in love, going to be married, a whole bright future ahead of us.

And what's he got?

-Shall I try to talk to him? -What would you say?

Well, I don't know, I'm so lucky these days, I might think of something.

I'm awful glad you talked me into marrying you.

So am I.

-Well, now, what's the big secret? -Dick and I are going to be married.

Married? That's wonderful!

-She's going to be married. -Congratulations. Very nice.

Yes, married. That is wonderful.

Dick and I have been together for so long, the thought of him getting married, it's a little strange.

But you're going to be very happy because he's a wonderful guy.

-So are you. -Me?

I'm just a guy that writes lyrics, runs away, hides, has a few laughs, -comes back and writes lyrics. -Yes, I know.

-And in between, you fall in love. -We don't talk about that.

Oh, yes, we do.

Our being happy won't mean as much if you're miserable.

Miserable? Me? Why, I'm always happy.

-No one's always happy. -All right, so I'm slightly miserable.

You're a woman, so maybe you can tell me.

Why couldn't she have loved me just a little bit when I...

When I loved her so much?

Maybe she loves you more than you think.

No, no, it's not that. There's something about me.

When we'd get right up to the wire, it would stop her.

What is it? Am I that ugly? Am I that repulsive?

Oh, don't say that about yourself.

How corny can I get?

Dick thinks that you and he ought to go to the Coast to do some pictures, and he feels you don't want to.

Would you like to give me a real nice wedding present?

Sure, anything, darling. What?

Well, after we're married, we want you to come to California with us

-on our honeymoon. -On your honeymoon?

You've talked me into it. Hollywood, here I come.

-So this is Hollywood. -No. Beverly Hills.

Beverly Hills Hotel on your left.

Chinese Theatre.

Well, there's nothing like a house with a view.

When do we start taking oxygen?

As I understand it, you'll be here quite a while, Mr. Hart.

Just you and your mother.

And an occasional friend or two.

Well, you'll need a nice, comfortable spot, plenty of privacy, but not too ostentatious.

This is it.

-Nice cozy little place. -Yeah.

The place leases with or without the staff.

Let's see, butler, houseman, cook, pastry cook, downstairs maid, upstairs maid.

-Where's the bell? -Oh, right here, right here.

Gardener, chauffeur, footman, watchman.

I'm from the Hollywood Realty Company.

-Oh, yes, of course. Come in, please. -Thank you.

Thank you, sir, very much.

Hello!

One thing, a fellow would never be lonesome in this place.

-The study is there. -That's the study.

The music room is there and the dining room is there.

The projection room is there.

Miniature theater is there.

And the billiard room is there.

Who built this place, Metro-Goldwyn-Mayer?

This is the living room.

Yes, it's very livable.

Come and take a look outside.

The patio.

The pool.

Oh, yes, the pool.

And look at that view.

Pretty complete, I'd say.

Yeah, but what good is it?

There's no airport.

No, but there's room for one. Well, Mr. Hart, what do you think?

What do I think? I think it's sensational. I'll take it.

-Well, that's fine. -Yeah.

Any resemblance between me and a fellow in his right mind is purely coincidental.

"Mr. and Mrs. Dick Rodgers, Santa Fe Chief, en route Los Angeles.

"Dear Dick. Come directly to my party.

"Have rented the cutest little cabin you ever saw.

"Just tell driver top of Summit Road in Hollywood Hills.

"Black tie and a girl preferred. Love and kisses, Larry."” Well, that's what it says, top of Summit Road.


There's dancing in the patio, sir.

Nothing like sneaking into town.

Hey, Dick, Dick, boy!

-Hiya, Larry. -How are you?

-Larry. -Dorothy, honey.

Hey, wait just a minute, pal. There you go.

Hey, what do you think of all this, huh?

-Very intimate. -Come on. Let's go.

-What's the party for? -What do you mean what's it for?

Does there have to be a reason? It's a party.

Everybody in Hollywood is here.

This looks like everybody west of the Rockies is here.

Well, you certainly proved that a New Yorker can outdo Hollywood.

Come on. Mom's over here. Or will you have a drink first?

-No, thanks. -How about it, Dorothy?

How about an hors d'oeuvre? Here they are.

Keep them going around, will you, fellow? Here we go.

Mom. Mom, look who's here.

-Hello, Mrs. Hart. -Dick and Dorothy.

Oh, it is good to see you.

-Oh, you look so nice. -Why, thank you.

Hey, there's Judy Garland. Hiya, Judy.

Hi, Larry.

Judy, you know my mom, of course. And Dick and Dorothy Rodgers.

-Hello, Judy. -Sure, hello.

-It's a wonderful party. -I'm glad. But excuse me.

I must keep the customers happy.

-Are you coming, Larry? -Coming, Mother.

Oh, that's all I need. Fine. Take care. I'll be right back.

-Always in action. -Yeah.

Say, when are we going to do that show together, Judy?

Oh, we've been talking about that show for so long, it's gotten to be a running gag.

That's only because you're never in New York long enough to sing a chorus.

I know. But look, we're all in Hollywood now.

Is there any chance of our doing a picture together?

-Oh, Judy, I'd love to. -Now, I know you've got a story

'cause Larry told me so.

And I bet you've got some spare songs, too.

-But, look, sweetie, you see, we... -What?

Oh, Dorothy, I'm so sorry.

Here you two have just started on your honeymoon

-and I'm trying to shanghai the groom. -I don't mind.

I knew what I was getting into when I married a composer.

I might just as well be getting used to it. -That's marvelous.

-What's marvelous? -We're going to do a picture together.

-No kidding. -You heard the lady.

Why, that's fine, but you've got to audition for us if you're going to work for us.

-Okay. -I'll give you my personal assistance, too.

Come on.

Mel, take / Wish I Were in Love Again, will you?

You don't know that I felt good When we up and parted You don't know I knocked on wood Gladly brokenhearted Worrying is through, I sleep all night Appetite and health restored You don't know how much we're bored Sleepless nights, the daily fights The quick toboggan when you reach the heights

1/ miss the kisses and I miss the bites I wish I were in love again The broken dates, the endless waits The lovely loving and the hateful hates The conversation with the flying plates I wish I were in love again No more pain No more strain Now I'm sane, but I would rather be gaga The pulled-out fur of cat and cur The fine mis-mating of a him and her We've learned our lesson and we wish we were in love again

The furtive sigh, the blackened eye The words, "I'll Jove you till the day I die” The self-deception that believes the lie

I wish I were in love again When love congeals, it soon reveals The faint aroma of performing seals The double-crossing of a pair of eels

I wish I were in love again No more care No despair I'm all there now but I'd rather be punch-drunk Believe me, sit, I'd much prefer The classic battle of a him and her We don't like quiet and we wish we were in love again


More, more.

Let's try Johnny One Note in E flat, huh?

Mel, will you ask some of the boys to come down here?

It'll be a little more friendly.

Johnny could only sing one note And the note he sang was this

Poor Johnny One Note Sang out with gusto And just overlorded the place Poor Johnny One Note yelled willy-nilly Until he was blue in the face For holding one note was his ace Couldn't hear the brass Couldn't hear the drum He was in a class by himself, by gum Poor Johnny One Note got in Aida Indeed a great chance to be brave He took his one note Howled like the north wind Brought forth wind that made critics rave While Verdi turned round in his grave Couldn't hear the flute Or the big trombone Everyone was mute Johnny stood alone Cats and dogs stopped yapping Lions in the zoo all were jealous of Johnny's big trill Thunderclaps stopped clapping Traffic ceased its roar And they tell us Niagara stood still He stopped the train whistles Boat whistles, steam whistles cop whistles All whistles bowed to his skill

Sing, Johnny One Note Sing out with gusto And just overlord all the crowd So sing, Johnny One Note, out loud Sing, Johnny One Note Sing, Johnny One Note out loud

-This is a swell party, huh? -It certainly is.

-Good night, Larry. -Good night.

Hey, wait a minute. Where you going, Eddie?

-Oh, it's late. -It's after 4:00.

What's 4:00? It's early yet. Come on, stick around.

-Good night. -We're gonna have some fun.

-Good night. -Thanks. Good night.

-Well, we have to go, too, Larry. -Wait a minute, Dick.

-You two are going to stay here. -We can't, Larry.

We're staying at the Beverly Hills Hotel. But we'll see you tomorrow.

Well, let's have one for the road, huh, Dick?

-No, thanks, Larry. -How about it, Dorothy?

No, thank you.

It sure has been a swell party, hasn't it?

-Yeah, it sure has. -Mighty fine.

-Good night, Larry. -Good night, Dorothy.

-Good night, Larry. -Good night. Good night, Dick.

-Good night, Dick. -Good night, Larry.

All right, that's it for tonight, boys.

Hey! Hey, Mel! Wait a minute. Hey.

Hey, Mel, what's going on here?

Well, we kind of figured with everybody leaving...

Oh, we don't need people. Hey, hey, wait a minute, fellows.

Keep going, will you?

Waiter, give the fellows champagne, lots of champagne, will you?

-Yes, sir. Yes, sir. -That's what we want. Sure.

Anything special you'd like to hear, Mr. Hart?

Yeah, play...

No, no, better not play that.

Play anything, anything at all, fellows.

Just so it's Rodgers and Hart.

Number 16, boys. Sixteen. Here we go.

Blue moon You saw me standing alone Without a dream in my heart Without a Jove of my own

Blue moon You knew just what I was there for You heard me saying a prayer for Someone I really could care for And then there suddenly appeared before me The only one my arms could ever hold

! heard somebody whisper "Please adore me"” And when I looked The moon had turned to gold Blue moon Now I'm no longer alone Without a dream in my heart Without a Jove of my own

Blue moon

In spite of everything, we made quite a few pictures in Hollywood and the years slipped pleasantly by.

But when we were asked to do a Broadway show, we decided that change would be good, and so we started East.

When Dorothy and I left New York, we were a family of two, two adults.

But when we returned, we were a family of four, two adults and two children.

Board!

1 beg your pardon.

We were a family of five, two adults and three children.

Well?

They're great, Larry, five of the best lyrics you've ever done.

Thanks, baby.

But don't forget we start rehearsing Monday, and you still haven't written anything for the love song.

Don't worry, you'll get it. Come in.

Chicago in 20 minutes, gentlemen.

All right.

We're going to go over to the hotel and freshen up. Coming along?

Thanks very much, but there are a couple of places I'd like to see and...

Okay.

But don't forget, the Century leaves at 4:00 and it doesn't wait.

Don't worry. I'll be there.

-You sure? -You can count on me.

You can't count on him, Dick!

For weeks he's been promising us the lyrics for the love song.

And if we don't get them, we have no love song.

-And if we have no love song... -We have no show. Yes, yes, I know.

Oh, how can he act this way?

I'm worried, Eddie. This time I'm really worried.

I'd go after him myself, but I have to stay with the show.

Of course, you do.

Even if I caught up with him, I don't know how much good it would do.

He's taken an awful lot of sermons from me.

But we gotta get him back.

Look, Dick, you know how much I love the little guy.

Why don't you let me take a crack at it?

-Will you? -You know I will.

But Larry couldn't be located anywhere, Confused and dispirited, among strange people and strange places, he was just a lost guy and no one could help him.

He had to find his way back alone.

Warm for spring, isn't it?

Nice breeze, though.

It's a lovely night with the stars and all.

So I hear.

Wait a minute.

Spring is here.

Why doesn't the breeze delight me?

Stars appear.

Why doesn't the night invite me?

Maybe it's because nobody loves me.

Spring is here,

I hear.

-Taxi! -Taxi.

Yeah.

Yeah, taxi. Of course, taxi!

See, you later, baby. Take care. Here.

If you don't like it, trade it in on a lawn mower.

-Hey, where are you going? I gotta see somebody.

Airport, driver.

-There you are. -Thank you.

Thank you.

Hey!

How about coming down here and helping a fellow, huh?

-Uncle Larry! -Larry!

-Larry. -Larry.

-Hello, Linda. -Uncle Larry!

-Linda, darling. -Hiya, Larry.

Why, it's so good to see you.

-Hello, Dorothy. -What are those? Presents?

-Oh, Linda, now, really. -Oh, boy!

Here this is for you and the purple and blue one is for you.

-Oh, boy. -All right, sweetheart.

-Oh, Larry. -Don't I get a kiss?

All right. This is for you, too, Dorothy.

Thank you, Linda. And this is, of course, for you, Dick.

Well, thank you, Mr. Hart.

-Mr. Rodgers. -Larry, you look tired.

Tired? Me? Don't be silly.

Well, I am. Let's go over and sit on the terrace.

-Us, too? -No, Mary, not us two, us three.

You two take your presents, say thank you, and go play.

-Thank you, Uncle Larry. -Thank you, Uncle Larry.

-All right, darlings. -Go on.

-Oh, Larry. -It's good to see you, Larry.

Good to see you, too, darling.

This is very nice.

I like this.

I even like the grass and the trees.

Well, why don't you try it for a while?

Yes, Larry, why don't you? Why don't you stay?

I'd like to very much.

I'd like to.

Well, Mr. Hart, tell us where you've been.

To a couple more places.

Would you like something to eat or something to drink?

No. No, thank you. I'd just like to sit here and look at you and the children and this place.

The air here is so wonderful.

Coffee, darling?

Thanks.

-Remember Peggy? -Peggy?

Yeah.

I hear she hasn't been doing so well.

Do you think I ought to try and help her?

If it would help you.

Probably won't.

Nothing seems to add up.

I'm not kidding myself.

Peggy isn't real anymore.

She's a symbol, a symbol of failure.

-A long line of failures. -What failures?

-Stop talking that way, Larry. -It's the truth.

I've done all right with my work, yes.

But I've failed in everything else.

Everything. Don't ask me why.

I don't know why.

I'm on a constant merry-go-round.

And that's no good, baby.

Let's face it, maybe Mr. Hart's lyrics are a hit, but Mr. Hart's life is a flop.

Don't you know you're one of the sweetest, most generous, talented men in the world?

Look, Larry, why don’t you stay here with us? Close.

And start working again.

Dick has a play lined up for Gene Kelly.

-He needs you. -Yeah, I know, baby, but I...

You're confused, darling. And it takes time.

But, Larry, you can't let yourself go like this.

You must go on with your work. It's too important.

Stay here and go back to work?

Okay, baby. I'll try.

I'll start trying right now.

And thanks.


Congratulations, Larry. The show is terrific.

-Larry! Oh, Larry! -Darling!

-You were wonderful. -Thanks a million.

-Just great. -Oh, thanks.

-Where's Dick? -He's right over there.

Tremendous.

Superb performance, Mr. Hart. I am proud of you.

Oh, Vera. Vera, I can't tell you how wonderful you were.

Thank you. Thanks very much.

Another hit. The music, every single thing...

-Larry! -Larry!

Somebody call a doctor! Call a doctor, somebody!

Call a doctor!

Somebody call a doctor!

Months later, Larry was still very ill.

During those months we had completed a revival of A Connecticut Yankee.

To do it, Larry had to call on his last reserves.

And by opening night, his condition was desperate, Dick, can I go with you?

You've heard most of the songs before.

And my singing won't make you feel any better.

I'll come back after each number and tell you everything.

-Here, Larry. -What is it?

Take it, and when you wake up you'll have a big hit.

Mr. Hart.

Mr. Rodgers.


Theater.

I gotta get to the theater.


The theater.


Taxi, mister? Hey, mister! Taxi?

-Martin Beck Theatre, please. -Okay.


-What happened? Get a doctor. -Stand back. Stand back.

Hurry, hurry, get a doctor. Get a doctor.

Some time later, before a packed audience, the greatest figures in show business joined in paying tribute to the memory of the little guy who thought that he was all alone.

Ladies and gentlemen, I am one of hundreds of people in the theater, in pictures and on the radio, who has had the happy experience of being in a Rodgers and Hart show.

And it was a happy experience because as show people, we respected and admired them for what they were doing.

Larry's lyrics were gay and clever and witty, but in them all was the note of sadness.

They were and are and will be a source of beauty and pleasure to millions of people.

Among the best loved of Larry's lyrics are these that Perry Como sings for us tonight, With a Song in My Heart.

With a song in my heart

] behold your adorable face With a song at the start But it soon is a hymn to your grace When the music swells I'm touching your hand We'll have Manhattan The Bronx and Staten Island, too It's lovely going through the zoo Where's that rainbow you hear about?

Where's that lining they cheer about?

Thou swell, thou witty Thou sweet, thou grand Wouldst kiss me pretty?

Wouldst hold my hand?

1 like the free, fresh wind in my hair Life without care I'm broke, that's oke

The pulled-out fur of cat and cur The fine mis-mating of a him and her We've learned our lesson and we wish we were in love again

But I always knew

/ always knew

! would live life through

! would live life through With a song in my heart for you

With a song in my heart for you With a song in my heart