Original subtitles

Yesterday is done.

See the pretty countryside.

Merrily we roll along, roll along,

bursting with dreams.

Traveling's the fun,

flashing by the countryside,

everybody merrily, merrily

catching at dreams,

rolling along...

rolling along...

rolling along...

- Dreams don't die, so keep an eye on your dream... - ... and before you know where you are, there you are.

Time goes by, and hopes go dry, but you still can try for your dream.

- Tend your dream... - How does it happen?

- Dreams take time... - 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?

- Bend your dream... - How does it happen? Where is the moment?

- ... with the road... - How can you miss it? Isn't it clear?

How can you let it slip out of gear?

How did you ever get there from here?

- You roll. - How does it happen? - How does it happen?

- You just roll. - Once it was all so clear. - Isn't it always clear?

- Everybody roll. - How does it start to go? - Does it slip away slow...

... so you never even notice it's happening?

How did you get to be here?

What was the moment?

How did you get to be here?

Pick yourself a road.

Get to know the countryside.

Soon enough, you're merrily... - ... merrily...

... practicing dreams.

Dreams that will explode,

waking up the countryside,

making you feel merrily, merrily,

what can go wrong,

rolling along? - 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, and some are bumpy. - One trip. All you get is...

- Some roads you really fly. - ... one quick ride. Look around a bit.

- Some rides are rough and leave you jumpy. - One quick ride through the...

- Why make it tough by getting grumpy? - ... countryside. Stay on the track.

Plenty of roads to try.

- Never look back. - Some roads you really fly.

Never look back.

Never look back.

Never look back.

Never look back.

Never look—

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—

I said, "Frank, this picture is a watershed..."

I said, "Frank, one day you'll run my studio..."

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!

That Frank...

- That guy is too much. - Hey, the party's inside!

- That Frank... - You like the picture?

- The platinum touch. - How 'bout more champagne?

- He has taste, he has talent. - Is he the best?

- Plus a fine head for business. - The man is blessed.

That Frank...

I wrote the screenplay for Frank's movie.

Your secret's safe with me.

Oh, Frank... Hi!

Oh, Tyler... Tyler!

I want you to meet Meg, the star of my new movie.

My old pal Tyler here is the guy who invented the telephone answering machine.

And people are living in fear I'll invent something else.

That Frank...

So, what do you do?

He's full of advice.

- I drink. - That Frank...

No, what do you really do?

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 the type you could easily learn to hate, that Frank!

Who says "lonely at the top"?

I say, "Let it never stop!"

It's our time, coming through,

all our dreams coming true.

Working hard, getting rich,

being happy—there's a switch!

That smile...

But 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 resent, that Frank!

Hi... Franklin?

Oh, Meg. I want you to meet Mary Flynn.

Congratulations on the movie.

Your performance will stay with me for a long time.

Mary is my oldest, deepest, best friend in all the world.

We go way back. - But seldom forward.

Actually, Franklin gave me the novel you wrote, and I read it over and over.

Didn't you get it the first time?

Hey, gang, we got dancing inside. Come on!

I said, "Frank, you're coming down to Mexico..."

- I think Frank is moving back to Paramount... - What?!

These are the movers, these are the shapers,

these are the people that fill the papers.

... Mexico...

- These are the friends of Frank... - ... moving back to Paramount...

- ... each one a perfect blank. - When you see a movie that successful, what can you say?

Congratulations!

Thank you!

These are the movers, these are the shapers,

these are the people that give you vapors.

Twenty 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...

... Mexico...

... brilliant minds on the coast.

- ... moving back to Paramount... - And notice who is their host.

- ... Mexico... - Beautiful, Frank!

- ... Acapulco, Mexico... - Beautiful, Frank!

When you've made a movie that successful, where do you go?

Paramount!

"Here's to us."

"Who's like us?"

"Damn few."

Thanks, pal, for flying out.

Thanks, pal, for the ticket.

I got a letter from Frankie.

Well, at least my son writes to you.

To thank me for coming to his graduation.

- Yeah, he didn't invite me. - He didn't invite me, either.

How is he, anyway?

Oh, Frank, he asked the same thing about you. Why don't the two of you just get together—

Frank, I'm beginning my broadcast:

"Where Franklin Shepard goes, I go, because that is where the 'A' list goes."

Just figured out what the "A" stands for...

Now, I heard from a reliable source that you're selling the Malibu house?

Eh, you don't want it. It doesn't even have a pool.

No pool?!

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.

- Poor Frank... - I never drink coffee.

- He handled that well. - Caffeine isn't good for you.

- That Frank... - 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...

Who says, "Mustn't go too far"?

I say, "Look at where we are!"

It's our time, coming through—

I say, "Good, me and you!"

I say, "Roll!" I say, "Ride!"

I say, "Hey, there's food inside!"

- That Frank... - Frank's movie was fun!

- 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 could be president, that Frank!

That Frank!

That Frank!

That Frank!

- Oh, Frank... - Yeah?

Tonight, I was running across the lawn, and I saw a falling star, right there in front of me.

I mean, it's a sign! - And what do we see in front of us?

A rising star.

'Cause no matter what the critics say about the picture, they're 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 ever been to a Broadway show knows Gussie Carnegie.

The hem of your garment.

I say, by tomorrow, all of that is going to be at your feet.

Scotty, that's the Valley.

Have you been inside all this time?

It's customary when you give a party to attend it.

- Did you sing? - No one asked.

- Franklin... - Later.

- You're ignoring me. - Yes, I am.

- I have feelings. - And I have a wife.

I love you so much.

And I love you, too.

Well, anyway, I'm off.

Tomorrow I have to fly to New York.

Oh, and while you are there, do not miss that new Charles Kringas play.

That is the only play in years that actually deserves a Pulitzer Prize.

I say, once in every generation, there is one playwright who just captures the—what?

Oh, my God. What did I say?

Don't you know that in this joint, you must never, ever mention the name...

... Charles Kringas! - Mary, for God's sake.

You see, Charley, Frank, and I were once these devoted, inseparable friends—

- Would anyone care to come inside? - 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!

Well, at least we don't have to save the bottles for deposits, right?

And you—listen!

"The surprise of Darkness Before Dawn is Meg Kincaid, a starry-eyed find."

To Franklin Shepard, who I've known ever since we started out together,

back in a crummy little Greenwich Village saloon.

To Frank Shepard. Congratulations to the client every lawyer dreams of.

Forty years old, a hit in New York, now a hit in Hollywood,

married to this Broadway legend, and surrounded by the people who work for him, by his money...

Oh, are we making speeches?

To Franklin Shepard, the producer.

The man who has everything.

And fat, drunk, and finished,

I would rather be me any day.

Well, look at the time.

I gotta get to bed.

He'll wait.

- Get out of here, drunk. - Gussie, leave it.

Get that fat sot out of here.

- Mary, may I take your glass, please? - No, big shot. You may not take my glass!

Oh, no.

Well, now I won't be invited back.

Look, please—don't all feel you have to leave just because I'm leaving!

But first, attention.

I said, attention—I have something I must say. Are you listening?!

You are all junk.

And you...

... you deserve them!

Damn sad.

Isn't she somebody?

No, she's a critic.

She wrote a best-seller once.

I never would have believed it.

- She's finally out of Frank's life. - Yup.

And the loss is unbearable. Excuse me.

- Ow! Ow! - What happened?

Oh, she cut her hand on a piece of glass.

Oh, it's nothing. It'll stop.

Oh, Meg cut her hand rather badly.

- Honestly, it's nothing. - Can somebody go get something?

Ru, get some—I don't know—iodine, whatever.

Let me have a look?

See, when you're young and the star, how the slightest thing, and you're everybody's focus.

Bitch.

It's stopping. I'm just gonna let it air.

You two certainly do know how to bring down a curtain.

I got the iodine.

- Where's the patient? - Uh, down at the foot of the lawn.

Doing her fawn imitation.

Mr. Shepard?

Frank.

Before I go, I've just gotta know...

... how do I get to be you?

Well, 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 outta here. - All right.

"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 do not do this. We have a party going on in there.

You may have betrayed me, but you are not gonna humiliate me.

But 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.

You know, I've made only one mistake in my life, but I made it over and over and over.

And that was saying "yes" when I meant "no."

Forgive me.

Don't you dare walk away from me, mister!

All right, you want to know if it's true? It's true.

But what you would never understand is that she is sensitive, she cares.

And she is the raft that keeps me from drowning.

Pathetic.

After all these years, finally I have to hand it to Charley Kringas.

That driven little runt was always the one smart enough to read your label.

And I envy Charles Kringas every day of my life.

Oh, hilarious, this coming from the 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...

If I could somehow be starting over with Charley, writing shows, and...

... trying to change the world, I'd give all this up like that.

You've lied to yourself for so long, you probably believe that.

Do you really not see how ashamed I am 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.

Here, sorry.

Thanks. Now, hold still, and let me put some iodine on that hand.

My significant other and I wish to say goodnight.

Meg, my husband was just telling me that you're the starry-eyed slut that keeps him from drowning.

Gussie, stop it!

Oh, absolutely, Frank, I will stop it.

But maybe she won't be so starry-eyed now!

- Oh! - There's my toast to you, Frank!

- And may you always get all that you deserve! - Oh, my God!

- Tell them get an ambulance here fast! - He was sleeping with her, Dory!

- We need water, Mr. Shepard! Water and cloths! - Meg, come on!

You said that we were finished, Frank? Well, now we're finished.

You and her and me, and every goddamn thing is finished!

How did you get to be here?

What was the moment?

How did you get to be here?

Dreams don't die, so keep an eye on your dream...

... 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.

- Tend your dream. - How does it happen?

- Dreams take time. - Once it was oh so clear.

- Time goes by. - How can you get so far off the track?

Why don't you turn around and go back?

- Bend your dream... - How does it happen? What is the moment?

- ... with the road. - When did the road behind disappear?

Where did you let things slip out of gear?

How did you ever get to be here?

- Nineteen seventy-five... - Nineteen seventy-four... - Nineteen seventy-three...

It started out like a song...

And that was 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 here in our studio tonight, and we'll be meeting and talking with them.

But first, the news. Hal?

The lead-in story in tonight's edition of "News from New York."

Today, our nation is at long last celebrating a cease-fire in Vietnam,

the tragic death toll there having cost nearly forty-six thousand American lives. Judy?

On the local front, Mayor Abe Beame...

Well, Mr. Kringas, what do you think?

I think my worst nightmare has come true.

I look like Richard Nixon.

- Charley! - Mary, do not speak to me.

This whole goddamn thing is your fault.

I don't know why in Christ's name I ever let you talk me into this humiliation.

Here's the drink you ordered, Miss Flynn.

Oh, Mary, how thoughtful.

Oh, come on, Charley, I need a drink.

One drink. What'll it be?

A bottle of vodka and a straw.

Where's Frank?

Oh, Frank, well he's probably off signing to score another movie, or close a record deal.

I can only tell you where Frank never is, and that's with me, working on our show.

Well, when I called K.T. to set up this interview,

I made it very clear that all you two guys were here to talk about was your next show,

and how long you've both been working on it.

Grow up, Mary.

Since Frank married Gussie, the only "working" he knows how to do is "working the room."

And just where did he learn that, Charley?

Off on that goddamn yacht is where.

And who was it who sent him off on that goddamn yacht, huh?

I say to hell with Frank.

Look, I've started a play all on my own. - Oh.

And if Frank isn't here in the next thirty seconds, me, I'm walking right out that door.

Charley, I know Frank.

If you connect with him again, if you commit the guy today, publicly,

then I promise you, by tomorrow you two are gonna be back together, working again.

You gotta help save him, Charley.

Hey, old friend,

what do you say, old friend?

Make it okay, old friend,

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's 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 friend?

Here's to us.

Who's like us?

Damn few.

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 anymore,

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.

It was so much better, Charley—the three of us.

And you come on, Mary—we're not the three of us anymore.

Now we're 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?

You gotta help save me then, Charley.

Charley? Frank?

Oh! We're on the commercial break, and then it's us. Follow me.

Frank isn't here.

He isn't here? Then where the hell is Frank?

Frank is here, and Frank is sorry, ugh.

Ever since I married Gussie, life's just like this series of meetings, meetings, meetings.

Hey, pal. - Hey, pal. Long time, no see.

I've missed you, too, buddy.

But—Mary. Mary?! Oh my God, you look wonderful!

Have you lost a little weight?

A hundred and eighty pounds

He still calls, though.

Frank, Frank—in the chair. That's it.

And Charley, you come with me.

K.T.—

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.

Right, Charley. Move please, we gotta go get you settled in.

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've accepted that if I don't want people handing me scripts, then I can never go out.

Frank? - Yes?

Did you tell Mary about closing the three-picture deal?

Oh, no.

Look, please, please let me be the one to tell Charley about it.

I'm kind of waiting for 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.

- Oh, baby, come here. - Frank!

Oh—we're up! We gotta move.

Oh, hell.

Gussie?

- Hi, Gussie. - Joe.

You look great.

You caught me in the middle, Joe.

I was, eh...

I was just hoping that maybe you could spare me a couple of hundred or so.

Joe...

You can't keep doing this to me, Joe.

Now this is the last time.

I'm lining up the backers for my next play—

Excuse me, Joe. They're waiting for me.

I'm sorry.

And now, this 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?

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 can't thank you enough for this favor.

Favor? Are you kidding? After what you did for me during my divorce? God...

That's why we're here.

Oh, how is your son?

Why? You want to see a picture?

No.

Ooh, but do that on air, and I'll coo and I'll tear and I'll carry on like a mad thing.

People love cheap sentiment.

Oh, I understand congratulations are in order.

I hear you've signed a three- picture deal to produce movies.

Where did you hear that?

Oh, I have my spies.

Oh, 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.

Look, Charley, I was waiting for the exact moment to tell you.

But see, it doesn't change our plan.

It's only gonna be like two or three months at a time.

Frank, it's always only two or three months at a time.

But I haven't even signed the contract yet.

Do you know how long I've sat and I've waited for you to finish this project?

Guys, hold it for a second, can you? We're just about on—

Charley, I have a son to support. I have an ex-wife draining me. Look—

What if we write the show, we get it on, and they say it's no good?

Frank, I have four kids to support, and I don't give a rat's ass what "they" say.

If I say it's good, if you say it's good— that's what's important.

God, that's all that's important.

Okay, fellas, we're just about to start—

Guy doesn't know if it's any good unless it makes a fucking fortune!

Hi, we're back, and welcome to "Today in New York's" Celebrity Spot.

Here next to me, I have two brilliantly talented people.

The gentleman on my right is...

Oh! Uh—Franklin Shepard.

Almost forgot.

And?

And he is. Why should he lie?

And I have no idea who I am.

Now, this is my great friend and even greater collaborator, Charles 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?

Uh, yes, that's correct.

And I'm married to Evelyn.

Yes. Now, all of Broadway says you two are the next Rodgers and Hammerstein, Lerner and Loewe—

Irving and Berlin.

Let's start at the beginning.

You're both from Chicago. You both went to the same school and the same college—

Well, no. Me, Columbia. Him, Juilliard.

Oh, so your entire life, you've been very, very close friends?

Until today.

Well, like all collaborators, we've had our fights and other commitments,

but the magic's only there when it's me and Charley. Charley and me.

Oh, I love it.

Now, how do you two work together?

Oh, may I answer that?

Please.

How do we work together?

Sure.

He goes...

And I go...

And soon we're humming along, hmm-mm-mm,

and that's called writing a song, hmm-mm-mm,

then he goes...

and I go...

and the phone goes brrring!

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..."

So I go—

and he goes—

and I go—

and soon we're tappin' away, hmm-mm-mm—

bzzz!—"Sorry, Charley."—

bzzz!—It's the secretary bzzz!—on the intercom.

"Yes, Miss Bzzz..." "It's a messenger."

"Thanks, Miss Bzzz. Will you tell him to wait?

Will you order the car? Will you call up the bank?

Will you wire the coast? Will you"—brrring!

"Sorry, Charley..."

"Mutter mutter mutter mutter, sell the stocks. Mutter, buy the rights.

Mutter mutter mutter mutter mutter"—bzzz!

"Let me put you on hold..." Bzzz!

"Yes, Miss Bzzz..." "It's the interview."

"Thanks, Miss Bzzz. 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.

You know? I am beginning to enjoy this.

I promise to be honest, if you promise to handle the lawsuit.

Oh, yes.

Now, when you do work together, I've always been curious,

which generally comes first: the words or the music?

Well, generally, the contract.

Oh? Well, that sounds like you think making money is a bad thing for an artist.

Money?

Did I say money?

No, I like money a lot, hmm-mm-mm,

I mean it's better than not, hmm-mm-mm,

but when it's—[grab]—money— [grab]—[grab]—money—

when you're into—[snort]—money—

and you should be...

Listen... Frank does the money thing very well.

But you know what? There are other people that do it better.

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,

and he somehow knows, 'cause right away it's brrring!

"Hiya, buddy, wanna write a show?

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..."

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,

next you're Franklin Shepard—

Oh, wait a minute. I'm getting in a little too deep here.

Franklin, I'd love to ask you about your newest collaboration—

See, Frank and I are not that kind of close anymore—not like we used to be.

And friendship is like a garden. You have to water it, and you have to tend it.

And you have to care about it.

And I miss it.

And I want it back.

Look—

Nothing permanent has happened,

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 ever had.

Phone him, write him, stop him on the street.

You'll recognize him. He's the one going through his checkbook.

And you 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, 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.

'Cause 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—

Bzzz! Bzzz! Brrring!

... inside

Franklin Shepard—

Just write him care of Any Bank, U.S.A.—

Inc.!

Now, let's take a commercial break.

Thanks, guys.

Wow.

That was a real slaughter, Charley. Congratulations.

- Frank— - Oh, I think you've said enough.

I mean, 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 understand 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 out of my goddamn life, Charley.

- I'm sorry— - You're sorry!

But after you publicly mock and ridicule and belittle me,

when, man, I... I swear I would lay down my life for you.

- Let me just— - Shut up!

All these years, Charley, I have loved you no matter what you did,

but I guess because I don't live my life like you, or the way you want me to,

you had to shoot me down and watch me bleed.

Well, I like my life.

So please,

you just get the hell out of it.

Guys, hey!

What do you say the three of us go out for a humongous drink, and talk?

We need to talk.

Frank.

Frank, you all right?

Frank, can we go talk?

You know, there's this tribe in, um... in Africa,

where if one its members does something cruel or evil, or betrays them, they...

they never see him again.

I mean, they never see him again.

They don't talk to him, they don't look at him, they don't acknowledge him in any way.

For them, he is dead.

Absolutely and irrevocably dead.

Can I...?

Can I just explain what all that came out of?

Frank!

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.

- Nineteen seventy-two... - Nineteen seventy-one...

- One trip. All you get is... - Some roads are soft, and some are bumpy.

- ... one quick ride. - Some roads you really fly.

Look around a bit.

- One quick ride, through the... - Some rides are rough and leave you jumpy.

- ... countryside. - Why make it tough by getting grumpy?

- Stay on the track. - Plenty of roads to try...

Nineteen seventy...

Some roads you really fly...

Nineteen sixty-nine...

How does it start to go?

Does it slip away slow,

so you never even notice it's happening?

Nineteen sixty-eight...

No, wait, you say she's not there?

Well, do you know when she's expected back?

Excuse me. It's open!

Do you know when she's expected back?

What, not until after the theatre?

Ugh, no. No message.

Oh, wait, wait, wait—yes. Could you tell her please... - Ta-da!

... not to come to the apartment?

Frankie?

What? Frankie?

Oh my God, I don't believe my eyes!

Oh, did your daddy miss you, and look how big you got!

Now, come on, give Daddy a hug.

Bigger. Bigger. Bigger!

Oh, come here.

Daddy! We saw your boat, but we didn't see you.

No?

Ta-da!

Aw!

Aw, come here.

What's amazing is that we're not all still waiting at the dock to surprise you.

Boy, was our face red.

But first class doesn't get off at the dock.

No, we had this big ramp at the prow, and a Captain who leads you right into your limousine.

Oh, of course. Silly us. Now, you should have known that, Mary.

We got Beth to send Frankie from Houston.

Daddy, I have thirty-two postcards all over my wall,

and my favorite is the alligator, and the Panama Canal.

It is?

Oh, look. He brought Frankie an alligator back.

What a nice little—agh!

Yeah, thanks, Uncle Charley, it's gonna give someone here real nice dreams.

Start with the trip, then I want a Sherpa guide to show me round this gargantuan apartment.

You know what? 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 at her poor mother's...

Yeah, got it, Charley.

... where they're expecting Frankie, who gets to have a sleepover at Uncle Charley's,

and then... then, Evelyn is gonna meet the three of us at...

Wait, wait, wait—where?

Where?

You'll never guess where.

- The Downtown Club. - Charley...

Okay, let me think.

A smoky, dingy, Greenwich Village dive, or the homecoming party at the Colony Club?

What a choice.

Oh, sorry, Frank. You really must give me a list of what's "in" and what's "out."

You know how important all that stuff is to me.

Oh wait! Present, presents—I forgot presents!

Come and help Daddy, Frankie.

Now, this is for Aunt Mary,

and this is for Uncle Charley.

What?

Oh, son, about forty of yours are right now up in the air between Gibraltar and Texas.

But trust me, they are absolutely worth the wait. Come on.

It's my book. In Spanish.

But, yeah, I got it in Valparaiso, Chile.

It was there in all the store windows.

Mary, tell Frank the story of how success has affected you.

Okay, I'll start.

- Mary has joined the enemy. - What? - Charley...

Frankie, tell Aunt Mary how many kids in your class say,

"When I grow up, I want to be a drama critic."

Charley, 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.

Frankie,

take this over to Daddy, and say very clearly, "There isn't enough money in the universe..."

You're welcome, Charley.

No, really, I appreciate the gratitude. Thanks very much.

Daddy! "There isn't enough money in the universe..."

Hey, Frankie, let's go and explore this monster apartment.

I'm tired.

Well, of course you are, tiger, it's been a long day.

You can have a lie-down on your dad's bed. Come on.

Charley...

I'm thirty-one years old, Beth wiped me out with the divorce, I have a son to support.

So, forgive me, Charley, if I happen to need money.

So, let's do the work, and the money will come.

Frank, we cannot keep making our stuff the other thing we do!

Guys, hey! Not now.

Why do I have to be poor to write music?

'Cause once you're rich, you never will.

Oh, come on, Charley, we can make a statement with this movie.

Nurse! Doctor! Guard! Attendant! Matron! Anybody! Help!

- Just trust me, okay? - No, Frank, you trust me.

- But listen to me— - No, Frank, you listen! You listening?

No! No, no—never, ever—no!

Hey!

Here's to us.

Who's like us?

Damn few.

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.

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.

Most friends fade,

or they don't make the grade.

New ones are quickly made—

some of them worth something, too.

But us, old friends—

what's to discuss, old friends?

Tell you something:

Good friends point out your lies,

whereas old friends live and let live.

Good friends like and advise,

whereas old friends love and forgive.

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 meet them or not.

- Guys, fellas, hey! - If you were right, I would be the first to admit it. - You are never wrong. Never.

- Hey! - But with you, there is no right or wrong— - The last time you admitted...

- Hey!!! - There's only your way and the wrong way! - ... you were wrong was a cold Tuesday in 1954!

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 revovling door.

Maybe there's one that's more—

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.

Gotta have two old friends... - Stop it!

- ... helping you balance along: - Franklin!

One upbraids you for you faults and fancies...

- One persuades you... - ... that the other one's... - ... wrong!

Most friends fade,

or they don't make 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.

(Yay!)

Who's like us?

Damn

few!

Oh, anguish, I hate it when I've missed everything.

The wife here, she misses nothing.

I had no idea the gang would be dropping in.

My understudy's been going on 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'm calling the Surgeon General tomorrow to have him cut out my tongue.

Promises, promises...

Look, Joe, it's Charles.

Now, we can call the night a success.

Hi, Gussie. I didn't hear a doorbell.

I bet that's because I didn't ring one.

I never do, when I have keys.

I'm decorating this pad.

The price is right: free. Here.

I picture all the furniture in here the hues of anemones.

See...

a chair,

a chair,

a footstool,

and a sofa.

Oh! I should have a brain transplant.

I forgot. We got you this teeny, tiny house-warming nothing.

Some awesomely expensive champagne.

I'll open it.

"Do."

All right, I will.

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 should do the honors.

Mushi-mushi,darling. We have a curtain to make.

Home one day, and already she's ordering me around.

How nice to see the old gang.

Can they see us?

Yes.

I didn't even unpack.

I've made up my mind. I'm leaving Joe.

Gussie, he'll be destroyed.

Or I will be.

I'll call you when I arrive at the theatre.

- I'm supposed to go out. - Please...

Please, you have to wait for my call.

For God's sake, I can't just leave—

I'm desperate!

I'll wait for your call.

Consider yourself kissed.

You got this guy everything anyone could ever want in a kitchen except glasses.

Well, they're probably still packed.

Here, I'll go get them.

Oh, eek! Look at me—that means don't.

I'm going to the little boys' room to repair.

It's real first-class champagne.

Oh, I don't drink.

What, never?

Well, hardly ever.

I'm a very excessive personality.

Too much coffee, too many cigarettes, too much food...

Too much Frank.

Is Frank the only person in the world that doesn't know you're in love with him?

And how many people know about those two?

Well, there must be one or two...

... who don't.

I decided not to know.

She's now Broadway's hottest star, and the guy—he's hot, too...

obviously in more than one sense.

I say, let 'em get it out of their systems—

as long as, please God, she doesn't leave me.

I think Frank's being gone the last eight months put an end to it.

Gussie flew over and joined the cruise, you know.

What?

We had no idea Gussie was on the cruise.

It will never cease to amaze me how everyone in this town knows everything I do.

It was just for the last two weeks.

Okay, let's pretend these are champagne glasses.

Okay, here you are, Frank.

And you've got yours.

Charley? Oh. Just one, Joe. Mary?

No, thank you.

Oh, that's right, you never do.

Well, more for us.

To our genius.

Thanks. It's always nice to be appreciated.

Mmm!

Okay, Gussie, curtain, curtain— we've got a curtain.

Oh, pooh.

But one minute late—God, every column.

So, Frank—will we see you after?

No, Frank's coming with us.

Actually, what I should do is stay here and look after Frankie.

- Oh, Frankie's here? - Oh, you're kidding, aren't you?

Oh, Mary... Now let's all let Franklin ger himself settled in.

Goodnight, Mr. All-Work-And-No-Play.

And everybody's favorite, Charley.

Don't you guys stay strangers now.

Goodnight.

You're really not coming?

Mary, I can't go out right now.

Just accept that, will you?

Oh please, Frank.

Please.

Here's to us.

Mary, for God's sake.

Okay, Charley.

Let's go have ourselves one hell of a time.

I'll be down in a minute.

Get rid of Gussie, Frank.

Gussie is none of your business, Charley.

You are.

Get rid of this pathetic life.

Charley, what—?

I love success, okay?

I love having two out of two shows hit.

I love moving up in the world. Sorry!

I need some time to think.

Then begin by thinking about joining Mary and me tonight, Frank.

There's something going on with Mary.

She hasn't written one word since her book took off.

She needs us, Frank—she needs both of us.

I made a promise I'd wait in for a phone call. I have to—I promised.

Well, then wait for the phone call. Then, 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.

- And I missed you. - I missed you, too.

And I want us to get back working together.

But—okay, now get out of here before the both of us start wailing.

Thanks, old friends...

Keep reminding me...

Frank's old friends always seem to come through.

Frank will, too...

So, old friends,

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.

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 see Mary and Charley. Look...

There's something I have to say to you.

I-I-I think it's time we— - Frank, I did it.

I sent the driver back to take my things to a hotel.

God, no, no, Gussie, 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. - Why?

Why suddenly? Why tonight?

I saw tonight that I could lose you.

My friends are waiting.

Your friends will be there for you tomorrow.

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?

Yesterday is done.

See the pretty countryside.

Merrily we roll along, roll along,

gathering dreams.

Traveling's the fun,

flashing by the countryside,

everybody merrily, merrily

following dreams,

rolling along...

rolling along...

rolling along...

rolling along...

In the case of Shepard vs. 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.

This court is now adjourned.

Hey.

Oh, great. You missed the star going in.

Stay close. We'll try to grab her coming out.

I left the minute the Peace March broke. What have 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.

Look, after the judge reads the deposition of the star witness and suddenly closes the courtroom to the public,

trust me, I got something hot.

It's an innocent little friendship that's been blown totally out of proportion.

You're a big star. You gotta know better, right?

Hold it, Miss Carnegie. Why were you subpoenaed?

Oh, financial records, percentage, chasserie...

Miss Carnegie, how are you two involved in this scandal?

- Listen, we're not involved. - And it is not a scandal. We have no comment.

Can you tell us why you are subpoenaed to testify today?

My wife and me, we are Mr. Shepard's best friends, I guess is why.

Do you not understand we have no comment?

Come on, let's go.

And the public knows "no comment" means "guilty as hell."

Any statement for the press, counselor?

I have no statement. Stay with me.

I understand Gussie Carnegie is scheduled to testify this afternoon in a closed courtroom.

That's what we understand.

- Why? - We have no idea.

Well, maybe Mr. Shepard could explain.

Isn't Mr. Shepard coming out?

Mr. Shepard just left by a side exit.

- I know that exit! - Oh, great!

Go get him, Charley.

Frank, this has gone on long enough.

We all think you should get out of this any way you can.

Give Beth whatever she wants.

Charley, she wants everything.

I warned you in the beginning, Frank— "settle for whatever, but settle."

A woman charging "abandonment of wife and child"? Come on.

Beth wants to move to Houston with my son, Jerome.

I'll never allow that—never.

You know what they're planning on doing today, Frank?

With Beth sitting there with your kid on her lap.

Stop it now. Walk away. Take a trip.

Save yourself all this pain.

I can't just lose my family.

Frank, I've taken that yacht.

You're gonna come on this cruise with me. You'll get away, you'll get some rest.

And when you get back, you can stay with me.

Go, Frank, go. We all want you out of this. Go, get away.

I can't live without my son.

Beth. Beth!

Frank, don't make it worse.

I'm not gonna give up, Jerome.

Daddy, wait for me.

- Oh, don't be a fool, Elizabeth— - I said, "wait."

Mommy will be right back, okay?

You go with Grandpa.

Your mother would turn in her grave.

- Daddy! Daddy! Daddy! - No, sweetheart. Come on, darling.

- I want to see my daddy! - Mm-mmm.

I want you to give up, Frank.

Never.

It's not life without my son—

You're not gonna like what you hear this afternoon.

I'm not out to hurt you, Frank, but I'll hurt you if I have to.

How is Frankie?

How do you think he is, Frank?

And all I keep thinking is, "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—

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,

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!

Did you sleep with Gussie?

I love you, Beth.

Did you want that kind of life so much that you went with her?

- I'll always love you— - But did you?

Yes.

- Frank, I want us to try— - Daddy! Daddy! Daddy!

No, you're to stay with Grandpa, sweetheart.

Daddy, would you take him? - He's my child, too, for G—

What—Get out of here! - I can't live like this!

Please, Beth—wait! Wait, for God's sake, wait!

Are you satisfied?

It's my job, man.

- Yeah, then go find a decent one, man! - Hey, Frank!

Hey, Frank, take it easy, pal, take it easy!

Cool off.

Look—I'll kill those photos, genius.

But you owe me one.

Listen to Charley and me, Frank.

We want you to get away.

Just hold me, Mary.

Come on.

Wait—no, no. No, no, no, no, no, no, no.

All I want to do is get back to work.

I have to work. I have to— - You're in no shape to write, pal.

Go off with Tyler for a while— - But 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.

And Charley loves you.

Listen to us.

Living well is the best revenge!

So you've 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— but just never look behind you,

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,

right?

- Best thing that ever could have happened... - Best thing that ever could... - One more thing...

- I say, best thing that ever could have happened... - ... have happened... - ... not to think about... - It was all getting much too complicated...

All right!

All right, 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?

So you'll find a new gal, so you'll 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 that place I'm building at Trancas.

You 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.

- Best thing that ever could have happened! - It was all getting much too complicated... - Best thing that ever could have happened!

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! - 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?

- Right! - Right!

- Best thing that ever could have happened... - Yesterday is done.

- See the pretty countryside. - I say, best thing that ever could have happened... - So you'll sit in the sun, you'll come back with a tan...

- Soon enough, you're merrily, merrily... - ... in a month or two, you're going to thank us. - Best thing that ever could have happened...

- Rolling along... - It's your time... - It's your time...

- Rolling along... - It's your time...

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!

- Let's go, Frank! - Because now you grow.

Life's a killer, so 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! - Now you know! Now you know!

- Over here, hello! Here, hello! - Now you know! Now you know! - Right! Right!

- Here, hello! Here, hello! - Now you know! Now you know! - Right! Right!

- Here, hello! Here, hello! - Now you know! Now you know! - Right! Right!

- Here, hello! Here, hello! - Now you know! Now you know! - Right! Right!

Right! Right! Right! Right!

- Right! Right! Right! Right! - Right! Right! Right! Right!

I love you, Frank!

Now you know!

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...

Okay, the moon is cheese!

And I love the man 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...

As we're going along,

we take for granted some love

will wear away.

We took for granted a lot,

but still I say:

We could have kept on growing.

Instead, it just kept on.

We had a good thing going...

going...

- Gone, gone, going... Gone, gone, going... - ... gone!

Gone, gone, going...

Gone!

Shh, shh, shh... Guys, guys!

We got an opening night inside, or did you forget?

Oh, Joe, Joe, we're so sorry, but something amazing happened.

Yeah, I'll say, amazing—when suddenly, right before the eleven o'clock number,

this whole pack of you jumps right up out of your seats,

turns, races straight down the center aisle, like a bunch of meshugginas.

It was Evelyn. Just like that, she went into labor.

And being Evelyn, she wouldn't tell us until her pains were only five minutes apart.

We only a second ago got her into a cab.

Well, then what the hell are you doing here?

My wife would not let me into the cab.

Evelyn refused to let Charley miss our first opening night.

Look—she even brought a tape recorder to record the applause.

From your mouth to God's ear.

Now, Charley, the second the applause is over—I have a taxi waiting—

you, me, and Beth are gonna fly to that hospital in record time, I promise.

They're quiet.

Very quiet.

When an audience is quiet like that, it means they're really concentrating.

Shut up, Mary.

We should go back in for the closing.

I didn't mean "the closing."

Here, Momma, now that cab with the meter running right there,

that's for Charley. So you and Daddy take that one right behind it.

I'll see you very soon, little bit,

and I'm gonna tell you every single thing that happens, okay?

Look, I wanted him to be here opening night.

Frank! Now he's been here opening night.

Momma, hurry. We both thank you very much, we both love you very much. Now hurry!

I still don't understand why in hell any human being in their right mind would ever...

... ever want to live in New York City. - ... ever want to live in New York City.

Charley...

Let's write another show.

- Yay! - And then another, and then another, and then another!

And I'll produce it.

Wait a minute, wait a minute, Joe.

You'll produce Take a Left?

I say, first, you get yourselves a couple of hits to show them you can make money.

Then—then, you can do the political flop to show them you got 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 neversay anything. But I am going to say this.

For me...

For me, just do one more for Joe, then you can go do "Take a Left."

Beth, I know the kind of music I want to write.

Look, I know things are hard for you right now, but I'm asking you to trust me, okay?

And I'm asking you to trust me.

Beth, guys, now is the time you gotta do your own stuff.

You don't have a child, Mary.

And you just had yourself a best-seller.

So, of course, that's all very easy for you to say.

Oh, Beth, believe me.

Success ain't all it's cracked up to be.

Yeah, I think Charley and I are gonna handle success very well.

Yeah, I mean, look how well we've handled failure.

Listen to that!

Would you listen to that?

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.

Listen to that!

Did you listen to that? - Here.

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:

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 tunes."

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, uh—what is the word?

'Interesting.'

And if I even had the slightest belief that any audience would come see it,

I would produce it in a second.

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.

Just 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 that baloney

they've 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

the Tony Award!

"I would like to begin by thanking all the hundreds of people

who have turned down every show that I have ever written

so that I could win tonight for this one."

Well, 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!

- Listen to that! Did you listen to that? - Listen to that! Will you listen to that?

- Honey, is that a noise or is that a noise? - I can't...

- That is the loveliest noise for a breadwinning wife to hear! - ... stand it!

- Listen to that! That's obscene! - Listen to that! Fellas, that is a noise... - That is a noise...

- ... that is really a noise! - ... that is really a—listen to that! Golly, I can't... - I can't...

- ... listen to that! - I cant... - ... stand it!

- ... stand it! - Listen to that!

Would you listen to that?

Would 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 combined!

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—

is we're still old friends!

Nothing can kill old friends!

Where there's a will, old friends

don't need success to survive!

And us, old friends—

what's to discuss, old friends? - Ah, thank you!

We've got a surefire, genuine,

walkaway, blockbuster,

lines down to Broadway,

boffola, sensational,

box office, lalapalooza,

gargantuan...

hit!

It's a hit!

It's a hit! It's a hit! It's a hit!

It's a hit!

This is the moment everybody lives for.

Now we go in, and we fake being modest.

No, no, no—I'm gonna have a baby!

- Oh, we're coming! - Me, too. - What about the opening party?

Oh, you two go to the party.

Frank...

I'll do one more for Joe Josephson.

But just one more. - One more.

And then it's our time.

One more.

Frank, I was there for Evelyn's last baby, and I...

I want to be there for this one, too.

But you go on ahead.

What—absolutely not. No, no, no.

Yes, yes, yes.

I'm so proud of you.

And if I don't see you at the hospital, I'll see you at home.

I love you so much. Go on.

- Beth? - Yeah?

With Gussie there, I urge you, stay with Frank.

Sometimes you have to trust, Mary.

And sometimes you don't.

I would never want a man I couldn't trust.

Come on.

Hey, big man!

You got a ride to this fancy-schmancy party?

Oh, I can only stay two or three minutes, but...

Was that not why we do all this?

Was that not just heaven?

Wow...

Listen, I gotta go make nice with the backers.

So you two take our car.

I won't be able to afford this big man now, you watch!

Oh... What a blessing it's been to find another pure artist.

So often I've just wanted to thank you, but Franklin Shepard—

I think there has been a conspiracy to keep you from me.

Miss Carnegie, I...

I owe you so much.

Didn't I tell you a few years ago,

it was fate that brought us together?

Now you...

All you have done these past few months is work, work, work.

Tonight, let me show you how divine it is to be number one.

Everybody's waiting to meet the man of the hour.

Dreams don't die,

so keep an eye on your dream...

... '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 dreams...

- Tend your dreams. - Some roads are easy...

- Dreams take time. - Some roads are all uphill.

- Time goes by. - Some roads you plod along with a will.

Some roads you travel just for the thrill.

- Bend your dreams... - Some roads are breezy.

- ... 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.

- Nineteen sixty-four... - Nineteen sixty-three... - Nineteen sixty-two...

- 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! - Do you mean—?

- That does it! - You're not serious! - We had the best!

- Did you read—? - It'll never—! - How was it—? - You're not serious! - We saw the first—!

- What they need—! - Did you ever! - Was that the worst—? - That does it! - You're not serious!

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! Fabulous!

Frank, Frank, it's the mayor! God!

I know. I know.

Frank, look—it's my favorite actress.

Well, I see, I see.

Yeah, but do you see who she's with?

No, Beth, I'm not looking for celebrities. I'm looking for Charley.

Oh, Frank, you can do both.

I never saw so many famous people—Hey!

What? Who? Where?

Oh...

What'd he say?

I haven't talked to him yet.

But I'm pretty sure he didn't invite us here 'cause we'd fit in so well.

I'm 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're the one who's supposed to handle the business.

Well, I'm handling it, Charley. You watch.

All this work we've put into our writing,

it's finally 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.

Shh—Beth!

There's a lot of sophisticated people here.

Oh, God. If I'd known that, I would have worn earrings.

- Oh, my gosh. Come on, let's go. - What's going on?

Those people over there, they're smoking marijuana.

I've smelled that before, in the Village.

I thought it was autumn.

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—!

Hi, hi, hi! I'm Franklin Shepard. I don't know if you remember me.

This is Charles Kringas, who writes my lyrics.

Remember you? You're the reason we're giving this bash.

According to our accountant, anyway.

Oh, sorry, this is Beth—my wife, Beth.

Do you write songs, too?

No, 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 as influential as you are 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.

Hi! Dreadful! Fabulous!

Meet the Blob.

Not many and yet— - Oh. Right.

- You never see one— - What? No!

- They come as a set. - Who? Him?

- And we're in their debt— - But what do you think?

'Cause, honeybunch,

they write the books, and put on the shows,

and run the saloons, and design the clothes.

They keep us natives on our toes.

Albee! Warhol! Kurosawa!

And 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!

Heavy! Miltown! Gestalt!

Ah! Darling, you don't have any hooch.

No! I am going to open my veins.

Oh, it's okay.

It'd better be, since now I own it.

Joe! Joe! Hurry, we have a gigantic catastrophe.

Oh! This is scandalous.

- Mwah! - Joe...

Take this gorgeous person up to my closet,

and she is going to choose some rag of mine.

Move, Joe, please. I am paralyzed with shame.

Did you talk to my wife?

We got something in mind. Maybe for Broadway...

Joe, if you do not hurry, I am going to throw myself down the garbage disposal. Now move!

- Excuse my wife. - No, that's fine...

Your new songs are just beautiful.

Oh, I brought over some newer ones, actually.

You're wonderful.

I just admire people like you so much.

You-you seem to know everyone and do everything.

Yes, I do.

One day, I just made myself up.

And now, I never change.

I just change the people around me.

Scotty!

Precious, this is your new client, Franklin Shepard.

You can give me a holler tomorrow.

Or I'll yell on you.

I'm in the book.

So am I.

See, look how much you two have in common.

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 his life.

I married the one before because, well...

I believed him when he said he could write.

And the first one? Well...

I don't think first ones really count, do you?

You know, this greenhouse seems as out of place in New York as I do.

Only at first, darling.

Now I find it the best thing about this dump.

- How old are you? - Twenty-five.

Which doesn't bother me, but...

then I think, "I'm, like, a quarter of a century," and I panic.

There's so much I want to do, and I...

I can't get started, I can't even...

What?

Here's something I do when I want to get to know somebody 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."

I'm not very happy.

Go on. "I'm not very happy."

I'm very happy.

Hmm...

I'm inches away from the top.

I'm miles away from the top.

Make that hundreds of thousands of miles away.

Performing is my life.

Composing is my life.

Success isn't happening fast enough.

Success isn't happening at all.

I've been in five Broadway shows.

I've seen the second act of every one.

Someone's cheating.

I've done five Broadway shows.

Me, I can't get started. I can't even start my own—

My first love is singing.

My first love is music.

My second love is acting.

My second love is music.

I believe it's fate that brought us together.

Anyhoo...

I did all those Broadway shows, most of which didn't last as long as this conversation,

and Joe has just optioned a vehicle that could change my life.

And yours.

We both want you and your partner to do the score.

Is that disappointment I see on that sweet face?

What—no, no, no. It's just we were hoping he wanted to Take a Left—

you know, the show Charley and I auditioned for him.

Oh, no, darling, not at all.

Well, it's just we've been working on it for, like, three years now.

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?

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.

Now...

This show is not a show about subtle, and it's not big on depth.

It's flash, bam, curtain.

It's fun, it's opulent, it's Broadway.

Okay.

What was that? A second thought?

Oh! No, no...

It's just something I do when I want to hold onto a moment.

I close my eyes very tight, and I swallow. It's like I, um...

I take a picture that I can treasure.

You're a treasure.

Shh...

Shh...

Now...

I want everyone who hasn't drunk, smoked, or gorged too much to hurry over here. Chop chop.

Frank, Frank, would you look at this?

Oh, honey, it looks beautiful.

What—Mary, where have you been?

I had to borrow a dress.

From the guy upstairs.

Oh, darling, that looks wonderful on you!

Keep it. I'm too fat to wear it anyway.

Oh, Gussie, this is our friend, Mary Flynn.

Mary's a copy editor, but real soon she's got her first book coming out.

Sorry I'm late.

So glad you didn't wait.

Mary, Charley, and Frank are these totally inseparable friends.

Well, we're gonna have to separate for a minute.

I have to go find Charley, so—

Oh, no, I have plans for you.

Mary Flynn,

would you be as sweet as you look, and go get Charley?

Thank you...

this much.

I think your husband is the most talented composer I've ever heard.

I hope it's all right that I'm crazy about him.

I hope it's all right, too.

Okay, quiet everybody!

Please, quiet!

Now listen, because one day you are all going to be able to say, "I was there when."

I have standing next to me the most exciting composer ever, ever, ever,

and he is going to play you a song he has written,

and when he has finished, you are all going to want to swallow poison

because there will be nothing more to live for.

So, find a place to park it,

fermez all those bouches,

and I am honored to now present

Franklin Shepard and Charles...

some funny name...

I'm so sorry...

Anyway, this is a song from a little show that they want to do,

that we hope will be in a big show we want to do.

In a big show? Frank, what the hell is she talking about?

Later. Sing.

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.

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.

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:

We could have kept on growing,

instead of just kept on.

We had a good thing going,

going,

gone.

Yeah!

Whoo!

Wait, wait, wait, wait, wait, wait, wait, wait!

We want to hear it again.

Yeah, tell them!

Wouldn't you just love to live your entire life by that music?

Down, everybody, down, down down.

They're gonna play it again.

One mo' time! Whoo!

No, Frank. Say "no."

- Charley's right. - They loved it.

They thought we were great.

You know what true greatness is?

It's knowing to get off.

Oh, come on, I'll sing with you.

It started out like a song.

We started quiet and slow,

with no surprise.

And then one morning, I woke

to realize—

- I said, "Joe, this show will be a watershed." - ... we had a good thing going. - Shh!

It's not that nothing went wrong:

some angry moments, of course... - Did you hear—? - No kidding! - You're not serious!

... but just a few. - Shh!

- And only moments... - Da-da-da-da-da...

- ... no more, because we knew... - It's a clear case of Tammany politics...

- We were stuck in the tunnel till half past six! - ... we had this good thing...

- It's a show that'll murder 'em in the sticks. - ... going.

- Did you read—? It'll never—! They just don't mix! - And if I wanted too...

- What we need—! Did you ever—? Till half past six! - ... much, was that such a...

- It's a clear case of Tammany politics... - ... mistake at the...

- Did you read—? It'll never—! They just don't mix! - ... time?

- What we need—! Did you ever—! Till half past— - Shh! - You never wanted enough—

all right, tough—

I don't make...

... that a crime... - Hahaha! - Hahaha!

Darling!

We saw the new—darling!

We had the most—! Bad—it was good— - Did you read—? It'll never—!

- It's the biggest—! He's a genius! - They just don't mix.

- Well, he can't—but he used to! - What we need—! Did you ever—?

- It's the dumbest—! She's a genius! - Till half past six!

- It's the best—! It's the first—! He's a genius! It's the least—! - It's a show that'll murder 'em in the sticks...

- She's a genius! It's the absolutely lowest—! They're a genius! - 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...

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...

Nineteen sixty-one...

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...

Nineteen sixty...

It's nineteen sixty...

And gosh, what a swell year it's been!

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... - ... that no one wants to fill...

Khrushchev stopped screaming, and Librium came in...

... and Nixon didn't win.

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.

- There's Bobby... - ... and Jackie... - ... and Jack...

... and myriads more in the back:

There's Ethel and Teddy and Pat alone...

- ... plus Eunice... - ... 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—

and Joe and Rose.

Twenty-nine, thirty-two, fifty-four! Hut! Hut! Hut!

Bobby! Go long!

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 medley from Meistersinger,

and Margot Fonteyn to dance Giselle.

Together?

Won't it be perfectly swell?

Oh, we'll have Bernstein play next on the Bechstein piano...

... and Auden read poems and...

stuff.

And Galina Vishnevskya—

Gesundheit!

the Russian soprano—

just pronouncing her name

is refreshing enough!

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—

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.

All right, Bobby, I'll make you Attorney General.

Just get offa 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!

Ooh!

And then there's the Colonel— - Colonel?

- Major? - Major?

- You know! - Sargent.

Yes!

Dozens to take 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.

Uh, ladies and gentlemen, the cast of our revue, Frankly Frank,

now in its fifth not quite record-breaking month,

would like to thank you all for coming to the Upstairs Room at the Downtown Club,

where we do two shows every night—

with the exception of tonight. We have—

Would you knock it off?

Anyway, uh, please come back and bring a friend.

Or come back and make a friend.

Or just come back and be a friend. Thank you.

Excuse me,

but I got really excited when I saw your name on the reservation list, Mr. Josephson.

Me, I... I'm just a waiter here. Well...

Actually, holding down three different jobs at the moment,

but only until I can get my invention launched.

You see, I have invented a brand new machine that will answer your telephone for you, if you're not at home.

Or even if you are.

And anyway, I'm just having a little trouble getting all the investors I need— - Kid, kid, I'm sorry...

... but there are answering services with operators already that—guess what?—

do exactly for people what you want this vercockte machine here to do.

Mr. Josephson,

I am looking for only four thousand dollars— - Huh!

For that, I will right now sign this contract giving you fifty percent of the return.

Whoooa, I live in a penthouse, kid, not an asylum.

Now, I will invest my last red cent when you come up with a sound idea—

something like this new Smell-O-Vision movie process.

When the hell am I ever gonna meet a waiter who's just a waiter?

Hello, Mr. and Mrs. Spencer.

I'm Mary Flynn.

Frank and Beth'll be down in less than a minute.

You must be really excited about the wedding.

"Excited" is not the word.

You cannot imagine how important Frank is going to be someday.

No, we can't.

Do you work in the show business, too?

Oh, I'm just a fan.

But I have never heard music like Frank's.

Us neither.

I work for Look magazine.

See, now there's a steady, secure job.

I hate it.

Well, maybe that's why they call it "work."

Uh, Mr. Josephson?

Frank Shepard. - Oh, hi.

Our whole cast is just...

overwhelmed is what they are,

that such an important man like you would come down to see our little revue.

And you recall Shirley Molinsky here?

Now Gussie Carnegie.

She fixed the nose, she fixed the clothes, she fixed the name,

and take a look what was underneath all that. - Oh, you...

I used to work part time as his secretary, to pay for classes.

Oh, we've all seen and admired you on stage so much.

A big talent wasted on little shows, up until me.

But you boys must be doing something right,

because the fiancée here is going through one hell of a divorce,

and you guys made her laugh. - Joe, Joe, Joe...

I thought it was just peaches.

Oh, see, us, we're usually light years better.

But everyone was just so—God—so nervous that the two of you were here.

And, well, it's a pretty nerve- wracking night for me, anyway.

I'm getting married. - Oh yeah? Is it the girl in the show?

Uh, Beth? Yeah. Beth—

You're awfully young.

Marry in haste, repent in Reno.

I'm twenty-three. The guy who writes the lyrics is my age, and he has a baby already.

Oh, Mr. Josephson, you remember Charles Kringas from the time we auditioned for you? My collaborator?

Yeah, I collabor him and he collabors me.

Mazel tov.

Your stuff's getting more commercial, which is good because,

trust me, if you're gonna get married, you're gonna need bucks.

But ask me, I say unless the girl is pregnant, get out of it.

Have a good wedding.

I never forget talented people, Hank.

Eh—Frank.

You know, Frank, you don't have to unless you really want to.

But Charley, I want to.

Frank, if there's any truth at all that we turn out like our parents,

you're in big trouble.

Oh, Mary, do you think I'm making the wrong decision?

Well, if you really want to know what I think—

Frank, now don't faint, but my parents want to speak with us before the ceremony. - Oh, no...

Frank...

I'm not pregnant.

What?

Do you still want us to get married?

Well-well, do you? I—

Before, my reason was the baby. Now, my reason is you.

Well, my reason is you.

I am pregnant.

- Beth! - I just wanted to be sure.

Aww...

- Elizabeth. - Momma, how do I look?

Your father and I just want to say one thing, Elizabeth—

Momma, you've said it all, for two days.

Well, the man doesn't even have a real job!

My daughter told me she's going back to being a legal secretary just to support you.

Momma, I told you that in private!

Mrs. Spencer, what I want to do with my life is not to work in this club.

I want to write music.

And to be able to do that, I play here, I-I-I accompany singers at auditions,

I play for dance classes, I do anything I can, just to keep on writing music.

Boy, I'm gonna give you two thousand dollars right here, right now. - Daddy!

Just call off this sorry excuse for a wedding!

Mr. Spencer, Beth and I are getting married.

We hope it's with your blessing, but we're getting married.

The minister just got here.

Where's Evelyn?

Who's Evelyn? The minister, I suppose.

Evelyn is my wife. She's way at the back of the room.

See, often, they have to stop weddings right in the middle because of her constant sobbing,

which I try not to take personally.

Let's start, hmm?

Elizabeth?

Here.

Baby, here's Grandma's ring.

Momma, thank you, thank you.

Go on.

Daddy.

Come here.

Thank you.

Well...

at least he's not black.

And at least she's not pregnant.

My dear friends...

good evening.

Before the marriage vows, Frank and Beth have each asked to speak.

Frank?

I'm so happy to be marrying you in the place where I met you,

and where I grew to love you.

But—oh, heck, I'm just happy to be marrying you, period.

But I want to thank our dear, close friends for being with us on this,

the most important day of our lives.

Beth?

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?

That it can't get much better much longer.

But it only gets better and stronger,

and deeper and nearer,

and simpler and freer,

and richer and clearer,

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...

- 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.

How does it happen?

Once it was all so clear.

How did you get so far off the track?

Why can'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?

How did you ever get to be here?

- Nineteen fifty-nine... - Nineteen fifty-eight...

- How's it going? - Good, you?

- Fair. - Yeah, tell me.

- Chinese laundry. - 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... No... - Good. Mary...

Right, I know, yes, me and Balzac...

- 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.

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!

- 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 rehearsals.

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!

- How's it coming? - Good, you?

- Done. - One minute...

- Hamburg Heaven... - Hi.

- Mary! - Say hello.

I got another job.

- 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...

- Look, I never— - Finished!

- Let me call you back. - Right.

- This is just a draft. - Right.

- Probably it stinks. - Right.

- I haven't had the time to do a polish. - Will you sing?

Right.

Who wants to live in New York?

Who wants the worries, 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!

That's great! That's swell!

The other stuff as well.

It isn't every day I hear a score this strong.

But, fellas, if I may, there's only one thing wrong:

There's not a tune you can hum.

There's not a tune you go bum-bum-bum-bi-dum.

You need a tune to go bum-bum-bum-bi-dum—

Give me a melody!

Why don'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-mum-mum-mum-mum-mum-mum-able 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...

Dee-dee-dee-dee-dee-dee...

They're stopping rehearsals, they ran out of money...

We lasted one issue. My book was rejected...

The nightclub was raided. I have to start coaching...

- My parents are coming. - They 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! - What? - What?

- We'll do a revue of our own!

- What? Why? - Where? 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, I don't perform, except at dinner.

Who wants to live in New York?

Who wants the worry, the noise, the dirt, the heat?

Who wants the garbage cans clang— - Next!

Das ist gut, ja?

No!

Who wants to live in New York?

Who wants the worry, the noise, the dirt, the heat?

Who wants the garbage cans clang—

I can sing higher! - Yeah, thank you for coming. Next eight, please!

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!

- 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...

- ... the Synanon song or the Kennedy number. - Okay, but I'll have to have all of the music and... - You don't have to, we'll segue... - And have we...

- And what'll we do... - ... Saturday, I've... - ... the end of it into... - ... decided or not...

- ... about getting publicity... - ... got to sing at a wedding, and... - ... the dance we cut out. - ... on the restaurant sketch?

- ... run around town... - ... oh God, is there dancing... - No, we'll use it, but not... - I need two or three days...

- ... putting stickers on windows? - ... 'cause I'm not a dancer. - ... with the long introductions. - ... at the least to replace it.

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!

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!

What are you doing up on the roof?

Dunno. Just came up here.

Well, you could have told a person.

- You were asleep. - And the alarm just went off.

Hey, you see anything? - Uh-uh.

- Is something wrong? - Nope.

What are you doing up here so early?

I-I couldn't sleep.

Charley...

I read your two plays last night.

They were so wonderful, I... I couldn't sleep.

I thought you were mad.

I... have to tell everyone who stays over to always wake me whenever they think I'm wonderful.

Oh, I just kept tossing and turning, and thinking about wasting these last two years in the Army.

And then to come back and read your plays—

Wasting? What about that music you played for me?

Talk about wonderful.

What—really?

Yeah.

Frank, you don't just write what you know...

... you write what you know.

Okay, this play, Pretty Politics, the one about the Senate pages?

What do you think about making it into a musical?

- Go on. - I got a better title...

Take a Left. - That's a better title?

What—I think it's important.

Musicals are...

popular, you know? They're...

They're a great way to state important ideas—

ideas that could really make a difference.

Charley...

we could change the world.

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, 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!

Oh!

- Oh, hi! - We just wanted to, um...

My roommate and...

Excuse me.

She's probably from Barnard. Barnard girls are dippy.

Do you have the time?

Quarter to six.

You ever think about getting married?

No.

Me neither.

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,

me with music, and you the words,

tell 'em things they don't know!

Up to us, pal, to show 'em.

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!

Some day 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.

Am I too late?

What—no, no, I think it's just about now.

My roommate's coming up, too.

I'm Charley Kringas.

This is Frank Shepard.

- Mary Flynn. - Hi.

We just took the apartment on five.

Oh, I'm not officially moved in yet—not until I'm discharged from the Army next week.

Frank got a weekend pass to help us move in.

A lot to move in: a typewriter, two mattresses, and a piano.

Oh, are you the one playing the piano the last two days?

We're evicted.

Oh, oh no, no. You're wonderful.

Sincerely wonderful.

Well, I'm... sincerely grateful.

I even came up here on the roof to hear you better.

I tell everything, then go home and suffer.

Are you sincerely wonderful, too?

- I write. - Oh! He is.

Me Columbia. Him Juilliard.

That's what I want to do, write.

But how does anyone compose music, though?

To me, that is the gift of gifts.

I just met the girl I ought to marry.

Did anyone ever tell you, you say all the right things?

Never.

But I really want to know.

Well, um...

Music is...

It's not about words.

It's about sounds and feelings and...

Oh, gosh, I-I-I don't know.

To me,

music is about everything, so...

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!

Mary, I...

Oh!

You're with guys!

Evelyn!

Evelyn!

That was Evelyn.

We should look now. It's supposed to be right now.

Do you see anything?

Oh, I hope we didn't miss it.

It's supposed to come up, right ov—

There! There is is!

Oh, oh, I see it!

But where, where? Where, where, where, where, where, where?

There, it's over there.

It's just phenomenal.

Phenomenal.

Do you call it "Sputnik" or "Spootnik"?

You call it a miracle.

God.

We've gotta be the luckiest people who ever lived.

After this moment—

this moment the three of us are sharing here together—

nothing is ever gonna be the way it is,

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...

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 dream coming true,

me and you, pal, me and you!

Me and you!

Me and you!

Me and you!

Me and you!

Me and you!

Me and you!

Me and you!