(gentle music) (bright orchestral music) (moves into gentle orchestral music) ♪ All you are ♪ ♪ We've waited so long for you ♪ ♪ Every day, we'll make a new song for you ♪ (singers vocalizing) (indistinct) (dramatic orchestral music) ♪ Here we all work on the Mississippi ♪ ♪ Here we all work while the white men play ♪ ♪ Loading up boats with the bales of cotton ♪ ♪ There's no rest til the judgment day ♪ ♪ Get yourself a brand new gal ♪ ♪ A lovin' baby who's the apple of your eye ♪ ♪ Coal Black Rose or High Brown Sal ♪ ♪ They always bake the sparrer and the chicken pie ♪ ♪ Here we all work on the Mississippi.

♪ ♪ Here we all work while the white folk play ♪ ♪ Loading up boats with the bales of cotton ♪ ♪ Getting no rest 'til the judgment day ♪ ♪ What a pretty bevy ♪ ♪ Ah, there, ah, there ♪ ♪ The fairest of the fair ♪ ♪ To Southern beauty, every beau must bow ♪ ♪ How you love to flatter, you rouges, you rouges ♪ ♪ Oh, goodness gracious ♪ ♪ They're so flirtatious, you naughty ♪ ♪ Little women, don't be timorous ♪ ♪ You will find, acting thus ♪ ♪ Only makes a man more bold ♪ ♪ These are not the days of old ♪ ♪ See The Show Boat ♪ ♪ That's old Captain Andy's Cotton Blossom ♪ ♪ Will you go ♪ ♪ Let me take you to the show ♪ ♪ 'Twill be delightful ♪ ♪ But to rightfully accept, I have to make mama ♪ ♪ Get permission from papa ♪ ♪ Cotton Blossom, Captain Andy ♪ (bright music) >> Aah!

I have got such a wonderful show with the greatest of dramas and jolly comedies.

Stephen Baker, the handsomest leading man and beautiful Julie LaVerne.

♪ Cotton Blossom, Cotton Blossom ♪ ♪ Captain Andy's floating show ♪ ♪ Thrills and laughter, concert after ♪ ♪ Everybody's sure to go ♪ ♪ Cotton Blossom, Cotton Blossom ♪ ♪ Captain Andy's floating show ♪ ♪ Thrills and laughter, concert after ♪ ♪ Get your girl and go ♪ (people cheering) (warm music) ♪ Who cares if my boat goes upstream?

♪ ♪ Or if the gale bids me go with the river's flow ♪ ♪ I drift along with my fancy ♪ ♪ Sometimes I thank my lucky stars my heart is free ♪ ♪ And other times I wonder where's the mate for me ♪ >> Woman: Hello.

>> How do you do?

Are you an actress?

>> Oh, no.

But, but I'd give anything if I could be.

>> Why?

>> Well, because you can make believe so many wonderful things that never happen in real life.

>> Well, if you'd like to make believe one thing, why can't we make believe we know each other?

♪ The game of just supposing is the sweetest game I know ♪ ♪ Our dreams are more romantic than the world we see ♪ ♪ And if the things we dream about don't happen to be so ♪ ♪ That's just an unimportant technicality ♪ ♪ Though the cold and brutal fact is ♪ ♪ You and I have never met ♪ ♪ We need not mind convention's P's and Q's ♪ ♪ If we put our thoughts in practice ♪ ♪ we can banish all regret ♪ ♪ Imagining most anything we choose ♪ ♪ We could make believe I love you ♪ ♪ We could make believe that you love me ♪ ♪ Others find peace of mind in pretending ♪ ♪ Couldn't you ♪ ♪ Couldn't I ♪ ♪ Couldn't we ♪ ♪ Make believe our lips are blending ♪ ♪ in a phantom kiss or two or three ♪ ♪ Might as well make believe I love you ♪ ♪ For to tell the truth, I do ♪ >> [Magnolia's Mother] Magnolia?

>> Yes, mother.

Goodbye.

>> I hope I see you again.

(warm music) (bright music) ♪ Life upon the wicked stage ♪ ♪ ain't ever what a girl supposes ♪ ♪ Stage door Johnnies aren't raging ♪ ♪ over you with gems and roses ♪ ♪ When you let a feller hold your hand ♪ ♪ which means an extra beer or sandwich ♪ ♪ Everybody whispers, "Ain't her life a whirl" ♪ ♪ Though you're warned against ♪ ♪ A roue ruining your reputation ♪ ♪ when you've played around the one night trade ♪ ♪ around the great big nation, wild old men ♪ ♪ who give you jewels and sables ♪ ♪ only live in Aesop's Fables ♪ ♪ Life upon the wicked stage ain't nothing for a girl ♪ ♪ Though we've listened to you moan and grieve ♪ ♪ You must pardon us if we do not believe you ♪ ♪ There is no doubt you're crazy about your awful stage ♪ ♪ Life upon the wicked stage ain't ever what a girl supposes ♪ ♪ Stage door Johnnies aren't raging ♪ ♪ Over you with gems and roses ♪ ♪ If some gentleman would talk with reason ♪ ♪ I would cancel all next season ♪ ♪ Life upon the wicked stage ain't nothing for a girl ♪ ♪ Life upon the wicked stage ain't nothing for a girl ♪ (audience applauding) (energetic music) ♪ Oh, listen, sister ♪ (romantic music) ♪ I love my mister man ♪ ♪ And I can't tell you why ♪ ♪ There ain't no reason for me to love that man ♪ ♪ It must be something ♪ ♪ That the angels done plan ♪ ♪ Fish got to swim, birds got to fly ♪ ♪ I got to love one man 'til I die.

♪ ♪ Can't help lovin' that man of mine ♪ ♪ Tell me he's lazy ♪ ♪ Tell me he's slow ♪ ♪ Tell me I'm crazy.

♪ ♪ Maybe I know ♪ ♪ Can't help lovin' that man of mine ♪ ♪ When he goes away, that's a rainy day ♪ ♪ But when he comes back, that day is fine ♪ ♪ The sun will shine ♪ ♪ He can come home as late as can be ♪ ♪ Home without him ♪ ♪ ain't no home to me ♪ ♪ Can't help lovin' ♪ ♪ That man of mine ♪ (audience applauding) (bright music) ♪ Old Man River, that Old Man River ♪ ♪ He must know something, but don't say nothing ♪ ♪ He just keeps rollin' ♪ ♪ He keeps on rollin' along ♪ ♪ Old Man River, forever he's rolling ♪ ♪ He don't plant 'taters ♪ ♪ He don't plant cotton ♪ ♪ And them that plant them is soon forgotten ♪ ♪ But Old Man River ♪ ♪ He just keeps rollin' along ♪ ♪ You and me, we sweat and strain ♪ ♪ Body all achin' and our back with pain ♪ ♪ Tote that barge, and lift that bale ♪ ♪ Get a little drunk, and we land in jail ♪ ♪ I gets weary and sick of trying ♪ ♪ I'm tired of living ♪ ♪ And scared of dying ♪ ♪ But Old Man River ♪ ♪ He just keeps rollin' along ♪ (soaring music) (audience applauding) >> Audience: Bravo!

(energetic music) >> Been a run-- (men talking over each other) >> Congratulations, Jerry.

(men talking over each other) >> That was a swell show, Mr. Kern.

>> Well, thank you, Joe.

>> Where to?

The Waldorf, Mr. Kern?

>> Uh, what was that, Joe?

>> That big shindig they're throwing for you, it's down at the Waldorf, eh, Mr. Kern?

>> Yes.

Uh, but first I'd like to stop off at the house of an old friend.

>> Yes, sir.

>> Uh, just for a moment, Joe.

Turn right at the next crossing.

It's not very far.

I'm looking for an old brownstone house.

It was the home of a very great and good friend.

Tonight during the show, I couldn't seem to get him out of my mind.

>> Joe: Yes, sir.

>> And I'd like to be alone for a few minutes, Joe, before we go down to the Waldorf and face that crowd.

>> Oh, I guess it's like, uh, like a minute of silence, something like that, huh?

>> Yes, Joe, something like that.

Uh, here.

Uh, stop here, Joe.

>> Here at the corner?

>> In front of that radio shop.

Ah, there it is.

See?

>> Joe: You, you mean that lodging house sandwiched in there?

>> Uh-huh.

Well, of course, it didn't have that Room to Let sign in the window then.

But other than that, it hasn't changed very much.

The street has changed.

It's changed quite a bit since I first walked down it years ago.

Joe, uh, if you notice this radio shop, well, that was a bicycle shop the first time I ever saw it.

I remember the day very well.

It was spring.

And I might have been any American kid coming down that street.

I had a song under my arm.

My hopes were high and the world was wonderful.

I was ambitious and I was eager.

But I needed a little help.

I'd been told that the best man to give it to me was a man by the name of Hessler, James Hessler.

(energetic music) (doorbell ringing) >> Come in, come in.

You're an hour late already.

I suppose you realize that.

You can start on the upstairs bedroom immediately.

>> Mrs. Muller, Daddy wants some more roast beef.

>> I'll be there in a second, Mr. Hessler.

And see that you get to their nest, young man.

>> He's not the moth killer.

>> I'm a songwriter.

>> A song writer, I see.

You entered under false pretenses.

Well, it won't do you any good, young man.

Mr. Hessler isn't seeing songwriters any more.

He's going in for better things.

>> Maybe he should have some roast beef.

He's very hungry looking.

>> Shh.

Don't mention roast beef in front of a songwriter.

>> Look how skinny his neck is.

(indistinct) >> You feel like you could fall down and faint, don't you?

(Mr. Hessler yelling) >> Let's eat.

>> Dear, dear.

Well, you can come in for awhile.

Can't have people fainting in the house, not even songwriters.

>> Thank you.

>> Come in, come in.

>> Daddy, he's starving to death.

>> Mr. Hessler, Mr. Max-- >> Yes, yes, I know.

I know.

Mr. Max Dryfus of the Harms Company sent you.

A great little tune.

He thinks it has possibilities if it's properly arranged.

And I'm to help you arrange it.

>> Look how skinny his neck is, Daddy.

>> Why, he said that, uh-- >> He told you that I was the greatest arranger in America, and I should give you a few lessons, huh?

Well, my friend, he's right.

There's only one catch.

I've given up arranging.

I'm through dressing up silly little tunes for girl shows and beer halls.

I'm gonna write some real music for a change.

Oh, here, Mrs. uh, uh, uh, set her down here.

The trouble with you songwriters is all you ever think about is making money.

Sit down, have some roast beef.

>> Ah, well, no thank you.

>> Go ahead, sit down, sit down.

Uh, you never think of doing anything big, anything worthwhile, like Brahms or, no, uh, no, don't sit down there, please.

>> Mrs. Hessler's place, rest her soul.

We always keep it set.

>> Oh, I'm sorry.

>> Here, sit down here.

No, all you fellows want to do is write sugary little tunes and make a lot of money.

Did you ever hear Beethoven's Eroica or Mozart's Jupiter?

Did they do something to you?

Great heavens, doesn't genius touch you fellows at all?

>> Daddy's a genius.

>> Ha, ha.

Yes, Daddy's a genius.

No, my friend, in three weeks I'm going to England where I can work, where I can have some peace and quiet.

No mushy little melodies to be fancied up for public consumption.

I'm gonna write a symphony.

>> Daddy's gonna write an opera just for me.

>> (chuckle) Here, go ahead, go ahead.

Eat up, maybe it'll give you some gumption.

>> Well, I'm terribly sorry, Mr. Hessler.

I had a big lunch with Mr. Dreyfus just before I left.

(chuckles) It was roast beef, too.

Well, I-- >> Oh, what's the matter?

Just because you're not hungry, you don't have to go, do you?

Have some brandy with me.

Help me celebrate my liberation from mediocrity.

Uh, Mrs. uh, uh, get a couple of liqueur glasses, will you?

Sally, would you show Mr, the gentleman into the parlor?

I'm going upstairs and see if I can't find a bottle of Napoleon.

>> Have you a song in there?

>> Mm-hmm.

>> I'm taking piano lessons.

Daddy wants me to be an opera singer when I grow up.

Why don't you write an opera?

>> Well, Sally, I'm afraid I only write the silly little tunes.

You know, the ones your father doesn't like.

>> Let me see if I can play your song.

Do you mind?

>> No, I wish you would.

It's very easy.

Here.

>> Ka-la, ka-la.

What's the name of the song?

>> Kailua.

>> That's a funny name.

It sounds like candy.

Like gumdrops.

>> Well, it's the name of a very romantic beach in Hawaii, Sally.

(Sally trying piano) Uh, no that's b, b natural.

(Sally trying piano) Here, let me show you.

(soft piano) Now here's the melody.

(bright melody) It should be played with clarinets.

>> Now, now, now, wait a minute.

No, that's not right.

You've got to use clarinets to play the vamp.

(light piano) >> Oh, I was thinking of using brass there.

>> Brass, and spoil your finish?

Good heavens, man.

You've always got to save the brass for the finish.

>> Oh.

Well, what do you think?

>> Think?

I know, this is a romantic song.

Sit down, it's sentimental.

You've got to start the melody off with your strings, go easy.

Here, I'll show you.

Start that vamp again, Sally.

(light piano) It's perfect for clarinets, see?

Now, then the strings enter.

Divisi.

(bright clarinets) Do you hear how wonderful that is?

Now, then add trombones.

Muted trombones.

(muted trombones) That's great.

Can't you just hear that?

Sally?

(bright orchestra) No, no, no, now wait a minute.

We ought to add flutes there.

Light and easy.

(light and easy flutes) Now then, add your brass.

(soaring brass) Your strings, too.

(soaring strings) There, you see.

Isn't that easy?

Ha, ha.

It's a good song, too.

It's very good.

That's yours?

>> Yes.

>> That's, that's alright.

What's your name again?

>> Kern.

Jerome Kern.

>> Well, I'm glad to meet you, Kern.

Make yourself at home.

>> And I did.

My life became a pattern of notes, clefts, tempos, and modulations.

We worked hour after hour, day after day.

(warm music) It was the beginning of a friendship.

It was the beginning of a lot of things.

And now, not only did I have a best friend, I had a best girl, Sally.

And what a girl.

Ah, those were never to be forgotten days.

I hated to think of them ending.

But at last the time came when Jim had to leave for England.

Oh, here, Jim.

Let me help you.

Ah, it's those, it's those symphonies of yours.

They're as heavy and bulky as lead.

>> Well, at least they're not tinny like some tunes I've heard.

>> Oh, Sally.

Come here.

All right, here we go.

Fortissimo.

Dum, dum, dum, dum-da, dum, dum.

(bright music) (indistinct) Ah, you carry a lot of weight, Sally.

>> It was easy.

>> Come along, Sally.

At least we're not gonna miss the boat.

Goodbye, Mr. Kern.

>> Goodbye, Mrs. Goodbye, Sally.

Bon voyage.

>> What does that mean?

>> Happy journey.

>> Bye, Uncle Jerry.

Be a good boy.

>> This will be the end of it, boys.

>> Don't forget to pack my song, Daddy.

>> No, no.

I'll get it.

She means Kailua.

>> Well, that is her song, Jim.

You know, if it hadn't have been for Sally, I wouldn't be here now.

>> Well, she's very fond of you, Jerry.

>> I'm going to miss her.

I'm going to miss all of you.

>> Yeah.

We may not be gone so long.

It all depends on... You won't mind living here alone, will you?

>> Oh, no.

No, I'll get used to it.

Uh, Jim, in case I don't get a chance at the boat, I just wanted to tell you that, uh-- >> Oh, forget it.

I like arranging now that I'm through with it.

Glad to have been some help.

>> No, it's more than that.

It's been your kindness and your home here.

>> Look, Jerry, I just want you to write some good music, some real music.

That's all the thanks I want.

Don't, don't waste your time fussing with those wheezy little tunes.

Think big.

Try to be somebody.

>> I will, Jim.

I'll try to be as big as I can.

>> Good.

That's fine.

Well, we better be on our way.

Oh!

Good heavens, Sally's song.

>> You know, I'm so tickled that she remembered that.

>> Remembered?

That's your song, Jerry.

She couldn't forget.

(crowd shouting) (soaring music) (boat horn blowing) >> Jerome: I stood there watching that boat pull out of the harbor.

And I was lonelier than I'd ever been in my life.

I walked through the days that followed from office to office, (soft music) theater to theater, always getting the same discouraging answer.

The big hits were all English or European.

The local talent just didn't seem to have a chance.

Broadway was closed to an American.

From 23rd Street to Times Square, they were all playing follow the leader.

And the leader was Charles Frohman.

>> He's with Keller, Cecil Keller, the English composer.

Mr. Frohman's not interested in American songs at the moment.

He's leaving for England in a few weeks.

Good day.

>> Uh, how do you do?

My name is Kern, Jerome Kern.

>> Oh, yes.

How do you do, sir?

I see you have the deeds with you.

Mr. Frohman's very anxious to see them.

>> Deeds?

>> You're the man from the real estate office, aren't you?

>> No, I'm a songwriter.

Uh, these are some of my songs.

>> Your name isn't Kernon?

>> No, Kern.

Jerome Kern.

>> I'm sorry.

Mr. Frohman hasn't a minute to waste.

I'm afraid I must say goodbye.

>> Well, maybe if he'd listen to one of my songs.

I have one that could be made very English.

>> Good day, sir.

>> Keller: Goodbye, Mr. Frohman.

>> Good bye, Mr. Keller.

I'll see you in London soon.

I'll call you when I get there.

>> Thank you.

I'll be waiting for you call.

(dramatic music) >> I made up my mind that I was going to try to write music with an English accent.

So I sailed for London.

I wish I could say with flags flying and my courage high.

But the sea and I and the boat didn't get along too well together.

I was mighty glad to see land again.

(bright music) Uh, excuse me.

Could you tell me where Mr. Hessler lives?

>> Kessler?

We have a Westley, and we have a Smith.

>> No, Hessler.

A Mr. Jim Hessler.

>> Uncle Jerry!

>> Sally!

Oh, honey, it's so good to see you.

>> We didn't know you were coming.

>> Well, I didn't know I was myself.

>> Daddy'll be so glad to see you.

Come on, we live right over there.

>> All right.

Sally, you're getting prettier every day.

>> Sally: I'm a beauty queen!

>> Are you?

>> Yeah!

>> Well, the tables are turned.

American songwriter invades England.

(laughing) That's pretty good, Jerry.

No, it's daring, very original.

You're thinking big anyway.

>> It's a chance I'm taking, Jim.

>> Hmm.

Say, you've gotten a little skinnier, haven't you?

>> I haven't been getting enough roast beef lately, I guess.

>> Jerry, I look at you sitting there, and it's just hard for me to believe you haven't been here all the time.

>> Thanks, Jim.

It's, uh, sort of like being home again.

How is the, uh, symphony coming along?

All right?

>> Oh, well, yes.

I'm still in the note-making stages.

Of course, I always believe in making plenty of notes.

It's, uh, it's kind of like, uh, planting seed.

One day they start to grow and then, before you know it, lo and behold, your symphony's all written.

>> Uh-huh.

Simple and easy, huh?

Not as difficult as writing those silly little tunes.

>> Well, no.

It's, it's the quiet here that does it, Jerry.

The peace in this place is just (telephone ringing) so thick that you can float on it.

There's a, there's a rustic, pastoral...

Wait a minute.

I'll answer that telephone.

(doorbell ringing) Oh, the doorbell.

Will you get the, uh, door, please?

(indistinct) Yeah, yeah, yeah.

No, there's a, there's a picturesque, pastoral, hello!

(people chatting in background) Who?

I can't quite... >> She's waiting for a piano lesson.

>> Oh, Mr. Edwardes.

Yeah, put him on.

Hello, George.

(indistinct) Fine.

>> I don't want to.

>> Tomorrow?

Be glad to.

>> I'm not gonna have a lesson-- >> For dinner, good.

I'll be there.

Bye, bye.

George Edwardes.

>> The producer?

>> Yes.

He wants me to come up and sit in on a rehearsal of a new show.

>> I don't want to take any piano lessons.

Uncle Jerry's here.

>> You've got to talk to your daughter.

I can't do a thing with her anymore.

>> Well-- >> This is Uncle Jerry's first day here.

And I shouldn't be made to take lessons, should I?

Should I, Uncle Jerry?

>> Well, I, I think you should have one day off maybe, huh?

>> That's the end of her.

There was some hope for her until her Uncle Jerry arrived.

Now she's spoiled for good and all.

Come, we'll get ourselves a cup of tea.

>> You know, Sally, I'm inclined to agree with you.

I think Uncle Jerry's arrival does call for a celebration.

Now, what'll it be?

London or the fair?

>> Oh, the fair, Daddy.

Please, the fair.

>> All right.

The fair it is.

(bright music) (people laughing) (barkers shouting) >> Oh, it could be wonderful.

It could be wonderful.

>> Oh, no, no, Jerry.

I don't want Sally to go up into the swings.

Not 'til she's a little older.

>> The whole stage full of swings.

And a boy and girl in each swing and all of them singing.

>> Oh.

Oh, you, you mean for a production number?

>> Yeah.

>> That's not a bad idea.

>> They could swing from the stage right our over the audience and back.

>> It'd make a good production number.

What, uh, what song would you use with it?

>> Spoon with Me would be perfect.

>> Spoon with Me.

Yeah, that sounds fine.

Suppose I take that up to George Edwardes?

>> For the Gaity?

>> Sure.

I'm gonna have dinner with him tomorrow night.

>> Ah, Jim.

(energetic music) (audience applauding) (soft music) ♪ I don't know why I am so very shy.

♪ ♪ I always was demure ♪ ♪ I never knew what silly lovers do ♪ ♪ No flirting I'd endure ♪ ♪ In all my life I've never kissed a man ♪ ♪ I've never winked my eye ♪ ♪ But now, at last, I'm going to break the ice ♪ ♪ So how'd you like to try ♪ ♪ How'd you like to spoon with me ♪ ♪ I'd like to ♪ ♪ How'd you like to spoon with me ♪ ♪ Well rather ♪ ♪ Sit beneath an oak tree large and shady ♪ ♪ Call me little tootsy wootsy baby ♪ ♪ How'd you like to hug and squeeze ♪ ♪ Indeed, I would ♪ ♪ Dangle me upon your knees ♪ ♪ Oh if I could ♪ ♪ How'd you like to be my lovey dovey ♪ ♪ How'd you like to spoon with me ♪ >> What a daisy.

(bright music) ♪ How'd you like to spoon with me ♪ ♪ Would be spiffing ♪ ♪ How'd you like to spoon with me ♪ ♪ In all a jiffy ♪ ♪ Sit beneath an oak tree large and shady ♪ ♪ Call me little tootsy wootsy baby ♪ ♪ How'd you like to hug and squeeze ♪ ♪ Dangle you upon my knee ♪ ♪ How'd you like to be my lovey dovey ♪ ♪ How'd you like to, how'd you like to ♪ ♪ How'd you like to, how'd you like to ♪ ♪ How'd you like to, how'd you like to spoon with me ♪ ♪ How'd you like to spoon with me ♪ ♪ Rather ♪ (audience applauding) (bright music) >> Pardon me for intruding.

You've been pointed out to me as the composer of that delightful number with the swings in it.

My name Frohman, Charles Frohman.

Mr. Kern, I want to congratulate you.

>> Frohman.

I'm sorry, sir, it isn't my number.

My name isn't Kern.

>> There's Mr. Kern, sir.

Down at the bar.

>> That gentleman there?

Why, he can't be the composer.

>> It's him, sir.

Sipping sherry.

And a very nice gentleman he is, too, sir.

For a musician.

>> Mr. Frohman.

I have something here which I know you'd like.

It's a beautiful number with parasols, with all sorts of parasols.

>> Mr. Kern?

>> Oh, Mr. Frohman, how do you do?

I'm very glad to know you.

>> Mr. Kern, I want to tell you I think your swing number is delightful.

It has such beautiful English charm to it.

Really delightful.

>> Oh.

By jove, Mr. Frohman, that's, that's rather nice of you.

>> It's a pleasure to know you, Mr. Kern.

You know, you fellows over here have a style all your own, as English as the scent of the May blossoms.

Would you join me in a glass of sherry?

>> Righto.

Miss?

(warm music) (Kern whistling) >> Maybe I'd give that one up if I were you.

One song at the Gaiety, I think you can afford to take a rest.

>> If I could finish it, I know I could interest Frohman in it.

>> You ought to know by now that Charles Frohman is only interested in English music and English composers.

>> If I only had a piano, I know I could work this out right now.

(whistling) Flat.

>> Well, looks like you do have a little work to do.

>> That town we passed wasn't very far back, was it?

>> No, not very.

>> Well, let me take your bike, and I'll go back and see if I can buy a repair kit.

>> No, I think I'd better go.

I can talk with the, uh, natives better than you can.

>> Well, let me do it.

I can use my accent on them.

>> That's just what I was afraid of.

No, you wait here, and whistle yourself a little tune until I come back.

>> Aw, make sure you can find this place again.

>> Jim: I'll find it.

(Jerome whistling) (Jermone knocking) >> I say, is anyone there?

(Jermone whistling) (bright piano) (bright piano) (warm music) Oh, how do you do?

>> Did Mr. Timkins send you?

>> Well, um, I was passing by on my bike and I got a flat tire, and uh-- >> Then you don't work for Mr. Timkins.

>> No.

No, I happened to notice your piano through the window so I thought I'd come in and try out a little tune.

>> I see.

For a minute I thought you were the piano tuner.

>> No.

Well, I'd better go before the owners... What do you do here, gardening?

>> A little.

>> Oh.

Well, I don't know whether anybody's told you, but for a working girl you're very pretty.

>> Thank you.

You're an American, aren't you?

>> Yes.

Yes, I'm a song writer.

Uh, as a matter of fact, that song I was playing as you came in is mine.

Did you like it?

>> You wrote it yourself?

>> Sure.

Oh, I write lots of songs.

Uh, maybe, uh, maybe you've heard this one.

("How'd You Like to Spoon With Me?")

>> Why, that's from the Gaiety.

Everybody's singing it.

>> Uh huh.

Now, this is the one I was working on.

(soft piano) That I'm gonna try to place with the Gaiety too.

>> Of course.

I would if I were you.

>> Don't you believe I wrote these songs?

>> Tell me.

When you compose, do you always break into people's houses to borrow their pianos?

>> Oh.

All right, I'll tell you what I'll do.

If I place this with the Gaiety, I'll send you tickets and you can come and see for yourself.

Will you?

>> I'll tell you when I get the tickets.

>> I beg your pardon, miss, but, uh, your mother would like to speak to you.

She's in the upstairs sitting room.

>> Thank you, Katie, I'll be right up.

>> (clearing throat) Well, I'm, uh, terribly sorry.

But I still wrote those songs.

>> And I'll still be waiting for the tickets.

>> Will you?

Wonderful!

I, I, I won't forget.

(romantic music) (soft piano) (striking keys) >> And you were the lad who wasn't gonna fall in love with anybody for a long, long time.

>> Well, this girl is different.

>> (laughing) Sure, I know.

>> Well, now, don't joke about it.

It's serious.

Don't you believe me?

>> Yes, of course, I believe you.

>> She really is different.

>> I know, I know.

Her hair is like spun gold shining in the sunlight.

>> I don't know about her hair, she had a kerchief on, but her eyes.

Her eyes were, were like pools in the starlight.

Even with her working clothes on, she's the prettiest girl I've ever seen.

>> Jim: I'm sure of it.

>> Seriously, Jim, don't you believe me?

>> Yes, yes, sure, I believe you.

It's spring, isn't it?

Tomorrow morning I think I'm gonna give you a great big dose of sulfur and molasses.

(laughing) Good night.

(soft piano) >> They didn't believe me.

They didn't believe me.

Your lips, your eyes, your cheeks, your hair are in a class beyond compare.

You're the loveliest girl that one could see.

(romantic music) ♪ And when I tell them ♪ ♪ And I certainly am going to tell them ♪ ♪ That I'm the man whose wife one day you'll be ♪ ♪ They'll never believe me ♪ ♪ They'll never believe me ♪ ♪ That from this great big world ♪ ♪ You've chosen me ♪ >> Jerry, isn't it lovely?

>> Oh, well, I hadn't noticed.

Uh, when I look at you, I can't seem to see anything else.

>> Oh, writing songs again.

Perhaps we better stop and have lunch.

>> Jerome: All right.

>> You can move in under those trees there.

Ah, isn't it a beautiful day?

>> Beautiful.

>> Now, let's see.

You've seen Westminster Abbey, and the Tower of London, and you've seen Buckingham Palace, and Hampton Court.

Maybe there's something I can tell you about this place.

>> Eva, uh, let's, uh, drop the history course for a while.

Do you mind?

Not that it isn't interesting, but, uh, well, there are a few things I'd like to know about you too.

>> Well, all right.

What would you like to know about me?

>> Oh, just the ordinary things.

Things you like and things you don't like.

Where you went to school, which and who was your first beau, and what you want out of life.

>> That's a tall order.

Where shall I start?

>> Uh, the things you like.

>> Oh, I guess I like what everyone likes.

I like books and, uh, picnics and dancing and music.

>> What about musicians?

>> Oh, certainly musicians.

>> And what do you want out of life?

>> Oh, I guess again what everyone wants.

Happiness.

>> Have you ever given any thought to, uh, getting married?

>> Why, of course, doesn't everyone?

>> Are you set on any particular type of man?

>> Um hm, I have been at different times.

When I was 16, I desperately wanted to marry the star cricket player at Rugby.

>> And now?

>> Now?

Oh, uh, now I don't really know.

Except that he must have a sense of humor.

And he must be kind, and he must be intelligent and good company.

And of course, he must love me very much.

>> Well, I, uh, I know somebody with at least one of those characteristics.

Someday I'll tell you all about it.

Oh, good afternoon, good afternoon, good afternoon.

And how have you been this afternoon?

>> Well, I'll tell you how I've been, I've been looking all over-- >> Never mind, never mind.

You feel wonderful, you feel great.

How could you be otherwise after such a beautiful day?

Tell me, my friend.

How is your knowledge of English history?

>> English history?

>> Did you know that London happens to be the largest city in the world?

>> Yes, I know that.

>> Did you know that within the county of London there are 14 road bridges across the Thames?

Now there's the Waterloo, there's-- >> You don't say?

>> Sounds dull, huh?

Well, it's far from dull, my friend, when your history teacher is as beautiful as all the sirens of history put together.

Did you know that all the swans on the Thames belong to the King of England?

And the male swan is called a cob?

>> What does that get me?

>> And did you know that when you walk into Hampton Court, you're walking right straight into history?

Oh, my dear friend, you have so many things to learn about England.

>> Have you ever heard of a man named Charles Frohman?

>> Frohman, Frohman.

Well, that's a familiar name.

The face escapes me.

How can you talk about Frohman when I'm talking about love?

>> Oh, so that's been a theme of this little dissertation.

>> Yeah.

>> Well, I'm glad you informed me.

>> Oh, that's all right.

>> Because the next time Frohman's office calls, I'll tell them that you're too busy to be bothered.

>> Yes, you tell them that I'm too busy.

(comical music) Did you say the next time Frohman's office calls?

>> That's what I said, they've been calling you all day.

But why should I bore you with such trivial details?

>> Well, what did they want?

>> No, no dear friend.

You return to your archives.

Why think of the future when the past is so glorious?

>> Oh come on, now what happened?

>> Nothing, nothing.

Frohman just wants you to write four songs for his new show.

If, of course, you can spare the time.

>> Well, why didn't you tell me about it?

>> Why didn't I tell you about it?

>> Well, come on, let's get going.

>> There is no time.

We've got to do that on the ship.

>> On the what?

>> On the ship.

We're sailing with Charles Frohman tomorrow.

We have to start rehearsal in six weeks in New York.

>> Aw, Jim, I, I, uh... (solemn music) No, no, no, no.

>> Oh, Jerry.

This is the chance you've been waiting for.

Well, you certainly are full of surprises.

I thought you'd be up in the clouds.

>> I feel like I've just been yanked out of the clouds.

(dramatic music) >> Jerry, aren't you coming down for lunch?

>> Oh, uh, no, no, Jim.

I'm not very hungry.

>> Now look, you've got to snap out of this.

It isn't the end of the world.

It's the beginning.

Here you are on your way back home with a Charles Frohman contract in your pocket.

Why, you ought to feel wonderful.

>> I know it.

That's what I keep telling myself.

>> You'll go back to England.

>> If I just could have seen her once more.

>> Jerry, it was all we could do to catch the boat, you couldn't help that.

And you talked to her on the phone.

>> On the phone?

What could you say on the phone?

Hello, it was nice seeing you.

Take care of yourself.

Oh, Jim, there were so many things that I wanted to say to her.

>> Now, look, Jerry, you've got to think about your career.

Things are just starting for you.

>> You can say that over and over again.

And you know what happens?

>> What?

>> Nothing.

Jim, you know, for the first time in my life, I'm lonely.

Here I am, on a ship full of people, and with you, and I might as well be on a desert island all by myself.

Did you ever feel this way?

>> Yes, once.

>> What did you do about it?

>> I married the girl.

>> Well, hello, Mr. Frohman.

>> Hello there.

Been looking for you two.

You weren't down to breakfast.

>> Uh, no, I-- >> The first day out is always rough.

>> I know.

But Englishmen should have his sea legs by now.

Come and have lunch with me.

>> Uh, Mr. Frohman.

Uh, there's something I must tell you.

I'm not an Englishman.

>> Mr. Kern, there's something I must tell you.

I never thought that you were.

At least not after the first 15 minutes.

Matter of fact, I'm very proud to be able to present a new American composer to Broadway.

>> Thank you, Mr. Frohman.

>> I have a lot of faith in you, Jerry.

Just received a wireless from Julia Sanderson.

She's accepted the part of the girl from Utah.

>> Wonderful!

>> Now I've got to have a great song for her.

>> If it's a love song, he's got one.

(dramatic music) ♪ And when I told them how wonderful you are ♪ ♪ They didn't believe me ♪ ♪ They didn't believe me ♪ ♪ Your lips, your eyes, your teeth, your hair ♪ ♪ Are in a class beyond compare ♪ ♪ You're the handsomest boy that one could see ♪ ♪ And when I tell them ♪ ♪ And I'm certainly gonna tell them ♪ ♪ That you're the boy whose wife one day I'll be ♪ ♪ They'll never believe me ♪ ♪ They'll never believe me ♪ ♪ That from this great big world ♪ ♪ You've chosen me ♪ (audience applauding) (soft piano) (clears throat) Here.

I've got the cloud's number worked out pretty well now, hey?

>> I never realized that writing a complete score was such a job before.

>> Well, one good all-night session like this does wonders.

>> I could use another week.

>> If we weren't three weeks late already.

>> I hope he likes it, Jim.

>> Frohman?

He's crazy about it.

He hasn't gone out and bought another himself another show while he's been waiting.

(feet pattering on steps) >> Good morning.

>> Jim: Sally, what are you doing up?

>> I'm gonna have my breakfast.

>> Break, it isn't morning already?

>> No, it can't be.

>> Mrs. Mueller: Sally, you'll be late for school.

>> I'm coming.

>> Say, Jim, don't you think I better call Frohman's secretary and get an appointment?

>> You better call him at home, it's a little early.

>> Brian, 2446, please.

Uh, do you think it's in good enough condition for him to hear?

>> Oh, yeah, sure.

It's in good shape for a first draft.

>> Hello.

This is Kern, Jerry Kern.

Uh, Mr. Frohman was expecting me to call today about an appointment.

He's leaving for England.

Well, but he promised that he was gonna listen to my show, "Oh, Boy," for his next produc... Sails today?

Oh.

All right, thanks.

>> Well, that's it.

He's gone over to buy himself another English show.

>> Well, he can't.

>> No?

>> No, he can't.

We worked like dogs on this score, Jim.

And I had all my plans made, too.

After he bought it, I was gonna jump the next boat for England.

>> I'd forgotten about that young lady.

>> Wait a minute.

I've got an idea.

(bright music) My passport is still good.

Why don't I take the same boat he's taking today?

>> Wonderful!

Get him on board ship and he can't get away from you!

>> That's right.

Then I can sell him the show.

>> Wonderful!

>> Then I can go and see Eva.

>> Sure, sure!

You can get married.

>> Well, I'll probably have to ask her first.

>> Well, that's an idea.

I'll go and phone the steamship company.

>> Right, I'll go pack.

Driver, you think you can make it all right?

>> If we get a break in traffic and the old engine holds out.

>> Sally: Uncle Jerry, oh, Uncle Jerry!

>> Jerry, come on now, we've only got a few minutes.

Jerry, do you want to miss that boat?

Come on here!

(energetic music) (boat horn blowing) (dramatic music) (solemn music) >> Charles Frohman.

It's like watching an era crumble in front of you.

The theater's gonna miss him.

>> Yeah.

You were very lucky to miss that boat, Jerry.

>> Seen Max around?

Oh, hello, Jim.

>> Victor.

No, I think he went over to Comstock and Elliot's.

>> What a terrible tragedy.

>> Yes, yes, it's unbelievable.

Jerry and I were just talking... Oh, uh, Jerry, you know Victor Herbert, don't you?

This is Jerry Kern, Victor.

>> How do you do, Jerry?

>> It's a great honor to meet you, Mr. Herbert.

>> Charlie Frohman spoke of you quite often.

He had great hopes for you.

>> Well, he was very kind.

>> He liked you.

But more importantly, he respected you.

And it's easy to see why.

You've got a song to sing.

>> Thank you, Mr. Herbert.

>> Look down at that city, Jerry.

(soft music) It's made up of millions of people.

Music has played a part in all their lives.

Lullabies.

Love songs.

Hymns.

Anthems.

>> It must be pretty wonderful, Mr. Herbert, to realize that people you don't even know or never will know are singing your songs, and all of them asking for more of the Victor Herbert music.

>> It makes me feel grateful, Jerry, and very humble.

One of these days you'll find out yourself how it feels.

What is it my publishers call me?

The dean of American music.

Well, I think you're going to be the next dean.

One thing I must admit, you've got a better figure for it.

Keep writing, boy.

Don't let anything stop you.

Good night.

>> Good night, Mr. Herbert.

>> Night, Victor.

>> Good night, Jim.

>> Good evening, Mr. Herbert.

>> Good evening.

>> It's a deal, gentlemen.

Congratulations.

Comstock and Elliot are going to produce "Oh, Boy."

Max just sent me over with a check.

What's the matter?

Aren't you fellas happy?

>> Yeah, we're happy.

Thanks.

>> Turn out those lights again, will you, Ed?

(dramatic music) (bright music) >> Well, there it is in lights.

How does it feel?

>> Well, it feels pretty good.

If I could just get rid of some of these butterflies in my stomach.

How do you feel?

>> Well, I've got a little butterfly trouble myself.

>> I suppose you think we're standing in front of the theater on 39th and Broadway.

>> No, what do you take me for?

This isn't 39th and Broadway, this is the top of the world.

>> Pretty nice world, isn't it?

>> Yeah, it's great.

It's wonderful what a difference seeing your name in lights can make, isn't it?

Come in, we better go in or we'll miss the show.

♪ Oh, the rain comes a pitter patter ♪ ♪ And I'd like to be safe in bed ♪ ♪ Skies are weeping while the world is sleeping ♪ ♪ Trouble heaping on our head ♪ ♪ It is vain to remain and chatter ♪ ♪ And to wait for a clearer sky.

♪ ♪ Helter skelter, I must fly for shelter ♪ ♪ 'Til the clouds roll by ♪ (energetic music) ♪ When the rain comes a pitter patter ♪ ♪ And I'd like to be safe in bed ♪ ♪ Skies are weeping while the world is sleeping ♪ ♪ Trouble heaping on our head ♪ ♪ It is vain to remain and chatter ♪ ♪ And to wait for a clearer sky ♪ ♪ Helter skelter, I must fly for shelter ♪ ♪ 'Til the clouds roll by ♪ ♪ Til the clouds roll by ♪ (audience applauding) >> Well, this is it, Jerry.

(bright music) You're in, my boy.

Listen to that applause, that's for you!

>> Don't wake me up.

Don't anybody wake me up.

(Jim laughing) >> Figured out how you're gonna spend your money yet?

>> Well, for one thing, I think I'll buy an interest in harms.

For another... >> You think you might, uh, take a little ocean voyage?

Well, good luck.

I don't see how she could possibly say no.

>> Well, that's what I'm worried about.

I'm afraid she is gonna say no, Jim.

You know, I can't get her out of my mind.

She's, well, she's... >> Yeah, I know.

I've been through this before.

She's everything you've ever dreamed of on this earth.

>> She's everything I've ever dreamed of in heaven.

(Jim laughing) (romantic music) >> Oh, Jerry, let's stop here, shall we?

>> All right.

>> Jerry.

>> Hm?

>> You didn't write very often.

>> Well, my letters weren't very interesting, Eva, so I tore them up.

As a matter of fact, you didn't write very often yourself.

>> A lady doesn't correspond with a gentleman.

Unless it's a reason other than a personal one.

>> Oh, well, now doesn't that sound a little silly to you?

>> No, it, it sounds altogether fitting and proper.

>> Oh.

Want to fight?

>> A lady doesn't fight.

>> Well, what does a lady do?

>> Oh, you're impossible.

>> Well, you're right.

If I were you, I'd have nothing to do with me.

In fact, if I were you, when I ask you to marry me, I'd say no.

Just on the grounds that a lady never says yes.

>> Now see here.

Are you going to ask me to marry you?

>> I might, with a little encouragement.

>> A lady doesn't-- >> In my country, if a lady wants to be asked, she has to be encouraging.

>> In my country-- >> In your country, what in your country, hm, huh, hm?

>> Well, there are proper ways to go about such things in every country.

>> Oh.

Well, then, let me put it this way.

From the very first moment I saw you, when you walked in from the garden, I knew that, out of all the women in the world, I'd finally found the right one, the only one.

I wanted to tell you then.

I wanted to say, hello funny face.

I don't know your name or anything about you, but I've loved you all my life.

You were my first schoolteacher, my first date, the first girl I ever kissed, and everything in the world to me.

You see, I recognized you immediately.

>> You thought all that.

>> That's right.

I stood there thinking that, wondering what you'd do if I kissed you.

What would you have done?

What would you do now?

Will you marry me, Eva?

>> Thank you so much.

I'd love to.

>> (laughing) Hello, Mrs. Kern.

>> Hello, my darling.

(bright music) >> They're here, Daddy!

They're coming up the steps!

>> Welcome home!

>> Jim!

Why you old fox, you really did it this time.

>> Nothing, my boy, nothing.

Just a little gesture.

>> Jim.

This is Eva.

>> Hello, Eva.

>> Hello.

>> Well, you've married the nicest guy in this world.

But the craziest.

>> Oh, now wait a minute.

I was keeping that from her.

Isn't she sensational, Jim?

>> Jerry.

>> Honey, turn around and let him look at you.

>> Oh, Jerry!

>> Look at that hair and those eyes.

Have you ever seen a woman like that in your life before?

>> Only once.

No, I, I hope that both of you have all the happiness in this world.

>> Both: Oh, thank you, Jim.

>> I think we have already.

>> Sally: Forgetting me.

And the music.

>> Oh, Sally, yes, I, I'm sorry, dear, I... Sally!

>> On behalf of my father, Jim Hessler, and myself... ("Bridal March") On behalf of my father, Jim Hessler, and myself, I wish to congratulate you on the start of your voyage into the great sea of life.

>> Oh, Sally!

Well, on behalf of my wife and myself, I thank you very much.

>> I'll take it.

>> Hello, Missus.

>> Hello, Mr. Kern.

>> Sally, it's so wonderful to see you.

My, you have grown up, haven't you?

Sally, this is your Aunt Eva.

>> On behalf of my father-- >> Thank you, Sally.

We're going to be real good friends, aren't we?

>> Yes, I expect we are.

>> Well, uh, what do you say?

Let's, let's all go in and have something to eat, shall we?

>> Aw, Jim, it's so good to be home again.

Yes, it was good to be home.

I felt I had everything in the world, happiness, success, and the wife I had dreamed about.

I wanted to put it all into music.

Eva's smile, and her eyes, and what it meant to be with her.

And at last it seemed to me that the clouds had rolled by.

First there was "Leave It To Jane."

(triumphant music) ♪ Leave it to Jane, Jane, Jane ♪ ♪ I don't know why you should make me plot and plan for you ♪ ♪ She is the girl with brains ♪ ♪ I always try to do everything I can for you ♪ ♪ No problem you can wish on her ♪ ♪ Gives her a strain ♪ ♪ She'll tackle gaily a score or more daily ♪ ♪ If something is on your mind and I can see ♪ ♪ That there is not a doubt of it ♪ ♪ Comfort you soon will find ♪ ♪ Leave it to me, I will soon get you out of it ♪ ♪ If you have started worrying, kindly refrain ♪ ♪ And just hand over the whole thing to Jane ♪ (people shouting) >> Well, Jane.

Why don't you tell us how you do it?

>> Group: Yes, come on, Jane, tell us.

>> Oh, but it's really very simple.

I just study up on the famous women of history.

>> You mean like Lucretia Borgia?

>> Well, no, not exactly.

Listen.

♪ In days of old beside the Nile ♪ ♪ A famous queen there dwells ♪ ♪ Her clothes were few but full of style ♪ ♪ Her figure slim and svelte ♪ ♪ On every man that wandered by ♪ ♪ She pulled the Theda Bara eye ♪ ♪ And everyone observed with awe that her work ♪ ♪ Was swift but never raw ♪ ♪ I'd be like the Cleopatterer if I could have my way ♪ ♪ Each man she met she went and kissed ♪ ♪ And she'd dozens on her waiting list ♪ ♪ I wished that I had lived there beside the pyramid ♪ ♪ For a girl today don't get the scope that Cleopatterer did ♪ (energetic music) ♪ She danced new dances now and then ♪ ♪ The sort that make you blush ♪ ♪ Each time she did them ♪ ♪ Scores of men got injured in the rush ♪ ♪ They'd stand there gaping in a line ♪ ♪ And watch her agitate her spine ♪ ♪ It simply used to knock them flat ♪ ♪ when she went like this and then like that ♪ (energetic music) ♪ And dancing Cleopatterer was always on the spot ♪ ♪ She gave those poor Egyptian ginks something else ♪ ♪ To watch besides the Sphinx ♪ ♪ Marc Antony admitted that what first made him skid ♪ ♪ Was the wibbly wobbly wibbly dance that Cleopatterer did ♪ (energetic music) (audience applauding) (bright music) ♪ Leave it to Jane, Jane, Jane ♪ ♪ She is the girl with brains ♪ ♪ No problem you can give to her, gives her a strain ♪ ♪ She'll tackle daily a score or more daily ♪ ♪ If something is on your mind, comfort you soon will find ♪ ♪ If you have started worrying, kindly refrain ♪ ♪ Don't go to your mother, don't go to your father ♪ ♪ Leave it to Jane, Jane, Jane, Jane, Jane ♪ ♪ Turn the whole thing over to Jane ♪ (audience applauding) (dramatic music) >> Jerome: Once again Broadway belonged to the Americans.

To George M. Cohan, Irving Berlin, George Gershwin, Vincent Youmans, Buddy DeSylva.

I was working in mighty great company.

And in one of my own shows, "Sally," I was fortunate enough to have the reigning queen of the era, the wistful, lovely, unforgettable Marilyn Miller.

(bright music) (overlapping voices) >> All right, Larry, thank you.

Hazel, my dress.

>> I have it right here.

>> Oh, we're gonna have to hurry.

How's it going with me?

>> Oh, my goodness.

>> I've never been so nervous in my life.

Did you see me trip?

(voices overlapping) >> More flowers, Mrs. Zigfeld.

>> Thank you.

>> Aren't they lovely?

>> Says, "The first act was a dream," signed Flo.

What did she say about the second act?

>> Woman: Don't worry about the second act.

>> Ah, I don't know.

(bright music) Thank you, Hazel, is everything ready for the quick change?

>> Hazel: Everything's ready in the stage dressing room.

>> All right.

There.

Thank you.

Hazel, you got everything?

>> Yes, everything's here.

>> Let's go.

>> Good luck, Miss Miller.

>> Thank you.

>> Good luck, dear.

>> Thank you.

>> It's going fine, Miss Miller.

>> Keep it up, Marilyn.

>> Keep your fingers crossed, gentlemen.

>> Stagehand: You bet.

>> Oh, here you are, Miss Miller.

Everything is ready.

>> Oh, thank you.

>> Here you are, Miss Miller.

I got it nice and warm.

>> Ah, put it right here.

>> You got everything now?

>> Yes.

(bright music) (soaring music) (audience applauding) ♪ As I wash my dishes, I'll be following a plan ♪ ♪ 'Til I see the brightness in every pot and pan ♪ ♪ I am sure this point of view will ease the daily grind ♪ ♪ So I'll keep repeating in my mind ♪ ♪ Look for the silver lining ♪ ♪ Whene'er a cloud appears in the gloom ♪ ♪ Remember somewhere the sun is shining ♪ ♪ And so the right thing ♪ ♪ To do is make it shine for you ♪ ♪ A heart full of joy and gladness ♪ ♪ Will always banish sadness and strife ♪ ♪ So always look for the silver lining ♪ ♪ And try to find the sunny side of life ♪ (humming) (dishes clattering) ♪ So always look for ♪ ♪ The silver lining ♪ ♪ And try to find ♪ ♪ The sunny side of life ♪ (audience applauding) >> Jerome: I never thought I'd ever keep a scrapbook.

But it was nice to know that people were singing my songs and asking for more.

Night Boat, Good Morning, Dearie, Ziegfeld Follies.

Curtains went up, curtains came down.

And I think I got to look a little more like a musician.

And Eva grew lovelier with every passing year.

Our life was rich and full and very satisfying.

And Jim and I, well, we grew a little grayer, a little more settled, perhaps.

He was still working on his symphony, or so he said.

But on the whole, the years didn't change us much.

Oh, but they certainly did change Sally.

She was quite a young lady now.

She had been away at school.

In fact, many schools.

Well, Sally.

>> Hello.

>> Sally.

Well, Sally, I thought you were at school.

>> Well, I, I was.

>> Oh.

What happened this time?

>> I just can't stand that school any more, Uncle Jerry.

I've left, and I'm not going back.

>> What does your father say about that?

>> Well, he, he hasn't said anything yet.

He, he doesn't exactly know.

You see, I just left there this morning, and I came right out here to talk to you.

Oh, Uncle Jerry, I had to leave.

I hated it so much I couldn't eat or sleep or anything.

>> This is the third school you've left now, isn't it, Sally?

>> Yes.

>> Well, now, it seems to me that you ought to be able to make a go of one of them.

>> Oh, I just don't seem to fit in very well.

The kids all seem so, oh, I don't know.

All they're interested in is parties and clothes.

They seem to think that's all there is to life.

Oh, Uncle Jerry, I, I wish you'd talk to Dad for me.

He'll listen to you.

>> Well, Sally, (soft music) you know your father isn't well.

>> Then I ought to be home where I can take care of him.

>> You ought to be at school completing your education.

You want to make something of your life, don't you?

>> Oh, I've had an education, and now I want to get down to something serious.

Oh, Uncle Jerry.

You did promise you'd help me get a start in the theater.

>> Uh, uh, uh.

I said I'd help you when you were ready.

Your father wants you to complete your schooling first, Sally, and he's the boss.

>> Oh, Uncle Jerry, Dad's forgotten what it's like to be young and to feel like this, but you haven't.

You haven't forgotten what it's like to stand on Broadway and look up at the lights and think, someday I'll see my name up there.

You remember that feeling, don't you, Uncle Jerry?

>> Yes, Sally, I've got to admit it, I do.

>> Well, well, then that's more important than school or anything else in the world, isn't it?

Isn't it, Uncle Jerry?

>> It's the third time, Jerry.

>> Yes, I know.

Maybe we shouldn't have made her go back before.

After all, if she hates it so much-- >> Oh, Jerry, you can't keep running on away from things all your life.

It's time Sally found that out.

>> Well, you can't live another person's life for them, either, Jim.

It isn't fair.

Sally's grown up now and I think she ought to be allowed to do what she wants to do.

>> I want her to finish her education.

I didn't get a chance to finish mine.

I always said that any kid of mine was going to get the right start in life.

>> Well, what's right for one person isn't always right for another, Jim, you know that.

>> Jerry, the trouble with that girl is she's just plain stage struck.

>> She comes by that honestly enough, doesn't she?

Remember how we used to pound the sidewalks and knock on doors.

Nobody could stop us.

Goodness only knows enough people tried to.

And remember how thrilled we were when we finally realized we were in.

So what right have you or I to interfere with Sally?

>> Yeah.

Well, what, what are we gonna do, Jerry?

>> I'd give her a part in Sunny.

>> That's all cast.

>> The part of Gwen hasn't been cast yet.

>> Gwen.

Well, that's uh, that's only one line.

>> Gwen is going to have a song.

>> Doctor's here, Mr. Hessler.

>> Oh.

Oh, fine, Mrs. Mueller.

Doctor, I'll be with you upstairs in just a minute.

>> Good evening, Mr. Kern.

>> Hello, Doctor.

>> You know, when you get to be my age, you start collecting pills.

About uh, Jerry, I hope that works out all right.

(bright music) ♪ Who stole my heart away ♪ ♪ Who makes me dream all day ♪ ♪ Dreams I know can never be true ♪ ♪ Seems as though I'll ever be blue ♪ ♪ Who ♪ >> Hello, Mr. Hammerstein, how are you?

>> Very well, Miss Miller, and you?

>> Fine.

>> Hello, Oscar.

>> Jerry.

>> This is a charming number.

I was just telling Jerry how much I liked it and what a fine lyric you've written.

>> Oh, thanks.

Uh.... Jerry, I've just been talking to Mr. Dillingham, and he thinks that Who should be a big production number instead of a solo.

And that, of course, Marilyn ought to sing it.

>> Oh.

Well, then, of course we'll have to do it.

It, um, puts me in rather a tough position, though, Oscar.

After all, I did write it for Sally.

>> I know you did, Jerry.

But we'll give Sally something else.

>> She's going to be awfully disappointed.

It's a wonderful song, and I'd love to sing it, but I hate to take it away from her.

>> Well, it's for the good of the show, Marilyn.

>> I think you're right, Oscar.

Have you thought, though, how you're going to tell Sally?

It's not gonna be easy.

>> Oh, I thought you should tell her, Jerry.

>> Oh, I was afraid you would.

>> After all, you know her so well, it shouldn't be too difficult.

>> Well, it would be a lot easier if I didn't know her so well.

>> Would you like me to tell her?

I'm sure she'll understand.

>> Would you do that, Marilyn?

>> Certainly.

Ask her to meet me in my dressing room.

And don't worry.

>> Thank you, darling.

>> But Uncle Jerry wrote that song for me.

>> I know.

And I know how disappointed you must be too.

But Sally, disappointments are part of the theater, and you've got to be able to take them.

Well, the very same thing happened to me in my first show.

I had to give up my song to the star.

I think I felt pretty much as you're feeling right now.

>> Then I think it's a pretty low, miserable trick for you to pull on someone else.

>> Sally.

Listen to me a minute.

This is your first show.

You're just starting.

And there are going to be a good many songs and a good many shows for you.

It may be difficult for you to understand now, but one day you'll realize you've got to give and take.

Whether you like it or not.

>> I'll never take a song away from anyone else, especially if it's their first real chance.

>> Sally, please don't put this on a personal basis.

I don't want to take the song away from you.

>> Then why are you doing it?

>> Mr. Dillingham thinks it's best for the show.

And what's best for the show is more important than what I want or you want or any personal feelings involved.

Don't you see that, Sally?

>> Yes, I see it, all right.

You're trying to take my song away from me and you aren't going to get away with it.

Uncle Jerry wrote that song for me and I'm going to sing it.

I don't care whether you are the star, you're not gonna take it away from me.

>> Sally!

>> She can't have my song, Uncle Jerry.

Don't let her talk you into it.

I don't care what happens.

She can't have my song!

(dramatic music) >> I'm sorry, Jerry.

>> What is it, Sally?

>> Am I still in the show, Uncle Jerry?

>> If you want to be.

You won't have a song, though.

>> She took my song away from me, the song you wrote for me.

>> Sally, there's a little thing called for the good of the show.

Apparently the show didn't seem very important to you this afternoon.

>> Not important!

>> You didn't care what happened to the show, just so long as you got your way.

The theater doesn't work that way, Sally.

Nothing works that way.

I learned something today.

I suddenly realized that you're not ready for the theater yet.

>> Not ready?

>> No.

All you had to offer is a small talent, a great deal of conceit, in return for which you want success.

Sally.

I've known you and loved you ever since you were a little girl.

I couldn't love you any more if you were my own child.

But I must say this to you.

You're not going to get anywhere in this life by using people.

And until you realize that, you're not gonna have the respect of anyone.

Sally, I'm ashamed of you.

(solemn music) (bright music) (audience applauding) (dramatic music) (energetic music) ♪ Here you come a'running back ♪ ♪ Into my memory's eye.

♪ ♪ Little playmate once my gaymate in a day gone by ♪ ♪ Ragged dresses, tangled tresses flying o'er the hill ♪ ♪ Heaven bless us ♪ ♪ You've no less a share of Jack than Jill ♪ ♪ You funny little willow wispy ♪ ♪ She is full of fun, he named the lady perfectly ♪ ♪ She is bright and Sunny ♪ (drum rolling) ♪ Never comb your hair, Sunny ♪ ♪ Leave the breezes there, Sunny ♪ ♪ Let your stocking fall down for shocking the town ♪ ♪ is all that you do ♪ ♪ Smiling all the while, tomboy ♪ ♪ Where'd you get your smile from, boy ♪ ♪ Little sunny girl, be my honey girl ♪ ♪ Sunny ♪ ♪ Sunny ♪ ♪ I'm for you ♪ (energetic music) ♪ Who stole my heart away ♪ ♪ Who makes me dream all day ♪ ♪ Dreams I know can never come true ♪ ♪ Seems as though I'll ever be blue ♪ ♪ Who means my happiness ♪ ♪ Who would I answer yes to ♪ ♪ Well, you ought to guess who ♪ ♪ No one but you ♪ (energetic music) ♪ Who's the one you really care for ♪ ♪ The one you care for ♪ ♪ Who can it be ♪ ♪ Who can it be ♪ ♪ Who can it be ♪ ♪ Who can it be ♪ ♪ Who can it be ♪ ♪ You'll never guess who has stolen my heart away ♪ ♪ Who makes me dream away ♪ ♪ Dream of dreams I know can never come true ♪ ♪ Dreams as thought I'll never be blue ♪ ♪ Oh, who means my happiness ♪ ♪ Who would I answer yes to ♪ ♪ Well, you ought to guess who ♪ ♪ Who ♪ ♪ No one but you ♪ ♪ Who's (indistinct), Sunny ♪ ♪ Who's (indistinct) ♪ ♪ Who ♪ (audience applauding) >> Hello?

(soft music) Yes, Mrs. Mueller?

And you sent for the doctor?

Oh, is Sally there?

Oh.

Well, you be sure he stays in bed, Mrs. Mueller, and I'll be right over.

(soft music) The doctor get here?

>> He's upstairs in Mr. Hessler's room.

>> It's his heart.

I wouldn't stay very long.

Mr. Hessler could use a little rest.

>> Well, good evening, Jim.

>> Hello, Jerry.

>> We missed you at the theater tonight.

How are you?

>> Sally's gone, Jerry.

>> Yes, I know.

Mrs. Mueller told me.

>> I... She didn't come down for dinner, so I went up to her room.

>> "Dear Daddy, I'm going out on my own.

"Don't worry about me.

"Some day you'll be proud of me.

"I'll always love you.

"P.S.

Tell Uncle Jerry I still love him."

It's all my fault, Jim.

I shouldn't have suggested that she be in the show.

>> No, no, no, Jerry.

Sally is Sally.

It's time both of us faced that.

>> Yes, I know, but I think I hurt her.

>> Well, she's got spunk all right.

Jerry, she's young.

She's, she's way too young to be out on her own.

>> Well, now, look, Jim, don't you worry about this.

I'll bring her back.

>> I wish you'd do that.

>> I promise you I'll try my humblest.

>> Yeah, just as soon as you can, will you?

>> Good night, Jim.

Why don't you get back into bed and get some rest.

>> Yeah, yeah.

>> I left no stone unturned trying to find Sally.

Personal ads.

Private detectives.

But the answer was always the same.

No one had seen her.

It was a futile hunt.

I tried to keep Jim's hopes alive, but I think he knew.

And then, one night... >> Please don't mention that I telephoned you.

>> I think, Mr. Kern, you better go up right away.

He's been asking for you.

(soft music) >> Jim.

I, uh, I was just driving by.

I thought I'd drop in and say hello.

>> Yeah, I know.

You forget I've known you a long time.

>> Feeling better, aren't you?

>> Yeah, yeah, I'm fine.

>> That's good.

All you need now is a little rest.

>> Kind of quiet around here now, isn't it?

>> Yes, yes, it is.

But things will be popping again just as soon as Sally comes back.

>> Have you heard from her, Jerry?

>> No, no, not directly.

But I've got a couple of very good leads.

I've got a hunch it won't be very long now.

Then I'm going to see to one thing, Mr. Hessler.

You're going to finish that symphony.

I've kept you from that too long now.

>> Oh, I forgot about that symphony.

I forgot about it years ago.

>> Well, what about your notes?

>> I never made any notes.

I was just posing as usual.

You know, I used to, I used to go around hollering about being a genius.

>> You are a genius, Jim.

>> You and your wheezy little tunes.

You were writing the real music.

The folk music of America.

Thanks, Jerry, for letting me kind of stick around.

>> No, wait a minute, let's get something straight, Jim.

I didn't let you hang around.

Why, if it hadn't been for you and your faith in me, I would have quit half a dozen times, you know that.

And if we're gonna start handing out bouquets, I just want you to know that I don't know where to begin to thank you.

>> You're a great man, Jerry.

It's been a privilege getting in on that music.

It's been a lot of fun.

>> Now, let's not talk that way, Jim.

In a couple of weeks you'll be back at that piano, screaming for more and more brass.

>> Ah, Jerry.

This looks like the time for strings.

Jerry, if, uh, I...

I want you to look after Sally for me.

>> Jim, you're going to be all right.

So is Sally.

In a couple of weeks we'll be laughing about this.

(solemn music) >> Is it better?

>> Perhaps if I made some coffee.

>> Don't worry about it.

(dramatic music) >> Oh, no.

No, it can't be.

>> Mr. Kern had hardly closed the door when he... >> Jerome: I was completely lost, completely helpless.

Jim was gone and I had failed him and was still failing him.

I'd lost a world with Jim's passing, and everywhere I walked, I walked with ghosts.

Reliving lost hours, pacing a world of memories.

I couldn't even think in terms of music.

I began to feel that I might never write again.

(soft piano) >> How long has this been going on?

>> For weeks, Oscar.

Ever since Jim died, he's a score to write, and he's done one song.

>> That certainly doesn't sound like Jerry.

>> He seems to have completely lost heart.

>> Have you had any word of Sally?

>> No, but he has every friend he ever had in show business looking.

>> Well, don't worry about it.

She'll turn up.

>> It's Jerry I'm worried most about.

You know, Oscar, I believe he's beginning to think he, he can't write music anymore.

It's heartbreaking to watch him.

>> Well, I, uh, I have a book here I'd like him to take a look at.

I've been commissioned to adapt it and write the lyrics, and I think Jerry's the man to do the music.

>> I don't think he'll do it, Oscar.

>> Well, that's hard to believe.

There's never been a time as long as I've known Jerry when you couldn't excite him with a good story.

>> There's never been a time in his life like this.

You can try.

I'll tell him you're here.

Hello.

How's it going, Jerry?

>> Oh, fine, darling, fine.

I was just tinkering a little bit with the melody but it's going to be all right.

>> Of course it is.

>> Ah, it is raining, isn't it?

>> Jerry, Oscar Hammerstein is here.

>> Oscar?

Oh, darling, why didn't you tell me?

Oscar, come in.

>> Hello, Jerry.

>> My goodness, it's good to see you.

Won't you sit down?

Sit down.

>> Thanks, Jerry.

>> Well, what's, uh, what's new?

>> I'll tell you what brought me out here, Jerry.

I came across a novel that I think is going to make a great show.

Now, if you'll do the music, I'd like to do the book.

>> Oscar, I, uh, I'd love to.

I really would, but, uh, I have so many commitments right now that I don't think it, it wouldn't be fair to you or anyone concerned.

>> Suppose I leave the book with you and you glance through it when you have time.

>> Aw, it's no use, Oscar.

>> Well, I'll leave it anyhow.

See you next week.

>> Won't you stay for dinner?

>> I'd certainly like to but I have to get back to town.

Bye, Eve.

>> I'll see you to the door, Oscar.

>> Good-bye.

>> Bye.

(solemn music) (phone ringing) >> I'll get it.

Hello?

This is Mrs. Kern.

Oh.

Just a moment, Mr. Kelly.

Jerry, it's Arthur Kelly, he's got news of Sally.

(tense hopeful music) >> Hello, Arthur.

Yeah.

Oh, that's wonderful.

In Memphis?

Uh, what was the name of that club again?

Club Elite all this week.

Yes, well, I'll get right on it.

Thank you very much, Arthur.

Sally is singing at the Club Elite in Memphis all this week.

>> Oh, that's wonderful.

Shall I pack a bag for you?

>> Yes, darling, you do that and I'll call and make reservations.

(dramatic music) ♪ One more dance in the arms of love ♪ ♪ The sad eyes of autumn I'm looking at spring ♪ ♪ I've seen a pretty thing ♪ ♪ Just one more favor ♪ ♪ One more glance ♪ ♪ From that child white dove ♪ ♪ One more night if you will ♪ ♪ One more flight, one more thrill ♪ One more dance if you will with me (audience applauding) (bright music) >> Will you dance with me?

>> Oh, no, thank you, no.

>> Go ahead and dance with her, Charlie.

>> Dance with her, Charlie.

>> Will you dance with me?

>> I sure will, baby.

Watch this.

♪ Think of what you're losing ♪ ♪ By constantly refusing to dance with me ♪ ♪ You'd be the idol of France with me ♪ ♪ And yet you stand there and shake your foolish head ♪ ♪ Dramatically while I wait here so ecstatically ♪ ♪ You just look and say emphatically ♪ ♪ Not this season, there's a reason I won't dance ♪ ♪ Don't ask me ♪ ♪ I won't dance, don't ask me ♪ ♪ I won't dance, madam, with you ♪ ♪ My heart won't let my feet do things they should do ♪ ♪ You know what?

♪ ♪ You're lovely ♪ ♪ So what ♪ ♪ I'm lovely ♪ ♪ But oh what you do to me ♪ ♪ I'm like an ocean wave that's bumped on the shore ♪ ♪ I feel so absolutely stumped on the floor ♪ ♪ When you dance you're charming and you're gentle ♪ ♪ 'Specially when you do the Continental ♪ ♪ But this feeling isn't purely mental ♪ ♪ For heaven rest us, I'm not asbestos ♪ ♪ And that's why I won't dance, why should I ♪ ♪ I won't dance ♪ ♪ How could I ♪ ♪ I won't dance ♪ ♪ Merci beaucoup ♪ ♪ I know that music leads the way to romance ♪ ♪ So if I hold you in my arms I won't dance ♪ (bright music) (audience applauding) (knocking) >> Come in.

>> Sally!

>> Uncle Jerry!

Oh, Uncle Jerry!

I'm so glad to see you.

What are you doing here?

>> Well, I, uh, I was out front watching the show.

>> Oh, did you see what we did to your number?

>> Yes.

>> Oh, I bet you're ashamed of me.

>> Not at all.

As a matter of fact, I liked it.

I wish that some of the people who think my music is highbrow could have seen it.

>> Oh, I, I'm so excited I, I don't know what to do.

You look wonderful, Uncle Jerry.

More handsome than ever.

How's Aunt Eva?

>> Oh, she's fine.

But of course, she misses you.

>> Oh, I miss her too.

I miss you both.

Is she with you?

You haven't told me yet what you're doing here.

>> No, your Aunt Eva's in New York.

And I'm here because somebody told me I could find you here.

I've been looking for you for a long time now, Sally.

>> Oh, Uncle Jerry, you shouldn't have bothered.

I'm all right.

>> Oh, I'm sure you are, but I promised your father I'd look after you.

Sally, I want you to come back to New York with me.

>> I can't, Uncle Jerry.

I'd like to, but I can't.

When I heard about my father, I...

I never realized he was so ill, Uncle Jerry.

You know I never would have left him.

>> I know that, Sally.

>> When I, when I heard about him, it was as though someone had forced me to look into the mirror for the first time.

I loved him very much, and I knew I'd broken his heart.

I was spoiled and selfish, and I knew that I could never have any respect for myself again unless I did what I said I was going to do.

So you see, I can't go back right now.

I'm making my own way now.

And I'm pretty good at it too.

>> Well, Sally, I just don't like the idea of you being here and all alone.

>> This is just a steppingstone from where I've been to where I hope I'm going.

I'm making $50 a week now because management thinks I'm worth $50.

If I'm worth more, I'll get more.

And if not, I'll have to find it out for myself.

And Uncle Jerry, I'm not using anyone.

(knocking on door) >> Jimmy: Five minutes, Miss Hessler.

>> Thank you, Jimmy.

You understand, don't you, Uncle Jerry?

>> Well, Sally.

You know, darling, I'd give anything in the world if you'd let me help you.

But I must say that I've never been quite so proud of anyone in my life as I am of you at this moment.

Good luck, darling.

(soft music) Gradually, I felt the old heartache misting away, and I was at peace.

The promise I had made Jim had been fulfilled.

Sally was going to be all right.

I walked along the river that night, with the river wind in my face and the taste of it on my lips.

And I stood there listening.

The sudden excitement thrilling for me.

Listening to the song of a river that makes its way right through the heart of America.

And the voice of that river was the laughter, and the tears, and the joys, and the sorrows, and the hopes of all America's people.

(dramatic music) Well, Joe, that's my story.

>> It's too bad Mr. Hessler couldn't have been there tonight, Mr. Kern.

>> Oh, he was there, Joe.

He'll always be a part of any music I ever write.

>> Whatever happened to Miss Sally?

>> Well, I don't know exactly.

She's on her own now.

Maybe I'm just getting tired or something.

But ever since Jim's been gone, I feel like everything is sort of ending for me.

Maybe my music is ending too, Joe.

>> Ending?

After that show tonight?

Hey, I got to get you back to the Waldorf.

You got some bows to take.

No, sir, Mr. Kern.

Your music ain't ending for you.

In my opinion, it's just the beginning.

(audience applauding) (bright music) (bright piano) ♪ She didn't say yes ♪ ♪ She didn't say no ♪ ♪ She didn't say stay ♪ ♪ She didn't say go ♪ ♪ She wasn't so sure that we'd be good ♪ ♪ She wasn't even sure that she'd be good ♪ ♪ So what did she do ♪ ♪ I leave it to you ♪ ♪ She did just what you'd do too ♪ (bright music) (audience applauding) (audience applauding) ♪ Now laughing friends deride ♪ ♪ Tears I cannot hide ♪ ♪ So I smile and say ♪ ♪ When a lovely flame dies ♪ ♪ Smoke gets in your eyes ♪ (bright music) ♪ The last time I saw Paris ♪ ♪ Her heart was warm and gay ♪ ♪ I heard the laughter of her heart in every street cafe ♪ ♪ The last time I saw Paris ♪ ♪ Her trees were dressed for spring ♪ ♪ And lovers walked beneath those trees ♪ ♪ And birds found songs to sing ♪ ♪ I dodged the same old taxi cabs ♪ ♪ That I had dodged for years ♪ ♪ The chorus of their squeaky horns was music to my ears ♪ ♪ The law time I saw Paris, her heart was warm and gay ♪ ♪ No matter how they change her ♪ ♪ I'll remember her ♪ ♪ That way ♪ (bright music) >> Do sit down, Mr. Kern.

>> Are you sure we won't be in the way?

>> Oh, certainly not, not at all.

>> Well, I can't get over this, Mr. Artide.

We certainly don't grow stages like this on Broadway.

Darling, look at the size of that orchestra.

Well, you have everything in the world to work with here.

>> That's right, Mr. Kern.

We've tried to give you the best of everything.

>> Is that so?

What was the number you were going to do today?

>> Well, we found an old song of yours that you did first in 1917 called "The Land Where Good Songs Go."

>> Oh, I'd almost forgotten about that one.

>> We're using it as a frame for some of your other songs.

>> Uh huh.

Uh, what star is gonna sing this?

>> Well, Mr. Kern, as a matter of fact, we are trying out a newcomer.

>> Oh, a newcomer.

>> This girl did a test for us in New York.

And it impressed us, so we flew her out here.

She hasn't done much yet, but we have great hopes for her.

>> Quiet!

>> All right, girls we're ready.

>> Ready for a tape.

All right, let's try one.

>> Places, please.

>> OK, Charlie.

>> Hit the lights!

>> Quiet!

>> OK roll 'em.

>> Action!

(bright music) ♪ It's a land of flowers and April showers ♪ ♪ With sunshine in between ♪ ♪ With roses glowing and rivers flowing ♪ ♪ May grasses growing green ♪ >> Like her, Mr. Kern?

>> Like her?

I love her.

I'd rather hear her sing one of my songs than anyone else in the world.

Right, Jimmy?

♪ Flow, the land of flowers ♪ ♪ And I wish some day I could find my way ♪ ♪ To the land ♪ ♪ Where the good songs go ♪ ♪ Yesterday ♪ ♪ Yesterday ♪ ♪ Days I knew as happy, sweet sequestered days ♪ ♪ Golden days ♪ ♪ Olden days ♪ ♪ Days of long ago ♪ ♪ And far away ♪ ♪ Long ago and far away ♪ ♪ I dreamed a dream one day ♪ ♪ And now that dream is here beside me ♪ ♪ Just the moment that I knew ♪ ♪ That all I longed for ♪ ♪ Long ago was you ♪ (romantic music) ♪ A fine romance my friend this is ♪ ♪ A fine romance with no kisses ♪ ♪ I might as well play bridge with my old maid aunt ♪ ♪ I haven't got a chance ♪ ♪ This is a fine romance ♪ (energetic music) ♪ You are the promised kiss of springtime ♪ ♪ That makes the lonely winter seem long ♪ ♪ You are the breathless hush of evening ♪ ♪ That trembles on the brink of a lovely song ♪ ♪ You are the angel glow that lights a star ♪ ♪ The dearest things I know ♪ ♪ Are what you are ♪ ♪ Some day ♪ ♪ My happy arms will hold you ♪ ♪ And some day ♪ ♪ I'll know that moment divine ♪ ♪ When all the things you are ♪ ♪ Are mine ♪ (bright music) ♪ Why was I born ♪ ♪ Why am I living ♪ ♪ What do I get ♪ ♪ What am I giving ♪ ♪ Why do I want the things I dare not hope for ♪ ♪ What can I hope for ♪ ♪ I wish I knew ♪ ♪ Why do I try ♪ ♪ To draw you near me ♪ ♪ Why do I cry ♪ ♪ You never hear me ♪ ♪ I'm a poor fool, but what can I do ♪ ♪ Why was I born to love you ♪ (energetic music) (drum rolling) ♪ Old man river ♪ ♪ That old man river ♪ ♪ He must know something, but he don't say nothing ♪ ♪ He just keeps rolling ♪ ♪ He keeps on rolling along ♪ ♪ He don't plant taters, and he don't plant cotton ♪ ♪ And them what plants 'em is soon forgotten ♪ ♪ But Old Man River ♪ ♪ Just keeps rolling along ♪ (dramatic music) ♪ You and me, we sweat and strain ♪ ♪ Bodies all aching and wracked with pain ♪ ♪ Tote that barge, lift that bail ♪ ♪ You get a little drunk ♪ ♪ And you land in jail ♪ ♪ I gets weary ♪ ♪ And so sick of trying ♪ ♪ I'm tired of living, but I'm 'feared of dying ♪ ♪ And Old Man River ♪ ♪ He just keeps rolling along ♪ (dramatic music) ♪ Old Man River, he just keeps rolling along ♪