Till the Clouds Roll By (1946)

No renewal found Free in the US since 1 January 1975, on the registry's reading: registration LP764 of 1946 by Loew’s, Inc., New York was not renewed in the volumes searched. Record.

Copy: till_the_clouds_roll_by on the Internet Archive; registered 1946
Read: 316 shots over 2:15:08 · 985 transcript lines · JSON
Record: Till the Clouds Roll By No renewal found
Poster: Wikimedia Commons, public domain
Wrong?: Report a problem

Check before citing the shot count. A 7:55 shot at 2:05:26 (shot 313): either a static hold or a run of missed cuts. Treat it as unverified.

How this page was made

316 shots over 2:15:08, read from the Internet Archive copy till_the_clouds_roll_by (till_the_clouds_roll_by.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Till the Clouds Roll By No renewal found. JSON

Measurements: colour film on its keyframes (315 of 316 shots judged colour), average shot 25.7s long, a frontal face detected in 51% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 985 segments kept, 219 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

2:13 Come to us.
2:17 He's waited so long for you.
2:22 Every day.
2:25 We'll make a new song for you.
2:31 Sometimes you are the one who's alive. We love you.
3:31 The old night goes alive and down, the old days better than the king can find.
4:01 But the best of a beauty every moment of love. You're a martyr, you wrote, you wrote. Oh, good gracious, there's no flirtation. You know, people. Little women don't be gay for us. You love my haxing love. Only a man for more. For a reckless love. Even on the days of love.
4:31 I have got such a wonderful show with the greatest of dramas and jolly comedies.
5:01 Stephen Baker, the handsomest leading man, and beautiful Julie Laverne, as well. Captain, awesome, Captain, awesome, Captain, and he's going to show. Drilled and laughter, concert after, everybody's sure to go. Captain, awesome, Captain, awesome, Captain, and he's going to show. Drilled and laughter, concert after, everybody's sure to go.
5:44 Who cares if my boat goes upstream?
6:01 Or if the gale bids me go with the river's flow?
6:14 with my fancy. Sometimes I thank my lucky stars, my heart is free. And other times I wonder
6:33 Where's the mate?
6:36 for me.
6:40 Hello.
6:42 How do you do? Are you an actress? Oh, no, but... But I'd give anything if I could be. Why? Why?
6:52 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...
7:00 Why can't we make believe we know each other?
7:03 The game of just the bowling is the sweetest game I know. Our dreams are so romantic than the world we see. And if the things we dream about don't happen to be true, that's just an unimportant thing.
7:32 technicality.

965 more segments

7:37 Oh, the code and proof of fact is you and I have never met. We need not mind conventions, things and cues.
7:52 If we put our thoughts in practice, we can banish your regrets.
8:02 Imagining anything we choose.
8:14 We could make believe I love you.
8:32 Others find me so bright in Britain there.
8:44 Couldn't you?
8:47 Couldn't I, couldn't we, make believe our lips are blending in a phantom kiss or two or three.
9:17 I'd as well make believe I love you.
9:32 I'll let you turn the truth.
9:53 Magnolia? Yes, Mother? Goodbye.
9:58 I hope I see you again.
10:33 Life upon the wicked stage ain't ever what a girl supposes.
11:03 over you with gems and roses when you let a fowler hold your hand which means an extra beer or sandwich.
11:16 Everybody whispers ain't her life a word. Though you're warned against a roué, ruining your reputation. When you've played around the one-night trade around the great dignation. Wild old men who give you jewels and sables only live in Aesop's.
11:42 Fables.
11:44 Life upon the wicked stage ain't nothing for a girl. Though we listen to you, hold 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 never one of girls alone. Days are done and are raging, all the new is dead and cold.
12:14 Gentleman would talk with reason.
12:17 I would cancel all next season. Life up on the wicked stage ain't nothing for a girl.
12:45 Oh, listen, sister, I love my Mr. Man, and I can't tell you why. There ain't no reason for me to love that man.
13:12 It must.
13:13 Something...
13:15 That the angels done play.
13:28 fish gotta swim.
13:33 Birds gotta
13:34 fly. I gotta love one man till I die. Can't help loving that man of mine. Tell me he's lazy,
14:03 Tell me slow, tell me I'm crazy.
14:12 Maybe I know, can't help.
14:20 Loving that man of mine.
14:28 When he goes away, that's a rainy day.
14:39 But when he comes back, that day is fine.
14:50 I'm
14:51 us.
14:52 song.
14:53 will share.
15:03 can come home
15:07 of the latest
15:10 can
15:10 be.
15:14 Oh, what I'd
15:15 him.
15:18 Hello.
15:18 No home to me.
15:24 Candle
15:28 I've been that man
15:34 Oh, my.
15:59 Old man River, that old man River, he must know something, but don't say nothing. He just keeps rolling, he keeps on rolling along.
16:59 You and me, we sweat and strain, body all naked and erect in pain. Oaks and guards, lips and fail, get a little cross and we land in there.
17:23 The children with me and still are dying, a child of living and still are dying. The children with me and still are dying.
18:36 That was a swell show, Mr. Coyne.
18:41 Where to? To Waldorf, Mr. Tynes?
18:44 What was that, Joe?
18:46 That big shindig it's going for you. It's down at the Waldorf, eh, Mr. Kynes?
18:49 Yes.
18:51 But first I'd like to stop off at the house of an old friend.
18:54 Yes. Just turn right at the next crossing.
18:59 Not very far.
19:02 I'm looking for an old brownstone house.
19:06 It was the home of a very great and good friend.
19:10 Tonight during the show, I couldn't seem to...
19:13 cut him off my mind.
19:14 Yes, ma'am.
19:16 And I'd like to be alone for a few minutes, Joe, before we...
19:21 Go down to the wall door for the face of that crowd.
19:23 No, I guess it's like, uh...
19:25 Like a minute of silence, something like that, huh? Yes, Joe, something like that.
19:30 Here, stop here, Joe.
19:32 Here at the corner?
19:33 In front of that radio shop.
19:39 Oh, there it is. See?
19:41 You mean that Larching house sandwiched in there? Well, of course it didn't have that room to that sign window then.
19:49 Other than that, it hasn't changed very much.
19:53 The street is changed.
19:56 Changed quite a bit since I first walked down it years ago.
20:01 Joe, did you notice this radio shop? Well, that was a bicycle shop the first time I ever saw it.
20:09 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.
20:26 And I was eager, but...
20:27 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.
20:44 Come in, come in.
20:46 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.
20:53 I'll be there in a second, Mr. Hessler, and see that you get to their nests, young man. He's not the moth killer. I'm a...
21:00 - A songwriter. - A songwriter?
21:02 I see.
21:03 You entered under false pretenses. Well, it won't do you any good, young man. Mr. Hesler isn't seeing songwriters anymore. He's going in for better things.
21:12 Maybe he should have some roast beef. He's very hungry. Shh, don't mention roast beef in front of a songwriter. Look out, give me his neck. No, so it is, so it is.
21:20 You feel like you're gonna fall down the bank, don't you? Dear, dear.
21:25 Well, you can come in for a while.
21:27 Can't have people fainting in the house, not even songwriters. Thank you. Come in, come in.
21:37 Daddy, he's starving to death. Mr. Hessler. Mr. Max. Yes, yes, I know.
21:44 Well, Mr. Max Dreyfuss of the Harms Company sent you.
21:47 A great little tune. He thinks it has possibilities if it's properly arranged. Time to help you arrange it. Look how skinny his neck is, Daddy. Why, he said that he told you that I was the greatest arranger in America, and I should give you a few lessons, you know.
22:00 Oh, my friend, he's right. There's only one catch.
22:02 I've given up arranging.
22:03 I'm through dressing up silly little tunes for girl shows and beer halls.
22:07 I'm going to write some real music for a change.
22:10 Oh, here, Mrs. Setter down here.
22:13 The trouble with you songwriters is all you ever think about is making money.
22:22 You never think of doing anything big, anything worthwhile, like Brahms or P.G.A. No, uh...
22:28 No, don't sit down there, please.
22:30 Mrs. Hesler's place rested, so we always keep it set for us. Oh, I'm sorry.
22:35 No, all you fellas want to do is write sugary little tunes and make a lot of money.
22:40 Did you ever hear Beethoven's "Heroica"?
22:42 Or Mozart's Jupiter?
22:44 Didn't they do something to you?
22:46 Great Evans, doesn't genius touch you fellas at all? Daddy's a genius.
22:50 Yes, Daddy's a genius.
22:54 Now, my friend...
22:55 In three weeks, I'm going to England, where I can work.
22:58 and have some peace and quiet.
23:00 No mushy little melodies to be fancied up for public consumption.
23:06 I'm going to write a symphony.
23:07 Daddy's gonna write an offer just for me. Hey, go ahead. Go ahead, Ed. Maybe I'll give you some gumption. Come on.
23:14 Well, I'm terribly sorry, Mr. Hessler. I had a big lunch with Mr. Dreyfuss just before I left.
23:20 It was roast beef, too.
23:23 Yeah, well, I... Oh, it's a matter of 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.
23:31 Uh, Mrs., uh, uh, get a couple of liquor glasses, will you?
23:34 Sally, will you show the gentleman into the parlor?
23:38 I'm going upstairs and see if I can find that bottle of Napoleon.
23:42 Have you a song in there?
23:44 I'm taking piano lessons.
23:46 Daddy wants me to be an opera singer when I grow up.
23:49 Why don't you write an opera? Well, Sally, I'm afraid I only write the silly little tunes.
23:54 You know, the ones your father doesn't like. Let me see if I can play your song. Do you mind? I wish you would. It's very easy. Here. Here.
24:05 Caller, caller.
24:07 - Hmm.
24:08 What's the name of the song? Kahlua.
24:10 That's a funny name. Sounds like candy.
24:13 Like gumdrops.
24:14 Well, it's the name of a very romantic beach in Hawaii, Sally.
24:21 Uh, no, that's B. B.
24:22 Be natural. Here, let me show you.
24:27 Now here's the melody. It should be played with clarinets.
24:36 No, no, no, no. Wait a minute.
24:43 No, that's not right. You've got to use clarinets to play the vamp. 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.
24:53 Oh.
24:54 Well, what do you think? Think? I know. This is a romantic song. Sit down. It's sentimental.
25:00 You've got to start the melody off with your strings. Here, I'll show you. Start that vamp again, Sally.
25:05 It's perfect for clarity. See?
25:12 Now, then the string's there. The V-C.
25:19 Did you hear how wonderful that is?
25:26 Now, then, add trombones. Muted trombones.
25:34 That's great. Can't you just hear that?
25:37 Sally?
25:47 No, no, no, no. Wait a minute.
25:48 We ought to add flutes there.
25:50 Right, easy.
25:54 Now, then, add your breath.
26:12 Your strength, too.
26:24 There, you see? Isn't that easy?
26:26 It's a good song, too. It's very good.
26:30 Is that yours? Yes.
26:32 Mm-hmm.
26:34 That's fair. That's all right.
26:36 What's your name again?
26:37 Kern.
26:39 Jerome Kern.
26:41 Well, I'm glad to meet you, Karen.
26:43 Make yourself at home.
26:46 And I did. My life became a pattern of notes, clefs, tempos and modulations. We worked hour after hour, day after day. 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.
27:08 Sally. And what a girl. Oh, those were never to be forgotten days. I hated to think of them ending.
27:16 But at last the time came when Jim had to leave for England.
27:20 Oh, here, Tim, let me help you. Oh, it's those symphonies of yours. They're as heavy and bulky as lead. At least they're not tinny like some tunes I've heard.
27:34 Oh, Sally. Hurry, come here.
27:37 All right, here we go. Fortissimo.
27:42 Fun!
27:43 I heard it! Oh, you carry a lot of weight, Sally. It was easy. Come along, Sally. At least we're not going to miss the boat. Goodbye, Mr. Kerr. Goodbye, Mrs.
27:54 Goodbye, Sally. Beau voyage. What does that mean? Happy journey. Happy journey.
27:58 Bye, Uncle Gary. Be a good boy.
28:06 This will be the end of the boys. Don't forget to pack my song, Daddy. No, I'll get it.
28:13 Oh, it's Kahlua. All that is her songs, him. You know, if it hadn't been for Sally, I wouldn't be here now.
28:20 She's very fond of you, Jerry.
28:23 I've read him as soon.
28:25 I'm going to miss all of you.
28:26 Well, we may not be gone so long. It all depends on...
28:31 Hmph.
28:32 You won't mind living here alone, will you?
28:34 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.
28:44 I... I like arranging now that I'm through with it.
28:49 Glad to have some help. No, it's more than that.
28:52 It's been your kindness and your home here. Look, Jerry.
28:56 I just want you to write some good music, some real music. That's all I thank, son. Don't waste your time.
29:03 fussing with those wheezy little tunes.
29:05 Think big.
29:06 Try to be some.
29:08 I will, Tim. I'll try to be as big as I can.
29:10 Good. It's fine.
29:13 Well, we better be on our way. Oh, good heavens, Sally Song. You know, I'm so tickled that she remembered that.
29:22 Remembered.
29:24 It's your song, Gary.
29:34 I stood there...
29:36 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.
29:45 Theatre, theatre, always getting the same discouraging answer. The big hits were all English or Europeans.
29:53 The, uh...
29:55 Local talent. Just didn't seem to have a chance.
29:58 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.
30:12 He's with Keller. Sesco Keller, the English composer.
30:16 Mr. Froman's not interested in American songs at the moment. He's leaving for England in a few weeks.
30:22 Good day.
30:24 How do you do? My name is Kern, Jerome Kern. Oh, yes. How do you do, sir?
30:28 I see you have the deeds with you. Mr. Froman's very anxious to
30:31 see them.
30:32 Deeds?
30:33 You're the man from the real estate office, aren't you? No, I'm a songwriter. These are some of my songs.
30:38 Your name isn't Kernan?
30:39 No, Curran. Jerome Curran.
30:42 I'm sorry. Mr. Froman hasn't a minute to waste. I'm afraid I must say good day. Well, now, maybe if you'd listen to one of my songs, I have one that could be made very English. Good day, sir.
30:54 Goodbye, Mr. Froman.
30:56 Goodbye, Mr. Keller. I'll see you in London soon.
30:59 I'll call you when I get there. Thank you. I'll be waiting for your call.
31:09 I made up my mind that I was going to try to write music with an English accent.
31:14 So I sailed for London. I wish I could say with flags flying and my courage high.
31:21 But the sea and I and the boat didn't get along too well together. I was mighty glad to see land again.
31:40 Excuse me, could you tell me where Mr. Hessler lives? Hessler? We have a Wesley and we have a Smith. No, Hessler. Mr. Jim Hessler.
31:51 - Harry! - 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 will be so glad to see you. Oh, and they're right over there. - Oh, Harry. Oh, Sally, you're getting prettier every day. - I really do. - Yeah.
32:11 Well, the tables have turned. American songwriter invades England.
32:18 That's pretty good, Jerry.
32:20 That's daring, very original. You're thinking big anyway.
32:23 It's a chance I'm taking, Jim.
32:26 Say, you've gotten a little skinnier, haven't you? Uh-huh.
32:29 Okay.
32:30 I haven't been getting enough roast beef lately, I guess.
32:35 Jerry, I look at you sitting there, and it's just hard for me to believe you haven't been here all the time.
32:40 Thanks, Jim.
32:41 It's, uh...
32:43 Sort of like being home again.
32:45 How was the symphony coming along? All right.
32:49 Oh, well, yes, I'm...
32:51 I'm still in the note-making stages, and...
32:54 'Course I always believe in making plenty of notes.
32:58 It's kind of like planting seed. One day they start to grow and then...
33:03 Before you know it, lo and behold, your symphony's all written. Uh-huh. Uh-huh.
33:06 Simple and easy, hmm?
33:08 Not as difficult as writing those silly little tunes.
33:12 Well, no, it's the quiet here that does it, Jerry.
33:16 The piece in this place is just a dick that you can float on in.
33:20 There's a, it's a rustic pastoral, wait a minute now, answer that telephone.
33:27 Oh, the doorbell. Will you get the door, please? You've got to do something about that. Yeah, yeah, yeah.
33:32 No, there's a... There's a picturesque pastoral... Hello.
33:37 Who?
33:40 I can't quite... Oh, Mr. Edwards. Yeah, put him on. Come, Sally. Hello, George. Fine. Fine.
33:49 I don't want to. Tomorrow? I'll be glad to. I'm not going to have a lesson. For dinner? Good. All right, I'll be there. Bye-bye. George Edwards. 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.
34:03 Uncle Jerry's here.
34:04 You've got to talk to your daughter. I can't do a thing with her anymore. Well...
34:08 This is Uncle Jerry's first day here, and I shouldn't be made to take lessons.
34:12 Should I?
34:13 - Shut up Uncle Jerry.
34:15 Well, I think you should have one day off, maybe, huh?
34:18 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 get ourselves a cup of tea.
34:29 You know, Sally, I'm inclined to agree with you.
34:32 I think Uncle Jerry's arrival does call for a celebration.
34:35 Now,
34:36 Will it be?
34:37 London or the fair?
34:38 Oh, the fair, Daddy. Please, the fair. All right. The fair it is.
35:08 - - Oh, I could be wonderful.
35:17 could be wonderful.
35:21 Oh no no Jerry I don't want Sally to go up the swings not till she's a little old.
35:25 The whole stage full of swings and a boy and girl in each swing and all of them singing. Oh, God.
35:30 Oh, you mean for a production?
35:32 Yeah.
35:33 That's not a bad idea. They could swing from the stage right out over the audience and back again. Make a good production number. What, uh, what song would you use? Spoon With Me would be perfect. Spoon With Me, that sounds fine.
35:48 Suppose I take that up to George Edwards...
35:50 For the gating? I'm going to have dinner with him tomorrow night. Oh, Jim.
36:13 I don't know why I am so very shy. I always was demure. I never knew what silly lovers do. No flirting I can do. In all my life I never kissed a man. I never winked my eye.
36:43 I'd 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 a lovely, large and shiny. Call me little tootsie, would say bye. How'd you like to walk and squeal? I would. Dance me upon your knees. How'd you like to?
37:13 Out you want to be my lovely son. Out you want to be with me. What a guy, say.
38:13 Little Tootsie, Whatsy, Byte. How'd you like to hug and sway?
39:02 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 is Froman, Charles Froman.
39:12 It's the kind I want to congratulate you to.
39:14 Proven.
39:15 I'm sorry, sir. It isn't my number. My name isn't Kirk. There's Mr. Kirk, sir.
39:19 Down at the bar, bitch.
39:21 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. What a musician. Mr. Proven, I have something here which I know you'd like. It's a beautiful number with parasols, with all sorts of parasols.
39:43 Okay?
39:45 Oh, Mr. Froman, 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.
39:51 It has such
39:52 beautiful English charm to it. Really delightful.
39:55 Oh.
39:57 Oh, by Jovem, Mr. Truman, that's rather nice of you, old man.
40:00 Pleasure to know you, Mr. Kerr. You know, you fellas over here have a style all your own.
40:05 As English,
40:06 as the scent of the mayblossom.
40:08 Would you join me in a glass of sherry?
40:10 Righto. Miss...
40:25 Maybe I'll give that one.
40:27 you one song at the gate I think you can afford to take a rest
40:32 Well, if I could finish it, I know I could interest Roman in it.
40:35 You better know by now that Charles Froman is only interested in English music.
40:39 an English composer.
40:41 I only had a piano. I know I could work
40:43 this out right now.
40:49 Flat.
40:50 Well, looks like you do have a little work to do.
40:53 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.
41:00 I can talk with the, uh...
41:02 Nady, it's better than you can. Well, let me do it. I can use my accent on them.
41:05 That's just what I was afraid of. Now, you wait here and whistle yourself a little tune till I come back.
41:13 Make sure you can find this place again.
41:15 I'll find it.
41:36 *whistling*
41:37 Whistling
41:41 I'm going to go.
41:46 I say, is anyone there?
42:34 Oh, I...
42:39 How do you do?
42:41 Did Mr. Timkin send you?
42:43 Well, um...
42:44 I was passing by on my bike and I got a flat tire. And then you don't work for Mr. Timpkins.
42:51 No.
42:52 I happened to notice your piano through the window, so I thought I'd come in and try out a little
42:55 too
42:56 I see. For a minute I thought you were the piano tuner. No. Well, I'd better go before the owners.
43:03 What do you do here, gardening?
43:06 A little.
43:07 Oh.
43:08 Well, I don't know whether anybody's told you, but for a working girl, you're very pretty.
43:12 You're an American, aren't you? Yes. Yes, I'm a songwriter.
43:16 As a matter of fact, that song I was playing as you came in,
43:19 mine. Do you like it? Oh, you wrote it yourself. Sure. Oh, I write lots of songs.
43:25 Uh, maybe, uh...
43:26 Maybe you've heard this one.
43:34 Why that's from the Gay E.T.s. Everybody's singing it. Uh-huh.
43:39 Now, this is the one I was working on.
43:54 That I'm going to try to place for the gaiety too. Of course I would if I were you.
43:59 Don't you believe I wrote these songs? Tell me.
44:02 When you compose, do you always break into people's houses to borrow their pianos?
44:07 All right, I'll tell you what I'll do.
44:09 If I place this with a gaiety, I'll send you tickets and you can come and see for yourself.
44:13 Well, you're...
44:14 I'll tell you when I get the tickets. I beg your pardon, Miss, but your mother would like to speak to you. She's in the upstairs sitting room. Thank you, Katie. I'll be right up.
44:25 Well, I'm...
44:28 terribly sorry.
44:32 But I still wrote those songs and I'll still be waiting for the ticket.
44:38 Wonderful. I won't forget.
45:19 And you were the lad who wasn't going to fall in love with anybody for a long, long time. Well, this girl was different. Sure, I know. Well, now, don't joke about it. It's serious. Don't you believe me?
45:29 Yes, of course.
45:31 She really is different.
45:33 I know, I know. Her hair is like spun gold shining in the sunlight. Well, I don't know about her hair. She had a kerchief on, but her eyes...
45:41 Her eyes were like pools in the starlight.
45:45 Even with her working clothes on, she's the prettiest girl I've ever seen.
45:49 I'm sure of it.
45:52 Seriously, Jim, don't you believe me?
45:54 Yes, yes, I believe you.
45:58 It's spring, isn't it?
46:00 Tomorrow morning, I think I'm going to give you a great big dose of sulfur and molasses.
46:06 Good night.
46:16 I love you.
46:25 They don't believe me.
46:30 They didn't believe.
46:33 me.
46:36 You're on the lips.
46:38 You are mine.
46:41 Your cheeks. Your hair.
46:43 are in class beyond compare. You're the loveliest girl.
46:54 that one
46:55 Could see.
46:56 And when I tell you...
47:07 And I've seen
47:08 I certainly am going to tell them.
47:15 that I'm the man whose wife
47:21 One day you'll be.
47:27 They'll never believe me. They'll never believe me.
47:41 That from this great big world
47:48 You've chosen
48:13 Jerry isn't it lovely. Oh well I had noticed.
48:17 When I look at you, I can't seem to see anything else. Oh, writing songs again. Perhaps we'd better stop and have lunch. All right. All right.
48:25 You can move in under those trees there.
48:29 Isn't it a beautiful day? Beautiful.
48:36 Now, let's see.
48:38 You've seen Westminster Abbey and the Tower of London, and you've seen Buckingham Palace and Hampton Court.
48:44 Maybe there's something I can tell you about this place.
48:49 Eva, let's drop the history course for a while. Do you mind?
48:53 Not that it isn't interesting, but, uh... Well, there are a few things I'd like to know about you, too.
48:57 Well, all right.
48:58 What would you like to know about me?
49:00 Oh, just the ordinary things?
49:02 things you like
49:03 Things you don't like, where he went to school, who was your first beau, and...
49:07 What you want out of life? That's a tall order. Where shall I start?
49:11 Uh, things you like.
49:13 Oh, I guess I like what everyone likes. I like books and picnics and dancing and music. What about musicians? Oh, certainly musicians. And what do you want out of life?
49:25 Oh, I guess again what everyone wants.
49:28 Happiness.
49:30 Have you ever given any thought to getting married? No.
49:34 Why, of course, doesn't everyone? Are you set on any particular type of man?
49:38 I have been at different times.
49:40 When I was 16, I desperately wanted to marry the star cricket player at rugby. And now...
49:46 Now? Oh, uh, now I don't really know.
49:50 Except that he must have a sense of humor.
49:52 And he must be kind.
49:54 He must be intelligent and good company. And of course, he must love me very much.
50:02 Well, I, uh...
50:04 I know somebody with at least one of those characteristics.
50:09 Someday I'll tell you all about it.
50:13 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... Oh, never mind, never mind. You feel wonderful. You feel great. How could you be otherwise after such a beautiful day?
50:24 Tell me, my friend, how is your knowledge of English history?
50:28 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?
50:37 Now there's the Waterloo.
50:39 As the left says,
50:41 Sounds dull, huh?
50:42 Well, it's far from dull, my friend, when your history teacher is as beautiful as all the sirens of history put together.
50:49 Did you know that all the swans on the Thames belong to the King of England? No, fancy that. And the male swan is called a cob.
50:57 Well, what does that get you? And did you know that when you walk into Hampton Court, you're walking right straight into history?
51:02 Oh, my dear friend, you have so many things to learn about England. Have you ever heard of a man named Charles Froman?
51:09 Froman.
51:10 from it. Well, that's a
51:11 A familiar name. The face escapes me.
51:15 How can you talk about Froman when I'm talking about love?
51:18 Oh, sure.
51:19 That's been the theme of this little dissertation. Well, I'm glad you informed me. Oh, that's all right. Because the next time Froman's office calls, I'll tell him that you're too busy to be bothered. Yes, you tell him that I'm too busy. Thank you.
51:34 Did you say the next time Froman's office calls?
51:37 That's what I said. They've been calling you all day.
51:40 Now, why should I bore you with such trivial depots?
51:43 Well, what do they want?
51:44 No, no, dear friend, you return to your archives. Why think of the future when the past is so glorious? Oh, come on, now, quit climbing. What happened? Nothing, nothing. Furlman just wants you to write four songs for his new show.
51:55 If, of course, you can spare the time. Well, why didn't you tell me about it?
51:59 Why didn't I tell you about it? Well, come on, let's get going. There's no time. We've got to do that on the ship.
52:06 On the what? On the ship. We're sailing with Charles from tomorrow. We have to start rehearsal in six weeks in New York.
52:16 Oh, Jim, I...
52:19 Oh, no, no.
52:21 Not Jerry.
52:23 This is the chance you've been waiting for.
52:27 You certainly are full of surprises. I bet you'd be up in the clouds. I feel like I've just been yanked out of the clouds.
52:42 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 Fulman contract in your pocket. Why, you ought to feel wonderful. Oh, my God.
53:00 I know it.
53:01 That's what I keep telling myself. You go back, England.
53:05 If I just could have seen her once...
53:06 Jerry was all we could do to catch the boat you couldn't help that you talk to her on the phone on the phone.
53:12 What can you say on the phone?
53:14 Hello. It was nice seeing you. Take care of yourself.
53:18 Oh, Jim, there were so many things that I wanted to say to him.
53:22 Now look Jerry you've got to think about your career things are just starting for you. Yeah. You can say that over and over again and you know what happens.
53:30 Nothing.
53:34 Jim, you know, for the first time in my life, I'm lonely. Here I am on a ship full of people with you. And I might as well be on a desert island all by myself.
53:44 Did you ever feel this way?
53:46 Yes, once.
53:48 What did you do about it?
53:50 I married the girl. Hello. You weren't down to breakfast. No I have the first day out. Good Englishman should have his sea legs by now.
54:07 Come and have lunch with me. Mr. Froman, there's something I must tell you.
54:10 I'm not an Englishman. You really do.
54:12 turn there's something I must tell you I never thought that you were
54:15 Please not after the first 15 minutes matter of fact I'm very proud to be able to present a new American. Thanks. I have a lot of faith in you. Just received a wireless and Julia Sanderson she's accepted the part of the girl from Utah. One now I've got to have a great song. It's a love song. He's got one.
54:39 And when I told them how wonderful you are, they didn't believe me. They didn't believe me.
55:09 Your eyes, your teeth, your hair are in a class beyond compare. You're the handsomest boy that one could see.
55:39 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
56:09 You've chosen me.
56:35 Ahem.
56:36 Here.
56:38 I've got the clouds number worked out pretty well now, huh?
56:42 I never realized that writing a complete score was such a job before.
56:46 Well, one good all-night session like this does wonders.
56:50 We could use another week.
56:53 We went three weeks late already.
56:56 I hope he likes it, Tim.
56:58 Go on. You're crazy about it.
57:01 He hadn't gone out and bought himself another show while he'd been waiting.
57:06 Good morning.
57:08 Sally, what are you doing up?
57:09 I'm gonna have my breakfast.
57:11 Frank!
57:12 He isn't morning already. No, it can't be. Sally, you'll be late for school. I'm coming.
57:19 Say, Jim, don't you think I'd better call Frohman's secretary and get an appointment? You'd better call him at home. It's a little early.
57:24 Good morning.
57:29 Bryant 2446, please.
57:32 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.
57:37 Hello, this is Kern, Jerry Kern.
57:40 Mr. Froman was expecting me to call today about an appointment.
57:46 He's leaving for England.
57:48 Well, but he promised that he was going to listen to my show, oh boy, for his next production.
57:54 Say it today.
57:56 Oh, God.
58:02 Well, that's it. He's going over to buy himself another English show.
58:07 Well, he can't.
58:09 No, he can't. We work like dogs on this score, Jim.
58:13 And I had all my plans made, too. After he bought it, I was going to jump the next boat for England.
58:17 I'd forgotten about that young lady.
58:20 Wait a minute. I've got an idea.
58:24 My passport is still good. Why don't I take the same boat he's taking today?
58:28 Wonderful. Get him on board ship and he can't get away from you. That's right. Then I can tell him the show. Wonderful.
58:33 Then I can go and see Eva. Sure, sure. You can get married. Well, you'll probably have to ask her first. Well, that's an idea. Well, I'll go and phone the steamship company. Right. I'll go back.
58:44 Driver, you think you'd make it all right? If we get a break in traffic and the old engine holds up. Oh, Uncle Jerry.
58:51 Jerry, come on now. We've only got a few minutes.
58:54 Jerry, you might have missed that boat. Come on here.
1:00:06 Charles Frohman.
1:00:10 It's like watching an era...
1:00:11 crumble in front of him.
1:00:14 The theater's gonna miss it.
1:00:17 Yeah.
1:00:21 You were very lucky to miss that boat, Jerry.
1:00:25 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 under-
1:00:32 Unbelievable. Jerry and I were just talking... Oh, 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.
1:00:41 Charlie Froman spoke of you quite often.
1:00:43 They had great hopes for you.
1:00:45 Well, he was very kind.
1:00:47 They liked you.
1:00:48 But more important, he respected you.
1:00:51 and it's easy to see why.
1:00:53 You've got a song to sing.
1:00:55 Thank you, Mr. Hogan.
1:00:56 Look down at that city, Jerry. It's made up of millions of people.
1:01:02 and music has played a part in all their lives.
1:01:06 lullabines.
1:01:08 Love songs.
1:01:09 hymns.
1:01:11 anthems
1:01:13 Must be pretty wonderful, Mr. Herbert, to...
1:01:16 Realize that people you don't even know and never will know are singing your songs. And all of them asking for more than Victor Herbert music. Makes me feel grateful, Jerry.
1:01:26 I'm very humble.
1:01:27 One of these days you'll find out yourself how it feels.
1:01:32 What is it my publishers call me?
1:01:34 the dean of American Music.
1:01:36 Well, I think you're going to be the next dean.
1:01:40 One thing I must admit, you've got a better figure for it.
1:01:44 Keep riding, boy.
1:01:46 Don't let anything stop you.
1:01:48 Good night.
1:01:49 Good night, Mr. Aaron.
1:01:53 Night, Victor.
1:01:55 Good night, Jim.
1:01:58 Good evening, Mr. Herbert. It's a deal, gentlemen. Congratulations. Comstock and Elliot are going to produce all boy. Max just sent me over with the check.
1:02:07 What's the matter? Aren't you fellas happy? Yeah, I have a word. Thanks.
1:02:13 Turn out those lights again, will you, Ed? All right.
1:02:30 Well, there it is, in lights.
1:02:32 How does it feel? Well, it feels pretty good. If I could just get rid of some of these butterflies in this summer. How do you feel? Well, I've got a little butterfly trouble myself.
1:02:43 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 on, we better go in or we'll miss the show.
1:03:02 The rain comes a bitter pattern And I'd like to be safe in bed Skies are weeping while the world is sleeping Trouble heaping on our heads
1:03:32 To remain and shatter And to wait for a clearer sky Helter, skelter, I must fly for shelter Till the clouds are gone
1:05:02 The rain comes a bitter pattern. And our lives will be saved in bed.
1:05:32 While the world is sleeping, trouble-leaping on our heads. It's pain to remain enchanted and to wait for a clearer sky.
1:06:32 You're in, my boy. Listen to that applause. It's for you. Don't wake me up. Don't anybody wake me up. Ha, ha, ha.
1:06:44 Figured out how you're gonna spend your money yet?
1:06:47 Well, for one thing, I think I'll find interest in harm. For another... You might...
1:06:55 Take a little ocean voyage?
1:06:58 Well, good luck.
1:06:59 I don't see how she can possibly say no. No, that's what I'm worried about. I'm afraid she is going to 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. I'm sorry.
1:07:27 Oh, Jerry, let's stop here, shall we? All right.
1:07:49 Jerry. Hmm? You know, you didn't write very often.
1:07:54 interesting, Eva, so I tore them up.
1:07:56 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, now, doesn't that sound a little silly to you? No, it...
1:08:06 It sounds altogether fitting and proper. Oh. You want to fight? A lady doesn't fight. Well, what does a lady do? Oh, you're impossible.
1:08:15 Well, you're right.
1:08:16 If I were you, I'd have nothing to do with me.
1:08:19 In fact, if I were you, when I asked you to marry me, I'd say no.
1:08:22 Just on the ground said a lady, never says yes. Now see here.
1:08:26 Are you going to ask me to marry you? Might, with a little encouragement. 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? Well, there are proper ways to go about such things in every country.
1:08:39 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 school teacher, my first date, the first girl I ever kissed, and everything in the world to me.
1:09:03 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?
1:09:14 What would you do now?
1:09:22 Will you marry me, Eva? Thank you so much. I'd love to.
1:09:27 Hello, Mrs. Kern. Hello, my darling. Hello.
1:09:30 Amen.
1:09:33 They're here, Daddy. They're coming up the stairs.
1:09:41 Welcome home.
1:09:43 Jim!
1:09:44 What are you old foxes who really did it this time? Nothing, my boy, nothing. Just a little gesture.
1:09:55 This is Eva.
1:09:57 Hello, Eva. Hello.
1:10:01 Well, you've married the nicest guy in this world.
1:10:04 But the craziest. Oh, now, wait a minute. I was keeping that from...
1:10:08 Isn't she sensational, Jim? Jerry! Honey, turn around and let him look at you. Oh, Jerry! Look at that hair in those eyes.
1:10:15 Have you ever seen a woman like that in your life before? Only once.
1:10:24 I think we have already. Forgetting me and the music.
1:10:28 Oh, Sally, yes, I'm sorry, dear. I...
1:10:31 Sally!
1:10:32 On behalf of my father, Jim Hessler and myself... On behalf of my father, Jim Hessler and myself...
1:10:42 I wish to congratulate you on the start of your voyage into the great sea of life. Oh, Sally.
1:10:53 I'll take it. Hello, Mrs. Hello, Mr. Kirk. Sally, it's so wonderful to see you.
1:10:58 Why, you have grown up, haven't you?
1:11:00 Sally, this is your Aunt Eva.
1:11:03 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, what do you say? Let's all go in and have something to eat, shall we? Oh, Jim, it's so good to be home again.
1:11:16 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.
1:11:28 Eva's smile and her eyes and what it meant to be with her.
1:11:36 And at last it seemed to me that the clouds had rolled by. First there was Leave it to Jane.
1:11:45 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 me. I always try to do everything I can for you.
1:11:58 She'll tackle daily, a score or more daily If something is on your mind And I can see that there is not a doubt of it Come work, 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 mand over the whole thing to jail
1:12:30 Well, Jane, why don't you tell us how you do it? Yeah, come on, Jane, tell us.
1:12:34 Oh, but it's really very simple.
1:12:36 I just study up on the famous women of history. You mean like Lucretia Borgia? Well, no, not exactly.
1:12:43 Listen.
1:12:44 In days of old, beside the Nile, a famous queen there dwelt. Her clothes were few but full of style, her figure slim and stout. On every man that wandered by, she pulled the feet of Barra High. And everyone observed with awe that her work was swift but never raw.
1:13:14 Oh, Pat, or her, if I could have my way. Each man she met, she went and kissed, and she dozens on her waiting list. I wish that I had lived there beside the pyramid. For a girl today, don't get the score, back to me, oh, Pat, or her, if...
1:13:40 She danced new dances now and then the sorts 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
1:13:59 It simply used to knock them flat When she went like this and then like that.
1:14:08 That dancing Cleopaterer was always on the spot. She gave those poor Egyptian ginks something else to watch besides the Sphinx. Mark Antony admitted that what first made him skid was the wibbly-wobbly-wibbly dance that Cleopaterer did.
1:15:08 Go your father, live in today.
1:15:16 Turn the whole thing over to you.
1:15:30 Once again, Broadway belonged to the Americans. To George M. Cohan, Irving Berlin, George Gershwin, Vincent Yume, Buddy De Silva. I was working in mighty great company.
1:15:47 And at one of my own shows, Sally, I was fortunate enough to have the reigning queen of the era. The wistful, lovely, unforgettable Marilyn Miller.
1:16:28 More flowers.
1:16:30 Duffling? Says the first act was a dream, signed Flo. Well, she said the second act. Don't worry about the second act. The second act is better than the first. I don't know.
1:16:40 Thank you, Hazel. Is everything ready for the quick change? Everything's ready in the stage dressing room.
1:16:54 Good luck, Miss Miller. Thank you.
1:17:24 Come here.
1:17:41 As I wash my dishes, I'll be following a plan. Till I see the brightness in every pot and pan.
1:17:54 I am sure this point of view will ease the daily grind. So I'll keep repeating in my mind.
1:18:11 Look for the silver lining. Whene'er a cloud appears in the blue. Remember somewhere the sun is shining.
1:18:41 The right thing to do is make it shine for you. A heart full of joy and gladness will always banish sadness and strife.
1:19:11 So always look for the silver lining and try to find the sunny side of life.
1:19:41 Oh, my God.
1:20:09 So always look for the silver lining.
1:20:54 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, Deary, the Ziegfeld Follies. Curtains went up, curtains came down. I think I got to look a little more like a musician.
1:21:15 Eva grew lovelier with every passing year. Our life was rich and full and very satisfying.
1:21:23 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 as much. Oh, they certainly did change Sally. She was quite a young lady now. She'd been away at school, in fact, many schools.
1:21:47 Well, Sally. Hello.
1:21:49 Darling.
1:21:50 Uh...
1:21:51 Well, Sally, I thought you were at school.
1:21:55 Well, I... I was.
1:21:56 Oh.
1:21:58 What happened this time?
1:22:00 I just can't stand that school anymore, Uncle Jerry. I've left and...
1:22:03 and I'm not going back.
1:22:05 What does your father say about that?
1:22:08 Well, he hasn't said anything yet. He...
1:22:11 He doesn't exactly know.
1:22:13 You see, I just left there this morning and I came right out here to talk to you.
1:22:18 Oh, Uncle Jerry, I had to leave. I hated it so much I couldn't eat or sleep or anything.
1:22:24 This is the third school you've left now, isn't it, Sally?
1:22:28 Yes. Well, now, it seems to me that you ought to be able to make a go of one of them.
1:22:32 Oh, I just don't seem to fit in very well. The kids all seem so...
1:22:37 Oh, I don't know. Oh, they're interested in a...
1:22:39 parties and clothes...
1:22:41 They seem to think that's all there is to life.
1:22:45 Oh, Uncle Jerry, I...
1:22:46 I wish you'd talk to Dad for me. You...
1:22:48 He'll listen to you.
1:22:50 Well, Sally, 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.
1:23:07 Uncle Jerry, you did promise you'd help me get a start in the theater. Oh, I said I'd help you when you were ready.
1:23:15 Your father wants you to complete your schooling first, Sally, and he's the boss. Uncle Jerry, Dad's forgotten what it's like to be young and 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?
1:23:39 Yes, Sally, I've got to admit it, I do. Well, then that's more important than school or...
1:23:45 Or anything else in the world, isn't it?
1:23:49 Isn't it, Uncle Jerry?
1:24:00 It's the third time, Jerry.
1:24:03 Yes, I know.
1:24:06 Maybe we shouldn't have made her go back before.
1:24:09 After all, if she hates it so much... Oh, Jerry, you can't keep on running 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. That 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. Get a chance to finish mine. I always said that any kid of mine was going to...
1:24:37 To get the right start in life.
1:24:39 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.
1:24:53 She comes by that honestly enough, doesn't she?
1:24:57 Remember how we used to pound the sidewalks and knock on doors? Nobody could stop us. Goodness only knows enough people tried to. Remember how thrilled we were when we finally realized we were in?
1:25:09 So what right have you or I to interfere with Sally? Yeah. Well, what are we going to do, Jerry? I'd give her a pound in something. So cast.
1:25:25 Father Gwen hasn't been cast yet.
1:25:29 Well, that's, uh, it's only one line.
1:25:32 When is going to have a song? The doctor's here, Mr. Hesler. Oh, oh fine, miss. Uh, doctor, I'll be with you upstairs in just a minute.
1:25:42 Good evening, Mr. Kurtz. Hello, Doctor.
1:25:46 You know, when you...
1:25:48 You get to be my age, you start collecting pills.
1:25:55 Well, I'll... Jerry, I hope that works out all right.
1:26:08 Yeah.
1:26:14 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, Ms. Miller. And you? Hello, Oscar. Gary. What I...
1:26:47 Jerry, I've just been talking to Mr. Dillingham.
1:26:52 And he thinks that Who should be a big production number instead of a solo. And that, of course...
1:26:58 Mary will not sing it.
1:27:00 Oh. Well then of course we'll have to do it. It puts me in rather a tough position though Oscar.
1:27:09 After all, I did write it for Sally.
1:27:12 I know you did, Jerry, but...
1:27:14 We'll give Sally something else. Oh, she's going to be awfully disappointed.
1:27:19 It's a wonderful song and I'd love to sing it, but...
1:27:22 I hate to take it away from her.
1:27:25 Well, it's for the good of the show, Marilyn.
1:27:28 I think you're right Oscar. Have you thought though how you're going to tell Sally? It's not going to be easy. Oh I thought you should tell her Jerry.
1:27:38 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.
1:27:48 - Oh.
1:27:49 Would you like me to tell her?
1:27:51 I'm sure she'll understand.
1:27:53 Would you do that, Marilyn? Certainly. Ask her to meet me in my dressing room. And don't worry. Thank you, darling.
1:27:59 But Uncle Jerry wrote that song for me. I know. And I know how disappointed you must be, too.
1:28:07 But Sally, disappointments are part of the theater and you've got to be able to take them.
1:28:12 Well, the very same thing happened to me in my first show.
1:28:14 I had to give up my song to the star.
1:28:17 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.
1:28:27 Sally.
1:28:28 Listen to me a minute.
1:28:30 This is your first show.
1:28:32 You're just starting.
1:28:34 And there are going to be a good many songs and a good many shows for you.
1:28:38 It may be difficult for you to understand now, but one day you'll realize you've got to give and take.
1:28:43 Whether you like it or not.
1:28:44 I'll never take a song away from anyone else, especially if it's their first real chance.
1:28:49 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?
1:28:55 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.
1:29:03 Don't you see that, Sally? Yes, I see it all right.
1:29:06 You're trying to take my song away from me, and you are 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 this star. You're not going to take it away from me. Sally!
1:29:16 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.
1:29:24 I'm sorry, Jerry.
1:29:40 What is it, Sally? Sally?
1:29:43 Am I still in the show, Uncle Jerry?
1:29:45 If you want to be, you won't have a song, though.
1:29:51 He took my song away from me, the song you wrote for me.
1:29:55 Sally, there's a little thing called the good show.
1:30:00 Apparently, the show didn't seem very important to you this afternoon.
1:30:04 Not important. You didn't care what happened to the show just so long as you got your way. Yes.
1:30:11 The theater doesn't work that way, Sally.
1:30:14 Nothing works that way. I learned something today.
1:30:19 I suddenly realized that you're not ready for the theater yet. Not ready yet.
1:30:25 No. All you have to offer is a small talent, a great deal of conceit,
1:30:31 In return for which you want success.
1:30:44 Sally.
1:30:46 I've known you and loved you ever since you were a little girl.
1:30:51 I couldn't love you anymore if you were my own child.
1:30:55 But I must say this to you.
1:30:58 You're not going to get anywhere in this life by using people.
1:31:02 Until you realize that, you're not going to add the respect of anyone.
1:31:08 Sally, I...
1:31:09 I'm ashamed of you.
1:31:42 Oh, my God.
1:32:43 From a running back into my memory's life. Little playmate, what my game ain't in the day gone by. Dragon dresses, tangled dresses, flying over the hill. Heaven bless us, you know less the share of Jacksonville. You funny little Will. That describes her to her feet. She is full of fun. He named the lady perfectly. She is bright and sunny.
1:33:43 Honey, honey, here are you.
1:34:13 Day dreams I know can never come true. Seems as though I'll ever be blue.
1:34:24 Means my happiness through.
1:34:28 Would I answer yes too? Well, you ought to guess who. No one but you.
1:35:43 Can it be? Can it be? Can it be? Can it be? Can it be? Can it be? Can it be? I'll never guess who has opened my heart away.
1:36:39 Hello?
1:36:41 Yes, Miss Wallow.
1:36:46 Are you sent for the doctor? Yes.
1:36:49 It's solid, huh?
1:36:53 Oh. Well, you be sure he stays in bed, Miss Mullin. I'll be right over.
1:37:08 The dogs will get here. Get upstairs in Mr. Hesler's room.
1:37:21 It's his heart. I wouldn't stay very long. Mr. Hessler could use a little rest.
1:37:32 Well, good evening, Jim.
1:37:34 Hello, Jerry. We missed you at the theater tonight.
1:37:39 How are you?
1:37:43 Sally's gone, Jerry.
1:37:46 Yes, I know. Mrs. Muller told me.
1:37:50 I... She didn't come down for dinner herself.
1:37:55 I'm up to a room.
1:38:02 Dear Daddy, I'm going out on my own. Don't worry about me. Someday you'll be proud of me. I'll always love you. Piers, tell Uncle Jerry I still love him.
1:38:16 It's all my fault, Jim. I shouldn't have suggested that she'd 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 heard her.
1:38:29 Well, she's got spunk, all right.
1:38:33 Jerry, she's young. 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 she'd do that. I promise you I'll try my own most.
1:38:46 you can't.
1:38:49 Good night, Jim.
1:38:51 Um...
1:38:53 Why don't you get back in the bed and get some rest? Yeah.
1:38:57 I left no stone unturned trying to find Sally. Personal ads.
1:39:05 private detectives. But the answer was always the same. No one had seen her. It was a futile hunt.
1:39:15 I tried to keep Jim's hopes alive, but I think he knew.
1:39:22 And then...
1:39:25 One night...
1:39:28 Please don't mention that I teleport.
1:39:36 I think Mr. Kern, you'd better go up right away. He's been asking for you.
1:40:11 Jim.
1:40:16 I am.
1:40:17 I was just driving by. I thought I'd drop in and say hello.
1:40:22 Yeah...
1:40:26 You forget I've known you a long time.
1:40:30 Feeling better, aren't you?
1:40:33 Yeah, that's good all you need now is a
1:40:39 Rest.
1:40:44 Can't quiet around here, honey.
1:40:46 Yes, yes it is, but things will be popping again just as soon as Sally comes back.
1:40:54 Have you heard from me, Jerry?
1:40:57 No, no, not directly. But I've got a couple of very good leads. I've got a hunch they won't be very long.
1:41:04 Then I'm going to see to one thing, Mr. Haslam. 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. What about your notes?
1:41:21 I never made any notes. I just...
1:41:25 Falling is usual.
1:41:30 You know, I used to... I used to go around hollering about being a genius. You are a genius, Jim.
1:41:38 And you and your wheezy little tunes.
1:41:44 You were writing the real music.
1:41:48 Hey
1:41:51 The folk music of America.
1:41:56 Thanks, Jerry, for letting me kinda stick around. No, wait a minute. Let's get something straight, Jim. I didn't let you hang around. What? If it hadn't been for you and your faith in me, I would have quit half a dozen times, you know that.
1:42:12 And... If we're gonna start handing out bouquets...
1:42:25 Yes.
1:42:29 You're a great man, Jerry.
1:42:33 It's been a privilege getting in on that music.
1:42:39 It's been a lot of fun. Now, let's not talk that way, Jim.
1:42:44 A couple of weeks you'll be back at that piano.
1:42:47 Screaming for more and more brass.
1:42:51 Ah, dear.
1:42:55 This looks like time for strings.
1:43:01 Jerry, if... I...
1:43:09 I want you to look after Sally for me.
1:43:14 Jim, you're going to be all right. So is Sally. In a couple of weeks, we'll be laughing about it.
1:44:03 Is it better? Is it better?
1:44:07 Perhaps if I made some coffee.
1:44:11 Don't love it.
1:44:26 Oh no. No, it can't be.
1:44:30 Mr. Kern had hardly closed the door when he
1:44:33 I'm sorry.
1:44:41 Oh
1:44:45 I was...
1:44:47 Completely lost.
1:44:51 Completely...
1:44:51 helpless
1:44:52 Jim was gone. I had failed him. I was still failing him. I had lost a world with Jim's passing and everywhere I walked I walked with ghosts. Reliving lost hours.
1:45:08 pacing our world memories. I couldn't even think in terms of music. I began to feel that I...
1:45:16 might never write again.
1:45:26 How long has this been going on?
1:45:27 for weeks, Oscar.
1:45:30 Ever since Jim died, he's a scar to write me. He's got one in the phone.
1:45:36 That certainly doesn't sound like Jerry.
1:45:38 Seems to have completely lost heart.
1:45:41 Have you had any word of Sally? No, but he has every friend he ever had in show business.
1:45:47 Well, don't worry about it.
1:45:49 He'll turn up.
1:45:52 It's Jerry I'm worried most about.
1:45:55 You know, Oscar, I believe he's beginning to think he can't write music anymore.
1:46:01 Heartbreaking to watch him.
1:46:04 Well, I...
1:46:06 I have a book here I'd like him to take a look at.
1:46:09 I've been commissioned to adapt it and write the lyrics, and...
1:46:12 I think Jerry's the man to do the music. I don't think you'll do it, Oscar.
1:46:17 Well, that's hard to believe.
1:46:19 There's never been a time as long as I've known Jerry when you couldn't excite him with a good story.
1:46:24 There's never been a time in his life like this.
1:46:28 Trauma.
1:46:30 You can try. I'll tell him you're here.
1:46:40 Hello.
1:46:43 How's it going, dear? 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.
1:46:50 - Ah, it is raining, isn't it? - Jerry...
1:46:53 Oscar Hammerstein is here.
1:46:55 Oscar? Oh, darling, why didn't she tell me?
1:46:59 Oscar, come in.
1:47:01 Hello, Jerry. This is good to see you. Won't you sit down? Sit down. Thanks, Jerry. Thanks, Jerry.
1:47:06 Well, what's, um, what's new? I'll tell you what brought me out here, Jerry.
1:47:09 I came across an author that I think is going to make a great show.
1:47:12 Now, if you'll do the music...
1:47:14 I'd like to do the book. Oscar, I'd love to. I really would, but...
1:47:20 I have so many commitments right now that I don't think it... I 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. Oh, it's no use.
1:47:30 Well, I'll leave it any harm.
1:47:31 See you next week. Won't you stay for dinner? I'd certainly like to, but I have to get back to town.
1:47:35 Bye, Eve. I'll see you to the door, Austin.
1:47:37 Bye. Bye.
1:47:50 Hello? This is Mrs. Kern. Oh, just a moment, Mr. Kelly. Jerry, it's Arthur Kelly. He's got news of Sally.
1:48:16 Hello, Arthur. Yes.
1:48:21 Oh, that's wonderful. In Memphis? What was the name of that club again? Club Relied, all this week. Yes, well, I'll get right on it. Thank you very much, Howard.
1:48:34 Dolly is singing at the Club Relied 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 me Chris.
1:48:50 I need you.
1:49:03 The dance in the art of love. What's that all that often? I'm looking at friends, asking a pretty thing. Just one more favor.
1:49:26 One more land from that child, why die? One more night, if you will.
1:49:39 One more flight, one more thrill.
1:49:45 One more dance, if you will, with me.
1:50:04 Will you dance with me? I sure will, baby. Watch this.
1:50:28 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'd stand there and shake your foolish head dramatically.
1:50:56 While I wait here so ecstatically...
1:51:02 You just look and say, I'm sassingly. 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, madame, with you. My heart won't let my feet do things they should do.
1:51:26 You know what? You're lovely. So what? I'm lovely.
1:51:32 You do to me. I'm like an ocean wave that's bumped on the shore. I feel so absolutely stumped on the floor.
1:51:44 When you dance, you're charming and you're gentle.
1:51:49 Especially when you do the body mantle.
1:51:53 But this feeling isn't purely mental. For heaven rest us. I'm not as best us.
1:52:02 And that's why I won't dance. Why should I? I won't dance. How could I? I won't dance. Merci beaucoup.
1:52:11 I know that music leads the way to romance. So if I hold you in my arms, I won't dance.
1:54:10 Come in. - Sally. - Uncle Jerry. Oh, Uncle Jerry, I feel glad to see you. What are you doing here?
1:54:21 Well, I, uh, I was out front watching the show.
1:54:24 Did you see what we did to your number? Yes. I bet you liked the show. 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.
1:54:36 I'm so excited. I don't know what to do. You look wonderful, Uncle Jerry. More handsome than ever. You look wonderful.
1:54:43 How's Aunt Eva? Oh, she's fine, but of course she misses you.
1:54:46 Oh, I... I miss her, too. I miss you both.
1:54:52 Is she with you? You haven't told me yet what you're doing here. No, your Aunt Eva's in New York.
1:54:57 And I'm here because somebody told me I could find you here.
1:55:00 I've been looking for you for a long time now, Sally. Oh, look, Jerry, you shouldn't have bothered. I'm all right. Oh, I'm sure you are, but...
1:55:08 I promised your father I'd look after you.
1:55:11 Sally, I want you to come back to New York with me.
1:55:15 If I can't, Uncle Jerry, I'd...
1:55:18 I'd like to, but I can't.
1:55:21 When I... when I heard about my father, I...
1:55:26 I never realized he was so pale, 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...
1:55:38 Someone had forced me to look into the mirror for the first time.
1:55:45 I loved him very much, and I knew I'd broken his arm.
1:55:50 I was spoiled and selfish and...
1:55:53 I knew that I...
1:55:54 I could never have any respect for myself again unless I...
1:55:58 I did what I said I was going to do.
1:56:02 So you see, I can't go back right now.
1:56:05 I'm making my own way now, and I'm pretty good at it, too.
1:56:10 Well, Sally, I just don't like the idea of you being here and all alone. This is just a stepping stone from where I've been to where I hope I'm going. I'm going.
1:56:22 I'm making $50 a week now because management thinks I'm worth $50. If I'm worth more, I'll get more.
1:56:30 And if not,
1:56:31 I'll have to find it out for myself.
1:56:35 And Uncle Jerry.
1:56:37 I'm not using anyone.
1:56:44 Five minutes, Miss Bessler. Thank you, Jimmy.
1:56:48 You understand, don't you, Uncle Jerry?
1:56:54 Well, Sally...
1:56:55 You know, darling, I'd give anything in the world if you'd let me help you.
1:57:01 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.
1:57:14 Good luck, darling.
1:57:27 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 a river wind in my face and the taste of it on my lips.
1:57:47 And I...
1:57:49 stood there, listening.
1:57:54 A sudden excitement, thrilling for me. Listening to the sound of a river that makes its way right through the heart of America.
1:58:05 And the voice of that river was the laughter, the tears, the joys, the sorrows, and the hopes of all America's people.
1:58:19 Well, gentlemen, that's my story.
1:58:23 It's too bad Mr. Hessler couldn't have been there tonight, Mr. Cain.
1:58:26 Oh, he was there, Joe.
1:58:29 He'll always be a part of any music I ever want.
1:58:34 Whatever happened to Miss Sally?
1:58:37 Well, I don't know exactly. I don't know.
1:58:39 She's on her own now.
1:58:42 Maybe I'm just getting tired of something.
1:58:44 And ever since Jim's been gone, I...
1:58:47 feel like everything is
1:58:48 ending.
1:58:50 Maybe my music is ending too, Joe.
1:58:52 Andy!
1:58:53 After that show tonight...
1:58:55 Hey, I gotta get you back to the Waldorf. You got some vows to take.
1:59:02 No, sir, Mr. Cain. Your music ain't ending for you. In my opinion, it's just the beginning.
1:59:25 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 he'd be good She wasn't even sure that she'd be good So what did she do? I'll leave it to you She did just what you do
2:00:30 Oh
2:00:31 Smile and say, I'll get my mind. Get him right.
2:01:01 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.
2:01:31 Deep 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.
2:02:01 How they change her. I'll remember her. Their friend.
2:02:59 Do sit down, Mr. Curran. Are you sure we won't be in the way? Oh, certainly not. Not at all.
2:03:04 Well, I can't get over this, Mr. Antide. We certainly don't grow stages like this on Broadway.
2:03:11 Darling, look at the size of that oak. Well, you have everything in the world to work with here. That's right, Mr. Kern.
2:03:17 We've tried to give you the best of everything. Yes, that's all.
2:03:20 Uh...
2:03:21 What was the number you were going to do today? Well, we found an old song of yours that you did first in 1917.
2:03:26 called The Land
2:03:28 where good songs go.
2:03:30 I'd almost forgotten about that one.
2:03:32 We're using it as a frame for some of the other songs.
2:03:35 What star is going to sing this?
2:03:38 Well...
2:03:38 Mr. Kern, as a matter of fact, we're trying out a newcomer.
2:03:42 Oh, a newcomer. This girl did a test for us in New York. I mean, it impressed us, though. 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 take. All right, let's try one.
2:03:55 - Blades, please. - Okay, Charlie. Hit the lights!
2:03:58 Quiet! Okay, roll them. Action!
2:04:32 It's a land of flowers and April showers. With sunshine in between.
2:04:49 With roses glowing and rivers flowing.
2:05:02 Like a Mr. Terrell. Like a...
2:05:13 I love her.
2:05:15 I'd rather hear her sing one of my songs than anyone else in the world.
2:05:43 Yesterday's
2:05:53 Yesterday's
2:05:59 Say thy newest happy sweet sequester days, fallen days, fallen days.
2:06:20 Day, my God, I know.
2:06:26 Long ago and far away I dreamed a dream one day And now that dream is here beside me
2:06:56 And that I knew that all I longed for long ago was you.
2:07:26 A fine romance, my friend This is a fine romance with no kisses I might as well play bridge with my old maid And I haven't got a chance This is a fine romance
2:07:56 You are the promised kiss of springtime
2:08:15 That makes the lonely winter sing long.
2:08:25 You are the breathless rush of evening. That rumbles on the brink of a lovely song.
2:08:45 The dreams of gold and lights a star, the dearest things I know are what you are.
2:09:15 And someday I'll know.
2:09:28 That moment divine
2:09:35 When all the things you are
2:09:46 Amen.
2:10:12 Why was I bold? Why am I
2:10:21 living? What do I get? What am I giving?
2:10:36 Why do I want the things I dare not hope for?
2:10:43 What?
2:10:45 And I hope
2:10:46 For I wish I knew. Why do I try?
2:11:06 draw you near me, why do I cry? You'll never hear me.
2:11:23 I'm a fool fool, but what can I do?
2:11:34 Why was I born to love?
2:11:53 Old Man
2:12:19 River.
2:12:21 That old man river
2:12:26 He must know something.
2:12:29 But he don't say nothing.
2:12:33 He just
2:12:36 Rolling
2:12:39 He keeps on rolling along.
2:12:50 He don't plant taters, and he don't plant cotton. And them what plants are, is soon forgotten. But old man river.
2:13:11 Just keeps rolling along.
2:13:20 You and me, we sweat and strain. Bodies all aching and wracked with pain. Toad that bar, lift that bell. You get a little drunk.
2:13:39 And you'll land in jail.
2:13:53 again.
2:13:56 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.
2:14:26 The Lord.