Opening Doors
By Original Broadway Cast of Merrily We Roll Along
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Go back to your search "I'm after a different kind of noise"
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[The slide reads: NEW YORK CITY 1957-1959. CHARLEY is at a
Table with a portable electric typewriter; FRANK is at a piano, pencil in mouth, manuscript paper spread in front of him.]
[CHARLEY types]
[FRANK picks out a phrase on the piano]
[CHARLEY types]
[FRANK plays the phrase, changing two notes]
[CHARLEY types a bit more energetically; the MARGIN BELL rings; HE returns the carriage, rolls it up, starts to read what he has written]
[FRANK changes another note]
[CHARLEY grunts in displeasure]
[FRANK tries another note]
[CHARLEY rolls the carriage down]
[FRANK tries another note, getting desperate]
[CHARLEY X's out what he has written]
[FRANK tries the phrase again, changes another note, finally slams his fist down in the bass and throws the pencil down in disgust]
[FRANK, spoken]
How's it going?
[CHARLEY, spoken]
Good. You?
[FRANK, spoken]
Fair.
[CHARLEY, spoken]
Yeah, tell me.
[The phone rings; FRANK answers]
[FRANK, spoken]
Chinese laundry
[MARY is at her desk, phoning]
[MARY, spoken]
Hi!
[FRANK, spoken to CHARLEY]
Mary!
[CHARLEY, spoken]
Say hello.
[MARY]
I think I got a job!
[FRANK, spoken]
Where?
[MARY, spoken]
True Romances
[FRANK, spoken]
Posing?
[MARY, spoken]
Thank you. Writing captions.
[FRANK, spoken]
What about the book?
[MARY, spoken]
What about the book?
[FRANK, spoken]
Nothing, are you working on your book?
[MARY, spoken]
Yes...
[FRANK, spoken]
Good.
[MARY, spoken]
No..
[FRANK]
Mary—!
[MARY, spoken]
Right, I know, yes, me and Balzac...
[She hangs up. They all resume work on their typewriters and piano.]
[ALL]
We'll all get together on Sunday
We're opening doors
Singing, "Here we are!"
We're filling up days
On a dime
That faraway shore's
Looking not too far
We're following every star
There's not enough time!
[The stage becomes alive with activity: CHARLEY being interviewed by an AGENT; FRANK playing the same bars of rehearsal music over and over while DANCERS rehearse; MARY meeting a musician on a subway. FRANK suddenly gets an idea, plays his phrase in the middle of the "rehearsal" and writes it down excitedly, then crosses, as do CHARLEY and MARY.]
[ALL]
We're opening doors
Singing, "Look who's here!"
Beginning to sail
On a dime
That faraway shore's
Getting very near
We haven't a thing to fear
We haven't got time!
[ALL THREE throw themselves simultaneously into activity; CHARLEY and MARY type ferociously while FRANK whistles and hums as he tries out a different vamp for his tune. After a bit, HE hits a chord triumphantly, turns, and looks over at CHARLEY as MARY picks up her phone and starts to dial.]
[FRANK, spoken]
How's it coming?
[CHARLEY, spoken]
Good. You?
[FRANK, spoken]
Done!
[CHARLEY, spoken]
One minute...!
[The phone rings; FRANK answers]
[FRANK, spoken]
Hamburg Heaven!
[MARY]
Hi!
[FRANK, spoken to Charley]
Mary!
[CHARLEY, spoken]
Say hello!
[MARY]
I got another job!
[FRANK, spoken]
Where?
[MARY, spoken]
Chic!
[FRANK, spoken]
What's that?
[MARY, spoken]
A brand-new concept: Pop-up pictures.
[FRANK, spoken]
What about the book?
[MARY, spoken]
What about the book?
[FRANK, spoken]
Did you give the publisher the book?
[MARY, spoken]
Yes...
[FRANK, spoken]
Good...
[MARY]
No...
[FRANK]
Mary...!
[MARY]
Look, I never—
[CHARLEY rips the paper out of the typewriter]
[CHARLEY, spoken]
Finished!
[FRANK, spoken into phone]
Let me call you back.
[MARY, spoken]
Right.
[SHE hangs up]
[CHARLEY, spoken]
This is just a draft.
[FRANK, spoken]
Right.
[CHARLEY, spoken]
Probably it stinks.
[FRANK, spoken]
Right.
[CHARLEY, spoken]
I haven't had the time to do a polish...
[FRANK, spoken]
Will you sing?
[CHARLEY, spoken]
Right!
(sung)
"Who wants to live in New York?
Who wants the worry
The noise, the dirt, the heat?
Who wants the garbage cans
Clanging in the street?
Suddenly I do
[During the following, JOE JOSEPHSON is wheeled in by his
SECRETARY [GUSSIE] and starts to listen judiciously, as GUSSIE
Waits behind the chair; FRANK and CHARLEY are auditioning for
Him; CHARLEY sings, as FRANK accompanies him]
[CHARLEY]
They're always poppin' their cork
(spoken)
I hate that line—
(sung)
The cops, the cabbies
The salesgirls up at Saks
You gotta have a real taste for maniacs—
Suddenly I do!
[JOE]
That's great! That's swell!
The other stuff as well
It isn't every day
I hear a score this strong
But fellas, if I may
There's only one thing wrong:
[To FRANK'S tune]
There's not a tune you can hum
There's not a tune you go
Bum-bum-bum-di-dum
You need a tune to go
Bum-bum-bum-di-dum
Give me a melody!
Why can't you throw 'em a crumb?
What's wrong with letting 'em
Tap their toes a bit?
I'll let you know when
Stravinsky has a hit—
Give me some melody!
Oh sure, I know
It's not that kind of show
But can't you have a score
That's sort of in between?
Look, play a little more
I'll show you what I mean...
[FRANK resumes at the piano]
[CHARLEY, overselling]
Who wants to live in New York?
I always hated the dirt, the heat, the noise
But ever since I met you, I—
[JOE, shaking his head, still smiling]
Listen, boys
Maybe it's me
But that's just not a
Hum-mm-mm-mm-mm-mm-mm-able melody!
Write more, work hard
Leave your name with the girl
Less avant garde
Leave your name with the girl
Just write a plain old
Melodee-dee-dee-dee-dee-dee...
Dee-dee-dee-dee-dee-dee...
[GUSSIE wheels JOE off. FRANK and CHARLEY stand
DOWNSTAGE dejectedly for a moment; MARY joins them]
[ALL]
We'll all get together on Sunday
They're slamming the doors
Singing, "Go away!"
It's less of a sail
Than a climb
That faraway shore's
Farther every day
We're learning to ricochet
We still have a lot to say
[FRANK]
You know what we'll do?
[CHARLEY, spoken]
What?
[FRANK]
We'll do a revue
[CHARLEY, spoken]
What?
[MARY, spoken]
What?
[FRANK]
We'll do a revue of our own!
[MARY, spoken]
What?
[CHARLEY, spoken]
Where?
[MARY, spoken]
Why?
[CHARLEY, spoken]
When?
[FRANK]
Not just songs, but stories
Scenes, piano pieces, mime!
[CHARLEY, spoken]
Yeah!
[MARY, spoken]
"Frankly Frank!"
[FRANK]
A showcase of our own!
[CHARLEY, spoken]
Where?
[FRANK, spoken]
The club's reopening.
[MARY, spoken]
We'll write a lot of new stuff—
[CHARLEY, spoken]
Rewrite old stuff—
[FRANK, spoken]
What about the girl?
[CHARLEY, spoken]
What about the girl?
[FRANK, spoken]
Only that we're gonna need a girl.
[CHARLEY, spoken]
Well, Mary—
[MARY, spoken]
Thanks, I don't perform except at dinner.
[TWO GIRLS hold rehearsal copies of music, ready to audition. The FIRST GIRL starts, singing shrilly and off-key as a pianist accompanies her]
[FIRST GIRL]
Who wants to live in New York?
Who wants the worry
The noise, the dirt, the heat
Who wants the garbage cans clanging in the street—
[FRANK, spoken]
Thank you for coming. Next eight, please.
[SECOND GIRL (BETH)]
They're always popping their cork
[FRANK, spoken]
Up a tone.
[BETH, spoken]
—The cops, the cabbies
The salesgirls up at Saks—
[FRANK exchanges a look of approval with MARY and CHARLEY]
[FRANK, spoken]
Up a tone.
[BETH]
—You gotta have a real taste for maniacs—
[FRANK, spoken]
Thank you. You're hired.
[BETH, spoken]
I'm Beth.
[FRANK, spoken]
I'm Frank.
[BETH]
I really thought I stank.
[MARY]
I'm Mary.
[CHARLEY]
Charley.
[FRANK]
By the way
I'm told we open Saturday
[CHARLEY, MARY, & BETH, spoken]
What?!
[MARY]
You're not serious!
[CHARLEY]
Nobody's ready!
[FRANK]
Apparently someone cancelled a booking
[CHARLEY]
The songs aren't finished
[MARY]
And what about costumes?
[BETH]
And how do I learn all these numbers?
[FRANK]
I'll bring you the copies of everything later this evening
[ALL]
We'll worry about it on Sunday!
We're opening doors
Singing, "Here we are!"
We're filling up days
On a dime
That faraway shore's
Looking not too far
We're following every star—
There's not enough time!
We're banging on doors
Shouting, "Here again!"
We're risking it all
On a dime
That faraway shore's
Looking near again
The only thing left is when
We know we should count to ten—
We haven't got time!
We haven't got time!
Table with a portable electric typewriter; FRANK is at a piano, pencil in mouth, manuscript paper spread in front of him.]
[CHARLEY types]
[FRANK picks out a phrase on the piano]
[CHARLEY types]
[FRANK plays the phrase, changing two notes]
[CHARLEY types a bit more energetically; the MARGIN BELL rings; HE returns the carriage, rolls it up, starts to read what he has written]
[FRANK changes another note]
[CHARLEY grunts in displeasure]
[FRANK tries another note]
[CHARLEY rolls the carriage down]
[FRANK tries another note, getting desperate]
[CHARLEY X's out what he has written]
[FRANK tries the phrase again, changes another note, finally slams his fist down in the bass and throws the pencil down in disgust]
[FRANK, spoken]
How's it going?
[CHARLEY, spoken]
Good. You?
[FRANK, spoken]
Fair.
[CHARLEY, spoken]
Yeah, tell me.
[The phone rings; FRANK answers]
[FRANK, spoken]
Chinese laundry
[MARY is at her desk, phoning]
[MARY, spoken]
Hi!
[FRANK, spoken to CHARLEY]
Mary!
[CHARLEY, spoken]
Say hello.
[MARY]
I think I got a job!
[FRANK, spoken]
Where?
[MARY, spoken]
True Romances
[FRANK, spoken]
Posing?
[MARY, spoken]
Thank you. Writing captions.
[FRANK, spoken]
What about the book?
[MARY, spoken]
What about the book?
[FRANK, spoken]
Nothing, are you working on your book?
[MARY, spoken]
Yes...
[FRANK, spoken]
Good.
[MARY, spoken]
No..
[FRANK]
Mary—!
[MARY, spoken]
Right, I know, yes, me and Balzac...
[She hangs up. They all resume work on their typewriters and piano.]
[ALL]
We'll all get together on Sunday
We're opening doors
Singing, "Here we are!"
We're filling up days
On a dime
That faraway shore's
Looking not too far
We're following every star
There's not enough time!
[The stage becomes alive with activity: CHARLEY being interviewed by an AGENT; FRANK playing the same bars of rehearsal music over and over while DANCERS rehearse; MARY meeting a musician on a subway. FRANK suddenly gets an idea, plays his phrase in the middle of the "rehearsal" and writes it down excitedly, then crosses, as do CHARLEY and MARY.]
[ALL]
We're opening doors
Singing, "Look who's here!"
Beginning to sail
On a dime
That faraway shore's
Getting very near
We haven't a thing to fear
We haven't got time!
[ALL THREE throw themselves simultaneously into activity; CHARLEY and MARY type ferociously while FRANK whistles and hums as he tries out a different vamp for his tune. After a bit, HE hits a chord triumphantly, turns, and looks over at CHARLEY as MARY picks up her phone and starts to dial.]
[FRANK, spoken]
How's it coming?
[CHARLEY, spoken]
Good. You?
[FRANK, spoken]
Done!
[CHARLEY, spoken]
One minute...!
[The phone rings; FRANK answers]
[FRANK, spoken]
Hamburg Heaven!
[MARY]
Hi!
[FRANK, spoken to Charley]
Mary!
[CHARLEY, spoken]
Say hello!
[MARY]
I got another job!
[FRANK, spoken]
Where?
[MARY, spoken]
Chic!
[FRANK, spoken]
What's that?
[MARY, spoken]
A brand-new concept: Pop-up pictures.
[FRANK, spoken]
What about the book?
[MARY, spoken]
What about the book?
[FRANK, spoken]
Did you give the publisher the book?
[MARY, spoken]
Yes...
[FRANK, spoken]
Good...
[MARY]
No...
[FRANK]
Mary...!
[MARY]
Look, I never—
[CHARLEY rips the paper out of the typewriter]
[CHARLEY, spoken]
Finished!
[FRANK, spoken into phone]
Let me call you back.
[MARY, spoken]
Right.
[SHE hangs up]
[CHARLEY, spoken]
This is just a draft.
[FRANK, spoken]
Right.
[CHARLEY, spoken]
Probably it stinks.
[FRANK, spoken]
Right.
[CHARLEY, spoken]
I haven't had the time to do a polish...
[FRANK, spoken]
Will you sing?
[CHARLEY, spoken]
Right!
(sung)
"Who wants to live in New York?
Who wants the worry
The noise, the dirt, the heat?
Who wants the garbage cans
Clanging in the street?
Suddenly I do
[During the following, JOE JOSEPHSON is wheeled in by his
SECRETARY [GUSSIE] and starts to listen judiciously, as GUSSIE
Waits behind the chair; FRANK and CHARLEY are auditioning for
Him; CHARLEY sings, as FRANK accompanies him]
[CHARLEY]
They're always poppin' their cork
(spoken)
I hate that line—
(sung)
The cops, the cabbies
The salesgirls up at Saks
You gotta have a real taste for maniacs—
Suddenly I do!
[JOE]
That's great! That's swell!
The other stuff as well
It isn't every day
I hear a score this strong
But fellas, if I may
There's only one thing wrong:
[To FRANK'S tune]
There's not a tune you can hum
There's not a tune you go
Bum-bum-bum-di-dum
You need a tune to go
Bum-bum-bum-di-dum
Give me a melody!
Why can't you throw 'em a crumb?
What's wrong with letting 'em
Tap their toes a bit?
I'll let you know when
Stravinsky has a hit—
Give me some melody!
Oh sure, I know
It's not that kind of show
But can't you have a score
That's sort of in between?
Look, play a little more
I'll show you what I mean...
[FRANK resumes at the piano]
[CHARLEY, overselling]
Who wants to live in New York?
I always hated the dirt, the heat, the noise
But ever since I met you, I—
[JOE, shaking his head, still smiling]
Listen, boys
Maybe it's me
But that's just not a
Hum-mm-mm-mm-mm-mm-mm-able melody!
Write more, work hard
Leave your name with the girl
Less avant garde
Leave your name with the girl
Just write a plain old
Melodee-dee-dee-dee-dee-dee...
Dee-dee-dee-dee-dee-dee...
[GUSSIE wheels JOE off. FRANK and CHARLEY stand
DOWNSTAGE dejectedly for a moment; MARY joins them]
[ALL]
We'll all get together on Sunday
They're slamming the doors
Singing, "Go away!"
It's less of a sail
Than a climb
That faraway shore's
Farther every day
We're learning to ricochet
We still have a lot to say
[FRANK]
You know what we'll do?
[CHARLEY, spoken]
What?
[FRANK]
We'll do a revue
[CHARLEY, spoken]
What?
[MARY, spoken]
What?
[FRANK]
We'll do a revue of our own!
[MARY, spoken]
What?
[CHARLEY, spoken]
Where?
[MARY, spoken]
Why?
[CHARLEY, spoken]
When?
[FRANK]
Not just songs, but stories
Scenes, piano pieces, mime!
[CHARLEY, spoken]
Yeah!
[MARY, spoken]
"Frankly Frank!"
[FRANK]
A showcase of our own!
[CHARLEY, spoken]
Where?
[FRANK, spoken]
The club's reopening.
[MARY, spoken]
We'll write a lot of new stuff—
[CHARLEY, spoken]
Rewrite old stuff—
[FRANK, spoken]
What about the girl?
[CHARLEY, spoken]
What about the girl?
[FRANK, spoken]
Only that we're gonna need a girl.
[CHARLEY, spoken]
Well, Mary—
[MARY, spoken]
Thanks, I don't perform except at dinner.
[TWO GIRLS hold rehearsal copies of music, ready to audition. The FIRST GIRL starts, singing shrilly and off-key as a pianist accompanies her]
[FIRST GIRL]
Who wants to live in New York?
Who wants the worry
The noise, the dirt, the heat
Who wants the garbage cans clanging in the street—
[FRANK, spoken]
Thank you for coming. Next eight, please.
[SECOND GIRL (BETH)]
They're always popping their cork
[FRANK, spoken]
Up a tone.
[BETH, spoken]
—The cops, the cabbies
The salesgirls up at Saks—
[FRANK exchanges a look of approval with MARY and CHARLEY]
[FRANK, spoken]
Up a tone.
[BETH]
—You gotta have a real taste for maniacs—
[FRANK, spoken]
Thank you. You're hired.
[BETH, spoken]
I'm Beth.
[FRANK, spoken]
I'm Frank.
[BETH]
I really thought I stank.
[MARY]
I'm Mary.
[CHARLEY]
Charley.
[FRANK]
By the way
I'm told we open Saturday
[CHARLEY, MARY, & BETH, spoken]
What?!
[MARY]
You're not serious!
[CHARLEY]
Nobody's ready!
[FRANK]
Apparently someone cancelled a booking
[CHARLEY]
The songs aren't finished
[MARY]
And what about costumes?
[BETH]
And how do I learn all these numbers?
[FRANK]
I'll bring you the copies of everything later this evening
[ALL]
We'll worry about it on Sunday!
We're opening doors
Singing, "Here we are!"
We're filling up days
On a dime
That faraway shore's
Looking not too far
We're following every star—
There's not enough time!
We're banging on doors
Shouting, "Here again!"
We're risking it all
On a dime
That faraway shore's
Looking near again
The only thing left is when
We know we should count to ten—
We haven't got time!
We haven't got time!
Go back to your search "I'm after a different kind of noise"
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