Robert J. Sherman Tells His Father's Tale in Excerpt from MOOSE

The first time we met Walt, it was to demonstrate some of the new material we had in mind for the Horsemasters

We only had a few days to prepare for the meeting, so Dick and I worked all weekend long

Only one song was required, but we really wanted the gig, so we wrote three

We wrote a fast song, a medium song, and a ballad, hoping that one of them would fit the bill

We got to the studio and found Jimmy Johnson in his office. When he mentioned how important it was that Walt liked the new song, he seemed nervous

Walt Disney? Were we actually going to perform for the man himself

As we left Jimmy's office, he said, Guys, just remember, Walt doesn't like to be called Mr. Disney

Dick and I decided not to call him anything at all. Walt's office suite was the last door on the right, up on the third floor of the animation building

but there was no sign on the door. It wasn't needed. At the periphery of our site was a

ceiling-high cabinet of trophies, a built-in chrome kitchen and bar, soft beige curtains

and an array of sun windows At the center of our focus was a man in his late fifties wearing an orange cardigan golf sweater He was comfortably seated behind not a desk but a low black lacquered table

upon which were piled an assortment of scripts, photographs, and animation cells. I thought

my God, he looks just like him. Jimmy introduced us. Walt stood, and Dick and I took turns shaking

his hand. He said, Yeah, Sherman Brothers. You are really brothers, aren't you? I suppose he was

trying to put us at ease. Walt continued. In vaudeville, most brother acts weren't really

related, you know. I responded, Well, we really are, Mr. Disney. Brothers, I mean. I was angry

with myself for having called him Mr. Disney. Abruptly, Walt's smile disappeared. Sit down

sit down. I want to tell you about this thing. He tapped loudly on his desk with two fingers while

he composed his thoughts. Then he began. Yes, this kid, well, these kids, Sharon and Susan

have never met each other until this summer at camp. Their parents split up when the girls were

babies each parent taking one child to raise They lived on opposite coasts not knowing they each had an identical twin you see We didn see What the hell was he talking about Where were the English horsemasters Where was Annette And where were our songs supposed to go

Who was going to break in and tell Mr. Disney he was talking about the wrong picture

We looked with hope toward Jimmy. His face had turned a shocking red

Finally, I took the bit into my mouth. Mr. Disney, we wrote a song for Annette Funicello

for the horsemasters. Walt said, mostly to himself, Why the hell didn't you stop me

He got up from his chair and walked toward a far door. Come on, let's hear what you got

It felt as though we were being led to a firing squad. Walt stood staring out a window with his back to us

There was a piano against the wall. Dick sat down with his back to Walt and launched into the first of our three songs

Dick contorted his neck, trying to sing, at least in profile, to Walt

The ten seconds during which Walt considered Strumman's song seemed to last forever

Not looking at us, but toward Jimmy, he spoke in an offhand manner

Yes, that'll work. That'll work? That all he could say It would have been nice if he were a little more complimentary After all we had slaved all weekend on that number Walt then told Tommy Wilk to give us a script of a film called We Belong Together

the working title of what was to become The Parent Trap. Since I spent all that time telling you about this one, Walt said

why don't you try to write a title song for it? Jimmy grabbed our elbows and pressed us toward the exit door

He said, Thanks, Walt. We departed with an over-the-shoulder, Nice to have met you, sir

Walt simulated a salute and grunted, So long, not even looking up from the open script on his desk

Dick and I were perplexed. We didn't even get to play the other two songs we'd prepared

Jimmy said nothing until we were all safely back on his turf, a whole building away

Guys, you were fantastic! I mean it! Fabulous! I just can't believe how great it went. This calls for a celebration

Dick and I weren't so sure, but Jimmy allayed our doubts. Hey, Sherman brothers, do you know what you've got

You've got a song in the Horsemasters and a title song assignment on the Hayley Mills feature

Jimmy jumped up and drove an invisible golf ball off a tee with an imaginary golf club

All you've got to do now is come through