Grace Of My Heart Script - Dialogue Transcript

Voila! Finally, the Grace Of My Heart script is here for all you quotes spouting fans of the Allison Anders movie starring Illeana Douglas.  This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of Grace Of My Heart. I know, I know, I still need to get the cast names in there and I'll be eternally tweaking it, so if you have any corrections, feel free to drop me a line. You won't hurt my feelings. Honest.

Swing on back to Drew's Script-O-Rama afterwards for more free movie scripts!

Grace Of My Heart Script



[Woman] My daughter will be singing

in the competition tomorrow evening.



- Oh, June Allison.

- Oh, Loretta Young.



Her late father and I

had such high hopes for her.



But she's determined

to try to be a singer.



- I suppose she has

some talent in that area.

- [Laughs]



It's such a relief you were able

to accommodate us 



by bringing

the dresses here today.



Thank you.



Oh! Mother?

This is it.



The perfect dress.



Mother, it's a beautiful dress.

But it's not for my figure.



A well-made dress works

on any figure.



Certainly, Mother.



You're so willful, Edna.



Just like my sister,

your namesake,



where in her wild youth,

she found herself in the family way.



Your father got her a doctor

and took care of her problem.



She hemorrhaged

and was scarred inside forever.



My mother made me swear I'd name

my first daughter after Edna,



- Who could never bear children

of her own.

- [Sighs]



Turn around, Edna.



We'll take

the dress she has on.



Mother, I can't sing

in a dress that doesn't fit.



Look at it.



The dress

fits the occasion.



It's you

who doesn't fit.



- [Sighs]

- [Sighs]




All right.



   [Woman Singing Scales]



   [Singing Scales]






  Said the Blues

ain't nothin'  



  But a woman

cryin' for a man  



  I said the Blues  



  Ain't nothin'   



- That is such a beautiful song.

It  Sorry.

- Thank you.



- What is it?

- Somethin' I've been

singing all my life.



Spiced up a little.




Boy, it's just, you sing it

like you really mean it.



What are you gonna sing?



Well, I signed up to sing

"You'll Never Walk Alone."



My mother says

it's universal.



She says the personal songs

never win.



- They make people dwell on themselves.

- Oh, I don't know about that.



But I do know it's more fun

to sing a song that you like 



than to try

to please everybody.



  Hey, there  



-   You with the stars

in your eyes  

- You know that?



- Rosemary Clooney?

-   Love never made

a fool of you  



- Yeah.

-   You used to be

two eyes   



I mean, sing a song

that you like.



And you got a stage,

an audience 



and a real pretty dress.



The dress

fits the occasion.



It's a real pretty dress.






  When she wants

some lovin'  



  I'm sure all you women

will understand  



She'll win.

She deserves it.



  Try to keep

your man happy  



  Although you find him

real hard to please  






- [Applause]

- [Announcer] Thank you, Miss Shelley.



And coming to the end

of the competing vocalists,



Number Nine,

Edna Buxton from Chestnut Hill.



She'll be singing

"You'll Never Walk Alone."






Uh, Miss Buxton

will be singing 



"Hey There."



"Hey There."






  Hey there  



  You with the stars

in your eyes  



  Love never made

a fool of you  



  You used to be

two eyes  



  Hey there  



  You on that

high-flying cloud  



  Though he won't throw

a crumb to you  



  You think someday

he'll come to you  



  Better forget him  



  Him with his nose

in the air  



  He has you dancing

on a string  



  Break it

and he won't care  



  Won't you take

this advice  



  I offer  



  Like a mother  



  Or are you

not seeing things too clear  



  Are you too much

in love to hear  



  Is it all going

in one ear  



  And out  



  The other   



[Applause, Cheering]



And finally,

first prize,



a recording contract

with McMartin Records,



goes to Miss Edna Buxton.



Let's give her a big hand,

ladies and gentlemen.



- [Cheering, Applause]

- Congratulations.



- [Traffic Noises]

- [Woman]   How can I reach you  



  When you're living  



-   In another world  

- [Man] What are you

going to be singing?



- [Edna] I'm going

to sing "In Another World."

- Who wrote it?



- I did.

- Oh, okay.

Go ahead, any time.



  If I could

just tell you  



  How my poor heart  



  Is breaking  



  Maybe you'd think twice  



  'Bout the road  



  That you're taking  



  Maybe you would look back  



  And change your mind  



  Maybe you would remember  



  Love you left behind  



  All I have

is the memory  



  Of when I was your girl  



  How can I reach you  



  When you're living

in another world  



  When you're living

in another world  



  Living in another world   



Yeah, um 



Thank you.

Uh, come on in.




Nice, uh, voice.



- Thank you.

- But the thing of it is, toots,

we already have someone 



- Someone just like me.

- Just like you.



- [Laughing]

- [Crying] Excuse me.



- Sit on the, uh 

- I'm sorry.



- Do you want, uh 

- That's my only copy.



- [Tape Flapping]

- Wait, it's ruining my song!



- Sit, sit, sit, sit.

- [Sobbing]



- Boy, you've been at this awhile, huh?

- I'm sorry.



It's just that, you know,

I came here    months ago.



Supposed to be

this big recording contract.



And I won this prize.

Just all a big publicity stunt.



Bunch of rats. Was it 

It was McMartin, right?



Yeah, it was.

It was McMartin.



And now I've been pounding

the pavement ever since,



only to be told that you just

already have someone like me.



You want me to, uh,

really burst your bubble?




Oh, sure. Go ahead.



You know, start bursting.



Well, not only do we all

already have someone like you,



but we all

are trying to get rid 



of the someones like you

we already have.



- [Both Laughing]

- Yeah, well.



See, the thing of it is, toots, the

Patti Page/Peggy Lee days, they're over.



- Yeah.

- Lady singers, they just don't sell.



Male vocal groups,

that's the ticket these days.



Yeah. You know,

I wrote it.



- It's very nicely written.

It, uh, really is.

- Thank you.



- Okay, I guess I'll just 

- Okay?



take my burst bubble

and just-just  I don't know.



- Sorry about that.

- No, that's 



- [Sniffles]

- You know, wait a second.




hold onto this.



- L-I have a stupid idea.

- Really?



Yeah. D-Don't hold

your breath or anything.



- L-I'll just see what I can do.

- Really?



- Yes.

- Thank you. [Laughing]



- Thank you.

- Very nice.



- Well, yeah.

- [Laughing] Thank you.



- There's really no need

to cry anymore, okay?

- Okay. All right.



- I'm sorry. Good-bye.

- All right.






  Oh, the Blues

ain't nothin'  



  But a woman

cryin' for her man  



  I said

the Blues ain't nothin'  



  But a woman

lovin' a married man  



Excuse me, miss.



  Lord, Lord, Lord  



  The Blues ain't nothin'  



  But a common

low-down heart disease  



  Yeah, yeah  



  Try to keep your man happy  



  Although you find him

real hard to please  



  Oh, yeah   



[Applause, Cheering]



- Hey.

- Oh, my God, it's 



-   Hey there   

- Yeah.



Hi, hi!

I tried to return the dress.



Oh  No, it looks good.

It looks good.



How's that big

recordin' career goin'?



Oh, it's really  Well, it's

not too swingin', actually.



Oh, I'm Doris Shelley.

This is Betty, and this is Sha Sha.



Hi, I'm Edna. You guys are swell.

You were really, really swell.



- Stop it.

- Um,



well, I just better go.



Oh, Edna, come back.

We play Tuesday through Friday.



Weekends are reserved

for him.













Oh. Joel Millner.



I been lookin' for you for months. Okay,

all weekend. You don't have a phone?



- No.

- Why don't you have a phone?

You gotta have a phone.



You can't make it in this business

without a phone. What are you drinking?



- A vanilla coke.

- That's disgusting.



Are you eating?

I'm buying.



Can we get service here?

We been waiting    minutes.



Hold on a sec.

I'm busy.



She'll have a grilled cheese

and tomato and onion rings.

I'll have a cheeseburger combo.



- Anyway, so your demo. That's the one.

- Yes. "In Another World."



- Nice voice. Great song.

- Thank you. I wrote it.



I know you did.

It was funny.



When I listened to it,

I thought how nuts it was 



for a gal to be singing

such strong material.



- Oh, I'm unfeminine now too.

- And that's what I like.



- Only 

- Only you have someone like me.



No, I don't think there's

another one like you in the world.



I manage a male vocal group

called The Stylettes. You heard of them?



- Yeah, sure. Yeah. Yeah.

- Yes? Yes? Good.



This song is perfect for their voices.

We could all make money.



- I bet you have other songs too.

- No, I'm planning

to record my own songs.



What do you mean? You're either

a singer or songwriter. Which is it?



- I'm both.

- Nobody's both.

You're either one or the other.



Well, I'm both.



The day will come again

when girl singers are top of the heap.



'Til the timing's right,

why not make a little money

writing songs for other people?



- You want me to sell my songs to you?

- Let me prove it.



I'll book a studio, right?



You can meet the fellas,

listen to them sing your song.



If you don't like it,

I won't bug you again.



Trust me. I'm Joel Millner.

I'm a nice Hebrew boy.



- Actually, my mother's Italian.

I'm from New Jersey.

- [Laughing]



- Can I be perfectly honest?

- Hmm?



You gotta change your name.



Edna Buxton. That's the worst

name I ever heard in my life.



Where are you from that would curse you

with a name like that?



- Philadelphia.

- Oh, ouch. Keeps getting worse.



Wait a minute.

The Buxtons of Philadelphia?



- Not Buxton Steel?

- Mm-hmm.



- We gotta do a little reinvention.

- Oh.



  Ooh, we, ooh  

[Snapping fingers]



  Ooh, we, ooh  



- Psst!

-   Ooh, we, ooh   



- Hey, kiddo.

- Hi, Joel.



- Come on in. Good to see you.

- Sure, sure.



Fellas, this is the young lady

who wrote your next hit.



I want to introduce

you all to  Denise Waverly.



Denise Waverly

from South Philly.



- You ever been to South Philly?

- No.



- She's an original. To rise outta

those slums, lemme tell you.

- Y-yeah.



- Denise  Waverly. Hi.

- Walter. Pleasure to meet you.



- Full service. Get your coat?

- [Laughing]



- I'm the maitre d'.

- Denise Waverly?

What's it all about, Joel?



-   Ooh  

-   All I have

is the memory  



-   Ooh  

-   When you were

my girl   



- Come on, man.

- Get him a lyric sheet,

somebody. Come on.



I know the lyrics.

That's just it.



- I know the lyrics.

- You know them?

I don't hear you knowin' 'em.



- I apologize, Miss Waverly.

- [Guys Laughing]



What you wrote here, being in love

with someone you can't have,



and you let 'em go

and have their own life  beautiful.



It's something that

happened to me before.



I know how personal it must be.

I don't want to invade your privacy.



- I just want to do the song righteous.

- [Laughing]



Uh, geez. I don't need

to hear any more, Joel.



Listen, the song

is yours, guys.



It's never happened

to me anyway.



I just made it up to pass

the night away, you know.



- Denise, we need a B-side.

What else you got?

- B-side?



Well, you know, I sort of write

for girls like myself.



- [Joel] We need somethin' upbeat.

- Upbeat?



Up-tempo? Okay.

Something  Hmm.



Something new for me, but okay.

Let's see what I can do.



- You get the same percentage as me.

- Okay.



But this is only until I can

record my own stuff, right?



- When I make my own record 

- Absolutely, when the time is right.



Read it

before you sign it.



Toots, my new

receptionist, Judy.



- Hi.

- Hello.



Now I want you to worry about

writing the songs.



I want personal ones

like "In Another World."



Now I am worried. What if I can't

just think up another one like that?



Keep your eyes and ears open.

Everyone is in pain.



Come on. I want

to show you your office.



You got a piano,

nice frosted glass, window, view.



Huh? You got a roof.



You put a plant here,

it's like you're in the country.



Okay, look at this. You could

pace back and forth if you're a pacer.



Hey, Monte!

How ya doin'?



You hear the sound?

You can hear airplanes, everything.



Good vocal sound.

You're frustrated? You schmuck!



- You don't like it?

- No, I like it.



- You don't like it.

- I like it. It's 



Well, I write songs

in the bedroom 



or in the bathtub

or on the fire escape.



That won't do, Denise.

You're a professional now.



I'm gonna let you in

on a secret.



This is where all the hits

are gonna be made from now on.



Right here. One scene,

all happening under one roof.



If you have your artists,

your songwriters, lead sheets office,



recording studio, studio musicians,

all in the same building,



you can have

a new hit record every week.



- [Cash Register Dings]

- Thanks, Roberta. See you tomorrow.



Hey, can I listen

to that for a sec?



- Come on, come on. Just for a sec.

-   How my heart is breaking  



Oh, my God,

it's "In Another World."



- Lady, can I listen to the song now?

- Why don't you buy the record?



Why don't you go buy it, lady,

if you can find it.



- I bought the last copy

at the record store.

- You're kidding.



She bought the last copy.



Oh, my God! Taxi!



   [Big Band Swing]



[Crowd Chattering,




- I didn't do it.

- L-I don't want to hear it.



I haven't! Sh 



Hey, Sha Sha.

Hey, Betty.



Hey, so where's Doris?



Oh, out back with him,



or it,

I should say.



- She's with Eddie again?

- He's a dog, girl.



Look, I mean it.

I mean it!



- Maybe I should go speak to her.

- Uh-huh.



- Talk some sense into her, Edna.

- Me? I'll do my best.



Did I just hear her

call you Edna?



Joel, what are you

doing here?



- Your name is Denise Waverly.

- I know.



What do I got to do

to protect your image?



If I got to introduce you to everyone

in this goddamn place as Denise Waverly,



- That's what I'll do.

- Okay.



- Oh, now I have to see this guy.

- What guy?



Joel Millner!

What are you doin' here?



What do you mean?

I'm always here.



What are you doing here? Never mind. Let

me introduce you to a real songwriter.



- Denise Waverly.

Denise, this is Howard Caszatt.

- Hi.



- A Village phony.

- Hi. Nice to meet 



Why are you

introducing me to him?



I'm introducing him to you,

a nobody to a somebody. Hey, Caszatt.



- What?

- Denise did something you'll never do.



- She wrote a Number One hit.

- Ooh, Number One?



Well, it will be Number One.

It's Number Five now.



It's Number    Joel.

Number   .



- [Joel] "In Another World."

You've heard it?

- You wrote that?



- Yes.

- That's cool.



I gotta go see a girl.




- Nice meetin' ya.

- Yeah, nice meeting you, buddy.



[Barking, Growling]



That is one

odd-looking woman.



Don't get any ideas, Caszatt,

That girl's got too much class for you.



- [Sobbing]

- Sweetie.



- Look, my 

- [Sniffling]



my manager's

out there tonight.



Joel. I told you

about him.



Just forget

about Eddie for a while.



Just forget about it.

Go out there and sing your song.






I'm okay.



I'm okay.



  Nobody knows  



  The way I feel

this mornin'  



Wow, Joel, aren't they

just the most?



They'd make

terrific backup singers.




Backup singers.



Thanks, Caszatt.

You're a doll.






- I really like that song

you did for the Stylettes.

- You really like it?



Well, it's

very commercial.



And, you know, even with

Negroes singin' it, it's very white.



-    [Continues]

- What?



Because it didn't deal

with the real nightmares,



like unemployment,

that cripple male egos.



Which, I suspect, is the true reason why

romance is so tortured for these people.



You were goin'

for a mass audience.



And the lyrics,

well, a little sentimental.



- I gotta hand it to you.

They really do work. They do.

- [Laughing]



If anything, it suffers most

from a shoddy arrangement.



So what exactly did you like about

my record? The thickness of the vinyl?






By the way, I did that shoddy

arrangement that you were describing.



- You're a horse's ass.

- Hey! Hey!



- What did you do to her, Caszatt?

- Nothing. She went nuts.






- I think she wants me.

-   I feel like

I could scream   



  He's a playboy

But I know one day  



  Across the threshold

He'll carry me  



-   You're dreamin'


-   I don't care  



  What the other girls say  



  One fine day

He'll marry me  



- [All Laughing]

- I'm dreamin'.



I didn't know

there was a solo there.



- She's dreamin'!

- She dreamin', all right.



- I kinda like it. Let's do it.

- Me too.



-   Ooh  

-   Across the threshold

He'll carry me  



  You're dreamin'




  I don't care

what the other girls say  



  One fine day

He'll marry me   



- [Sighs]

- That's nice.



- That was good.

- We good.



- Okay. Yes.

- Oh, Jesus.



- When he comes in, he wears

a wig, so don't mention it.

- It is a wig!



I'm not in the mood to meet anyone until

my fourth cup of coffee.



- You should know that.

- Okay, try and keep an open mind.



Coffee  coffee.

Coffee, coffee, coffee. I need coffee.



Come on.



Okay. All right.



Joel, just 

just sit there and listen.



- Hey. How ya doin'?

- Hi.



- Okay.

-    [Piano Intro]

-   He doesn't love me  



  But I love him so  



  Always thinking

of that boy  



  But he never

thinks of me  






  My heart's a toy

and like a little child  



  He breaks it

when he's through  



  He fools around

and he puts me down  



  But there's nothing

I can do  



- [Betty, Sha Sha]   Ooh  

-   I just live for

the moments with him  



-   Be careful  

-   His touch is soft  



-   And the lights are dim  

-   Watch out  



-   Oh, what a trance

he puts me in  

-   Ooh  



  I guess that I was born  



-   To love that boy  

-   She was born  



  To love that boy  



  I guess that she was born

to love that boy  



-   Ooh  

-   He's a playboy

but I know one day  



-   Ooh  

-   Across the threshold

he'll carry me  



-   You're dreaming, ooh  

-   I don't care what

the other girls say  



  One fine day

he'll marry me  



  I guess that I was born  



-   To love that boy  

-   She was born  



  To love that boy  



-   Love that boy  

-   I guess that she was born

to love that boy  



-   Yeah, yeah  

-   She was born

to love that boy  



-   I guess that I was born  

-   She was born  



  To love that boy   






That was great!

That was really great. Right, Joel?



Yes. Yes, it was nice,

real nice. Thank you.



It was great.

You guys were great.



- Thank you.

- You were great.



You can be so rude.



I can be rude? You dragged me here

before I had my caffeine.



- You know they were great.

- Great song. You are holding out on me.



Why did you save

your best song for girls?



I've told you I can't

sell girl singers. Not at this time!



I didn't save the song for the girls.

The song came from the girls.



- You didn't write it?

- Yeah, I wrote it,

but it's their story.



"Look around. There's pain everywhere."

Remember? I took your advice.



- That doesn't change the fact

I can't sell girl singers.

- Okay. Swell.



- So could you leave then

so I can go back to work?

- I mean, they're a mess.



I mean, they're cute,

but those hairdos.



- [Scoffs] Their hairdos?

- Those trashy, cha-cha high heels.



The cheesy outfits. Couldn't they

at least get matching dresses 



like the one the lead singer

obviously stole?



- Well 

- What's the name of that song?



- "Born To Love That Boy."

-   I was born  



- [Snapping Fingers]

  To love that boy  

-    [Humming Melody]



-   I was born

to love that boy  

-   To love that boy  



What a great fuckin' song 

Excuse my language. A great song!



- All right, I'll think about it.

- You'll think about it?



Think about it? It's in my system.

I can't get it out.



It was a great  Congratulations.

It was a wonderful song.



Thanks, Joel.




-   Girls tell me

he's a renegade  

-   He'll hurt you  



  And I know about

the games he's played  



-    [Continues]

- Oh, my God!



- Number three!

- [Screams]



- [Screams]

-   I guess that I was born  



[Both Laughing]



  To love that boy  



See this? You'll love that group.

Get in there.



- You hear this song?

- Yeah! "Born To Love That Boy."



You should go inside.



"The success of the Luminaries'

debut can only be attributed

to the savvy of Joel Millner,



"securing a record deal

for unknowns at a time 



"when female voices

are virtually absent from the airwaves.



"The heart and vision of this femme

phenomenon is songwriter Denise Waverly.



"Her haunting courage

to admit the failure, pain and flaws 



"in the people for whom she writes and

her contradictory mystical optimism 



"is both bittersweet

and affirming.



"The Luminaries are the great

vocal discovery of the year,



but the voice behind their

power is Denise Waverly."



- You just made that up.

- You think I could dream up

a review like that?



"Mystical 'opticism"'?



"Optimism." I will take a little

of the credit.



The reviewer, John Murray,

from Songwriter magazine,

he's a friend of mine.



- I've been telling him about you.

- What'd you say?



How I'm Miss Mass Audience, exploiting

the pain of the working class Negro?



I told him the truth 

that you're the best songwriter

in this joke of a business.



- Wow. Thank you, Caszatt.

- You're welcome, Miss Waverly.



What are you doing

around here anyway?



What, are you spying on us evil,

imperialist pop songwriters?



I have an office

down the hall too.



- What, are you

the janitor or something?

- Oh, ho-ho! That's funny.



- Listen, I wanted

to propose something.

- Mm-hmm?



- Would you consider

writing a song with me?

- [Laughs]



No, hear me out.

Hear me out.



We set a love song

in an underclass ghetto.






Two machinists fall in love

on the graveyard shift

at a plumbing parts factory.



Ooh, boy, you are

some romantic.



I think we'd make

a good team.



- Oh, is that so?

- Yeah.



I appreciate what

you're saying, I do,



but I wouldn't know the first thing

about how to save even myself 



with a song,

much less the world.



Besides, I don't intend

to write songs for much longer,



because I'm a singer

and I'm going to record my own stuff.



But I appreciate

the offer.



- Well  please keep me

in mind, Miss Waverly.

-    [Hits Piano Key]



Oh, I will, Mr. Caszatt.

I'll keep you in mind.







Well, don't you look nice.

[Chuckles] Oh, this old thing?



Okay, that's

enough of that.



The real test is after you're already

making out, so  let's practice.



Mmm. Mmm!



Oh, Howard.

Oh, Howard!



- Howard, stop that. Howard.

Howard, no, please 

- [Knock At Door]



Oh, Jesus. Okay.



[Coughs, Clears Throat,

















- [Denise Moaning, Grunting]

- Mmm.



-    [Humming]

-    [Piano]



   [Edna Humming]

No, you're fighting my melody.



-    [Both Humming]

-    [Piano]



- [Clears Throat] This is the melody.

- What do we got?



- All right.

- This is the lyric.



- Got a Negro couple

under a street lamp.

- No, a street lamp, my ass.



- They were on the fire escape.

- You're so literal.



We're making art. A street lamp

signifies the urban condition.



- Were you there?

- No, I wasn't.



- Were you there?

- No.



I was there, and they were

on the fire escape.



How about a fire escape

under a street lamp?



- That way, you get your realism 

- And you get your urban existential 



Hey, Betty. Here you go,

the new lead sheets.



- [Girl Sobbing]

- Who's that?




That's Annie, my niece.



- [Sobbing]

- She got herself into some trouble.



You dig? For love.



- She's so young.

- You're telling me! She's    years old.



- Does she have any family?

- I'm her family.



- [Annie] I just hate you.

- What's gonna happen to her?



I don't know, but I'm not getting her

out of this one.



Don't you have anything to say?

You're just standing there.



Don't you have

anything to say?



She doesn't know how to listen.

Trouble with girls these days

is they all think they're grown.



So the boy in our song is depressed.

Why is he depressed?



Because he's    he's a Negro, and

no one's gonna hire him.



No, no, no. He's depressed because he

knocked up his   -year-old girlfriend.



Anyway, it's her story.

It's not his story.



- That'll work. Yeah, all right.

- Really?



She's knocked up and he's a wreck

because he doesn't want the kid.



- He doesn't know how he's

gonna support the kid 

- And she was unwanted,



- Right.

- But she wants to keep the kid.



She wants a family.

That'll work.



-   How can I tell them

How can I explain  

-   Ooh  



-   All the love  

-   Love  



-   That I never had  

-   Had  



  I found in him  



-    [Piano Chord]

- Wait, I got this one.



- [Chuckling]

- He gave her his  child,



-    [Piano]

-   But wouldn't give her

his name  




  There's a 

There's a   



- Come on, that was good. Admit it!

- It was good.



-   There's a local game

where they  

-    [Humming Melody]



  Mention my shame 

Whisper my shame  




  They say he gave her

his child  



-   He wouldn't give her

his name  

- Ho-ho, Denise!



-   How can I tell her

How can I express  

-   Ooh  



-   How it felt  

-   Felt  



-   When he came to my room  

-   Room  



  And helped me

to undress  



-   Ooh  

-   What can she tell me

How can I believe  



-   That she really  

-   Really  



-   Didn't hear me cry  

-   Cry  



  When he wouldn't leave  



-    [Continues]

- The record company's under pressure 



from the churches

to pull the record.



That's great.

Controversy's good for business.



- Controversy is good?

You're out of your mind, Caszatt.

- It is.



These Bible thumpers are

putting pressure on the radio station.



If the record company pulls it,

that's it, no business. Get it?



Write a sympathetic song about

two kids who aren't married

and about to have a baby 



Between the two of you's, you kids

have no idea how the world works.



Maybe your friend

John Murray can help.



You're no stranger

to controversy.



I've been writing controversial songs

for the last five years.



Record companies wouldn't take a risk

on me, but, uh, that's me.



You know,

risk and controversy.



Denise, are you

also an advocate?



Yeah, we're

both advocates.






Um  hell, [Chuckling]

I just write pop songs.



Sure, but you realize,

of course, that no one else 



is writing pop songs

about unwed pregnancy, just you.



I was wondering, is it because of your

working class background 



that you feel free to examine these

very real, honest themes in your music?



Um  I can assure you my background

doesn't have anything to do with it.



I'm curious. You had a big hit last year

with "In Another World" 



that you wrote by yourself.



I was curious why you

decided to collaborate.



We met and hit it off,

decided to work together.






Well, I guess what he's

saying is basically true.



- Joel actually 

- Joel Millner introduced

us at Fernando's Blue Room up in Harlem.



He's the man

that we blame.



Is it a marriage

made in heaven?



No! We're not  married.

We're partners. We're not married.



I'm here right now with Denise Waverly

and Howard Caszatt 



who have written a very controversial

new song by the Luminaries.



- "Unwanted Number."

- "Unwanted Number."



- Available now.

- Thank you, Howard.



Voss-Beat Records. We certainly

are going to keep playing it here.



- Thank you, John.

-    ["Unwanted Number"]



- Wasn't l  I thought I was terrible.

- You were wonderful.



You were great, honey.

You were terrific.



I thought you were very

honest and straightforward

with everything you said.



- Oh, thank you. You helped.

-    [Song Continues]



- Can we take these off?

- No, take 'em with you.



[All Laughing]



- [John] Because I'm not gonna do it.

- Hi.



- Okay?

- Could I just give this to, uh 



- I'm not gonna say that.

- John? Yeah.



- What?

- Miss Waverly just dropped this by.



I'll call you back.



Denise! Hi.

So glad I caught you.



I didn't mean to drag you

from your work.



No, I can't think of

a more delightful way 



- To avoid a confrontation

with one of my writers.

- Ah!



- So what is this?

- Well, it's a toaster.

What do you think?



- [Laughing]

- No, it's  Pretty obvious.



Got these  I just wanted to thank you

for having us on the show.



This is amazing. I've been looking

for these for years.



I heard you say it on your show,

and I happened to be in the Village 



in this thrift shop, and I saw them,

so I got them for you.



- You like them?

- Thank you so much.






Well, l  I should get back.

Can't avoid this forever.






- Thank you.

- You're welcome.



- Howard?

- Hmm.



We should write

a wedding song.



What's the social




Oh, well, I wasn't thinking about that.

That's your department.



I don't believe

in marriage.



What do you mean you don't believe

in marriage? You're joking, right?



No. Why?



Oh, God. Come on.

You believe in it?



Marriage is

a bourgeois convention 



You honestly think a contract can

or should bind people to each other?



Why should modern affairs

between men and women be

modeled on an arrangement 



that was forced on people by the

church and state during feudal times?



Even then, it didn't work. Men were

bringing home syphilis to their wives.



- Well  I mean, I just

think that, you know,

- Hmm?



people taking vows

in front of other people 



- What?

- It's kind of beautiful.



I think that kind of

romanticism bullshit's 



what keeps people

in bondage.



Your friend John Murray's married.

He's not conservative.



- But  John Murray?

- Mm-hmm.



What  What is this  You have

a crush on this guy or something?



- No.

- Huh?



- You do. Look at you.

- [Laughing] Do not!



Forget about him, all right?

You're mine.



- Am I?

-   I know, girl

you were runnin' round  






[Phone Ringing,

People Chattering]



-    [Continues]

- You married him?



- [Joel Laughing]

- You told me to sign here, right?



- Just sign here.

- Joel, listen 



- I'd like you to meet 

- I know, the new receptionist.



Oh, golly, no. This lady here

is a new member 



of the Charny Music family.



I just signed

Cheryl and her partner.



First song they've written

is gonna be the Luminaries' next hit.



Oh, that's great!

That's great.



- Thanks.

- They could use a hit.



The last three songs we wrote for them

were banned from the radios.



It's funny, because in Europe

such bannings are never heard of.



- Really?

- I guess it's 'cause

we're far more freethinking.



- Yeah.

- Denise Waverly.



Cheryl Steed. Hi.



Well, if you need anything,

my office is just down the hall.



Thank you, and mine

is just next door,



- If you need me for anything.

- [Chuckles]



- [Chuckles] What?

- Uh, next door?



The front of the building.

You have windows. That's nice.



l  I insisted.

This place is so dreary.



- Mm, yeah.

- Hello.






- Howard, honey,

- Hmm?



this is Cheryl,



- And she's part of

the Charny Music family now.

- Charmed.



- Welcome.

- So just think of her like a sister.



Howard is my writing partner,

and he's also my boyfriend.



- Oh.

- Who's your partner?



Uh, Matthew.

He  He's my husband.



Oh! That's great.

Isn't that great?



- Oops!

- Oops.







- Joel will be next door.

- I'm just lookin'.



- Miss, uh, Waverly.

- Yeah. Welcome aboard.






- Adieu.

- Adieu.



- Whew! She's got

the cutest little  accent.

- I'll "adieu" you.



She's from Europe.



All I know is

I'm gettin' hot.



Cheryl, your husband's

   minutes late!



I know. But I called and they said

he's on his way. I think we should wait.



- Where is he?

- We have to wait for Matthew.

I can't start without him.



- Time is money and money

is time. Let's go.

- Come on, Joel.



I'm not waiting

any longer. Sorry.



- [Drumsticks Clicking]

- Let's put one down.



- I can't afford it.

- Okay, fine, but you're

laying it on a bit thick.



- Make sure the vocal is up high

so we can really hear the lyric.

- Yeah, I understand.



  Well, I met you

in December  




a winter's sky  



  I could tell

by the kissing

on New Year's  



  You were gonna

be my guy  



-   February, tapped me

on the shoulder  

-   Tap, tap  



  Turned around

and whispered in my ear  



Decided to come, did you?

We've been waiting two hours for you.



Joel's been looking at his watch.

The girls have been hanging around.



- Costs a fortune to keep studio time

when people are hanging around.

- Get off my back.



-   I do for you  

- Where were you?



I'm here now, okay?

Let's go to work.



- We are working, Matthew.

-   And now it's June  



  And we're gonna get married

the day you say  



  That I'm the one  



-   Ooo  

-   Do you make a promise that

we'll always be together  



-   I do  

-   I do  



Denise, what do you think?



I think it's a sure hit,

Joel. Congratulations.



-   I do  

- Excuse me.



-   Do you make a promise that

we'll always be together  

- Cheryl.



-   I do, I do  

- Thanks.



  Do you make a promise that

our love'll last forever  



-   I do  

-   I do  



-   Do you  

-   I do  



- [Humming]

-   Do you make a promise that

we'll always be together   



Okay, so I'm a boob. You

should've written that wedding

song. "I Do" is number four.



- Howard?

- Hmm?



You're not gonna believe this,

but, um  I think I'm pregnant.



No, you can't be.

I pulled out.



I went to the doctor today and, um 

Well, he's pretty sure that I am.



I just have to wait

and see if the rabbit dies.



- How long does that take?

- About a week.



Oh, shit.



- There is something else.

- What?



My name isn't 

Well, it isn't really Denise.







It  It's Edna.

Edna Buxton. Buxton Steel.



- That's my family's business.

- You putting me on?



You see, Joel invented the whole name

and the working class persona,



and I didn't know how to tell you

'cause you'd be disappointed.



Let me get this straight. You're

telling me that you're an heiress?



- Yeah.

- You're an heiress?



- Yeah.

- You're an heiress?



- Yeah.

- You don't look like an heiress.



That's nice. What's an heiress

supposed to look like?



Grace Kelly. That's funny. That's the

sort of woman I thought I'd end up with.



Someone with that kind of grace.

When we'd hit it off, it'd surprise me.



I thought my dream girl

would be blond, coy.



- Howard! [Crying]

- Oh.



- That's a terrible thing to say!

- Honey, listen. I'm sorry.



It's just I'm scared, that's all.

We don't have any money right now.



- If you have a baby, you're

not gonna be able to work.

- Yes, I can!



I can take the baby

to work with us.



Oh, yeah. The Brill Building.

That's a great place to bring up a kid.



It's not a bad place.

[Crying Continues]






What  What the hell's your name again?

Ethel? Effie? Alberta?



- It's Edna.

- Buxom?



- Edna Buxton. It's a fine name.

- Buxton? Well.



- Thank God the kid's gonna

have my name at least, huh?

- Caszatt. That's terrible.



[John] Songwriters Denise Waverly

and Howard Caszatt 



were married in a   -minute

civil ceremony in New York this weekend.



The couple are expecting

a child in October.



  You're hanging on

to dreams that

will never come true   



Hey, guys.

That was really terrific.



Um, on the bridge, when you get to the

"kid", you're cutting it off a little.



- Stretch it out.

Stretch "kid" out, guys.

- You can just 



Let it really come

to a natural ending, okay?



- Why don't you sit down?

You have my son in there.

- Okay. All right, sweetie.



- Let's make hit records. Let's start.

-   Heartbreak kid  



  King of sorrow  



  Blue today  



  Bluer tomorrow  



  It's all up to you  



  What will you do

Heartbreak kid  



That's a damn

good song, doll.



Keep this gal knocked up and

she'll make you a millionaire.

This is gonna be a hit.



- What?

- Her first since 



- Since she started

writing with me, huh?

- I didn't say that.



- Could you guys 

- I'll see you at home.



Howard, you can't just leave

during my session.



For God's sake, Denise,

concentrate on your work!



- Joel, Jesus, your tact

doesn't exactly help.

- My tact?



You blame it on me that

your husband is jealous of your talent!



He's not jealous. I mean,

I'm getting really fed up with the way 



- [Water Spilling]

- Oh! Howard!



- My water is breaking.

- What's happening?



- Cheryl, my water's breaking.

Get Howard!

- L, uh  I'm gonna be sick.



- Get Howard!

- [Joel] What's happening?



- I'm having a baby, Joel.

Please, get Howard.

- Dagmar!



- Howard!

- [Joel] Everybody out!



It's not an epidemic. I'm having a baby.

It is a perfectly natural 



- We gotta get you to the hospital.

- Guys, I'm really sorry.



- I'll get Howard.

- Guys, I'm sorry.



- [Screaming]

- We gotta get you to the hospital.



Geez, I know.

I know the  Cheryl.




Oh, God. What did I do here?



- [Sighs]

- What happened?



- I'm gonna have a baby.

- Now?



- Yeah.

- Oh, God! Come on.



- Okay. It's okay.

- Just do it like this.



I'll wheel you out.

It's okay.



   ["Heartbreak Kid"]



  He was the one  



  Second to none

in your eyes  



- [Laughs]

-   But you couldn't see  



-   What's turned out to be

a disguise  

- Oh, come on. She's asleep.



- Sweet darling.

- She's asleep.



-   She led you on  

- [Groans] Okay.



  She had you fooled

from the start  



- [Kissing]

-   And though she's long gone  



  Boy, you're still

playing the part  



- Oooh!

- [Chuckles]



-   Heartbreak kid  

- That's okay.



-   King of sorrows   

- Luma's got a pretty face.



This is where I work. And this is where

I come to work every day 



and I write pretty,

pretty songs with your daddy.



- [Coughing]

-    [Piano]



- Here's your Uncle Joel. You got her?

- [Joel] Yeah.



Now that your collaboration

with  Caszatt 



has taken a slightly

different direction,



I started lookin' around

this place for a 



Well, uh 

for an interesting, uh 



Look. I thought

maybe you two gals 



could try writing

a song together.



- Cheryl writes with her husband.

- I write with Matthew.



- How would Matthew feel?

- Matthew would be devastated.



I understand, but I don't see

why Cheryl's talent should

be exclusive to her husband.



- I'm sure she'd agree with you.

- There's a whole other set of problems.



Whoa, whoa, take it easy.

I'm not asking  This is no

"Et tu, Brute?" business.



There's no betrayal here.

It's an experiment.



If you guys combine,

if you combust, we ignite, we go.



- [Both Disagreeing]

- [Whistles]



Now the first assignment 



is to come up with something

for Kelly Porter.






- No, Joel. No.

- [Laughing]



- Kelly Porter, the ingenue. No.

- Kelly Porter, yes.



- "Dring Dring. Are you home?"

Kelly Porter?

- She ran out of hair spray.



- [Laughing] Here. Have it.

- She's home getting her hair done.



I'm glad you're

so enthusiastic.



[Sighs] Well, I'm gonna split in

ten minutes because this is, you know 



- Waiting here for how  how long now?

- Cheryl, patience, patience.



- My God.

- Oh, look. Look.



She seems upset.



- Oh. Hi. Hi.

- Hi.



[Denise] Let me talk first

when she gets here.



- Hi.

- [Together] Hi.



- Sorry we're late.

- Hi. Oh, I'm Marion.

I'm Kelly's roommate.



- Marion. Denise. Uh, Cheryl.

- Cheryl Steed.



Hi, I'm Kelly Porter.

So nice to meet both of you.






Okay, so you have

your meeting.



I'll make your reservation.




Yeah, that'll be swell.




So, uh 



Gosh, I'm honored that

you'd consider writing a song for me.



- Oh.

- I mean, people have, you know,

certain ideas about me 



that are created by my publicist

and this TV show that I do.



They really have no idea

who I am or what my life is like 



or what I go through 



[Crying] with the person I love.







- You know, boy problems

are always hard.

- [Sobbing]



I wouldn't know.



Sorry, I'm fine.



Now, I read that Johnny Crawford

gave you a puppy for your birthday.



- That is so fabulous.

He's such a dream boat.

- Trust you to read that.



- He is very good looking.

- He's very nice. He sweats a lot.



- Oh! Hi.

- Hi, Marion.



- I'm here. Are you ready?

- Yeah, sure.



- I mean, I think I am. Aren't I?

- Yeah, I think we 



- Got a great sense of who

you are, what you're about 

- I've got some ideas.



- And we're gonna write you

a terrific song.

- Wonderful.



- Call me if you have

any kind of questions.

- Bye, Kelly and Marion.



It was nice to 



- [Both Laughing]

- I don't believe it.



- Oh, my God.

- What?



It's my breasts. My milk is leaking.

It's Luma's feeding time. I gotta go.



I'll see you back at the office

in a half an hour. Sorry. I

gotta feed her before I burst.



- Yes, but l 

- Wait 'til I tell Howard.

He's gonna die.



Hey, Howard. Kelly Porter. Boy,

she's not the square we thought she was.






Oh, my 

Come here, Luma.




Oh, my God.



- Honey, let me explain.

- Explain? Just stay.



Both of you.

Just stay.



[Luma Crying]






- [Cab Driver] Where

do you wanna go, lady?

- I don't know.



- Can we just drive for a bit?

- Sure.



  My secret love  



[Speaking Dramatically]

  You and I

We are like spies  



  In the house

of holy love  



  We are actors

in a heartless play  



  I smile my smile

and play my part  



  And forever hide

my lonely heart  



  My secret love  



-    [Fades]

- Kelly, it sounds good, but the

key to the song is the build.



And you can be dramatic

as long as it's truthful. Okay?



Guys, I know there's a lot

of chefs in the kitchen here.



Let's just try and get a great take,

and groove, all right? Let's start.



[Snaps Fingers]

Roll tape.



Oh, Larry,

you're so manly.



  Love has never

been easy for me  



  Can't you see  



- It's better already.

-   I have always

been lonely  



- I think you did a good job.

- Hey, we did a good job.



- Yeah.

- Joel was right.



- Well, for God's sakes,

don't tell him that.

- No. Don't.



  Girls like me  



  Have to hide

our hearts away  



-   If only we could

live one day  

- Cheryl?



- What?

- I'm pregnant again.



- What?

- Yeah, I'm pregnant again.



Really? But  I thought you said you

were using a diaphragm.



[Laughs] We never used it.

It's on the ceiling.



  They'll destroy us

if they can  



-   Say we were struck down

by the hand  

- What do you wanna do?



What can I do? Howard's not even around.

I gotta raise Luma. It 



I feel like

I don't have a choice.



  And keep our disguise  



  Stand by our lives  



He's in  he's in Pennsylvania

and, uh 



he'll only

charge you $   .



He'll give you anesthesia, a shot of

penicillin and you get a night's rest.



If you're gonna do something,

do this. Don't go to one of

those doctors in Spanish Harlem,



unless you wanna end up bleeding

to death in some elevator shaft.



  I refuse  



  I'd sooner die than tell  



  I'm under your sweet spell  



  My secret love  




I owe you one.



I think we got

a hit record here, girls.









What do you say we go get

a drink after the session?



I know a really nice place.



- No, thank you. No.

-   Can't be sure

that we won't be heard  



  Like Romeo and Juliet  



  They will chase us

to our death  



  Then voice

their false regret  



  The liars   



I couldn't  I couldn't

keep this one. I'm sorry.



  I can't believe it's over  



  Although I know

it's true  



  How could this happen

to me and you  



  It happens to other people  



  Somehow their lives go on  



  What will I do now  



- Come on, Emily. Let's go.

-   That we're through  



- Hi.

- Denise!



Oh, my God. John.




This little redhead yours?



- Yeah. Is this your little girl?

- Yeah.



- Hi.

- Come and have a seat.



Hey, sweetie.



She's adorable.



Uh, we, uh  we're just gonna meet her

brother on the other side of the park,



but she made me stop

and wait.



Like a woman.




How's your little girl getting

along without her daddy?



Uh, you know.



- She sees Howard every weekend,

he and the new wife.

- Yeah.



But he's crazy

about her anyway.



- She was never really the problem.

- Yeah.



Still, divorce

is tough on a kid.



That's kind of a conventional notion,

don't you think?



- Well, I'm kind of

a conventional person.

- [Chuckles]



  We can't predict

the future  



  We can't undo

the past  



  But it won't always

hurt this bad  



Well, you know,

I've got friends 



- And just try and

keep busy, you know.

- Mm-hmm.



- How's your wife?

- Oh, well, she's holding up.

She  [Clears Throat]



She doesn't get out much.

She won't hire a baby-sitter, and, uh 



She doesn't feel comfortable

leaving them,



- So we don't have much social life.

- Oh, you're kidding.



  Love doesn't ever

fail us  



  We've got it

turned around  



I gotta get Luma. I gotta get to work.

I got a lot of stuff to do.



- It was great to see you.

- It was great seeing you too.



- Maybe we should plan it next time.

- [Sighs]



  Girl, it was us  



-   Who let love die   

- You look great.



- [Girl] Hi.

- Don't eat the burnt part.



Oh, Annie, Jesus, thank God you're here.

Here you go, butter 'em up.



- Denise, it's only  :  .

I'm ten minutes early.

- I know, but 



You know, there's a new

invention called pantyhose that

make your life a lot easier.



- Oh, keys, keys, keys!

- Keys, keys.



Oh. Okay, she's got a little cold. Make

sure she wears a sweater. Bye, sweetie.



Eat your breakfast.

Be good. Ooh.



Your coat!

Your coat!



Oh. Annie, I'm gonna

be home a little late, about  :  .



- Bye.

- Leaves early. Comin' home late.



Smells like there's a man

in your mama's life, Luma girl.



Oh, John.

I don't 



I don't need a friend.

I mean, I have friends.



- Yeah.

- I mean, you'd be

a wonderful friend, really.



- It's just that 

- Yeah. I know.



You know. Gosh.



I'm sorry. Maybe we should go,

or something.






How do you look

without those glasses on?



I've seen it happen, Edna.

He gives you nothing.



Didn't your mother ever teach

you Rule Number One?



Don't fall in love

with married guys.



No, that wasn't part of the breeding.

Sex  never discussed.



You haven't written a song

since you got caught up with this guy.



He's made you forget about yourself,

your work, your dreams,



so you could plan your life

around his timetable.



He hasn't made me do anything.

For the first time in my life I

love someone without conditions.



- He's costing me money!

- He's gonna inspire me so much,



I'll write you

a dozen hit songs.



Yeah, sure.

When he breaks your heart.



No, thank you.



Uh, new receptionist,




How are The Beatles

gonna put us out of a job?



They write their own stuff and every

group coming up from England now 



is following that trend.



Well, what are you gonna do when there's

no need for Songwriter magazine?



Oh, probably start a little fanzine

for Denise Waverly on the west coast.







Are you moving?




Not that I know of.



Oh, but you could, right?

You could move away.



With your family. Just move away so

I'd never see you again.



A safe could

fall on my head.



Look, I'm not gonna

disappear on you.



[Tammy Lee]

  You said you'd stay  



- Hey.

- Yeah.



  Here by my side  



-   The truth is you lied   

- Let's wash the doll.



[John] That was little Tammy

Lee with "Truth Is You Lied"

written by Denise Waverly.



You're listening to the RCA Songwriters'

Hour on WKEE. I'm John Murray.



One more show and I'll be

transplanted to Chicago of all places.



- But we hope you'll continue

to stay tuned to WKEE to hear 

- Mommy.



the very best songwriters showcased

such as Denise Waverly 



whose life is every bit

as inspiring as her work; amazing stuff.



You wanna cut a record?



- Cut it out, Joel.

- I talked to Red Bird today.



They'll sign you

for one single.



I don't have a song

to sing.



For five years you've been

buggin' me to let you record.



I would've thought that you'd been

saving up material for this day.



No, contrary to what you always

suspected, I never held out on you.



That's my girl. So write something.

Isn't that what I pay you for?




Yeah, write something.



I don't 

I don't know.



He hasn't made me do anything.

For the first time in my life I

love someone without conditions.



- He's costing me money!

- He's gonna inspire me so much,



I'll write you

a dozen hit songs.



Yeah, sure.

When he breaks your heart.



No, thank you.



Uh, new receptionist,




How are The Beatles

gonna put us out of a job?



They write their own stuff and every

group coming up from England now 



is following that trend.



Well, what are you gonna do when there's

no need for Songwriter magazine?



Oh, probably start a little fanzine

for Denise Waverly on the west coast.







Are you moving?




Not that I know of.



Oh, but you could, right?

You could move away.



With your family. Just move away so

I'd never see you again.



A safe could

fall on my head.



Look, I'm not gonna

disappear on you.



[Tammy Lee]

  You said you'd stay  



- Hey.

- Yeah.



  Here by my side  



-   The truth is you lied   

- Let's wash the doll.



[John] That was little Tammy

Lee with "Truth Is You Lied"

written by Denise Waverly.



You're listening to the RCA Songwriters'

Hour on WKEE. I'm John Murray.



One more show and I'll be

transplanted to Chicago of all places.



- But we hope you'll continue

to stay tuned to WKEE to hear 

- Mommy.



the very best songwriters showcased

such as Denise Waverly 



whose life is every bit

as inspiring as her work; amazing stuff.



You wanna cut a record?



- Cut it out, Joel.

- I talked to Red Bird today.



They'll sign you

for one single.



I don't have a song

to sing.



For five years you've been

buggin' me to let you record.



I would've thought that you'd been

saving up material for this day.



No, contrary to what you always

suspected, I never held out on you.



That's my girl. So write something.

Isn't that what I pay you for?




Yeah, write something.



I don't 

I don't know.



I just  I don't think I have

anything left inside of me, you know.



- It's just gone.

- Let me tell you somethin'.



Are you listenin' to me?

This bullshit you're wallowing in 



is happening

outside of yourself.



If you could just pick yourself out

of the crap, you'll realize that 



Mr. Married Guy let you down,

not your talent.



Don't let these other bastards

get you down.



- [Sighs]

- Come on.



I have the perfect producer

lined up.



- [Laughs]

- Come on, sit up.



This guy, he's the new "hit-maker"

genius, the next "wunderkind."



- Phil Spector?

- Phil Spector, history!



Shadow Morton?

Shadow Morton?



This guy's no Liberace,

who I feel is valid in his own right.



He's an Einstein

in the control booth. He's a wizard.



Direct your eyes right here.



  Take a run at the sun  



[Reporter] While The Beatles

and The Byrds are both at work on 



what are being termed "concept albums",

teen favorites, The Riptides,



are also changing directions.



Oh, Joel.



Jay Phillips, the one on the guitar.

He's the brains behind the band,



- And the wizard behind your next hit.

- On their last album,



Jay Phillips caught

the critics' attention 



when he added orchestral instruments

into their popular surf sound.



Surf and turf stuff.

[Laughs] That's not my thing.



[Reporter] It seems this was only

the beginning of Phillip's imagination.



- Tell us what we can expect

from this new record.

- [Chuckles]



Well, I really don't know

what to expect myself.



I'm kinda  just gonna sort of

let the album dictate itself to me.



But I can guarantee it'll be

different from anything you've

heard from The Riptides before.



Very, very talented.

Very sweet.



A little out there.

He's from California.



Is there any particular theme

or subject stringing it all together 



like some of the other

concept albums being recorded now?



Childhood. Innocence.



How a kid looks at things. How a kid'll

make up a song so the lyrics 



don't always make sense to, uh,

[Chuckles] adults.



Kids are cool.



- Can you give us an example of a lyric?

- He's not so bad.



I heard Lennon wrote a song

about a walrus 



and McGuinn wrote a song

about a spaceman.



There's a thing in music now

where you can write a song about 



You can write a song about anything at

all, not just a protest or love songs.



On this new album, I'm into

writin' songs like kids do when

they're singing to themselves 



- Or playin' in their yard.

- [Laughs] Sounds pretty far out.



Yeah, far out.



The world's waiting, Jay.



[Joel] Listen, I want you to

seriously think about this.



- Hmm.

- Hear what I said?



- [Rattling]

- Sorry.



So, I'll just 

It's been a while.



- Sure.

- So, I'll just  Okay.

Let's just go for it, okay?






  Now I have nothing  



  So, God

give me strength  



  'Cause I'm weak

in his wake  



  But if I'm strong  



  I might still break  



  And I don't have

anything to share  



  That I won't throw away

into the air  



  That song is sung out  



  This bell is rung out  



  He was the light

that I'd bless  



  He took my last chance

of happiness  



  So, God

give me strength  



  And, God

if he'd grant me  



  His indulgence and decline  



  I might as well  



  Wipe him from my memory  



  Fracture the spell  



  As he becomes my enemy  



  Maybe I was washed out

like a lip print

on his shirt  



  See I'm only human  



  I want him to hurt  



  I want him  



  I want him to hurt  



   [Piano Continues]



  Since I lost the power

to pretend  



  That there could ever

be a happy ending  



  That song is sung out  



  This bell is rung out  



  He was the light

that I'd bless  



  He took my last chance

of happiness  



  So, God

give me strength  



  God, give me strength  



  God, give me strength  



  God, give me strength  



  Give me strength  



  Give me strength  






  I need strength   









What a sad song.



- [Sighs]

- Sad song.



[Clears Throat]

Well, it's a little melodramatic.



Oh, no.

It really moved me.



I think we should try to 

I think we should try to make it big.



I don't expect it

to be a big hit.



No, no.

I mean, big sounding. Big.



- I'm hearing all these things,

it's strings or something.

- [Laughs]



  Indulgence and decline  



  I might as well  



  Wipe him from my memory  



  Fracture the spell  



  As he becomes my enemy  



All right, okay, let's stop.

Okay, stop! Enough! Stop!



- Is he always like this?

- Yeah, he is.



- It needs a little bit more bite,

- I like it.



so between bar   

and    pizz.



I want you to play pizz

on bar two and three. Yeah.



And what are you doing

over there? You're like

stirring oatmeal or something.



I need you to 

Is everything all right?



I need you to really pop this thing

like  Really give it a  a snap.



This is rock 'n' roll.

Okay, this is a pick up from, uh 



from bar    okay?



What the fuck

is that drummer doing, man?



-   I was washed out

like a lip print on a shirt  

- Holy shit. Fuck.



  See I'm only human

I want him to hurt  



Yeah, that's it.



This is the board. It's got all these

cool EQs and knobs 



that do all these

far out things.




Hey, hands off the console.



- Are you digging the work?

- Oh, yeah.



- Hey, man, get up.

- I never had any idea how much

you got involved in the work.



- All the arranging and

producing is really wild.

- Yeah.



- Almost finished

with your first single.

- [Chuckles]



- Denise Waverly's

first single.

- I can't believe it.



I mean  Listen, we should do something

really cool to celebrate.



Yeah, yeah.






Can you stay here

tonight with me?



Um, yeah.

I'd like that a lot.



I mean, I gotta get home

at some point. I got a kid.



But, uh 



-   He was the light

that I'd bless  

- [Camera Shutter Clicks]



  He took my last chance

of happiness  



  So, God

give me strength  



[Denise] I don't know. Maybe I put too

much of myself in the song.



The whole game's changed now, kiddo.

Everyone's writing their own material.



And now with Betty checked into

Lexington and Sha Sha getting married,



that pretty much puts an end

to The Luminaries.



I gave Doris some leads

on session work out in Los Angeles.



Have you, um  you know, have you

thought about what you're gonna do?



- Well, with Matthew dumping

Cheryl, I thought maybe 

- You and Cheryl?



Nah. Nothing's going on with us.

It's strictly business. You see?



She was a married lady

and l  I don't mess around.



Geez, does she know how you feel.

I mean, do you have a plan?



I'm gonna ask her

to marry me.







Maybe you should, you know, ask her

out for dinner and a movie first.



You think that's a better

idea, huh? Oh, well.



Yeah. I do.



Why don't you level with me?

"God Give Me Strength" broke you, right?




Get out of here, huh.



You're just like a woman to think

she's the ruination of a guy.



Look here.

You made me, Denise.



I was the laughing stock of this town

before you wrote me my first hit 



a-and my second,

and how many since?



See, you forced me to take 

chances I would've never had

the guts to take alone.



You made me, kiddo.



  Absence makes the heart

grow fonder  



  How I miss him

when he wanders   






[Denise] Hey, Luma!

Hey! [Laughing]



Oh, Jay. You're very bad, you know.

You said you were gonna buy her a puppy.



- You didn't say you were

gonna buy her two puppies.

- I know.



She couldn't make up her mind, and she

looked so adorable holding them both.



It so adorable. Edna. I'm gonna

have to call you Edna from now on.



You know, sometimes when I look at you,

I see you way in the future 



as this amazing old lady who's done

all this really far out things.



- Mm-hmm.

- But you don't see that.

What's it gonna take for me 



to get you to see

your spark?



[Theremin Blaring]



  It's never been

this hard  



  The feeling

taunts me now  



  Just me and you  



  Me and you  



  They all know I'm happy  



-   They don't like good things

Chewing and waving  

-   It's sad to be alone  



-   Come on, make a new sound  

-   I'm too, too low

being sad  



  What's wrong

with liking good things

Chewing and waving   



[Theremin Blaring]



[Theremin Stops]



[Sighs] Well, I'm wondering how we're

supposed to do that live?



Where are the cars? Where are

the surfboards? It's not The Riptides.



I'm not singing

that stuff.



- Brian, anything to add?

- [Brian Chuckles]



I dig the theremin

at the end. It's cool.



- He likes the theremin.

- It's great, man, come on.



Wow. That's great, man.

Everybody's really fucking happy, huh?



- [Sighs]

- It's great, baby.



- [Tape Flapping]

- [Engineer] It's great.

How can you not like that?



- I thought you guys

were a little harsh.

- What's it all about?



- The future, man.

- The future?



- What is that supposed to mean?

- You gonna sing about surfboards

the rest of your life?



- It's a metaphor.

- A metaphor for what?

Is it psychedelic?



- Ever heard anything like that before?

- No.



- I liked it.

- I hated it.



Luma, I love that one.

I'm gonna put that one on the fridge.



What about mine?



I don't know

if I'll put yours up.



Edna, man, who was down

at the studio, man?



My tapes. Somebody fucked

with my tapes, man.



Jay, no one's been in the studio.

We've been here all day.



These boxes

are empty!



- Somebody was in the studio.

- No one was in the studio.



Somebody took my tapes.

Somebody fucked with my tapes, man.



- If they didn't like the song 

- Would you calm down?



Don't tell me, Edna!

What do you think I am?



Jay, I don't even go

in the goddamn studio.



What happened to the tapes?

They're not in the studio!



- Annie, get the kids.

Take them in the house.

- Come on.



Go ahead, protect them! Who's lookin'

out for me and my fuckin' songs?



You were talkin' and kissin' ass with

those three fuckin' morons.



They're not even in my band.

I write all the songs.



- I taught 'em how to play

every fuckin' instrument.

- Would you please stop now?



Fuckin' empty, man!

Empty! Zilch!



They're missing!




For chrissakes, Jay!



I got my eye on you.



All right, Jay.






[Door Opening]




Secure all windows, all doors.



All access into the house

is to be taped and wired.



Now, down here

we got the studio.



We got an intercom 



running up

from the studio.



Run your wires

down along the steps here.




What about these skylights, man?



We're puttin' 'em back in

as soon as we run our wires down.



I mean, somebody could

come up on the roof.



- Oh, you want to secure your skylights?

- Hey, baby.



- You could put bars across them.

- Good morning, Jay.



- Jay?

- Good morning.



Sweetie, um,



what's, uh, going on?



- Fortification.

- Hmm?



- Um, this gentleman here

is a security expert.

- Ah.



From now on, no one will

have access to this room 



except for you and me.



- That's it.

- Okay.



Uh, sweetie,

I'm gonna go see Cheryl.



- I'll see you later. Okay.

- Groovy.



Listen, man, how about

some guard dogs or somethin'?



- [Man] Dogs are good.

- [Jay] Yeah, we got these puppies 






- You need some  Yeah?

- What is this?



Those are my tapes.

I found them.



You need some Dobies

or some rottweilers. Somethin' big.



- Jay, the lost tapes?

- Yeah.



[Man] I could put a perimeter system

right around your board there.



  We danced

in the sand  



  And the water rose

higher and higher  



I gotta say, you know,

seeing you and this,



I really miss 

I miss the work, I really do.



If you're really interested

in doing something again, I'll

introduce you to the producer.



- Really?

- He's desperate for people to write.



They need songs every week.

I'm inundated.



- I'm overworked at the moment.

- [Laughing]



I gotta tell you, you know what?

I would really love it.



[Cheryl] You're too good

for this stuff, but 



[Jay] It's great. Your mom is gonna

be proud when she sees this castle.



- Hey, what's this? A sand castle?

- Hey, Mom.



- It's a sand fort.

- Oh.



It's a fort.



Listen, I've got some great news.

I got a job today.



- You got a job?

- Uh-huh.



- A job? Really?

- Yeah.



Doing what?



Well, you see, Cheryl's

friends with the producer,



and I'm gonna be doing

the only thing I know how to do.



I'm gonna be

writing songs.



That's not the only thing

you know how to do.




an artist.



You wanna see

something cool, Luma?



Well, Jay, the artist in me is gonna be

writing songs for "Where The Action Is."



"Jay, the artist in me is

gonna be writing songs 



for some pop bubble-gum show,

Jay, and I'm really excited about it."



- I mean, will you listen to yourself?

- What?



You don't need a job.

You have money.



And if you're not gonna use it

to develop yourself as an artist,



then get rid of it.



Throw it away!

Throw it in the fucking ocean!



All right, Jay,

I'll get rid of it.



But you know what?

I gotta report to the set in an hour.



You wanna wish me luck?



Denise, the only thing

I wish for you 



and I really, sincerely mean this 

is that you are fired.



That's nice.



I mean that for your own good.

You are doing yourself a disservice.



That's great, Jay.

Thanks. Thanks a lot.



I love you!



- I'm gonna do something.

- Watch it.



   ["Groovin' On You"]



-   I've been groovin' on you

for an hour or two  

-   An hour or two  



  Thinkin' of a way

I can get to you  



Come on, girls, this is meant to be

upbeat, not uptight!



Get happy!



  How can I get  



-   Through to you  

-   Before the

other girls do  



-   How can I get  

- [Cheryl] Yeah, yeah, yeah, see?



  Through to you  



-   Before the

other girls do  

-   How can I get  



- What?

- What?



No, it's good.

It's good.



-   How can I get  

- [Sighing]




  I see his eyes  



  In the water blue  



  I see his hair  



-   In the glowing sunlight  

- Jay?



  A vision clear  



- Luma?

-   Calling me near  



  In Bermudian waters

Oh, so clear and cold  



- [Crying]

- Annie, open the goddamn door.




Annie, what the hell is this?



- Okay, what is happening?

- Your man flipped his lid.



Only this time,

he lost the kids.



- Jay?

- Yeah, Jay.



He took them to the museum

and he came home without them.



- Have you called the police?

- Yes, I called the police

and the kids are okay.



They found them hiding in

some old ice cream truck in the museum.



Okay, fine.

Why didn't you call me?



You were on the set!

I couldn't reach you!



All right.



Oh, and by the way,

he lost my child too, Denise.



- I understand, Annie.

- No, you don't.



Where is Jay?



He just tore up the place and

dragged the mattress into the studio.



- Okay, he's fine.

Let me go speak to Jay 

- Yeah, yeah.



Go speak to your man,

'cause that's what you need to do.



- Don't you dare, dare

speak about Jay like that.

- Go deal with him!



- [Door Opening]

-   I see his lips  



-   In the coral  

- Jay?



My mother, she used to, uh 



- She used to sing this song

when we were kids.

-   In the water blue  



She had big eyes,

like you.



Jay, knock it off.

You lost the kids.



Do you understand

that when you come home,



you have to have

the kids with you?



- Do you understand that?

- I mean, we were playing.



We were at the museum.

We were playin'. We were havin' fun.



Do you know that Howard is

gonna be calling any minute,



and he's gonna want to speak to Luma,

and what am I supposed to tell him, Jay?



- What am I supposed to tell him?

- One minute they were there.



One minute

they were there?



- And the next minute they were 

- You would like me to say 



that one minute they were there,

and the next minute they were just gone.



- Is that it, Jay?

- [Lid Slamming, Needle Scratching]



- [Knocking]

- [Annie] Denise, the cops are here.



Oh, Luma,

come here, sweetie.



- Did you have a little adventure?

- Thank you.



- Thank you very much, officers.

- You're welcome, ma'am.



- If I was you, I would be

so furious with him.

- What am I supposed to do?



People want you to promise

through sickness and in health

and make that commitment 



and then they want you to

check out the minute there's a problem.



Well, I can't do that.

I'm his wife.



And what, am I supposed to walk away

from him now that he's in trouble?



Can't do that.



Would he walk out on me if

I was falling apart?



No, of course he wouldn't.



Well, if you won't leave him

then you'd  You'd better help him.



I don't know

how to help him.



Well, I'd get him

a doctor.



I hate doctors.



Okay, artist in crisis.



- That's why people call me.

- Look, look, look, Doc.



He's been holed up in that studio

for three weeks 



without bathin'

or talkin' to anyone.



I don't mean to minimize

Jay's state.



I apologize.



Are you fearful that you,

or your loved ones, are in danger?



No, he'd never hurt,

you know, me or Luma, no.



Do you believe

he's using narcotics?



Well, I mean,

he smokes a little grass 



- And, you know,

he does some psychedelics 

- Mm-hmm.



and mushrooms and peyote.



- But he's down on hard drugs.

- Yeah.



So basically 



you want him to know

you're concerned and that you care.



And that you want

to be reassured 



that he's okay.



I want him to know

that I care about him 



and I want him to know

I love him 



and l  I really want to make sure

that he finishes his album,



because I know how important

it is to him, you know?



It's everything.



I can help you, okay?



Uh, Jay?



A friend of yours

stopped by.



[Dr. Jones]

Jay, it's Jonesy.



Hey, Jonesy, man.




What's happenin'?



Hey, man, I'd like to come in

and rap for a minute.



You know?



Oh, well, I don't know, man.

I'm workin', I'm real busy.



I'm talkin' to

my muse, man.



Maybe you could

introduce me to her.



I'm, uh, single now,

you know.



Where are you at, man?




There you are.



Man, it is 



so far out

to see you again.



[Dr. Jones]

Goin' through some changes, huh?






Doctor has

brought some 



herbal medicine.






Where's the muse?



I could use a little

inspiration myself.




You know where to find it, man.



The muse.



She lives in the cave 



where everything

you ever lost lives.






you have everything, Jay.



I had everything.



I lost everything.



I lost everything

that mattered.



[Jay] I lost everything

that ever mattered.



[Keys Dropping]



'Til I met Denise.



You saw her.

Oh, man.



She's so beautiful.

And her kid.



- Left her fuckin' kid

at the museum, man.

- Jay.



- Suppose you heard about that.

- Jay, listen.



Man, you spaced out.



Man, you know me, man. You know

I love kids and I love animals and shit.



- I wouldn't fuckin' 

- You spaced out, man.



Listen, you're dealin'

with some heavy shit.



You got people tellin' you

you're the voice of your generation 



and, "What's he gonna

say next?"



You gotta cut yourself

some slack.



Cut Jay some slack

and pick up 



on the positive vibes.



They're there, man. They're all

around you, people who love you.



- That little girl, she loves you.

- Yeah.



That groovy new old lady, man,



- She digs you, she's there for you!

- Yeah, Denise.



Pick up on 'em.



Denise, man,

she gave it all back to me.



Yeah. Yeah.



Pick up on that.

Hang on to that.



- Hold on to that, man.

- Jonesy, man.



You got so much, huh?



All right.



   ["Don't You Think

It's Time"]



  Of a song

I thought was yours  



  But I know life

was overrated  



  Before you walked in

through my door  



  You're so shiny  



  You're so fine  



Oh, Jay!



  Come on

wiggle for me  



  Don't you think

it's time  










It's beautiful.



It's so beautiful,




- It's so beautiful.

- Yeah?



I was so scared,




I was so scared.

I thought you didn't love me.



And then you told the doctor

that you lost 



Oh, no.




That you'd lost everything.



Oh, God.



  Don't you think

it's time  



  Take my love  



Oh, Jay, please don't

leave me again, please.






Be sss 



- [Kissing Sounds]

-   Take me with you  



  You're so fine  



- It's beautiful, Jay.

- Yeah.



- You like it?

-   Don't you think

it's time  



I'm still working

on a new ending.




I love you.



Now, we have to start working

on your new album.



Oh, I don't know, Jay.



Remember, I'm kind of

a pacifist, so 



I don't know if I feel I should,

you know, force my work on the public.






- It'd be a concept album.

- Mm-hmm?



Only it'd be 



It'd be so much better

than what we guys are doin'.



Because it'd be

more personal,






- Well, maybe someday.

- Baby.






I want you

to make this record 



more than anything

I could ever want for myself.



Can you dig that?



Can you?






You know what, Handsome?



Why don't we get you

all dressed up 



and we can go out and go to the Whiskey

and go see Doris sing.



And we'll call Cheryl

and get some of the gang 



and, you know, we'll

have a real celebration.




Yeah, that sounds groovy.



- Really? Yes?

- Yeah.



- Yeah.

- Okay, good.



- Babe?

- Hmm?



Why don't you

run ahead without me?



I just had a couple flashes

and I want to lay down the tracks 



- Before I forget them.

- You sure?



You run ahead and have fun,

and when you come home 



we'll smoke a little grass

and we'll do it 'til the sun comes up.



- All right?

- Oh, Jay.



[Kissing Sounds]



[Denise Chuckling]



- And listen, by the way.

- Yes?



Your mother?

She was full of shit.



You fit.

You fit just groovy.



  Some folks know about it

Some don't  



  Some will learn to shout it

Some won't  



  But sooner or later, baby  



  There's a ditty say

you're gonna have to get it  



  Right down to

the real nitty gritty  



  Right down to the real

nitty gritty  



  To the nitty gritty

Ba, Ba-Da, Boom, Boom

The nitty gritty  









   [Saxophone Solo]









- [Whistling]

- [Surf Crashing]



-   Nitty gritty

One, two  

-   One, two  



  Nitty gritty

Oh, yeah  



   ["Man From Mars"]



  I fall apart  



  Every time

I picture you  



  Swallowed by the dark  







-   There is no center

to my life now  

- Stay away, okay?



-   No grace in my heart  

- [Indistinct]



  Man from Mars  



[Journalist] What was the last

conversation you had with your husband?



-   I called and called  

- They think it's my fault.



They think

it's all my fault.



  The silence

is so full of sounds  



  You're in them all  



[Guru Dave] Denise,

when people take their own lives 



   ["Between Two Worlds"]



  Off in the distance

a cool wind is blowin'  



it's difficult for their souls

to let go of this plane.



  I'm not who I was

and I'm not where I'm goin'  



The reason you can't

let go of Jay's memory 



  I'm so tired of knowin'

there's no way of knowin'  



is because his soul

still clings to this planet 



instead of moving on.



  You left me stranded

between two worlds  



  You turned me into

a mixed-up girl  



  You left me stranded

between two worlds  




I understand, Guru Dave.



But what

can I do about it?



[Guru Dave]

Meditate. Pray.



You must visualize

Jay's release for him.



  Is it nicer where you are  



  Do you ever

think of me  




Oh, what's that? Cotton?



- Annie, come on. Guru Dave said that 

- Fuck Guru Dave.



I milked goats,

churned butter, bailed hay.



I planted radishes, magic mushrooms and

weed for five goddamn months, Denise!



My spiritual lessons are mastered!

I saw God! Let's go!



- Goddamn!

- All right, girls!



Get up out of the manure!



I'm buying dinner!



- Thank you, Lord, for New Yorkers.

- [Joel Chuckles]



- Where you been?

- Denise, I've returned.



- Annie.

- Joel.



Hey, James,

how you doin', huh? Luma.



- Denise.

- I think I know him.



Who's your friend?

How are you? You look great.



- Hey, Joel.

- You look great.



I mean, you look great

to be so skinny. How are you?



These your friends

over here?



- Hey, wow, I love this place.

- Come on, Joel.



- Share with your sister, okay?

- She ain't my sister.



I'm almost

your sister.



Hey, no arguing or you won't

get caramel sundaes later.



Denise, eat your hamburger, all right?

You look like a vampire.



[Joel] All that fresh air

and health food'll kill you.



After dinner, you guys can watch TV in

this first-class joint I booked us into.



- [Luma] I hate it.

- [James] I love it.



- [Joel] You don't know

what's happenin' on TV.

- Same old Joel.



You goin' for

a swim?



What are you doin'?



I'm just spacin' out, you know.

I'm talkin' to my Jay.






Well, what's that

supposed to prove?







Guru Dave said 



that if I can help Jay

let go of life,



then I'm gonna

be okay.



Jay did let go of life.



He drowned himself.

He's dead.



You couldn't save him

while he was alive 



and now you're gonna waste

your own precious life and Luma's 



tryin' to save him

after he's dead?



- That makes sense to you?

- Yeah, it does.



You just wouldn't

get it.



You just don't get it.

You never will.



Well, I know one thing,

that the only sense 



any of these jerks you've

allowed to sidetrack you 



have had in common is a belief

in your talent, I know that.






Well, you know, talent 




is pretty meaningless

when someone you love is dead.



Your talent is meaningless

to you, Denise.



It always has been.



- From day one you were tellin' me

how you wanted to make a record.

- I made a record.



- Yeah.

- About a thousand years

ago, and it flopped.



Okay? I put myself out there

and they didn't want me.



And they were right.

They were right.



I failed and

I've accepted it 



and I have come to peace with it

and I've gone on with my life.



And so you give up

after one flop, huh?



I thought you were made

of tougher stuff.



The last thing I ever took

you to be was a coward.



Look at you, out in the mud,

pullin' up turnips!






You know, I don't need

a lecture, okay?



I'm a little old

for a little pep talk from Joel.



Especially from you. You wouldn't know

the first thing about 



giving yourself to someone,

about sharing your life with someone,



sharing your pain

with them.



You wouldn't know the

first thing about it.



- You think you're the only one

shit happens to, huh?

- Yeah.




Well, think again, kiddo.



I've had my own share

of disappointments 



in this secondary existence

of a life I live.



In my business I've been disappointed

and, yeah, big surprise,



in my big dumb heart,

and it didn't come from playing it safe.



- [Laughing]

- You said yourself 



that the very thing Jay wanted

was for you to make that record.



- Yeah.

- And if he hasn't let go of life,



it's 'cause he's as disgusted as I am

to see you sittin' here,



feelin' sorry for yourself

and givin' up!



- Oh, you're fuckin' disgusted?

- That's right.



You wouldn't even have a life

if it wasn't for me!



- That's right!

- You're the one who's a fuckin' leech!



- I am a leech, that's right!

- Yeah, you are!



- That's why I'm here.

- You wouldn't have a life

if it wasn't for me!



- Oh, really?

- You live every fuckin'

thing through me!



- So fuck you!

- Fuck me?



- Yeah, fuck you!

- Then fuck off! Fuck you!



- No, fuck you!

- No, fuck you!



- That's right, hit me!

- [Screaming]



- Go ahead! Go ahead!

- [Sobbing]



I am sad!



And I'm alone.






I'm sorry.



I'm sorry.









No, no, no, no.



[Denise] It's not gonna distort.

I want it in the red.



-   Oooh  

- All right, Jay. Help me out, man.



I want a high end

on the vocal 



and I wanna round out

the bottom on the bass.



Whoa, what was that?

Who you talkin' to, huh?



Joel, I'm talking to Jay

'cause I need his help on the EQs.



As long as it's work-related,

you can talk to dead guys.







Everyone is excited

about this album.



You realize that?

Even your old pal.



- Who?

- John Murray.



- Well, there's a song

about him in here, so 

- A song for everyone 



- But the guy who stuck around.

- Joel.



[Joel] Even moved out to this

ridiculous town 



that doesn't deserve

to be called a city.



Joel, let's go to work,




- That's why I'm here.

- Okay.



You guys, that was great.

That was great.



[Musicians Chattering]



Okay, here we go.

Let's try one.



Come here, wish me luck,

sweetie pie.



[Engineer] "A Boat On The Sea,"

take two. This is piano track only.



This one's for you,




[Over Speaker]

  There's a lamp that won't

light in my poetry room  



  And children out playing

and a big full moon  



  My man's barricaded

there in his womb  



  He'll be coming out soon  



  I remember when I met him

he blew in like a wind  



  No one was more beautiful

or dangerous than him  



  He blew through my soul

like a tangerine wind  



  He'll be coming out soon  



  I never knew  



  I was built so strong  



  My heart  



  My heart

is a boat on the sea  



  I never thought  



  I was built for hurricanes  



  My heart  



  My heart is a boat

on the sea  



  Luxury looms

on a fog-bound day  



  I'm not alone now

and I'm not afraid  



  I'm clean and I'm free

It's all stripped away  



  My debts are paid  



  I wonder if he ever looks

down on the sea  



  And thinks about the time

that he spent with me  



  I know everything's

exactly how it has to be  



  All's right

with this world  



  I never knew  



  I was built so strong  



  My heart  



  My heart

is a boat on the sea  



  I never thought  



  I was built

for hurricanes  



  My heart  



  My heart

is a boat on the sea  



  In the cold

and the dark  



  You're the grace

of my heart  



  In the cold

and the dark  



  You're the grace

of my heart  



  In the cold

and the dark  



  You're the grace

of my heart   



   ["God Give Me Strength"

by Elvis Costello]



  Now I have nothin'

So God, give me strength  



  'Cause I'm weak  



  And awake  



  And if I'm strong  



  I might still break  



  And I don't have

anythin' to share  



  That I won't throw away

into the air  



  That song is sung out  



  This bell is rung out  



  She was the light

that I'd bless  



  She took my last chance

of happiness  



  So God, give me strength  



  God, give me strength  



  I can hold on to  



  God, give me strength  



  When the phone

doesn't ring  



  And I'm lost  



  And imaginin'  



  Everythin' that kind of love

is worth  



  As I tumble back down

to the earth  



  That song is sung out  



  This bell is rung out  



  She was the light

that I'd bless  



  She took my last chance

of happiness  



  So God, give me strength  



  God if  



  She'd grant me

her indulgence and decline   



  I might as well  



  Wipe her from my memory  



  Fracture the spell  



  As she becomes my enemy  



  And maybe I was washed out  



  Like a lip print

on his shirt  



  See, I'm only human  



  I want him to hurt  



  I want him  



  I want him to hurt  



  Since I lost the power

to pretend  



  That there could ever be

a happy ending  



  That song is sung yet  



  This bell is rung yet  



  She was the light

that I'd bless  



  She took my last chance

of happiness  



  So God, give me strength  



  God, give me strength  



  Wipe her from my memory  



  I might as well  



  God, give me strength  



  God, give me strength   




Special help by SergeiK