[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]
[Whispers] All right.
♪ ♪ [Woman Singing Scales]
♪ ♪ [Singing Scales]
[Sniffling]
♪ 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. [Laughs]
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.
♪ ♪ [Piano]
♪ 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 ♪
♪ Yeah ♪ ♪
- [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."
[Applause]
Uh, Miss Buxton will be singing...
"Hey There."
♪ ♪ [Piano]
♪ 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 ♪
♪ Living in another world ♪ ♪
Yeah, um...
Thank you. Uh, come on in.
Nice... 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 11 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?
[Sobbing] 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.
Lemme-Lemme-Lemme 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.
♪ ♪ [Blues]
♪ 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.
[Laughing] Gotcha.
[Laughs]
Edna?
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 20 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, Laughing]
- 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 12, Joel. Number 12.
- [Joel] "In Another World." You've heard it? - You wrote that?
- Yes. - That's cool.
I gotta go see a girl. Uh...
- 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.
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.
[Contemptuously] Backup singers.
Thanks, Caszatt. You're a doll.
♪ ♪ [Continues]
- 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?
[Laughing]
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.
♪ ♪ [Continues]
- 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' Ooh ♪ - ♪ 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' Ooh ♪
♪ 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 ♪
♪ ♪ [Piano]
♪ 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 ♪ ♪
[Sighs]
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. [Sighs]
- ♪ 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]
- ♪ 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.
Yes?
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.
Know-it-all. "Optimism."
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, Sniffs]
[Sighs]
Whew!
[Chuckles]
[Gasps] Mmm.
- [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?
[Betty] 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 12 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 16, he's a Negro, and no one's gonna hire him.
No, no, no. He's depressed because he knocked up his 12-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 ♪
Oh-ho! ♪ 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 ♪
[Together] ♪ 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.
Denise?
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.
Denise?
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.
[Chuckles]
Well, l... I should get back. Can't avoid this forever.
Oh.
- Thank you. - You're welcome.
- Howard? - Hmm.
We should write a wedding song.
What's the social angle?
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 ♪
♪ ♪ [Continues]
[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.
Hi.
- 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.
[Howard] Hmm.
- Joel will be next door. - I'm just lookin'.
- Miss, uh, Waverly. - Yeah. Welcome aboard.
Howard.
- 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 20 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 ♪
♪ Underneath 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's... [Sighs]
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 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]
[Sighs]
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 15-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.
[Groans] 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.
Okay?
- 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.
[Sighs]
Okay, so you have your meeting.
I'll make your reservation. Chinese.
Yeah, that'll be swell. Bye.
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. [Chuckles]
Kelly.
- 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.
Uh...
Oh, my... Come here, Luma.
[Crying] Oh, my God.
- Honey, let me explain. - Explain? Just stay.
Both of you. Just stay.
[Luma Crying]
[Sighs]
- [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 $100.
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 ♪
Thanks. I owe you one.
I think we got a hit record here, girls.
♪ No ♪
[Chuckling]
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.
[Chuckling] 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. [Chuckles]
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 8:00. 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 6:30.
- 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.
[Chuckles]
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, Joel?
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.
Ah!
Why? Are you moving?
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?
[Softly] Yeah, write something.
I don't... I don't know.
I just... I don't think I have 1.04.19 anything left inside of me, you know.
- It's just gone. 1.04.22 - 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?
♪ ♪ [Starts]
♪ 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 ♪
♪ Give me strength ♪
[Sighs]
♪ I need strength ♪ ♪
[Sighs]
Wow.
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 52 and 56, 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 50, 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.
[Engineer] 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.
Um...
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.
Joel. [Laughs]
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?
What? 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 ♪ ♪
♪ ♪ [Surf]
[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! Empty!
For chrissakes, Jay!
I got my eye on you.
All right, Jay.
[Sighing]
[Door Opening]
[Man] 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.
[Jay] 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...
Jay?
- 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.
You're 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]
♪ ♪ ["Bermuda"] ♪ 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.
[Knocking] 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.
[Jay] 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? Hey.
There you are.
Man, it is...
so far out to see you again.
[Dr. Jones] Goin' through some changes, huh?
[Inhaling]
Doctor has brought some...
herbal medicine.
[Inhaling]
Where's the muse?
I could use a little inspiration myself.
[Jay] You know where to find it, man.
The muse.
She lives in the cave...
where everything you ever lost lives.
But...
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 ♪
Oh.
[Moaning]
[Whispering] It's beautiful.
It's so beautiful, Jay.
- It's so beautiful. - Yeah?
I was so scared, Jay.
I was so scared. I thought you didn't love me.
And then you told the doctor that you lost...
Oh, no.
[Sobbing] 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.
[Laughing]
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.
[Faintly] 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.
[Laughing]
- 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,
genuine.
- Well, maybe someday. - Baby.
Hmm?
I want you to make this record...
more than anything I could ever want for myself.
Can you dig that?
Can you?
Hey.
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.
[Sighing] Yeah, that sounds groovy.
- Really? Yes? - 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 ♪
♪ To the nitty gritty Ba, Ba-Da, Boom, Boom The nitty gritty ♪
[Whistling]
♪ ♪ [Saxophone Solo]
♪ Oooh ♪
- [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 ♪
[Journalists Indistinct]
- ♪ 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 ♪
[Denise] 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 ♪
[Annie] 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.
Mm-hmm.
Well, what's that supposed to prove?
[Sighing]
Because 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.
Yeah.
Well, you know, talent... [Chuckling]
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!
[Sighing]
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.
Huh? 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.
[Sobbing]
I'm sorry.
[Sobbing]
♪ Oooh ♪
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.
[Chuckling] Thanks.
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, okay?
- 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, Joely.
[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 ♪ ♪