American Pop (1981) Movie Script
1
[ Orchestra:
"Free Bird" ]
[ "As Time Goes By" ]
[ "You Send Me" ]
[ "Slaughter
On Tenth Avenue"
[ "A String Of Pearls" ]
[ "I Got Rhythm" ]
[ "Maple Leaf Rag" ]
[ Man Singing Jewish Prayer
Of Lament ]
[ Lament Continues ]
OY !
[ Continues ]
[ Band: "Onward,
Christian Soldiers" ]
[ Woman ]
I DON'T CARE
I DON'T CARE
IF HE'S A CLERK
OR JUST A MILLIONAIRE
THERE'S NO DOUBT ABOUT II'LL SING AND I'LL SHOUT I'CAUSE I DON'T CARE
I DON'T CARE
I DON'T CARE
WHEN IT COMES TO HAPPINESS
I WANT MY SHARE
DON'T TRY TO REARRANGE ME
THERE'S NOTHING
CAN CHANGE ME
'CAUSE I DON'CARE
[ Kiss ]
[ Audience Cheering ]
IT LOOKS BAD.
IT LOOKS VERY BAD.
LEO, LEO, I AIN'NO STAGE SINGER,
SO I'M NOT LOUD ENOUGH
FOR YOU.
ALL RIGHT, SO I GET UP
ON THE STAGE OCCASIONALLY !
GET OUTTA HERE.
TOWARDS THE END
OF THE EVENING.
GRANTED, THE OLD BOX
AIN'T WHAT IT USED TO BE.
BUT NO DANCING HORSES !
YOU EXPECT ME TO HOBBLE
INTO 60 JOINTS TONIGHT ?
I CAN'T EVEN GETHE CHORUS SLIPS OUT.
WONDER HOW THEY'D LIKE IIF I-
KID, COME HERE.
WANT TO MAKE
A PENNY ?
GOT ANY MORE KIDS
STANDIN' AROUND OUT THERE ?
HEY. HE CAN'T COME IN
WITHOUT PAYIN'.
HE'S GOIN'
RIGHT AWAY, CHARLIE.
I GOT MY ORDERS.
HE'LL KEEP HIS EYES CLOSED.
HE WON'T SEE NOTHIN'.
HE WON'T HEAR NOTHIN'.
HE'LL PAY NOTHIN' !
ALL RIGHT.
HERE. GIVE THESE OUTO THE CLIENTELE.
GO ON.
GIVE THOSE
TO THE PEOPLE, SON.
AND SPEEDY. THESE FOLKS
GOTTA SING ALONG WITH ME.
AND IT'S ROUGH WHEN THEY STARWITH THE "DAISY" IN THE MIDDLE
OF "MARIE OF SUNNY ITALY."
AAH, LIKE THIS.
PARDON ME, FOLKS. CHORUS SLIPS
FOR THE WONDERFUL SONG
THE LOVELY LILY MONTGOMERY...
IS GONNA BE INTRODUCING
IN JUST A FEW MOMENTS.
SO AS NOT TO BE LEFT BEHIND,
YOU'LL WANT TO PERUSE THESE
IN ADVANCE.
WAITER, A LIGHT HERE.
NO NEED TO WORRY ABOUT THE
NUMBER CURRENTLY ON STAGE,
OURS IS FAR SUPERIOR.
[ Laughs ]
I'M SURE YOU'LL AGREE
WHEN YOU HEAR IT !
YOU'LL FIND YOURSELF
BURSTING INTO SONG AS WELL.
IT DON'T HURT TO SWIPE THESE
OTHER SLIPS THAT ARE LEFT.
OUT OF SIGHT, OUT OF MIND.
RIGHT ? HERE.
GO.
GO, GO, GO.
COME ON.
[ Imitating Showman's Patter ]
BEGGING YOUR PARDON, FOLKS.
CHORUS SLIPS
FOR A WONDERFUL SONG
THE LOVELY LILY MONTGOMERY...
IS GONNA BE INTRODUCING
IN JUST A FEW MINUTES.
THE KID'S A GENIUS !
[ Ragtime ]
[ Continues ]
[ Singing Along With Band ]
DA, DA, DA, DA
LA, LA, LA, LA
[ Coughing ]
LOUIE.
YEAH.
YOU PROMISED THE BOY
A PENNY. HMM ?
A PENNY ?
YEAH.
YOU OUGHT TO BE GRATEFUL.
GOT A RIDE IN A BRAND-NEW CAR.
APPLE CIDER !
A TRIP INTO ALMOSEVERY JOINT IN TOWN.
NONETHELESS,
YOU PROMISED.
AAH. PROMISED, EH ?
HERE.
WHAT DOES HE WANWITH THOSE
OTHER CHORUS SLIPS ?
MUST BE STUDYING
THE COMPETITION.
IT WOULDN'T HURT YOU.
"IT WOULDN'T HURT," HE SAYS.
SO WHY AM I CRYING ?
[ Sighs ]
GOOD NIGHT, ZUNELECH.
MAYBE WE'LL SEE YOU
TOMORROW.
NOT IF I SEE YOU FIRST.
GET OUTTA HERE.
[ Speaking In Russian ]
[ Stage Band: "Give
My Regards To Broadway" ]
[ Audience Laughing ]
OH, NO ! YOU GOYOUR G'S ALL BACKWARDS !
LOOK AT THAT. A WHOLE ROW
OF G'S BACKWARDS. LOOK.
LITTLE TAILS GO LIKE THIS
AND LIKE THAT.
[ Laughs ]
WHAT ARE YOU TALKIN' ?
HE'S WRITING Q'S !
PERFECTLY RIGHT,
PERFECTLY OKAY Q'S.
YOU'RE WRITING Q'S,
AM I RIGHT ?
YOU'RE WRITING Q'S.
WHAT ARE YOU WRITING HERE ?
P'S.
P'S ? WHO TAUGHT YOU
TO WRITE P'S LIKE THAT ?
THE DANCING HORSE.
WHO TOLD YOU TO GO NEAR
THE DANCING HORSE ?
STAY AWAY FROM
THE DANCING HORSE !
[ Lightning Zapping ]
[ Screaming ]
GOOD-BYE, MAMA.
GOOD-BYE, MAMA.
[ Little Boy ]
THERE ARE SMILES
THAT MAKE US HAPPY
THERE ARE SMILES
THAT MAKE US BLUE
[ Older Boy ]
THERE ARE
SMILES
THAT MAKE US HAPPY
THERE ARE SMILES
THE KID IS TOO OLD
TO BE PLAYING JUVENILES.
HUMPH.
OLD, BUT LITTLE.
HE HAD A STUNTED YOUTH.
WHAT IS THIS KID
TO YOU ANYWAY, LOUIE ?
HE COMES IN THE BUSINESS
AND TAKES YOUR JOB AWAY.
AND HE TOOK LOUIE
EVERY PLACE HE WENT.
[ Laughs ]
THE KID'S NOTHIN' TO ME.
I'M NOTHIN' TO HIM.
IT'S MORE
THAN I GOT ELSEWHERE.
[ Sniffles ]
THERE ARE SMILES THAT HAVE
THAT TENDER MEANING
THAT THE EYES OF LOVE ALONE
HIS VOICE
IS CHANGIN' ANYWAY.
CAN SEE
SO LET IT CHANGE.
WHO SAYS
IT'S GOTTA CHANGE BAD ?
AND THE SMILES
THAT FILL MY LIFE
MAYBE IT'LL CHANGE GOOD.
WITH SUNSHINE
ARE THE SMILES
THAT YOU GIVE
TO ME
[ "Over There" ]
[ Zalmie, Muffled ]
LOUIE ?
YEAH ?
I'M 17 YEARS OLD.
WHEN'S MY VOICE
GONNA CHANGE ALREADY ?
[ Louie ]
IT'S CHANGIN'.
IT'S CHANGIN' !
I KNOW IT'S CHANGIN'.
WHEN'S IT GONNA
CHANGE FOR GOOD ?
WHAT'S YOUR RUSH ?
I DON'T WANNA BE
A HORSE'S ASS FOREVER.
[ Audience Applauding ]
[ Engines Zooming ]
[ Coughing ]
[ Louie ]
ZALMIE, WHAT'S WRONG ?
[ Chuckles ]
AAH.
SO ?
YOUR VOICE
FINALLY CHANGED, HUH ?
THIS IS A FUNNY STORY.
AAH. WE'RE BOTH
LAUGHING, HUH ?
[ Zalmie ]
THAT'S A NICE LITTLE COUGH
YOU HAVE THERE, ZALMIE.
A LITTLE COUGH, SAYS LOUIE ?
CONSUMPTION, HE'S GOT.
[ Audience Remains Silent ]
YOU AIN'T LAUGHIN'.
WELL, YOU AIN'T LAUGHIN'
'CAUSE I AIN'T FINISHED YET.
YOU'LL KNOW WHEN I'M FINISHED.
THEN YOU'LL BE LAUGHIN'.
IF YA AIN'T,
THEN I'LL BE CRYIN'.
THAT OUGHT TO BE GOOD
FOR A FEW LAUGHS.
EITHER WAY, YOU WIN !
AAH.
[ Stage Band: "Swanee" ]
[ Audience Cheers ]
[ Audience Cheers ]
[ Charlie ]
COME ON, MOVE IT !
AW, SHOVE IT, CHARLIE.
AW, SHOVE IT.
HEY, HURRY UP.
COME ON ! OUT ON STAGE.
MOVE IT. COME ON !
[ Slams ]
[ Whooping, Cheering ]
HEY, LOUIE.
I JUST SEEN
THE MOST BEAUTIFUL THING
I EVER SEEN IN THE WORLD.
SOME PRE-PROHIBITION BOOZE,
HUH ?
NO. I SEEN A STRIPPER
GETTIN' DRESSED.
A STRIPPER GETTIN' DRESSED
AIN'T BEAUTIFUL...
UNLESS SHE'S UGLY
TO BEGIN WITH.
SHE WAS NOT UGLY
TO BEGIN WITH !
LOUIE,
SHE WAS LIKE A ROSE.
A ROSE.
HOW OLD ARE YOU
ANYHOW, KID ?
ALMOST 20.
HOW OLD ARE YOU ?
NOT SO OLD.
[ Spits ]
I KNOW. WHEN WE FIRST MEI THOUGHT YOU WERE AN OLD MAN.
NOW, OLDER I GET,
YOUNGER YOU GET.
AMAZING, AIN'T IT ?
PRETTY SOON WE'LL BE THE SAME.
[ Chuckles ]
YEAH ?
THEN WHAT ?
THEN WE STARCALLING ME "KID."
[ Laughs ]
[ Stage Band ]
YOU WANT THIS GIRL, KID ?
SO, GO GET HER.
RIGHT NOW ?
RIGHT NOW.
IF YOU WAIT, YOU'LL BE OLDER
THAN BOTH OF US. GO ON.
GO ON !
[ Applause ]
[ Spits ]
[ Whooping ]
[ Stage Band:
"Anything Goes" ]
[ Woman ]
SOMEBODY LOVES ME
I WONDER WHO
I WONDER WHO
HE CAN BE
HEY, YOU CAN SING.
NO, I CAN'T.
SURE, YOU CAN.
I KNOW VOICES.
I USED TO BE A SINGER MYSELF.
WITH THAT VOICE ?
NO, NOT WITH THIS VOICE.
I USED TO HAVE ANOTHER VOICE.
I SENT IT TO THE LAUNDRY;
IT COME BACK SHRUNK.
SO YOU WANT TO BE A SINGER,
HUH ?
NO.
SURE YOU DO. SINGERS GET TO
SIT ON PIANOS AND THINGS.
STRIPPERS IS ALWAYS
ON THEIR FEET.
AIN'T YOU ALWAYS TELLING ME
HOW YOUR TOOTSIES IS ACHIN' ?
THAT'S BECAUSE YOU'RE
STEPPIN' ON THEM.
[ Chuckles ]
HEY, KID.
I'M GONNA MAKE YOU A STAR.
SO, UH, WHAT WAS BELLA
BEFORE IT WAS BELLA ?
ANNABELLA.
MMM.
HERE, HERE, HERE.
AW.
AW.
LOUIE, I WANNA MAKE
THE KID A STAR, RIGHT ?
I GOTTA GET TO KNOW THE CLUBS.
I GOTTA GET TO KNOW THE BANDS.
I CAN GET PAID
AT THE SAME TIME.
WHERE'S THE HEARTACHE ?
THE HEARTACHE
IS YOU COULD HAVE
BEEN A STAR YOURSELF.
OHH.
YOU COULD HAVE BEEN
A GREAT COMIC !
WHO WANTS TO LAUGH
SITTIN' IN SOME SPEAK ?
YOU GOT ONE EAR
COCKED FOR THE COPS.
UH-UH. THEY WANT A SLOW,
SEXY WOMAN...
HELPIN' THEM TO FEEL SORRY
FOR THEMSELVES.
COMICS ARE FOR KIDS.
BESIDES, LOUIE,
IT'S THE MUSIC I LOVE.
[ Together ]
IT'S THE MUSIC I LOVE.
IT'S THE MUSIC.
[ Dance Band:
"Charleston" ]
I CAN'T EVEN REMEMBER
THE WORDS.
IT'S GONNA BE A BIG SONG.
YOU SHOULD TRY IT AGAIN.
YOU THINK
I'M GONNA BE A HIT ?
DID THE BOOZE ARRIVE ?
HELLO, MR. PALUMBO.
HOW YOU DOIN', BOSS ?
HEY, BAGGY PANTS. WHERE'S
YOUR PARTNER, ZALMIE ?
HE'S IN THE BACK
WHERE HE ALWAYS IS.
YEAH, I SEE HIM.
[ Humming ]
YOUR GIRL'S GETTING FAT.
PREGNANT.
DON'T YOU THINK IT'S
TIME FOR A WEDDING ?
HOW CAN I ASK HER ?
I DON'T HAVE A CENT.
YOU SHOULD HAVE
THOUGHT OF THABEFORE YOU GOT HER PREGNANT.
WHO THINKS
AT A TIME LIKE THAT ?
WHAT DO YOU THINK ?
CUSTOMERS ARE
GONNA COME AND PAY
TO SEE SOME
PUFFED-OUT SINGER ?
SHE AIN'T ANY FATTER
THAN SOPHIE TUCKER.
[ Chuckles ]
YEAH. BUT SHE'S FAALL IN ONE PLACE.
YOU WANT THE KID,
OR YOU WANT THE GIRL FIXED ?
[ Hits Table ]
WE WANT THE KID.
THEN GO GET MARRIED.
THIS IS A WHOLESOME PLACE.
COME ON, DOLL !
[ Whistles ]
[ Laughs ]
WE GOT A DOWN PAYMENON RICE.
SO THE BOOZE I UNDERSTAND.
IZZY NEEDS THE BOOZE
FOR THE NIGHTCLUBS.
HERE.
BUT WHY IS HE CUTTING OUTHE MIDDLE MAN ?
[ Sighs ]
HE'S CUTTIN' THE MIDDLE
OUT OF THE MIDDLE MAN.
LOUIE, I NEVER SEEN SO MUCH
BLOOD IN MY WHOLE LIFE.
I DON'T LIKE THIS BUSINESS,
LOUIE. I LOVED SHOW BUSINESS.
[ Sighs ]
YOU ALWAYS TOLD ME
IT WAS JUST THE MUSIC.
IT STILL IS.
[ Bella ]
AND ALONG CAME BILL
WHO'S NOT THE TYPE AT ALL
YOU MEET HIM ON THE STREEAND NEVER NOTICE HIM
HIS WARM EMBRACE
HIS MANLY GRACE
IS NOT THE KIND
I'VE GOT TO ADMIT IT,
ZALMIE.
SHE'S REALLY GOOD.
[ Continues ]
WHAT DO YOU SAY, NICKY ?
SHE AIN'T BAD.
SOMETIMES IT'S ALL
WORTH IT, HUH ?
YEAH.
MAKES ME THRILL
I LOVE HIM
BECAUSE HE'S WONDERFUL
WHAT DO YOU THINK, BENNY ?
YOUR MAMA'S
GONNA MAKE A RECORD.
KID NEVER TALKS, ZALMIE.
HE WILL WHEN HE'S GOSOMETHING TO SAY.
HOW DO YOU KNOW THERE
AIN'T SOMETHING
WRONG WITH HIM ?
LIKE MAYBE HE'S DEAF
OR SOMETHING.
HOW CAN HE BE DEAF ?
HE PLAYS THE PIANO.
BEETHOVEN WAS DEAF.
[ Laughs ]
SEE THAT ?
GARBO TALKS, HUH ?
[ Screams ]
WHAT !
THEY WON'T LISTEN TO REASON.
[ Fingers Snap ]
[ Doorbell Jingling ]
[ Continuous Gunfire ]
[ "Sweet Georgia Brown" ]
[ Continues ]
[ Piano ]
[ Zalmie ]
NICKY, YOU GET THE DEUCE.
LITTLE ZALMIE'S FLUSHING OUT.
ALL RIGHT !
HEY, THE KID'S GOPIANO PLAYER'S HANDS.
SURGEON'S HANDS.
HE'S GOING TO BE A DOCTOR.
[ Doorbell Ringing ]
DOCTOR, PIANO PLAYER.
HE CAN BE BOTH.
HE'S SMART ENOUGH.
EVERYONE IN ?
ZALMIE,
YOU ORDERED PRETZELS ?
PRETZELS ?
YEAH. I THOUGHT MAYBE
YOU SENT ME A PRESENT.
BUT IT'S A BOX OF PRETZELS.
BELLA !
DON'T TOUCH THE BOX !
BELLA !
[ Explosion ]
[ Dissonant Chords ]
[ Boogie-woogie ]
[ "Sweet Georgia Brown" ]
YEAH.
[ Musicians Laughing ]
SO BENNY,
I CAN GET YOU
REISENWEBER'S.
I CAN GET YOU JACK'S.
I CAN GET YOU SHANLEY'S.
SO WHAT ARE YOU DOING HERE ?
I'M HAPPY, POPS.
IT'S NOT LIKE ANYBODY'S
DOIN' YOU A FAVOR.
EVERYBODY KNOWS YOU'RE GOOD.
THAT GUY FROM RCA VICTOR,
HE'S DYIN' FOR YOU
TO MAKE A RECORD FOR HIM.
DYIN' ?
POPS,
IT'S NOT THAT IMPORTANT.
YEAH, BENNY.
IT IS IMPORTANT.
YOU COULD BE SOMETHING, BENNY.
YOU COULD BE A STAR.
I WANT YOU
TO DO ME A FAVOR, BENNY.
I WANT YOU TO MARRY A GIRL
FOR ME.
[ Musicians Laughing ]
[ Benny ]
MARRY A GIRL ?
YEAH.
AND LIVE HAPPILY
EVER AFTER ?
YEAH.
HEY, BENNY.
IT'S NICKY PALUMBO'S
DAUGHTER. ALL RIGHT ?
HER FATHER'S
AN IMPORTANT MAN, MISTER.
AND YOUR FATHER'S
AN IMPORTANT MAN TOO !
AND IF YOU WON'LIVE MY DREAMS,
THEN LIVE MY LIFE, ALL RIGHT ?
SURE, POPS.
[ Playing Soft Melody ]
NOW WHAT ARE YOU
DOING ?
PLAYING HER A LOVE SONG.
FORGET THE LOVE SONGS,
BENNY. THE GIRL'S AGREED.
A LOVE SONG'S NICE TO GIVE
THE GIRL YOU'RE GONNA MARRY.
[ Male Soloist ]
IT'S VERY CLEAR
[ Flash Bulb Pops ]
OUR LOVE IS HERE
TO STAY
NICKY, NICKY.
LOOK AT IT THIS WAY.
YOU'RE NOT LOSING A DAUGHTER.
YOU'RE GAINING A SON.
RIGHT.
SONS I DON'T NEED.
I GOT SONS.
WHAT I'M GAINING
IS A BROTHER.
[ Guests Applauding ]
[ Flashbulb Pops ]
THE RADIO
AND THE TELEPHONE
AND THE MOVIES
THAT WE KNOW
MAYBE JUSPASSING FANCIES
AND IN TIME THEY'LL GO
YET IT MAY BE
OUR LOVE IS HERE TO STAY
[ Flashbulb Pops ]
TOGETHER
WE'RE
GOING THE LONG, LONG WAY
IT'S A BIG HOUSE.
BIG ?
WHAT ARE THE TWO OF US
SUPPOSED TO DO
IN THIS BIG HOUSE ?
MAKE THREE, FOUR OR FIVE.
IS THAT WHAT YOU WANT ?
IF YOU DO.
BUT WHAT DO YOU WANT ?
I WANT...
YOU TO SMILE.
[ Sad, Minor Melody ]
ENLISTED !
WHAT DO YOU MEAN,
YOU ENLISTED ?
I LIKED THE HAT, POPS.
HEY, BENNY, YOU GOT A WIFE
NOW. YOU GOT A KID COMIN'.
SO ? I NEED
A STEADY JOB.
WHAT ARE YOU TALKIN',
A STEADY JOB ?
YOU GOT A STEADY JOB HERE !
OH, POPS.
THIS ISN'T WORK.
THIS IS PLAY.
SO PLAY, BENNY.
YOU'RE JUST A KID.
NO, POPS.
NO, I'M NOT.
[ "As Time Goes By" ]
BENNY. LOOK, I GAVE.
ALL RIGHT ?
I GAVE AT THE OFFICE.
BUT YOU TOOK TOO.
HEY, BENNY.
WHAT AM I GONNA DO
IF ANYTHING SHOULD HAPPEN
TO YOU ? HUH ?
YOU'LL MANAGE, POPS.
[ Stops Playing ]
[ Swing Drumbeat ]
[ "Sing, Sing, Sing" ]
[ Continues ]
[ Harmonica:
"As Time Goes By" ]
BOY, WHO TOLD YOU
YOU COULD PLAY THAT THING ?
NOBODY.
[ Resumes ]
YOU'RE LOUSY.
YEAH.
I KNOW. BUT IT'S HARD
TO FIT A PIANO IN A FOXHOLE.
[ "As Time Goes By" ]
[ "Lilli Marlene" ]
DANKE.
[ Gun Cocking ]
[ Orchestra: "Mona Lisa" ]
YOU'VE BEEN CARRYING A TORCH
FOR THAT BASTARD'S SON
LONG ENOUGH. DO YOU HEAR ?
YOU MARRIED A GOOD MAN NOW,
YOU UNDERSTAND ?
YOU DON'T WANT TO MARRY
IN THE BUSINESS, ALL RIGHT,
SO I LET YOU.
YOU WANNA MARRY A GUY
THAT SELLS REFRIGERATORS,
I LET YOU.
COULD I BE PROUD OF THAT ?
NAH. BUT I LET YA.
SO AT LEAST BE WORTHY
OF THE MAN.
YOU OWN HIM NOW,
PAPA !
[ Chuckles ]
I OWN EVERYBODY.
[ Gavel Pounding ]
WHAT IS YOUR NAME ?
ZALMIE BELINSKY.
WHERE DO YOU LIVE ?
LIVE ?
[ Questioner ]
WHAT IS YOUR PLACE
OF RESIDENCE ?
JACKSONVILLE STATE PRISON.
VERY NICE PLACE.
TONY. COME HERE.
NO. I WANT HIM
TO SEE THIS.
I WANT HIM TO SEE
HOW A MAN ACTS.
WHAT WAS YOUR RELATIONSHIP
WITH MR. PALUMBO ?
MY RELATIONSHIP ?
HE WAS MY FRIEND.
- WAS ?
- FIRST HE TOLD ME THEY'D
GET ME OUT RIGHT AWAY.
THEN THEY TOLD ME
THEY'D GET ME OUT SOON.
THEN THEY TOLD ME NOTHIN'.
EIGHT YEARS
IS A LONG TIME.
I TOLD YOU WE SHOULD'VE
GOTTEN RID OF HIM !
HIS SON GETS KILLED;
HE GETS TOTALLY USELESS.
BUT NO, YOU GET MUSH HEAD
FOR HIM !
"LET HIM TAKE A FALL,"
YOU SAY.
"HE'LL STAY QUIET."
QUIET ! HE WOULD'VE
BEEN QUIETER DEAD.
SO NOW YOU AGREED
TO TALK TO US.
THIS COUNTRY'S BEEN GOOD TO ME
IN ITS WAY.
"I TOOK," MY SON SAID.
NOW IT'S TIME TO GIVE BACK.
I CAN'T BELIEVE IT.
THAT SCHMUCK
IS GONNA SING !
SING ? SURE.
THAT'S ALL HE EVER WANTED.
SURE. THAT'S ALL
HE EVER WANTED.
[ Man On Radio ]
I DISCUSSED THE COMMUNISTS
IN THE STATE DEPARTMENT.
[ Radio Dramatist ]
DEAN HUNCHED HIS MUSCULAR NECK
IN THE WINTER NIGHT.
[ Man On Radio ]
WE'RE FIGHTING FOR TIME.
THE YOUNG MEN IN
KOREA AND JAPAN
ARE FIGHTING FOR TIME FOR US.
[ Newscaster ] JULIUS AND
ETHEL ROSENBERG HAVE PAID
THEIR DEBT TO SOCIETY.
[ Richard Nixon ]
PAT DOESN'T HAVE A MINK COAT.
BUT SHE DOES
HAVE A RESPECTABLE
REPUBLICAN CLOTH COAT.
[ Lucille Ball ]
ETHEL,
HOW COULD YOU EVER THINK
[ Audience Laughing ]
[ Conga Drumroll ]
I SAW THE BEST MINDS OF MY
GENERATION
DESTROYED BY MADNESS.
DRAGGIN' THEMSELVES THROUGH
THE NEGRO STREETS AT DAWN
LOOKING FOR AN ANGRY FIX.
ANGEL-HEADED HIPSTERS...
BURNING FOR THE ANCIENHEAVENLY CONNECTION
TO THE STARRY DYNAMO...
IN THE MACHINERY OF NIGHT.
TONY, WHAT'S HE
TALKIN' ABOUT ?
YOU HAVE ANY IDEA ?
SHUT UP.
GEEZ. WE'RE UNDERAGE.
THIS PLACE COULD GEBUSTED ANY MINUTE.
AND SOME OF THESE PEOPLE
ARE SMOKIN' DRUGS.
SHUT UP.
SAT UP SMOKING IN THE
SUPERNATURAL DARKNESS
OF COLD-WATER FLATS.
[ Inhales Deeply ]
FLOATING ACROSS THE TOPS
OF CITIES,
CONTEMPLATING JAZZ.
I'M GOIN', TONY.
GO.
SO HOW YOU GONNA
GET HOME ?
HOME ?
[ Poet ]
GREAT LIFE'S TRAGEDY
AMONG THE SCHOLARS OF WAR.
[ Jazz Combo:
"Take Five" ]
[ Man On Loudspeaker ]
NUMBER 34 DEPARTING
FROM GATE 3 FOR LONG ISLAND.
NUMBER 89 WILL BE
LEAVING GATE 6...
FOR BALTIMORE AND WASHINGTON,
D.C. AT 11:48.
NUMBER 74 NOW DEPARTING
FOR PHILADELPHIA AT GATE 9.
PASSENGERS FOR NUMBER 12
TO NEW HAVEN, PROVIDENCE
AND BOSTON,
YOUR BUS HAS BEEN DELAYED
AND IS EXPECTED TO ARRIVE
30 MINUTES LATE.
LAST CALL FOR NUMBER 47
TO SAN FRANCISCO.
[ TV: Gunfire, Shouting ]
[ Whooping,
Gunfire ]
SO ?
WHAT'RE YOU WATCHIN' ?
TV.
WONDERFUL.
YOU'RE WATCHING TV.
TV, YOU CAN WATCH
IF IT'S ON OR OFF !
I SHUT IT OFF,
YOU'RE STILL WATCHING TV.
TURN IT ON.
WHAT ARE YOU WATCHIN' ?
A SHOW.
WE'RE WATCHIN' A SHOW.
"A SHOW." THEIR BRAINS
IS FALLIN' OUT LIKE TEETH.
DID YOU GET YOUR QUARTER ?
HUH ?
DID THE BRAIN FAIRY
LEAVE YA A QUARTER ?
[ TV: Gunfire, Whooping ]
I'M TALKIN' TO YOU !
WE'RE IGNORING YOU, TONY.
MOM SAID TO IGNORE YOU.
SHE SAID YOU'RE GOING
THROUGH A PHASE.
A PHASE.
NOW I'M A GODDAMN MOON.
THAT'S RIGHT.
YOU CATCH 'EM !
YOUR BRAINS IS FALLING OUT !
YOUR EARS ARE FALLING OFF !
HOW'S YOUR EYES ?
WORKIN' OKAY ?
GO AWAY,
OR WE'LL CALL MOM.
YOU CALL MOM !
YOU THINK MOM'S GONNA HEAR ME,
SHUT UP IN THAT ROOM ?
LISTENING TO THAGODDAMN RECORD ?
THAT'S A SECRET, TONY.
YOU'RE NOT SUPPOSED
TO TALK ABOUT THAT.
WHAT DO YOU CARE ?
HE WASN'T YOUR FATHER !
TURN ME LOOSE
TURN ME LOOSE I SAY
THIS IS THE FIRST TIME
I EVER FELT THIS WAY
GONNA GET A THOUSAND KICKS
OR KISS A THOUSAND CHICKS
SO TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE I SAY
GONNA ROCK AND ROLL LONG AS
THE BAND'S GONNA PLAY
GONNA HOLLER
GONNA SHOUGONNA KNOCK MYSELF RIGHT OUSO TURN ME LOOSE
TURN ME LOOSE
OOH, AH
I'VE GOT SOME CHANGE
IN MY POCKEAND I'M RARIN' TO GO
TAKIN' SOME CHICK
TO THE PICTURE SHOW
AND WHEN I SEE HER HOME
AND WE KISS GOOD NIGHWELL, TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
OOH, AH
[ Engine Starts,
Tires Squeal ]
[ Tony ]
HOW FAR YOU GOIN' ?
[ Man ] I DON'T CARE.
[ Tony ]
WELL, GET IN.
HOW LONG YOU BEEN DRIVIN' ?
[ Woman Chattering,
Indistinct ]
[ Man ]
BEEN ON THE ROAD SIX MONTHS.
[ Tony ]
I'VE ONLY BEEN ON IT FOR
FOUR WEEKS, BUT I LOVE IT.
HEY ! WHERE ARE WE ?
[ Man ]
KANSAS !
KANSAS !
WE'RE IN KANSAS !
[ Man ]
DON'T STOP.
I GOT ALIMONY PAYMENTS !
KANSAS.
[ All Exclaiming ]
LET'S HAVE
A PARTY.
IT'S MY FIRST TIME.
[ All Chattering ]
WAIT A MINUTE !
WAIT A MINUTE !
KANSAS ! THE LAND
OF DOROTHY AND TOTO !
[ Woman ]
I'M THE GOOD
WITCH OF THE WEST.
WE'RE IN THE LAND
OF CHARLIE 'BIRD' PARKER !
[ Horn Blasts ]
MAN, WE ARE IN KANSAS !
WEST OF THE MISSISSIPPI !
I WANT A MOMENT'S
SILENCE HERE.
[ All Booing, Chattering ]
A MOMENT'S SILENCE !
I THINK IT'S TIME
I GO ALONE.
WAIT !
WHAT ABOUT THE CAR ?
IT'S YOURS.
COME ON !
THANK YOU, SON !
[ Laughs ]
IT'S STOLEN !
[ All Exclaiming ]
LET ME OUT !
[ Woman ]
OH, MY GOD.
FOR SALE.
[ Band: Jazz ]
YOU WANT A JOB ?
I WANT YOU.
WE'VE GOT A JOB
WASHING DISHES.
WANT IT ?
SURE.
DARLING, YOU SEND ME
I KNOW YOU
SEND ME
DARLING, YOU SEND ME
HONEST YOU DO
HONEST YOU DO
HONEST YOU DO
OHH
YOU THRILL ME
I KNOW YOU, YOU, YOU
THRILL ME
DARLING, YOU, YOU, YOU
THRILL ME
HONEST YOU DO
WILL YOU BE BACK TOMORROW ?
NO.
WHERE WILL YOU BE ?
THIS IS REALLY KANSAS.
IS EVERYTHING
UP TO DATE HERE ?
IS WILBERT HARRISON
GONNA COME HERE ?
IS IT CORNY ?
IS KANSAS CORNY ?
ARE YOU CORNY ?
DO YOU BELIEVE IN LOVE ?
YES.
YEAH ? WHICH ?
CORNY, HARRISON, LOVE ?
YES.
SHOW ME.
WHAT IS THIS ?
CORN.
CORN !
MMM.
CORN COMES IN A LITTLE
WHITE BOX FROM BIRDSEYE.
[ Train Whistle Blowing ]
CORN ?
KANSAS IS CORNY !
CAN YOU EAT IT ?
YEAH.
CAN YOU SMOKE IT, CAN YOU
DRINK IT, CAN YOU LIE IN IT ?
SURE.
THEN LIE IN IWITH ME.
ARE YOU CRAZY ?
YEAH.
I'M CRAZY.
I'M CRAZY IN LOVE
WITH YOUR BLUE EYES...
AND YOUR CORN-SILKED HAIR.
YOUR CORN-SILKED HAIR.
I'LL NEVER EAT CORN AGAIN
WITHOUT THINKING ABOUT YOU.
CANNED CORN, CANDY CORN,
POPCORN, CRACKERJACKS.
YOU'RE THE PRIZE IN MY BOX !
AND MY BOX IS THIS COUNTRY.
ALL TINFOIL ON THE OUTSIDE.
CORN AND SWEETNESS
ON THE INSIDE.
COME WANDER THE COUNTRY
WITH ME.
I CAN'T.
CAN'T ?
NIGHT AFTER NIGHUNDER THE STARS.
DID YOU KNOW THEM STARS
TRAVEL ALL THE WAY FROM HERE
TO CALIFORNIA ?
CLEAR BLUE WATER,
WHITE SAND.
ARE YOU GOING
TO CALIFORNIA ?
YEAH.
WILL YOU BE HERE
TOMORROW ?
NO.
THEN... THIS IS
YOUR NIGHT FOR KANSAS.
YEAH.
[ Harmonica, Guitar ]
[ "This Train" ]
[ Plays Note ]
[ Continues ]
THIS TRAIN DONE CARRIED
MY MOTHER
WELL, THIS TRAIN
THIS TRAIN DONE CARRIED
MY MOTHER
WELL, THIS TRAIN
THIS TRAIN
SHE'S BOUND FOR GLORY
IF YOU WANT TO GET TO HEAVEN
WELL, YOU GOT TO BE HOLY
THIS TRAIN
SHE'S BOUND FOR GLORY
WELL, THIS TRAIN
HEY, DiNOBLE.
WHAT ARE YOU DOIN' ?
THINKIN'.
THINKIN' OF WHAT ?
[ Distant Siren Wailing ]
CLEAN THOUGHTS.
THEN HOW COME MY DISHES
ARE DIRTY ?
DIRTY ?
DIRTY.
THEM POOR, DUMB
LITTLE BASTARDS.
THEY NEVER LEARNED THE POWER
OF POSITIVE THOUGHT.
I THOUGHT YOU SAID
YOU WAS A DISH WASHER.
I'M A DISH WASHER.
I A-A-A-M...
A DISH WASHER.
MY HANDS
IS PERMANENTLY PUCKERED.
BUT YOU KNOW WHAT ?
THE THRILL IS GONE.
THAT'S WHAT HAPPENS
WHEN YOU TURN PRO.
EVEN THAT FIRST BATCH
OF SUDS,
THAT FIRSSPRAYING OF PALMOLIVE
OVER TROUBLED WATERS,
THAT FIRST PLUNGE
THROUGH THE FOAM,
THAT FIRST HOPEFUL FISH FOR A
DISH-- IT IS GONE, CHARLEY.
IT IS GONE.
[ Sighs ]
AND I THINK IT'S TIME...
THAT I'M MOVIN' ON.
WHERE ? WHERE ARE YOU
GONNA GO, TONY ?
WEST ! WEST !
WHERE ELSE CAN A MAN GO
THAT NEEDS ELBOW ROOM ?
AND WHAT THE HELL DO YOU
NEED ELBOW ROOM FOR ?
I'M THINKIN' OF TAKIN' UP
THE ACCORDION.
HEY, YOU'RE NOT GONNA MAKE
IT IN THIS BUSINESS, TONY.
YOU CAN'T SING.
YOU PLAY GUITAR LIKE A DUCK.
THAT'S 'CAUSE MY HANDS
IS PERMANENTLY PUCKERED.
AND ANYWAY,
THIS IS CALIFORNIA.
THERE AIN'T NO FURTHER WESTO GO.
ALL THE LEAVES ARE BROWN
ALL THE LEAVES
ARE BROWN
AND THE SKY IS GRAY
AND THE SKY IS GRAY
I'VE BEEN FOR A WALK
I'VE BEEN FOR A WALK
ON A WINTER'S DAY
ON A WINTER'S DAY
I'D BE SAFE AND WARM
I'D BE SAFE AND WARM
IF I WAS IN L.A.
[ Harmonica ]
CALIFORNIA DREAMIN'
HEY, MAN.
HEY ! MAN !
WHERE'D YOU GETHAT STUFF ?
FROM A HOBO ON A TRAIN.
YEAH ?
YOU GOT SOME MORE OF IT ?
THAT'S ALL HE TAUGHT ME.
WELL, COME ON UP
ANYWAY.
[ Giggling ]
HI.
HELLO.
HEY. COME ON OVER
AND SIT DOWN.
YEAH.
HOW YOU DOIN' ?
HEY. TRY SOME OF THIS ?
DID YOU EVER GET HIGH BEFORE ?
ONLY WHEN I CAN
AFFORD IT.
HOW OFTEN IS THAT ?
[ Coughs ]
UH, NEVER.
HEY, YOU THINK YOU CAN FIND
THAT HOBO ?
HUH ?
YOU SING ?
NO.
YOU PLAY GUITAR ?
NO.
EVERYBODY PLAYS GUITAR,
MAN.
EVERYBODY PLAYS
THE GUITAR.
HEY, MAN.
WELL, WHAT DO YOU DO ?
I WRITE SONGS.
[ Man ]
ALL RIGHT !
[ Man ]
WORDS OR MUSIC ?
WORDS, WORDS.
I DON'T KNOW NOTHIN'
ABOUT NO MUSIC.
WE CAN SEE THAT.
WHY DON'T YOU
BRING SOME OVER ?
ALL RIGHT.
I GOT 'EM AT HOME.
WHERE'S THAT ?
NORTH BEACH.
NORTH BEACH ? NOBODY LIVES
IN NORTH BEACH ANYMORE.
NOBODY LIVES
IN NORTH BEACH.
RUN ON OUT AND GET 'EM.
BRING 'EM OVER.
YEAH. IT'LL TAKE ME A WHILE,
'CAUSE I GOTTA WALK.
WALK ?
[ Laughs ]
YOU GOTTA WALK ?
HEY. HEY, HEY.
TAKE THE BUS.
[ Giggles ]
ALL RIGHT.
[ Folk Riff ]
[ Continues ]
[ Female Vocalist ]
WELL, IT AIN'T NO USE
TO SIT AND WONDER WHY, BABE
IF YOU DON'T KNOW BY NOW
[ Mouthing Words ]
AND IT AIN'T NO USE
TO SIT AND WONDER WHY, BABE
IT'LL NEVER DO, SOMEHOW
WHEN THE ROOSTER CROWS
AT THE BREAK OF DAWN
LOOK OUT YOUR WINDOW
AND I'LL BE GONE
YOU'RE THE REASON
I'M TRAVELIN' ON
DON'T THINK TWICE
IT'S ALL RIGHOH, WHERE HAVE YOU BEEN
MY BLUE-EYED SON
WHERE HAVE YOU BEEN
MY DARLING YOUNG ONE
I STUMBLED AND I CRAWLED
ON SIX CROOKED HIGHWAYS
WALKED IN A--
OH, COME ON ! COME ON !
COME ON, YOU GUYS.
EVERYTHING IN THE WORLD
IS POSSIBLE.
AND WE'RE JUST SITTIN' HERE
DOIN' NOTHING.
[ Guitar Player ]
FRANKIE, WE'RE DOING FINE,
HONEY. JUST FINE.
"FINE" ?
I DON'T WANNA HEAR FINE.
YOU DON'T MAKE ION FINE.
NOBODY CARES ABOUT FINE.
EVERYTHING'S GOTTA BE PERFECT.
AND THIS IS OUR SHOT.
IT'S JUST A GIG, LADY.
IT'S JUST ONE MORE GIG.
IT'S NOT JUST A GIG !
THIS IS OUR TIME.
THIS IS OUR TIME, GUYS,
AND IT'S SLIPPIN'
RIGHT THROUGH OUR FINGERS.
HEY, TONY, YOU GOANY MORE OF THIS ?
TONY !
HEY, HE'S WORKIN'
ON A SONG.
I'D LIKE TO GETHIS ONE RIGHT FIRST.
YOU GOANY MORE OF THIS ?
SURE.
THANKS.
LIKE TO TRY IT AGAIN ?
OH, WHERE HAVE YOU BEEN
MY BLUE-EYED SON
WHERE HAVE YOU BEEN
MY DARLING YOUNG ONE
THE WORDS
DON'T FIT NOW.
[ Woman ] FUCK THE WORDS.
THE WORDS DON'T MATTER.
OKAY, LET'S TRY IA LITTLE FASTER.
[ Piano ]
WHERE HAVE YOU BEEN
MY BLUE-EYED SON
WHERE HAVE YOU BEEN
MY DARLING YOUNG ONE
WHEN THE TRUTH IS FOUND
TO BE LIES
YOU KNOW THE JOY
WITHIN YOU LIES
DON'T YOU WANSOMEBODY TO LOVE
DON'T YOU NEED
SOMEBODY TO LOVE
WOULDN'T YOU LOVE
SOMEBODY TO LOVE
YOU BETTER FIND
SOMEBODY TO LOVE
LOVE
WHEN THE GARDEN FLOWS
BABY, AGAIN
YES, AND YOUR MIND
YOUR MIND
IS SO FAR ADRIFDON'T YOU WANSOMEBODY TO LOVE
DON'T YOU NEED
SOMEBODY TO LOVE
WOULDN'T YOU LOVE
SOMEBODY TO LOVE
YOU BETTER FIND
SOMEBODY TO LOVE
YOUR EYES
I SEE YOUR EYES
THEY LOOK LIKE HIS
YEAH, BUT IN YOUR HEAD
BABY, I'M AFRAID YOU
DON'T KNOW WHERE IT IS
DON'T YOU WANSOMEBODY TO LOVE
DON'T YOU NEED
SOMEBODY TO LOVE
WOULDN'T YOU LOVE
SOMEBODY TO LOVE
YOU BETTER FIND
SOMEBODY TO LOVE
[ Guitar Riff ]
HEY, MAN.
WHAT'S IN THIS PUNCH ?
WHAT'S IN THIS PUNCH, MAN ?
LITTLE WATER,
LITTLE SUGAR
AND RED DYE NUMBER TWO.
OH, NO, MAN.
THERE'S SOMETHIN' IN IT.
THERE'S SOMETHIN' IN IT.
TRY IT.
OH, MAN.
[ Shrieking ]
FRANKIE !
FRANKIE !
COME ON.
YOU GOTTA BE UP THERE.
ENCORE !
THAT'S WHERE YOU BELONG.
THAT'S WHERE YOU SHOULD BE,
NOT OUT OF IT.
[ Crowd Screaming,
Whistling ]
HEY, MAN,
HOW DO YOU FEEL ?
LIKE A FUCKIN' M&M.
- AN M&M ?
- YEAH. DIG MY THIN
CANDY SHELL.
THEY GOT GOOD STUFF
IN THIS PLACE, MAN ?
YEAH, IT'S THE GREATEST.
HEY ! HEY, GUYS !
DID YOU SEE CASHBOX ?
HAVE YOU SEEN BILLBOARD ?
OUR ALBUM IS NUMBER ONE !
ALL RIGHT !
WE'RE GONNA BE RICH,
AND WE'RE GONNA BE FAMOUS.
WE'RE RICH ALREADY !
YEAH, THAT'S RIGHT.
WE'RE RICH ALREADY.
WE GOT A $5,000 ADVANCE
ON OUR NEXT ALBUM.
SO GUESS WHAT ?
WE BOUGHT YOU A PRESENT.
WHAT IS IT, A SUITCASE ?
YOU WANT ME TO SPLIT ?
NO ! IT'S A TYPEWRITER !
AN ELECTRIC TYPEWRITER.
LOOK.
LOOK. SEE ?
[ Humming ]
[ Keys Clattering ]
YOU CAN WRITE
YOUR SONGS.
IT'S NICE.
WAS THERE SOMETHIN'
YOU WANTED MORE, TONY ?
[ Guitar ]
PEOPLE ARE STRANGE
WHEN YOU'RE
A STRANGER
NICKY !
HEY ! IT'S TONY.
YEAH, YEAH.
[ Music Continues ]
UH, YEAH, WELL, I JUSGOT OUT, MAN. YEAH.
WELL, THEY LEFT ME BEHIND.
I DON'T KNOW.
WHAT THE HELL DIFFERENCE
DOES IT MAKE ?
YEAH, I KNOW
THEY'RE DOIN' GREAT.
YEAH, THE ALBUM TOO.
YEAH, GOLD, HUH ?
UH, THE THING IS, MAN, UH,
YOU-- YOU GOT ANY DOPE ?
ANYTHING AT ALL, MAN.
JUST ANYTHING AT ALL.
YOU GOT ANY SMACK ?
WHEN YOU'RE A STRANGER
FACES LOOK UGLY
YEAH.
WHEN YOU'RE ALONE
YEAH, IT'S PRETTY BAD...
WOMEN SEEM WICKED
WHEN YOU'RE UNWANTED
PAIN.
STREETS ARE UNEVEN
WHEN YOU'RE DOWN
WHEN YOU'RE STRANGE
FACES COME OUOF THE RAIN
WHEN YOU'RE STRANGE
NO ONE REMEMBERS
YOUR NAME
WHEN YOU'RE STRANGE
NO ONE REMEMBERS
YOUR NAME
WHEN YOU'RE STRANGE
WHEN YOU'RE STRANGE
WHEN YOU'RE STRANGE
WOULD YOU LIKE TO RIDE
IN MY BEAUTIFUL BALLOON
WOULD YOU LIKE TO RIDE
IN MY BEAUTIFUL BALLOON
[ Muffled ]
WE CAN FLOAT AMONG
THE STARS TOGETHER
YOU AND I
[ Music Fades ]
[ Producer ]
ALL RIGHT, I WANT EVERYBODY
OUT OF THIS STUDIO.
HEY, WHAT'D
YOU STOP FOR ?
I WAS DOIN' GREAT.
[ Laughing ]
HEY, FRANKIE, LAY OFF
THAT GODDAMNED BOTTLE.
HEY ! SHOVE IT, MAN.
YOU KNOW WHAT I MEAN ?
[ Bottle Crashing ]
[ Door Opening ]
THIS IS NOT MY SONG.
TONY, WHAT DID YOU EXPECT ?
YOU PROMISED US SOMETHIN'
TWO MONTHS AGO.
HEY, MAN, WHAT IS THIS SHIT ?
YOU'RE PULLIN' HOUDINI.
SHE'S PULLIN' FREAK-OUT CITY.
WELL, IT'S
YOUR WIFE, MAN.
AW, GET OFF IT.
THAT ONLY LASTED TWO WEEKS,
MAN. THAT CHICK'S CRAZY.
WHERE THE HELL YOU BEEN ?
I WAS--
I WAS MOVIN' ON,
AND THEN I COME BACK.
YOU LOOK LIKE HELL.
WELL, I BEEN SICK, MAN.
HEY, MAN, IF YOU
CAN'T HOLD YOUR STUFF,
DON'T USE IT.
HEY ! HEY !
HEY, TONY !
[ Screaming ]
TONY ! TONY !
WHERE THE HELL
YOU BEEN ?
I SAID WHERE THE HELL
YOU BEEN, GODDAMN YOU !
JESUS CHRIST !
HOW COULD YOU
DO THIS TO ME ?
HOW COULD YOU DO THIS ?
HOW COULD YOU DO THIS ?
WHY DID YOU DO THIS ?
DON'T YOU KNOW I'M
NOTHIN' WITHOUT YOU ?
PURPLE HAZE ALL IN MY BRAIN
LATELY THINGS
DON'T SEEM THE SAME
ACTING FUNNY
BUT I DON'T KNOW WHY
EXCUSE ME
WHILE I KISS THE SKY
PURPLE HAZE
IS ALL AROUND
DON'T KNOW--
HEY, WHERE ARE WE, ANYWAY ?
HEY, DWAYNE, MAN,
WHERE ARE WE ?
KANSAS CITY.
WHY ?
BECAUSE IT'S NICE
TO KNOW SOMETIMES.
HEY, JEFFREY.
HEY, YOU REMEMBERED
TO BRING YOUR GUITAR
TONIGHT, HUH ?
WHAT ARE WE GOIN' ON AFTER
HENDRIX FOR ? WE'RE GONNA
LOOK LIKE SHIT AFTER HIM.
YOU'RE GONNA LOOK
JUST GREAT. YOU HEAR ME,
JOHNNY ? JUST GREAT.
- WHY IS HE
GOING ON BEFORE US ?
- BECAUSE YOU GUYS
BECAUSE YOU GUYS
ARE THE ONES THOSE PEOPLE
PAID MONEY TO COME AND SEE.
HEY, KID.
HOW'D YOU GET IN HERE ?
GET OUT ! GET OUTTA HERE !
HEY. HEY, LETHE KID STAY, HMM ?
HEY, FRANKIE,
YOU ALL RIGHOR SOMETHIN' ?
[ Coughing ]
HAVE I EVER
LET YOU DOWN ?
NO.
[ Coughing ]
THEN I'M OKAY, RIGHT ?
[ Laughing, Coughing ]
I JUST WANT YOU
TO TAKE CARE.
I TAKE GOOD CARE
OF MY MANAGER.
I TAKE GOOD CARE
OF THE RECORD COMPANIES.
I TAKE GOOD CARE
OF EVERY CONNECTION...
FROM HERE
TO THE COAST.
I TAKE GOOD CARE.
RIGHT ?
[ Coughing ]
JUST WANT YOU
TO TAKE GOOD CARE
OF YOURSELF.
WHO ?
SKIP IT.
I LIKE LITTLE KIDS.
LITTLE KIDS--
THEY BRING ME LUCK.
HEY, TONY.
REMEMBER WHEN YOU
WERE A LITTLE KID ?
HEY. HEADS UP.
WHERE ARE WE ?
MAN, WE BEEN
THROUGH THAT ALREADY.
WE'RE IN KANSAS CITY.
KANSAS ?
THIS IS KANSAS ?
ACROSS THE RIVER.
HEY, KID,
WHAT'S YOUR NAME ?
LITTLE PETE.
WELL, WHO'S
BIG PETE ?
MY DAD.
WHAT'S YOUR DAD
GONNA SAY...
ABOUT YOU HANGIN' OUWITH A BUNCH OF FREAKS ?
[ Little Pete ]
I NEVER MET MY DAD.
HE'S SOME KIND OF MYSTERY.
YOU THE ONE
WHO WRITES THE SONGS ?
YOU COULD TEACH ME
HOW TO DO THAT.
NO !
HEY, KID. COME HERE.
[ Dwayne ]
HEY, FRANKIE, YOU GOTTA SING
IN A HALF-HOUR.
I'M GONNA SING NOW.
OKAY. SURE.
I'M GONNA SING
TO THIS LITTLE BOY.
EVER HEAR ABOUT "SUMMERTIME" ?
YOU EVER GO FISHIN' ?
NEVER BEEN FISHIN' ?
THEY JUMP.
THE FISH-- THEY JUMP.
FISH ARE SURE JUMPIN' NOW
AND THE COTTON, LORD
COTTON'S HIGH
WELL, IT'S HIGH
YOUR DADDY'S RICH
AND YOUR MA'S
SO GOOD LOOKIN', BABY
SHE'S LOOKIN' GOOD NOW
HUSH, BABY, BABY
BABY, BABY, BABY
NO, NO, NO, NO
DON'T YOU CRY
DON'T YOU CRY
[ Screaming ]
ONE OF THESE MORNINGS
HONEY
NOTHING'S GOING
TO HARM YOU NOW
N-NO, NO-NO-NO-NO
NO-NO-NO-NO NO-NO-NO
N-NO, NO-NO-NO-NO
NO-NO-NO-NO NO-NO-NO
NO, NO, NO
NO, NO, NO, NO
NO, DON'T YOU CRY
CORN FLAKES
ARE GETTIN' SOGGY.
TONY ?
[ Kid On Street ]
HEY, BILLY ! LOOK !
MY CORN FLAKES
IS GETTIN' SOGGY.
[ Kid On Street ]
BILLY, LOOK. YOUR BANANA'S
TURNING BROWN TOO.
I DIDN'T ASK YOU
TO STAY WITH ME.
HOW COME YOU BOUGHCORN FLAKES, HUH ?
I THOUGHT YOU
WAS RUNNIN' AWAY
FROM CORN FLAKES.
I THOUGHT YOU LIKE
CORN FLAKES, TONY.
[ Shouting ]
I HATE--
[ Quietly ]
I HATE CORN FLAKES.
I HATE CORN FLAKES.
WHAT DO YOU WANT ?
A TIGER MILK COOKIE ?
THEY'RE GOOD FOR YA.
THEY MAKE YA HEALTHY.
WHERE YA GOIN', TONY ?
AREN'T YA GONNA FINISH
THE SONG ?
YOU CAN'T MAKE ANY MONEY
IF YOU DON'T FINISH
THE SONG.
[ Shouting ]
OH, DON'T YOU KNOW
I DON'T NEED NO MONEY ?
[ Laughing ]
ALL I NEED IS LOVE.
I'M WAITIN' FOR MY MAN
GOT $20 IN MY HAND
UP TO LEXINGTON 125
FEEL SICK AND DIRTY
I'M WAITING FOR MY MAN
HEY, WHITE BOY
WHAT YOU DOIN' UPTOWN
HEY, WHITE BOY, WHY
YOU CHASE MY WOMEN AROUND
PARDON ME, SIR
IT'S FURTHEST FROM MY MIND
I'M JUST WAITING
FOR AN EASY FRIEND OF MINE
I'M WAITIN' FOR MY MAN
FOR MY MAN
HERE HE COMES
HE'S ALL DRESSED IN BLACK
DIOR SHOES
AND A BIG STRAW HAHE'S NEVER EARLY
HE'S ALWAYS LATE
FIRST THING YOU LEARN IS
THAT YOU ALWAYS GOTTA WAII'M WAITIN' FOR MY MAN
I DON'T KNOW, TONY.
I GUESS I JUSDON'T HAVE IT.
YOU HAD US
LIVIN' AT THE CHELSEA.
I CAN'T EVEN GET US THE "Y."
GO BACK TO KANSAS.
MAYBE YOU COULD LISTEN
TO WHAT I'M DOIN' SOMETIMES.
SEE WHAI'M DOIN' WRONG.
GO BACK TO KANSAS.
MAYBE, YOU KNOW,
YOU COULD PUSOME MAGIC ON IT.
[ Sighs ]
GO BACK TO KANSAS.
I CAN'T.
WHY ?
TOO FLAT.
TOO FLAT ?
WHAT THE HELL IS THIS,
THE HIMALAYAS ?
EVEREST.
EVEREST.
EVERYBODY'S GOTTA
TAKE A SHOT AT IT.
GIMME YOUR GUITAR.
YOU'RE GONNA PLAY IT ?
NO.
I'M GONNA PAWN IT.
NO.
I'M GONNA PAWN IT,
AND THEN I'M GONNA
UN-PAWN IT.
NO !
YOU DON'T TRUST ME ?
- NO.
- TH-THEN WHY'D YOU
STAY WITH ME ?
WHY THE HELL DO YOU THINK ?
HERE.
BELONGED TO MY FATHER.
I'M GIVIN' ITO YOU.
- WHY ?
- WHY THE HELL
DO YOU THINK ?
HIS NAME WAS--
HIS NAME WAS
BENNY BELINSKY.
[ Coughing ]
I NEVER KNEW HIM.
SUPPOSED TO BE
SOME KIND OF GENIUS
OR SOMETHIN'.
MAYBE-- MAYBE YOU
TAKE AFTER HIM.
NOW GIVE ME
THE GUITAR.
NOW YOU STAY RIGHT THERE,
YOU HEAR ?
TILL HELL
FREEZES OVER, TONY.
TILL HELL FREEZES OVER.
IT ALREADY DID.
[ "As Time Goes By" ]
HEY, YOU LITTLE PETE ?
YEAH.
WELL, I GOSOMETHIN' FOR YOU.
HEY, HE SAID
NOT TO SELL IT ALL
IN ONE PLACE.
OH ! AND HE SAID
TO GIVE YOU THIS.
DID HE TELL YOU
ANYTHING ELSE ?
NO-- YEAH !
HE SAID TO SAY,
"GOOD-BYE."
[ Distant Siren Wailing ]
HELL
HELL IS FOR CHILDREN
AND YOU KNOW
THAT THEIR LITTLE LIVES
CAN BECOME SUCH A MESS
HELL
HELL IS FOR CHILDREN
AND YOU SHOULDN'HAVE TO PAY FOR YOUR LOVE
WITH YOUR BONES
AND YOUR FLESH
NO, HELL IS FOR CHILDREN
[ Chanting Prayer ]
[ Chanting Continues ]
HELL
HELL IS FOR HELL
HELL IS FOR HELL
HELL IS FOR CHILDREN
HELL IS FOR CHILDREN
THERE'S NO POINT IN ASKIN'
YOU'LL GET NO REPLY
I'M JUST GETTING IN
BUT I BARELY TRY
I GOT NO REASON
TO KNOW TOO MUCH
YOU'LL ALWAYS FIND US
OUT TO LUNCH
WE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANWE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANDON'T ASK US
WHAT WE'RE DOIN'
'CAUSE WE'RE NOT ALL THERE
I DON'T PRETEND
'CAUSE I DON'T CARE
I DON'T BELIEVE ILLUSIONS
I GOT TOO MUCH FOR REAL
STOP YOUR CHEAP COMMEN'CAUSE WE KNOW WHAT WE FEEL
WE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANWE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANWE'RE SO PRETTY
OH, SO PRETTY, YEAH
I KNOW
AND WE DON'T CARE
THERE'S NO POINT IN ASKIN'
YOU'LL GET NO REPLY
I JUST GET IN
BUT I BARELY TRY
I GOT NO REASON
TO KNOW TOO MUCH
YOU'LL ALWAYS FIND ME
OUT TO LUNCH
I KNOW
AND WE DON'T CARE
PIZZA MAN !
WE DELIVER !
HEY, MUCO MAN'S HERE.
WHAT HAVE YOU GOT FOR US ?
OH, MAN, DO WE NEED YOU.
HEY, IF ANYBODY HAS
BLOW IN THIS TOWN,
MY MAN WILL.
YOU GOT THE COKE, DADDY-O ?
WHAT DO I LOOK LIKE, MAN,
A SODA FOUNTAIN ?
WHAT ELSE
YOU GOT THERE ?
SONGS.
YOU SCORIN' SONGS NOW TOO ?
GIVIN' 'EM AWAY.
A SONG AN OUNCE.
BY WHO ?
ME.
YOU CAN KEEP
THE SONGS, MAN.
I WILL KEEP
THE COKE TOO.
[ All Chattering ] WAIT, WAIDON'T GO AWAY. WAIT A SECOND.
COME BACK HERE.
WHAT IS IT, PETE ?
[ Voice Echoing ]
WHAT IS IT ?
WHAT IS IT ?
I HAVE BEEN RUNNIN'
AND FETCHIN'...
FOR YOU BUNCH OF PUNKS
FOR THREE YEARS NOW,
AND I DON'T WANT TO BE
NO CANDY MAN NO MORE.
YOU WANT MORE MONEY ?
IT'S NOT THE MONEY, MAN.
FINE. WE'LL GESOMEONE ELSE.
DO IT.
NO !
HEY, WAIT !
COME ON!
ALL RIGHT, PETE,
WHAT DO YOU WANT ?
[ Echo ] WHAT DO YOU WANT ?
I WANT YOU TO PLAY
ONE OF MY SONGS.
PLAY ? YOU MEAN
RECORD IT ?
DIG IT.
NO WAY, MAN.
MM-HMM.
HEY, LOOK, MAN.
WE'LL LISTEN TO ONE.
ONE ?
JUST ONE.
[ Slams Briefcase ]
OKAY.
OKAY.
PASS THEM OUT,
TURKEY.
[ Muttering ]
HEY, DON'T HURT YOURSELF.
[ Snapping Fingers ]
JUST A LITTLE TOO TALL
COULD'VE USED A FEW POUNDS
TIGHT PANTS, POINTS
HARDLY RENOWN
SHE WAS
A BLACK-HAIRED BEAUTY
WITH BIG, DARK EYES
AND POINTS ALL HER OWN
SITTIN' WAY UP HIGH
WAY UP, FIRM AND HIGH
OUT PAST THE CORN FIELDS
WHERE THE WOODS GOT HEAVY
OUT IN THE BACKSEAOF MY '60 CHEVY
WORKIN' ON MYSTERIES
WITHOUT ANY CLUES
WORKIN' ON OUR NIGHT MOVES
TRYIN' TO MAKE SOME
FRONT-PAGE DRIVE-IN NEWS
WORKIN' ON OUR NIGHT MOVES
[ Crowd Screaming ]
[ Harmonica ]
AHH, ONE FOR THE MONEY
TWO FOR THE SHOW
THREE TO GET READY
NOW GO, CAT, GO
BUT DON'T YOU
STEP ON MY BLUE SUEDE SHOES
YOU CAN DO ANYTHING
BUT LAY OFF
OF MY BLUE SUEDE SHOES
WELL, YOU CAN KNOCK ME DOWN
STEP ON MY FACE
SLANDER MY NAME
ALL OVER THE PLACE
DO ANYTHING
THAT YOU WANNA DO
BUT UH-UH, HONEY
LAY OFF OF MY SHOES
AND DON'T YOU
STEP ON MY BLUE SUEDE SHOES
WELL, YOU CAN DO ANYTHING
BUT LAY OFF OF MY
BLUE SUEDE SHOES
WELL
[ Guitar Riff ]
ALL RIGHT !
DEVIL WITH THE BLUE DRESS
BLUE DRESS ON
SHE'S THE DEVIL
WITH THE BLUE DRESS ON
DEVIL WITH THE BLUE DRESS
BLUE DRESS, BLUE DRESS
DEVIL WITH THE BLUE DRESS ON
OH
[ Crowd Screaming ]
DEVIL WITH THE BLUE DRESS
BLUE DRESS, BLUE DRESS
DEVIL WITH THE BLUE DRESS ON
OH
I'M CRAZY
CRAZY ON YOU
LET ME GET CRAZY
CRAZY ON YOU
CRAZY ON YOU
AND YOU
CRAZY
OOH
ALL RIGHALL RIGHLET ME GECRAZY ON YOU
[ Crowd Screaming ]
THERE'S TOO MANY PLACES
I'VE GOT TO SEE
BUT IF I STAY HERE
WITH YOU, GIRL
THINGS JUST COULDN'T BE
THE SAME
'CAUSE I'M AS FREE
AS A BIRD NOW
AND THIS BIRD
YOU CANNOT CHANGE
OH
AND THE BIRD
YOU CANNOT CHANGE
AND THIS BIRD
YOU CANNOT CHANGE
LORD KNOWS
I CAN'T CHANGE
BYE-BYE, BABY
IT'S BEEN SWEET, LOVE
YEAH, YEAH
OOH, THIS FEELIN'
I CAN'T CHANGE
BUT PLEASE DON'TAKE IT SO BADLY
'CAUSE THE LORD KNOWS
I'M TO BLAME
BUT IF I STAY HERE
WITH YOU, GIRL
THINGS JUST COULDN'T BE
THE SAME
'CAUSE I'M AS FREE
AS A BIRD NOW
AND THIS BIRD
YOU CAN NOT CHANGE
OH, OH, OH, OH
AND THE BIRD
YOU CANNOT CHANGE
AND THIS BIRD
YOU CANNOT CHANGE
LORD KNOWS
I CAN'T CHANGE
LORD, HELP ME
I CAN'T CHANGE
LORD, I CAN'T CHANGE
WON'T YOU FLY
HIGH, FREE BIRD
YEAH
[ Orchestra:
"Free Bird" ]
[ "As Time Goes By" ]
[ "You Send Me" ]
[ "Slaughter
On Tenth Avenue"
[ "A String Of Pearls" ]
[ "I Got Rhythm" ]
[ "Maple Leaf Rag" ]
[ Man Singing Jewish Prayer
Of Lament ]
[ Lament Continues ]
OY !
[ Continues ]
[ Band: "Onward,
Christian Soldiers" ]
[ Woman ]
I DON'T CARE
I DON'T CARE
IF HE'S A CLERK
OR JUST A MILLIONAIRE
THERE'S NO DOUBT ABOUT II'LL SING AND I'LL SHOUT I'CAUSE I DON'T CARE
I DON'T CARE
I DON'T CARE
WHEN IT COMES TO HAPPINESS
I WANT MY SHARE
DON'T TRY TO REARRANGE ME
THERE'S NOTHING
CAN CHANGE ME
'CAUSE I DON'CARE
[ Kiss ]
[ Audience Cheering ]
IT LOOKS BAD.
IT LOOKS VERY BAD.
LEO, LEO, I AIN'NO STAGE SINGER,
SO I'M NOT LOUD ENOUGH
FOR YOU.
ALL RIGHT, SO I GET UP
ON THE STAGE OCCASIONALLY !
GET OUTTA HERE.
TOWARDS THE END
OF THE EVENING.
GRANTED, THE OLD BOX
AIN'T WHAT IT USED TO BE.
BUT NO DANCING HORSES !
YOU EXPECT ME TO HOBBLE
INTO 60 JOINTS TONIGHT ?
I CAN'T EVEN GETHE CHORUS SLIPS OUT.
WONDER HOW THEY'D LIKE IIF I-
KID, COME HERE.
WANT TO MAKE
A PENNY ?
GOT ANY MORE KIDS
STANDIN' AROUND OUT THERE ?
HEY. HE CAN'T COME IN
WITHOUT PAYIN'.
HE'S GOIN'
RIGHT AWAY, CHARLIE.
I GOT MY ORDERS.
HE'LL KEEP HIS EYES CLOSED.
HE WON'T SEE NOTHIN'.
HE WON'T HEAR NOTHIN'.
HE'LL PAY NOTHIN' !
ALL RIGHT.
HERE. GIVE THESE OUTO THE CLIENTELE.
GO ON.
GIVE THOSE
TO THE PEOPLE, SON.
AND SPEEDY. THESE FOLKS
GOTTA SING ALONG WITH ME.
AND IT'S ROUGH WHEN THEY STARWITH THE "DAISY" IN THE MIDDLE
OF "MARIE OF SUNNY ITALY."
AAH, LIKE THIS.
PARDON ME, FOLKS. CHORUS SLIPS
FOR THE WONDERFUL SONG
THE LOVELY LILY MONTGOMERY...
IS GONNA BE INTRODUCING
IN JUST A FEW MOMENTS.
SO AS NOT TO BE LEFT BEHIND,
YOU'LL WANT TO PERUSE THESE
IN ADVANCE.
WAITER, A LIGHT HERE.
NO NEED TO WORRY ABOUT THE
NUMBER CURRENTLY ON STAGE,
OURS IS FAR SUPERIOR.
[ Laughs ]
I'M SURE YOU'LL AGREE
WHEN YOU HEAR IT !
YOU'LL FIND YOURSELF
BURSTING INTO SONG AS WELL.
IT DON'T HURT TO SWIPE THESE
OTHER SLIPS THAT ARE LEFT.
OUT OF SIGHT, OUT OF MIND.
RIGHT ? HERE.
GO.
GO, GO, GO.
COME ON.
[ Imitating Showman's Patter ]
BEGGING YOUR PARDON, FOLKS.
CHORUS SLIPS
FOR A WONDERFUL SONG
THE LOVELY LILY MONTGOMERY...
IS GONNA BE INTRODUCING
IN JUST A FEW MINUTES.
THE KID'S A GENIUS !
[ Ragtime ]
[ Continues ]
[ Singing Along With Band ]
DA, DA, DA, DA
LA, LA, LA, LA
[ Coughing ]
LOUIE.
YEAH.
YOU PROMISED THE BOY
A PENNY. HMM ?
A PENNY ?
YEAH.
YOU OUGHT TO BE GRATEFUL.
GOT A RIDE IN A BRAND-NEW CAR.
APPLE CIDER !
A TRIP INTO ALMOSEVERY JOINT IN TOWN.
NONETHELESS,
YOU PROMISED.
AAH. PROMISED, EH ?
HERE.
WHAT DOES HE WANWITH THOSE
OTHER CHORUS SLIPS ?
MUST BE STUDYING
THE COMPETITION.
IT WOULDN'T HURT YOU.
"IT WOULDN'T HURT," HE SAYS.
SO WHY AM I CRYING ?
[ Sighs ]
GOOD NIGHT, ZUNELECH.
MAYBE WE'LL SEE YOU
TOMORROW.
NOT IF I SEE YOU FIRST.
GET OUTTA HERE.
[ Speaking In Russian ]
[ Stage Band: "Give
My Regards To Broadway" ]
[ Audience Laughing ]
OH, NO ! YOU GOYOUR G'S ALL BACKWARDS !
LOOK AT THAT. A WHOLE ROW
OF G'S BACKWARDS. LOOK.
LITTLE TAILS GO LIKE THIS
AND LIKE THAT.
[ Laughs ]
WHAT ARE YOU TALKIN' ?
HE'S WRITING Q'S !
PERFECTLY RIGHT,
PERFECTLY OKAY Q'S.
YOU'RE WRITING Q'S,
AM I RIGHT ?
YOU'RE WRITING Q'S.
WHAT ARE YOU WRITING HERE ?
P'S.
P'S ? WHO TAUGHT YOU
TO WRITE P'S LIKE THAT ?
THE DANCING HORSE.
WHO TOLD YOU TO GO NEAR
THE DANCING HORSE ?
STAY AWAY FROM
THE DANCING HORSE !
[ Lightning Zapping ]
[ Screaming ]
GOOD-BYE, MAMA.
GOOD-BYE, MAMA.
[ Little Boy ]
THERE ARE SMILES
THAT MAKE US HAPPY
THERE ARE SMILES
THAT MAKE US BLUE
[ Older Boy ]
THERE ARE
SMILES
THAT MAKE US HAPPY
THERE ARE SMILES
THE KID IS TOO OLD
TO BE PLAYING JUVENILES.
HUMPH.
OLD, BUT LITTLE.
HE HAD A STUNTED YOUTH.
WHAT IS THIS KID
TO YOU ANYWAY, LOUIE ?
HE COMES IN THE BUSINESS
AND TAKES YOUR JOB AWAY.
AND HE TOOK LOUIE
EVERY PLACE HE WENT.
[ Laughs ]
THE KID'S NOTHIN' TO ME.
I'M NOTHIN' TO HIM.
IT'S MORE
THAN I GOT ELSEWHERE.
[ Sniffles ]
THERE ARE SMILES THAT HAVE
THAT TENDER MEANING
THAT THE EYES OF LOVE ALONE
HIS VOICE
IS CHANGIN' ANYWAY.
CAN SEE
SO LET IT CHANGE.
WHO SAYS
IT'S GOTTA CHANGE BAD ?
AND THE SMILES
THAT FILL MY LIFE
MAYBE IT'LL CHANGE GOOD.
WITH SUNSHINE
ARE THE SMILES
THAT YOU GIVE
TO ME
[ "Over There" ]
[ Zalmie, Muffled ]
LOUIE ?
YEAH ?
I'M 17 YEARS OLD.
WHEN'S MY VOICE
GONNA CHANGE ALREADY ?
[ Louie ]
IT'S CHANGIN'.
IT'S CHANGIN' !
I KNOW IT'S CHANGIN'.
WHEN'S IT GONNA
CHANGE FOR GOOD ?
WHAT'S YOUR RUSH ?
I DON'T WANNA BE
A HORSE'S ASS FOREVER.
[ Audience Applauding ]
[ Engines Zooming ]
[ Coughing ]
[ Louie ]
ZALMIE, WHAT'S WRONG ?
[ Chuckles ]
AAH.
SO ?
YOUR VOICE
FINALLY CHANGED, HUH ?
THIS IS A FUNNY STORY.
AAH. WE'RE BOTH
LAUGHING, HUH ?
[ Zalmie ]
THAT'S A NICE LITTLE COUGH
YOU HAVE THERE, ZALMIE.
A LITTLE COUGH, SAYS LOUIE ?
CONSUMPTION, HE'S GOT.
[ Audience Remains Silent ]
YOU AIN'T LAUGHIN'.
WELL, YOU AIN'T LAUGHIN'
'CAUSE I AIN'T FINISHED YET.
YOU'LL KNOW WHEN I'M FINISHED.
THEN YOU'LL BE LAUGHIN'.
IF YA AIN'T,
THEN I'LL BE CRYIN'.
THAT OUGHT TO BE GOOD
FOR A FEW LAUGHS.
EITHER WAY, YOU WIN !
AAH.
[ Stage Band: "Swanee" ]
[ Audience Cheers ]
[ Audience Cheers ]
[ Charlie ]
COME ON, MOVE IT !
AW, SHOVE IT, CHARLIE.
AW, SHOVE IT.
HEY, HURRY UP.
COME ON ! OUT ON STAGE.
MOVE IT. COME ON !
[ Slams ]
[ Whooping, Cheering ]
HEY, LOUIE.
I JUST SEEN
THE MOST BEAUTIFUL THING
I EVER SEEN IN THE WORLD.
SOME PRE-PROHIBITION BOOZE,
HUH ?
NO. I SEEN A STRIPPER
GETTIN' DRESSED.
A STRIPPER GETTIN' DRESSED
AIN'T BEAUTIFUL...
UNLESS SHE'S UGLY
TO BEGIN WITH.
SHE WAS NOT UGLY
TO BEGIN WITH !
LOUIE,
SHE WAS LIKE A ROSE.
A ROSE.
HOW OLD ARE YOU
ANYHOW, KID ?
ALMOST 20.
HOW OLD ARE YOU ?
NOT SO OLD.
[ Spits ]
I KNOW. WHEN WE FIRST MEI THOUGHT YOU WERE AN OLD MAN.
NOW, OLDER I GET,
YOUNGER YOU GET.
AMAZING, AIN'T IT ?
PRETTY SOON WE'LL BE THE SAME.
[ Chuckles ]
YEAH ?
THEN WHAT ?
THEN WE STARCALLING ME "KID."
[ Laughs ]
[ Stage Band ]
YOU WANT THIS GIRL, KID ?
SO, GO GET HER.
RIGHT NOW ?
RIGHT NOW.
IF YOU WAIT, YOU'LL BE OLDER
THAN BOTH OF US. GO ON.
GO ON !
[ Applause ]
[ Spits ]
[ Whooping ]
[ Stage Band:
"Anything Goes" ]
[ Woman ]
SOMEBODY LOVES ME
I WONDER WHO
I WONDER WHO
HE CAN BE
HEY, YOU CAN SING.
NO, I CAN'T.
SURE, YOU CAN.
I KNOW VOICES.
I USED TO BE A SINGER MYSELF.
WITH THAT VOICE ?
NO, NOT WITH THIS VOICE.
I USED TO HAVE ANOTHER VOICE.
I SENT IT TO THE LAUNDRY;
IT COME BACK SHRUNK.
SO YOU WANT TO BE A SINGER,
HUH ?
NO.
SURE YOU DO. SINGERS GET TO
SIT ON PIANOS AND THINGS.
STRIPPERS IS ALWAYS
ON THEIR FEET.
AIN'T YOU ALWAYS TELLING ME
HOW YOUR TOOTSIES IS ACHIN' ?
THAT'S BECAUSE YOU'RE
STEPPIN' ON THEM.
[ Chuckles ]
HEY, KID.
I'M GONNA MAKE YOU A STAR.
SO, UH, WHAT WAS BELLA
BEFORE IT WAS BELLA ?
ANNABELLA.
MMM.
HERE, HERE, HERE.
AW.
AW.
LOUIE, I WANNA MAKE
THE KID A STAR, RIGHT ?
I GOTTA GET TO KNOW THE CLUBS.
I GOTTA GET TO KNOW THE BANDS.
I CAN GET PAID
AT THE SAME TIME.
WHERE'S THE HEARTACHE ?
THE HEARTACHE
IS YOU COULD HAVE
BEEN A STAR YOURSELF.
OHH.
YOU COULD HAVE BEEN
A GREAT COMIC !
WHO WANTS TO LAUGH
SITTIN' IN SOME SPEAK ?
YOU GOT ONE EAR
COCKED FOR THE COPS.
UH-UH. THEY WANT A SLOW,
SEXY WOMAN...
HELPIN' THEM TO FEEL SORRY
FOR THEMSELVES.
COMICS ARE FOR KIDS.
BESIDES, LOUIE,
IT'S THE MUSIC I LOVE.
[ Together ]
IT'S THE MUSIC I LOVE.
IT'S THE MUSIC.
[ Dance Band:
"Charleston" ]
I CAN'T EVEN REMEMBER
THE WORDS.
IT'S GONNA BE A BIG SONG.
YOU SHOULD TRY IT AGAIN.
YOU THINK
I'M GONNA BE A HIT ?
DID THE BOOZE ARRIVE ?
HELLO, MR. PALUMBO.
HOW YOU DOIN', BOSS ?
HEY, BAGGY PANTS. WHERE'S
YOUR PARTNER, ZALMIE ?
HE'S IN THE BACK
WHERE HE ALWAYS IS.
YEAH, I SEE HIM.
[ Humming ]
YOUR GIRL'S GETTING FAT.
PREGNANT.
DON'T YOU THINK IT'S
TIME FOR A WEDDING ?
HOW CAN I ASK HER ?
I DON'T HAVE A CENT.
YOU SHOULD HAVE
THOUGHT OF THABEFORE YOU GOT HER PREGNANT.
WHO THINKS
AT A TIME LIKE THAT ?
WHAT DO YOU THINK ?
CUSTOMERS ARE
GONNA COME AND PAY
TO SEE SOME
PUFFED-OUT SINGER ?
SHE AIN'T ANY FATTER
THAN SOPHIE TUCKER.
[ Chuckles ]
YEAH. BUT SHE'S FAALL IN ONE PLACE.
YOU WANT THE KID,
OR YOU WANT THE GIRL FIXED ?
[ Hits Table ]
WE WANT THE KID.
THEN GO GET MARRIED.
THIS IS A WHOLESOME PLACE.
COME ON, DOLL !
[ Whistles ]
[ Laughs ]
WE GOT A DOWN PAYMENON RICE.
SO THE BOOZE I UNDERSTAND.
IZZY NEEDS THE BOOZE
FOR THE NIGHTCLUBS.
HERE.
BUT WHY IS HE CUTTING OUTHE MIDDLE MAN ?
[ Sighs ]
HE'S CUTTIN' THE MIDDLE
OUT OF THE MIDDLE MAN.
LOUIE, I NEVER SEEN SO MUCH
BLOOD IN MY WHOLE LIFE.
I DON'T LIKE THIS BUSINESS,
LOUIE. I LOVED SHOW BUSINESS.
[ Sighs ]
YOU ALWAYS TOLD ME
IT WAS JUST THE MUSIC.
IT STILL IS.
[ Bella ]
AND ALONG CAME BILL
WHO'S NOT THE TYPE AT ALL
YOU MEET HIM ON THE STREEAND NEVER NOTICE HIM
HIS WARM EMBRACE
HIS MANLY GRACE
IS NOT THE KIND
I'VE GOT TO ADMIT IT,
ZALMIE.
SHE'S REALLY GOOD.
[ Continues ]
WHAT DO YOU SAY, NICKY ?
SHE AIN'T BAD.
SOMETIMES IT'S ALL
WORTH IT, HUH ?
YEAH.
MAKES ME THRILL
I LOVE HIM
BECAUSE HE'S WONDERFUL
WHAT DO YOU THINK, BENNY ?
YOUR MAMA'S
GONNA MAKE A RECORD.
KID NEVER TALKS, ZALMIE.
HE WILL WHEN HE'S GOSOMETHING TO SAY.
HOW DO YOU KNOW THERE
AIN'T SOMETHING
WRONG WITH HIM ?
LIKE MAYBE HE'S DEAF
OR SOMETHING.
HOW CAN HE BE DEAF ?
HE PLAYS THE PIANO.
BEETHOVEN WAS DEAF.
[ Laughs ]
SEE THAT ?
GARBO TALKS, HUH ?
[ Screams ]
WHAT !
THEY WON'T LISTEN TO REASON.
[ Fingers Snap ]
[ Doorbell Jingling ]
[ Continuous Gunfire ]
[ "Sweet Georgia Brown" ]
[ Continues ]
[ Piano ]
[ Zalmie ]
NICKY, YOU GET THE DEUCE.
LITTLE ZALMIE'S FLUSHING OUT.
ALL RIGHT !
HEY, THE KID'S GOPIANO PLAYER'S HANDS.
SURGEON'S HANDS.
HE'S GOING TO BE A DOCTOR.
[ Doorbell Ringing ]
DOCTOR, PIANO PLAYER.
HE CAN BE BOTH.
HE'S SMART ENOUGH.
EVERYONE IN ?
ZALMIE,
YOU ORDERED PRETZELS ?
PRETZELS ?
YEAH. I THOUGHT MAYBE
YOU SENT ME A PRESENT.
BUT IT'S A BOX OF PRETZELS.
BELLA !
DON'T TOUCH THE BOX !
BELLA !
[ Explosion ]
[ Dissonant Chords ]
[ Boogie-woogie ]
[ "Sweet Georgia Brown" ]
YEAH.
[ Musicians Laughing ]
SO BENNY,
I CAN GET YOU
REISENWEBER'S.
I CAN GET YOU JACK'S.
I CAN GET YOU SHANLEY'S.
SO WHAT ARE YOU DOING HERE ?
I'M HAPPY, POPS.
IT'S NOT LIKE ANYBODY'S
DOIN' YOU A FAVOR.
EVERYBODY KNOWS YOU'RE GOOD.
THAT GUY FROM RCA VICTOR,
HE'S DYIN' FOR YOU
TO MAKE A RECORD FOR HIM.
DYIN' ?
POPS,
IT'S NOT THAT IMPORTANT.
YEAH, BENNY.
IT IS IMPORTANT.
YOU COULD BE SOMETHING, BENNY.
YOU COULD BE A STAR.
I WANT YOU
TO DO ME A FAVOR, BENNY.
I WANT YOU TO MARRY A GIRL
FOR ME.
[ Musicians Laughing ]
[ Benny ]
MARRY A GIRL ?
YEAH.
AND LIVE HAPPILY
EVER AFTER ?
YEAH.
HEY, BENNY.
IT'S NICKY PALUMBO'S
DAUGHTER. ALL RIGHT ?
HER FATHER'S
AN IMPORTANT MAN, MISTER.
AND YOUR FATHER'S
AN IMPORTANT MAN TOO !
AND IF YOU WON'LIVE MY DREAMS,
THEN LIVE MY LIFE, ALL RIGHT ?
SURE, POPS.
[ Playing Soft Melody ]
NOW WHAT ARE YOU
DOING ?
PLAYING HER A LOVE SONG.
FORGET THE LOVE SONGS,
BENNY. THE GIRL'S AGREED.
A LOVE SONG'S NICE TO GIVE
THE GIRL YOU'RE GONNA MARRY.
[ Male Soloist ]
IT'S VERY CLEAR
[ Flash Bulb Pops ]
OUR LOVE IS HERE
TO STAY
NICKY, NICKY.
LOOK AT IT THIS WAY.
YOU'RE NOT LOSING A DAUGHTER.
YOU'RE GAINING A SON.
RIGHT.
SONS I DON'T NEED.
I GOT SONS.
WHAT I'M GAINING
IS A BROTHER.
[ Guests Applauding ]
[ Flashbulb Pops ]
THE RADIO
AND THE TELEPHONE
AND THE MOVIES
THAT WE KNOW
MAYBE JUSPASSING FANCIES
AND IN TIME THEY'LL GO
YET IT MAY BE
OUR LOVE IS HERE TO STAY
[ Flashbulb Pops ]
TOGETHER
WE'RE
GOING THE LONG, LONG WAY
IT'S A BIG HOUSE.
BIG ?
WHAT ARE THE TWO OF US
SUPPOSED TO DO
IN THIS BIG HOUSE ?
MAKE THREE, FOUR OR FIVE.
IS THAT WHAT YOU WANT ?
IF YOU DO.
BUT WHAT DO YOU WANT ?
I WANT...
YOU TO SMILE.
[ Sad, Minor Melody ]
ENLISTED !
WHAT DO YOU MEAN,
YOU ENLISTED ?
I LIKED THE HAT, POPS.
HEY, BENNY, YOU GOT A WIFE
NOW. YOU GOT A KID COMIN'.
SO ? I NEED
A STEADY JOB.
WHAT ARE YOU TALKIN',
A STEADY JOB ?
YOU GOT A STEADY JOB HERE !
OH, POPS.
THIS ISN'T WORK.
THIS IS PLAY.
SO PLAY, BENNY.
YOU'RE JUST A KID.
NO, POPS.
NO, I'M NOT.
[ "As Time Goes By" ]
BENNY. LOOK, I GAVE.
ALL RIGHT ?
I GAVE AT THE OFFICE.
BUT YOU TOOK TOO.
HEY, BENNY.
WHAT AM I GONNA DO
IF ANYTHING SHOULD HAPPEN
TO YOU ? HUH ?
YOU'LL MANAGE, POPS.
[ Stops Playing ]
[ Swing Drumbeat ]
[ "Sing, Sing, Sing" ]
[ Continues ]
[ Harmonica:
"As Time Goes By" ]
BOY, WHO TOLD YOU
YOU COULD PLAY THAT THING ?
NOBODY.
[ Resumes ]
YOU'RE LOUSY.
YEAH.
I KNOW. BUT IT'S HARD
TO FIT A PIANO IN A FOXHOLE.
[ "As Time Goes By" ]
[ "Lilli Marlene" ]
DANKE.
[ Gun Cocking ]
[ Orchestra: "Mona Lisa" ]
YOU'VE BEEN CARRYING A TORCH
FOR THAT BASTARD'S SON
LONG ENOUGH. DO YOU HEAR ?
YOU MARRIED A GOOD MAN NOW,
YOU UNDERSTAND ?
YOU DON'T WANT TO MARRY
IN THE BUSINESS, ALL RIGHT,
SO I LET YOU.
YOU WANNA MARRY A GUY
THAT SELLS REFRIGERATORS,
I LET YOU.
COULD I BE PROUD OF THAT ?
NAH. BUT I LET YA.
SO AT LEAST BE WORTHY
OF THE MAN.
YOU OWN HIM NOW,
PAPA !
[ Chuckles ]
I OWN EVERYBODY.
[ Gavel Pounding ]
WHAT IS YOUR NAME ?
ZALMIE BELINSKY.
WHERE DO YOU LIVE ?
LIVE ?
[ Questioner ]
WHAT IS YOUR PLACE
OF RESIDENCE ?
JACKSONVILLE STATE PRISON.
VERY NICE PLACE.
TONY. COME HERE.
NO. I WANT HIM
TO SEE THIS.
I WANT HIM TO SEE
HOW A MAN ACTS.
WHAT WAS YOUR RELATIONSHIP
WITH MR. PALUMBO ?
MY RELATIONSHIP ?
HE WAS MY FRIEND.
- WAS ?
- FIRST HE TOLD ME THEY'D
GET ME OUT RIGHT AWAY.
THEN THEY TOLD ME
THEY'D GET ME OUT SOON.
THEN THEY TOLD ME NOTHIN'.
EIGHT YEARS
IS A LONG TIME.
I TOLD YOU WE SHOULD'VE
GOTTEN RID OF HIM !
HIS SON GETS KILLED;
HE GETS TOTALLY USELESS.
BUT NO, YOU GET MUSH HEAD
FOR HIM !
"LET HIM TAKE A FALL,"
YOU SAY.
"HE'LL STAY QUIET."
QUIET ! HE WOULD'VE
BEEN QUIETER DEAD.
SO NOW YOU AGREED
TO TALK TO US.
THIS COUNTRY'S BEEN GOOD TO ME
IN ITS WAY.
"I TOOK," MY SON SAID.
NOW IT'S TIME TO GIVE BACK.
I CAN'T BELIEVE IT.
THAT SCHMUCK
IS GONNA SING !
SING ? SURE.
THAT'S ALL HE EVER WANTED.
SURE. THAT'S ALL
HE EVER WANTED.
[ Man On Radio ]
I DISCUSSED THE COMMUNISTS
IN THE STATE DEPARTMENT.
[ Radio Dramatist ]
DEAN HUNCHED HIS MUSCULAR NECK
IN THE WINTER NIGHT.
[ Man On Radio ]
WE'RE FIGHTING FOR TIME.
THE YOUNG MEN IN
KOREA AND JAPAN
ARE FIGHTING FOR TIME FOR US.
[ Newscaster ] JULIUS AND
ETHEL ROSENBERG HAVE PAID
THEIR DEBT TO SOCIETY.
[ Richard Nixon ]
PAT DOESN'T HAVE A MINK COAT.
BUT SHE DOES
HAVE A RESPECTABLE
REPUBLICAN CLOTH COAT.
[ Lucille Ball ]
ETHEL,
HOW COULD YOU EVER THINK
[ Audience Laughing ]
[ Conga Drumroll ]
I SAW THE BEST MINDS OF MY
GENERATION
DESTROYED BY MADNESS.
DRAGGIN' THEMSELVES THROUGH
THE NEGRO STREETS AT DAWN
LOOKING FOR AN ANGRY FIX.
ANGEL-HEADED HIPSTERS...
BURNING FOR THE ANCIENHEAVENLY CONNECTION
TO THE STARRY DYNAMO...
IN THE MACHINERY OF NIGHT.
TONY, WHAT'S HE
TALKIN' ABOUT ?
YOU HAVE ANY IDEA ?
SHUT UP.
GEEZ. WE'RE UNDERAGE.
THIS PLACE COULD GEBUSTED ANY MINUTE.
AND SOME OF THESE PEOPLE
ARE SMOKIN' DRUGS.
SHUT UP.
SAT UP SMOKING IN THE
SUPERNATURAL DARKNESS
OF COLD-WATER FLATS.
[ Inhales Deeply ]
FLOATING ACROSS THE TOPS
OF CITIES,
CONTEMPLATING JAZZ.
I'M GOIN', TONY.
GO.
SO HOW YOU GONNA
GET HOME ?
HOME ?
[ Poet ]
GREAT LIFE'S TRAGEDY
AMONG THE SCHOLARS OF WAR.
[ Jazz Combo:
"Take Five" ]
[ Man On Loudspeaker ]
NUMBER 34 DEPARTING
FROM GATE 3 FOR LONG ISLAND.
NUMBER 89 WILL BE
LEAVING GATE 6...
FOR BALTIMORE AND WASHINGTON,
D.C. AT 11:48.
NUMBER 74 NOW DEPARTING
FOR PHILADELPHIA AT GATE 9.
PASSENGERS FOR NUMBER 12
TO NEW HAVEN, PROVIDENCE
AND BOSTON,
YOUR BUS HAS BEEN DELAYED
AND IS EXPECTED TO ARRIVE
30 MINUTES LATE.
LAST CALL FOR NUMBER 47
TO SAN FRANCISCO.
[ TV: Gunfire, Shouting ]
[ Whooping,
Gunfire ]
SO ?
WHAT'RE YOU WATCHIN' ?
TV.
WONDERFUL.
YOU'RE WATCHING TV.
TV, YOU CAN WATCH
IF IT'S ON OR OFF !
I SHUT IT OFF,
YOU'RE STILL WATCHING TV.
TURN IT ON.
WHAT ARE YOU WATCHIN' ?
A SHOW.
WE'RE WATCHIN' A SHOW.
"A SHOW." THEIR BRAINS
IS FALLIN' OUT LIKE TEETH.
DID YOU GET YOUR QUARTER ?
HUH ?
DID THE BRAIN FAIRY
LEAVE YA A QUARTER ?
[ TV: Gunfire, Whooping ]
I'M TALKIN' TO YOU !
WE'RE IGNORING YOU, TONY.
MOM SAID TO IGNORE YOU.
SHE SAID YOU'RE GOING
THROUGH A PHASE.
A PHASE.
NOW I'M A GODDAMN MOON.
THAT'S RIGHT.
YOU CATCH 'EM !
YOUR BRAINS IS FALLING OUT !
YOUR EARS ARE FALLING OFF !
HOW'S YOUR EYES ?
WORKIN' OKAY ?
GO AWAY,
OR WE'LL CALL MOM.
YOU CALL MOM !
YOU THINK MOM'S GONNA HEAR ME,
SHUT UP IN THAT ROOM ?
LISTENING TO THAGODDAMN RECORD ?
THAT'S A SECRET, TONY.
YOU'RE NOT SUPPOSED
TO TALK ABOUT THAT.
WHAT DO YOU CARE ?
HE WASN'T YOUR FATHER !
TURN ME LOOSE
TURN ME LOOSE I SAY
THIS IS THE FIRST TIME
I EVER FELT THIS WAY
GONNA GET A THOUSAND KICKS
OR KISS A THOUSAND CHICKS
SO TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE I SAY
GONNA ROCK AND ROLL LONG AS
THE BAND'S GONNA PLAY
GONNA HOLLER
GONNA SHOUGONNA KNOCK MYSELF RIGHT OUSO TURN ME LOOSE
TURN ME LOOSE
OOH, AH
I'VE GOT SOME CHANGE
IN MY POCKEAND I'M RARIN' TO GO
TAKIN' SOME CHICK
TO THE PICTURE SHOW
AND WHEN I SEE HER HOME
AND WE KISS GOOD NIGHWELL, TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
TURN ME LOOSE
OOH, AH
[ Engine Starts,
Tires Squeal ]
[ Tony ]
HOW FAR YOU GOIN' ?
[ Man ] I DON'T CARE.
[ Tony ]
WELL, GET IN.
HOW LONG YOU BEEN DRIVIN' ?
[ Woman Chattering,
Indistinct ]
[ Man ]
BEEN ON THE ROAD SIX MONTHS.
[ Tony ]
I'VE ONLY BEEN ON IT FOR
FOUR WEEKS, BUT I LOVE IT.
HEY ! WHERE ARE WE ?
[ Man ]
KANSAS !
KANSAS !
WE'RE IN KANSAS !
[ Man ]
DON'T STOP.
I GOT ALIMONY PAYMENTS !
KANSAS.
[ All Exclaiming ]
LET'S HAVE
A PARTY.
IT'S MY FIRST TIME.
[ All Chattering ]
WAIT A MINUTE !
WAIT A MINUTE !
KANSAS ! THE LAND
OF DOROTHY AND TOTO !
[ Woman ]
I'M THE GOOD
WITCH OF THE WEST.
WE'RE IN THE LAND
OF CHARLIE 'BIRD' PARKER !
[ Horn Blasts ]
MAN, WE ARE IN KANSAS !
WEST OF THE MISSISSIPPI !
I WANT A MOMENT'S
SILENCE HERE.
[ All Booing, Chattering ]
A MOMENT'S SILENCE !
I THINK IT'S TIME
I GO ALONE.
WAIT !
WHAT ABOUT THE CAR ?
IT'S YOURS.
COME ON !
THANK YOU, SON !
[ Laughs ]
IT'S STOLEN !
[ All Exclaiming ]
LET ME OUT !
[ Woman ]
OH, MY GOD.
FOR SALE.
[ Band: Jazz ]
YOU WANT A JOB ?
I WANT YOU.
WE'VE GOT A JOB
WASHING DISHES.
WANT IT ?
SURE.
DARLING, YOU SEND ME
I KNOW YOU
SEND ME
DARLING, YOU SEND ME
HONEST YOU DO
HONEST YOU DO
HONEST YOU DO
OHH
YOU THRILL ME
I KNOW YOU, YOU, YOU
THRILL ME
DARLING, YOU, YOU, YOU
THRILL ME
HONEST YOU DO
WILL YOU BE BACK TOMORROW ?
NO.
WHERE WILL YOU BE ?
THIS IS REALLY KANSAS.
IS EVERYTHING
UP TO DATE HERE ?
IS WILBERT HARRISON
GONNA COME HERE ?
IS IT CORNY ?
IS KANSAS CORNY ?
ARE YOU CORNY ?
DO YOU BELIEVE IN LOVE ?
YES.
YEAH ? WHICH ?
CORNY, HARRISON, LOVE ?
YES.
SHOW ME.
WHAT IS THIS ?
CORN.
CORN !
MMM.
CORN COMES IN A LITTLE
WHITE BOX FROM BIRDSEYE.
[ Train Whistle Blowing ]
CORN ?
KANSAS IS CORNY !
CAN YOU EAT IT ?
YEAH.
CAN YOU SMOKE IT, CAN YOU
DRINK IT, CAN YOU LIE IN IT ?
SURE.
THEN LIE IN IWITH ME.
ARE YOU CRAZY ?
YEAH.
I'M CRAZY.
I'M CRAZY IN LOVE
WITH YOUR BLUE EYES...
AND YOUR CORN-SILKED HAIR.
YOUR CORN-SILKED HAIR.
I'LL NEVER EAT CORN AGAIN
WITHOUT THINKING ABOUT YOU.
CANNED CORN, CANDY CORN,
POPCORN, CRACKERJACKS.
YOU'RE THE PRIZE IN MY BOX !
AND MY BOX IS THIS COUNTRY.
ALL TINFOIL ON THE OUTSIDE.
CORN AND SWEETNESS
ON THE INSIDE.
COME WANDER THE COUNTRY
WITH ME.
I CAN'T.
CAN'T ?
NIGHT AFTER NIGHUNDER THE STARS.
DID YOU KNOW THEM STARS
TRAVEL ALL THE WAY FROM HERE
TO CALIFORNIA ?
CLEAR BLUE WATER,
WHITE SAND.
ARE YOU GOING
TO CALIFORNIA ?
YEAH.
WILL YOU BE HERE
TOMORROW ?
NO.
THEN... THIS IS
YOUR NIGHT FOR KANSAS.
YEAH.
[ Harmonica, Guitar ]
[ "This Train" ]
[ Plays Note ]
[ Continues ]
THIS TRAIN DONE CARRIED
MY MOTHER
WELL, THIS TRAIN
THIS TRAIN DONE CARRIED
MY MOTHER
WELL, THIS TRAIN
THIS TRAIN
SHE'S BOUND FOR GLORY
IF YOU WANT TO GET TO HEAVEN
WELL, YOU GOT TO BE HOLY
THIS TRAIN
SHE'S BOUND FOR GLORY
WELL, THIS TRAIN
HEY, DiNOBLE.
WHAT ARE YOU DOIN' ?
THINKIN'.
THINKIN' OF WHAT ?
[ Distant Siren Wailing ]
CLEAN THOUGHTS.
THEN HOW COME MY DISHES
ARE DIRTY ?
DIRTY ?
DIRTY.
THEM POOR, DUMB
LITTLE BASTARDS.
THEY NEVER LEARNED THE POWER
OF POSITIVE THOUGHT.
I THOUGHT YOU SAID
YOU WAS A DISH WASHER.
I'M A DISH WASHER.
I A-A-A-M...
A DISH WASHER.
MY HANDS
IS PERMANENTLY PUCKERED.
BUT YOU KNOW WHAT ?
THE THRILL IS GONE.
THAT'S WHAT HAPPENS
WHEN YOU TURN PRO.
EVEN THAT FIRST BATCH
OF SUDS,
THAT FIRSSPRAYING OF PALMOLIVE
OVER TROUBLED WATERS,
THAT FIRST PLUNGE
THROUGH THE FOAM,
THAT FIRST HOPEFUL FISH FOR A
DISH-- IT IS GONE, CHARLEY.
IT IS GONE.
[ Sighs ]
AND I THINK IT'S TIME...
THAT I'M MOVIN' ON.
WHERE ? WHERE ARE YOU
GONNA GO, TONY ?
WEST ! WEST !
WHERE ELSE CAN A MAN GO
THAT NEEDS ELBOW ROOM ?
AND WHAT THE HELL DO YOU
NEED ELBOW ROOM FOR ?
I'M THINKIN' OF TAKIN' UP
THE ACCORDION.
HEY, YOU'RE NOT GONNA MAKE
IT IN THIS BUSINESS, TONY.
YOU CAN'T SING.
YOU PLAY GUITAR LIKE A DUCK.
THAT'S 'CAUSE MY HANDS
IS PERMANENTLY PUCKERED.
AND ANYWAY,
THIS IS CALIFORNIA.
THERE AIN'T NO FURTHER WESTO GO.
ALL THE LEAVES ARE BROWN
ALL THE LEAVES
ARE BROWN
AND THE SKY IS GRAY
AND THE SKY IS GRAY
I'VE BEEN FOR A WALK
I'VE BEEN FOR A WALK
ON A WINTER'S DAY
ON A WINTER'S DAY
I'D BE SAFE AND WARM
I'D BE SAFE AND WARM
IF I WAS IN L.A.
[ Harmonica ]
CALIFORNIA DREAMIN'
HEY, MAN.
HEY ! MAN !
WHERE'D YOU GETHAT STUFF ?
FROM A HOBO ON A TRAIN.
YEAH ?
YOU GOT SOME MORE OF IT ?
THAT'S ALL HE TAUGHT ME.
WELL, COME ON UP
ANYWAY.
[ Giggling ]
HI.
HELLO.
HEY. COME ON OVER
AND SIT DOWN.
YEAH.
HOW YOU DOIN' ?
HEY. TRY SOME OF THIS ?
DID YOU EVER GET HIGH BEFORE ?
ONLY WHEN I CAN
AFFORD IT.
HOW OFTEN IS THAT ?
[ Coughs ]
UH, NEVER.
HEY, YOU THINK YOU CAN FIND
THAT HOBO ?
HUH ?
YOU SING ?
NO.
YOU PLAY GUITAR ?
NO.
EVERYBODY PLAYS GUITAR,
MAN.
EVERYBODY PLAYS
THE GUITAR.
HEY, MAN.
WELL, WHAT DO YOU DO ?
I WRITE SONGS.
[ Man ]
ALL RIGHT !
[ Man ]
WORDS OR MUSIC ?
WORDS, WORDS.
I DON'T KNOW NOTHIN'
ABOUT NO MUSIC.
WE CAN SEE THAT.
WHY DON'T YOU
BRING SOME OVER ?
ALL RIGHT.
I GOT 'EM AT HOME.
WHERE'S THAT ?
NORTH BEACH.
NORTH BEACH ? NOBODY LIVES
IN NORTH BEACH ANYMORE.
NOBODY LIVES
IN NORTH BEACH.
RUN ON OUT AND GET 'EM.
BRING 'EM OVER.
YEAH. IT'LL TAKE ME A WHILE,
'CAUSE I GOTTA WALK.
WALK ?
[ Laughs ]
YOU GOTTA WALK ?
HEY. HEY, HEY.
TAKE THE BUS.
[ Giggles ]
ALL RIGHT.
[ Folk Riff ]
[ Continues ]
[ Female Vocalist ]
WELL, IT AIN'T NO USE
TO SIT AND WONDER WHY, BABE
IF YOU DON'T KNOW BY NOW
[ Mouthing Words ]
AND IT AIN'T NO USE
TO SIT AND WONDER WHY, BABE
IT'LL NEVER DO, SOMEHOW
WHEN THE ROOSTER CROWS
AT THE BREAK OF DAWN
LOOK OUT YOUR WINDOW
AND I'LL BE GONE
YOU'RE THE REASON
I'M TRAVELIN' ON
DON'T THINK TWICE
IT'S ALL RIGHOH, WHERE HAVE YOU BEEN
MY BLUE-EYED SON
WHERE HAVE YOU BEEN
MY DARLING YOUNG ONE
I STUMBLED AND I CRAWLED
ON SIX CROOKED HIGHWAYS
WALKED IN A--
OH, COME ON ! COME ON !
COME ON, YOU GUYS.
EVERYTHING IN THE WORLD
IS POSSIBLE.
AND WE'RE JUST SITTIN' HERE
DOIN' NOTHING.
[ Guitar Player ]
FRANKIE, WE'RE DOING FINE,
HONEY. JUST FINE.
"FINE" ?
I DON'T WANNA HEAR FINE.
YOU DON'T MAKE ION FINE.
NOBODY CARES ABOUT FINE.
EVERYTHING'S GOTTA BE PERFECT.
AND THIS IS OUR SHOT.
IT'S JUST A GIG, LADY.
IT'S JUST ONE MORE GIG.
IT'S NOT JUST A GIG !
THIS IS OUR TIME.
THIS IS OUR TIME, GUYS,
AND IT'S SLIPPIN'
RIGHT THROUGH OUR FINGERS.
HEY, TONY, YOU GOANY MORE OF THIS ?
TONY !
HEY, HE'S WORKIN'
ON A SONG.
I'D LIKE TO GETHIS ONE RIGHT FIRST.
YOU GOANY MORE OF THIS ?
SURE.
THANKS.
LIKE TO TRY IT AGAIN ?
OH, WHERE HAVE YOU BEEN
MY BLUE-EYED SON
WHERE HAVE YOU BEEN
MY DARLING YOUNG ONE
THE WORDS
DON'T FIT NOW.
[ Woman ] FUCK THE WORDS.
THE WORDS DON'T MATTER.
OKAY, LET'S TRY IA LITTLE FASTER.
[ Piano ]
WHERE HAVE YOU BEEN
MY BLUE-EYED SON
WHERE HAVE YOU BEEN
MY DARLING YOUNG ONE
WHEN THE TRUTH IS FOUND
TO BE LIES
YOU KNOW THE JOY
WITHIN YOU LIES
DON'T YOU WANSOMEBODY TO LOVE
DON'T YOU NEED
SOMEBODY TO LOVE
WOULDN'T YOU LOVE
SOMEBODY TO LOVE
YOU BETTER FIND
SOMEBODY TO LOVE
LOVE
WHEN THE GARDEN FLOWS
BABY, AGAIN
YES, AND YOUR MIND
YOUR MIND
IS SO FAR ADRIFDON'T YOU WANSOMEBODY TO LOVE
DON'T YOU NEED
SOMEBODY TO LOVE
WOULDN'T YOU LOVE
SOMEBODY TO LOVE
YOU BETTER FIND
SOMEBODY TO LOVE
YOUR EYES
I SEE YOUR EYES
THEY LOOK LIKE HIS
YEAH, BUT IN YOUR HEAD
BABY, I'M AFRAID YOU
DON'T KNOW WHERE IT IS
DON'T YOU WANSOMEBODY TO LOVE
DON'T YOU NEED
SOMEBODY TO LOVE
WOULDN'T YOU LOVE
SOMEBODY TO LOVE
YOU BETTER FIND
SOMEBODY TO LOVE
[ Guitar Riff ]
HEY, MAN.
WHAT'S IN THIS PUNCH ?
WHAT'S IN THIS PUNCH, MAN ?
LITTLE WATER,
LITTLE SUGAR
AND RED DYE NUMBER TWO.
OH, NO, MAN.
THERE'S SOMETHIN' IN IT.
THERE'S SOMETHIN' IN IT.
TRY IT.
OH, MAN.
[ Shrieking ]
FRANKIE !
FRANKIE !
COME ON.
YOU GOTTA BE UP THERE.
ENCORE !
THAT'S WHERE YOU BELONG.
THAT'S WHERE YOU SHOULD BE,
NOT OUT OF IT.
[ Crowd Screaming,
Whistling ]
HEY, MAN,
HOW DO YOU FEEL ?
LIKE A FUCKIN' M&M.
- AN M&M ?
- YEAH. DIG MY THIN
CANDY SHELL.
THEY GOT GOOD STUFF
IN THIS PLACE, MAN ?
YEAH, IT'S THE GREATEST.
HEY ! HEY, GUYS !
DID YOU SEE CASHBOX ?
HAVE YOU SEEN BILLBOARD ?
OUR ALBUM IS NUMBER ONE !
ALL RIGHT !
WE'RE GONNA BE RICH,
AND WE'RE GONNA BE FAMOUS.
WE'RE RICH ALREADY !
YEAH, THAT'S RIGHT.
WE'RE RICH ALREADY.
WE GOT A $5,000 ADVANCE
ON OUR NEXT ALBUM.
SO GUESS WHAT ?
WE BOUGHT YOU A PRESENT.
WHAT IS IT, A SUITCASE ?
YOU WANT ME TO SPLIT ?
NO ! IT'S A TYPEWRITER !
AN ELECTRIC TYPEWRITER.
LOOK.
LOOK. SEE ?
[ Humming ]
[ Keys Clattering ]
YOU CAN WRITE
YOUR SONGS.
IT'S NICE.
WAS THERE SOMETHIN'
YOU WANTED MORE, TONY ?
[ Guitar ]
PEOPLE ARE STRANGE
WHEN YOU'RE
A STRANGER
NICKY !
HEY ! IT'S TONY.
YEAH, YEAH.
[ Music Continues ]
UH, YEAH, WELL, I JUSGOT OUT, MAN. YEAH.
WELL, THEY LEFT ME BEHIND.
I DON'T KNOW.
WHAT THE HELL DIFFERENCE
DOES IT MAKE ?
YEAH, I KNOW
THEY'RE DOIN' GREAT.
YEAH, THE ALBUM TOO.
YEAH, GOLD, HUH ?
UH, THE THING IS, MAN, UH,
YOU-- YOU GOT ANY DOPE ?
ANYTHING AT ALL, MAN.
JUST ANYTHING AT ALL.
YOU GOT ANY SMACK ?
WHEN YOU'RE A STRANGER
FACES LOOK UGLY
YEAH.
WHEN YOU'RE ALONE
YEAH, IT'S PRETTY BAD...
WOMEN SEEM WICKED
WHEN YOU'RE UNWANTED
PAIN.
STREETS ARE UNEVEN
WHEN YOU'RE DOWN
WHEN YOU'RE STRANGE
FACES COME OUOF THE RAIN
WHEN YOU'RE STRANGE
NO ONE REMEMBERS
YOUR NAME
WHEN YOU'RE STRANGE
NO ONE REMEMBERS
YOUR NAME
WHEN YOU'RE STRANGE
WHEN YOU'RE STRANGE
WHEN YOU'RE STRANGE
WOULD YOU LIKE TO RIDE
IN MY BEAUTIFUL BALLOON
WOULD YOU LIKE TO RIDE
IN MY BEAUTIFUL BALLOON
[ Muffled ]
WE CAN FLOAT AMONG
THE STARS TOGETHER
YOU AND I
[ Music Fades ]
[ Producer ]
ALL RIGHT, I WANT EVERYBODY
OUT OF THIS STUDIO.
HEY, WHAT'D
YOU STOP FOR ?
I WAS DOIN' GREAT.
[ Laughing ]
HEY, FRANKIE, LAY OFF
THAT GODDAMNED BOTTLE.
HEY ! SHOVE IT, MAN.
YOU KNOW WHAT I MEAN ?
[ Bottle Crashing ]
[ Door Opening ]
THIS IS NOT MY SONG.
TONY, WHAT DID YOU EXPECT ?
YOU PROMISED US SOMETHIN'
TWO MONTHS AGO.
HEY, MAN, WHAT IS THIS SHIT ?
YOU'RE PULLIN' HOUDINI.
SHE'S PULLIN' FREAK-OUT CITY.
WELL, IT'S
YOUR WIFE, MAN.
AW, GET OFF IT.
THAT ONLY LASTED TWO WEEKS,
MAN. THAT CHICK'S CRAZY.
WHERE THE HELL YOU BEEN ?
I WAS--
I WAS MOVIN' ON,
AND THEN I COME BACK.
YOU LOOK LIKE HELL.
WELL, I BEEN SICK, MAN.
HEY, MAN, IF YOU
CAN'T HOLD YOUR STUFF,
DON'T USE IT.
HEY ! HEY !
HEY, TONY !
[ Screaming ]
TONY ! TONY !
WHERE THE HELL
YOU BEEN ?
I SAID WHERE THE HELL
YOU BEEN, GODDAMN YOU !
JESUS CHRIST !
HOW COULD YOU
DO THIS TO ME ?
HOW COULD YOU DO THIS ?
HOW COULD YOU DO THIS ?
WHY DID YOU DO THIS ?
DON'T YOU KNOW I'M
NOTHIN' WITHOUT YOU ?
PURPLE HAZE ALL IN MY BRAIN
LATELY THINGS
DON'T SEEM THE SAME
ACTING FUNNY
BUT I DON'T KNOW WHY
EXCUSE ME
WHILE I KISS THE SKY
PURPLE HAZE
IS ALL AROUND
DON'T KNOW--
HEY, WHERE ARE WE, ANYWAY ?
HEY, DWAYNE, MAN,
WHERE ARE WE ?
KANSAS CITY.
WHY ?
BECAUSE IT'S NICE
TO KNOW SOMETIMES.
HEY, JEFFREY.
HEY, YOU REMEMBERED
TO BRING YOUR GUITAR
TONIGHT, HUH ?
WHAT ARE WE GOIN' ON AFTER
HENDRIX FOR ? WE'RE GONNA
LOOK LIKE SHIT AFTER HIM.
YOU'RE GONNA LOOK
JUST GREAT. YOU HEAR ME,
JOHNNY ? JUST GREAT.
- WHY IS HE
GOING ON BEFORE US ?
- BECAUSE YOU GUYS
BECAUSE YOU GUYS
ARE THE ONES THOSE PEOPLE
PAID MONEY TO COME AND SEE.
HEY, KID.
HOW'D YOU GET IN HERE ?
GET OUT ! GET OUTTA HERE !
HEY. HEY, LETHE KID STAY, HMM ?
HEY, FRANKIE,
YOU ALL RIGHOR SOMETHIN' ?
[ Coughing ]
HAVE I EVER
LET YOU DOWN ?
NO.
[ Coughing ]
THEN I'M OKAY, RIGHT ?
[ Laughing, Coughing ]
I JUST WANT YOU
TO TAKE CARE.
I TAKE GOOD CARE
OF MY MANAGER.
I TAKE GOOD CARE
OF THE RECORD COMPANIES.
I TAKE GOOD CARE
OF EVERY CONNECTION...
FROM HERE
TO THE COAST.
I TAKE GOOD CARE.
RIGHT ?
[ Coughing ]
JUST WANT YOU
TO TAKE GOOD CARE
OF YOURSELF.
WHO ?
SKIP IT.
I LIKE LITTLE KIDS.
LITTLE KIDS--
THEY BRING ME LUCK.
HEY, TONY.
REMEMBER WHEN YOU
WERE A LITTLE KID ?
HEY. HEADS UP.
WHERE ARE WE ?
MAN, WE BEEN
THROUGH THAT ALREADY.
WE'RE IN KANSAS CITY.
KANSAS ?
THIS IS KANSAS ?
ACROSS THE RIVER.
HEY, KID,
WHAT'S YOUR NAME ?
LITTLE PETE.
WELL, WHO'S
BIG PETE ?
MY DAD.
WHAT'S YOUR DAD
GONNA SAY...
ABOUT YOU HANGIN' OUWITH A BUNCH OF FREAKS ?
[ Little Pete ]
I NEVER MET MY DAD.
HE'S SOME KIND OF MYSTERY.
YOU THE ONE
WHO WRITES THE SONGS ?
YOU COULD TEACH ME
HOW TO DO THAT.
NO !
HEY, KID. COME HERE.
[ Dwayne ]
HEY, FRANKIE, YOU GOTTA SING
IN A HALF-HOUR.
I'M GONNA SING NOW.
OKAY. SURE.
I'M GONNA SING
TO THIS LITTLE BOY.
EVER HEAR ABOUT "SUMMERTIME" ?
YOU EVER GO FISHIN' ?
NEVER BEEN FISHIN' ?
THEY JUMP.
THE FISH-- THEY JUMP.
FISH ARE SURE JUMPIN' NOW
AND THE COTTON, LORD
COTTON'S HIGH
WELL, IT'S HIGH
YOUR DADDY'S RICH
AND YOUR MA'S
SO GOOD LOOKIN', BABY
SHE'S LOOKIN' GOOD NOW
HUSH, BABY, BABY
BABY, BABY, BABY
NO, NO, NO, NO
DON'T YOU CRY
DON'T YOU CRY
[ Screaming ]
ONE OF THESE MORNINGS
HONEY
NOTHING'S GOING
TO HARM YOU NOW
N-NO, NO-NO-NO-NO
NO-NO-NO-NO NO-NO-NO
N-NO, NO-NO-NO-NO
NO-NO-NO-NO NO-NO-NO
NO, NO, NO
NO, NO, NO, NO
NO, DON'T YOU CRY
CORN FLAKES
ARE GETTIN' SOGGY.
TONY ?
[ Kid On Street ]
HEY, BILLY ! LOOK !
MY CORN FLAKES
IS GETTIN' SOGGY.
[ Kid On Street ]
BILLY, LOOK. YOUR BANANA'S
TURNING BROWN TOO.
I DIDN'T ASK YOU
TO STAY WITH ME.
HOW COME YOU BOUGHCORN FLAKES, HUH ?
I THOUGHT YOU
WAS RUNNIN' AWAY
FROM CORN FLAKES.
I THOUGHT YOU LIKE
CORN FLAKES, TONY.
[ Shouting ]
I HATE--
[ Quietly ]
I HATE CORN FLAKES.
I HATE CORN FLAKES.
WHAT DO YOU WANT ?
A TIGER MILK COOKIE ?
THEY'RE GOOD FOR YA.
THEY MAKE YA HEALTHY.
WHERE YA GOIN', TONY ?
AREN'T YA GONNA FINISH
THE SONG ?
YOU CAN'T MAKE ANY MONEY
IF YOU DON'T FINISH
THE SONG.
[ Shouting ]
OH, DON'T YOU KNOW
I DON'T NEED NO MONEY ?
[ Laughing ]
ALL I NEED IS LOVE.
I'M WAITIN' FOR MY MAN
GOT $20 IN MY HAND
UP TO LEXINGTON 125
FEEL SICK AND DIRTY
I'M WAITING FOR MY MAN
HEY, WHITE BOY
WHAT YOU DOIN' UPTOWN
HEY, WHITE BOY, WHY
YOU CHASE MY WOMEN AROUND
PARDON ME, SIR
IT'S FURTHEST FROM MY MIND
I'M JUST WAITING
FOR AN EASY FRIEND OF MINE
I'M WAITIN' FOR MY MAN
FOR MY MAN
HERE HE COMES
HE'S ALL DRESSED IN BLACK
DIOR SHOES
AND A BIG STRAW HAHE'S NEVER EARLY
HE'S ALWAYS LATE
FIRST THING YOU LEARN IS
THAT YOU ALWAYS GOTTA WAII'M WAITIN' FOR MY MAN
I DON'T KNOW, TONY.
I GUESS I JUSDON'T HAVE IT.
YOU HAD US
LIVIN' AT THE CHELSEA.
I CAN'T EVEN GET US THE "Y."
GO BACK TO KANSAS.
MAYBE YOU COULD LISTEN
TO WHAT I'M DOIN' SOMETIMES.
SEE WHAI'M DOIN' WRONG.
GO BACK TO KANSAS.
MAYBE, YOU KNOW,
YOU COULD PUSOME MAGIC ON IT.
[ Sighs ]
GO BACK TO KANSAS.
I CAN'T.
WHY ?
TOO FLAT.
TOO FLAT ?
WHAT THE HELL IS THIS,
THE HIMALAYAS ?
EVEREST.
EVEREST.
EVERYBODY'S GOTTA
TAKE A SHOT AT IT.
GIMME YOUR GUITAR.
YOU'RE GONNA PLAY IT ?
NO.
I'M GONNA PAWN IT.
NO.
I'M GONNA PAWN IT,
AND THEN I'M GONNA
UN-PAWN IT.
NO !
YOU DON'T TRUST ME ?
- NO.
- TH-THEN WHY'D YOU
STAY WITH ME ?
WHY THE HELL DO YOU THINK ?
HERE.
BELONGED TO MY FATHER.
I'M GIVIN' ITO YOU.
- WHY ?
- WHY THE HELL
DO YOU THINK ?
HIS NAME WAS--
HIS NAME WAS
BENNY BELINSKY.
[ Coughing ]
I NEVER KNEW HIM.
SUPPOSED TO BE
SOME KIND OF GENIUS
OR SOMETHIN'.
MAYBE-- MAYBE YOU
TAKE AFTER HIM.
NOW GIVE ME
THE GUITAR.
NOW YOU STAY RIGHT THERE,
YOU HEAR ?
TILL HELL
FREEZES OVER, TONY.
TILL HELL FREEZES OVER.
IT ALREADY DID.
[ "As Time Goes By" ]
HEY, YOU LITTLE PETE ?
YEAH.
WELL, I GOSOMETHIN' FOR YOU.
HEY, HE SAID
NOT TO SELL IT ALL
IN ONE PLACE.
OH ! AND HE SAID
TO GIVE YOU THIS.
DID HE TELL YOU
ANYTHING ELSE ?
NO-- YEAH !
HE SAID TO SAY,
"GOOD-BYE."
[ Distant Siren Wailing ]
HELL
HELL IS FOR CHILDREN
AND YOU KNOW
THAT THEIR LITTLE LIVES
CAN BECOME SUCH A MESS
HELL
HELL IS FOR CHILDREN
AND YOU SHOULDN'HAVE TO PAY FOR YOUR LOVE
WITH YOUR BONES
AND YOUR FLESH
NO, HELL IS FOR CHILDREN
[ Chanting Prayer ]
[ Chanting Continues ]
HELL
HELL IS FOR HELL
HELL IS FOR HELL
HELL IS FOR CHILDREN
HELL IS FOR CHILDREN
THERE'S NO POINT IN ASKIN'
YOU'LL GET NO REPLY
I'M JUST GETTING IN
BUT I BARELY TRY
I GOT NO REASON
TO KNOW TOO MUCH
YOU'LL ALWAYS FIND US
OUT TO LUNCH
WE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANWE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANDON'T ASK US
WHAT WE'RE DOIN'
'CAUSE WE'RE NOT ALL THERE
I DON'T PRETEND
'CAUSE I DON'T CARE
I DON'T BELIEVE ILLUSIONS
I GOT TOO MUCH FOR REAL
STOP YOUR CHEAP COMMEN'CAUSE WE KNOW WHAT WE FEEL
WE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANWE'RE SO PRETTY
OH, SO PRETTY
WE'RE VACANWE'RE SO PRETTY
OH, SO PRETTY, YEAH
I KNOW
AND WE DON'T CARE
THERE'S NO POINT IN ASKIN'
YOU'LL GET NO REPLY
I JUST GET IN
BUT I BARELY TRY
I GOT NO REASON
TO KNOW TOO MUCH
YOU'LL ALWAYS FIND ME
OUT TO LUNCH
I KNOW
AND WE DON'T CARE
PIZZA MAN !
WE DELIVER !
HEY, MUCO MAN'S HERE.
WHAT HAVE YOU GOT FOR US ?
OH, MAN, DO WE NEED YOU.
HEY, IF ANYBODY HAS
BLOW IN THIS TOWN,
MY MAN WILL.
YOU GOT THE COKE, DADDY-O ?
WHAT DO I LOOK LIKE, MAN,
A SODA FOUNTAIN ?
WHAT ELSE
YOU GOT THERE ?
SONGS.
YOU SCORIN' SONGS NOW TOO ?
GIVIN' 'EM AWAY.
A SONG AN OUNCE.
BY WHO ?
ME.
YOU CAN KEEP
THE SONGS, MAN.
I WILL KEEP
THE COKE TOO.
[ All Chattering ] WAIT, WAIDON'T GO AWAY. WAIT A SECOND.
COME BACK HERE.
WHAT IS IT, PETE ?
[ Voice Echoing ]
WHAT IS IT ?
WHAT IS IT ?
I HAVE BEEN RUNNIN'
AND FETCHIN'...
FOR YOU BUNCH OF PUNKS
FOR THREE YEARS NOW,
AND I DON'T WANT TO BE
NO CANDY MAN NO MORE.
YOU WANT MORE MONEY ?
IT'S NOT THE MONEY, MAN.
FINE. WE'LL GESOMEONE ELSE.
DO IT.
NO !
HEY, WAIT !
COME ON!
ALL RIGHT, PETE,
WHAT DO YOU WANT ?
[ Echo ] WHAT DO YOU WANT ?
I WANT YOU TO PLAY
ONE OF MY SONGS.
PLAY ? YOU MEAN
RECORD IT ?
DIG IT.
NO WAY, MAN.
MM-HMM.
HEY, LOOK, MAN.
WE'LL LISTEN TO ONE.
ONE ?
JUST ONE.
[ Slams Briefcase ]
OKAY.
OKAY.
PASS THEM OUT,
TURKEY.
[ Muttering ]
HEY, DON'T HURT YOURSELF.
[ Snapping Fingers ]
JUST A LITTLE TOO TALL
COULD'VE USED A FEW POUNDS
TIGHT PANTS, POINTS
HARDLY RENOWN
SHE WAS
A BLACK-HAIRED BEAUTY
WITH BIG, DARK EYES
AND POINTS ALL HER OWN
SITTIN' WAY UP HIGH
WAY UP, FIRM AND HIGH
OUT PAST THE CORN FIELDS
WHERE THE WOODS GOT HEAVY
OUT IN THE BACKSEAOF MY '60 CHEVY
WORKIN' ON MYSTERIES
WITHOUT ANY CLUES
WORKIN' ON OUR NIGHT MOVES
TRYIN' TO MAKE SOME
FRONT-PAGE DRIVE-IN NEWS
WORKIN' ON OUR NIGHT MOVES
[ Crowd Screaming ]
[ Harmonica ]
AHH, ONE FOR THE MONEY
TWO FOR THE SHOW
THREE TO GET READY
NOW GO, CAT, GO
BUT DON'T YOU
STEP ON MY BLUE SUEDE SHOES
YOU CAN DO ANYTHING
BUT LAY OFF
OF MY BLUE SUEDE SHOES
WELL, YOU CAN KNOCK ME DOWN
STEP ON MY FACE
SLANDER MY NAME
ALL OVER THE PLACE
DO ANYTHING
THAT YOU WANNA DO
BUT UH-UH, HONEY
LAY OFF OF MY SHOES
AND DON'T YOU
STEP ON MY BLUE SUEDE SHOES
WELL, YOU CAN DO ANYTHING
BUT LAY OFF OF MY
BLUE SUEDE SHOES
WELL
[ Guitar Riff ]
ALL RIGHT !
DEVIL WITH THE BLUE DRESS
BLUE DRESS ON
SHE'S THE DEVIL
WITH THE BLUE DRESS ON
DEVIL WITH THE BLUE DRESS
BLUE DRESS, BLUE DRESS
DEVIL WITH THE BLUE DRESS ON
OH
[ Crowd Screaming ]
DEVIL WITH THE BLUE DRESS
BLUE DRESS, BLUE DRESS
DEVIL WITH THE BLUE DRESS ON
OH
I'M CRAZY
CRAZY ON YOU
LET ME GET CRAZY
CRAZY ON YOU
CRAZY ON YOU
AND YOU
CRAZY
OOH
ALL RIGHALL RIGHLET ME GECRAZY ON YOU
[ Crowd Screaming ]
THERE'S TOO MANY PLACES
I'VE GOT TO SEE
BUT IF I STAY HERE
WITH YOU, GIRL
THINGS JUST COULDN'T BE
THE SAME
'CAUSE I'M AS FREE
AS A BIRD NOW
AND THIS BIRD
YOU CANNOT CHANGE
OH
AND THE BIRD
YOU CANNOT CHANGE
AND THIS BIRD
YOU CANNOT CHANGE
LORD KNOWS
I CAN'T CHANGE
BYE-BYE, BABY
IT'S BEEN SWEET, LOVE
YEAH, YEAH
OOH, THIS FEELIN'
I CAN'T CHANGE
BUT PLEASE DON'TAKE IT SO BADLY
'CAUSE THE LORD KNOWS
I'M TO BLAME
BUT IF I STAY HERE
WITH YOU, GIRL
THINGS JUST COULDN'T BE
THE SAME
'CAUSE I'M AS FREE
AS A BIRD NOW
AND THIS BIRD
YOU CAN NOT CHANGE
OH, OH, OH, OH
AND THE BIRD
YOU CANNOT CHANGE
AND THIS BIRD
YOU CANNOT CHANGE
LORD KNOWS
I CAN'T CHANGE
LORD, HELP ME
I CAN'T CHANGE
LORD, I CAN'T CHANGE
WON'T YOU FLY
HIGH, FREE BIRD
YEAH