Grace of My Heart (1996) - full transcript

My daughter is singing
in the competition tomorrow evening.

June Allyson.

Loretta Young.

Her late father and l
had such high hopes for her.

But she's determined
to try to be a singer.

l suppose she has some talent
in that area.

lt's such a relief you were able to
accommodate us by bringing theSdresses.

Thank you.

Mother, this is it.

The perfect dress.

That's a beautiful dress,
but it's not for my figure.



A well made dress
works on any figure.

Certainly, mother.

You're so wilful, Edna.
Just like my sister, your namesake.

When, in her wild youth,
she found herself 'in the family way',

your father got her adopted
and took care of her problem.

She haemorrhaged,
and was scarred inside forever.

My mother made me swear l'd name
my first daughter after Edna,

who could never
bear children of her own.

Turn around, Edna.

We'll take the dress she has on.

Mother, l can't sing in a dress
that doesn't fit. Look at it.

The dress fits the occasion.
lt's you who doesn't fit.

All right.

The blues ain't nothing



but a woman crying for a man.

l said the blues ain't nothing...

That is such a beautiful song.
lt... Sorry.

Thank you.

-What is it?
-Something l've sung all my life.

Spiced up a little.

You sing it
like you really mean it.

-What are you going to sing?
-l signed up to sing

'You'll Never Walk Alone'.

My mother says it's universal.

She says that personal songs
never win,

that they make people
dwell on themselves.

l don't know about that, but l know
it's more fun to sing a song you like

than to try to please everybody.

Hey there,

you with the stars in your eyes...

-You know Rosemary Clooney?
-Yeah.

Love never made a fool ofyou.

You used to be too wise...

Sing a song that you like.

You got a stage and an audience
and a real pretty dress.

Dress fits the occasion.

lt's a real pretty dress.

When she wants some loving,

l'm sure you women will understand.

She'll win.
She deserves it.

...although you find him
real hard to please.

Thank you, Miss Shelley.

And coming to the end
of the competing vocalists, number 9,

Edna Buxton,
from Chestnut Hill,

shall be singing
''You'll Never Walk Alone.''

Miss Buxton will be singing...

-''Hey There.''
-''Hey There.''

Hey there,

you with the stars in your eyes,

love never made a fool ofyou,

you used to be too wise.

Hey there,

you on that high flying cloud,

though he won't throw
a crumb to you,

you think some day
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
l offer,

like a mother,

or are you not seeing things

too clear?.

Are you too much in love
to hear?.

ls it all going in one ear

and out the other?.

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.

Congratulations.

-What are you going to be singing?
-''ln Another World.''

-And who wrote it?
-l did.

Okay, go ahead, anytime.

lfl couldjust tell you

how my poor heart

is breaking,

Maybe you'd think twice

about the road

that you're taking.

Maybe you would look back

and change your mind,

maybe you would remember

the love you left behind.

All l have is the memory

of when l was your girl.

How can l reach you

when you're living
in another world?

When you're living
in another world.

Living in another world.

Yeah...

Thank you.
Come on in.

Nice, nice, voice.

Thank you.

But the thing is,
we already have someone...

-Just like me
-...just like you.

Excuse me.

-Sit down.
-l'm sorry.

-Do you want...
-lt's my only copy.

lt's ruining my song.

Sit, sit.

Boy, you've been at this
a while, huh?

l'm sorry. lt's just that...

l came here eleven months ago,
supposed to be this big contract

when l won this prize and it's just
all a big publicity stunt.

Bunch of rats. Who was it?
McMartin, right?

Yeah, it was. lt was McMartin.

l've been pounding the pavement
ever since

only to be told that you already
have someone like me.

Do you want me to
really burst your bubble?

Sure, go ahead, start bursting.

Not only do we all already
have somebody like you,

but we all are trying to get rid of
the someone like you we already have.

Yeah, well.

The thing is, toots.

The Patty Page
and Peggy Lee days are over.

Lady singers don't sell.

Male vocal groups,
that's the ticket these days.

-You know l wrote it?
-lt's very nice.

-Thank you.
-lt really is.

Okay, l guess l'll just
take my burst bubble and just...

-l'm sorry about that.
-No, that's okay.

Wait a second,
let me hold on to this.

-l have a stupid idea.
-Really?

Don't hold your breath
or anything,

-l'll just see what l can do.
-Really? Thank you.

-Thank you.
-You're very nice.

-There's really no need to cry now.
-Okay, l'm sorry.

Oh, the blues ain't nothing

but a woman crying for a man.

l said the blues ain't nothing

but a woman
loving a married man.

The blues ain't nothing

but a common low down
heart disease.

Try to keep your man happy

although you find him
real hard to please.

-Oh, my God, it's...
-Yeah.

Hi. Hi. Look,
l tried to return the dress.

No, it looks good.

How's that big
recording career going?

lt's really... Well, it's not
too swinging actually.

l'm Doris Shelley
and this is Betty and this is Sha sha.

l'm Edna. You guys are swell too,
you were really swell.

Stop it.

Well, l just better go.

Edna, come back.
We play Tuesday

through Friday.
weekends are reserved for him.

Gotcha.

MlSS EDNA BUXTON.
PLEASE CONTACT JOEL MlLLNER.

CHARNY MUSlC.
PHONE KLONDlKE 5-7329.

Edna?

Joel Millner?

l've been looking for you all week.
You don't have a phone?

-No.
-Why not? You need a phone.

You can't make it without one.
What are you drinking?

-Vanilla Coke.
-Disgusting.

Are you eating?
l'm buying.

Can we get some service?
We've waited 20 minutes.

Hold on a sec, l'm busy.

She'll have a grilled cheese,
tomato and onion rings

and l'll have cheeseburger
and malted milk.

-Anyway, so your demo...
-Yes, ''ln Another World''.

That's it. Nice voice, great song.

-Thank you. l wrote it.
-l know you did.

lt's funny, when l listened to it
l thought how nuts it was

for a gal to be singing
such strong material.

-So l'm unfeminine now too?
-That's what l like. Only...

-You have someone just like me.
-There's no one else like you.

l manage a male vocal group,
The Stylettes, you heard of them?

-Sure. Yes.
-Yes?

This song is perfect for them.
We could all make some money.

-l bet you have other songs.
-No.

-l'm planning to record my own songs.
-What?

You're either a singer
or a songwriter.

-l'm both.
-Nobody's both.

-You're one or the other.
-Well, l'm both.

The day will come again when
girl singers are top of the heap,

until then, why not make money
writing for other people?

-So you want me to sell my songs?
-Let me prove it to you.

l'll book a studio, you can meet
the fellas, listen to them sing it,

if you don't like it,
l won't bug you again.

Trust me, l'm Joe Millner,
l'm a nice Hebrew boy.

Actually my mother's ltalian,
l'm from New Jersey.

Can l be perfectly honest?

You got to change your name.

Edna Buxton is the worst name
l ever heard in my life.

Where you from
to get a name like that?

-Philadelphia.
-Ouch, it keeps getting worse.

Wait a minute.
The Buxtons of Philadelphia?

Not Buxton Steel?

We got to do a little reinvention.

Hey, kiddo. Come on in.

-Sure.
-Good to see you.

Fellas, this is the young lady
who wrote your next hit.

l want to introduce you all to
Denise Waverly.

From South Philly.
You ever been there?

Well, she's an original to rise up
out of those slums.

-Hi, Rick.
-Walter. Nice to meet you.

-Full service. l'll take your coat.
-Denise Waverly? What is this, Joel?

All l have is a memory

of when you were my girl.

-Come on, man.
-Get him a lyrics sheet.

l know the lyrics.
l know the lyrics! That's just it.

l don't hear you know them.

What you wrote here, being in love
with someone you can't have,

and you let them go
and have their own life. Beautiful.

lt's something that happened to me.
l know how personal it must be.

l don't want to invade your privacy,
l just want to do the song righteous.

Jeez, l don't need
to hear any more.

The song is yours, guys.
lt never happened to me anyway.

l just made it up
to pass the night away.

lf that's the case, we need a B side.
What else have you got?

Well, l sort of write for girls
like myself.

-Something upbeat, up tempo.
-Up tempo, okay.

Something new for me, but okay,
let's see what l can do.

You'll get the same
percentage as me.

Okay, but only until
l can record my own stuff.

-When l make my own...
-Absolutely.

Read it before you sign it.
This is my new receptionist, Judy.

Hi.

Now l want you to worry about
writing personal songs

-like ''ln Another World''.
-Then l am worried.

What if l can't think up
another one?

Look around you, everyone is in pain.
Come, l want to show you your office.

You got a piano,
nice window with a view.

You got a roof. You put a plant here,
it's like you're in the country.

You can pace back and forth,
if you're a pacer.

Hey, Money! How you doing?

You hear the sound?
Airplanes, everything.

Good vocals, if you're frustrated.
You schmuck!

-You don't like it?
-No, l do.

-You don't like it.
-l like it, it's just...

l write songs in my bedroom
or the bathtub or fire escape.

You're a professional now.
l'll tell you a little secret.

This is where all the hits
are going to be made from now on.

Right here. One scene,
all happening under one roof.

You have your artists and songwriters
recording studio and musicians

all in the same building, you could
have a new hit every week.

Thank you.
See you tomorrow.

Hey, could l listen to that a sec?

Come on, just for a sec.

-lt's ''ln Another World''!
-Can l listen to the song now?

-Why don't you buy the record?
-You go buy it, if you can find it.

-l bought the last copy at the store.
-You're kidding?

She bought the last copy.
Oh, my God!

Taxi!

-l didn't do it.
-l don't want to hear it.

Hey, Sha sha, hey, Betty.
Where's Doris?

Out back with him,
or it, l should say.

-Problems with Eddy again?
-He's a dog, girl.

l mean it.

l mean it!

-Maybe l should go speak to her?
-Talk some sense into her.

l'll do my best.

-Did l hear her call you Edna?
-What are you doing here?

Your name is Denise Waverly.
l've got to protect your image.

l'll introduce you to everybody here
as Denise Waverly if l have to.

-Okay, Jeez, Denise Waverly...
-Oh, now l have to see this guy?

Joel Millner,
what are you doing here?

What do you mean?

l'm always here.
What about you? Never mind.

Let me introduce you to a real
songwriter, Denise Waverly.

This is Howard Cazsatt,
The Village phoney.

-He learned from me too.
-Why introduce me to him?

l'm introducing him to you.
A nobody to somebody.

Denise did something
you'll never do.

-What?
-She wrote a number one hit.

-A number one?
-lt will be it's number 5 now.

lt's number twelve, Joel.

-l'm cutting in.
-''ln Another World'' You heard it?

-You wrote that? That's cool.
-You like it?

-Yeah.
-l gotta go see a girl.

-Nice meeting you.
-Nice meeting you, buddy.

That is one hard looking woman.

Don't get any ideas.
My girl has too much class for you.

Sweetie.

Look,

my manager's out there tonight.
Joel. l told you about him.

Just forget about Eddy for a while.
Go out there and sing your song.

Okay?

l'm okay. l'm okay.

Nobody knows

the way l feel this morning.

Wow, Joel, ain't they just the most?

-They'd make terrific backup singers.
-Backup singers!

Thanks, Cazsatt.
You're a doll.

l really like that song
you did for The Stylettes.

You really liked it?

lt was very commercial

and even with Negroes singing,
it's very white.

What?

lt didn't deal with real nightmares
like unemployment

and crippled male egos
which l suspect

is the true reason why romance
is so tortured for these people.

You were going for a mass audience.

And the lyrics,
while a little sentimental,

they really do work.
They do.

lf anything,
it suffers from shoddy arrangement.

So what exactly did you like
about it, the thickness of the vinyl?

By the way, l did that shoddy
arrangement that you're describing.

You're a horse's ass!

-What did you do to her?
-Nothing. She went nuts on me.

l think she wants me.

He's a playboy
but l know one day

across the threshold
he'll carry me.

You're dreaming.

l don't care
what the other girls say,

One fine day
he'll marry me.

-l'm dreaming, l'm dreaming.
-l didn't know there was a solo.

-She's dreaming.
-l like it. Let's do it.

Me too.

Across the threshold
he'll carry me.

You're dreaming.

l don't care
what the other girls say,

one fine day
he'll marry me.

-That was nice.
-That was good.

Oh, Jesus. When he comes in...
He wears a wig so...

-Naturally.
-Don't mention it.

l'm not in the mood to meet anyone
until my fourth cup of coffee.

-Try and keep an open mind.
-Coffee, coffee.

Coffee, l need coffee.

All right, Joel,
sit there and listen.

-Hey, how you doing?
-Hi.

He doesn't love me
but l love him so,

always thinking of that boy,

but he never thinks ofme.

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 l can do.

ljust 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.

l guess that l was born
to love that boy.

She was born to love that boy.

l guess that she was born
to love that boy.

He's a playboy
but l know one day

across the threshold
he'll carry me.

You're dreaming.

l don't care
what the other girls say,

one fine day
he'll marry me.

l guess that l was born

-to love that boy.
-She was born

to love that boy.

l guess that she was born
to love that boy.

She was born to love that boy.

l guess that l was born
to love that boy.

That was great, really great.
Right, Joel?

Yes, yes, it was nice.

-Real nice. Thank you.
-That was great.

-You guys were great.
-Thank you.

You can be so rude.

Rude? You dragged me in here
before l could have my caffeine.

They were great, you know it.

Great song.
You were holding out on me.

Why did you save
your best song for girls?

l can't sell girl singers,
not at this time.

l didn't save it for them.
The song came from the girls.

-You didn't write it?
-Yeah, but it's their story.

''Look around, there's pain
everywhere.'' l took your advice.

-But l still can't sell girl singers
-Okay, all right. Swell.

Could you leave then
so l can work.

They're a mess.

They're cute. But those hairdos...

-Their hairdos.
-Those trashy high heels.

Couldn't they get matching dresses
like the one the lead singer stole?

-What's the name of that song?
-''Born To Love That Boy''

l was born to love that boy.

l was born to love that boy...

Great fucking song! Excuse me.
lt's a great song.

-All right, l'll think about it.
-You will?

lt's in my system.
l can't get it out.

Congratulations.
lt's a wonderful song.

Thanks, Joel.

Girls tell me he's a renegade

and l know about
the games he's played,

but his sweet kisses,
l wouldn't trade.

l guess that l was born
to love that boy.

You'll love that.
Get in there.

You hear this song?
You should go in.

''The success of the Luminaries can
only be attributed to Joel Millner,

securing a deal for unknowns
when female voices are absent

from the airwaves. The heart
and vision of this phenomenon

is songwriter Denise Waverly.

Her courage to admit the failure,
pain and the flaws

in the people for whom she writes
and her contradictory optimism

is 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 l could dream up
a review like that?

-''Mystical opticism...''
-''Optimism''

l will take some credit though.
The reviewer, J. Murray, is a friend.

-l told him about you.
-What did you say?

How l'm just exploiting the pain
of the working class negro?

l told him the truth. That you're
the best songwriter in this business.

-Thank you, Cazsatt.
-You're welcome, Miss Waverly.

What are you doing here? Spying on us
evil imperialist pop song writers?

-l have an office down the hall.
-Are you the janitor?

Oh, that's funny.

Listen, l wanted
to propose something.

Would you consider
writing a song with me?

Hear me out.

We set a love song
in the underclass ghetto.

Two machinists fall in love
on the graveyard shift

-at a plumbing parts factory.
-Boy, you are some romantic.

-l think we'd make a good team.
-ls that so?

Yeah.

l appreciate
what you're saying, but...

l wouldn't know how to save myself
with a song, much less the world.

Besides, l don't intend to write
songs much longer

because l'm a singer and l'm going to
record my own stuff.

But l appreciate the offer.

Well, please keep me in mind,
Miss Waverly.

l will, Mr Cazsatt.
l'll keep you in mind.

Know-it-all.

''Optimism.''

Well, don't you look nice.
Oh, this old thing...

Okay, that's enough of that.

All right, the real test is when
you're making out. Let's practise.

Oh, Howard. Oh, Howard.

Howard, stop that.
Howard, no, please.

Jesus! Okay.

You're playing my melody.

-Okay, what have we got?
-This is the melody.

-Let's do the lyric.
-A negro couple under a streetlamp.

Streetlamp, my ass!
They were on the fire escape.

A streetlamp signifies
the urban condition better.

-Were you there?
-No, l wasn't.

l was there,
and they were on the fire escape.

How about a fire escape
under a streetlamp?

-That way you get your realism.
-And your urban existential...

Hey, Betty.
Here are the new lead sheets.

-Who's that?
-That's Annie, my niece.

She got herself in some trouble.
You dig?

-''For love.''
-She's so young.

l know. She's twelve!

-Does she have any family?
-l'm her family.

What's gonna happen to her?

l don't know, but l tell you,
l can't help this time.

Don't you have anything to say?
You're just standing there.

The trouble with these little girls
is that they all think they're grown.

So the boy is depressed.
Why is he depressed? Because...

He's 16, he's a negro
and no one's going to hire him.

No, because he knocked up
his 12 year old girlfriend.

Anyway it's her story, not his.

That'll work. Yeah, all right.

She's knocked up and he's a wreck
because he doesn't want the kid.

-He doesn't know how to support it.
-And she was unwanted.

-But she wants to keep the kid.
-Yes, she wants a family. Right.

How can l tell them?
How can l explain?

All the love that l never had

l found in him.

Wait l got this one.

He gave her his child
but wouldn't give her his name.

Come on, that was good.
Admit it.

There 's a local game
where they whisper my shame.

They say he gave her his child
he wouldn't give her his name.

How can l tell her?.
How can l express

how it felt
when he came to my room

and helped me to undress.

What can she tell me?
How can l believe

that she really
didn't hear me cry

when he wouldn't leave?

The company's under pressure
from the churches.

That's great.
Controversy is good for business.

Controversy is good?
You're out of your mind.

These Bible thumpers are putting
pressure on the radio station.

lf the record company pulls it,
that's it, no business. Get it?

You write a sympathetic song
about two kids

who aren't married
and about to have a baby?

You kids have no idea
how the world works.

Maybe your friend,
John Murray, could help.

Howard, you're no stranger
to controversy.

l've been writing controversial songs
for five years.

Record companies wouldn't
take a risk on me, but that's me.

You know, risk and controversy.

Denise, are you also an advocate?

Yeah, we're both advocates.

Denise?

Hell, l just write pop songs.

But you realise of course
that no one else is writing songs

about unwed pregnancy.
Just you.

ls it because of your working class
background that you feel

free to examine these very real,
honest themes in your music?

l can assure you my background
doesn't have anything to do with it.

l'm curious. You had a big hit
last year with ''ln Another World''

that you wrote by yourself.

Why did you choose
to collaborate this time?

We met and hit it off
and decided to work together.

Denise?

l guess what he's saying
is basically true.

Joel Millner introduced us
at Fernando's Blue Room in Harlem.

He's the man that we blame.

-ls the marriage made in heaven?
-No, no.

We're not married.
We're just partners.

l'm here with Denise Waverly
and Howard Cazsatt

who have written the controversial
new song by The Luminaries.

''Unwanted number''.

-Available now.
-Thank you. Lost Beat Records.

We certainly are going
to keep playing it here.

Thank you, John.

-You were great, honey. Terrific.
-Was l?

l thought you were very honest
and straightforward in what you said.

Thank you.

-Can we take these off?
-No, take them with you!

-Hi.
-Hi.

Could l just give this to...

-John?
-Yeah.

-What?
-Miss Waverly just dropped this by.

l'll call you back.

Denise!
l'm so glad l caught you.

l didn't mean to drag you
from your work.

l can't think of
a more delightful way

to avoid a confrontation
with one of my writers.

So what is this?

Well, it's a toaster,
what do you think?

lt's pretty obvious.

l just wanted to thank you
for having us on the show.

This is amazing. l've been
looking for these for years.

l heard you say it on your show
and l was down in the Village

in an old thrift shop and l saw them,
so l got them for you.

-You like them?
-Thank you so much.

Well, l should get back.
l can't avoid this forever.

-Thanks.
-You're welcome.

Howard,

we should write a wedding song.

What's the social angle?

l wasn't thinking about that.
That's your department.

l don't believe in marriage.

What do you mean?
You're joking, right?

No. What?

Oh, God, come on.
You believe in it?

Marriage is a bourgeois convention.
Do you honestly think

a contract can or should
bind people to each other?

Why should modern affairs be modelled
on an arrangement

forced on people by the church
and state during feudal times?

Even then it didn't work. Men brought
home syphilis to their wives.

Well,

l just think that people taking vows
in front of other people...

-What?
-lt's kind of beautiful.

l think that romanticism bullshit
keeps people in bondage.

Your friend John Murray is married,
he's not conservative.

Babe, John Murray?

-Do you have a crush on this guy?
-No.

-You do, look at you.
-l do not.

-Forget about him. You're mine.
-Am l?

-You want me to sign here?
-Right here.

-Joel...
-l'd like you to meet...

-The new receptionist.
-No, this lady here

is a new member
of the Charney Music family.

l just signed Cheryl and her partner.
The song

they've written is going to be
The Luminaries next hit.

That's great. That's great.

-Thanks.
-They could use a hit.

The last three songs we wrote
were banned from the radios.

lt's funny, because in Europe,
such bannings are never heard of.

-Really?
-l guess we're far more free thinking.

-Denise Waverly.
-Cheryl Steed.

Hi.

lf you need anything,
my office is just down the hall.

Thank you. Mine is just next door,
if you need me for anything.

-What?
-Next door.

The front of the building.
You have windows, that's nice.

l insisted.
This place is so dreary.

Hello.

Hi.

Howard, honey,
this is Cheryl.

-She's part of the family now,
-Welcome.

so just think of her like a sister.

Howard is my writing partner
and he's also my boyfriend.

-Who's your partner?
-Matthew.

He's my husband.

That's great, isn't it?

-l'll be next door.
-l'm just looking.

-Miss... Waverly.
-Yeah, welcome aboard.

-Howard.
-Adieu.

Adieu.

-She's got the cutest little accent.
-l'll ''adieu'' you!

She's from Europe.

l'm getting hot.

-Your husband is 20 minutes late.
-l know, but l called

-and he's on his way.
-Where is he?

We have to wait for Matthew.
l can't start without him.

Time is money. Let's go.

-Come on, Joel.
-l'm not waiting longer. Sorry.

Let's put one down.

-l can't afford this.
-Fine, but you're laying it on thick.

Make the vocals high
so we can really hear the lyric.

-l understand.
-lt's important.

l met you in December,
underneath the wintersky,

l could tell by the kissing on New Year's

you were going to be my guy.

February tapped me on the shoulder,

turned around
and whispered in my ear...

You decided to come?

We've been waiting two hours,
Joel's been looking at his watch,

the girls have been hanging around.
All this studio time costs a fortune.

Get of my back.

Where were you?

l'm here now, okay?
Let's go to work.

We are working.

Now it's June
and we're going to get married

the day you say that l'm the one.

Do you make a promise
that we'll always be together?.

-l do.
-l do.

Denise, what do you think?

l think it's a sure hit, Joel.
Congratulations.

Excuse me.

Cheryl.

Do you make a promise
that our love will last forever?.

-l do.
-l do.

Do you?

Okay, l'm a boop. We should've
written that wedding song.

''l do'' is number four.

Howard,

you're not going to believe this,
but l think l'm pregnant.

No, l pulled out.

You see,
l went to the doctor today and...

he's pretty sure that l am,
we just have to wait

and see if the rabbit dies.

-How long does that take?
-About a week.

Oh, shit.

There's something else.
My name isn't really Denise.

lt's Edna,

Edna Buxton. Buxton Steel,
that's my family's business.

Joel invented the whole name
and working class persona.

l knew you'd be disappointed.

So you're telling me
that you're an heiress?

-Yeah.
-You're an heiress?

-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 the sort of woman
l thought l'd end up with.

Someone with that kind of grace.

When we hit it off,
it surprised me.

l always thought my dream girl
would be blonde and coy.

Howard,
that's a terrible thing to say.

Honey, l'm sorry.
lt's just l'm scared, that's all.

We don't have any money right now.

lf you have a baby you won't
be able to work anymore.

l can. l can take the baby to work.

The Brill Building?
Great place to bring up a kid.

lt's not a bad place.

What the hell is your name again?

-Ethel? Effy? Alberta?
-lt's Edna.

-Buxom?
-Edna Buxton. lt's a fine name.

Thank God the kid's
gonna have my name.

Yeah, Cazsatt.

Songwriters Denise Waverly
and Howard Cazsatt

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.

On the bridge, when you get to
the kid, you're cutting it off a bit.

Stretch it.
Stretch the kid out, guys.

-Get her some water.
-Let it come to a natural end.

-Why don't you sit down?
-Okay.

Let's make hit records. Start.

Heartbreaking,

King ofsorrow,

Blue today,

bluer tomorrow,

lt's all up to you,

what will you do?

Heartbreaking.

That's a damn good song, doll.

Keep her knocked up
and she'll make you a millionaire.

-This is going to be a hit.
-What?

-Her first since...
-She started writing with me.

-l didn't say that.
-Could you guys...

-l'll see you at home.
-Howard! You can't just leave.

Denise, concentrate
on your work, all right?

Joel, your tact isn't helping.

You're blaming me that your husband's
jealous of your talent.

He's not jealous.

l'm getting really fed up
with the way...

-Joel, l need to talk to you.
-My water is breaking.

-What's happening?
-My waters broke. Get Howard.

-l can't, l'm going to be sick.
-Get Howard!

-What's happening?
-l'm having a baby. Just get Howard.

-Howard!
-Howard!

Everybody out!

lt's not an epidemic!
l'm having a baby.

lt's a perfectly natural...
Guys, l'm really sorry.

l'll get Howard.

-We got to get you to hospital.
-l know.

Cheryl.

Oh God, what did l do here?

What happened?

-l'm going to have a baby.
-Now?

-Yeah.
-Oh, God!

Come on, it's okay.
Here, l'll wheel you out. Okay.

Come on, honey.
She's asleep already.

-She's asleep.
-Oh, okay.

What a pretty face.
And this is where l work.

This is where l come every day
and l write pretty songs with daddy.

Here's your Uncle Joel.
You got her?

Denise, now that your
collaboration with Cazsatt

has taken a different direction,

l started looking around for...

Well, for an interesting...

Look, l thought maybe you two gals

could try writing a song together.

She writes with her husband.
How would Matthew feel?

He would be devastated.

l see no reason why Cheryl's talent
should be exclusive to her husband.

l'm sure she would agree with you.
Now that l'm back...

Take it easy. This is no
'Et tu, Brute' business.

There's no betrayal,
it's an experiment.

You guys combine, if you combust,
we ignite, we go.

-Joel, no...
-We could work together but...

Now the first assignment

is to come up with something
for Kelly Porter.

No, Joel. No.

-Kelly Porter, the ingenue? No.
-Kelly Porter, yes.

Not ''Dring Dring, Are You Home?''
Kelly Porter?

She ran out of hairspray.

-She's getting her hair done.
-l'm glad you're so enthusiastic.

l'm going to split in ten minutes.
How long have we been here?

-Cheryl, patience, patience.
-Oh, look.

She seems upset.

-Oh. Hi.
-Hi.

Let me talk first.

-Hi.
-Hi.

Sorry we're late.

-l'm Marion, l'm Kelly's roommate.
-Marion.

-Denise, Cheryl.
-Cheryl Steed.

Hi, l'm Kelly Porter.
lt's so nice to meet both of you.

Okay, so you have your meeting.
l'll make a reservation.

-Chinese.
-Yeah, that'd be swell.

Bye.

So.

Gosh, l'm honoured that you'd
consider writing for me.

People have certain ideas
about me

that are created by my publicist
and this TV show l do.

They really have no idea who l am
or what my life is like.

Or what l go through...

for the person l love.

Kelly,

you know boy problems
are always hard.

l wouldn't know.

Sorry, l'm fine.

l read that Johnny Crawford gave you
a puppy for your birthday.

That's fabulous because
he's such a dreamboat.

-He is very good looking.
-Yes. He sweats a lot.

-Oh, hi.
-Hi, Marion.

-l'm here, are you ready?
-l think l am, aren't l?

Yeah. We've got a sense of who
you are and what you're about.

-Some ideas to throw around.
-And write you terrific songs.

Wonderful.
Call me if you any questions.

Bye, Kelly.
Marion, it was nice to....

-l don't believe it.
-Oh my God.

-What.
-My breast milk is leaking.

lt's Luma's feeding time.

l'll see you back at the office
in half an hour. Sorry.

l gotta feed her
before l burst, Cheryl.

Wait till l tell Howard.
He's gonna die.

Hey, Howard,

Kelly Porter is not the square
we thought she was.

Oh, my...

Come here, Luma.
Oh, my God.

-Honey, let me explain.
-Explain?

Just stay. Both of you.
Just stay.

Where do you want to go, lady?

l don't know.

-Can we just drive for a bit?
-Sure.

My secret love.

You and l,
we're likes spies

in the house ofholy love.

We 're actors in a heartless play.

l smile my smile and play my part

and forever hide my lonely heart,

my secret love.

Kelly, it sounds really good,
but the key to the song is the build

and you can be dramatic
as long as it's truthful, okay?

Guys, l know there's a lot of chefs
in the kitchen here.

Let's just try to get
a great take and groove.

Let's start.
Roll tape.

Oh, Larry, you're so manly.

Love has never been easy for me,

can't you see...

lt's better already.

-You did a good job.
-l think we did a good job.

-Joel was right.
-For God's sake, don't tell him that.

Girls like me

have to hide our hearts away.

-Cheryl...
-What?

l'm pregnant again.

-What?
-Yeah, l'm pregnant again.

l thought you said
you were using a diaphragm?

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 want to do?
-Howard's not around,

l got to raise Luma...

l feel like l don't have a choice.

And keep our disguise,

Stand by our lies...

Here's a name.
He's in Pennsylvania

and he'll only charge you
a hundred dollars.

He'll give you anaesthesia,
penicillin and night's rest.

lf you're going to do something,
do this. Don't go to Spanish Harlem

unless you want bleed to death
in an elevator shaft.

l refuse,

l'd sooner die than tell.

l'm under yoursweet spell,

my secret love.

Thanks.
l owe you one.

l think we got
a hit record here, girls.

What about going for a drink later,
after the session?

-l know a really nice place.
-No, thank you.

No.

Like Romeo and Juliette

they will chase us to our deaths

then foist their false regret...

l couldn't keep this one.
l'm sorry.

l can't believe it's over

although l know it's true.

How could this happen
to me and you?

lt happens to otherpeople.

somehow their lives go on.

What will l do now...

Come on Emily, let's go.

-Hi.
-Denise!

Oh my God, John!

-This little redhead yours?
-Yeah. ls this your little girl?

-Yeah.
-Hi.

-Come and have a seat.
-Hey, sweetie.

She's adorable.

We're just gonna meet her brother
on the other side of the park,

but she made me stop
and wait. Like a woman.

How's your little girl getting
along without her daddy?

You know.

She sees Howard every weekend,
he and the new wife.

But he's crazy
about her anyway.

She was never really the problem.

Still, divorce
is tough on a kid.

That's kind of a conventional notion.

Well, l'm kind of
a conventional person.

We can't predict the future.

We can't undo the past.

But it won't always
hurt this bad.

Well, you know,
l've got friends...

And just try and
keep busy, you know.

-How's your wife?
-Oh, well, she's holding up.

She doesn't get out much.
She won't hire a baby-sitter...

She doesn't feel comfortable
leaving them,

-so we don't have much social life.
-You're kidding.

Love doesn't ever fail us.

We 've got it turned around...

l got to get Luma and get to work.
l got a lot of stuff to do.

-lt was great to see you.
-lt was great seeing you too.

Maybe we should plan it
next time.

Girl, it was us who...

You look great.

-Hi.
-Don't eat the burnt part.

Annie, Jesus, thank God you're here.
Here you go, butter 'em up.

Denise, it's only 8:00.
l'm ten minutes early.

l know, but...

There's a new invention: pantyhose
that make your life a lot easier.

-Oh, keys, keys, keys!
-Keys, keys.

Okay, she's got a little cold.
Make sure she wears a sweater.

Bye, sweetie.
Eat your breakfast.

Be good.

Your coat!
Your coat!

Annie, l'm gonna be home
a little late, about 6:30.

-Bye.
-Leaves early. Coming home late.

Smells like there's a man
in your mama's life, Luma girl.

Oh, John.

l don't... l don't need a friend.

-l mean, l have friends.
-Yeah.

You'd be a wonderful friend, really.
lt's just that...

-Yeah. l know.
-You know.

Gosh.

l'm sorry. Maybe we should go
or something.

How do you look
without those glasses on?

l've seen it happen, Edna.

He gives you nothing. Didn't your
mother ever teach you Rule Number 1 ?

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 this started.

He's made you forget about
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,
l love someone without conditions.

-He's costing me money!
-He's gonna inspire me so much,

l'll write you
a dozen hit songs.

Sure.
When he breaks your heart.

No, thank you.

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.

What are you gonna do when there's
no need for Songwriter magazine?

Probably start a little fanzine for
Denise Waverly on the West Coast.

-Why? Are you moving?
-Moving? Not that l know of.

But you could, right?
You could move away.

With your family. Just move away,
so l'd never see you again.

A safe could
fall on my head.

Look, l'm not gonna
disappear on you.

You said you'd stay

here by my side...

The truth is you...

Let's wash the doll.

That was little Tammy Lee
with ''Truth ls You Lied'',

written by Denise Waverly.

You're listening to
the RCA Songwriters' Hour on WKEE.

l'm John Murray.
One more show and l'll be

transplanted to Chicago
ofall places.

But we hope you'll continue
to stay tuned to WKEE to hear

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.
-l talked to Red Bird today.

They'll sign you
for one single.

l don't have a song to sing.

For five years you've been
bugging me to record.

l thought you'd been saving up
material for this day.

No, contrary to what you suspected,
l never held out on you.

That's my girl. So write something.
lsn't that what l pay you for?

Yeah, write something.
l don't... l don't know.

l don't think l have
anything left inside of me.

-lt's just gone.
-Let me tell you something.

Are you listening to me?
This bullshit you're wallowing in

is happening outside yourself.

lf you could pick yourself out
of the crap, you'll realise that

Mr. Married Guy let you down,
not your talent.

Don't let these other bastards
get you down. Come on.

l have the perfect producer
lined up. Come on, sit up.

This guy, he's the new ''hit-maker''
genius, the next ''wunderkind.''

-Phil Spector?
-Phil Spector, history!

-Shadow Morton?
-Don't you hear me?

He's no Liberace, who
l 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...

While The Beatles and The Byrds
are both at work on

what are being
termed ''concept albums'',

teen favourites, The Riptides,
are also changing directions.

Oh, Joel.

Jay Phillips, on guitar.
He's the brains behind the band,

and the wizard behind
your next hit.

Jay Phillips caught
the critics' attention

when he added orchestral instruments
into theirsurfsound.

Surf and turf stuff.
That's not my thing.

This was only the beginning
ofPhillips' imagination.

What we can expect
from this new record?

l really don't know
what to expect myself.

l'm kindajust gonna sort of
let the album dictate itself to me.

But l 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.

ls there any particular theme
orsubject stringing it all together

like some of the other
concept albums being recorded now?

Childhood. lnnocence.

How a kid looks at things. How a
kid'll make up a song so the lyrics

don't always make sense
to adults.

Kids are cool.

-Can you give us an example?
-He's not so bad.

l 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 about anything,
notjust a protest or love songs.

On this new album,
l'm into writing songs like kids do

when they're singing to themselves
orplaying in their yard.

Sounds pretty far out.

-Yeah, far out.
-The world's waiting, Jay.

Listen, l want you to
seriously think about this.

Hear what l said?

Sorry. So, l'll just...
lt's been a while.

Let's just go for it.

Now l have nothing

so, God give me strength

'cause l'm weak
in his wake.

But ifl'm strong

l might still break

and l don't have
anything to share.

That l won't throw away
into the air.

That song is sung out,

this bell is rung out.

He was the light
that l'd bless.

He took my last chance
ofhappiness.

So, God
give me strength

God, ifhe'd grant me

His indulgence and decline

l might as well...

Wipe him from my memory

fracture the spell

as he becomes my enemy.

Maybe l was washed out
like a lip print on his shirt.

See l'm only human

l want him to hurt.

l want him

l want him to hurt...

Since l 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 l'd bless.

He took my last chance
ofhappiness.

So, God give me strength.

God, give me strength.

God, give me strength.

God, give me strength.

Give me strength.

Give me strength.

l need strength...

What a sad song.

-Sad song.
-Well, it's a little melodramatic.

Oh, no.
lt really moved me.

l think we should
try to make it big.

l don't expect it
to be a big hit.

No, no.
l mean, big sounding. Big.

l'm hearing all these things,
it's strings or something.

lndulgence and decline.

l 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!

-ls he always like this?
-Yeah, he is.

-lt needs more bite, so between...
-l like it.

...bar 52 and 56, pizz.
l 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.

l need you to...
ls everything all right?

l need you to really pop this thing
like... Really give it a snap.

This is rock 'n' roll.

Okay, this is a pick up from
from bar 50, okay?

What the fuck
is that drummer doing, man?

Holy shit. Fuck.

See l'm only human

l want him to hurt..

Yeah, that's it.

This is the board. lt's got all
these cool EQs and knobs

that do all these
far out things.

-Hey, hands off the console.
-Are you digging the work?

-Oh, yeah.
-Hey, man, get up.

l never had any idea how much
you got involved in the work.

All the arranging
and producing is really wild.

Almost finished
with your first single.

-Denise Waverly's first single.
-l can't believe it.

Listen, we should do something
really cool to celebrate.

Yeah, yeah.

Can you stay here
tonight with me?

Yeah. l'd like that a lot.

l mean, l gotta get home
at some point. l got a kid.

He was the light
that l'd bless.

He took my last chance
ofhappiness.

l don't know. Maybe l put too
much of myself in the song.

The whole game's changed now.

Everyone's writing
their own material.

With Betty checked into Lexington
and Sha Sha getting married,

that pretty much puts an end
to The Luminaries.

l gave Doris some leads
on session work out in Los Angeles.

Have you thought
about what you're gonna do?

Well, with Matthew dumping
Cheryl, l thought maybe...

-You and Cheryl?
-Nah.

Nothing's going on with us.
lt's strictly business. You see?

She was a married lady
and l don't mess around.

Geez, does she know how you feel.
l mean, do you have a plan?

l'm gonna ask her
to marry me.

Joel.

Maybe you should, you know, ask her
out for dinner and a movie first.

You think that's a better idea?
Oh, well.

Yeah. l do.

Why don't you level with me?
''God Give Me Strength'' broke you.

What?
Get out of here.

Just like a woman to think
she's the ruination of a guy.

Look here.
You made me, Denise.

l was the laughing stock of this town
before you wrote me my first hit

and my second,
and how many since?

See, you forced me to take
chances

l would've never had
the guts to take alone.

You made me, kiddo.

...makes the heart
grow fonder.

How l miss him

when he wanders...

Hey, Luma! Hey!

Oh, Jay. You're very bad.

You said you were gonna buy her
a puppy, not two puppies.

l know.
She couldn't make up her mind.

She looked so adorable
holding them both. Edna.

lt so adorable. l'm gonna have
to call you Edna from now on.

You know, sometimes when l look at
you, l see you way in the future

as this amazing old lady who's done
all this really far out things.

But you don't see that.
What's it gonna take for me...

to get you to see
your spark?

lt's never been this hard.

The feeling taunts me now.

Just me and you.

Me and you.

They all know l'm happy.

They don't like the good things.
Chewing and waving.

-Come on, make a new sound.
-l'm too, too low being sad.

What's wrong with liking good things?
Chewing and waving.

How are we supposed
to do that live?

Where are the cars
and the surfboards?

lt's not The Riptides.
l'm not singing that stuff.

Brian, anything to add?

l dig the theremin
at the end. lt's cool.

-He likes the theremin.
-lt's great, man.

Wow. That's great, man.
Everybody's really fucking happy, huh?

lt's great, baby.

lt's great.
How can you not like that?

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
all your life?

-lt's a metaphor.
-A metaphor? ls it psychedelic?

-Ever heard anything like that before?
-No.

-l liked it.
-l hated it.

Luma, l love that one.
l'm gonna put it on the fridge.

What about mine?

l don't know
if l'll put yours up.

Edna, man, who was down
at the studio, man?

My tapes. Somebody fucked
with my tapes.

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 fucked with my tapes.
lf they didn't like it...

Calm down.

Don't tell me, Edna!

Jay, l don't even go
in the goddamn studio.

The tapes are not in the studio!

Take the kids in the house.

Go ahead, protect them! Who's
looking out for me and my songs?

You were talking and kissing ass
with those three fucking morons.

l write all the songs.
l taught 'em how to play.

Would you please stop now?

Fucking empty, man!
Empty! Zilch!

They're missing!
Empty!

For Chrissakes, Jay!

l got my eye on you.

All right, Jay.

Secure all windows, all doors.

All access into the house
is to be taped and wired.

Down here, we got the studio.

We got an intercom running...

up from the studio.

Run your wires
down along the steps here.

What about these skylights, man?

-We're putting 'em back in.
-Somebody could come up on the roof.

-You want to secure them?
-Hey, baby.

-You could put bars across them.
-Good morning, Jay.

-Jay?
-Good morning.

Sweetie,

what's going on?

Fortification.

This gentleman here
is a security expert.

From now on, no one will
have access to this room

except for you and me.

-That's it.
-Okay.

Sweetie,
l'm gonna go see Cheryl.

-l'll see you later. Okay.
-Groovy. Listen man,

how about some guard dogs?

-Dogs are good.
-Yeah, we got these puppies...

Jay?

-Yeah?
-What is this?

Those are my tapes.
l found them.

You need some Dobies
or some Rottweilers.

-Jay, the lost tapes?
-Yeah.

l could put a perimeter system
right around your board there.

We danced
in the sand

and the water rose
higher and higher.

l gotta say, you know,
seeing you and this,

l really miss...
l miss the work, l really do.

lf you want to do something again,
l'll introduce you to the producer.

He's desperate for people to write.
They need songs every week.

l'm inundated. l'm overworked.

l gotta tell you.
l would really love it.

You're too good
for this stuff, but...

Your mom is gonna
be proud when she sees this castle.

Hey, what's this? A sand castle?

-lt's a sand fort.
-Oh.

lt's a fort.

Listen, l've got some great news.
l got a job today.

You got a job?

A job? Really?
Doing what?

Cheryl is friends
with the producer,

l'm gonna be doing the only thing
l know how to do, writing songs.

That's not the only thing you know
how to do. You're an artist.

Jay, the artist in me is gonna be
writing songs for ''Where The Action ls.''

''The artist in me is
gonna be writing songs...

for some pop bubble-gum show
and l'm really excited about it.''

-Will you listen to yourself?
-What?

You don't need a job.
You have money.

lf 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,
l'll get rid of it.

But l gotta report to the set
in an hour.

You wanna wish me luck?

Denise, the only thing
l wish for you...

and l really, sincerely mean this...
is that you are fired.

That's nice.

l mean that for your own good.
You are doing yourself a disservice.

That's great, Jay.
Thanks. Thanks a lot.

l love you!

-l'm gonna do something.
-Watch it.

l've been grooving on you
for an hour or two.

Thinking ofa way
l can get to you.

Come on, girls, this is
meant to be upbeat, not uptight!

Get happy!

How can l get

-through to you.
-Before the other girls do.

Yeah, yeah, yeah, see?

...through to you.

-Before the other girls do.
-How can l get...

-What?
-What?

No, it's good.
lt's good.

How can l get...

l see his eyes

in the water blue.

l see his hair
in the glowing sunlight.

Jay?

A vision clear

Luma?

ln Bermudian waters,
oh, so clear and cold.

Annie, open the goddamn door.

Annie, what the hell is this?

Annie?

-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, and the kids are okay.

They found them hiding
in some old ice cream truck.

Okay, fine.
Why didn't you call me?

You were on the set!
l couldn't reach you!

-All right.
-And by the way,

he lost my child too, Denise.

-l understand, Annie.
-No, you don't.

Where is Jay?

He dragged
the mattress into the studio.

Okay, he's fine.
Let me go speak to Jay...

Go speak to your man,
'cause that's what you need to do.

Don't you dare
speak about Jay like that.

Go deal with him!

l see his lips

Jay.

My mother, she used to...

She used to sing this song
when we were kids.

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?

We were playing.

We were at the museum.
We were having fun.

Howard is gonna be
calling any minute,

and he's gonna want to speak to Luma.
What am l supposed to tell him?

-What am l supposed to tell him?
-One minute they were there.

One minute
they were there?

-And the next minute...
-You would like me to say

that one minute they were there,
and the next minute they were gone?

Denise, the cops are here.

Oh, Luma,
come here, sweetie.

-Did you have a little adventure?
-Thank you.

-Thank you very much.
-You're welcome.

l would be so furious with him.

What am l supposed to do?

People want you to promise
through sickness and in health

and then they want you to check out
the minute there's a problem.

l'm his wife.

Am l supposed to walk away
from him now that he's in trouble?

Can't do that.

Would he walk out on me
if l was falling apart?

-No, of course he wouldn't.
-Well,

if you won't leave him
then you'd better help him.

l don't know
how to help him.

l'd get him a doctor.

l hate doctors.

Okay, artist in crisis.

-That's why people call me.
-Look, look, Doc.

He's been holed up in that studio
for three weeks.

Without bathing
or talking to anyone.

l don't mean to minimise
Jay's state.

l apologise.

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, l mean,
he smokes a little grass...

He does some psychedelics...

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.

l want him to know
that l care about him

and l want him to know
l love him

and l... l really want to make sure
that he finishes his album.

Because l know how important
it is to him.

lt's everything.

l can help you, okay?

Jay?

A friend of yours
stopped by.

Jay, it's Jonesy.

Hey, Jonesy, man.

-What's happening?
-Hey, man, l'd like to come in

and rap for a minute.
You know?

Oh, well, l don't know, man.
l'm working, l'm real busy.

l'm talking to my muse, man.

Maybe you could
introduce me to her.

l'm single now, you know.

Where are you at, man?
Hey.

There you are.

Man, it is...

so far out
to see you again.

Going through some changes, huh?

Doctor has brought some...

herbal medicine.

Where's the muse?

l could use a little
inspiration myself.

You know where to find it, man.

The muse.

She lives in the cave

where everything
you ever lost lives.

But...

you have everything, Jay.

l had everything.

l lost everything.

l lost everything that mattered.

l lost everything
that ever mattered.

'Till l met Denise.

You saw her.
Oh, man.

She's so beautiful.
And her kid.

Left her fucking kid at the museum.

-Suppose you heard about that.
-Jay, listen.

Man, you spaced out.

Man, you know me, man. You know
l love kids and l love animals and shit.

-l wouldn't fucking...
-You spaced out, man.

Listen, you're dealing
with some heavy shit.

You got people telling 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.

Ofa song
l thought was yours

But l know life
was overrated

Before you walked
in through my door

You're so shiny

You're so fine

Come on, wiggle for me

Don't you think it's time?

lt's beautiful.
lt's so beautiful, Jay.

-lt's so beautiful.
-Yeah?

l was so scared, Jay.

l was so scared.
l thought you didn't love me.

And then you told the doctor
that you lost...

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.

-lt's beautiful, Jay.
-Yeah. You like it?

l'm still working
on a new ending.

l love you.

Now, we have to start working
on your new album.

l don't know, Jay. Remember,
l'm kind of a pacifist, so...

l don't know if l feel l should
force my work on the public.

lt'd be a concept album.

Only it'd be...

lt'd be so much better
than what we guys are doing.

Because it'd be
more personal,

genuine.

-Well, maybe someday.
-Baby.

l want you
to make this record...

more than anything
l 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.

-Yeah, that sounds groovy.
-Really? Yes?

-Yeah.
-Okay, good.

Babe, why don't you
run ahead without me?

l had a couple of flashes and l want
to lay them down before l forget 'em.

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.

Go have some fun.

-And listen, by the way.
-Yes?

Your mother?
She was full of shit.

You fit.
You fit just groovy.

Some folks know about it,
some don't

Some will learn to shout it,
some won't

But sooner or later, baby

There 's a ditty say
you're gonna have to get it

Right down to
the real nitty gritty

Right down to the real
nitty gritty...

l fall apart

Every time l picture you

Swallowed by the dark

There is no centre to my life now

No grace in my heart

Man from Mars...

What was the last conversation
you had with your husband?

They think it's my fault.

They think
it's all my fault.

The silence
is so full ofsounds

You're in them all...

Denise,
when people take their own lives...

Offin the distance
a cool wind is blowing...

it's difficult for their souls
to let go of this plane.

l'm not who l was
and l'm not where l'm going...

The reason you can't
let go of Jay's memory...

l'm so tired ofknowing
there 's no way ofknowing...

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...

l understand, Guru Dave.
But what can l do about it?

Meditate. Pray.

You must visualise
Jay's release for him.

ls it nicer where you are?
Do you ever think ofme?

Oh, what's that? Cotton?

-Annie, come on. Guru Dave said that...
-Fuck Guru Dave.

l milked goats,
churned butter, bailed hay.

l planted radishes, magic mushrooms
and weed for five goddamn months!

My spiritual lessons are mastered!
l saw God! Let's go!

-Goddamn!
-All right, girls!

Get up out of the manure!

l'm buying dinner!

Thank you, Lord, for New Yorkers.

-Where you been?
-Denise, l've returned.

-Annie.
-Joel.

Hey, James, how you doing?
Luma.

-Denise.
-l think l know him.

Who's your friend?
How are you? You look great.

-Hey, Joel.
-You look great.

l mean, you look great
to be so skinny. How are you?

These your friends
over here?

-Hey, l love this place.
-Come on, Joel.

-Share with your sister, okay?
-She ain't my sister.

l'm almost your sister.

No arguing or you won't
get caramel sundaes later.

Denise, eat your hamburger, all right?
You look like a vampire.

All that fresh air
and health food'll kill you.

After dinner, you can watch TV in
this first-class joint l booked us into.

-l hate it.
-l love it.

-You don't know what's happening...
-Same old Joel.

You going for a swim?

What are you doing?

l'm just spacing out, you know.
l'm talking to my Jay.

Well, what's that
supposed to prove?

Because Guru Dave said

that if l can help Jay
let go of life,

then l'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 trying 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, l 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, l know that.

Yeah.

Well, you know, talent...

is pretty meaningless
when someone you love is dead.

Your talent is meaningless
to you, Denise.

lt always has been.

From day one you were telling me
how you wanted to make a record.

-l made a record.
-Yeah.

About a thousand years ago,
and it flopped.

l put myself out there
and they didn't want me.

And they were right.
They were right.

l failed and l've accepted it

and l have come to peace with it
and l've gone on with my life.

And so you give up
after one flop, huh?

l thought you were tougher.

The last thing l ever took
you to be was a coward.

Look at you, out in the mud,
pulling up turnips!

You know, l don't need
a lecture, okay?

l'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?

Well, think again, kiddo.

l've had my own disappointments

in this secondary existence
of a life l live.

ln my business,
and, yeah, big surprise,

in my big dumb heart,
and it didn't come from playing it safe.

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 l am
to see you sitting here,

feeling sorry for yourself
and giving up!

Oh, you're fucking disgusted?

You wouldn't even have a life
if it wasn't for me!

-That's right!
-You're the fucking leech!

-l am a leech, that's right!
-Yeah, you are!

-That's why l'm here.
-You wouldn't have a life!

-Oh, really?
-You live everything 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!
Go ahead! Go ahead!

l am sad!

And l'm alone.

l'm sorry.

l'm sorry.

No, no...

lt's not gonna distort.
l want it in the red.

All right, Jay.
Help me out, man.

l want a high end
on the vocal

and to round out the bass.

Whoa, what was that?
Who you talking to?

Joel, l'm talking to Jay
'cause l need his help on the EQs.

As long as it's work-related,
you can talk to dead guys.

Thanks.

Everyone is excited about this album.
You realise that?

-Even your old pal.
-Who?

John Murray.

-There's a song about him in here...
-A song for everyone.

-But the guy who stuck around.
-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 l'm here.

You guys, that was great.
That was great.

Okay, here we go.
Let's try one.

Come here, sweetie pie.

''A Boat On The Sea,''
take two. This is piano track only.

This one's for you, Joely.

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 room

He'll be coming out soon

l remember when l 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

l never knew
l was built so strong

My heart

My heart
is a boat on the sea

l never thought

l was built for hurricanes

My heart

My heart is a boat
on the sea

Luxury looms
on a fog-bound day

l'm not alone now
and l'm not afraid

l'm clean and l'm free
lt's all stripped away

My debts are paid

l wonder ifhe ever looks
down on the sea

And thinks about the time
that he spent with me

l know everything's
exactly how it has to be

All's right with this world

l never knew

l was built so strong

My heart

My heart
is a boat on the sea

l never thought

l was built
for hurricanes

My heart

My heart
is a boat on the sea

ln the cold
and the dark

You're the grace
ofmy heart

ln the cold
and the dark

You're the grace
ofmy heart

ln the cold
and the dark

You're the grace
ofmy heart.

Now l have nothing

So God, give me strength

'Cause l'm weak

And awake

And ifl'm strong

l might still break

And l don't have
anything to share

That l won't throw away
into the air

That song is sung out

This bell is rung out

She was the light
that l'd bless

She took my last chance
ofhappiness

So God, give me strength

God, give me strength

l can hold on to

God, give me strength

When the phone
doesn't ring

And l'm lost

And imagining

Everything that kind oflove
is worth

As l tumble back down
to the earth

That song is sung out

This bell is rung out

She was the light
that l'd bless

She took my last chance
ofhappiness

So God, give me strength

God if

she'd grant me
her indulgence and decline

l might as well

Wipe her from my memory

Fracture the spell

As she becomes my enemy

And maybe l was washed out

Like a lip print
on his shirt

See, l'm only human

l want him to hurt

l want him

l want him to hurt

Since l lost the power
to pretend

That there could ever be
a happy ending

That song is sung out

This bell is rung out

She was the light
that l'd bless

She took my last chance
ofhappiness

So God, give me strength

God, give me strength

Wipe her from my memory

l might as well

God, give me strength...