- L' I SHOULD DRINK OUT I'
I' OF THIS AFTERNOONS HEART I
I SO I FALL ASLEEP I
♪ BEFORE I GO DARK I'
[gentle guitar music]
I' BACK IN I
I POURING RAGE I'
I I FELL THROWING UP ♪
I I CAN'T SHAKE IT AWAY ♪
I LUCK IS LIKE A MARBLE ♪
I ON THE STAGE ♪
I IT WAITS ♪
I FOR OUR BIG BREAK ♪
I TO FALL I'
II'
- THE FOLLOWING BROOKLYN-BOUND "L" TRAIN
WILL DEPART IN APPROXIMATELY SEVEN MINUTES'
- I' WHY DID YOU FLY AWAY'? I'
♪ I'VE BEEN DYING A LITTLE DEATH ♪
I SINCE THAT VERY DAY D
I I USED TO LAUGH I
♪ WHEN YOU TOLD ME I'
[car hum honking]
[indistinct muttering]
[giggling]
- [Speaking Arabic]
[camera shutter clicks]
[singing in Arabic]
II'
[both speaking Arabic]
[mid-tempo chaab\ music]
II'
[both speaking Arabic]
- [Speaking Arabic]
[speaking Arabic]
[telephone ringing]
- HELLO?
HELLO'?
- FRANNY.
- MOM? - FRANNY.
- MOM'?
HELLO'?
- YOUR BROTHER WAS IN AN ACCIDENT'
HE'S IN THE HOSPITAL.
YOU NEED TO COME HOME
[mid-tempo chaabi music]
II'
- [sobbing]
- THE IMPACT OCCURRED IN WHAT'S CALLED THE PTERION.
AN ESPECIALLY VULNERABLE PART OF THE SKULL.
YOU SEE THIS BRIGHT BICONVEX REGION HERE
THAT LOOKS LIKE A LENS?
THIS IS WHAT WE CALL A HEMA TOMA TO THE BRAIN TISSUE.
A SORT OF BLOOD CLOT-
- CAN YOU JUST TELL ME IF HE'S GONNA BE OKAY?
- I HAVE TO TELL YOU,
HE MIGHT NEVER COME OUT OF THIS.
WE CAN'T REALLY SAY FOR SURE.
IN THESE SITUATIONS, WE HAVE NO RECOURSE
OTHER THAN TO BE PATIENT AND WAIT.
- YOU CUT OFF ALL YOUR HAIR.
- NOT ALL.
- I LOVED IT LONG
- I WANTED A CHANGE.
- TAXI DRIVER'S NAME IS RUMNESH.
HE HAS A WIFE AND TWO KIDS.
THEY THINK HE TRIED TO STOP THE CAR IN TIME,
BUT HENRY HAD HIS HEADPHONES ON.
AND I GUESS HE DIDN'T LOOK WHEN HE WAS CROSSING.
I HAVEN'T BEEN PAYING ATTENTION.
HE'S BEEN, JUST, Living SOMEWHERE IN BROOKLYN,
HE COMES HOME SOMETIMES TO DO HIS LAUNDRY,
BUT IT'S ALL ABOUT MUSIC FOR HIM,
AND I'VE BEEN TRYING TO FINISH THE BOOK AND JUST--
- YOU COULDN'T HAVE STOPPED HIM FROM CROSSING THE STREET.
- I ALWAYS TOLD HIM TO LOOK BOTH WAYS.
YOU JUST DO YOUR BEST, YOU KNOW?
YOU JUST DO YOUR BEST.
THANKFULLY YOUR FATHER ISN'T ALIVE TO SEE ALL THIS.
IT'S JUST A LOT FOR US TO HANDLE, YOU KNOW?
OH, UH...
YOU'RE GONNA
HAVE TO SLEEP IN HENRY'S ROOM.
THERE'S SO MANY BOXES IN YOUR ROOM.
- IT'S OKAY. I'LL JUST MOVE THE BOXES.
- NO, I GAVE YOUR BED TO SYLVIA'
- WHO'S SYLVIA?
- SHE DELIVERS THE MAIL.
- WHY'D YOU GIVE HER MY BED?
- BECAUSE, YOU KNOW,
I ASKED HER IF SHE WANTED A BED, AND SHE SEEMED SO HAPPY.
AND YOU'RE NEVER HERE, FRANNY.
I MEAN, YOU HAVEN'T LIVED HERE IN YEARS,
AND YOU ALWAYS COMPLAINED ABOUT THAT MATTRESS ANYWAY.
SO JUST DON'T GET ALL BENT OUT OF SHAPE.
- I'M NOT BENT OUT OF SHAPE.
- HEY, FRAN NY, I--
[button clicks]
I KNOW YOU'RE BUSY,
AND I KNOW YOU THINK THIS IS A WASTE OF TIME.
I'M NOT SURE IF YOU'VE LISTENED TO ANYTHING ELSE I'VE SENT.
BUT HERE'S ANOTHER SONG I JUST FINISHED,
PROBABLY THE FIRST ONE PM REALLY PROUD OF.
I HOPE YOU LISTEN TO IT.
[acoustic guitar strumming]
[gentle guitar music]
II'
♪ I HAVE WALKED SO MUCH FARTHER .'
I I THOUGHT ♪
I I SHOULD DRINK OUT I
I' OF THIS AFTERNOONS HEART I
I SO I FALL ASLEEP I
♪ BEFORE I GO DARK I'
II'
- HENRY.
L-I DON'T REALLY--
I DON'T--
I DON'T REALLY KNOW
WHAT TO DO NOW.
[zipper unzipping]
FUCK!
[crying]
- ♪ IT WAITS ♪
I FOR OUR BIG BREAK ♪
I TO FALL I'
II'
- OKAY. ENJOY'
[thumping rock music]
II'
[indistinct chatter]
- JAMES FORESTER!
[cheers and applause]
- JAMES FORESTER!
- HEY.
HELLO, NEW YORK.
[cheers and applause]
[wistful guitar music]
II'
I YOU GOT YOUR LITTLE HEARTS AND ♪
I WAITING' FOR THE DAWN ♪
I YOU'VE BEEN BRAINSTORMING' ♪
I BY MY PLACE ♪
♪ IN THE SUN ♪
I AND MY BULB WENT BLACK I
I AND A THOUSAND DIAMONDBACKS ♪
I CAME SLITHERING' ♪
I' AND HUMMING' I
II'
I' WE BUILD A LITTLE BONFIRE I
I BY THE TWO CENT BRIDGE J
♪ YOU WERE DREAMING OF THE CROSSING I
I I WAS STARING D
I AT THE EDGE I
I AND MY JAW WENT SLACK D
I AND A THOUSAND RAZORBACKS ♪
I CAME CHARGING' ♪
I SCREAMING' ♪
♪ OOH, OOH, OOH, OOH I
I OOH, OOH, OOH' OOH I
II'
I OOH, OOH, OOH ♪
♪ OOH, OOH, OOH, OOH, OOH-OOH ♪
II'
[moped guitar strumming]
[cheers and applause]
II'
[wistful violin music]
II'
[guitar loop stops]
[somber violin music]
[cheers and applause]
- THANK YOU, FORESTER.
- TAKE CARE.
- THANK YOU.
- ALL RIGHT, MAN. - BYE.
- UM, JAMES?
- HEY.
- UM...
I-I REALLY LIKED THE SHOW.
- THANKS.
- MY BROTHER WAS HIT BY A CAR THIS WEEK,
. I'M.. I'M So SORRY To HEAR THAT.
- HENRY ELLIS.
YOU'RE H IS FAVORITE.
- IS HE OKAY'?
- HE'S AT MEMORIAL INTENSIVE CARE.
HE'S IN A COMA.
- JESUS, I'M SO SORRY.
- YOU DON'T REMEMBER HIM, DO YOU?
HE SENT A LETTER TO YOU OR TO YOUR RECORD LABEL.
- TH E--
YEAH, THE LABEL GETS A LOT OF LETTERS,
AND THEN IT TAKES 'EM A WHILE TO GET TO ME,
SO UNFORTUNATELY. .
- OKAY. OKAY.
UM...
WELL, I BROUGHT YOU SOMETHING HE WAS WORKING ON.
I THOUGHT-- IT'S REALLY GOOD.
I GUESS I'M NOT THE ONLY ONE.
- THANK YOU. THANKS SO MUCH.
- IT WAS NICE To MEET YOU. - SAME HERE.
- OH, I'M FRANNY, FRANNY ELLIS.
- I HOPE HENRY GETS BETTER.
- THANK YOU.
HEY, I MADE YOU EGGS
- THANK YOU.
I JUST-l CAN'T...
I CAN'T EAT RIGHT NOW.
HEY, HOW DOES THIS SOUND FOR A TITLE?
MYTHOLOGICAL FOUNDATIONS:
TALES OF MONKOKOBAKA AND THE DEKAY TRIBES.
- UH, SOUNDS GOOD.
- [scoffs]
IT'S SO POINTLESS.
HOW CAN I EVEN DO THIS RIGHT NOW?
OKAY, WRITE.
[upbeat accordion music]
II'
[vocalizing]
II'
- .~ FALL r
II'
- HEY.
[spirited folk music]
- ♪ ALL DEAD AND GONE I
I ALL DEAD AND GONE ♪
- I' MY OLD MAN, MY GRANDPAP I
♪ FIRST WHITE MAN TO THE CUMBERLAND GAP ♪
I" MY OLD MAN, MY GRANDPAP I
♪ FIRST WHITE MAN TO THE CUMBERLAND GAP ♪
II'
I CUMBERLAND GAP ♪
II'
I CUMBERLAND GAP ♪
I ALL DEAD AND GONE ♪
PALL DEAD AND GONE J“-
I ALL DEAD AND GONE ♪
[somber music]
II'
- HEY. - I WAS--
HI.
- I WAS JUST IN THE AREA AND THOUGHT, UM,
MAYBE I'D JUST, YOU KNOW, STOP BY.
DIDN'T KNOW IF YOU LIKED SUGAR
- THANK YOU.
THANKS.
I'M OKAY. THANK YOU.
UM...
AREN'T YOU REALLY BUSY?
- DEPENDS ON HOW YOU DEFINE "BUSY."
- I GUESS I ALWAYS THINK OF PEOPLE LIKE YOU HAVING.“
THINGS LINED UP EVERY MILLISECOND OF THE DAY--
BACK-TO-BACK MEETINGS WITH IMPORTANT PEOPLE.
- I LISTENED TO HENRY'S SONG,
IT'S GREAT.
I MEAN, I LIKED IT A LOT.
- I KNOW. IT'S REALLY GOOD, ISN'T IT'?
YOU KNOW, HE WOULD REALLY FLIP OUT
IF HE KNEW YOU WERE HERE.
HE'S KIND OF OBSESSED.
NOT LIKE IN A FREAKY WAY OR ANYTHING,
JUST, YOU KNOW.
- I COULD PLAY HIM SOMETHING IF--
NOT IF-- NOT IF YOU DON'T WANT ME TO.
I DON'T HAVE TO. - NO, NO'
THAT WOULD BE GREAT.
I'M SURE HE WOULD LOVE THAT.
[acoustic guitar strumming]
[reserved guitar music]
II'
- I' DRESSED IN WHITE COTTON ♪
I STARING AT THE PHONE D
I' I WAS HIDING IN THE ATTIC I
I THE DAY YOU LEFT HOME ♪
I' MOTHER, I THOUGHT THAT YOU I'
I TURNED BACK I
I THAT THAT BIG BLACK CADILLAC I
I TOOK YOU ♪
II'
I MOTHER, I SEE YOU ♪
I' BUT ONLY IN DREAMS J“
I YOU PUT ME IN A BASKET I
I AND YOU PUSH ME UPSTREAM I'
I BUT I'M ALWAYS I
I Drifting' BACK I
I' WHERE THAT BIG BLACK CADILLAC D
I TOOK YOU ♪
♪ WHOO-OOH ♪
II'
- OH, MOM.
UM...
THIS IS JAMES FORESTER.
- THE SINGER?
- YEAH
THANK YOU.
THANK YOU SO MUCH FOR COMING
AND FOR THE TEA.
- OH, PLEASE, THIS IS THE LEAST I COULD DO.
- OH, SORRY.
I'M GOING TO THIS PLACE TONIGHT--
THIS CLUB HENRY LIKES-- IF YOU WANT TO COME.
L-I'VE NEVER BEEN THERE BEFORE,
BUT THE-- THERE'S A SHOW AT 11:00,
AND I'M PROBABLY GONNA GO TO THIS PLACE BEFOREHAND,
THIS OTHER PLACE THAT HE LIKES.
YOU'RE PROBABLY REALLY BUSY WITH A LOT OF OTHER THINGS.
- I-I-I'M NOT--
I'M NOT PLAYING TONIGHT,
AND I DON'T HAVE ANY MEETINGS OR ANYTHING THEN EITHER,
- OH, GOOD. YEAH, I GOT IT.
GOOD. OKAY.
- COOL. - GREAT'
- OH, WHERE? - WHAT'?
- THE PLACE.
- OH, THE-- BERRY AND 11TH--NORTH 11TH
IN WILLIAMSBURG.
- 9:00? - UH, OKAY.
- OKAY.
[reserved guitar music]
II'
- D FATHER IS SLEEPING' ♪
I' UPRIGHT IN HIS VEST I'
I I BRUSH AWAY THE ASHES D
- HE'S THE ONLY 19-YEAR-OLD I EVER SAW WITH A GRAMOPHONE.
HE WAS TELLING ME THAT IT BROKE A COUPLE OF WEEKS AGO'
- ♪ YOU TURN BACK I
I THAT THAT BIG BLACK CADILLAC I
I IS TURNING' ROUND ♪
II'
- UM, WHERE DOES HENRY SLEEP?
- UM, IT'S RIGHT OVER THERE.
- HERE? - YEAH'
- HEY. - m.
DO YOU HAVE A GRAMOPHONE'?
- UH, NO.
JUNK MARKET MIGHT HAVE ONE DOWN BY THE B.Q,E.
- THANK YOU. - MM-HMM.
- WHAT ABOUT KEYBOARDS?
- YEAH, WE JUST GOT IN A VINTAGE '59 RIGALEDO.
- CAN I, UH-- CAN I SEE IT'?
- YEAH, SURE.
CHECK THIS SWEET THING OUT HERE.
- HMM.
[laughter, indistinct chatter]
SO, UM...
WHAT'S YOUR DEAL?
- UH, I, UM. .
L, UM--YEAH, I PUT OUT AN ALBUM FIVE YEARS AGO.
BOUGHT ME INDIE FAME AND SORT OF FORTUNE.
I'M A LIBRA.
- GO ON.
- OKAY, UM, I...
I LIVE IN A CABIN IN MAINE.
IT'S WHERE I NORMALLY AM WHEN I'M TRYING TO BE CREATIVE.
I HAVEN'T REALLY BEEN ABLE TO WRITE MUCH OF ANYTHING
SINCE THE LAST ALBUM, THOUGH.
[sighs]
LAST TIME, I MEAN WITH THE ALBUM,
IT WAS EASY.
I JUST GOT IN MY CAR AND DROVE
ME AND TESSA, MY EX-GIRLFRIEND.
I MEAN, WELL, WE--
YEAH, WE BROKE UP ABOUT A YEAR AGO.
WE WERE TOGETHER A LONG TIME.
SHE FOUND SOMEONE ELSE.
- SORRY.
- IT'S ALL RIGHT.
WHAT ABOUT YOU'?
- PM GETTING MY PhD IN ANTHROPOLOGY.
NOMADIC TRIBES IN MOROCCO ARE MY SPECIALTY.
- COOL.
IT MUST BE A LOT OF WORK GETTING A PhD'
- I GET TO ASK A LOT OF QUESTIONS,
AND I LISTEN TO PEOPLE
IT'S A LOT OF READING.
I'VE BEEN READING HENRY'S JOURNAL.
HIS--READING HIS MOST PRIVATE THOUGHTS.
I...
I'VE BEEN GOING TO PLACES HE WENT TO.
I'VE STARTED RECORDING SOUNDS HE MIGHT RECOGNIZE.
IT'S JUST REALLY MESSED UP.
- YOU'RE HIS SISTER. I GET IT.
- WE HAD A FIGHT,
LIKE, OUR FIRST REAL ADULT FIGHT, YOU KNOW?
HE, UM...
HE DROPPED OUT OF COLLEGE TO BE A MUSICIAN.
I SAID I THOUGHT THAT HE WAS MAKING A HUGE MISTAKE.
I SAID SO MANY AWFUL THINGS.
WE HAVEN'T TALKED IN SIX MONTHS.
HE SENT ME ALL THESE LINKS TO VIDEOS HE'D MADE.
SONGS HE'D RECORDED, AND...
[sighs]
I DIDN'T OPEN A SINGLE ONE.
I'M SORRY. I-- - HEY, IT'S.”
IT'S ALL RIGHT.
I CAN'T EVEN IMAGINE.
. [laughing]
YOU'RE JAMES FORESTER, RIGHT?
- YEAH
- WILL YOU SIGN MY IPOD?
- SURE.
HERE YOU GO
- THANK YOU. I LOVE YOUR MUSIC,
- THANKS.
- J“ CALL ME ASIDE ♪
I AND I WILL NOW BE I
I AND I WILL BE FINE WITH THAT ♪
I YOU DON'T LEAVE ME NOW ♪
I' YOU MIGHT LOVE ME BACK ♪
I DISTANCE IS FINE I
♪ I KNOW YOU CAN'T CARE D
I' AND NOTHING IS BIG LIKE THAT I'
I DON'T SEE YOU NOW, I DON'T SEE YOU BACK ♪
II'
♪ OOH-OOH I
J” ONE DAY I'LL BE FINE WITH THAT I'
I DON'T LEAVE ME NOW ♪
I DO YOU LOVE ME BACK? ♪
- I DON'T SPEAK PORTUGUESE,
AND SO THIS ISN'T GONNA BE PRETTY,
BUT I AM THE LAST GUY OF THE NIGHT.
SO HERE YOU GO.
[clicking tongue, guitar music]
II'
[singing in Portuguese]
II'
[guitar strumming]
- HOW LONG ARE YOU HERE FOR'?
- TWO MORE SHOWS IN NEW YORK,
A WEDDING.
- WHO'S GETTING MARRED'?
- I DON'T KNOW THEM.
I'M TH E ENTERTAINMENT .
- AH.
I NEVER WOULD HAVE PEGGED YOU FOR A WEDDING SINGER.
- 10,000. THREE SONGS.
- THAT'S NOT BAD.
- I'M NOT PROUD OF IT.
LAST SHOWS IN PHILADELPHIA,
AND THEN THAT IT.
I'M GOING BACK HOME.
I'M ACTUALLY KIND OF FREAKED OUT RIGHT NOW.
THEY'RE TRYING TO GET ME TO GO AND RECORD IN BERLIN AFTER THIS,
BUT THE TRUTH IS, I'M JUST STUCK.
- WHAT HAPPENS IF YOU DON'T WRITE
ANY MORE SONGS?
- I'M NOT REALLY SURE.
YOU KNOW, THE BEST THING ABOUT PLAYING...
YOU KNOW WHEN YOU HAVE A FEELING
AND YOU DON'T WANT TO FADE AWAY,
BUT YOU DON'T REALLY KNOW HOW TO KEEP IT?
WELL, THAT FEELING COMES BACK WHEN I PLAY,
LIKE I CAN KEEP IT.
NO--NO TALKING,
NO DISAPPOINTING ANYONE
FOR THREE TO FIVE WHOLE MINUTES.
- YOU SHOULD TRY PLAYING LONGER SONGS,
- YEAH, I SHOULD.
- WHY DON'T YOU TRY TO CHOOSE SOMETHING
AND WRITE A SONG ABOUT IT,
LIKE A NOSE?
- NOSE? - A NOSE,
- I DON'T THINK NOSE SONGS ARE MY THING.
- YOU COULD WRITE THE GREATEST SONG TN THE WORLD
ABOUT A NOSE...
OR EARS.
THERE'S A LOT OF DIFFERENT TYPES OF EARS.
THERE ARE ENDLESS POSSIBILITIES.
[guitar strumming]
- I' I WISH I COULD TURN THIS I
I' INTO A-- INTO A SONG $
I EARS AND NOSES ♪
II'
I RHYMES WITH ROSES I
AND ♪
- J NEUROSIS ♪
- J HALITOSIS I'
. [laughing]
- J EARS AND NOSES, HALITOSIS ♪
I EARS AND NOSES ♪
[foghorn blaring]
[seagulls squawking, water splashing]
- I CAN GET IT FROM HERE.
- YOU ALL RIGHT? - YEAH,
- GUESS I'LL SEE YOU
- YEAH
THANKS AGAIN.
[tentative organ chords]
II'
I DON'T KNOW.
I'M REALLY SORRY, HENRY.
I DIDN'T MEAN YOU WERE STUPID.
I'M STUPID.
I'M SORRY.
YOU KNOW I SAY THINGS.
SOMETIMES I GET TOO OPINIONATED,
TOO STUBBORN.
YOU HAVE TO BE OKAY
[Gypsy jazz music]
II'
[siren wailing, indistinct chatter]
II'
[car horn honking, laughter]
II'
[water splashing]
[foghorn blaring]
[seagulls squawking, water splashing]
- So I HEARD WHEN YOU'RE NOT ON THE ROAD,
YOU SPEND MOST OF YOUR TIME IN THE COUNTRY,
WHAT ARE YOU, LIKE, A HERMIT?
- UM,NO.
NOT--NOT REALLY.
- YOU ONCE SAID YOU HAVE NO INTEREST
IN MODERN TECHNOLOGY,
THAT ALL YOU NEED IS MUSIC AND THE PERSON YOU LOVE.
- UH, YEAH. YEAH.
MAYBE-- MAYBE I SAID THAT.
- WHAT'S THE STRANGEST THING THAT'S HAPPENED TO YOU ON TOUR?
- I WAS CHASED BY A MOOSE.
- [laughing] WHAT'?
- IN CALIFORNIA.
[light guitar music]
II'
I I REMEMBER HER RED TANK TOP I
I TUCKED INTO HER VANDERBILT BLUE JEANS ♪
♪ HER EYEBROWS PAINTED ON LIKE ARCHES OF SAINT ♪
I LOUIS IN THE MAGAZINES ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I I LOVE YOUR ♪
I' APRON ♪
I HEAVEN ON YOUR HEAD D
II'
[moped guitar chords]
II'
Hush violin music]
II'
[rhythmic beeping, machine whirring]
[clattering]
- MOM'?
- FRANNY.
- WHAT ARE YOU DOING?
- I AM MAKING PIAYA.
- RIGHT.
Both: IT'S JUNE 4TH.
[alarm wailing]
- DAMN IT! - GOD!
- AHH!
GET THE PILLOWCASE OUT OF THE OVEN,
- GOD.
- UGH, SO LOUD!
GOD, IT'S SO LOUD.
THANK YOU.
- JESUS.
- YOU, UNI--
YOU BE IN CHARGE OF...
MM ..
YOU BE IN CHARGE OF THE GLASSES
AND THE DECORATIONS, OKAY?
THANKS.
- ♪ YOU GOT YOUR LITTLE HEARTS AND ♪
I WAITING' FOR THE DAWN ♪
I YOU'VE BEEN BRAINSTORMING' ♪
I BY MY PLACE ♪
♪ IN THE SUN ♪
I AND MY BULB WENT BLACK I
I AND A THOUSAND DIAMONDBACKS ♪
I CAME SLITHERW' ♪
I' AND HUMMING' I
II'
I' WE BUILD A LITTLE BONFIRE I
I BY THE TWO CENT BRIDGE J
- THERE'S A CAT WAVING AT YOU.
IT'S ONE OF THOSE MECHANICAL GOOD LUCK ONES.
- ♪ I WAS STARING ♪
I AT THE EDGE I
- LOOK REALLY GOOD IN HERE NOW.
ACTUALLY IT LOOKS PRETTY HORRIBLE,
BUT IT'S BETTER THAN IT WAS.
- I CAME CHARGING', SCREAMING' ♪
- IT'S YOUR HALF-BIRTHDAY,
AND WE'RE CELEBRATING IT.
II'
DO YOU REMEMBER WHEN WE WERE IN ZURICH
FOR YOUR HALF-BIRTHDAY?
YOU WERE, LIKE, FIVE.
ALL YOU WANTED WERE M&Ms AND LEMONADE.
AND WE COULDN'T FIND ANY.
IT WAS JUST EXPENSIVE SWISS CHOCOLATE EVERYWHERE.
AND THEN FINALLY, WE FOUND SOME M&Ms
AFTER HOURS OF SEARCHING,
AND MOM BOUGHT YOU. Like, 50 PACKS,
BOUGHT OUT THE STORE.
[laughs]
- HAPPY HALF-BIRTHDAY, HENRY
SORRY ABOUT ALL THIS.
- HAPPY HALF, HENRY.
- HEY.
- SORRY IF I'M INTERRUPTING.
- YOU-- YOU ARE NOT'
COME ON IN.
JOIN THE PARTY.
I THINK WE EVEN HAVE AN EXTRA HAT.
HERE YOU GO
- UM, LOOKS NICE.
- IT'S HENRY'S HALF-BIRTHDAY.
- KEYBOARD LOOKS GOOD TOO.
- HEY, HAVE SOME PERSECCO.
DON'T TELL THE NURSES.
- THANKS.
- SURE.
Both: CHEERS.
- [speaking Russian]
THANK YOU.
[speaking Russian]
TURN LEFT.
[all speaking Russian]
PLEASE.
[all speaking Russian]
- YOU DIDN'T EVEN SPEAK RUSSIAN.
WHY DID YOU WANT HENRY TO LEARN IT?
- I WANTED US TO LEARN IT TOGETHER,
SECRET LANGUAGE.
- YOURS AND 150 MILLION OTHER PEOPLE'S SECRET LANGUAGE.
- I DON'T SPEAK RUSSIAN.
[both speaking Russian]
- WHY DO THEY ALWAYS MAKE YOU LEARN THAT?
IT IS OBVIOUS YOU DON'T SPEAK RUSSIAN,
WHY DO YOU HAVE TO GO AROUND STATING THAT?
- MOM, I JUST-
I WISH YOU COULD LISTEN FOR TWO MINUTES.
- OH.
OH.
I'M SO SORRY.
THAT IS GOOD COMING FROM...
NEVER MIND
- NO, NO, NO, No. COME ON, MOM.
TELL ME. WHAT WERE YOU GOING TO SAY'?
- I WAS GOING TO SAY THAT THAT IS GOOD
COMING FROM A GIRL WHO DIDN'T EVEN CALL
HER OWN BROTHER BACK TO SAY SHE WAS SORRY.
- YOU CAN'T TELL ME THAT YOU
THOUGHT THAT DROPPING OUT OF COLLEGE WAS A GOOD IDEA.
- FRANNY, HE DID NOT WANT TO GO BACK'
WHAT WAS I SUPPOSED TO DO'?
- YOU NEVER WOULD HAVE LET ME DO THAT.
- YOU NEVER WOULD HAVE WANTED TO HAVE DONE THAT EVER.
AND SPEAKING OF YOU,
YOU BASICALLY DROPPED OFF THE GRID FOR SIX MONTHS.
FOR SIX MONTHS,
WE DIDN'T HEAR ANYTHING FROM YOU AND--
OH, IS THAT OKAY'?
- NO, I CALLED YOU. I DID TEXT.
- OH, YEAH. THE FAMOUS TEXT, YEAH.
- WELL, IF YOU WOULD EMPTY YOUR VOICE MAIL
EVERY ONCE IN AWHILE.
- OH, THAT'S IT.
YUP, THAT'S IT
YOU'RE RIGHT. YOU HAVE ALL THE ANSWERS.
YOU CAME OUT OF MY WOMB HAVING' ALL THE ANSWERS, MAN.
- GOD! - OH, MY GOD.
- [speaking Russian]
. [laughing]
JAMES
WOULD YOU LIKE TO COME OVER FOR DINNER?
- I HAVE A SHOW TONIGHT.
- OKAY. TOMORROW NIGHT THEN'
- MOM.
YOU-- YOU DON'T HAVE TO, REALLY.
- I WOULD LOVE TO.
[sorrowful guitar music]
- ♪ TEMPERATURE ♪
I KEEPS RISING LIKE D
I A HELIUM BALLOON I
I SOUND OF THE HELICOPTERS ♪
I ECHO IN THE BEDROOM ♪
II'
[knocking]
- HI. - OH,Hi,
. I’M._ I'M GLAD YOU CAME.
- YEAH?
I JUST...
DECIDED TO LAST MINUTE, YEAH.
- DO YOU WANT...
DO YOU WANT A STAR FRUIT?
- NO, THANK YOU.
- YEAH, I'M NOT BIG ON STAR FRUIT EITHER.
- LET ME SEE THAT.
- JAMES, YOU'RE UP.
[mufﬂed cheers and applause]
- GOOD LUCK OUT THERE. THEY'RE WILD TONIGHT.
[gentle guitar music]
II'
- ♪ WE SLIPPED OUT I
I UNDER COVER OF CHAMPAGNE ♪
♪ YOU TRIED TO KISS ME BY THE DOLLAR SAVE .'
I INSTEAD I TOOK YOUR HAND ♪
I' AS WE RODE AROUND THE AISLE I'
♪ FILLING' UP OUR POCKETS WITH ASPARTAME ♪
I AND YOUR LITTLE YELLOW DRESS I'
I' MADE ME GO BALLISTIC I'
I BEGGED YOU NOT TO CHANGE IT ♪
I AND YOU NEVER DID ♪
I I'M SO GLAD ♪
I THAT YOU ♪
♪ DISAPPEAR WHEN THINGS GOT BAD J"
I AND I CUT OFF ALL MY HAIR I'
II'
I YOU SWORE I WOULD STAY FOREVER ♪
I PISTON BOOTS AND JEANS I'
I PEGGED AT THE ANKLE BY THE SEAMS ♪
I YOU CHECKED OUT I'
I BEFORE I STARTED RIDING ♪
♪ COULD YOU HEAR THE SIRENS FROM THE BACKSEAT? I'
I AND YOUR LITTLE YELLOW DRESS I'
♪ GOD, YOU'RE SO SADISTIC ♪
I LET ME UNDERNEATH IT I'
I NOW YOU KEEP IT HID ♪
I OH, I'M SO GLAD ♪
I THAT YOU ♪
♪ DISAPPEARED WHEN THINGS GOT BAD I
I AND I CUT OFF ALL MY HAIR I'
II'
I I STILL KEEP MY MONEY ♪
I IN THE PILLOW ON MY BED D
I YES, THE BLACK DOG ♪
I STILL FOLLOWING I
I YOU WOULD FIND IT FUNNY ♪
I MAYBE HYSTERICAL I'
I BUT I STILL BELIEVE IN MIRACLES I
I AND YOUR LITTLE YELLOW DRESS I'
I THOUGHT YOU WERE A MYSTIC I
♪ THOUGHT YOU COULD PREDICT IT$
I BUT YOU NEVER COULD I
I YOUR LITTLE YELLOW DRESS I
I' MADE ME GO BALLISTIC I'
I NEVER WILL FORGET IT I
I AND I NEVER SHOULD ♪
- [moaning]
DISC MAN.
- YEAH, I'M A BIT OLD-FASHIONED.
THIS IS MY FAVORITE SONG IN THE WORLD.
- I'M READY.
[muffled R&B music]
- J I LIKE IT WHEN YOU DO IT LIKE THAT I
I YEAH, LIKE THAT ♪
II'
- THIS IS YOUR FAVORITE SONG?
- J I LIKE IT WHEN YOU DO IT LIKE THAT I
- OKAY, OH. NOT THAT ONE.
TH-THAT'S A GUILTY PLEASURE.
IT'S AN OLD MIX.
HOLD ON. WAIT.
OKAY, I THINK YOU'RE GONNA LOVE IT.
[Nina Simone's My Baby Just Cares For Me playing]
[smooth jazz music]
II'
- I' MY BABY DON'T CARE FOR SHOWS ♪
♪ MY BABY DON'T CARE FOR CLOTHES J
I MY BABY JUST CARES I'
- THIS IS FOR YOU FROM KATIE JOHNSTONE.
“HEY, JAMES. GIVE 'ER A LISTEN.“
I THINK HE'S TRYING TO SPEAK TO YOU AS YOU.
- GIVE 'ER. GIVE US A LISTEN.
- YEAH, YEAH.
"DEAR JAMES, I HAVE BEEN"...
OH, MY GOD.
- YEAH, IT'S AN EPIC.
- "I WOULD BE EXTREMELY STOKE...
"ED TO GET A COFFEE.
"OR IN MY CASE, A HOT CHOCOLATE
BECAUSE I DON'T LIKE COFFEE VERY MUCH."
[laughing] - YOU'RE KIDDING ME.
- "YOU WOULD LIKE w."
- SHE SOUNDS LIKE SHE JUST DRANK A HELL OF A LOT OF COFFEE.
- WOW.
SHE SORT OF GOT THE EYES RIGHT.
- WHAT'? - YEAH, THIS IS HILARIOUS.
- OH, MY GOOD--
"DIE, JAMES, DIE... JAMES."
[laughing]
- AND CHECK OUT THIS SIDE.
-"I'M COMING, JAMES.
JAMES, JAM ES, JAMES, JAMES."
. [laughing]
THAT'S MY FAVORITE ONE.
LOOK AT THE EYES.
- I JUST GOT KIND OF WORRIED ABOUT YOU.
- LOOK AT THE EYES.
- THEY'RE GONNA HYPNOTIZE ME.
[laughing]
[gasps]
BEAUTIFUL.
YOU HAVE TO TRY IT ON.
- IT'S GONNA BE WAY TOO SMALL.
- IT'S A MEDIUM.
- IT'S A CHILDREN'S MEDIUM.
- I DON'T--IT'S COTTON. IT'LL STRETCH'
- REALLY? - YEAH.
II'
- FOR YOU.
II'
- [laughing] SORRY.
THERE.
II'
- I'M READY TO GO OUT NOW.
[moody soul music]
- ♪ WELL, I ASK MYSELF I
I WHAT HAVE YOU DONE J
I MY SISTERS AND BROTHER'? ♪
I I DON'T KNOW I'
I SAY YOU TOLD YOUR LIE ♪
I WITHOUT NO SHAME ♪
I MMM, MMM, MMM D
I' MMM, MMM LISTEN, Y'ALL ♪
I IT AIN'T EASY I'
I THERE'LL BE NOWHERE TO RUN ♪
I WELL, YOU SHOULD GONE AND PAID .'
I YEAH I'
I FOR WHAT YOU DONE ♪
[subway rumbling]
[bright guitar music]
II'
- YOU KNOW, THIS IS REALLY GOOD.
- IT'S NOT MINE, THE ZOMBIES.
II'
[humming]
- HOW DOES THE MELODY LINE GO'?
- SOMETHING LIKE...
I CAN'T NOBODY ♪
I LOVE ME ♪
[vocalizing]
II'
- ♪ DO YOU WANT TO SEE THE VIEW .'
I“ FROM THE TOP OF THE EMPIRE STATE BUILDING? ♪
- I DEFINITELY NOT ♪
I I'M AFRAID OF HEIGHTS I
II'
- I YOU DON'T WANT TO GO UP HIGH? ♪
J“- DON'T WANT TO TOUCH THE SKY? J”
I' 'CAUSE YOU'RE AFRAID I
both: J AFRAID OF HEIGHTS I
II'
[rhythmic beeping, machine whirring]
- "ULYSSES NOW LEFT THE HAVEN
"AND TOOK THE ROUGH TRACK UP THOUGH THE WOODED COUNTRY
"AND OVER THE CREST OF THE MOUNTAIN
TILL HE REACHED THE PLACE WHERE MINERVA HAD SAID.“
I ACTUALLY DON'T MIND THE SMELL OF SMOKE IN MY HOUSE
BECAUSE IT REMINDS ME OF PRE SANITIZED TIMES, YOU KNOW,
LIKE PARIS IN THE '70s.
- WERE YOU THERE IN THE '70s'?
- WHO WASN'T?
- UM...
Laughter]
- WELL, I--.
OKAY, A LOT OF PEOPLE WEREN'T,
YOU TWO FOR EXAMPLE,
BUT MY GOD, I'M SORRY YOU WEREN'T.
IT WAS SO GREAT.
I GOT...
SO MUCH THERE.
I GOT MY MASTER'S,
LOVERS-- I WON'T SAY HOW MANY.
DON'T WORRY--
A HUSBAND.
I WAS AN ARKANSAS GIRL IN PARIS.
HOW GREAT IS THAT?
AND THEN OF COURSE, I DID DATE A FAMOUS ROCK STAR.
' [groans] - WHO?
. L.. SHE HASN'T EVEN TOLD ME.
I'M NOT EVEN SURE IT'S TRUE.
- OF COURSE IT'S TRUE.
WHY WOULD I MAKE THAT UP?
THIS GUY WAS AMAZING.
HE TAUGHT ME ONE OF THE HARDEST SONGS
EVEN TO LEARN ON THE GUITAR.
- BLACKBIRD BY THE BEATLES.
- MM, GREAT SONG.
NEVER LEARNED IT.
- OH, IT IS A GREAT ONE, JAMES.
OH, MY GOD.
I GAVE HENRY ONE TIME FOR CHRISTMAS.
AND HE LOVED IT SO MUCH,
THIS UNBELIEVABLE GREEN ACCORDION,
AND HE SLEPT WITH IT.
IT WAS A TEDDY BEAR.
IT WAS LIKE HIS TEDDY BEAR, YOU KNOW?
- MY MOM GAVE ME MY FIRST GUITAR WHEN I WAS 13.
- YEAH, DID IT HAVE A PICTURE OF A HULA DANCER ON IT?
- NOPE, UN FORTUNATELY-
- OH, TA-DA, TA-DA, TA-DA!
HERE IT IS.
- OH, HEY, COME ON.
- THANK YOU.
YOU ARE AVERY GOOD GIRL.
I DON'T KNOW HOW YOU ARE MY DAUGHTER.
- WELL, YOU RAISED ME WELL.
- YEAH, SO WELL.
[chipper accordion music]
II'
[fitful accordion music]
[laughing]
OH, MY GOD.
THAT WAS SO BAD.
[laughter and applause]
WHY, THANK YOU.
FRANNY, WHAT WAS THE SONG THAT YOU WERE SO OBSESSED WITH
THAT, UM...
OH... COME ON.
BY AMERICA? BY AMERICA.
- OH, I DON'T REMEMBER.
- OH, YOU REMEMBER.
OH, MY GOD. YES, YOU DO.
SHE REMEMBERS.
SHE SANG IT NONSTOP, ALL THE TIME,
OVER AND OVER AND OVER AND OVER.
SHE SANG IT IN THE SCHOOL TALENT SHOW
BECAUSE IT WAS THE '92 ELECTION,
AND SHE BELIEVED THAT IT HAD POLITICAL SUBTEXT
ABOUT HOW MUCH THE COUNTRY NEEDED
TO HAVE BILL CLINTON ELECTED AS PRESIDENT,
- I WAS EIGHT.
- AND HERE IT IS.
- OH, NO. NO!
- NO, COME ON.
YOU DID SO GOOD. - NO.
- COME ON. YOU WERE SO GOOD.
- NO, I WASN'T. - SO GOOD.
- MOM, COME ON. THIS--THIS IS EMBARRASSING.
- I DON'T BELIEVE IN EMBARRASSMENT.
- I AM KIND OF CURIOUS NOW.
- COME ON, FRANNY. it’ll JUST MAKE ME SO HAPPY.
- I WE USED TO LAUGH I
I WE USED TO CRY I
- I' WE USED TO BOW OUR HEADS D
I THEN WONDER WHY I
I AND NOW YOU'RE GONE I'
I I GUESS I'LL CARRY ON D
I AND MAKE THE BEST I'
I OF WHAT YOU'VE LEFT TO ME ♪
I LEFT TO ME J
I I NEED YOU I
♪ LIKE THE FLOWERS NEED THE RAIN .'
I YOU KNOW I NEED YOU I'
I GUESS I'LL START IT ALL AGAIN ♪
I YOU KNOW I NEED YOU I'
I' LIKE THE WINTER NEEDS THE SPRING J
I YOU KNOW I NEED YOU I'
I I NEED YOU I
[laughs]
II'
- J AND EVERY DAY I
♪ I'D LAUGH P
- BEAUTIFUL.
- MOM.
- ♪ JUST KNOWING YOU WERE THINKING' OF ME ♪
- MOM. - NO,
I HAVE TO GO TO BED.
[snifﬂes]
BEAUTIFUL.
II'
I FOR EVERY STORY TOLD ABOUT ME $
♪ ABOUT ME I
- SHELL BE OKAY.
- J ABOUT ME ♪
I I NEED YOU I
[thumping electronic music]
II'
- [vocalizing]
II'
[intense vocalizing]
[wild electronic music]
II'
[vocalizing]
II'
[soft guitar music, humming]
II'
- IS THAT SOMETHING NEW'?
- NAH, JUST--
NO, SOMETHING BEEN THINKING' OF.
MIGHT BE NOTHING
II'
- WHEN ARE YOU HEADING BACK HOME?
- DAY AFTER TOMORROW,
RIGHT AFTER THE SHOW IN PHILLY.
- COME ON.
[whimpering]
- HEY, JAMES.
- HEY. - HEY. THANKS, MAN,
YOU WERE GREAT, REALLY MADE LISA'S NIGHT,
- THANKS. - THANK YOU.
- JAMES. THANK YOU.
I JUST WANT TO GET ONE PICTURE.
- SURE.
- OH, YEAH.
GOOD. GREAT'
ALL RIGHT, THAT'S ENOUGH.
PROBABLY GET BACK IN, YOU KNOW?
- THANK YOU. - COME ON.
I KNOW. HE'S AMAZING. You're WELCOME.
- I KNOW. THIS IS KIND OF SHORT.
[acoustic guitar tuning]
THIS, UH--
THIS IS SOMETHING I'VE BEEN WORKING ON--
SOMETHING NEW, UM.
STILL IN PROGRESS, BUT I HOPE YOU LIKE IT.
[humming acoustic guitar strumming]
[laughs]
ALL RIGHT. THAT WASN'T IT'
[subdued guitar music, humming]
II'
- HENRY!
HENRY.
HEY.
[crying] HEY.
HENRY.
HENRY?
HENRY, CAN YOU HEAR ME?
NO.
NO, NO, NO, NO. NO, NO' NO,
COME BACK. COME BACK
HENRY, COME ON. COME ON, WAKE UP.
I NEED SOMEBODY. MY BROTHER--
I NEED A NURSE. I NEED-—
HE-- HE OPENED HIS EYES.
I SAW IT. HE--
[Subs]
- I'M GOING TO GO TALK TO THE DOCTOR.
AND HE'LL TALK TO YOU.
- COME ON, HENRY.
HENRY WAKE UP, PRETTY PLEASE.
- HENRY.
IT'S ME AND FRANNY.
WE KNOW YOU CAN HEAR US, AND WE'RE HERE,
- I I BROKE UP ♪
I WITH THE MAN IN THE MOON LAST NIGHT ♪
SORRY.
[playing scales]
II'
- HENRY?
HEY. HEY.
HENRY.
- [mouthing words]
FRANNY?
- YES.
YEAH.
[crying and laughing]
YEAH.
I'M SO SORRY.
YOU NEED TO KEEP YOUR EYES OPEN.
OH, EXCUSE ME. - YES. DEAR?
- HAVE YOU SEEN A GUY WITH A GUITAR CASE?
- SORRY, I HAVEN'T.
[somber rock music]
II'
- [sighs]
I FINALLY REALIZED HOW HUNGRY I AM.
YOU WANT SOME?
MMM.
FRANNY, NO. NO.
THAT IS SO, SO BAD FOR YOU.
- [laughs] - I KNOW.
I AM A HYPOCRITE, THE WORST KIND.
FRANNY.
HE'S GONNA BE FINE.
HEY.
- [whimpers]
- HEY.
[breezy guitar music]
II'
- I' FLOATING' IN THE MOTEL POOL I'
I TILL ALL THE ROOMS WERE CLEAN I
I IMAGINE ANGELS IN THE SKY .'
I WERE PRETTIEST I'D EVER SEEN .'
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
II'
[cheers and applause]
- CAN I BUY A TICKET INSIDE?
- RIGHT INSIDE THERE.
- I WROTE SOMETHING...
- HI, ONE, PLEASE.
- SHOWS SOLD OUT
- IN FACT, I'VE ONLY PLAYED IT FOR TWO PEOPLE.
I STARTED IT IN NEW YORK FOR SOMEONE I MET THERE.
THIS ONE WAS A NEW EXPERIENCE FOR ME,
IT'S NOT FINISHED, AND I--
I WASN'T GONNA PLAY IT TONIGHT,
BUT FOR SOME REASON...
LAST SHOW.
AND, OKAY, I'LL JUST--
I'M GONNA GET IT OVER WITH NOW.
[cheers and applause]
I I REMEMBER THAT DAY J
I' AND THE ARMS SAID NOON I'
♪ AND MY BED WAS IN THE DARK ♪
I UNDERNEATH THE BLUE BALLOON I'
I THEN A SWARM OF LOVE ♪
I SURROUNDED ME I
J” AND MY HEAD WAS STANDING ON ITS END D
I' WITH ELECTRICITY I
I AND AS I LOOKED OUT I'
I ON MY OLD LIFE ♪
♪ I WAS SPEEDING THROUGH THE FOREST J
I ON A MOTORBIKE I
I I WAVED TO YOU ♪
I BUT YOU COULDN'T SEE I
I' I COULD HEAR A CROWD OF PEOPLE ♪
I CALLING AFTER ME J
I WAKE UP, LITTLE DREAMER I
I IT'S TIME TO RISE D
I OPEN UP YOUR EYES I
I I'VE BEEN HOLDING OUT I
I FOR A LIFELINE D
I AND I FOLLOWED YOU ♪
♪ TO THE DEPTHS OF MY OWN MIND I'
I I'VE BEEN WANDERING D
I KIND OF SCATTER SHOT I
J BUMPING' INTO OTHER PEOPLE'S LIVES ♪
I WITHOUT A SECOND THOUGHT I
I NOW I DO BELIEVE ♪
I IN THE MYSTICAL J
♪ THAT WE HAVE SOME VAGUE CONNECTION ♪
I TO THE OTHER WORLD D
I AND NOW ALL I'VE SAID ♪
I MAY NOT ALL BE TRUE I
♪ BUT THIS SILVER SONG I SING TONIGHT I'
I I SWEAR IT'S JUST FOR YOU ♪
[bright guitar music]
II'
- ♪ DO YOU WANT TO SEE THE VIEW .'
I“ FROM THE TOP OF THE EMPIRE STATE BUILDING? ♪
- I DEFINITELY NOT ♪
I I'M AFRAID OF HEIGHTS I
II'
- I YOU DON'T WANT TO GO UP HIGH? ♪
J“- DON'T WANT TO TOUCH THE SKY? J”
I' 'CAUSE YOU'RE AFRAID I
both: J AFRAID OF HEIGHTS I
II'
- ♪ NO, I DON'T WANNA GO I'
♪ TO THE TOP OF THE EMPIRE STATE BUILDING J
I 'CAUSE I'M AFRAID OF HEIGHTS I
- OH, THAT'S TOO BAD. IT'S REAL NICE UP THERE'
- [humming]
II'
[humming]
II'
I NO, 'CAUSE I'M AFRAID OF HEIGHTS ♪
[light guitar music]
II'
I I REMEMBER HER RED TANK TOP I
I TUCKED INTO HER VANDERBILT BLUE JEANS ♪
♪ HER EYEBROWS PAINTED ON LIKE ARCHES OF SAINT ♪
I LOUIS IN THE MAGAZINES ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I HEAVEN ON YOUR ♪
I HEAVEN J
I OH, HEAVEN ON YOUR HEAD ♪
SUN ♪
II'
I FLOATING' IN THE MOTEL POOL I'
I TILL ALL THE ROOMS WERE CLEAN I
I IMAGINE ANGELS IN THE SKY .'
I WERE PRETTIEST I'D EVER SEEN .'
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I HEAVEN ON YOUR ♪
I HEAVEN J
I OH, HEAVEN ON YOUR HEAD ♪
SUN ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I I'LL WAIT UNTIL ♪
I IRIS INSTILLED ♪
I' I'LL WAIT UNTIL J“- - J" I'LL WAIT UNTIL I
- I IRIS INSTILLED I
I' I'LL WAIT UNTIL J“- - J" I'LL WAIT UNTIL I
- I IRIS INSTILLED I
I HEAVEN ON YOUR ♪
I HEAVEN J
I OH, HEAVEN ON YOUR HEAD ♪
SUN ♪
[steady violin and guitar music]
II'
[steadfast guitar music]
II'
I' THE DAY WE MET MY LIFE WAS CHANGED ♪
♪ I ALWAYS HEARD THAT LOVE WAS STRANGE .'
I AND PAINFUL D
I PAINFUL I
I ONE NIGHT YOU SLEPT UPON YOUR SIDE .'
♪ TANGLED IN WHITE YOU LOOKED JUST LIKE ♪
♪ AN ANGEL ♪
I' SO WHY)'
I DID YOU FLY AWAY? I'
♪ I'VE BEEN DYING A LITTLE DEATH ♪
I SINCE THAT VERY DAY D
I I USED TO LAUGH I
♪ WHEN YOU TOLD ME I'
♪ YOU MUST FORGET AND FORGIVE I
I TO BE FREE ♪
II'
♪ DOWN BY WATER DRESSED IN BLACK J
♪ I SWORE REVENGE TO GET YOU BACK I
I' HATEFUL I'
♪ I MADE MY CAMP UPON THE HILL I
♪ DRANK WHISKEY FROM THE SECRET STILL J
I BLAMEFUL ♪
I' SO WHY)'
I DID YOU FLY AWAY? I'
♪ I'VE BEEN DYING A LITTLE DEATH ♪
I SINCE THAT VERY DAY D
I I USED TO LAUGH I
♪ WHEN YOU TOLD ME I'
♪ YOU MUST FORGET AND FORGIVE I
I TO BE FREE ♪
I AND I NEVER COULD ADMIT I
I THE PART I HAD IN THIS ♪
I SO THIS IS WHAT I GET ♪
I MY FRIEND ♪
I NOW I KNOW WHY I
I YOU RAN AWAY I'
I AND I'VE BEEN DYING A LITTLE DEATH ♪
I SINCE THAT VERY DAY D
I I USED TO LAUGH I
♪ WHEN YOU TOLD ME I'
♪ YOU MUST FORGET AND FORGIVE I
I YOU MUST FORGIVE JUST TO LIVE ♪
♪ YOU MUST FORGET AND FORGIVE I
I TO BE FREE ♪
II'