[car horns honking]
Yeah, this is number... It looks like number six.
[man 1] I want to know where everything is at this moment
and then we'll talk further.
All right. Tracks one, two and three
- have the five mic vocal split, right? - [man 2] Yes.
- Drums is... - You've got two percussion men.
You might as well put one group under the violins.
- [man 2] Yes. - [man 1] No, wait a minute.
Number four would be heaviest.
[man 2] Why don't we give it a listen —
No, I don't want to listen. Just a minute.
[harmonizing]
- You're always late on the "we." - [woman] Sorry.
[plays notes]
- You go on that one, right? - Yeah, mm-hmm.
- Okay. - [playing piano]
- Who is this player? - Timpani.
You mean to tell me we have a timpanist, a legitimate drummer
and two percussion men?
- No. Impossible. - No.
♪ We love you ♪
♪ Love you, love you ♪
♪ Love you, we love you ♪
♪ Love you, love you ♪
♪ Love you ♪
♪ We love you ♪
♪ Phone rings, door chimes... ♪
A five, six, seven, eight.
["Company" playing]
♪ We love you ♪
♪ Phone rings, door chimes In comes company ♪
♪ No strings, good times Just chums, company ♪
♪ Late nights, quick bites, party games ♪
♪ Deep talks, long walks Telephone calls ♪
♪ Thoughts shared, souls bared Private names ♪
♪ All those photos up on the walls ♪
♪ "With love" ♪
♪ With love filling the days ♪
♪ With love 70 ways ♪
♪ "To Bobby, with love" ♪
♪ From all these Good and crazy people, your friends ♪
♪ These good and crazy people Your married friends ♪
♪ And that's what it's all about Isn't it? ♪
♪ That's what it's really about Isn't it? ♪
♪ That's what it's really about ♪
♪ Really about! ♪
- ♪ You I love and you I love♪ - ♪ We love ♪
♪ You I love and you I love♪
♪ Company! Company! ♪
♪ Company! Lots of company! ♪
♪ Years of company! ♪
♪ Love is company! ♪
♪ Company! ♪
- [producer] Great. - [cast applauds]
[singers vocalizing]
Stand by, please. "You Could Drive a Person Crazy." Take one.
[vocalizing in harmony]
♪ You could drive a person crazy You could drive a person mad ♪
[vocalizing]
♪ First you make a person hazy So a person could be had ♪
[vocalizing]
♪ Then you leave A person dangling sadly... ♪
I never heard it sound like this. It's wonderful.
Yeah, we need more bass. There isn't any.
♪ Which could only make a person gladly Want you even more ♪
♪ I could understand a person If it's not a person's bag ♪
[vocalizing]
♪ I could understand a person If a person was a fag ♪
[vocalizing]
♪ But worse 'n' that, a person that ♪
♪ Titillates a person And then leaves her flat ♪
♪ Is crazy ♪
♪ He's a troubled person ♪
♪ He's a truly crazy person himself ♪
- You crazy bastard! - You son of a bitch!
♪ When a person's personality Is personable ♪
♪ He shouldn't oughta sit like a lump ♪
♪ It's harder than a matador Coercin' a bull ♪
♪ To try to get you off of your rump ♪
♪ So single and attentive And attractive a man ♪
♪ Is everything a person could wish ♪
♪ But turning off a person Is the act of a man ♪
♪ Who likes to pull the hooks Out of fish ♪
♪ Knock, knock... ♪
You got anything in percussion there before the "knock, knock"?
♪ Knock, knock, it really isn't fair ♪
♪ Knock, knock I'm workin' all my charms ♪
♪ Knock, knock, a zombie's in my arms ♪
♪ All that sweet affection What is wrong? ♪
♪ Where's the loose connection? ♪
♪ How long, O Lord, how long? Bobby baby, Bobby bubi, Bobby ♪
[Shepard] I never heard that. That's nice.
[Shepard] Yeah, the whole thing is very hypnotic.
[vocalizing]
♪ When a person says that you upset her That's when you're good ♪
♪ You impersonate a person better Than a zombie should ♪
♪ I can understand a person If he wasn't good in bed ♪
[vocalizing]
♪ I could understand a person If he actually was dead ♪
[vocalizing]
♪ Exclusive you Elusive you ♪
♪ Will any person ever get The juice of you? ♪
How fast? And also, right before "the juice of you." "You're crazy."
He's doing something, but I hardly hear it.
♪ Crazy person yourself ♪
The ending was great. Just a moment.
[man] Tom. Guitar right is off mic.
Steve. Can we get some dynamics into it?
Like...
♪ Person... ♪
Then when they do the "doo-doo-doos,"
get quiet and then sing again so that there's--
It's possible, except those "doo-doos" are high. It's very high.
That's really a question of delicacy, not volume,
because you can't get Donna to sing that soft, you know?
Nobody can sing an A soft.
[Shepard] There's something so marvelously ludicrous about...
Yeah. I'll try to get them to make more contrast.
- "Bubi." Let's hear you say it. - [woman] "Bubi."
- That's it. "Bubi." - But when I sing it, it goes:
- ♪ Bobby baby, Bobby bubi, Bobby ♪ - "Bubi."
♪ Bobby baby, Bobby bubi, Bobby ♪
Supposing you had to say "goody," how would you say that?
- [woman] Goody. - Yeah. "Bobby baby, Bobby goody."
- ♪ Bobby baby, Bobby bubi, Bobby ♪ - That's it.
Exactly the same vowel sound as "good."
- Exactly the same vowel sound as "good." - ♪ Bobby baby, Bobby bubi, Bobby ♪
"Bubi." Buh-buh. Pursed lips. "Bubi."
"Bobby. Bubi."
♪ Bobby baby, Bobby bubi, Bobby ♪
- You're still doing it. Say, "Goody." - "Goody."
- Say, "Bubi." - ♪ Bobby baby, Bobby bubi, Bobby ♪
That's it. Exactly as if it were "goody."
Now, I know you're gonna sing "goody" this time, but nevertheless.
[Shepard] Okay. "You Could Drive a Person Crazy," take ten.
Is it really ten? [laughs]
[song starts, stops]
Okay? Here we go.
Come on, they'll lose their notes.
- [music playing] - [singers vocalizing]
- ♪ You could drive a person crazy ♪ - [Shepard] The quality's nice.
♪ You could drive a person mad ♪
[vocalizing]
Oh, it's harder to sing here.
Well, first of all, you're dancing on the stage,
so that you're all loose and it's easy and everything goes together.
And you try to be perfect on the stage, but it's different.
The moment passes by.
But this is the definitive.
It's the end-all and the be-all of this song
and God, that could drive a person crazy.
♪ All that sweet affection What is wrong? ♪
♪ Where's the loose connection? How long, O Lord, how long? ♪
♪ Bobby baby, Bobby bubi, Bobby ♪
♪ You could drive a person buggy You could blow a person's cool ♪
[vocalizing]
♪ Like you make a person feel all huggy While you make her feel a fool ♪
[vocalizing]
- A? - Yeah, Donna knows. Donna knows.
♪ That's when you're good ♪
♪ You impersonate a person better Than a zombie should ♪
♪ I can understand a person If he wasn't good in bed ♪
[vocalizing]
♪ I could understand a person If he actually was dead ♪
[vocalizing]
♪ Exclusive you Elusive you ♪
♪ Will any person ever get The juice of you? ♪
♪ You're crazy ♪
♪ You're a lovely person You're a moving ♪
♪ Deeply maladjusted Never to be trusted ♪
♪ Crazy person yourself ♪
♪ Bobby is my hobby And I'm giving it up! ♪
That's great. Girls, you want to come in and listen to yourselves?
It was really a beautiful take.
- [high-pitched feedback whines] - What is that? Steve, you happy with it?
I like to hear occasionally from the writer.
No, no. There are a couple of little sloppy bits,
but because it's live, I don't mind about that.
Well, I've always felt slightly resentful,
the fact that nobody took me seriously as a composer
or only thought of me as a lyric writer, but really, it's a matter of circumstance.
I agreed to do lyrics in West Side Story
because it was my first chance to do something professional in the theater.
Actually, my second, but the first one hadn't panned out.
And then I did —
I was supposed to do the score of Gypsy.
Then I swore I was never gonna be just the lyric writer again.
And since I'd been trained as a musician, it's all I really care about.
And lyric writing, I sort of fell into.
And I was supposed to do the music and lyrics for Gypsy.
And Ethel Merman had just done a show
called Happy Hunting which wasn't a success.
And she was afraid to take a chance on an unknown composer.
And she said she really wanted an experienced composer
and her choice was Julie Styne.
And by that time, I felt obligated to the project,
also I liked it and I thought it'd be fine to work with Julie and all that,
but all the time I was working, again, I was frustrated.
♪ You're crazy ♪
♪ You're a lovely person You're a moving ♪
♪ Deeply maladjusted Never to be trusted ♪
♪ Crazy person yourself ♪
♪ Bobby is my hobby And I'm giving it up! ♪
- That was the best? - [Shepard] That's great.
[all laughing]
We opened with no advance.
We did $40,000 the first week.
We got one review, which you read, Kevin Kelly.
One from Elliot Norton was: "the worst play in musical history."
And by the time we closed, we were sold out.
And we were only there two and a half weeks, with no advance.
By the time we closed, you couldn't buy a ticket for anything.
So, you see, that's what I mean by "vibrations."
- [rumbling over speakers] - It's raining. [chuckles]
♪ Pardon me, is everybody there? Because if everybody's there ♪
♪ I want to thank you all For coming to the wedding ♪
♪ I'd appreciate you going even more Must have lots of better things to do ♪
♪ Not a word of it to Paul Remember Paul? ♪
Ugh. Sorry.
I think we can get off to a better start. Don't you?
I don't want to upset you, but I'd love to have the tune.
Let me hear it once. How would that be?
[vocalizing "Getting Married Today"]
♪ Coming to the wedding ♪
♪ I'd appreciate you going even more ♪
♪ You really must have Lots of better things to do ♪
If you could phrase "You could pick up a christening" in one phrase,
if you could do that, 'cause that's not the highest note.
[Shepard] Now you don't have enough breath for "Hudson with the other garbage,"
- breath, "I'm not well." - There's no time to take a break there.
[Shepard] There is no time. And I think we ought to do an insert
so that we can put it together without you having to scramble.
As if you had asthma. That's what I mean.
Actually, you do it anyway, but you do it very ladylike.
Everybody is throwing things at you, you poor kid.
All right. The word "fidelity," a little hard to understand.
- Yeah, I know. - You know that.
And you're gonna be big on the "amens,"
especially the first, which I've got to hear.
- And you're not going to wiggle. - [laughs]
♪ Today is for Amy ♪
♪ Amy, I give you the rest of my life ♪
♪ To cherish and to keep you ♪
♪ To honor you forever ♪
♪ Today is for Amy ♪
♪ My happily, soon-to-be ♪
♪ Wife... ♪
♪ Pardon me, is everybody here? Because if everybody's here ♪
♪ I want to thank you all For coming to the wedding ♪
♪ I'd appreciate you going even more Must have lots of better things to do ♪
♪ And not a word of it to Paul ♪ Remember Paul?
♪ You know, the man I'm gonna marry But I'm not ♪
♪ Because I wouldn't ruin anyone As wonderful as he is ♪
♪ Thank you all For the gifts and the flowers ♪
♪ Thank you all Now it's back to the showers ♪
♪ Don't tell Paul But I'm not getting married today ♪
♪ Bless this day ♪
♪ Pinnacle of life ♪
♪ Husband joined to wife ♪
♪ The heart sinks down ♪
♪ And feels dead ♪
♪ This dreadful ♪
♪ Day ♪
♪ Listen everybody, look I don't know what you're waiting for ♪
♪ A wedding, what's a wedding? It's a prehistoric ritual ♪
♪ Where everybody promises Fidelity forever ♪
♪ Which is maybe the most horrifying word I ever heard ♪
♪ Which is followed by a honeymoon Where suddenly he'll realize ♪
♪ He's saddled with a nut And want to kill me, which he should ♪
♪ Thanks a bunch But I'm not getting married ♪
♪ Go have lunch 'Cause I'm not getting married ♪
♪ You've been grand But I'm not getting married ♪
♪ Don't just stand there I'm not getting married ♪
♪ And don't tell Paul But I'm not getting married today ♪
♪ Go! Can't you go? Why is nobody listening? ♪
♪ Goodbye! Go and cry At another person's wake ♪
♪ If you're quick, for a kick You could pick up a christening ♪
♪ But please, on my knees There's a human life at stake! ♪
♪ Listen, everybody I'm afraid you didn't hear ♪
♪ Or do you want to see a crazy lady Fall apart in front of you? ♪
♪ It isn't only Paul Who would be ruining his life ♪
♪ You know, we'll both of us Be losing our identities ♪
♪ I telephoned my analyst about it And he said to see him Monday ♪
♪ But by Monday I'll be floating In the Hudson with the other garbage ♪
♪ I'm not well I'm not getting married ♪
♪ You've been swell But I'm not getting married ♪
♪ Clear the hall 'Cause I'm not getting married ♪
♪ Thank you all But I'm not getting married ♪
♪ And don't tell Paul But I'm not getting married today! ♪
♪ Bless this bride ♪
♪ Totally insane ♪
♪ Slipping down the drain ♪
♪ And bless this day ♪
♪ In our hearts ♪
♪ As it starts ♪
- ♪ To rain ♪ - All right, two. Mic two. Thunder's out.
- ♪ Today is for Amy ♪ - Three. Less two and more three.
♪ Go, can't you go? Look, you know I adore you ♪
A little less three and a little more two.
♪ Watch me die like Eliza on the ice ♪
- ♪ To cherish and to keep you ♪ - ♪ Perhaps I'll collapse in the apse ♪
- ♪ Right before you all ♪ - ♪ To honor you forever ♪
- ♪ Burn the shoes and boil the rice! ♪ - ♪ Today is for Amy ♪
- ♪ I may be coming down with hepatitis ♪ - ♪ My happily soon-to-be wife ♪
♪ So if you wanna see me faint I'll do it happily ♪
- ♪ My adorable wife! ♪ - ♪ So thank you for the 27 dinner plates ♪
♪ 37 butter knives, 47 paperweights 57 candleholders ♪
- ♪ One more thing ♪ - ♪ I'm not getting married! ♪
- ♪ Softly said ♪ - ♪ But I'm not getting married! ♪
- ♪ With this ring ♪ - ♪ See, I'm not getting married! ♪
- ♪ I thee wed ♪ - ♪ Still, I'm not getting married! ♪
♪ Let us pray That we're not getting married ♪
- ♪ Today! ♪ - ♪ Today! ♪
[Shepard] That happens to be an incredibly good take, and I want you to hear it.
I did the melody on two and then I couldn't remember it anymore.
- [man] The thunder wasn't loud enough. - [Shepard] That's right.
I don't know why. That other time...
["Another Hundred People" playing]
♪ Another hundred people Just got off of the train ♪
♪ And came up through the ground While another hundred people ♪
♪ Just got off of the bus And are looking around ♪
♪ At another hundred people Who got off of the plane ♪
♪ And are looking at us Who got off of the train ♪
♪ And the plane and the bus Maybe yesterday ♪
♪ It's a city of strangers Some come to work, some to play ♪
♪ A city of strangers Some come to stare, some to stay ♪
♪ And every day, the ones who stay ♪
♪ Can find each other In the crowded streets ♪
♪ And the guarded parks ♪
♪ By the rusty fountains And the dusty trees ♪
♪ With the battered barks ♪
♪ And they walk together Past the postered walls ♪
♪ With the crude remarks ♪
♪ And they meet at parties Through the friends-of-friends ♪
♪ Who they never know ♪
♪ Will you pick me up Or do I meet you there ♪
♪ Or shall we let it go? ♪
♪ Did you get my message? 'Cause I looked in vain ♪
♪ Can we see each other Tuesday If it doesn't rain? ♪
♪ Look, I'll call you in the morning Or my service will explain ♪
♪ And another hundred people Just got off of the train ♪
♪ It's a city of strangers Some come to work, some to play ♪
♪ A city of strangers Some come to stare, some to stay ♪
♪ And every day, some go away... ♪
♪ Or they find each other In the crowded streets ♪
♪ And the guarded parks ♪
♪ By the rusty fountains And the dusty trees ♪
♪ With the battered barks ♪
♪ And they walk together Past the postered walls ♪
♪ With the crude remarks ♪
♪ And they meet at parties Through the friends-of-friends ♪
♪ Who they never know ♪
♪ Will you pick me up Or do I meet you there ♪
♪ Or shall we let it go? ♪
♪ Did you get my message? 'Cause I looked in vain ♪
♪ Can we see each other Tuesday If it doesn't rain? ♪
♪ Look, I'll call you in the morning Or my service will explain ♪
♪ And another hundred people Just got off of the train ♪
♪ And another hundred people Just got off of the train... ♪
[Shepard over speaker] Pam, that was beautiful. But we can do better.
You changed two notes, and I have a feeling that I haven't noticed them
and you've been doing it for weeks.
Which is the pick up on, uh...
[vocalizing]
It's "by the rusty fountains." Let me hear you do this. "You can..."
♪ Can find each other In the crowded streets ♪
♪ And the guarded parks... ♪
- Yeah. You're doing an A there. - Oh, yeah.
It used to be an F sharp and it's gradually become an A.
♪ Can find each other In the crowded streets ♪
♪ And the guarded parks ♪
♪ By the rusty fountains And the dusty trees... ♪
Okay.
What it'll do is it'll preserve that entrance when it comes down there.
So, try to remember that.
Could I have one of those now?
[Sondheim] More a general question than that. It was what should George Furth do?
I wanted you to read it because I thought...
- It seems to me — - ...what a good writer he was.
[Sondheim] But I certainly didn't expect that you would have any interest.
[Prince] I thought what you were doing was sending me a lot of terrific material,
which I, by the way, thought it was.
I mean, terrific. All of it. All of it.
Terrific. And saying, "What do you think they're doing wrong?"
Steve sent them to Hal. I don't know —
For advice and Hal surprisingly, instead of advice, said,
"How about a musical of these?" And I said it would be very peculiar.
How about how you also said — now this is interesting, in view of your character,
which God knows the entire world knows well, like the back of its hand.
You said yes. You didn't say, "Let's think about it."
I said yes.
I said, "What do you think about doing it as a musical?" He said, "I'll do it."
Looking at the schedule and I think you should know — Hi, Elaine —
that I think we're gonna finish roughly at 4:00 in the morning.
Everybody smile.
♪ And they meet at parties Through the friends-of-friends ♪
♪ Who they never know ♪
♪ Will you pick me up Or do I meet you there ♪
♪ Or shall we let it go? ♪
♪ Did you get my message? 'Cause I looked in vain ♪
♪ Can we see each other Tuesday If it doesn't rain? ♪
♪ Look, I'll call you in the morning Or my service will explain ♪
♪ And another hundred people Just got off of the train ♪
♪ It's a city of strangers Some come to work, some to play ♪
♪ A city of strangers Some come to stare, some to stay ♪
♪ And every day ♪
♪ Some go away... ♪
♪ Or they find each other In the crowded streets ♪
♪ And the guarded parks ♪
♪ By the rusty fountains And the dusty trees ♪
♪ With the battered barks ♪
♪ And they walk together Past the postered walls ♪
♪ With the crude remarks ♪
♪ And they meet at parties Through the friends-of-friends ♪
♪ Who they never know ♪
♪ Will you pick me up Or do I meet you there ♪
♪ Or shall we let it go? ♪
♪ Did you get my message? 'Cause I looked in vain ♪
♪ Can we see each other Tuesday If it doesn't rain? ♪
♪ Look, I'll call you in the morning Or my service will explain ♪
♪ And another hundred people Just got off of the train ♪
♪ Another hundred people just got off of ♪
♪ The train ♪
[Shepard] That is really very beautiful. I want you to hear it. Come on in, please.
You want it after the "okay"? Because she's got to have an actual cue for it.
He says, "Okay," and she goes... [exclaims]
- Yes, yes, yes. - Well, go and tell her, George.
I did tell her. Now, do you want me to reinforce that?
[singers exclaiming]
But I haven't done anything. What are we doing?
Just tell me what we're doing here. Is that all?
- [Sondheim] That's the lift. - [Furth] And I'm having you squeal.
- All right. Okay. - So the second time, squeal.
The first time's the karate cry, the second time's the squeal.
And the third one, we're all set on anyway.
It begins there. The third one is a struggle.
[grunting, groaning]
- Oh. - [Furth] And then you start.
[grunts loudly]
[all grunting, exclaiming]
- Uncle? - Uncle, you're a —
- [woman] Harry. - [man] Huh?
Do you want to stand there?
[chuckles] Okay.
I'm standing here. Now what?
Well, darling, just come at me. [chuckling]
Okay.
[grunting]
♪ It's the little things you do together Do together, do together ♪
♪ That make perfect relationships ♪
♪ The hobbies you pursue together Savings you accrue together ♪
♪ Looks you misconstrue together That make marriage a joy ♪
♪ Mm-hmm... ♪
[Harry laughs]
- I could have blocked that. - No, that can't be blocked.
- You wanna do it again? - Okay.
- I'll come at you again. - Okay.
- [grunting] - Stop! Ow!
♪ It's sharing little winks together ♪
♪ Drinks together Kinks together ♪
♪ That make marriage a joy ♪
♪ The bargains that you shop together Cigarettes you stop together ♪
♪ Clothing that you swap together That make perfect relationships ♪
♪ Uh-huh, mm-hmm ♪
[both grunting, groaning]
♪ It's not talk of God And the decade ahead ♪
♪ That allows you to get Through the worst ♪
♪ It's, "I do, "and, "You don't" And, "Nobody said that" ♪
♪ And, "Who brought The subject up first?" ♪
♪ It's the little things ♪
♪ The little things The little things, the little things ♪
♪ The little ways you try together ♪
♪ Cry together Lie together ♪
♪ That make perfect relationships ♪
♪ Becoming a cliché together Growing old and gray together ♪
♪ Withering away together ♪
♪ That makes marriage a joy ♪
♪ It's not so hard to be married ♪
♪ It's much the simplest of crimes ♪
♪ It's not so hard to be married ♪
♪ I've done it three or four times ♪
♪ It's people that you hate together ♪
- ♪ Bait together ♪ - ♪ Date together ♪
♪ That make marriage a joy ♪
- ♪ It's things like using force together ♪ - ♪ Shouting till you're hoarse together ♪
♪ Getting a divorce together ♪
♪ That make perfect relationships ♪
♪ Uh-huh... ♪
♪ Kiss, kiss... ♪
♪ Mm-hmm ♪
[Shepard] Okay, that's good. I want to do it once more.
There came a point where I didn't — I didn't write it anymore.
They were the characters.
And whenever anything was wrong, I knew I wrote it.
But when everything sounded right, they were making it up.
[Shepard] Stand by, please.
"Being Alive," take one.
["Being Alive" playing]
♪ Someone to hold you too close ♪
[Shepard] You're very good.
And I don't want to spoil something that's potentially marvelous.
And I need more guitar. Let's hear a guitar.
[song resumes]
It's the first time I really like to feel
rhythmic looseness, which you do.
That's — That's the explosion. That's the flower bursting.
That's where you can take rhythmic liberties.
Just what you're doing. It's fine.
♪ Vary my days ♪
That's nice and free.
♪ But alone... ♪
Well, maybe there's one more in me. Let's find out, hmm?
Dean, practically swallow the mic on the end.
- Okay, I'll stay on 'em. - [laughter]
[Shepard] Also, we're gonna slow up the tempo, Dean.
["Being Alive" playing]
♪ Someone to hold you too close ♪
♪ Someone to hurt you too deep ♪
♪ Someone to sit in your chair To ruin your sleep ♪
That's true. But there's more than that.
Is that all you think there is to it?
You've got so many reasons for not being with someone,
but, Robert, you haven't one good reason for being alone.
Come on. You're onto something, Bobby. You're onto something.
♪ Someone to need you too much ♪
♪ Someone to know you too well ♪
♪ Someone to pull you up short To put you through hell ♪
- You see what you look for, you know. - You're not a kid anymore, Robby.
I don't think you'll ever be a kid again, kiddo.
Hey, buddy. Don't be afraid that it won't be perfect.
The only thing to be afraid of, really, is that it won't be.
[woman] Don't stop now. Keep going.
♪ Someone you have to let in ♪
♪ Someone whose feelings you spare ♪
♪ Someone who, like it or not ♪
♪ Will want you to share A little, a lot... ♪
And what does all that mean?
Robert, how do you know so much about it when you've never been there?
It's much better living it than looking at it, Robert.
[Peter] Add 'em up, Bobby. Add 'em up.
♪ Someone to crowd you with love ♪
♪ Someone to force you to care ♪
♪ Someone to make you come through ♪
♪ Who'll always be there As frightened as you ♪
♪ Of being alive ♪
♪ Being alive, being alive ♪
♪ Being alive ♪
Blow out the candles, Robert, and make a wish.
Want something. Want something.
♪ Somebody hold me too close ♪
♪ Somebody hurt me too deep ♪
♪ Somebody sit in my chair ♪
♪ And ruin my sleep and make me aware ♪
♪ Of being alive ♪
♪ Being alive ♪
♪ Somebody need me too much ♪
♪ Somebody know me too well ♪
♪ Somebody pull me up short ♪
♪ And put me through hell ♪
♪ And give me support for being alive ♪
♪ Make me alive ♪
♪ Make me confused ♪
♪ Mock me with praise ♪
♪ Let me be used ♪
♪ Vary my days ♪
♪ But alone is alone ♪
♪ Not alive! ♪
♪ Somebody crowd me with love ♪
♪ Somebody force me to care ♪
♪ Somebody make me come through ♪
♪ I'll always be there As frightened as you ♪
♪ To help us survive ♪
♪ Being alive ♪
♪ Being alive! ♪
[Shepard] That's quite a number. Would you like to hear it?
[cheering]
[cast] ♪ Isn't it warm ♪
♪ Isn't it rosy ♪
♪ Side by side? ♪
♪ Everything shines ♪
♪ How sweet ♪
♪ Side by side ♪
♪ Parallel lines ♪
♪ Who meet ♪
♪ Side by side ♪
[tap dancing]
♪ Year after year, older and older ♪
♪ Side by side ♪
♪ Sharing a tear and lending a shoulder ♪
♪ Side by side ♪
♪ Two's impossible, two is gloomy ♪
♪ Give another number to me ♪
♪ Side by side ♪
♪ By side ♪
♪ By side by side by side By side by side ♪
♪ By side! ♪
[Shepard] Great. Look, you're more than covered and you've done it beautifully.
I want you to do one more for us if you can get it in your voice.
We're gonna do one more —
Sing? I can't spit this time of the morning.
[Shepard] No? But you sound marvelous.
It's too short, too short...
["Barcelona" playing]
- ♪ Where you going? ♪ - ♪ Barcelona ♪
- ♪ Oh ♪ - ♪ Don't get up ♪
- ♪ Do you have to? ♪ - ♪ Yes, I have to ♪
- ♪ Oh ♪ - ♪ Don't get up ♪
- ♪ Now you're angry ♪ - ♪ No, I'm not ♪
- ♪ Yes, you are ♪ - ♪ No, I'm not ♪
- ♪ Put your things down ♪ - ♪ See, you're angry ♪
- ♪ No, I'm not ♪ - ♪ Yes, you are ♪
♪ No, I'm not Put your wings down and stay ♪
- ♪ I'm leaving ♪ - ♪ Why? ♪
- ♪ To go to ♪ - ♪ Stay ♪
- ♪ I have to fly ♪ - ♪ Fly, I know ♪
♪ To Barcelona ♪
[Dean] ♪ Look, you're a very special girl ♪
♪ Not just overnight ♪
♪ No, you're a very special girl ♪ [yawning]
♪ And not because you're bright ♪
♪ Not just because you're bright ♪
♪ You're just a very special girl, June! ♪
♪ April... ♪
♪ Thank you ♪
- ♪ Whatcha thinking? ♪ - ♪ Barcelona ♪
- ♪ Oh ♪ - ♪ Flight 18 ♪
- ♪ Stay a minute ♪ - ♪ I would like to ♪
- ♪ So? ♪ - ♪ Don't be mean ♪
- ♪ Stay a minute ♪ - ♪ No, I can't ♪
- ♪ Yes, you can ♪ - ♪ No, I can't ♪
- ♪ Where you going? ♪ - ♪ Barcelona ♪
- ♪ So you said ♪ - ♪ And Madrid ♪
- ♪ Bon voyage ♪ - ♪ On a Boeing ♪
- ♪ Good night ♪ - ♪ You're angry ♪
- ♪ I've got to ♪ - ♪ Right ♪
- ♪ Report to ♪ - ♪ Go ♪
♪ That's not to say ♪
♪ That if I had my way ♪
♪ Oh, well, I guess ♪
♪ Okay ♪
- ♪ What? ♪ - ♪ I'll stay ♪
♪ But... ♪
♪ Oh, God ♪
Great. Sensational. Wrap it up.
- [man] So long. - Bye.
- See ya. - [laughs]
Goodbye!
[kissing sounds]
Come on.
There. Perfect.
Okay.
[Shepard] Okay. "The Ladies Who Lunch," take one.
[music starts]
[Hastings] In other words, I'm going to start.
- Listen to me. - I'm scared to do this.
But you've been doing the whole thing...
- Okay. - [Hastings] Take it.
I'll take it, when you get right back on the note.
[Hastings] I don't, baby.
You spent your whole life saying,
"I'll go with you" and you rule the whole [mouths word] thing.
You bet your bottom dollar.
That's what I mean, see?
God, these curtains have never worked. Since we've had this apartment.
[laughing]
[Shepard] All right, Elaine.
"I'd like to propose a toast."
I'd like to propose a toast.
["The Ladies Who Lunch" playing]
♪ Here's-- ♪
What's that? What?
Okay, let's check the chords.
I have a feeling we ought to take it down a half tone.
- Hmm, okay. - I just think it's late.
- I know. I know. - It's very late in the day.
I don't want to upset you, but I'm talking entirely vocally.
Maybe if I took my hat off, I could do it.
- Let's do it. - I don't know.
- Change of keys, fellas. - I hate to take it down.
I know you do.
- Down a half tone. - It has to do with the lateness.
You have been here for 14 hours.
I know. But that shouldn't have anything to do with it. I feel fine.
Can we do this? Can we take it down a half tone?
And then that's only three takes I'm asking for, which is pretty good.
So we take it down a half tone and then do it up a half?
Sure. Absolutely. I want to relax you into it.
I don't mind. I love it in this key.
But your voice is tired.
Therefore, I want to be sure that we get — This is the permanent recording.
- Therefore, it's important. - [Elaine] I understand.
I'd like to propose a toast.
♪ Here's to the ladies who lunch ♪
♪ Everybody laugh ♪
♪ Lounging in their caftans ♪
♪ And planning a brunch ♪
♪ On their own behalf ♪
♪ Off to the gym ♪
♪ Then to a fitting ♪
♪ Claiming they're fat ♪
♪ And looking grim ♪
♪ 'Cause they've been sitting ♪
♪ Choosing a hat ♪
♪ Does anyone still wear a hat? ♪
[laughing]
♪ I'll drink to that ♪
♪ Here's to the girls who stay smart ♪
♪ Aren't they a gas? ♪
♪ Rushing to their classes In optical art ♪
♪ Wishing it would pass ♪
♪ Another long exhausting day ♪
♪ Another thousand dollars ♪
♪ A matinee, a Pinter play ♪
♪ Perhaps a piece of Mahler's ♪
♪ I'll drink to that ♪
♪ And one for Mahler! ♪
♪ Here's to the girls who play wife ♪
♪ Aren't they too much? ♪
♪ Keeping house But clutching a copy of LIFE ♪
♪ Just to keep in touch ♪
♪ The ones who follow the rules ♪
♪ And meet themselves at the schools ♪
♪ Too busy to know that they're fools ♪
♪ Aren't they a gem? ♪
♪ I'll drink to them! ♪
♪ Let's all drink to them! ♪
♪ And here's to the girls who just watch ♪
♪ Aren't they the best? ♪
♪ When they get depressed It's a bottle of Scotch ♪
♪ Plus a little jest ♪
♪ Another chance to disapprove ♪
♪ Another brilliant zinger ♪
♪ Another reason not to move ♪
♪ Another vodka stinger ♪
♪ Aaaaahhh! ♪
♪ I'll drink to that ♪
♪ So here's to the girls on the go ♪
♪ Everybody tries ♪
♪ Look into their eyes And you'll see what they know ♪
♪ Everybody dies ♪
♪ A toast to that invincible bunch ♪
♪ The dinosaurs surviving the crunch ♪
♪ Let's hear it for the ladies who lunch ♪
♪ Everybody rise! ♪
♪ Rise! ♪
♪ Rise! Rise! ♪
♪ Rise! Come on and rise! ♪
♪ Rise! Rise! ♪
♪ Rise! ♪
[Shepard] Look, I want to do one more right away.
Everybody's waiting for this on the record.
And this just doesn't have the tension that it ought to have. It's just flaccid.
♪ Too busy to know that they're fools ♪
♪ Aren't they a gem? ♪
♪ I'll drink to them! ♪
♪ Let's all drink to them! ♪
[Shepard] Okay. Once more from the top.
Sung, please.
[Elaine] What?
Sung.
Okay. Stand by, please.
"The Ladies Who Lunch," take eight.
- [Elaine] Steve. - Yeah.
I think if I — What, does it stink or something? Is it just awful?
[Sondheim] You're talking it too much. You're not singing it.
Well, tell me, though. Now I know what to do with it.
I want you to sing it. Really sing it.
I don't want anything spoken until the scream.
Okay. Well, let's do it up the key.
Let's do it up the key. And I will just sing the song.
- I'm trying to get to it. - [Sondheim] I understand.
- Okay? - Please, trust the song.
All right. And let's sing it right up in the key
that I do it in the theater and then it'll be smashing this time, I think.
- [Shepard] Okay. - [Sondheim] Okay. Just sing it.
Okay.
♪ Here's to the ladies who lunch ♪
♪ Everybody laugh ♪
♪ Lounging in their caftans ♪
♪ And planning a brunch ♪
♪ On their own behalf ♪
[no audible dialogue]
♪ Off to the gym ♪
♪ Then to a fitting ♪
♪ Claiming they're fat ♪
♪ And looking grim ♪
♪ 'Cause they've been sitting ♪
♪ Choosing a hat ♪
I'm just screaming! It's too early to scream.
[Sondheim] You're screaming because you know that your voice is tired
and you're trying to make up in power.
Yeah. But I've always done that, Steve, because I've always had dumb material.
So now I get good material and I can afford to go backwards.
It's not so much that my voice is tired.
- [song playing on tape] - [Sondheim] I just want you to listen.
♪ Aren't they a gas? ♪
♪ Rushing to their classes In optical art ♪
♪ Wishing it would pass ♪
I can take this all down.
♪ Another long exhausting day ♪
See, I've just proven every point.
Wrong!
♪ A matinee, a Pinter play ♪
♪ Perhaps a piece of Mahler's ♪
Oh, shut up!
All right, this is the last shot on it because...
I mean, we're at diminishing returns. Stand by, please.
♪ Here's to the ladies who lunch ♪
♪ Everybody laugh ♪
What the hell do you want me to do?
Well, I think we better lay an orchestral track and have her...
The only thing I could think of is
you can't make the whole orchestra call a separate day.
[Shepard] Elaine, you're sounding tired,
which is, you know, quite understandable this hour of the morning.
I think we're going to lay down an orchestral track
and tomorrow or Tuesday, you know, when we're all a little fresher,
we'll put you in over it, okay?
What do you think?
I don't know. I can't hear myself.
'Cause we're all getting kind of punchy.
Okay?
- Right. - [Shepard] Right.
Okay. Stand by, please.
[orchestra plays]
[Elaine] ♪ Another chance to disapprove ♪
♪ Another brilliant zinger ♪
♪ Another reason not to move ♪
♪ Another vodka stinger ♪
♪ Aah! ♪
♪ I'll drink to that ♪
♪ So here's to the girls on the go ♪
♪ Everybody tries ♪
♪ Look into their eyes And you'll see what they know ♪
♪ Everybody dies ♪
♪ A toast to that invincible bunch ♪
♪ The dinosaurs surviving the crunch ♪
♪ Let's hear it for the ladies who lunch ♪
♪ Everybody rise! ♪
♪ Rise! ♪
♪ Rise! Rise! ♪
♪ Rise! ♪
♪ Rise! Rise! ♪
♪ Rise ♪
- That's it! - [Shepard] Great!
That's one hell of a good take. I want you to come in and listen to it.
Perfect. And let's hear it for the "Ladies." It's got to be in there.
- [Shepard] I'll take it. - Don't fool around with...
- [Shepard] Oh, no. - No, we won't, Elaine.
If you tell me it was wrong,
$50,000 I'll give to you.
[cast] ♪ Everything shines ♪
♪ How sweet ♪
♪ Side by side ♪
[tap dancing]
♪ Parallel lines ♪
♪ Who meet ♪
♪ Side by side ♪
[tap dancing]
♪ Year after year, older and older ♪
♪ Side by side ♪
♪ Sharing a tear and lending a shoulder ♪
♪ Side by side ♪
♪ Two's impossible, two is gloomy ♪
♪ Give another number to me ♪
♪ Side by side ♪
♪ By side ♪
♪ By side by side by side By side by side ♪
♪ By side! ♪
[Shepard] Great! Sensational. Wrap it up.