Original subtitles

- It's just paradise.

- What did I tell you? I'm so glad you came, Gwen.

- Well, it was Bob's idea.

- But I'm just so happy to see you.

I think it's exactly what you two need.

Some time away together. - Mm-hmm.

- You have to work things out. You and Bobby

are the only other couple Neil and I can stand.

Every marriage goes through rough patches.

- Not yours.

- I threw a frozen veal chop at Neil's head last week.

You didn't. - Oh, I did.

- You know, in my marriage, that's called foreplay.

- Neil and I, it's different than you and Bobby.

We're not competing. - Bob and I aren't competing.

- When we first started going together,

Neil came to see me dance at one of Martha's shows.

At the party afterwards, all the attention was on me.

No one even looked at him. This was before Neil was Neil.

I had to make a point of introducing him.

"This is Neil Simon.

He's a phenomenal young playwright."

You could just see their eyes glaze over.

Frankly, I think a part of him

was relieved when I stopped dancing.

It meant he never had to play wife

at a cocktail party ever again.

- And you don't miss it, dancing?

- Oh.

- See, I just-- I can't understand that.

- Well, I was never Gwen Verdon.

- Oh, stop.

- ♪ Show me the way to get out of this world ♪

♪ Because that's where everything is ♪

- The funny thing is I've always loved baseball.

- I didn't know this. - And when I was ten,

I told my father that I wanted to grow up to be a pitcher

for the Boston Braves, just like Babe Ruth.

- What did he say? - Well, he said

"The Boston Braves are the worst team in baseball,

"and Babe Ruth should have hung up his cleats six years ago

when he could still hit the ball."

- Oh, that's good. Say, George and I,

I think we landed on a choreographer.

- Tell me, tell me. - Bobby Fosse.

He did "Pajama Game" for us.

- But what about Jerry?

- Well, Jerry--Jerry-- Jerry's fantastic,

but, I mean, Jerry Robbins wouldn't know

a baseball diamond from a squash court.

You need someone for this show who really understands

the vernacular, who understands Americana.

- But It isn't just a show about baseball, Hal.

It's a modern-day "Faust," and you need someone

who's not afraid of darker material.

Someone like Jerry. - You're going to love Bobby.

He's married to Joanie McCracken.

- No, no, I know who he is. He's the one with the hats.

- He does a lot more than hats.

- He's only choreographed one show.

- That is the beauty of it.

He's still got something to prove.

- Well, it sounds like the decision

has already been made, Hal. - Now, why don't you meet him?

Well, we'll meet at rehearsals, I'm sure.

- Well, actually, he suggested that it might be nice

if the two of you were to get together

a little bit sooner, hmm?

He wants to teach you some of the steps, watch you move.

- He wants to audition me. - He wants to meet you.

- In order to audition me.

- Look, I told him I thought it was absurd,

but you know these choreographers.

They get an idea in their heads, and--

- You offered me the part a month ago.

- Gwen, if I didn't think the two of you

were a perfect match, I would tell the guy

to go take a hike, I promise you.

There is a real sense of humor

in his work, a real joy.

But sophisticated, like Chaplin.

Like Verdon.

- Fine, I'll do it. - Thank you, Gwen.

- Don't thank me. If I don't like him,

you'll be stuck looking for a new choreographer.

Mr. Fosse? - Oh, Bobby, please.

- Oh, well. It's a pleasure.

- Very nice to meet you.

- You're Joan McCracken's husband.

- Do you know Joanie?

- Oh, she is one of my favorite actresses.

- Oh, yeah, she's-- she's a hoot.

- You know, I saw her in "Galileo."

- Oh, yeah, you saw that? - Every look, every gesture.

It--it all told you something about the character.

- She'll be very flattered to hear that.

Your boyfriend, uh-- he's an actor too, isn't he?

- Scott. - Yeah.

- Brady. - That's right.

Scott Brady. He's always playing a cowboy.

Yeah, I've seen him on television.

Very tall, isn't he? - Well, he's not short.

- I have to admit,

I didn't see your show.

But I heard it was charming.

- I didn't see yours either.

I guess that makes us even.

- You know, I didn't realize that you'd started as a dancer.

- Sure, sure. - Michael Kidd told me

that he met you out in Hollywood,

and you were on contract with MGM.

- That's true.

Yeah, you asked Michael Kidd about me?

- Well, I asked a lot of people about you.

- Oh, that must have been difficult.

- Uh, what's that?

- Well, giving up dancing.

- I still dance a little. Yeah, a little bit.

- Well, you're not going to cast yourself

in this show, are you?

- Well, if they'd let me, I'd play your part.

You--uh, you warmed up? - Of course.

- Do you want some water or something or--

- Why don't we just get started with the audition?

- Yeah, sure. Um...

- What would you like to see me do?

- I thought I'd teach you something actually,

if that's okay.

Uh, one of the numbers from the show.

Have Richard and Jerry shown you any of the tunes yet?

- They came to my apartment three months ago

to play through the score. - Oh, yeah.

- To try to entice me to do the part.

- Oh, well, I-I was just playing around

with the big act one number, "Whatever Lola Wants."

I haven't got every piece of it figured out quite yet,

but, uh-- - What's taking you so long?

It's a seduction, the whole number.

- Clearly. - Um, Joe's here,

and there's some dialogue at the top.

Dialogue, dialogue, dialogue. Drums come in.

You're already tired, so your arm drops.

- That's hardly seductive.

- She's not very good at seducing.

Full rotation of the feet.

- I thought she was the world's greatest temptress.

- In her prime, but she's 172 years old.

A little long in the tooth for a temptress.

Chin down on the soutenu.

You caught that wave, that's nice.

And then, you're here.

Scoot, contract, and there. Slouch the shoulders.

- Slouch? I don't think I've ever

heard that word from a choreographer before.

- Oh, you don't want to give anything away.

Let him come to you.

♪ Whatever Lola wants ♪

♪ Lola gets ♪ - I'm not moving?

- What's sexier than standing still?

The movement comes here.

♪ And, little man, little Lola wants you ♪

Toss your glove on the cut-off.

- It's a striptease. - Now you're catching on.

Next verse is the same. Pulse on the first eight bars.

And--

- ♪ Make up your mind to have ♪

They're not going to let you do this, you know.

♪ No regrets ♪ - Who's "they"?

- George, Hal, the audience, critics.

You can't do a striptease on Broadway.

- You think it's vulgar?

- ♪ Recline yourself ♪

♪ Resign yourself, you're through ♪

The other glove goes. Yeah.

And now, we're onto the bridge. Start to undo your skirt, and--

- ♪ I always get ♪ - And hips straight through

to Joe. - ♪ What I aim for ♪

- Six, seven, eight.

- ♪ Your heart and soul ♪ - Squeeze out of your skirt.

And-- - ♪ Is what I came for ♪

- Drop.

Where'd you learn that?

- I was dancing burlesque houses when I was 14.

- Huh. One, two, three--

I was 13. One, two, three--

- I played the Florentine Gardens.

- That's fancy. - Oh, and it was.

Peanut shells on the floor and everything.

- I don't mean to brag,

but I headlined at the Cave of Winds.

- You did not. - Yeah.

What about your mother?

She didn't mind you dancing in those places?

- Oh, no, no, my mother always encouraged me.

- Your father? - My father was...

less encouraging. Your parents?

- Oh, they didn't care where I was dancing

as long as I brought money home, boo-hoo.

Should we go back? - Let's go on.

- Uh, leg up, and back to Joe, and one, two, three, four,

five, arms, seven.

Left, right, left, right-- what's that?

- She had an itch. She had to scratch it.

- You're already adding steps? - I'm already making it better.

- Would you do that with Jack Cole?

I asked about you, too.

- Jack Cole always appreciated

my suggestions for improvements.

- That's not his reputation. - Oh, sometimes, he might yell,

or throw something. A hat, a shoe, a chair.

- Why didn't you leave? - And go where?

What comes next?

- Um, next part.

- I thought you didn't have all the pieces figured out yet.

- Well, I try to be modest.

Five, six, a-five, six, seven, eight.

Tap and hip, add the turn, and back to Joe.

- When do I find out if I got this part or not?

- You already got this part.

You had the part before you walked in here.

- Well, why didn't you just say so when I came in here?

- You didn't ask.

Hey, you're still up. - Oh, it's not so late, is it?

- Well, it's after 12:00. - You are absolutely right.

- How you feeling?

- Well, I'm much better than yesterday.

- You need your sleep, Joanie. - I'm fine.

How was it? - Yeah, it was good.

She's good, yeah. - You liked her?

- She's fast.

I planned to teach her the first 16 bars.

We ended up doing the whole number.

- How about that?

- I think you're going to love her.

She's a natural with these steps.

- Can she act? - Yeah, she can act.

She can--she can sing.

Everyone, everybody, stop.

You see what Gwen's doing with the arms?

Everyone see that?

Gwen, show them what you're doing with the arms.

- Scooping ice cream! Diamonds and pearls.

- She brought you up, first thing.

Yeah, she loved you in "Galileo."

- Really? Well, that's very nice.

- Yeah, she's a big fan of yours.

She said that.

Five, six, a-five, six, seven, eight.

You need anything, or... - No.

- A glass of water or something?

- Mm-mm.

- That's it.

That's it, that's the step, fellas.

Can we take this lift stage right, please?

Get Julia downstage, sweetheart.

- Can we just go again from the top, Bobby?

I don't have it in my body yet.

- You heard the lady. Let's take it all the way back.

- If you make us do it again, we'll kill you, I swear.

- Just once more.

- God!

- Hey, Joanie.

It's Joanie McCracken, everyone.

How much time do I have? - About 20.

- If I could see how we get into the final picture again.

You can mark it this one time.

Uh, let's take it from the turnaround.

I'll give you two bars. And...

George, you're further right. Further right, George.

- What's wrong? - It happened again.

I can't stand up. - Okay, yeah, yeah.

Uh, hey, everyone, great.

That's starting to look like a real number, isn't it?

Uh, you're getting out early today for good behavior.

Nice job. We'll revisit it tomorrow.

I'm going to need the room, though,

so if everyone could please, uh, give me some space.

- I'm sorry, I'm so sorry. - It's okay.

- Such an honor.

- Hey, hey, it's okay. It's okay, come on.

- I'm sorry. - Please don't apologize.

Let's get you home.

It's okay, it's okay, sweetheart.

- I'll tell you, if only they had

some halfway decent scenery here.

Neil was saying there's some ruins a few miles inland.

2,000 years old.

He said to bring a bottle of wine and watch the sunset.

- Is that what you think this is, Bob?

A romantic getaway?

- Forget I said anything.

- Believe it or not, I didn't leave our child

to fly halfway across the world to take in the sights with you.

- Then why did you come?

- Because you told me you were going to

swallow a bottle of Seconal.

- Maybe you should have let me.

- Why don't you take that line again?

No, the dialogue's fine.

It's just that the delivery, it wasn't very convincing.

- Hey, what are you talking about?

What are you trying to-- what--

what the fuck-- what do you want from me?

Oh, no, is that my line?

- You know, it's gone clear out of my head.

- This isn't funny to me, okay? - No, no.

It's a very dramatic scene. It's just--

- Hey! - It's just that we've done it

too many times. - I screwed up, okay?

- And it's lost its entertainment value.

- I know that.

- I do love the location

that you've chosen this time.

- After you left, the last month--

- I mean, with the ocean in the background--

- On set, I couldn't think without you.

Nothing makes-- - It's a great touch, Bob.

But see, this is why you're such a brilliant director.

Because you get the details.

- I couldn't think without you, you understand?

I want to come home.

I'm out of business without you.

- Oh, no, you skipped a section, Bob.

There's the part where you swear it didn't mean anything.

You were lonely, drinking too much, working too hard.

- I'm--I'm in love with her.

- Oh, no, you're not. - Yeah.

- With the translator?

With the German girl?

- That doesn't change how I feel about you,

and I don't see why it should.

- Oh, my God.

- You're right, Gwen. Jesus, you're right.

How many times have I lied to you?

How many times have I stood there

and I promised it's the last time?

I don't want to lie to you anymore.

I don't want to sneak around.

I want to be able to see Hannah

and then come home and not bullshit you.

- Maybe I should find a lover, too, then, huh?

How about that?

- That's not your style. - No, of course not.

- You're stronger than I am.

- Oh, up yours!

- Just let me--

- No. - I need you.

Hold--hold--hold on. Hold--hold--hold on.

Hey, hey, hey, hold on.

Hey, listen to me...

- No! - Hey, hey.

Where are you going?

I'm trying to be honest with you.

- What happens after I stop being a baseball player?

Then where would I be?

- Well, now, that of course is fairly well known.

- Yes. - After all,

there's nothing unusual about it.

How do you suppose some of these politicians

around town got started? And parking lot owners?

Uh-uh, not quite.

- Try taking it straight out to the audience.

- Um, after all, there's nothing unusual about it.

How do you suppose some of these politicians

around town got started? And parking lot owners?

- Is it too much? - No, if you do it like that,

you'll get the laugh every time.

- I feel like I'm upstaging myself right now.

- Don't cross so far downstage.

A couple of other things, gentlemen.

Why don't we re-think the whole beginning...

- Hi, Hal.

- Great to see you, darling.

- Hey, I tried calling you last night.

- Oh, I stayed at Scott's place.

- Oh, I need..I need to talk to you about some stuff.

- Well, I need to warm up.

Listen, what happened what happened yesterday,

it's a complicated situation.

- I can't talk about this right now, okay?

- Hey, give me a break.

Hey, hey, hey, hey. - Stop it.

- What are you doing?

- I'd like to be alone, please.

- Well, I want to talk to you.

Can I talk to you?

Look, I'm sorry if I hurt your feelings yesterday.

I'm really sorry. It's a complicated situation.

- We can't do this, Bobby. - Can't do what?

You knew I was married. You knew I was married.

So, I-- - Yeah, no, I just--

I didn't know...

that your wife is so sick she can't walk.

- All right, listen, she's--

you know, you got to understand something.

Will you look at me?

She's...she--she loves dance.

She--listen to me.

She can still work sometimes, when it's--when it's--

when it's not-- when she's not in a lot of--

when it's manageable, and if word starts to get around

to producers, she...

who's going to hire a dying actress?

What do you want from me? I'm--I'm--

the only thing I want to do, the only thing I want to do,

is be with you.

Do you hear what I'm saying?

- I'm sorry.

But I can't take away... - Hey.

- A dying woman's husband.

- I love you. I want to buy you

the moon and the stars, you understand?

You're everything. I'm in love with you.

I love you. You are everything I want.

- I'm sorry. - Hey, hey, don't do that.

Don't do that.

I can fix it, I can fix it.

- I already talked about Gloria's exit.

Oh, the musical chairs number at the end of the act, Bobby.

It's not playing.

The audience was a sea of coughs.

- I counted six people getting up to use the bathroom.

- I've drilled it with Eddie 100 times.

He's missing every laugh. - Well, why don't we

give the whole sequence a good, hard look in the morning?

- I'm telling you, Mr. Abbott, it's--it's Eddie.

- Well, in the meantime, Jerry, start thinking

of what else you have that we could fit there.

- No, um, the sequence works, Mr. Abbott.

With all due respect, I--

you saw it in the rehearsal room, you saw it.

- Well, seeing it in front of an audience,

I start to question whether it's just not the right concept

- You know, the New York audiences

are going to be even tougher.

- Well, I'd like to at least see it

with another dancer in the part.

- Who? - Me.

Put me in. I know exactly

what the performance is missing.

- The performance isn't an issue, Bobby.

- I disagree. - Gentlemen.

We'll look at it tomorrow. We can discuss it then.

Oh, the masking, backstage left.

I can see people moving furniture back there.

If we can lose ten minutes in the first act.

- Even five would help.

- How long is the number running?

- It feels like an hour and a half.

- Honey, go back to bed. - No, no.

- He did the same thing on the last show.

- Mm-hmm. - Look, we say

"Bobby, we talked about it. We heard your opinion.

We decided it's cut." End of discussion.

- What's the name of that sandwich place?

- Hello, Taft Hotel. How may I direct your call?

- Hello, operator. Give me George Abbott's room.

- Yes.

- This is Hal. - Hal, how are you?

- Bobby, did you have a nice dinner?

- Yeah, I'm not calling too late, am I?

- What's that? - I'm in the room next door.

I heard everything you said. - Did I say something bad?

We're talking about the show.

- You go behind my back? - Nobody's going

behind your back. - You go behind my back--

- We're having our nightly meeting here.

- Sweetie. - You're having a meeting?

What kind of meeting? A Judas meeting?

- It's what we do, Bobby. That's--

- You want to cut the number, cut the number, that's fine.

- Bobby, we're in previews. This is what we do.

- Why don't you go fuck yourself?

- What did they say?

- Bobby, let us in, please.

- Yeah, why not, let them in. - Uh, hold on.

- It's us, Bobby. - Let's have a metting.

- Just stay calm, okay? - I am calm.

- Very 'm sorry, Joanie. Listen, Bobby.

I'm glad you heard what I said. This isn't a secret.

I told you the same thing an hour ago.

The number doesn't work.

- The audience isn't responding.

- It's just--it's the end of the act.

We need something with a little more, uh--what?

What--it needs to be fun. - More energy.

- Everyone in this room respects you so much, Bobby.

We respect your work. - You're doing a terrific job.

We weren't even going to bring this up until tomorrow.

- Look, the number can stay in the show

for the next few nights. This isn't an emergency.

- Well, it can stay in for the rest of the run.

You can put something together by the time we get to Boston.

- You're saying it's shit? - They didn't say that.

- That is not at all what we are saying, Bobby.

- No, if you're saying it's shit, Hal, I tell you.

I'd rather open that door, walk out in the street,

and step in front of a bus than have an audience

watch Eddie mangle that number again.

I'd rather-- I'd rather slit my throat.

So is that what you want? You want another number?

I can get you another--

It's easy, I'll get you another number.

- Bob, can you please come back here?

Bobby!

- Bobby, it's the middle of the night.

- Yeah, okay. Can I see Gwen please?

- She's asleep. - I need to see Gwen, okay?

- Who is it? What happened?

- They're trying to cut the musical chairs.

They think it's shit.

They're laughing at me, and they all think it's shit.

I can't do it anymore. - I hear you.

I'll be down in five minutes. You get us a cab.

- What about a tap number?

- Is it fun? Does it have energy?

They want energy. - Seems fun to me.

- How much more fun can this fucking musical take?

How much more bullshit does this audience

really need shoved down its throat?

- If you want me to come back--

- What about another baseball number?

I'd rather gouge my eyes out.

- Do you like the idea of a mambo?

- I'd rather call Jerry Robbins and offer him the job myself.

- Let's hear it.

- Does this opus have words?

- ♪ Who's got the pain when they do the mambo? ♪

♪ Who's got the pain when they go ugh? ♪

♪ Who's got the pain when they do the mambo?

♪ I don't know who ♪ - Okay.

- ♪ Do you? ♪ - All right, moving on.

- No, play it again. - Uh, from the same place?

- From the top, Lonnie.

- ♪ Who's got the pain when they do the mambo?

♪ Who's got the pain when they go ugh? ♪

- But they want fun.

- It is fun. Listen.

- It's a song about pain. Bobby, listen to the lyrics.

- They're not going to hear that.

They're not going to hear anything.

They'll be too busy looking at you,

and you'll be smiling so wide,

and you'll be dancing so magnificently,

they'll think it's a musical.

But you'll know, and I'll know.

That's what we do, though, isn't it?

We take what hurts and we turn it into a big gag,

and we're singing and we're dancing.

And the audience, they're yukking it up.

They're laughing so hard, they don't realize

that all they're laughing at is a person in agony.

A person who's peeled off his own skin.

I can make this work.

What about that shoulder thing you do?

Yeah.

Do you have any hats? - I have one in my bag.

♪ Who's got the pain when they do the mambo? ♪

♪ Who's got the pain when they go ugh? ♪

♪ Who's got the pain when they do the mambo? ♪

♪ I don't know who, do you? ♪

♪ Who needs a pill when they do the mambo? ♪

♪ Who needs a pill when they go ugh? ♪

♪ Who needs a pill when they do the mambo? ♪

♪ I don't know who, do you? ♪

- Oh, Gwen. Oh, hello.

Bobby promised he would introduce us at the party,

but I'm so glad I don't have to wait.

- Well, I am a huge admirer of yours.

- Oh!

♪ Someone must be sick with the heat ♪

♪ Or stepping on everyone's feet ♪

♪ But if everyone's feeling okay ♪

♪ Why don't they just say olé ♪

♪ When the music carries them away ♪

♪ Ugh, who's got the pain when they do the mambo? ♪

- You know, you and Bobby have done

such wonderful work together.

Really, you capture every nuance,

every little quirk in his choreography.

I'd say it's like watching him up there,

but it's more like watching what he wishes he was.

- Well, he's a wonderful teacher.

- Oh, well, you have taught him plenty.

I see bits of you all over that stage.

That's what Bobby does. He takes what's special

in a girl, and he makes it his own.

- Well, that's what they all do, isn't it?

♪ Is there a doctor in the house? ♪

♪ Is there a doctor in the house? ♪

- You know, Bobby and I met on a show, too.

We were doing this silly little revue

called "Dance Me A Song."

It was his first time on Broadway.

He was a dancer in the chorus. I was the lead.

He used to wait for me in the wings

with a flower every night. - How sweet.

- Well, his wife didn't think so.

See, he was married to one of the girls

in the chorus, Mary-Ann.

He left her not long after that.

Did he tell you I got him his first job as a choreographer?

He'd gone to Hollywood thinking

he was going to be the next Fred Astaire.

Can you imagine? God knows he had the talent.

He just didn't have the--

well, whatever it is that makes you you, Gwen.

- He never thanked me for giving him a career.

He didn't want to be a choreographer.

All he ever wanted to be was a star.

I guess he thought I could make him one.

Well, maybe you'll do better.

- Okay, bye. - Good-bye.

- I was looking for you.

Get rid of him.

I need you to leave him.

- Only if you leave her.

- Gwen.

- I didn't say you had to go.

- Well, I'm certainly not staying here

for another minute. - I-I can get another room.

You can spend the night, Joanie.

- No, thank you. - I don't want you

rushing off to the city like this.

Let me help you with that. - Don't you dare.

- It's okay, you know, I--

- I was thinking you could stay at my place for a while.

Eventually, we could look for something bigger.

- Yeah.

I may have to borrow a little money.

She may need a nurse, you know, to take care of her.

You know I can't afford much on my salary.

- I'm getting out of your way, Bobby.

- Joanie. - That's exactly

what you wanted, isn't it? - Listen to me.

- You want my permission? You've got my permission.

But that is not enough, is it? - I'm sorry.

I'm sorry.

- Of course.

- It's comp-- it's a complicated situation.

- It's not.

- ♪ You've got to have heart ♪

♪ All you really need is heart ♪

♪ When the odds are saying you'll never win ♪

♪ That's when the grin should start ♪

♪ You've got to have hope ♪

♪ Mustn't sit around and mope ♪

♪ Nothing's half as bad as it may appear ♪

♪ Wait 'till next year and hope ♪

♪ When your luck is batting zero ♪

♪ Get your chin up off the floor ♪

♪ Mister, you can be a hero ♪

♪ You can open any door ♪

♪ There's nothing to it but to do it ♪

♪ We've got heart ♪

♪ Miles and miles and miles of heart ♪

♪ Oh, it's fine to be a genius, of course ♪

♪ But keep that old horse before the cart ♪

- ♪ So what the heck's the use of crying? ♪

- ♪ Why should we curse? ♪

- ♪ We've got to get better, 'cause we can't get worse ♪

♪ And to add to it ♪

♪ We've got heart ♪

♪ We've got heart ♪

♪ We've got heart ♪

- No, I'll get this, Miguel. - Where you going?

Where you going?

- Well, I have a plane to catch.

- Come inside. Joan's making dinner.

We're having drinks-- - We're ready.

Uh, let's see, what am I forgetting?

- Where you going?

- My wallet, my keys, sunglasses.

It's always something. - Just come inside the house.

- Well, I already called Nicole.

She's expecting me home.

- Hey, just-- you made your point.

- Oh, and I let her know that you won't

be living with us anymore.

But I'll let you call to explain.

You might want to give it some time, though,

because she's very upset. - All right, come on, come on.

Ow! Hey, stop messing around.

- I'm rolling up the window. - Just come i--I'm not leaving.

I'm not leaving, okay. Are you kidding?

- Let's go, let's go. - Come on.

- ♪ Show me the way to get out of this world ♪

♪ 'cause that's where everything is ♪

♪ If everything is going, I don't wanna stay here ♪

♪ Who wants to stick around

♪ And watch the world disappear ♪

♪ Now I missed a thing or two away down the line ♪

♪ I'd go back and get 'em, but I haven't the time ♪

♪ So show me the way to get out of this world ♪

♪ 'cause that's where everything is ♪

♪ I got some money in my pocket ♪

♪ To buy a ticket on a rocket ♪

♪ So show me the way to get out of this world ♪

♪ 'cause that's where everything is ♪

- ♪ It's gone ♪

- ♪ 'cause that's where everything is ♪