A man should live out his life fully and completely...
give form to every feeling, reality to every dream.
[Grady Narrating] Sitting there among her things...
I was reminded I didn't really know Emily at all.
Even though we had lived together as man and wife...
it was when I left the house, when I was with Sara...
- [Phone Ringing] - That I felt like I was home.
- [Woman] University. - Chancellor, please.
[Man On TV] There's only one way to get rid of a temptation...
and that's to yield to it.
Resist it, and the soul grows sick with longing...
for the things it has forbidden to itself.
- Thank you. - [TV Continues]
[TV Channel Changing]
@@ ["Theme From Route 66"]
- Hello? - Sara? Hi, it's Grady.
- Where are you? - Kinship.
Listen, Sara, there's something I gotta talk to you about.
You're in Kinship.
Yes, but that's not why I'm calling you.
- You're with Emily. - What?
No, no, no. There's no one here. I'm just, uh...
Doing a little dusting?
- [TV Channel Changes] - [Judy Garland]@ Good mornin'@
@ We've danced the whole night through @
@ Good mornin' Good mornin' to you @
- @@ [Humming] - @ Good mornin' @
@ Good mornin' It's great to stay up late@
@ Good mornin'@
Sara, I am not here... I'm not here to, uh, to reconcile with Emily.
It doesn't matter.
How you choose to live your own life is your business.
@ To say good night So good mornin'@
@ Good mornin'@
@ Sunbeams will soon smile through @@
Sara, you don't understand.
Probably not, but I have something to say.
And I want you to listen carefully, Grady.
Yes.
I can't wait for you because if I do...
I could end up waiting forever, so...
I'm going to make this decision on my own.
- Good-bye, Grady. - [Hangs Up]
[Mickey Rooney] Makin' a comeback.
Gee, it must be terrible to be a has-been.
[Judy Garland] Don't talk like that. It scares me.
[Mickey Rooney] We gotta work harder. Make a lotta dough.
[Coughing]
Hello. Hi.
- Ow. - It's infected. I can clean it up.
But then you need to see someone who knows what he's doing.
How would you like some hot chocolate...
and fresh cookies to go with it?
- That sounds nice. Thank you. - You're welcome.
- [Barks] - This is really good hot chocolate.
He's one of your students, this boy?
- [Whining] - [Grady] Yeah, he's a good kid.
He's just a little messed up.
Oh, then I'm sure he'll be fine... with the proper guidance.
[Woman]So, you're at the university in Pittsburgh?
[James] I'm working in a steel mill while I finish my first novel.
So where's Emily, Hank?
I don't know if I should tell you that, Grady.
I don't wanna stalk her. I just wanna...
I wanna tell her that I'm sorry.
I'm not trying to get her back.
Things haven't been right with us for a while.
Well, all I know is Emily felt you weren't there for her...
and she's felt that for a long time, Grady.
Right now, she's, uh...
She's in Philadelphia visiting Linda Ashby.
For Christ's sakes, they went to Wellesley together.
Linda spent a week at your house...
- Oh, Linda! Oh, oh. - Yes.
I haven't been sleeping a whole lot lately...
and I got my editor in town.
- I'm trying to finish my book. - Ah, right.
The book.
I hope it's really good, Grady.
I'm having a really good time, Prof. Tripp.
I'm really happy for you, James.
Do me a favor. Lay off my dope.
That stuff's not for amateurs.
You're mad at me, aren't you?
You're mad because I shot your girlfriend's dog.
It wasn't her dog. It was her husband's.
Who said anything about a girlfriend?
Okay, James, I wish you hadn't shot my girlfriend's dog...
Even though Poe and I were not exactly what you call simpatico...
that's no reason he should've taken two in the chest.
I don't know.
You just keep acting like a goddamn spook all the time, James.
Well, I guess that explains why all the kids in workshop hate me.
All the kids in workshop hate you because right now...
you're ten times the writer any one of them will ever be.
My stuff stinks.
You said so yourself last night to your friend Crabtree.
I didn't mean it like that.
And what does it matter what I think?
I mean, what does it matter what anybody thinks?
Most people don't think, James.
And if they do, it's not about writing.
Books. They don't mean anything.
Not to anybody.
Not anymore.
Arsonist's Daughter meant something.
It meant something to me.
It's the reason I came to school here.
To be taught by you.
It's one of the reasons I wanted to become a writer.
Well, for that, James, if nothing else...
I'm really sorry.
- What are we doing? - I'm gonna get you a nice meal...
a couple of cups of coffee, then I'm taking you home.
- Take me now. - What?
- I'm not hungry. - James, you gotta eat.
I'll get something out of the vending machine.
Vending machine? What are you talking about?
At the bus station, they have these cheese sandwiches.
They're pretty good. It's better if you take me now.
That way, Carl won't get my spot.
Carl?
- Never mind. - James, go get us a table, will ya?
I'm not letting the most talented writer in my class...
eat some week-old cheese sandwich, okay?
I'm not letting him sleep on some bench in a bus station.
So go on inside. I'll... I'll be there in a minute.
[Grady] C-A -R- V-E-L.
Yes, I'm sure, ma'am. It's outside of Scranton.
You have no listing.
Okay, well...
Lady, as we speak, I am looking at a resident of Carvel, Pennsylvania.
I'm sure he'd be pretty interested to learn...
that the good people at Bell Atlantic...
have misplaced his entire hometown.
It's not like I'm making this up as we go...
Never mind. I'm sorry.
[Hangs Up Phone]
- You want a bite? - No, thanks.
That's why you're having them, your spells.
Spells? Jesus, James...
you make it sound like we're in a Tennessee Williams play.
I don't get spells.
What would you call them then?
I don't know. Um... Episodes.
Uh-huh. I just worry about you, that's all.
You just worry about yourself, okay?
- Where you going? - Nowhere.
You just stay here and eat. I'll be right back.
Good evening.
- Prof. Tripp. - Grady.
Fred Leer. This is my wife Amanda.
Well, looks like I dashed a wonderful evening here.
We were on our way to a benefit, but as luck would have it...
the club was on the way, so we were able to put in an appearance.
I just thought it would be good for James...
to be with his family this weekend.
Oh, well... Of course we can understand that.
Right. Okay, I guess, uh, I'll go get James.
Um...
I hope you don't find this forward, Amanda, but I wonder if I might ask.
Did you ever go to Catholic school?
Excuse me?
I'm not going with them.
Things are a little weird for me right now, James.
Things are a little weird for me right now too.
I know, but I got my editor in town, I gotta finish my book...
and there's some extenuating circumstances...
I won't bother you. I won't even talk to you.
Like it or not, those people out there are your parents.
- They're not my parents. - What?
They're my grandparents. My parents are dead.
James, the man is obviously your father. You look just like him.
There's a reason for that.
- Oh, get out of here. - No. That's why she hates me.
That's why she makes me sleep in the basement.
Crawl space. With the rats and the cask of amontillado, right?
It's true! They treat me like a freak!
Well, you are a freak, James. All right? Welcome to the club.
You don't understand. You don't know what it's like.
You're right, I don't.
Don't expect me to feel sorry for you, all right?
Because I don't know who you are.
Let me ask you something, James.
In the past 36 hours, have you told me one thing that's true?
One thing that comes from you?
I just wanted to stay with you for a little while, that's all.
I'm a teacher, James. I'm not a Holiday Inn.
Thank you, Prof. Tripp.
[Engine Starting]
@ Old man look at my life@
@ I'm a lot like you were@
@ Old man look at my life@
@ I'm a lot like you were@
Hey!
Hey.
@ Old man look at my life@
@ Twenty-four and there's so much more@
@ Live alone in a paradise@
@ That makes me think of two @
@ Love lost Such a cost@
@ Give me things that don't get lost@
@ Like a coin that won't get tossed@
@ Rolling home to you@@
- [Chattering] - @@ [Rock]
Crabtree. Jesus.
@@ [Stereo: Indistinct]
[Chattering]
Do you mind?
- [Door Opens] - Grady!
- Hey. - Uh, I know I shouldn't have...
but there it was just in the open, and I couldn't resist.
No, no. I just can't believe that I left it out like this.
[Terry] Tripp, where are you?
Has Crabtree been in here? Has he been snooping around?
I don't know. Maybe. I don't think so.
Let's put this away.
[Terry] Tripp!
- Oh, shit. - No. Um...
Don't go. I've been waiting all night for you.
I'm really flattered, honey, but this just isn't...
I'm sorry. Am I interrupting a teacher-student conference?
No offense, Tripp. You're not exactly the most attentive host.
Well, you've been taking good care of that, huh, Crabs?
Sometimes we have to improvise.
Where the hell have you been anyway?
I took a drive with James Leer.
He popped the chancellor's dog, didn't he?
- What? - Yeah.
First the police thought he just ran away...
but this afternoon, Dr. Gaskell found blood spots on the carpet.
Oh, Jesus.
Most everyone figured it was an intruder, but right off...
Terry said it sounded like something James would be messed up in.
Has anybody else come up with this brilliant deduction?
Well, not yet, but they will. It's just a matter of time.
Come on. You don't even know James.
Who does?
I do. I do now.
I spent some time with him...
and I read something of his.
- His book? You read his book? - Yes.
- Is it good? - It's good. It's very, very good.
It's... It's true.
I knew it. So where is he now?
I sent him home with his parents.
What? What? His parents?
- Mm-hmm. - Why? Why did you do that for?
Because under the circumstances...
I thought it was the best thing for him, but...
I'm beginning to think maybe it was the best thing for me.
I just, uh... I wasn't there for him.
Imagine that.
Hannah, don't you remember where you took James that day?
Was it his aunt's?
- Yes. - I told you. Sewickley Heights.
- What was the address? - Mm-hmm.
I don't know. He had me drop him on a corner.
Call the university. I'm sure they know his address.
Little late to call Ad missions.
Is it a little late to call the chancellor, hmm?
- I don't know. Maybe. - Hmm?
God, you really have just made an awful...
stinky little mess of everything, haven't you?
Is that it?
Do not even think about it.
- Don't go near it. - No, no, no.
Never without your permission, but that is a lot of book.
262 Baxter Drive.
They're in the book.
- I'll drive. - I'll drive.
"The Love Parade."
I got a feeling about this. I feel this kid in my bones.
Only in your bones.
I've had this feeling before.
Remember?
It's been a long time, but...
How bad is it for you, Crabs?
It's pretty bad.
They've had enough of me.
They look at me like I don't work there anymore.
I guess I just don't fit the new corporate profile.
- Which is? - Uh, gosh...
Competence.
- [Laughing] - @ Down on the high way@
@ Is a byway@
- @All alone@@ - [Grady] This is it.
[Engine Turns Off]
[Grady Narrating] I had no business...
trudging up to James Leer's parents' house...
in the middle of the night, not when all that really mattered...
was trying to make things right with Sara.
But we had decided to rescue James Leer.
I wasn't quite sure from what...
because I was pretty much convinced that everything...
that came out of James' mouth was basically horseshit.
- Yikes. - Must be two dozen windows.
How are we supposed to find his?
I told you. They keep him chained in the basement.
[Grady Narrating]But maybe that didn't really matter.
Sometimes people just need to be rescued.
@@ [Woman Singing, Indistinct]
@ Unrequited love's a bore@
- Rodgers and Hart? - Yeah.
- James Leer. - James Leer.
- @@ [Continues] - [Typing, Bell Dings]
Hey. What are you guys doing here?
Shh. We're springin' you, Jimmy. Put on some clothes.
Whoa. Well, I, uh... I love what you've done with the place.
When's Captain Nemo moving in?
I cannot believe that you made fun of my bathrobe.
The candelabras are my great grandmother's.
Please. Don't start with the family history, all right?
- I'll leave you right here. - I just want you to know...
I heard everything... the parents and grandparents...
and the whole Chinatown thing.
I believe you. That's why we're here. Now go get dressed.
I mean, do you mind if I wear this again, Prof. Tripp?
Wear whatever you want to.
- He's so modest. - He's so sensitive.
Tripp, why don't you cut the kid some slack?
These are all overdue library books, every one of them.
Then it looks like our Mr. Leer is facing some monster late fees.
I just can't believe all the shit he spins.
Just once I'd like to know if the little bastard's telling the truth.
Hey.
Check this out.
"Finally, the door opened. It was a shock to see him...
shuffling into the room like an aging prizefighter...
Limping, beaten."
Does that sound like anyone we know?
"But it was later when the great man...
squinted into the bitter glow of twilight..."
"Twilight." This kid definitely needs an editor.
"And muttered simply, 'It means nothing.
All of it. Nothing.' That the true shock came.
It was then that the boy understood...
that his hero's true injuries lay in a darker place.
His heart..."
His heart what?
"His heart, once capable of inspiring others so completely...
could no longer inspire so much as itself.
It beat now only out of habit.
It beat now only...
because it could."
[James] I'm ready.
- You all right, Prof. Tripp? - He's fine.
Can we go before Granny comes down and boils your bones for breakfast?
That could be a problem. She's been coming down here...
every half-hour or so to check up on me...
and if I'm not here, she might call the police or something.
Okay. Decoy. We'll put your pillows and a teddy bear under the spread.
- She won't know the difference. - Like in Against All Flags...
only they used a couple of gigantic hams.
No, no, no, no. I got a better idea.
Good night, sweet prince.
@ Shadows are fallin'@
@And I've been here all day@
[Clears Throat]
- @ It's too hot to sleep @ - [Terry] Let's go upstairs.
- Bad vibes down here. - @ Time is runnin' away@
Things must've picked up after we left, huh, Grady?
@ Feel like my soul has turned into steel@
[Can Rattling]
@ I've still got the scars that the sun didn't heal@
@ There's not even room enough @
@ To be anywhere@
[Laughing]
- @ It's not dark yet@ - Good night, bro.
@ But it's gettin' there@@
[Dialing Phone]
[Phone Ringing]
[Ringing Continues]
[Sara On Machine] You've reached the home of Sara and Walter Gaskell.
Neither Walter or I can take your...
- Hello. - Walter?
Grady? Oh, Christ, Grady, do you know what time it is?
Yeah. I got, uh, 8: 15.
I don't think that's right, though.
It's 3:30, Grady.
Well, this is important, Walter.
Oh?
[Sighs] I, um... I...
What is it, Grady?
I'm in love with your wife.
Excuse me?
Sara. I'm in love with her.
Are you drinking, Prof. Tripp, right now?
No.
Nevertheless, I'd like to see you in my office Monday morning.
[Hangs Up]
Oh, boy.
- Sara, what... - I tried to call, but...
it seems there's something wrong...
with your phone.
It appears one of our students is missing...
and his parents found a dead dog in his bed.
It's my fault. I'm sorry. I've been trying to tell you...
I'm not feeling very happy with you right now.
And more importantly, Walter isn't very happy.
He's gotten the police involved.
They seem to think James Leer is somehow responsible for all this.
You wouldn't happen to know where James Leer is, would you?
He's inside.
And Marilyn's jacket?
Oh, it's in my car.
- Somebody stole my car. - Oh, man!
Honestly! Somebody stole my car!
I parked it right there last night!
- Are you sure it was parked there? - Of course I'm sure! It was...
Oh, Christ. Here comes the puberty police now.
Okay, okay, I'll deal with this. You go dig up James.
Is he awake?
There's a police officer on the porch, and he's not going away.
- That same guy? - Same one.
No offense, Prof. Tripp, but you look sort of crappy.
He's right. I mean, you do look horrible.
It's the chancellor.
- We're fine. We're just fine. - [James]Fine, right.
- Fit as a fuckin' fiddle. - James...
come on.
Uh, James, this book of yours?
It's... not bad. It's not bad at all.
- Thank you. - You're welcome.
[Whispering] I'm wanna publish this.
I think with the proper editorial guidance...
this could be brilliant.
Aw, that's great. That's great.
Between Officer Pupcik and you, he can be the next Jean Genet.
Been a long time since somebody wrote a really good book in jail.
Don't you worry, James. We're gonna figure something out.
I'm not worried. You're not worried, are you, Prof. Tripp?
I'm a little worried, James.
Don't be. I don't care if they expel me.
I probably should be expelled.
Well, let's hope it doesn't come to that.
Prof. Tripp.
- Yes, James? - Even if I end up going to jail...
you're still the best teacher I ever had.
[Sara] I wonder if this is what the university has in mind...
when it promises a liberal education.
Walter wouldn't really press charges, would he?
We'll know soon enough.
In a couple of hours...
he's gonna sit down with the police and James' parents...
and he was a wee bit prickly this morning.
You didn't happen to call our house last night, did you?
I think I might have, yes.
What do you think you might have said?
I think I might have said I was in love with you.
He told you.
- He told me. - And what did you say?
I said it didn't sound like you.
[Engine Starting]
[Terry] Hey, Tripp! [Whistling]
So, what do we do now?
Find the jacket!
Exactly how do we do that?
I've got an idea where it is.
We could ask Hannah if we could borrow her car.
Sure. Keys are on the desk, next to your book.
I didn't finish it. Fell asleep.
Oh, it's that good, huh?
It's not that. It's just...
It's just... what?
Grady, you know how in class...
how you're always telling us that writers make choices?
Yeah.
And even though your book is really beautiful...
I mean, amazingly beautiful, it's...
It's, at times, it's, uh...
Very detailed. Uh...
You know, with the genealogies of everyone's horses...
and the dental records and so on and...
And I could be wrong, but it just, it sort of reads in places like...
You didn't really make any choices.
At all.
And I was just wondering if it might not be different if...
if when you wrote, you weren't always...
under the influence.
[Clears Throat]
Well...
Well, uh, thank you for the thought.
But shocking as it may sound...
I am not the first writer to sip a little weed.
Furthermore, it might surprise you to know...
that one book I wrote as you say "under the influence"...
just happened to win a little something called the PE N Award...
which, by the way, I accepted under the influence.
[Chuckles]
Hey, let me help you with that.
- Don't touch it. - Okay. I'll drive.
Let me get this straight. Jerry Nathan owes you money...
so as collateral, he gives you his car.
Only I'm beginning to think that the car...
- [Honking Horn] - Wasn't exactly Jerry's to give.
Ah, so whose car was it?
- My guess? Vernon Hard apple. - The hood jumper?
He said a few things that lead me to believe that the car was his.
- Such as? - "That's my car, motherfucker."
All right, so we find Vernon, we find the car.
- We find the car... - We find the jacket.
[Train Whistle Blowing]
Wow. Christ! How'd you know, Tripp?
Oh, I don't know.
- Let's just call it a hunch. - I call it genius.
Good to know I'm still talented at something.
Careful.
Keep that motor running.
I know you.
Double Dickel on the rocks.
Oola.
I never forget a drink.
I never forget an Oola.
Forget me?
- Vernon? - Go inside, cupcake. He's got a gun.
- Who's got a gun? - You've got a gun! Drop it!
- Uh-oh. - Vernon, relax.
- Why is he calling you Vernon? - Why is he sitting in my car?
He's crazy, that's why! He probably calls everybody Vernon.
- Now drop that gun! - Oh, dear.
It's a souvenir. They don't even have caps for this thing.
- It's a souvenir. - Bullshit!
I know a gun when I see one, and that's a gun!
- No! No, really... - [Gunshot]
- [Oola Screaming] - [Terry] Oh, God! Oh!
Gimme that gun! Are you crazy?
Can't you see the condition my girl's in? Get out! Get out!
- Hey! Stop! - [Honking Horn]
- [Honking Continues] - Cupcake, you okay?
- [Engine Starting] - Tripp, run!
[Vernon] Who in the hell is that?
- Oh, shit! - Vernon, don't... No! Don't shoot!
- Oh, no! Don't! - Don't shoot!
Come on, Tripp! Jump in! Run!
- He's a crazy man. - [Horn Honking]
[Honking Continues]
- [Horn Honking] - [Tires Screeching]
Oh, my God.
[Grady] I take it back.
Shoot him.
Naturally, you have copies.
I have an alternate version of the first chapter.
You'll be all right, then. Look at...
Look at Carlyle when he lost his luggage.
- That was Macaulay. - Oh.
Well, what about Hemingway when Hadley lost all those stories?
He was never able to reproduce them.
Look, Tripp, I don't wanna depreciate the loss here...
but maybe, you know, in a sense, it's for the best.
You suggesting it's some kind of sign?
- In a sense. - In my experience...
signs are usually a little more subtle.
Let me get this straight. All that paper that blew away back there...
that was the only copy?
I'm afraid so, yes.
And you, you're saying that it's some kind of a sign?
Man, what in the fuck the matter with you?
Don't.
All I'm saying is that sometimes, subconsciously...
a person will put themselves in a situation...
perhaps even create that situation...
in order to have an arena in which to work out an unresolved issue.
It's a covert way, if you will, of addressing a problem.
I'll tell you the problem.
You behind the wheel, there's your problem.
Did you or did you not have a gun to his head?
- Watch the road, please. - He was trying to steal my car.
Did you or did you not have a gun to his head?
- [Arguing] - All right! All right!
That's enough! That is enough!
What is done is done! I don't wanna hear about it anymore, okay?
So what was it about, your book?
What was the story?
I don't know.
What he means is...
it's difficult to distill the essence of a book sometimes...
because it lives in the mind.
[Vernon]But you got to know what it was about, right?
If you didn't know what it was about, why were you writing it?
I couldn't stop.
[Bell Chiming]
[Tires Screeching]
Vernon, can I ask you a question?
Boy or girl?
[Giggles]
As long as it looks like her...
- I really don't care. - You...
You know what I'm saying?
Yeah.
- Thanks for the ride, Vernon. - Anytime.
- And another thing. - Yeah?
- Stop calling me Vernon. - Okay.
- [Whispering] Jacket, Tripp. - What?
We need the jacket.
Oh, right.
Oola, about that jacket...
Yeah.
It used to belong to Marilyn Monroe.
- Really? - Mm-hmm.
She had small shoulders...
just like you.
A lot of people don't know that.
Thank you.
Man, that book of yours must have been one nutty ride.
Come on, baby. Let's go.
Would you mind explaining to me what you just did?
Came to my senses.
Oh. Congratulations. Meanwhile, what's James supposed to do?
Pray that Walter Gaskell comes to his?
Walter Gaskell doesn't wanna send James Leer to jail.
He's up in his office right now.
He's talking to his parents, local police...
trying to find a solution.
Tripp, the least they're gonna do is expel him.
[Sighs] It doesn't matter.
That's very enlightening, Professor.
It's comforting to know that America's children...
have you for a teacher.
Nobody teaches a writer anything.
You tell'em what you know.
You tell'em to find their voice and stay with it.
You tell the ones that have it to keep at it.
You tell the ones that don't have it to keep at it too...
because that's the only way they're gonna get to where they're going.
Of course, it does help if you know where you wanna go.
Helping my students figure that out...
that and Sara...
that's what's made these last years worthwhile.
As for James, well, he doesn't really need me anymore.
He's got you.
Me? What can I do?
Oh, I don't know, Crabs.
Improvise.
You're pretty good at that.
Tripp.
I'm sorry.
Improvise.
[Grady Narrating]As for me, I was through improvising.
I knew what I had to do. I had to find Sara.
I had to convince her that she was my choice...
that, in fact, she had been from the very beginning.
[Applause]
And now, as those of you who've been with us in previous years know...
we have a tradition of sorts here at WordFest.
I'm speaking, of course, of the Plums...
those fortunate local writers...
who have successfully placed their manuscripts...
with visiting publishers' representatives.
This weekend, Susan Lowery of North Braddock...
found a publisher for her children's book...
The Loneliest Prawn.
- Stand up, Susan. - [Applause]
Now, this next one is, I think, very exciting to announce...
because it concerns a student here at the university.
Our own James Leer...
sophomore in English Literature...
has found a publisher for his first novel...
which I believe is called... "The Lovely Parade."
[Applause]
- Love Parade. - Love Parade.
- James? - Stand up. Go on.
He's a real alien probe, if you know what I mean.
Take a bow, James!
[Cheering, Whistling]
Wonder boy.
And finally, and perhaps not least importantly...
Terry Crabtree of Bartizan has also decided to publish my own book...
a critical exploration of the union of Joe DiMaggio...
and Marilyn Monroe...
and its function in American mythopoetics...
which, tentatively, I have entitled...
The Last American Marriage.
So, until next year, thank you, everyone.
Grady, I took another look...
at The Arsonist's Daughter the other night.
That description of the bald cypress left me breathless.
Thanks, Q. I appreciate that.
[Door Closes]
Sara!
[Door Opens]
[Footsteps Approaching]
@@ [Humming]
Yo, Traxler.
[Whistles]
Hey, Prof. Tripp.
- You get high, Sam? - Only when I'm workin'.
Holy shit.
Are you serious?
Careful there, Prof. Tripp.
Whoa.
[Grady Narrating] I didn't fall.
Not then, not ever again.
Once the Monongahela River swallowed my never-ending opus...
there were no more spells.
James Leer didn't get expelled or go to jail...
thanks to Crabtree's wheeling and dealing.
But he quit anyway, went to New York...
to rework his novel for publication.
Hannah Green has decided to take a position as a junior editor...
when she graduates.
And Crabtree, well, Crabtree's gone right on being Crabtree.
As for me, I lost everything:
My wife, my book, my job...
everything that I thought was important.
But I finally knew where I wanted to go.
[Car Approaching]
@@ [Woman Vocalizing]
And now I had someone to help me get there.
@A worried man with a worried mind@
@ No one in front of me and nothin' behind@
@ There's a woman on my left and she's@
@ Drinkin' champagne@
@ Got white skin Got assassin's eyes@
@ I'm lookin' up into the sapphire-tinted skies@
@ I'm well-dressed@
@ Waitin' on the last train @
@ Standin' on the gallows with my head in a noose@
@Any minute now I'm expecting all hell@
@ To break loose@
@ People are crazy and times are strange@
@ I'm locked in tight I'm out of range@
@ I used to care, but@
@ Things have changed@
@ This place ain't doing me any good@
@ I'm in the wrong town I should be in Hollywood@
@Just for a second there, I thought I saw something move@
@ Gonna take dancing lessons@
@ Do the jitterbug rag@
@Ain't no shortcuts Gonna dress in drag@
@ Only a fool in here would think he's got anything to prove@
@ Lot of water under the bridge@
@ Lot of other stuff too@
@ Don't get up, gentlemen I'm only@
@ Passin' through @
@ People are crazy and times are strange@
@ I'm locked in tight I'm out of range@
@ I used to care, but@
@ Things have changed@
@ I've been walkin' 40 miles of bad road@
@ If the Bible is right the world will explode@
@ I've been trying to get as far away from myself@
@As I can @
@ Some things are too hot to touch @
@ The human mind can only stand so much @
@ You can't win @
@ With a losing hand@
@ Feel like falling in love@
@ With the first woman I meet@
@ Putting her in a wheel barrow@
@And wheeling her down the street@
@ People are crazy and times are strange@
@ I'm locked in tight I'm out of range@
@ I used to care, but@
@ Things have changed@
@ I hurt easy@
@ I just don't show it@
@ You can hurt someone and not even know it@
@ The next 60 seconds could be like an eternity@
@ Gonna get lowdown @
@ Gonna fly high @
@All the truth in the world adds up to one big lie@
@ I'm in love with a woman who don't even appeal to me@
@ Mr. Jinx and Miss Lucy they jumped in the lake@
@ I'm not that eager to make a mistake@
@ People are crazy and times are strange@
@ I'm locked in tight I'm out of range@
@ I used to care, but@
@ Things have changed@@