Original subtitles

AINE: [laughs] Look at their T‐shirts.

"Slag party."

I wish you'd let me organize you a slag party, Shona.

‐ Every day is a slag party to you.

‐ [laughs] Hey, ooh, good joke.

Oh, come here. Did you get something for Vish's dad for us?

‐ Did you see me get anything? AINE: No.

‐ Well, then. ‐ Right. Fine, we'll get him something in the shop.

‐ Course I got him something.

And I got a card, and I signed it from everyone.

God, I'm all nervy.

‐ Why? You said you didn't care if Mam met them or not.

‐ Not about Mammy meeting Vish's family,

about you and Ma.

You haven't talked to her in months.

You haven't‐‐ ‐ Oh, Shona, don't.

‐ No. Come on, she's old.

You have to forgive her, and move on.

‐ She's only old when she wants to be.

‐ What if she died and you hadn't forgiven her?

‐ Mammy won't die. She's too stubborn.

‐ I can't believe I even said that about Mammy dying. Jesus Christ.

‐ The problem is, we're just too different,

and we'll probably never get along.

‐ You'll never get along? You always got along.

‐ Look, Shona, they've gone. Free slag mags.

SHONA: [stammers, sighs] Grab me one.

No, I'll tell you what the problem is, the problem is

that I'm stuck in the middle of this bullshit,

and it's not fair.

‐ Hey, Sho. Sho, look at this.

[English accent] We will fight them on the beaches.

[mumbles] We will fight 'em on the grass

and then we'll come back to the‐‐

to the beaches for more beach fighting...

[laughs]

‐ My babies. ‐ What happened to your leg?

‐ Oh, my God, what happened to you?

‐ Don't point it out, or people will notice.

It's grand. AINE: Why do you have a cane?

You look mad. ‐ No, it's not a cane.

I only have it in case my sports injury starts playing up.

‐ Thank God.

EILEEN: [chuckles] God, your hair's got so long.

You look like your father in the '70s.

‐ Right, so I look like a dead man? Thanks.

‐ Hey, who's this?

[laughs]

It's Uncle Terry. ‐ [laughs]

‐ Mammy, stop now. There's no time for silliness.

It's a big day for Shona.

‐ Oh, Mam. ‐ We'll be late for our train.

Oh, come on. ‐ Right.

[upbeat music]

AINE: What's in this, Mammy? Jesus.

EILEEN: Just a few bricks,

a little bit of gold bullion, and me knickers.

SHONA: Do you know what, it's a bit of a way off still.

Shall we get a taxi? AINE: Yes, please.

‐ Shona, don't be gentle with me, like I'm an auld one.

It's just my hamstring. I'm fine.

‐ We can put you in a wheelchair, Mammy,

and just roll you down the hill.

Do you know who you're like? [laughs]

You're like Willy Wonka at the start of‐‐ ‐ I'm Willy Wonka.

‐ No, Mammy, let me finish my sentence.

And the Chocolate Factory. ‐ I wasn't interrupting.

That's how conversations work. ‐ It's rude.

‐ And anyway, the film is called Willy Wonka,

but the book is called Charlie and the Chocolate Factory.

‐ You used to read me that. You remember? ‐ What?

No, it's not called that. It's the opposite way around.

‐ Now! ‐ What?

‐ How come you're allowed to interrupt Shona

but I'm not allowed to interrupt you?

‐ Oh, because, Mammy, that's different

than interrupting a joke, obviously.

You let someone get to the end of their‐‐ ‐ Oh. Oh, I beg your pardon.

That was a joke, was it? ‐ Yes, it was.

And it would have made Shona laugh if you'd given me a chance.

SHONA: Come on, the pair of youse.

‐ Oh, God.

Oh, wait.

Richard, the French boy's dad'll love this.

‐ What are you doing?

‐ Oh, I'm just taking a picture of these coffee pods.

It'll be funny. [camera clicks]

He says that people are recycling them,

but no one ever does.

‐ Who's Richard?

You never told me there was a man on the go. ‐ Oh, Mammy.

‐ Well, Mammy, Richard is Aine's elderly lover.

‐ Oh, stop. Shona‐‐ ‐ Elderly lover?

‐ He's the same age as Shona.

‐ Hey, do you think he might want a go on the mother too? ‐ Ugh!

‐ I mean‐‐well, when I put my cane down,

I could give it a good go.

‐ Blech! That's disgusting.

‐ Hey, girls.

‐ What are you doing? ‐ Hold on, Mammy.

‐ Get off. Get off. It was a joke.

I was being Willy Wonka.

SHONA: Well, you know, it's a joke

if you actually know how to do the forward flip.

EILEEN: Yeah, well, you've no sense of humor.

SHONA: [sighs] It's dangerous.

‐ I would have laughed so hard if it backfired

and you fell right on your face.

EILEEN: Yeah.

‐ And anyways, Mammy, that's not how you do a fall.

It's all in the feet. This is how you do a fall.

Like... [groans]

Like that. EILEEN: That was really fake.

‐ Wasn't. ‐ I knew you were going to do that.

‐ Yeah, you knew I was gonna do it,

because I told you in advance I was gonna do it. ‐ Oh, yeah.

‐ That's how you knew. ‐ Answer for everything.

All right, show me a backflip now.

AINE: Well, I watched a YouTube clip on it, so don't be sarcastic.

EILEEN: Do you do any trapeze work?

AINE: Oh, for God's sake. SHONA: Let's get a taxi.

Seriously, let's just‐‐ let's just get a taxi.

AINE: No, honestly...

SHONA: And don't talk about curry,

or Bollywood.

EILEEN: I could have worked in Bollywood.

I went for a casting for a music video

they made in Dublin once.

‐ Oh. ‐ Who are "they"?

All the Bollywoods?

Paul Bollywood and his friends?

‐ And there was an Indian gentleman

we interviewed one time for Nationwide Country.

SHONA: Mam. EILEEN: Lovely man. Lived in Meath.

‐ Er, don't mention that.

I‐I don't know why, just‐‐ just don't.

[sighs]

And don't talk about marriage, or‐‐

‐ Yeah, Mam. ‐ I was talking to you.

‐ What? ‐ Ha!

[door opens]

‐ Hello! ‐ Hello!

‐ Go in, go in.

[overlapping chatter]

EILEEN: Hello!

‐ Hello!

AINE: Happy birthday, Hari. ‐ Hello. How are you?

‐ That's for you from all of us. ‐ Thank you.

Today's not about me. I don't want to make a fuss.

KAVITA: Yes, come this way. Come this way.

HARI: Oh, there she is.

KAVITA: Would you like a drink?

‐ I just wanted to meet the big star.

‐ Oh, no. [chuckles]

No, just treat me like a normal person.

KAVITA: Anil, go get the canapés.

‐ Yes, I'm going. I'm going.

EILEEN: Thank you. Lovely house you've got.

ANIL: Hi, Eileen.

I am the slave boy today, and I don't get to eat,

never mind that I'm on a zero hours contract.

Thank you, Mother. But, er, would you like one of these canapés?

‐ Just tell me, what's in this one?

SHONA: Mam!

They're grand. You'll like them.

‐ I was only asking.

SEEMA: Nothing is too spicy, Eileen.

We learned our lesson from the last time Aine was here.

‐ Oh, no. Now, can I just say, it wasn't too spicy for me.

Something just got stuck in my neck.

‐ Spice. EILEEN: She is very sensitive.

‐ No, darling, don't drop the plate.

BUB: Can I have something to eat?

AINE: I mean, I can handle the spice.

‐ This is demeaning on literally so many levels.

‐ Anil, if you got a proper job,

then you could have a spot at the big boys' table.

‐ I have a proper job at BuzzFeed.

‐ Oh. Bubs, you know what,

if you go to school and study hard,

you could have a job at BuzzFeed.

‐ Or, Bubs, you can do what Uncle Vish did

and move to New York for two minutes

and come back and sound like a shit radio DJ.

‐ Whoa, whoa, whoa, whoa, radio DJ?

Wait, it was 12 years.

It wasn't two minutes.

SEEMA: Happy birthday to you, Dad.

To Hari.

‐ Happy birthday. ALL: To Hari!

‐ Please, don't make a fuss, eh?

SEEMA: Ah, you'll make him cry.

‐ All right, everyone, listen up.

‐ Shh.

‐ I just want to say how wonderful it is

to have you here with us today.

And to celebrate,

we have prepared a special dish for Aine.

‐ Oh, what?

Oh, that's so nice. SHONA: That's so sweet.

KAVITA: Ta‐da!

[laughter]

SHONA: Burn, burn, burn. AINE: Very funny.

Oh, my God, thank you so much.

Is this all the way from Kerala?

[camera clicking]

No, it's too spicy. I can't.

‐ Would you like some yogurt with that, then?

‐ Yeah, can I get some yogurt, please?

Thank you.

‐ What are you up to right now, Sho?

‐ Oh, I haven't told you about Sho's new thing?

Oh, you're gonna love this, as a woman.

‐ As a woman who also has a job.

SHONA: Yes! Listen up, working woman.

‐ Yeah, I know, right? VISH: No, it is very good.

Sho is doing this, er, networking thing

for women in finance.

‐ Oh, wow. That's amazing. ‐ Are you?

‐ Yes, it is very exciting.

No, it's a big old project, actually.

I'm‐‐I'm setting it up with this amazing woman

who's‐‐yeah, she's kind of doing most of the work.

[camera clicking] ‐ She's more amazing than her.

‐ Oh, well done. That's amazing.

‐ Is it a big job, Shona? ‐ Mm, yeah.

I mean, it's small right now, but hopefully,

over the next couple of years, yeah, yeah.

‐ That'll be hard, then, with the children, then, won't it?

SEEMA: Mum. KAVITA: Oh, what?

Time must be a pressure at this stage.

‐ Oh, yes, none of us getting any younger, Kavita.

‐ Well, Shona doesn't have time for kids 'cause she's got me.

VISH: Ain't that the truth.

EILEEN: Yeah, well, you definitely have become

a full‐time job this last year.

SEEMA: What was last year?

‐ Er, she broke her leg.

SEEMA: Oh, no. How'd you do that? ‐ Yeah.

EILEEN: No, no, it's all fixed now. She's fine.

SEEMA: That's bad luck that you both have bad legs.

‐ Yeah, well, that's where the similarity ends, eh, Mam?

‐ Actually, I once auditioned for the film My Left Foot.

‐ Wow, no way! Really? [camera clicking]

‐ What did you audition for, the right foot?

‐ No.

For a neighbor who comes in.

‐ Ah. Oh, the neighbor.

I think I saw that bit. ‐ Wow.

That's really cool, actually.

‐ Wait, she didn't get the part, lads. Chill out.

‐ I actually don't want kids.

[laughs]

‐ Ah, well, you always think you don't want kids,

and then you change your mind.

I mean... ‐ Yes.

‐ I still sometimes think I don't want Aine.

[soft laughter]

‐ Yeah, but I genuinely‐‐

I genuinely don't.

You know, it's not a big deal. Just never have.

‐ Do you know what, lads?

I'm going to throw caution to the wind

and eat with my hand.

‐ Go for it. ‐ Well, all right.

‐ Yeah. So, fork‐off forks.

Now, um...

‐ What about you and children, Vish?

‐ Oh, um...

I want what Shona wants. ‐ Oh, okay.

‐ What are you going to do when you're our age, then, huh?

Who's going to look after you in the care home?

‐ Thought you wanted kids, Vish?

‐ No.

I, er‐‐I have Bubs right here, and she is all I need.

And then give her back to you when I'm done, so...

‐ Oh, you never know real love until you have children.

KAVITA: True. ‐ Mam.

‐ Even if Anil murdered someone,

I'd still love him unconditionally. You know, I mean...

‐ And get a spade to help dig a grave and cover it up.

KAVITA: Yeah. ‐ Why am I a murderer?

‐ Er, Vish would never be stupid enough to murder someone.

‐ Yeah, I would hire a guy. BUB: [laughing]

‐ Let me take her back. VISH: No, she's fine. I got her.

‐ I don't think you need to be a mother, though...

you know, to‐‐to know unconditional love.

‐ Right. ‐ Don't think that's‐‐ that's a thing.

Also, I have enough money to hire someone

to come visit me if I ever end up in a care home, so...

[soft laughter]

‐ True, that.

HARI: Can I get the mango chutney, please?

‐ Do you know what? I'm just gonna make that call now.

VISH: Yeah, yeah. ‐ Yeah. I'm just‐‐

I'll be back in a second. I'm just gonna quickly...

[clears throat]

[line trilling]

[phone chimes] CHARLOTTE: This is new.

‐ Huh? Oh, shit.

I didn't mean to FaceTime you.

Shall I call you back normally, or‐‐

‐ It's okay. It's nice.

It's nice to see your face. Are you okay?

‐ Yeah, I‐‐I just literally saw a picture

of Vish and his ex‐wife in a‐‐

in a frame in his parents' kitchen.

‐ Oh, God. Why do they still have that?

‐ No idea. ‐ Can I see it?

Oh. She's an angry little elf.

‐ Yeah.

Er, it's thrown me a bit.

[chuckles] Sorry. Long day.

Um, listen, I don't‐‐

I don't know if this is a good time, but I was thinking‐‐

‐ Sorry, Shona. ‐ It's okay.

CHARLOTTE: I'll‐‐I'll let you go.

We can‐‐we can talk later.

‐ Yeah, okay.

Um...all right, I'll call you back.

‐ See you later.

‐ Um, Shona, you‐‐ you know we don't care

if you have children?

‐ Oh, no, no, it's‐‐ it's not that.

It's, um‐‐it...

‐ Oh, that's embarrassing.

‐ [chuckles] No, it's fine. I get it.

I mean, it was his first marriage. It's‐‐it's‐‐

‐ Shona, honestly, we just like the frame.

That is why we still have it.

‐ Really? ‐ Yeah, genuinely.

And that woman was a complete idiot, you know.

She thought France was the capital of France.

‐ [chuckles] Did she?

‐ I've taken some really nice pictures of you today,

and I'm going to put you in it instead.

‐ Oh, no, you don't need to put me in a frame.

I mean, it is a really nice frame.

‐ No. I want you to help me choose,

um, because I always get this wrong.

‐ Okay.

‐ The women always get so annoyed

when I put their pictures up on Instagram

without editing.

All they want is a Valencia filter

and no smiling.

‐ [laughs]

Women are the worst.

Sorry, no...

they're awful.

‐ Oh, so the sun is actually boiling up the worm?

That's disgusting.

Poor little wormy needs to get inside.

‐ He's got no way because...

‐ Any reply from the old boy?

‐ I'm not waiting for a reply from an old boy, Mammy.

What was that about the worm?

‐ The‐‐the worm can't get back down...

[indistinct chatter]

‐ Isn't that nice?

‐ He's a real softie, isn't he?

‐ Our Shona always loved being round her dad.

‐ Mm.

VISH: What's he doing? Is he flirting with you?

‐ Mm. Yeah.

I said he could 'cause it's his birthday.

VISH: It is. [laughs]

We have this agreement...

‐ On any man's birthday... VISH: Right.

[laughter]

VISH: Would you like some tea? ‐ I would love it.

I thought you'd never ask.

‐ I'm sorry.

I just want both of you to be happy, you know.

SHONA: Ah, don't be silly. Don't worry.

‐ And honestly, we really do just love that frame.

Er, Hari told me.

‐ Well, I mean, it's a‐‐ it's a beautiful frame.

‐ [laughs]

SEEMA: ♪ Happy birthday to you ♪

‐ Oh, no.

ALL: ♪ Happy birthday to you ♪

‐ Oh, don't make a fuss.

ALL: ♪ Happy birthday, dear Hari ♪

‐ Oh, he's cry‐‐oh, Dad‐‐ whoa, no crying.

Oh!

Come here.

Oh, now, why are you crying?

It's your birthday.

[overlapping voices]

‐ It's only cake, darling.

‐ Happy birthday, Granddad.

‐ Oh, Sho, could‐‐could you‐‐ could you take a picture?

‐ Yes.

With Hari's phone?

‐ All right, come on. Stand up, Dad.

SHONA: Okay.

Smize!

‐ Smize!

SHONA: That's it. Aww.

EILEEN: Now, could somebody blow the candles out

before the house burns down?

‐ Birthday boy. ‐ Ready? One, two, three.

VISH: Go, go!

All right, keep blowing, keep blowing, keep blowing.

Two more!

‐ Two more! ‐ Go, go, go, go.

[all cheering]

‐ Right, a song.

Now, my two daughters...

‐ Oh, Mammy, we're not singing. Stop.

‐ Yes. ‐ No, I don't think so.

‐ They have the voices of angels.

No, you are going to sing. SHONA: No. No.

‐ Listen, you can sing for your supper for once.

‐ No, no, no.

‐ I can sing!

[all cheering]

BUB: ♪ Up above the world so high ♪

♪ Like a diamond in the sky ♪

♪ Twinkle, twinkle, little star ♪

♪ How I wonder what you are ♪

[all cheering]

‐ Amazing.

‐ Hey, go on. Sing the song.

‐ Oh, no, Mammy, we're not singing. ‐ No. No.

‐ The one about the ghosts.

‐ Oh, it's not about ghosts, Mammy.

‐ It's not‐‐it's not about ghosts.

EILEEN: Sing it! BOTH: No.

♪ But you see it's not me ♪

♪ It's not my family ♪

♪ In your head, in your head ♪

♪ They are fighting ♪

♪ With their tanks and their bombs ♪

♪ And their bombs and their guns ♪

♪ In your head, in your head ♪

♪ They are crying ♪

♪ In your head, in your head ♪

♪ Zombie, zombie, zombie ♪

[vocalizing]

[discordant vocalizing]

‐ [speaking foreign language]

[tentative piano melody]

♪ ♪

‐ I feel like an absolute prick.

I'm not, um...

‐ No, you're doing good. ‐ No, it's really good.

‐ It's haunting. It's very haunting.

ANIL: Is it?

[resumes playing]

♪ ♪

[all cheering]

VISH: That was very good, Synthesizer Patel.

‐ I don't have a, um, piano at home, so when I get to‐‐

SHONA: Well, you'd never know.

AINE: You'd never know, no.

It's always a skill to have, isn't it, piano?

[soft laughter]

‐ So, will the movie star be singing?

‐ Oh, no, no.

I shun the limelight. I do.

‐ Aine and Mam do a song. ‐ No, we don't.

We do not any more. ‐ They‐‐yes, well, you do.

‐ We don't, Shona. ‐ What?

‐ You used to love performing with me.

‐ No, I didn't. I hated it.

‐ She loved it. ‐ I didn't.

‐ Actually, she used to come on set with me,

and she would walk up and down, modeling children's hats...

[chuckles] Well, because, you see,

I used to wear a different hat every day

when I was doing the weather.

‐ Oh. ‐ We were a very popular item.

‐ We heard. So amazing.

‐ [clears throat]

[music playing over phone]

AINE: Shona. SHONA: What? It slipped.

My finger slipped. ‐ Fucking kill you, seriously.

‐ Don't‐‐don't kick me, 'cause that actually hurt.

‐ Honestly.

‐ You know...

AINE: Ow! SHONA: Don't do that.

‐ Every now and then...

SHONA: Just do it.

EILEEN: I think you might like

to hear something from us

nice and easy.

SHONA: Do the duet. ‐ Don't pull me. My hair!

EILEEN: But there's just one thing...

We never, ever do nothing nice and easy.

SHONA: Just go over and do the song. Get up. Do it.

EILEEN: Only do it nice and rough.

So... ‐ [groans]

‐ We're gonna take the beginning of this song easy...

‐ Do it!

EILEEN: And then we're gonna finish it rough.

This is the way we do "Proud Mary."

Rolling... ‐ ♪ 'Cause we're rolling ♪

‐ Yes! Here we go.

‐ ♪ Rolling ♪ ‐ Listen to the song.

‐ ♪ Rolling on the river ♪

♪ Left a good job in the city ♪

♪ 'Cause I was working for the man every night and day ♪ ‐ Night and day!

‐ ♪ And I didn't miss a minute of sleeping ♪

♪ 'Cause I was worrying about the way things might have been ♪

♪ You know, the big wheels keep on turning ♪

♪ Proud Mary keeps on burning ♪

♪ 'Cause we're rolling ♪

♪ Rolling, rolling on the river ♪

ALL: ♪ Rolling ♪

♪ Rolling ♪

♪ Rolling on the river ♪

SHONA: Whoo!

SEEMA: Really good to see you, darling.

‐ You'll never get rid of us. ‐ Oh, thank you so much for coming.

‐ Thank you. Food was delicious.

SHONA: Um... ‐ Where's your coat?

‐ Er, I'm gonna stay here for a bit,

so you two head back together, yeah?

BOTH: What? ‐ Yeah, I'll bring your bag.

Aine has my keys. She'll let you in.

‐ [stammers] But how will we find the train station?

‐ We'll be grand, if you draw us a map.

‐ No, you'll be grand because you have phones,

and you're not five years old.

‐ Right. SHONA: Right.

‐ Bye. See you back at your place later.

‐ Bye. ‐ Love you.

‐ Love you too. ‐ I really do.

‐ [whispering] Are you pissed off with me?

‐ [whispering] No, I'm not pissed off with you. What?

EILEEN: No tears, hmm?

‐ Bye!

[overlapping voices]

EILEEN: I know it was hard. ANIL: Safe trip.

EILEEN: All right, bye. Bye.

Your singing was really good. I‐‐

‐ Shouldn't have said to Shona about having kids, by the way.

‐ You shouldn't have been so narky

just 'cause some auld fella never texted you back.

‐ Don't, Mam, he's not an auld fella. I work for him.

So just try and hurry up. We're gonna miss this train.

‐ Oh! ‐ Oh, God. Excuse me, that's my mother!

‐ Sorry. ‐ She's disabled. Jesus.

‐ Sorry. ‐ Christ.

‐ Thanks. ‐ No, Mammy, stop.

You all right?

[sighs]

‐ And you did love coming to set with me.

You know, all those things I did,

like wearing those stupid hats,

I mean, that's what paid for your drama classes

and Shona's riding lessons

and all those "Adidaz shoezy."

‐ Adidas.

‐ Adidas shoes.

[sighs] Yeah.

Well, I was just trying to do my best.

‐ Yeah, well, your best didn't work, did it?

'Cause look at me.

‐ And why are you so angry all the time?

I mean, what have I done? I didn't do anything.

‐ Oh, what have you done? Exactly, Mammy!

Exactly! You didn't do anything.

‐ What are you on about now? ‐ You didn't do anything.

You didn't come and get me.

‐ Come and get you? ‐ Yes!

‐ What?

‐ I wanted you to come and get me, Mammy.

I wanted you to come down to that place

and take me out of there, and take me home

and make me better.

‐ Aine, those people in there,

they knew what they were doing.

What help would I have been?

‐ You're my Mammy, that's why!

I just wanted you to try.

Instead of all this‐‐ all this pretence.

Like I'm fine. Like everything's fine.

Like it's grand, like...

"And she broke her leg." I hate it.

‐ Well, that's what you told me to say.

‐ Only to family if they asked me where I was.

I was so low, Mammy.

You've no idea what it was like.

‐ Oh, I have an idea, believe you me.

‐ Oh, really? ‐ I know.

‐ Oh, yeah, what, was bingo difficult one night? Christ.

‐ I bloody know!

I left Shona.

When she was born, I left her.

For three months, I left her,

because I didn't want her.

‐ Mam.

EILEEN: [sniffles]

I just‐‐I just couldn't.

‐ I'm sorry, Mama.

‐ But you are brilliant.

‐ Oh... ‐ You are.

And why wouldn't you be brilliant?

You're my daughter.

And I just want you to find someone

who will make you see that.

AINE: Mammy, a man isn't gonna fix me.

EILEEN: I know.

Bit of sex would be nice. ‐ Oh, God, yuck. Don't.

‐ Oh, and if you tell Shona I left her, I'll kill you.

And...

well, could you just ring me sometimes?

‐ Mammy, you have to work out how to use FaceTime properly.

The top of your head‐‐ ‐ It's very lonely, Aine.

You know, most of my friends, half of them are dead.

‐ Did you kill them?

‐ Only Louise Gallagher,

because she was so fucking annoying.

‐ [laughs]

[phone buzzes]

[gasps]

Oh, my God, Mammy, he texted back.

‐ Go on. What did he say?

[mumbles]

"Ha ha."

God, that's a bit of an anticlimax.

Jesus.

You have to be careful with men.

They don't always get jokes.

‐ No.

Also annoyingly, Shona didn't get us return tickets.

‐ What? ‐ Yeah.

Don't worry, I'll get them.

EILEEN: No, I'm getting the tickets.

AINE: No, Mammy, I'm getting them.

You're disabled, so they will be half price.

EILEEN: I am not disabled. AINE: You are.

EILEEN: I am getting both tickets,

and they will both be full fare.

SINGER: ♪ Listen to your mama, she won't lead you astray ♪

SINGERS: ♪ Listen to your mama ♪

SINGER: ♪ I'm sure mama knows what life's all about ♪

♪ A little bit more than you do ♪

♪ I'm in trouble, so listen to your mama ♪

♪ Or you'll be in trouble too ♪

♪ I was born in a city on a little row house street, yeah ♪

♪ Around the corner from the store ♪

♪ Where the crowd used to meet ♪

♪ Mama told me I better stay away from that crowd ♪