All language subtitles for The.Last.Tycoon.S01E07.WEBRip.x264-RARBG

(projector clicking)

* *

* *

* *

Fore!

(Mayer chuckles)

Pat.

Good to see you taking
some time off to relax.

You obviously haven't
seen my golf.

(laughs)
Ah, I've been watching

the box office numbers
on Angels.

Looks like your boy genius
has done it again.

It's a Brady-American Picture,
Louis,

and it has allowed me this.

Your loan.

$2 million, paid in full,
plus interest.

What's this about?

Let's just say I don't like
being in debt.

To me.

I know what Angels made, Pat,

and I know what your
operating costs are.

A check this big leaves you
with nothing in the bank.

And yet, somehow I walk away,

feeling richer
than I was before.

* *

(Kathleen sighs)

I thought we talked about you

watching me sleep.

I'm just thinking too much.

Well, don't do that.

I've kept something from you,

and I don't want it between us.

Minna, um...

she wasn't what the public saw.

Nobody is.

She could be very up,

and then she would
spiral into a place

where she just...
couldn't be reached.

There was drinking, pills.

The day my doctor told me
about my condition,

I came home to tell her...

I was scared and lost.

But she couldn't...

She relied on me for so much,
she just...

came apart, started screaming,

saying I was going
to abandon her,

that I was going to die
and leave her alone.

So I put her in bed, and, uh...

and I gave her
some sleeping pills...

...and, uh, I went out and I...

hit every bar in town.

And when I got home...

...the house was on fire.

She, uh... she'd fallen asleep

with a lit cigarette.

Oh...

I left her.

I left her, and...

(softly):
No.

-It was an accident.
-No.

(sighs)

We've all done things we regret.

It doesn't make us bad people.

-Maybe it does.
-No, sweetheart, it doesn't.

(moaning)

Monroe.

What are you doing here?

I was hoping to catch you alone.

I thought we weren't
doing that anymore.

(Rose laughs)

What can I do for you,
Mr. Stahr?

I didn't want you to hear it
from someone else.

We've known each other
for a long time.

Out with it, Monroe.

I proposed to Kathleen.

We're getting married.

I see.

It's not something
I ever thought

would happen for me.

I'm happy for you.

I think I need
to be happy for you.

Not quite the same.

It's close enough.

For the moment.

I don't want us to be...

You know, I used
to spend summers

with my cousin Margaret.

Her family loved to travel.

They'd always bring us
somewhere different.

That was the gift.

Every summer a clean slate.

It didn't matter what happened
the summer before--

who you'd kissed,
who you'd cried over,

what you'd been punished for.

You just got to
start over, fresh.

That's what I want
for the both of us.

Pat doesn't really
know you, does he?

(Rose chuckles)

Maybe not.

But he chose me.

I think that counts
for something.

I would have run away with you.

In another life.

I would have run away
with you, too.

(Rose sighs)

Maybe next summer.

(engine starts)

NATHAN:
Celia.

Celia. Celia!

Go back to sleep.

-(rooster crowing)
-But it's morning.

That's not possible.

It's light outside.
We need breakfast.

Nathan, why do you
have to be so loud?

And lunch. For school.

What time is school?

DARLA:
Never.

Darla...

I told your brother
I would look out for you.

You have to go to school.

Fine.

Okay, breakfast and lunch.

Maybe we'll go out
for breakfast.

VERA:
This is Valentina.

This is Chanel.

This is Schiaparelli,

-like Wallis Simpson wore.
-Hmm.

This one we love.
Very Carole Lombard.

-Well, she might need them all.
-Oh.

Yeah, full wardrobe.
There'll be press events,

interviews, premieres.

So, day dresses, evening gowns.

This is Adrian.

Mona Bismarck just wore it.

I loathe Mona Bismarck.

Who doesn't?

Any of them appeal to you?

I can pick anything?

Anything.

Who do you want to be?

(chuckles)

-(whistle blowing)
-WOMAN: Five, six, seven, eight.

(lively piano music playing)

SALLY:
* So this is the city *

* I guess I've arrived *

* It's scary and pretty *

* And, oh, so alive *

* *

* The buildings are climbing *

* 100 miles high *

(over recording):
* Back home there's just *

* Clouds, some birds *

-* Some sky *
-Sally?

* I'm new in town *

* Time for me
to put my suitcase down *

Cut on rehearsal!

-* I'll be all right *
-(bell rings)

-* Once I see my name
in lights. * -Sally?

(music stops)

Honey, what, what's the matter?

-Why is it scary?
-Huh?

The city.
Why is it scary?

Everyone's dancing,
and I hated Iowa.

Uh...

What if, before you left home,

your ma warns Aunt Sue
to be careful of pickpockets?

And you say,
"That's a funny word."

And your ma says,
"It's not a funny thing."

And what if, in this scene,
you see a pickpocket

steal another man's wallet
and run off?

Uh, we could add
something like that,

couldn't we, John?

Yeah, sure.

Would that help?

You see, John?

That's called writing.

-Rehearsal's up!
-(bell rings)

And, by the way,

there aren't any buildings

a hundred miles high.

That's way too tall.

MAN: All right, everyone,
back to the top.

(mumbles)

MAN:
Places, people. Places!

Quiet on the set.

I told Nathan
a roast beef sandwich

wasn't really breakfast food,
but he really wanted it, so...

What's this?

I had some groceries
sent over this morning.

The kids didn't have much
to take to school.

Thought I'd set up
a weekly delivery for you,

just until you got
back on your feet.

Max?

Thank you.

We can't accept this.

Come on.

You needed food, I got you food.

And, and I'm happy to help.

This week? Next week?
Every week?

If that's what you need.

I'm an office boy
with two kids to feed.

Until that changes,
I'm always gonna need something.

I want you,

not your money.

And as soon as you start
thinking of me

as some... charity case...

That's not how I see you.

This is why people like us
don't end up together.

Except in the pictures.

Because in real life, you end up
with the son of a banker

or a shipping magnate

or Monroe Stahr.

That's not what I want.

I have to go.

(sighs)

Look magazine just launched.

They need a fresh face
for their next cover.

I've got a friend there,
I can put in a call.

Well, with a pitch that good,
how could they say no?

Well, we all think she's gonna
be great in the picture,

but we can't pretend
anybody knows who she is.

That's your job, isn't it?

I want Kathleen to be
a household name

before the first poster goes up
for An Enemy Among Us.

Morning, sunshine.

-Did we wake you? -CELIA: Sorry,
I was in a script meeting.

We were just discussing
how to make the world

fall in love with Kathleen.

Should be easy enough.

What made you fall
in love with her?

(laughs)
Yeah, Monroe,

tell us what made you
pop the question.

Engaged? Wow.

Congratulations, Monroe.

PUBLICITY WOMAN:
Here's an idea:

she is the studio tour guide
who finally made it.

No, most people think
being a tour guide is making it.

She's Cinderella,
the poor ingénue

transformed by the magic
of movies.

I'm not sure that would
make me want to buy a magazine.

The thing about Kathleen is...

she's your closest friend,

the girl next door, the waitress

you leave an extra nickel for
because she's got a sweet smile.

We do the interview
at the Foxhole.

Where she started.

I want people to see her,
the real Kathleen.

-Yes?
-Yes.

Let's set it up.

(indistinct chatter)

Hello there.

We have to keep looking.

-I mean, he could be anywhere.
-Who?

He could be here.

You're here with me.

You're safe.

Some water.

Thank you.

(exhales)

Can you lie with me?

Of course.

"Let us pretend that we can make
out a plain and logical story,

"so that when one matter is
dispatched, love for instance,

we go on, in an orderly manner,
to the next..."

-(reading indistinctly)
-* *

MOLLY:
So this is where it all started.

How quaint.

Were you secretly
dreaming of stardom

while you served up
banana cream pie?

My goodness, no.

I think I spent most of my time

trying to remember
Nick's specials.

(chuckles)
Tell me about your family.

Brothers? Sisters?

No, just me.

And your parents?

My father died when I was young.

My mother got a job
in the sugar factory.

We didn't have much,
but it was enough.

MOLLY:
Well, she must be very proud.

Will she come over
for the premiere?

Oh, no, no.

-Um, my mother doesn't like
to make a fuss. -Ah.

She thinks Hollywood
is folderol.

(chuckling):
Well...

we can't put that
in the article.

-We'd all be out of work.
-(chuckles)

You know, this doesn't happen
very often,

going from waiting tables
to starring in a big picture.

Does it all feel
too good to be true?

Yes.

Sometimes it does.

You were wonderful
in the interview today.

Was I?

Yes.

They're gonna love you.

What does it matter
if people love me?

They don't even know me.

Come on.

You're a natural.
They'll adore you.

Oh, people believe anything you
write in those silly magazines.

It's all just a story.

It doesn't actually
mean anything.

Well, you're not just
a story to me.

What if I were?

What do you mean?

(with American accent):
Take off your shirt.

I said... take off your shirt.

What?

Your accent.

-Kathleen, I'm impressed.
-Kathleen?

Never heard of her.

Okay.

You think you know me,

but you don't.

We've never met before.

We are strangers.

BRADY: Fair warning: you may
hear some things tomorrow.

About me.

I'm gonna do something

that's gonna make
a lot of people angry.

Can it be helped?

No.

Then do it.

And forgive yourself.

That's right.

Thank you.

You always forgive me,
don't you?

I know you love me.

And our daughter.

That I do.

And I know if there was
something I really needed,

you would kill to get it for me.

That I would.

I am suddenly reminded of a time

when I used to sneak
into your parents' house

at the age of 30 to see you.

Your mother would never
leave us alone.

Hmm, she knew a wolf
when she saw one.

(chuckles)

Then we'd go outside

and kiss in the snow.

-Doesn't seem so long ago,
does it? -Hmm.

What happened to us?

The normal things.

Life.

Hmm.

I still love you, you know.

I do.

And I would do anything for you.

Good.

(Brady chuckles)

* *

(sighs)

-Let us in.
-(all clamoring)

BIRDY:
He doesn't want to be disturbed.

Come on, we know he's in there.

Mr. Brady happens to be

on a very important phone call
at the moment.

-(groans) -I'm sure he'll see
you as soon as he's through.

Well, we're not going anywhere
until he does see us.

-(all clamoring)
-STAHR: Hey, hey, hey, hey.

What's going on?

-You don't know?
-No.

Our feudal lord in there

just slashed every salary
on the lot by 30%.

-What? -No warning, no reason,
just some big,

weepy office memo in
everyone's mailbox this morning.

"Dear valued employee,

"I know this will be difficult,
blah, blah, blah.

"The bank failed,
blah, blah, blah.

We're all in this together."

I need to see him.

He's not seeing anyone
right now.

I'm not anyone.

BRADY:
I wonder how long I'm gonna live

before I hear you knock
before charging in here.

Sorry, but they're out there

with pitchforks and torches.

I didn't have a choice.

Why didn't you talk to me
about this?

Angels is a smash; we're fine.

Now we're fine.

Yesterday we were in debt

to a conniving, manipulative
enemy of this studio.

Oh, Jesus.

You paid Mayer off.

He sat behind this desk like
it was nothing, needling me.

Didn't bother you
the way it bothered me.

So now you feel better
and the whole lot has to suffer?

It isn't gonna last forever.

He stole Margo Taft
right out from under us!

He was trying to steal you!

A studio has gates
for a reason, Monroe.

You can't treat people this way

and expect them
to do good work, Pat.

No, but you can.

They love you.

They trust you.

You're a sun god around here.

Now, go out there and explain it
to 'em till they understand.

(sighs)

Did you cut my salary, too?

I had to.

Would've looked awful.

Take all of it.

I'll work without pay
until this is resolved.

There you have it;

why they love you.

Go do your job.

* *

I want out.

And I want a pony.

Look,

we're partners,
which means, if I get nothing,

you get nothing.

He proposed.

We're getting married.

Great.

I'll buy you a set of coasters.

But I have an investment in you

and I want my return.

I'm gonna tell him.

(Vajna chuckles)

You'll be out on your ass.

He'll understand.

He loves me.

You're a fake

and a gold digger.

What is there to love about you?

You don't own me!

Do you love him?

Then picture this:

everyone in town finding out
that Monroe Stahr

got conned by an actress
from Wisconsin.

A thing like that
is hard to come back from,

especially after you've broken
his heart, or what's left of it.

What, y-you want to confess?

Get rid of your guilt? Fine.

But it'll destroy him.

It's not a very nice thing to do
to someone that you love.

(sighs)

Congrats on your engagement.

(sighs)

Once I get finished, nobody'll
be any the wiser, dear.

Don't worry.

Thank you.

That's quite a mark.

(laughs softly)

It was silly, I was, uh,

putting my suitcase
on, on the shelf in the closet.

Fell and hit my face.

Clumsy of me.

Well, take care, Miss Moore.

That face belongs
to Pat Brady now.

(laughs)

-I'll be more careful.
-Mm.

-(exhales)
-(camera clicks)

PHOTOGRAPHER:
And again.

Don't hold back this time,
sweetheart.

Smile with your eyes.

Kathleen, can you, uh,
turn towards camera more

and, and pull
your shoulders back?

PHOTOGRAPHER:
And again.

Maybe I'm just not photogenic.

Will you give us a minute?

I'm sorry.

For what?
What are you sorry for?

(whispers): You're doing great.
Listen to me.

(laughs)

Stay there.

Don't move.

Kiss her again.

-Barry.
-No, wait, wait, wait.

Celia, I go behind the camera.

Uh-huh.

It's a romance.

That's the story.

People are going to love her

because they see
how much you love her.

Well, how much I love her
is my business.

Not anymore.

Kiss her again.

You okay with it?

Of course she's okay with it.

-Barry.
-Just a couple, Barry.

(camera clicking)

(laughter
and indistinct chatter)

Hey.

Can I talk to you for a minute?

Sure, I guess.

In private?

Okay.

-Just, uh, follow me this way,
everybody. -All right.

(chatter continues indistinctly)

Oh, my.

-I have to tell you something.
-No, I was wrong

and ungrateful.

Monroe was...

That was
a little girl's fantasy.

Silly.

And whatever it was, it's over.

I want you.

And you were right.

I know how it feels
to be handed things,

to have people think that
you can't do it on your own.

Want me how?

What are my options?

* All my life *

* I've been waiting for you *

* My wonderful one has begun *

* Living all my life *

-(Celia laughs)
-* All my life *

* Hold me close to your heart *

* But all else above,
hold my love *

* Darling, all my life, yes... *

I've never done this before.

Neither have I.

* But all else above,
hold my love, darling *

* All my life, yes, sir. *

You didn't have
to wait up for me.

I'm your mother, Celia.

I'll always be waiting up
for you one way or another.

-Oh...
-(both laugh)

I haven't seen these in so long.

When you were a baby,
you couldn't stand

to be away from me,
even for a minute.

You'd cry
every time I left the room.

Why aren't there
any pictures of you?

Well, once you have children,
the pictures are always of them.

You know, I saw you
at the hospital the other day,

taking that Max Miner home.

Yep.

(sighs)

That Max Miner.

Careful.

You're blushing.

(laughs)

It took a little while,
but... we've gotten close.

Are you happy
when you're with him?

-Yes.
-Mm.

Are you "you"
when you're with him?

Definitely.

Is that how you knew with Daddy?

Yes.

That's how I knew.

All right.

Well, I'm off to bed.

-I'm very tired.
-Hmm.

(Celia sighs)

Good night.

Hey. What gives?

You know the rules, George.

Everyone gets 30% less.

We have to do something.

Somebody bashes in your
windshield, you bash in theirs.

This isn't a street fight,
Aubrey.

(door opens)

What?

I need to talk to you.

BRADY:
Where is she?

-She won't come out.
-CAROL: Sally?

Sally, please.

SALLY:
I'm not coming out!

All right, what's her problem?

We were supposed to receive
Bernadette's script revisions

to rehearse this morning,
but they didn't arrive.

-So find Bernadette.
-No one knows where she is.

-Find another goddamn writer.
-There are none.

They all called in sick.

Of course.

The lefties.

Broca!

Yes, Mr. Brady.

Can you write?

Yes, yes, I-I can write.

I-I'm sure I can. Yeah.

Good. Then do that.

Sally?

It's Uncle Pat.

May I come in?

SALLY:
No!

Now, we know that you're upset,
but we've worked it all out.

John's gonna do the revisions.

What?

He can't write,
he can barely talk!

Sally.

Aunt Bernadette is the only
person who can write for me.

She's the only person
who understands this movie.

-There's a whole crew of people
here... -I want Aunt Bernadette!

-You can't just arbitrarily
decide. -Would you just listen

-to yourself, Monroe?
-I need you to meet me halfway.

Perhaps if you compensated them
in a manner

commensurate to their worth,
then you wouldn't have

-these difficulties. -We do
compensate them in a manner...

Who's this?

STAHR:
Mark Brimmer,

executive director of the Screen
Writers Guild of America.

Nice to meet you, Brimmer.

Now get the hell out.

This is not a union lot.

Your writers have every right
to organize, Mr. Brady.

Yeah, they just organized me
out of a day of rehearsal.

It was a protest. We don't
believe you have the right

to arbitrarily cut the incomes
of your employees like that.

It wasn't arbitrary.
It's what the studio

can afford to pay right now.

Meanwhile, you're jeopardizing
the jobs of people

who can't afford
to be out of work like you can.

The grips, costumers, drivers.

That's who
we're standing up for.

Aubrey, please, allow me.

No, allow me, Mr. Brimmer.

We do compensate our writers,

better than any other shop
in town.

Right?

No?

See, my problem with you is,

a walkout
wouldn't cost you a dime,

but it would hurt their careers
immeasurably

and shut down this lot.
And for what?

You just robbed your entire
workforce of a living wage.

What are you gonna do about it?

I'm going to make pictures,
and they're going to make money.

And then everyone
will be restored

to their rightful salary
and all this will be forgotten.

Until then,
we'll just have to weather this,

like every other struggling
corporation in America.

I hope you're ashamed
of yourself.

Well, shame
never got a picture made.

It's no time to be glib, Monroe!

BRADY:
That's enough!

You want our board of directors

to yank the studio
out from under us?

Put this whole place
into receivership?

They're coming here tomorrow,

and they're gonna see this place
as it's meant to be.

Productive.

Get back to work.

Go!

(overlapping shouting)

PAYMASTER:
You Max Miner?

MINER:
Thank you.

Next.

This is terrible.

(shouting continues)

Hello, princess.

Oh, Daddy.

Christ, you, too.

I was never ashamed of my name
before today.

That's a bit grand,
don't you think?

How are the stagehands
supposed to survive on 30% less?

Or the stitchers?

Or Max?

Better than getting fired,
isn't it?

Nobody put a gun to your head
and made you pay Mayer back.

Wouldn't be a bad idea
to mind your tone, darling.

I am still your father.

And your goddamn boss.

What you,
and everybody else around here,

seem to be forgetting
is that I didn't ask for this.

The bank failed.

So I turned to Mayer.

And then I watched him
pick it apart piece by piece.

If I didn't do something,

eventually
there'd be nothing left.

And-- not that it matters--
this company, this thing--

that I seem to be the only one
around here protecting--

will one day belong to you.

And I am not leaving my daughter
an empty shell.

When you're 60,
you'll understand!

(laughter
and indistinct chatter)

Hey, I'm not done yet.

* You left me so sad... *

You hear me? I'm not done yet.

Yes, you are. We all are.

Face it, Aubrey, we lost.

We didn't lose,
we just didn't think big enough.

* You could never settle down. *

There must be some mistake.

(men muttering)

Sorry, I seem to have
the wrong stage.

Damn secretaries can't keep
anything straight.

(chuckles) You're gonna love
this Sally Sweet number, though.

That kid was born to sing.

We hear she's quite something.

And wait till you see
the circus dog we got her.

An amazingly capable animal.

Damn thing could probably
do your taxes for you.

(men chuckle)

("Ill Wind" playing)

* Blow *

* Ill wind *

-Hmm.
-* Blow away *

* Let me rest *

* Today *

* You're blowin' me no good... *

(telephone ringing)

* No good *

* No *

* Good. *

(door opens)

Quiet out there.

Like a ghost town.

Just dropping by, L.B.?

I guess I picked the wrong day.

A walkout...

on the very day the Gang of Ten
was visiting. (chuckles)

You certainly are well-informed.

Well, people tell me things
now and then.

Honestly, I don't know
how you do it,

working so hard while he runs
the studio into the ground,

constant fear of going under.

Must be terrible.

We manage.

By the skin of your teeth.

That's beneath you.

What do you want?

I need to replace Irving.

Let's stop dancing.

Come work for me, Monroe.

HUFF:
Minor disruption?

The lot is deserted.

They'll come around. Believe me.

CORNY:
If they don't...

Fix it, Pat.

They're just children, throwing
a tantrum to embarrass me.

Well, it worked.

We have a bankable hit
with Angels on the Avenue.

It's a huge windfall.

BEANFIELD:
Yes.

After Monroe saved it.

And yet the studio
somehow still is a disaster.

You need to get
your house in order

or we'll find someone who will.

I run this studio.

CORNY:
That's not what the town thinks,

and neither do we.

Now, your name might be
over the gates, Pat,

but you know as well as I do:

Monroe Stahr is Brady-American.

MAYER:
Pat's not a storyteller.

You and I both know that.

Think about the pictures
that we could make.

Wizard of Oz.

That script was made for you.

Don't you want to make things
that'll last?

Pictures that people will watch
long after we're gone?

You sure know how
to flatter a girl, L.B.

Well, you make it easy.

And he's an anchor at your feet.

Yeah, sometimes...

that's true.

But before there was
Brady-American,

or even Monroe Stahr,

this lot was a couple
of run-down stages,

weeds coming up
through the floor.

Pat and I built this place...
together.

He made me who I am.

With me you could win Oscars.

You deserve that.

No, L.B.

When I win one for Brady-
American, then I'll deserve it.

BIRDY:
Mr. Stahr called.

He's coming in to see you.

Is he?

Since when does Stahr decide
what goes on in this office?

Is he running the studio now?

Mr. Brady, I, uh...

No!

From now on,
I decide when we meet.

You hear me?!

Mr. Stahr wants to see me,
he makes an appointment

and then he sits and he waits

like everybody else!

Yes, Mr. Brady.

My apologies, Birdy, I...

Congratulations, Aubrey.

For what?

STAHR:
Well, Pat just decided.

Everyone back on full salary.

-Well, what do you know.
-(Brimmer laughs)

Sit. We'll drink to it.

To solidarity.
To working stiffs.

Hear, hear.

No, thanks.

To the drink or the solidarity.

Look, now Pat Brady knows:

a movie lot without people on it
may as well be an airfield.

I know you think you won
something today,

but you don't see what you lost.

Where'd he find the money?

Under a mattress?

No.

We'll just have less
operating capital.

So we'll make two less
movies next year,

or develop a few less scripts,

or Enemy gets
a few less shooting days,

or less money for sets,

or maybe all of it.
Hard to say.

BRIMMER: Doesn't matter where
he found the money, Mr. Stahr,

just that he adequately paid
his workforce.

News of this will spread
to other studios,

across the city, the whole
nation, maybe the world,

until people see that it's
the working men and women

who ought to be in charge.

You really believe that?

You think you can start
a revolution?

No.

But I think someone like you
very well might.

* And you say "Okay" *

* Say then we'll be married *

* In the month of May. *

* Skies will clear up. *

She's doing well.

Where will she go
when she's better?

A long-term facility.

We usually send them to County.

What if she came home with me?

Sorry?

I mean, when she's ready.

Be a lot to take on, ma'am.

She'd be completely dependent.

That makes two of us.

I'll be back in an hour.

KATHLEEN:
There you are.

I have something for you.

It was my mother's.

She gave it to me
when I left New York.

"If you find a nice girl."

(both chuckle)

When I proposed to Minna,

I went to Brock's and bought the
biggest diamond I could find.

No, she needed something showy,

more than Milton Sternberg
could give her.

I was gonna do the same for you,

but, I don't know,
this ring is...

Monroe.

It's beautiful.

It's me.

Minna thought that
I could do anything,

fix everything.

If that's who you think you're
marrying, please, trust me.

I come up short all the time.

(American accent):
I come up short, too.

(both chuckle)

(Irish brogue): I guess
I've been practicing too much.

All mixed up.

That's all right.

(American accent):
Wouldn't that be funny?

If I talked like this
all the time.

(Stahr chuckles)

Just be yourself.

I love you exactly
the way you are.

Here, try it on.

("Have a Little Faith in Me"
by Guy Lombardo playing)

* My heart's humming... *

See?

It fits you perfectly.

* Have a little *

* Faith in me *

* Skies will clear up *

* Just to make you cheer up *

* Have a little *

* Faith in me *

* In the distance *

* There's a silver lining *

* I see it shining *

* And that just means
success and happiness *

* Oh, I'll come through, dear *

* With the help of you, dear *

* Have a little faith in me *

* My heart's humming *

* Better times are coming *

* Have a little *

* Faith in me *

* Skies will clear up *

* Just to make you cheer up *

* Have a little *

* Faith in me *

* In the distance *

* There's a silver lining *

* I see it shining *

* And that just means
success and happiness *

* Oh, I'll come through, dear *

* With the help of you, dear *

* Have a little faith in me. *