Original subtitles

ANNOUNCER: Tonight on "Wiseguy."

(SINGING) Won't you tell him please to put on some speed?

She used to be a superstar and now she works for you.

Oh, man, she is over.

Don't you get that?

Don't get hung up on quality, man.

We'll go broke.

(SINGING) Someone to watch over me.

[theme music]

FRANK: Dead Dog Records, Incorporated.

What's in the name, Frank?

LOU: In this case, everything.

FRANK: No studio, no equipment, no wonder you wanted

to punt it off under the OCB.

LOU: What's wrong with one federal agency

trying to help another?

FRANK: I don't know, Lou.

When it happens, you let me know.

And you made a drug bust, confiscated

a worthless company.

It's the way the ball bounces.

Dead Dog is far from worthless.

That's $75,000 in cash, several artists under contract.

Has beens and never were.

It has masters and a publishing catalog.

Dead Dog owns the rights to over 2,000 titles.

Jazz, early rock, R&B. Anyone who

wants to record one of their songs

has to pay them a royalty.

That catalog is one of the most sought after in the business.

Here's a list of companies and individuals

that have bid for Dead Dog's assets.

Why didn't you sell?

Well, the only qualified buyers were outfits that we

weren't, um, comfortable with.

These are the biggest big shots in a billion dollar industry.

These are guys you should be going after.

How much are the catalog's masters worth?

Over time, maybe 6 million.

And your agency is willing to turn its back on 6 million

and deed Dead Dog over to us.

You know, Lou, I've been wearing long pants for quite a while.

Now you must want something from the OCB.

[playing piano]

What is it?

We know you scored big in the Garment District.

You tumbled Ricky Pinzolo's empire,

fitted him for a shroud.

So you've been reading the newsletter.

What do you want?

We want to swap you Dead Dog Records

for Pinzolo's private jet.

The drug dealers have us outmanned and outequipped.

That jet would be invaluable to us.

Lou, the jet is worth $10 million.

The catalog, 6 over a period of time.

But with that catalog as bait, you can get inside one

of those big companies.

What about a lease?

LOU: What?

A lease.

We'll lease you the airplane.

Terms?

Payment every 30 days for as long as we're

involved in the investigation.

And after that-- what are they running,

a daycare center out of here?

This stuffed animal, Frank?

Company mascot.

The lease, Frank.

We get the plane back after investigation is over.

We get a cut of any assets you confiscate.

Oh, ho, ho, ho, Lou.

5%.

12.

7.

9.

8, Lou.

Done.

You authorized to make this deal?

Yeah, I'm authorized to make this deal.

Then, congratulations.

You're in show biz.

First thing I'm going to do is contact

some other record company executives

and then call some personal managers,

get some new acts for the label.

What do you mean other record company executives?

- Where's the office at? - Midtown.

What do you mean other?

Midtown is perfect.

I'm going to run a label, Frank.

Pick me out a tie, all right?

No, you are not going to run anything.

We are dangling a line here, Vince.

You look at your ties.

You got more ties than Countess Mara.

Why don't you ever wear any of these?

You know, I must have 1,000 albums down in the basement.

Got all the vintage stuff.

Hendrix, Morrison, The Stones, The Who.

Hope I die before I get old.

Don't tempt me.

After what I've been through this last couple

of months, Frank, I'm actually excited about this assignment.

I can't wait to get started.

You know, I know how you get into a case--

when I have to twist your arm.

The idea of the havoc you could create by genuine enthusiasm

scares me to death.

You worry too much.

It's what I do.

Yeah, I know.

Frank, Dead Dog Records, I love it.

[guitar riff]

Oh, that's a good choice.

Thank you.

All right, thanks, guys.

That's good.

Thanks.

Yeah, Mr. Benton, please.

Yeah, this is Vinnie Terranova at Dead Dog Records.

I want to make an appointment to talk about [inaudible]---- hell?

Hello?

Trevor Benton never talks to anyone he doesn't know.

What makes you think he doesn't know me?

Because I don't know you.

And if you were worth knowing, I would.

Oh.

Well, that makes us even because I don't know you either.

BOBBY: How come I'm not surprised?

So who the hell are you?

Bobby Travis.

VINNIE: What do you want?

This company.

And I was this close to getting it,

but it was yanked just before I could close the deal.

VINNIE: Yeah, well, timing is everything in life.

Oh, don't philosophize, Terranova.

I know people.

And it's like you came out of nowhere

and beat me to this deal.

How?

Connections.

BOBBY: To what?

You have never been in this business here or on the coast.

I have connections that reach far

beyond this business, Bobby.

You know how to break a new act?

You know how to take four kids from Cleveland,

get them a producer, pick out the material,

put them in a studio, record them,

merchandise them, promote them?

Are you a creative entity?

Former senior vice president, talent and acquisitions,

True Heart Records.

Former head of promotion, Sunburst Records.

Head of national promotion, Landale.

I have worked for everybody.

Well, it sounds like you just can't hold a job.

It's because people without talent

are afraid of people who have it, afraid and jealous.

Everybody wants to make records.

But very few people know how.

You know nothing about this business.

You come along with your cash and your connections.

Next thing I know, instead of making it big in the Apple,

I'm on a treadmill in Fort Lee.

Why are you doing this?

It's a business.

I'm a businessman.

Well, if that's all you are, you will never make it.

You've got to have passion.

You've got to have fire.

You've got to care.

This is a game to you, isn't it?

You sit around, and you think, hey, chicks, parties, drugs,

concerts.

Hey, fellas, let's get in the music business.

It can't be that tough, right, Vinnie?

Yeah, that's about it, yeah.

You don't have a clue.

You need a partner.

And I'll tell you why.

This isn't a game to me.

It's my life.

And I can get you in to see Trevor Benton

and 100 guys just like him.

Suzette?

It's Bobby T. Sooner than you think.

Listen, a very good friend of mine

just bought Dead Dog, Vinnie Terranova.

He's a good-looking guy.

Maybe.

Listen, we want to get together with Trevor.

Will you say that again?

Hello?

Yeah, Friday at 10:00 will be fine.

Thank you.

Call me tomorrow.

I'll see you tomorrow.

[music playing]

[knocking]

Who is it?

Little Richard.

Bobby Travis.

Been chasing the brass ring for nearly 20 years.

Managed his first band in Trenton

and promoted concerts in Monmouth College, for which he

was invited to leave in 1971, slight snafu

over ticket receipts.

Now he's on the corporate level trying

to promote records to at least a dozen different labels.

And I'm sure he passed around his fair share of payola.

What, did he run over your cat, too?

You know, we've had this company for 24 hours,

and you already got yourself a partner.

He is a hustler, Vince.

The OCB could not afford to have him on the payroll.

All right.

I don't know this business, and I don't know the players.

Travis does.

FRANK: Strictly small time.

He's a start.

Vince, what did you promise him?

I want to know what the OCB is on the hook for.

You get phone calls and an office.

No salary, no expenses.

Anything you generate for the company, we split 60-40.

I get the 60.

You know what I want, Bobby?

You know what I really want?

I want to turn this company into a force in this business.

I want the big boys to know that Dead Dog lives.

You don't even know who the big boys are.

Yes, that's true.

That's why I'm giving you 40%.

Well, you better go home and get some sleep.

For what?

It's in the middle of the afternoon.

You're going to need all the rest you can get.

You want me to teach you about this business.

Class doesn't start till after dark.

[guitar riff]

Chucky, I'm back in the business.

I'm the senior vice president of Dead Dog Records.

Did I laugh at you when you brought the drugged

out biker into my office?

Everything was 20 years ago.

You know the phrase, "what goes around comes around"?

No, I'm not threatening you, Chucky.

I'm fantasizing!

[honking]

That's pretty good, Bobby.

What is that, a new dance or what?

No, it's nothing.

It's just a forget me, forget you ritual.

What's your driver's name?

Mack.

Mack, Bobby Travis.

Jersey Turnpike South.

The music business is rife with ritual,

Vinnie, the first being, forget who you left in the dust

and concentrate on who's up ahead trying to forget you.

Yeah.

That ritual is not exclusive to the music business.

So what's out in Jersey?

The graveyard of the Industrial Revolution and

the toddlers of rock and roll.

So what's this?

The birthing room.

VINNIE: Birthing?

BOBBY: This is your control group.

VINNIE: My what?

BOBBY: The market, your audience.

It's all here.

These are the customers you've got to feed if you want to make

it in the music business.

Two beers.

Oh, scotch.

Everybody here is hungry, Vinnie.

Hungry for sex, starving for success.

My guess, everybody goes to bed with an empty stomach.

This isn't my first time in a rock and roll dive, you know.

You've been here as a customer.

This is your first trip as a pickpocket.

Everybody in this joint is going to spend $200

this year on cassettes and CDs.

Vinyl is over.

Now if you want to compete for that $200, Vinnie,

you better know the market.

VINNIE: Sounds like a lot of money for this crowd.

BOBBY: Music drives their dreams and desires.

And at this age, dreams and desires are

your most precious possessions.

You tap into that, mouth moolah.

VINNIE: What about this band here?

This beer will last longer than they do.

Let's just go.

You want to talk about the band?

On a good night, they probably made 500 bucks.

Now that's split five ways, plus a manager that's

probably one of their brothers.

Thanks.

Meadowlands, Mack.

That's 80 bucks a man, less the cost

of gasoline, van, instruments.

I figure per man, pre-tax, net of 20 bucks

and all the sex you can handle, unless you're

the drummer, of course, which case you go home alone.

Were you a drummer, Vinnie?

No, I played a little bass.

Oh, low notes.

VINNIE: Yeah.

You're a lucky man.

But the truly lucky end up there.

70,000 people paying 17.50 a head,

a million two for one night.

It rains money.

They sell them the music.

They sell them posters, T-shirts.

A guy could make a fortune selling

the same crap outside the stadium

without a licensing deal.

But you'd know about that, wouldn't you?

As you know, I'm a gangster.

As in?

Yeah.

Let me ask you something.

You ever think to yourself, hey, I'm a pretty smart guy.

Why is my career in the dumper?

I mean, let's face it, Bobby.

You wouldn't have latched on to a wounded animal like Dead Dog

if you had your act together.

Well, I mean, you know, I ask myself why my career's

floundering on occasion.

I mean, I've had ups and downs--

Yeah, it's simple.

You've got a big mouth.

Nobody likes a big mouth.

Meadowlands.

Where do you go from there?

(SINGING) When you are here, so

am I. Maybe millions of people go by,

but they all disappear from you.

Scotch and a beer.

DIANA: (SINGING) And I only have eyes--

You recognize her, Vinnie?

(SINGING) --for you.

This is a song I just wrote.

Diana, we pay you to play what we know.

Diana, take a break.

(WHISPERING) Buy a round for the house.

Buying a round for the house, all right?

CUSTOMER 1: All right!

CUSTOMER 2: All right, all right.

[clapping]

Bobby Travis.

- Hey, sweet thing. - Hey.

Join us.

Hey.

This is Vinnie Terranova, a friend of mine.

Diana Price.

- Nice to meet you, Vinnie. - Likewise.

How are you doing?

Good.

So, uh, are you as miserable as we are?

No, I don't think so.

Oh, too bad.

One more member and we could start our own chapter

on Hard Luck Anonymous.

Vinnie's just a pal.

He wants to learn a little something

about the music business.

You're not a reporter.

No.

Good.

Diana went double platinum four times

when she was with [inaudible]

Yeah, I remember that group.

You were terrific.

Thanks.

I'd like to think I still am.

You are, you are.

She sold 40 million records.

40 million that we know about.

Probably half that again in cleans.

What are cleans?

Records that are pressed at the plant

and shipped out the back door.

They don't exist in the ledgers, but they're sold retail,

usually in foreign markets.

The money goes straight into phony accounts.

Whose phony accounts?

Guy who owns the pressing plant, record executive who

has an arrangement with a distributor, lots of people

play that game.

So, Diana, are you writing again?

It's all I know how to do.

BOBBY: You're going to record?

How can I?

My contract with Dead Dog Records

is currently owned by the DEA.

I put so much into hoping things would work out with them.

You know, Bobby, nobody else would sign me.

Wouldn't give me an hour in the studio to try anything.

I might be able to get you two days

in the studio to try something.

Who are we kidding?

We both got booted from the bus.

Chasing, we'll just choke on the fumes.

I got to get back.

Can you stay a while?

Oh, we got a couple of stops to make,

but I just wanted to say hi.

OK.

Hang in there, Diana.

Thanks.

Nice to meet you, Vinnie.

Yeah, good luck.

Thank you.

Yeah.

Bumps in the road no matter how big you get, huh?

She used to be a superstar, and now she works for you.

Life can be cruel.

I understand getting hot and then going cold.

But how do you go dead broke?

She must have made a fortune.

She didn't make a dime.

He did.

Stop the car, Mack.

Sir Winston Newquay lives behind those walls, Vinnie.

He's made a billion dollars in the music business.

When Diana was hot, she was on his label.

And he was her personal manager.

He gave her just about enough money to feel invincible.

And then soon as the sales leveled off,

dropped her without so much as a thank you.

Well, what did he do, rip her off with cleans?

Rumor has it, he made 40 million

worldwide on cleans from Diana's records.

Wow.

You ever try to do an audit in the Philippines?

But she was still making a fortune, wasn't she?

No, she was generating a fortune.

It wasn't hers.

Let me tell you something, Vinnie.

The artist pays for everything, cost of recording,

cost of touring, cost of video, cost of paper clips.

You could generate $100 million and still wind

up with lint in your pockets.

And that's the gold ring for guys like us

if you're ruthless enough.

Does Newquay know how far Diana sunk?

Oh, I'm sure.

They used to be lovers.

Let's go, Mack.

Thanks for the education.

We're going to get rich together.

I mean it.

MACK: Where to, Vinnie?

(SINGING) Are the stars out tonight?

I don't know if it's cloudy or bright because I

only have eyes for you, dear.

The moon may be high.

Excuse me, I'll have a club soda, please.

DIANA: (SINGING) Because I only have eyes--

Tell her to play one of her new songs

Who the hell are you?

I'm your orthopedist.

And tell her you're sorry for being rude before.

Diana, play one of your new songs.

And, uh, I'm sorry about being rude before.

Go on, play it.

That's good.

That's very good.

You know, you can be a real nice guy when you want to be.

[playing piano]

(SINGING) Whenever I collapse, whenever

I fold in your arms, that's when I know I'm holding you,

holding you within my grasp.

Whenever I feel trapped, held by the inescapable,

I try to put my mind at ease, protect

the heart worn on my sleeve.

That's when I feel brand new.

I'm looking on the bright side.

I've got my visuals, looking on the bright side.

Vinnie.

Vinnie, will you give me a hand?

Never mind.

What's that stuff?

Tools of the trade.

Blank contracts, Dead Dog letterhead business cards.

I found them in storage.

You know we're going to need a secretary,

and I know some exceptional talent in that area.

Now stop just a minute.

I want to make a record.

A what?

I stopped by back at the club last night.

I heard Diana Price's song.

It's good.

It's really good.

Don't get hung up on quality, man.

We'll go broke.

Yeah, well, it's my money.

Then let's spend it on commercially viable talent.

You want to make a record?

Let's make a record with some of the acts

I'm in the process of lining up, acts with life in them.

Diana Price got shafted by this company.

BOBBY: You didn't own it then.

Yeah, but I own it now.

And I own the responsibility to live

up to the agreements it made.

Look, you want to spend a couple of bucks a week on her?

I can get behind that.

But we got to put our energies where it's going to pay off.

It's the publishing company, the catalog,

and the masters, Vinnie.

Those things and my expertise and contacts

are what makes Dead Dog marketable.

To whom?

Remember the big house we saw last night?

15,000 square feet, built on a foundation of forgotten talent,

Winston Newquay's house?

I can sell the catalog to him.

That's where the juice is, Vinnie, not trying to raise

Mrs. Lazarus from the dead.

VINNIE: All right, Bobby.

All right.

You're right.

You mind that catalog.

But listen to me.

You keep your evenings free because I'm making that record.

You don't have a clue--

all right.

It's your money.

Right.

You got to get studio time.

You got to book musicians.

You got to have an engineer.

You need a producer.

Without a producer, you might as well cut in your bathroom

on a cassette machine.

And who's the best producer you know?

BOBBY: Johnny Medley.

Johnny Medley.

What will he cost?

20,000, but he's booked for the next year and a half.

He'll find the time.

BOBBY: He's doing two albums and a movie soundtrack.

For 30,000, he'll find the time.

It's just one song.

A record has two sides.

Yeah, well, it's my money.

That is Dead Dog's money.

That means it's OCB money.

That means you have no right to spend it.

Frank, this money was confiscated

from Ernesto [inaudible].

It's drug money.

Ethics don't even enter into this.

FRANK: Intention does.

Now in case you're confused about that,

let me clear it up for you.

Dead Dog is a front.

You are not supposed to make records.

You are supposed to make arrests.

If I don't do the first, I can't do the second.

FRANK: $30,000 for a producer?

Yeah, but he's the best there is.

I don't care--

I don't care if he is Quincy Jones.

Frank, let me enlighten you about something here.

In this business, they judge you by the size

of the splash you make.

$5,000 for a recording studio, $12,000 for musicians,

thousands in dollars for rental equipment

that I can't even pronounce the name of!

Frank, the top people in this business

live in fortified mansions.

If they don't think I'm playing in their league,

they will ignore me.

Diana Price was a huge major star.

Now, every week, some magazine wants

to do a story about her fall from grace,

but she's got the goods, and she's got the talent.

And we got the resources to make one beautiful record.

Now, you do have a choice here, Frank.

You can either leave that money in Dead Dog's account,

or you can use that money to open the most important

doors in this business.

You do not know anything about making records!

Yeah, well, I got to go, Frank.

I got a dinner with my producer.

You got what with your producer?

I got dinner-- I got dinner with my producer?

It's all right, Frank.

Want to come watch us record later?

I'll leave your name at the door, OK?

Oh, Frank, um, wear leather, OK.

Love you, babe.

[guitar riff]

(SINGING) Camptown ladies, sing this song, do-dah, do-dah.

Camptown racetrack's five miles long, oh, dee-do-dah-day.

Going to run all night, going to run all day.

Camptown ladies, sing this song, all the do-dah day.

[laughter]

Be ashamed of yourself!

Grown man playing with a damn fool thing like that.

Be ashamed!

I'd fire you if it wasn't for this gumbo.

You know that.

[giggling]

Bobby, you ever have Bettina's gumbo?

Oh, yeah.

It's one of my sweetest memories.

Bettina's gumbo is made from the fruit of the sea

and the nectar of the gods.

And okra.

Go ahead, Tanya.

We thank you, Father, for this food,

which we are about to receive in your son's name.

Amen.

Oh, oh, oh, oh.

Vinnie, come on, man.

[inaudible] hot sauce. VINNIE: No.

No, thank you. - Go ahead, man.

No, thanks.

I'm fine.

OK.

Bobby?

No.

[snorting]

Bobby tell you I produced Diana's first album?

Yeah, he did.

Oh, man.

We had a blast on that one.

She had this one cut.

Uh--

[snorting]

Oh.

"Heart of Hearts" was written as this, uh, really, uh,

go for the throat, hard driving tune, you know what I mean?

But I'd say the melody line was like, uh, god, melodic.

You know, so I said, baby, we just got to let

this thing play itself, right?

[inaudible] with no rhythm section.

Yeah, yeah, yeah, just a piano and the lead

vocal, just slightly wet, just slightly moist, you know?

I didn't even tell her we were rolling tape.

I just said, just run it down, babe.

We'll just run it down one time.

One take, double platinum.

[laughs loudly]

So, uh, uh, Bobby tell you the terms of my deal?

Oh, no, no, no, he couldn't have.

We didn't run them down.

Look, the 30,000, that's against seven points.

After that, I have an option on the album, 200,000.

And that's just a fee.

That's not, you know, an advance on my points.

It's just my fee.

Obviously, no cross collateralization, right?

[chuckles]

I'm going inside now.

Is there more to do?

Just a little.

OK, I'll be in, in a minute.

Good night.

Good night.

Bye.

[laughs] Oh, oh, oh, uh, by the way,

the minute you start to recoup, the second you recoup,

you pay me from record one.

I'll be back in a second.

This won't take long.

Bobby, did you see how much she drank?

Why would a guy let his daughter do something like that?

His daughter?

That's his wife.

Wife?

BOBBY: 16 going on 35.

If the garden plot is a right triangle with side A being

10 feet long and side B being 14 feet long,

how much fencing would you need for side C?

TANYA: A squared plus B squared equals C squared.

Which is?

TANYA: The Pythagorean theorem.

I don't care if you know what to call it.

They just want the answer.

I love you, baby.

Me, too.

Diana Price, huh?

She's, uh-- [laughs] it's a joke!

Making half a single?

[laughs]

Well, maybe it is.

But you're going to do it anyway.

And you're going to do the best job that you can.

Oh, man, she is over.

Don't you get that?

She must be-- she's got something on you,

or you must be paying off, or maybe you're just,

you know, sleeping with her.

I don't know.

Why are we doing this?

Oh, oh!

Oh, oh.

Now the reason I'm doing this is none of your business.

The reason you're doing it is because you have

30,000 of my dollars, right?

Oh, yeah, I forgot.

You're right.

Yeah, that's right.

Now, listen.

I just want to understand.

You're-- you're this big monster, right?

So I'm supposed to be afraid.

Is that right?

Just, I'm not afraid.

You got a gun, monster?

Huh? You got a gun?

Come on, let's see it.

Come on, come on, come on, come on, come on, come on!

I don't need a gun with you.

Oh, no?

Well, you see, I got a gun.

Whoa, Johnny, Johnny.

Put that thing away.

I got a gun, you got a gun, all God's children got guns.

I'm protected, all right, Vinnie?

I'm protected.

Me and Tanya, we're protected.

You're not going to get me without paying the price.

[gunshots]

They killed them all.

Oh, Jesus!

No protection?

Bleh.

It's "Best of Sam Cooke."

Oh.

John Lennon and Dreaming lyrics.

[scoffs] All the talent dies.

Airplanes, you got to stay away from airplanes.

Otis, man.

Whew, airplanes love taking rockers out.

Buddy Richie, Lynyrd Skynyrd, half those guys, Ricky Nelson,

gone.

Gone, gone.

For this, I paid $30,000?

He's going to be great.

Yeah.

(SINGING) Won't you tell him please to put on some speed?

Follow my lead.

Oh, how I need someone to watch over me.

[clapping]

Hi.

How are you doing?

OK.

It's, uh, Vinnie, Vinnie Terranova.

Remember? - Yeah, Vinnie.

Yeah.

You have a flat or something?

No, no, no, can we talk for a minute?

Yeah, last set's over, we could talk all night.

Yeah, great, good.

Would you like a drink?

No, no thanks.

Listen, I heard your song the other night.

I came back.

Why?

I owe you.

Nice to hear somebody else say that for a change.

You don't even know me.

I own Dead Dog Records.

And I got it worked out where you can come

back in the studio and record.

I think that song of yours might be a hit.

And if it is, you can get out of dumps like this one hand.

It's going to be great. I got it all set up.

Johnny Medley is going to produce it.

No, no, no, no.

What are you doing here?

What do you want?

I don't want anything.

You want to extend my contract, don't you?

I'm trying to do you a favor and ease

my conscience at the same time.

You don't own me.

Do you know what it takes to prepare to go into the studio?

Well, it sounds to me like you've been preparing

for that for 10 years.

I'm not ready to record.

Material isn't ready.

My voice is--

I'm working on the material.

I'm working it out here.

Oh, come on, Diana.

The only thing this jerk lets you play

is somebody else's hits.

How do you know I don't like it?

How do you know it's not what I want to do?

Maybe it is.

Maybe this is where you want to be.

You know, because when you're playing somebody else's songs,

when nobody's listening, there's never

a possibility for failure.

You can be safe here, if safe is what you really want.

But your talent hasn't left you, Diana.

Only your audience has.

All I'm trying to do is give you an opportunity

to get that back.

You have to keep thinking you're going to get

that one last shot someday.

You're going to record again someday.

They'll want your music someday.

But when someday's the day after tomorrow,

there's no last shots to think about.

Then you better make this one count.

[music playing]

DIANA: (SINGING) Whenever I collapse,

whenever I fall in your arms, that's when I know I'm home--

Stop, stop.

Stop, stop.

What's the problem?

All right, uh, Steve, give me a different bass patch,

all right?

Something a little more analog.

Adam, you want to play them like they're

drums instead of garbage cans.

This is a garbage can.

How much is that thing he just broke?

2,500.

It's a good night.

So far, only 7,000 in damages.

I asked for an M1, right, Bobby?

Right?

I don't think I like this guy very much.

OK, take 12.

Count it off, Adam.

[music playing]

(SINGING) Whenever I collapse, whenever I fall in your arms,

that's when I know--

Hold it, hold it.

--I'm holding you.

Diana, loosen up.

I'm sorry.

Well, if you want these guys to pump, you got to lead them.

You know that, right?

I know.

This isn't my first time in here.

Well, good.

But let's try and make it so it's not your last.

Go ahead.

OK, take 15.

Go ahead, Adam.

[music playing]

Bobby, am I missing something here?

What was wrong with those earlier takes?

A little something with each one.

Johnny's nuts, but he's got great ears.

He's a master in the studio.

You got a second, pal?

Uh, yeah.

Um, I'll be right back.

DIANA: (SINGING) Whenever I feel trapped--

What are you doing here?

Frank is pulling what's left of his hair out.

This gig's cost him 50 grand.

[inaudible] I had a talk with him.

He knew if he came down here himself, he'd lose it.

I'm a surrogate for him.

I'm begging you, please, watch the money.

Yeah, yeah, OK, all right.

Now you've been begged.

Do you mind if I stay?

Yeah.

Vinnie, I had my own band when I was in college.

Oh, man, everybody's in show business.

Yeah, come on. - [inaudible]

JOHNNY: Should we astral project somebody in here?

What's going on, Bobby?

Just spending your money.

Diana can't get it together.

JOHNNY: Well, look.

Well, how about a little bit of-- you know,

if you want a little bit of blow?

Look.

It's just-- it's nothing.

It's not a big deal.

Look, I'll have a little, you have some.

OK, well, look, the problem obviously,

you're not cutting it. Do you want to--

I mean, you know, because you obviously don't have it.

Why don't you-- [knocking]

Johnny, come here.

Come here!

I don't want any drugs or any booze in this place.

You hear me? - OK, fine.

It's your money.

But if we don't get her to shake loose her fear,

we're going to be here for the next millennia.

I've got a session in about two years,

and I'd like to be able to make it.

You know what I mean?

By the way, Vincent, your buffet table stinks.

If you want to get the most out of your players,

you got to think about their health.

Sorry, Johnny.

Next time, we'll bring pablum.

It's OK, honey.

It's OK.

No, it's not OK.

I want an apology, Travis!

I want an apology.

Apologize, Bobby.

Why should I?

Because I told you to.

Sorry.

Thank you.

I want him fired.

I am not firing him.

Oh, yes, you are firing him or else I quit.

Would you please be reasonable?

I don't have to be reasonable. I'm a genius.

Now either he goes or I go.

It's as simple as that.

Well, we don't have to behave like children, do we?

Fine, look.

I, this is my domain here, right?

I decide what goes on in here.

Not you, not him.

Would you wait a minute?

You've lost your opportunity with me.

We have a contract.

OK, well, have your lawyer call my lawyer.

Give me the chart.

- Johnny, please. - Don't beg.

Show some dignity.

Tanya.

Come here, come here.

Would you just wait outside for a minute, please?

Thank you.

Look, I am paying for this room, which

means that it's my domain, and you are misbehaving in it.

Now the first thing you're going to do is clean up this mess.

Yeah, well, you can go to hell--

Oh, that's good.

I like how you look with your face in your food.

You petulant little twerp, now listen to me.

This is not a sandbox!

This is a business.

And you, you have assumed an obligation to it,

and you are going to live up to it.

Now, you clean up this mess, and you get back to work.

Bobby, you get the rest of the band back in here.

Let's go.

Let's go!

Diana, where does it hurt?

I stood in here, looked out there,

and I realized this is it.

This is my last chance.

If it doesn't work, that's it.

I'm not afraid to do this.

What I'm afraid of is doing this for the last time.

Diana, if you don't do it now, you

have done it for the last time.

We're all here for ourselves.

So you do that, too.

You do it for yourself.

These guys don't matter.

The only thing that matters is that you feel it.

OK, what do you say?

Yeah?

That's a girl, OK.

Go get 'em.

DIANA: OK.

Lovely job, Johnny.

Lovely job.

Nice move.

I think he's scared deaf and dumb.

Don't just stand out with your mouth hanging open, Johnny.

Produce to me a record.

OK, let's, uh, carve this turkey.

All right.

OK, take 14.

ADAM: 1, 2, 3, 4.

[music playing]

(SINGING) Whenever I collapse, whenever

I fall in your arms, that's when I know I'm holding you,

holding you within my grasp.

Whenever I feel trapped, held by the inescapable,

I try to put my mind at ease, protect

the heart worn on my sleeve.

That's when I feel brand new.

This might be something.

If nothing else, it's definitely an experience.

(SINGING) I've got my visuals.

I'm looking on the bright side.

My 20/20 is true.

I'm looking on the bright side.

You did it, Diana.

There might actually be something on there

worth the 50k we spent tonight.

You want to go get something to eat?

No, Bobby, you go ahead.

Oh, come on.

I know this Cuban joint.

Oh, I'm too tired to eat.

Thanks for everything, Bobby.

You sure?

Mm-hmm.

OK.

I got to talk to Vinnie for a few minutes.

All right.

You did it, Diana.

You were great.

Vinnie, catch you tomorrow.

VINNIE: Goodnight, Bobby.

(SINGING) On the bright side.

[chuckles] Um, I've known you all 24 hours, and you

may have changed my life.

Hey, don't lay that on me.

I'm just honoring a Dead Dog debt.

[laughs]

Yeah, I think I got to change the name of this company.

Mm-hmm, yeah.

I felt great tonight once I got past the fear.

Well, that's good.

I'm glad.

But don't make a big thing out of it.

You're just doing what you're supposed to do.

And I'm doing what I'm supposed to do.

Something good comes out of it?

Well, then, great.

If not, eh, well, we move on.

But you don't give up.

And you don't let fear drive you from your talent, huh?

DIANA: (SINGING) I'm looking on the bright side.

Looking on the bright side.

Looking on the bright side.

Looking on the bright side.

Whenever I collapse, whenever I fall in your arms,

that's when I know I'm holding you,

holding you within my grasp.

That's when I feel brand new.

I'm looking on the bright side.

I've got my visuals.

I'm looking on the bright side.

[music playing]