The Eddy (2020) s01e01 Episode Script

A NETFLIX ORIGINAL SERIES
[man rapping] Hey, bro, you know what?
Don't listen to just anyone ♪
Be careful what you do
Words are all that separate us ♪
Hey, bro, you know what?
Don't listen to just anyone ♪
Words are all that separate us
Hey, bro, you know what ♪
[jazz band strikes up]
[fast swing beat]
Now all our smoke has cleared
Even though you've disappeared ♪
The fire's still hot
I feel you in my bed ♪
It's so rare that I obsess
But this is one time I confess ♪
That I cannot
Get you out of my head ♪
So sublime, the time
That I'm referring to ♪
Baby, you should know ♪
On Rue du Bac the clock was chiming
Chiming very slow ♪
Then you let it go ♪
Call me when you get there
I'll come down to meet you ♪
Take a bus or jet there
On a one-way ticket ♪
Call me when you get there
If you want to make it ♪
There's a train so take it
To our rendezvous ♪
I'll be waiting for us
Open road before us ♪
When I sing that chorus
I think of you ♪
So call me when you get there
Boy, don't you forget where ♪
À la Gare du Nord how sweet
To see your smiling face ♪
[sings in French]
She's tired.
You look tired too.
I'm not trying to sing.
The bar's doing well,
better than last night.
That's all you tell me, Farid.
"It's better than yesterday."
- We're not full.
- Yeah, I see that.
- He's here.
- Who?
Franck Lévy.
Don't look.Turtleneck.
Shit.
Of all the nights
She's off, the crowd's off
It's gonna be OK.
[singer sings] I'll be waiting for us
Open road before us ♪
When I sing the chorus
I think of you ♪
So call me when you get there
Boy, don't you forget where ♪
À la Gare du Nord
How sweet to see your smiling face ♪
Call me when you get there ♪
Call me when you get there ♪
[music fades]
- Franck.
- [grunts]
It's Franck, right?
- How are you?
- I'm fine.
- It's been too long.
- Yeah, too long.
I have to go, I promised my wife
to relieve the babysitter.
- Thanks for coming out.
- No problem. It was very good.
What you heard We can do much better.
- It sounded great.
- No.
I run a small label, I make no money.
[Elliot] So, it's a no?
You were with Blue Note.
What do you care what I think?
If you were playing
it would be a different story.
I think this band
could be something special.
Will you come again?
I'll try I'll try.
Gotta go. It's late. Good night.
[music echoes down hallway]
Smiling face ♪
[trumpet player] Learn your parts!
Three nights, you shit the bed.
- [sax player] You fucked up.
- [trumpet player] No, I never fuck up.
[sax player] Let me pack.
[trumpet player] Well, pack up for good
'cause tonight was shit.
- You too. Change your mouthpiece.
- Right.
- [sax player] Jude?
- [Jude] What's going on, man?
[sax player] It fell apart.
- [trumpet player] I played better.
- [sax player] Always on my case, man!
- [man 1] Hey, great show, man.
- Thank you.
See you next time.
Thank you.
- [man 2] Brilliant. Brilliant!
- Thank you very much.
- Will you play, next time? Please!
- Hey, we'll see.
You should. Thank you.
- [woman 1] Thank you, Elliot.
- Thank you. See you soon.
- See you very soon. Goodbye.
- [man 3] Goodbye.
[man 4] So nice meeting you.
I'm such a big fan. I have all your CDs.
Great. That's more than I got, man.
- Wife got everything in the divorce
- [woman 2] Thanks.
So that's it.
[claps hands]
- [Farid] How many mojitos for table 8?
- [barman] Uh three.
- Three.
- Three, yeah.
[cash drawer slams shut]
I really mean it, you sang well.
- Not this time, I didn't.
- [drummer] See you tomorrow, guys.
- [Jude] Leaving?
- Yeah. See you tomorrow?
[Jude] Yeah.
[sax player] Kat, we need you,
we're discussing something.
- [Kat] Yeah, but
- Where you going? Stay here.
We gotta talk.
You guys killed it tonight.
- He's nice.
- You should've heard him, that's all.
[sax player] We're in combat
and we hear some strange things.
Guys, stop. You killed it.
Why the long faces?
- [Farid] Guess who was here tonight?
- [pianist] Keith Jarrett!
[all laughing]
[Farid] Better. Better than that!
Franck. Franck Lévy.
What?
Franck Lévy was here tonight.
In the club. He was listening to
Hey, guys, why did Franck Lévy come?
Because he was hearing buzz about you
all over Paris. So stop pouting.
He came tonight,
I talked to him, he was listening to you.
He didn't want to talk
'cause he was having fun listening to you.
Show some team spirit.
When I say you were good, I mean it.
Sleep on that.
Tomorrow you come back
and do the same as tonight, but better.
[Kat] Bye, guys.
- [Farid] We're good.
- [sax player] Kat, don't leave!
[Farid] That's the good news.
Alright, guys?
Night, guys. Get some practice in.
Maja, when you're singing, forget Elliot.
Get him out of your head.
- He was staring at me.
- I know.
I know it's complicated but
I know you.
The audience didn't notice,
but I know you can do better.
OK? Forget him.
Think about yourself. You sing.
- It's what moves you.
- Thank you.
- [sax player] Go on, you too.
- [pianist] The two brothers
[Farid] See you tomorrow.
See you tomorrow at two.
[trumpet player] Two?
[trumpet player] Call Jojo early
so he can learn his parts.
[sax player] You never back me up.
- You crushed it.
- [Maja] Good night.
- [sax player] Learn to play trumpet!
- Thank you. I'm staying for a bit.
[sax player] Take care. Bless you.
- You're great. We need you.
- Thank you, thank you.
- [sax player] Stay strong.
- I will.
- [pianist] You're the man.
- [sax player] You're the man.
[pianist] See you tomorrow.
[trumpet player] Jojo!
Thank you very much for tonight.
[pianist] I love you. Chin up.
- Yeah.
- [pianist] Farid's right. Just
zone him out. Pay no attention.
- It'll pass.
- Thank you.
[door closes]
[sad chord]
[plaintive melody]
[piano continues]
Good evening.
- [man] Hey.
- We're closed.
- [man] Farid?
- He left.
- [man] I here for money.
- Send an invoice. We'll get you paid.
- [man] Hey.
- Hey, hey. Hey!
[door opens]
[Elliot] Maja!
Hey. Maja!
- Hey. I here for money.
- OK.
- Where is the money?
- Farid is not here. Come back tomorrow.
Where is the money?
- What's the matter with you?
- Where is the money?
[Elliot groaning]
[man speaks Serbian]
[Elliot groaning]
[barman] Elliot? You OK?
You're bleeding.
[Elliot] Hey!
[barman] Elliot?
Elliot!
[Elliot] Hey!
[panting]
Farid!
[loud knocking]
Farid!
Hey! I've got kids trying to sleep here!
- What's wrong with you?
- Where's Farid?
What happened?
- Will you?
- Come in. Quiet. Farid's not here.
- [Elliot yelps]
- I told you it would sting.
- Ready?
- No.
[laughing] Come on!
It could leave a small scar.
You could look sexy.
Hmm?
Like a cowboy.
Old cowboy.
Old, old
- Really, really old.
- [groans]
I feel old.
So how did it happen?
Hmm?
- What was it?
- Don't worry. Where is Farid?
[woman] I don't know.
You should know.
- He tells me the band is almost great.
- He's wrong.
Tell me more.
Tell you what?
It's a club.
It's OK.
[woman laughs] It's OK?
That's all you and Farid ever say.
Either you say nothing
or you say it's OK.
- I don't understand.
- Mm. [chuckles]
You don't understand French
when it suits you!
- You know, Elliot
- [sighs]
we've put everything we have into this.
So have I.
No offense,
but we have more to lose than you.
[gate creaks]
[starts motor]
[roar of traffic]
[jazzy melody]
[picks up tempo]
[drums join in with piano]
[buzzer sounds]
[hums bassline in time with drums]
[humming becomes the sound
of double bass]
[music continues]
[starter motor wheezing]
Shit.
[motor starts]
[singer scats in time to music]
[Farid coughs]
Don't look at me like that.
This was your fault.
- [Farid] What happened?
- [scoffs] What happened?
[Farid] Hey, wait for me!
I'm talking to you.
[Elliot] I was closing up last night.
Dude comes in saying we owe him money.
- A buddy of yours?
- He was looking for me?
- [Elliot] Yes. Where were you?
- Meeting a guy about new speakers.
At two in the morning?
They're probably hot, but nobody'll know.
Don't worry.
Man, what are we, crooks, now?
I gotta get beat up
every time I leave the club?
Don't worry about that guy.
Listen to me.
Truth is, I bought some cheap booze
from him and
I didn't pay him back.
How much do we owe him?
Five.
Thousand.
Man, come on!
[Farid] You're interested
in our finances now?
Come on, this'll be fun.
We'll talk grants, payroll,
taxes, permits
You realize that running a club
takes a lot more than
Hey! Just tell me, man.
Are we in trouble?
No, don't worry.
Franck Lévy called me.
He's calling you, not me?
Yeah. They won't sign us just yet.
But you'll see, with time, it'll happen.
It will.
[plays chords]
[Farid]
With time, with time, with time ♪
Of course it takes time, my brother.
[Elliot] Hmm.
[plaintive melody]
- Something new?
- Might be.
What do you think of it?
Go major.
[plays minor chord]
[switches to major chord]
Try it faster. Faster.
[picks up tempo]
[piano switches back to minor chord]
[plaintive trumpet melody]
[door opens]
It's nice.
- [Farid] Hi.
- Hi.
[Farid] Please, come in.
Haven't we met before?
- Have we?
- I think we have.
- I'm not sure.
- We have.
I don't remember.
It was a summer evening, along the river.
You two make me sick.
[woman laughs]
I brought lunch.
- Lunch?
- Mm-hmm.
Shit. I gotta go.
- What was that about?
- I don't know.
Naturally.
[muffled announcement over speaker]
[humming softly]
[continues humming]
[girl] Something good?
- [Elliot] Hey, hey!
- Hi.
- Come here.
- I stink!
It's nice to see you.
Is it?
Did you carry your clarinet on,
or did you check it?
- What happened to your face?
- Don't worry about it.
- Maybe I didn't bring it.
- Julie, Julie
- That's a good instrument. Don't check
- Dad, I just landed. Hi.
Hello.
How about a hug?
Hmm? Hmm?
Come on, come on.
All right. Let's get out of here.
[Julie sighs] OK.
Please tell me you didn't bring
that dumb bike to take me home.
[click]
Hey!
- Hey, fuck you, asshole!
- Hey, hey.
[Julie] Fuck you!
[car honks horn]
[more cars honking]
[honking intensifies]
I like it when you wear stockings.
- And it's convenient.
- [chuckles]
[woman] You always say the sexiest things.
I'll wear them more often.
[kisses]
Did you talk to him about Maja?
[Farid] That's none of our business.
[woman] Did you talk to him
about the club? That's our business.
[knock at door]
Oh, sorry.
- Katarina, it's fine!
- No!
- Come in!
- No!
- Now they know we're sleeping together!
- That's not it. It's embarrassing.
[groans] You told me no one was here.
[gasps] She's out there.
- It's not funny.
- [Farid] Katarina, come!
- Stop it!
- [Farid laughs]
- I'm not coming back.
- OK.
- I mean it.
- Farewell.
Farewell.
- Eat.
- [Farid blows kiss]
[whistling]
[roar of traffic]
[intercom beeping]
Maja!
Maja!
I broke down.
Julie.
Julie, come here.
Hey, you, uh
You remember Julie, right?
She needs a glass of water and a shower.
Hi.
[Elliot] Please?
- [Maja] It's all I've got.
- Thank you.
How was your flight?
Oh, God, it was terrible.
The guy beside me kept farting.
Every time he farted he looked at me
because he felt bad about it.
So I couldn't hate him. He kept looking
at me with this look on his face.
Like Like this. Like, he was like
And I was just, like
"Um, I'm sorry"
OK, that's enough.
Thanks, Dad.
What's the story here?
No story.
No story?
OK. Time for my shower.
The blue towel is clean.
- [Julie] Thank you.
- Welcome.
What happened to your face?
- You don't like it?
- [Maja snorts]
You come to my apartment and you act
like I'm making you uncomfortable?
- Thank you, Maja, for taking us in.
- I took her in, not you.
I've been working on something.
Want to hear it?
[Maja hums discouragingly]
- What happened to your piano?
- It was your piano.
- Yeah, I know it was.
- So I sold it.
[Maja sighs]
I had to call my mother
this morning, for
money for my rent,
and she gave it to me,
but she says
she always says, "Maja,
you made great money in New York,
why do you do this to yourself?"
And you know what? For the first time
I couldn't answer the question.
Invite her to the club.
Let her hear you sing.
You think I want her here
when I'm like this?
And don't play on that keyboard, OK?
[minor chord]
We've all learned to hide ♪
What's burning inside ♪
Yearning denied
Just gets stronger ♪
Here's where we dare ♪
To strip it all bare ♪
Sit with your truth
Soon you're a sleuth ♪
[humming]
The Eddy ♪
- Sleuth? What is a sleuth?
- A shitty lyric, that's what it is.
[minor chord]
We've all learned to hide ♪
[changes key]
We've all ♪
Once again.
We've all learned to hide ♪
What's burning inside ♪
A yearning denied ♪
Just gets stronger ♪
Here's where we dare ♪
To strip it all bare ♪
Sit with your truth ♪
Dark corner booth ♪
Keep slipping slow ♪
In the strong undertow ♪
The Eddy ♪
[keyboard flourish]
- I wish you'd sung like that last night.
- Fuck you.
You're not gonna offer me one?
That's pretty rude.
That was the wrong place to bring you.
You think so?
How you doing?
You look good. Healthy.
What were you expecting? Track marks?
No. But your mother did say
you've been struggling a bit, so…
OK, well, you don't have
to listen to my mom.
I do listen to your mother
where you're concerned.
[drumming]
[loud racket]
[Farid] Cool it, kids! Cool it!
Take it easy, Adam! Hey!
You're practicing, not making noise.
Stop!
[Adam laughs]
Wait. I'll do it even louder.
- Mom, he's strangling me!
- I'll teach you to play djembe.
Adam!
- [drumming continues]
- Adam!
[Adam] Look what he's doing!
[Farid] My head
[Adam wailing]
Be careful, Farid!
[Farid] Settle down.
Let me explain something.
No, it's important.
Sit down, both of you.
Sit down.
Here, this is yours.
No, no, cool it, kids.
- Listen to me.
- It's yours.
Will you listen to me?
What's important
- [girl] That's mine.
- OK.
Later!
- [turns key in lock]
- [banging on door]
- [Adam] Dad, open up!
- [Farid laughs]
- [Adam] You locked us in?
- Not at all.
[Adam] Yes, you did!
- What if we need to pee?
- Pee out the window. Improvise.
[Adam] You'll see. I'm gonna do it.
- You really locked them in?
- [Farid] I'll let them out in two minutes.
Hey! No! Don't touch!
You don't know how to cook.
Let go. Wash the dishes, it's safer.
No, you cook, you wash the dishes.
[woman] Did you go to the bank?
- Yeah.
- And?
They say the club is too risky
and not French enough.
[woman] Not French enough?
What does that mean?
I don't know. I don't understand.
You could talk to your dad
- No.
- Why not?
Stop!
[woman] I don't understand. I swear
It's like you enjoy being in trouble.
Stop it.
[woman] No. You're a pain!
[Julie] So where
are you dragging me to now?
[Elliot] One more stop.
[saxophone playing]
- [Elliot] Hey.
- How are you?
- Julie, this is Awa.
- [Julie] Nice to meet you.
- Hey, man.
- You good?
- How's it going?
- Good.
Hey, guys. My daughter, Julie.
- [man] Hey.
- Hi.
- You good?
- Yeah, yeah, good.
- [bassist] Julie, do you speak French?
- No.
[man] You play an instrument?
Clarinet. She plays clarinet.
Guys, where's the singer?
Oh, no one came.
- No one came?
- Yeah, but
- Today we're both the singers.
- Sim, I wanted to hear the singer.
No, but it's great. You're gonna see.
[bassist] Julie, let me tell you
about singer problem.
- Be right back.
- [Sim] He always go on about singers.
- [Sim] You just detest the woman.
- [bassist] I hate women.
- You hate women?
- [bassist] Women singers. And men singers.
- You hate women singers?
- Hey, guys, guys!
Guys! We going to play music or what?
OK. Play "Au Milieu."
- "Au Milieu."
- Yeah. And get it right.
- I always do. You too. "Au Milieu."
- "Au Milieu."
- Come on.
- [Sim plays keyboard]
[sax solo]
[beat kicks in]
[bassist raps in French]
- [bassist raps in French]
- [Sim echoes lyrics]
[bassist and Sim sing in French]
[sax plays improvised melody]
[rapping in French]
[mournful trumpet solo]
[call and response in French]
[playing long, high notes]
[music continues]
[band stutters to a halt]
[Elliot] Hey.
Hey!
Shit Hey!
[panting]
Who was that?
What the fuck happened?
God
What's wrong with you?
[band playing on stage]
- [Farid] Sure it's the same guy?
- Yeah. Same guy.
And you ran after him?
- What was I supposed to do?
- I don't know. I'm just asking.
Don't worry. I'll take care of it.
Is the band ready?
Yeah. Where's Maja?
What do you mean, where's Maja?
She didn't show up?
Maja!
Maja, your buzzer's still broke.
Maja!
Excuse me, ma'am,
I have a broken heart
No, sir. No, you can't come in.
- Please.
- No, you can't come in. I don't know you.
- It's not possible.
- I have a broken heart.
- No. Come back, sir. No!
- Thank you.
Maja?
Maja, come on.
Don't do this.
Maja?
You are not this type of person.
Come on.
[drum solo on stage]
[solo continues]
- [sax player] Did you call her?
- [pianist] Yeah, I called her. Nothing.
[plays trumpet]
Seriously?
- [pianist] Should we go?
- No. We gotta wait a bit.
No, I'm sick and tired of this,
we're always waiting.
She's not on time.
Do we wait all night?
- We're just gonna get chewed out.
- We always end up having to wait. No.
[pianist] This is his bullshit, man.
Let him sort it out.
Anyway, if you say
I'm going. You guys do what you want.
[sax player] I'm with you.
[Jude] This is bullshit, guys.
[plays fast bass riff]
- You take things too personally.
- [bassist] Not at all.
The Elliot-Maja saga
- Just don't let it get to you.
- It doesn't get to me.
[fast bass solo]
[muttering to himself]
[applause in another room]
[Kat] Hey, little girl.
You talk in your sleep.
What was I saying?
If I told you, it would spoil it.
Dreadlocks is joking me.
[lively dramatic groove]
[upbeat melody]
[sax and trumpet playing in harmony]
[upbeat melody returns]
[lively dramatic groove]
[wailing sax solo]
[fast and intricate trumpet solo]
- So, did you find her?
- No.
So give them a treat. You play.
You won't fetch her, you won't play
You want to close?
She's not at home.
They're instrumentalists tonight.
Fine, I'll take care of it.
- Hey, don't do that.
- Then you go.
Farid, quality matters. You understand?
Listen, if we don't play,
they won't come back.
- We can't afford to be empty.
- We can't afford to be bad.
Go to hell.
[band play lively dramatic groove]
[crowd cheering]
[woman whooping]
Ladies and gentlemen,
this is amateur hour,
and I will be your singer tonight!
[applause]
[Farid] What do you want to do?
OK?
[mid-tempo funky rhythm]
[sax melody]
[catchy brass riff]
Works a lethal smile
Perfect killer style ♪
[Farid sings flat]
Gets you on the hook ♪
Eyes that mesmerize ♪
You don't realize ♪
It's too late for you
Murder in the Rue ♪
It's the sweetest feelin'… ♪
[Maja speaking Polish]
- [man] I don't understand!
- [Maja speaks Polish]
[Maja exclaims something loudly]
[laughing]
- A song for you.
- You're very beautiful.
Here's where we dare ♪
To strip it all bare ♪
Sit with your truth ♪
Dark corner booth ♪
Keep slipping slow ♪
In the strong undertow ♪
The Eddy ♪
[roar of traffic]
["Murder in the Rue" continues]
[catchy brass riff]
[song slows down and ends]
[loud cheering]
[Jude] That was good!
[Farid] I sent Julie home in a taxi.
You know you left her with us?
Uh
Fuck you very much for tonight.
- I'll take out the trash.
- [Sim] Go ahead.
Hey!
Hey!
Fuck.
Hey! Oh!
Fuck
[man grunts]
[mumbling]
You're loaded.
That wakes you up, huh?
Here. Down there to your left,
there's a taxi stand.
If you wanna use this for something else,
don't do it near my club. OK?
Go on, get outta here.
Beat it!
[Farid groaning]
[motor revving]
[ringtone]
[ringtone continues]
Dad.
- Dad, your phone's ringing.
- Hmm?
"How did you get home?
Did I forget you?"
These would all be great
fucking questions to ask.
[ringtone stops]
Yeah?
Wait. What?
[beep]
Shit.
The Relais de Belleville until
I don't know. Three in the morning.
- Not the Eddy?
- [Elliot] No.
- Why weren't you in your own club?
- What?
[cop 1] Why weren't you in your own club?
- Farid and I had an argument.
- An argument or a fight?
An argument. That was someone else.
And can you describe
that someone else to me?
- Yes, of course.
- What did he look like?
[Farid sighs]
He was short, Caucasian.
- Honestly, I don't know.
- [cop 2] What happened?
- What?
- What happened with him?
I don't know. That's all I know.
- [cop 2] OK, thank you.
- OK? OK?
Thank you.
Here you have tuna sandwiches,
then you have salmon,
cheese and tomato or ham.
Do you have any clue what she likes?
No idea.
[doctor] I can help. Let me help you.
There you go.
Thanks.
Do you have any family?
Someone I can call?
A friend? Parents?
How is she?
She's good.
Uh She says I can come home.
Nah. I don't think it's a good idea.
If I go home
I think you should come with me.
- What?
- I think you should come with me.
Julie, I can't.
Why?
What are you gonna do here?
Why don't you want to come home?
I used to
play, at home, sometimes.
Your brother would sometimes
come into the room
And do this little stiff man dance,
like he was 400 years old.
He wouldn't move his arms
or legs. He just kind of
That used to make your mother laugh.
You remember that?
[Julie] Mm-hmm.
I haven't heard you talk about Fred
in a really long time.
Hey.
New York isn't my home anymore.
Yeah, but it's my home.
Look, Farid and I started
some things here and I can't just stop.
That's what people do all the time, Dad.
They stop.
[intercom beeps] Please wait.
We are connecting your call.
[Maja] Yes?
You fixed your buzzer?
[Maja] They did.
You heard the news?
Yes.
I, uh
I want to open the club tonight.
To play.
Hey.
[Kat] Elliot.
Thanks for coming.
Hey.
- You OK?
- Mm-hmm.
Isn't this a crime scene?
Happened outside.
Hey, man.
Hey.
Hi.
- How are you?
- [Julie] I'm OK.
[Maja] I'm so sorry.
[Elliot] Hey.
Elliot.
Should we open the doors?
- Let's do it.
- OK.
Let's go. Go.
[Elliot] All right, guys. Up you go.
Good evening. My name's Robby Marshall.
We're pleased to be here tonight.
We're gonna start with a song
called "Mira". Thank you.
[soft shuffling beat]
[warm laid-back groove]
Someone was killed here.
Of course nobody comes.
- You're not in bed?
- I'm hungry.
Is it good?
[band playing inside]
[music continues]
[voices drowned out by music]
[clarinet solo]
[background chatter grows louder]
[inaudible]
[band switch to new rhythm]
[song ends]
Thank you.
Thank you very much. Good night.
- Do your thing.
- OK.
[applause]
[crowd whooping]
Thank you. Thank you very much.
[laid-back swing rhythm]
[sings in French]
[singing continues]
Hi, boss. You OK?
[singing continues]
[singing continues]
[clamor of voices]
It's packed.
First time I've seen this place full.
It's kind of dark.
If you can't be good,
be notorious, right?
[woman] Hi, Elliot.
[Elliot] Come on.
[song steps up a gear]
[crowd cheering]
[sax solo]
We're driving slow along the highway ♪
We're driving slow along the highway ♪
- I don't want to go home without you.
- Huh?
I don't want to go home without you.
Julie, I don't know
what's going to happen here.
Yeah, me either.
[band finishes song]
[applause]
[Maja] Thank you. Thanks very much.
[loud cheering]
Now
I'm going to sing something
for a dear friend.
For Farid.
[speaks Polish]
Elliot, do I sing alone?
A vortex of sound ♪
Revolving around ♪
Dissolving you down ♪
To the essence ♪
[piano quietly joins in]
Of secret desires ♪
That midnight inspires ♪
Music will flow
Candles will glow ♪
Sweetest surrender
Pulling you under ♪
The Eddy ♪
[delicate piano figure]
The night will imbue ♪
An indigo hue ♪
The horn blowing blue
Through the evening ♪
[improvised trumpet melody]
Lost in a dance ♪
And caught in a trance ♪
Under the sway
Riding the wave ♪
Sweetest surrender
Pulling us under ♪
The Eddy ♪
A spiral staircase ♪
Leading to that place ♪
Deep in the night ♪
Where everybody's in the zone ♪
And everybody's tight ♪
Tonight ♪
Everybody's right ♪
We've all learned to hide ♪
What's burning inside ♪
A yearning denied just gets stronger ♪
Here's where we dare ♪
To strip it all bare ♪
Sit with your truth
Dark corner booth ♪
Keep slipping slow
In the strong undertow ♪
The Eddy ♪
[chiming piano chords]
[trumpet and sax melodies interweave]
The Eddy ♪
[applause]
[band begins new song]
[upbeat groove]
[laid-back trumpet figure]
[song ends]
Subtitle translation by
Marisa Castle de Joncaire