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 ♪