Online la trascrizione del copione del THIS IS IT

Szwaby82 Inviato: Sab Giu 19, 2010 2:38 pm





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This Is It Script



MAN 1:
Where you from?


MAN 2:
I'm from Holland, and this is like...


Ten hours for me.
It's, like, across the world.


I came here for this audition.


I told all my boys at home I'm coming
to funk in front of Michael onstage.


I'm just gonna dance for him. I don't care
if I make it, I don't care about nothing.


Thank you, Michael. I'm excited.


You've inspired everything
in my life. My energy.


You're why I dance.


I can remember being a little girl and
watching "Thriller" on TV with my mom


and thinking that that was
the coolest thing in the world.


I go to sleep and just wake up,
and the first thing I do is not even eat.


I just start playing your music and start
just dancing and moonwalking on a rug.


I was like, "What I would give
to be onstage with you."


And the fact that I get to do
that is... It's amazing, so...


I'm from Australia...


And, um, I got word of your audition
two days before it was about to happen


and I was on the next flight over.


It begins. This is... This is the
beginning. I'm not even onstage yet.


Like, I can't even imagine what's gonna
happen backstage that first show in London.


I'm looking even farther ahead. I don't even know
what I wanna do after this because this is Michael.


I wanted to dance,
you know what I mean?


And that inspiration came from,
you know, you.


And you've inspired me and given me
a reason to want to inspire others.


Uh...


Life is hard, right?


And I've kind of been searching for
something to shake me up a little bit


and give me a kind of a meaning,
to believe in something.


And this is it.


ORTEGA: So we open the show, as
you know, with all the lights down.


We're gonna create a spectacular
opening with pyrotechnics.


And we want some sizzles
and some cracks and some pops.


We have our video that is called
"Glimpses and Flashes."


And that's where Light Man comes out
on the gantry, floating above the stage,


and he'll just be dazzling
in video information.


And piece by piece
by piece by piece,


MJ is revealed, until he jumps out


and on Michael's command,
we begin.


["WANNA BE STARTIN'
SOMETHIN"' PLAYING]


You wanna be startin' somethin'


You got to be startin' somethin'


You wanna be startin' somethin'


CHORUS:
Startin' somethin'


Hard to get over
CHORUS: Yeah, yeah


Yeah, yeah


Stuck in the middle
Yeah, yeah


And the pain is thunder
Yeah, yeah


Hard to get over
Yeah, yeah


Too low to get under
Yeah, yeah


Stuck in the middle
Yeah, yeah


And the pain is thunder
Yeah, yeah


You love to pretend
That you're good


When you're always
Up to no good


So your tongue became a razor


Someone's always
Tryin'


To start my baby
Cryin'


Lyin'


Now baby's
Slowly dyin'


Startin' somethin'


You got to be
Startin' somethin'


I said you wanna be
Startin' somethin'


Startin' somethin'


Hard to get over
Yeah, yeah


Yeah, yeah


Stuck in the middle
Yeah, yeah


And the pain is thunder
Yeah, yeah


Hard to get over
Yeah, yeah


Yeah, yeah


Stuck in the middle
Yeah, yeah


Yeah, yeah


You're a vegetable
You're a vegetable


You're a vegetable
You're a vegetable


Still they hate you
Still they hate you


You're a vegetable
You're a vegetable


A buffet
A buffet


You're a vegetable
You're a vegetable


They eat off of you
They eat off of you


You're a vegetable
Ow!


He-he-he-ha


You know I'm gonna
want that more, right?


[IMITATES BASS GUITAR]


It's funkier.


I'm not feeling
that part enough.


[IMITATING BASS GUITAR]


BEARDEN:
As in running next to him.


It's not there.
BEARDEN: Okay, it should be.


It should be.
I know, it's all for love.


BEARDEN: It's coming there.
We'll get it there.


Your love is magical


That's how I feel


But I have not the words
To explain


To tell you


I love you


[CROWD SCREAMING
AND CHEERING]


WOMAN [OVER RADIO]:
Jackson's ETA is 15 minutes.


Michael Jackson last performed
live right here in London


at the 2006 World Music Awards.


WOMAN [OVER RADIO]: Michael
Jackson's here. Go straight onstage.


CROWD [CHANTING]:
This is it!


Yeah!


This is it. This is it.


[CHANTING]
This is it! This is it!


I love you.


[LAUGHS]


MAN:
We love you!


I'll be... I'll be performing the songs
my fans wanna hear.


This is really it.
This is the final curtain call.


Okay? And see you in July.


If you can't feed your baby
Yeah, yeah


Then don't have a baby
Yeah, yeah


And don't think maybe
Yeah, yeah


If you can't feed your baby
Yeah, yeah


Tryin'


Cryin'


Lyin'


Now baby's slowly dyin'


Hoo
Startin' somethin'


You got to be
Startin' somethin'


You wanna be
Startin' somethin'


You got to be
Startin' somethin'


Hard to get over
Yeah, yeah


Too low to get under
Yeah, yeah


You're stuck in the middle
Yeah, yeah


And the pain is thunder
Yeah, yeah


Hard to get over
Yeah, yeah


Too low to get under
Yeah, yeah


You're stuck in the middle
Yeah, yeah


Lift your head up high


And scream out to the world


I know I am someone


And let the truth unfurl


No one can hurt you now


Because you know what's true


I believe in me


So you believe in you
Help me sing it


CHORUS: Ma ma se,
ma ma sa Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Sing it to the world


Sing it out loud


Oo-hoo


Whoa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Help me sing it
Ooh!


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Help me sing it


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


Help me sing it


Ma ma se, ma ma sa
Ma ma coo sa


Ma ma se, ma ma sa
Ma ma coo sa


You wanna be startin' somethin'


You got to be
Startin' somethin'


I said you wanna be
Startin' somethin'


Ooh!
Startin' somethin'


[PEOPLE APPLAUDING]


["BAD" PLAYING]


Good. Great. Good to see all of
you. Thank you for being here.


The idea was get the big fish from all over
the world and put them in the same pond.


["SMOOTH CRIMINAL" PLAYING]


ORTEGA: The dancers in
a Michael Jackson show


are an extension
of Michael Jackson.


They are an extension of the man.


Everything is bigger
and more intense in his world.


First cut, thank you.


Next group. Ladies, brava.


["DON'T STOP 'TIL YOU
GET ENOUGH" PLAYING]


WALKER:
Lean, gorgeous, hot.


Dancers that can rock it.
But if you don't have that goo,


that ooze coming out of you,
not gonna get the job.


MICHAEL [ON RECORDING]: Don't
stop till you get enough Ow!


["SMOOTH CRIMINAL" PLAYING]


She's the one.


[PEOPLE APPLAUDING]


And the Michael Jackson principal
dancers for This Is It are:


["BAD" PLAYING]


MAN 1:
Guys, those go over here.


Hey, guys?
Those go over here, actually.


MAN 2:
Aww.


Truss moving.


["JAM" PLAYING]


Quite the eventful day
because we got to be toasted.


There's elevator speed
and toaster speed.


Part of this, guys,
is anticipating the stop.


Keep your shoulders square,
keep your center,


and just get, like, right down into
a nice, good squat position like that,


and you're gonna come up and...


You feel that initial...?
Yeah, I do.


Yeah, that's
the adrenaline, baby.


CHORUS:
Jam


Jam


Jam


Nation to nation, all the world
Must come together


Face the problems that we see


Then maybe somehow
We can work it out


I asked my neighbor for a favor


She said, later


What has come of all the people?


Have we lost love
Of what it's about?


I have to find my peace
Cos no one seems to let me be


False prophets cry of doom


What are the possibilities?


I told my brother
There'll be problem times


And tears for fears


We must live each day
Like it's the last


Go with it, go with it!


Jam


It ain't
It ain't too much stuff


Jam


It ain't too much for me to


Jam


It ain't
It ain't too much stuff


Jam


It ain't too much for me to


Jam


Uh-huh
It ain't too much stuff


Jam


It ain't too much for me to


Jam


Uh-huh
It ain't too much stuff


Jam


Don't you...
It ain't too much for me


[WHIP CRACKING]


[GLASS SHATTERS]


[WHIP CRACKS]


It ain't too hot for me to jam


It ain't too hot for me to jam


It ain't too hot for me to jam


It ain't too hot for me to jam


It ain't too hot for me to jam


It ain't too hot for me to jam


It ain't too hot for me to jam
It ain't too hot for me to jam


It ain't too hot for me to jam


Ooh!
Jam


It ain't
It ain't too much stuff


Jam


It ain't... Don't you...
It ain't too much for me


Jam


It ain't too much stuff


Jam


It ain't too much for me


Get on it


Get on it, give it, baby


Give it to me


Got to get it
You just want to give it


[PEOPLE APPLAUDING]


We're at Culver Studios,
shooting green screen.


We're gonna do "The Drill" into "Cadence"
into "They Don't Really Care About Us."


And it's gonna be really cool because
they're gonna multiply the guys.


So our existing 11 guys
are gonna become 1100 guys,


and it'll be really, really cool.


So we're kind of excited.
And Michael's coming today.


MAN 1: There's the man.
MAN 2: There's Michael.


MAN 1:
The man is here.


MAN 3:
Whoo! Ow! Ow!


So that we can give you this:
A million people.


Michael, do you like this,
first of all?


Yeah, that's a cool move, a cool move,
but it spreads out too much to the end.


JONES: So we can just stop it
whenever you hit the space bar.


You can go to infinity.


Yeah. As though
there's no more than


1, 2, 3, 4, 5, 6, 7, 8, 9, 10 perhaps?
Or maybe just your nine dancers?


Ten.
Great.


Bah ooh bah ooh bah


What is that?


Jah ooh aah uh aah


One more time.
Six, seven, eight...


ALL:
Who?


Who's bad?


Who?


Who?


Skin head, dead head


Everybody gone bad


Situation, aggravation


Everybody allegation


In the suit, on the news


Everybody dog food


Bang bang, shot dead


Everybody's gone mad


All I wanna say is that
They don't really care about us


All I wanna say is that
They don't really care about us


Tell me what has become
Of my rights


Am I invisible cos you ignore me?


The proclamation promised me
Free liberty, now


I'm tired of bein'
The victim of shame


They're throwing me
In a class with a bad name


I can't believe this is the land
From which I came


Skin head, dead head


Everybody gone bad


Situation, speculation


Everybody allegation


Beat me, bash me
You can never trash me


Hit me, kick me
You can never get me


All I wanna say is that
They don't really care about us


All I wanna say is that
They don't really care about us


Oh!


KING [ON RECORDING]:
In what will go down in history


as the greatest demonstration for
freedom in the history of our nation.


Every day, create your history


Some things in life
They just don't wanna see


But if Martin Luther was livin'


He wouldn't let this be


All I wanna say is that
They don't really care about us


All I wanna say is that
They don't really care about us


All I wanna say is that
They don't really care about us


All I wanna say is that
They don't really care about


All I wanna say is that
They don't really care about


All I wanna say is that
They don't really care about us


[HORN HONKING]


[HORN HONKING]


ORTEGA: Hold for applause,
hold for applause.


Slow umbrella fade out.


Why? Why?


Yeah. Yeah.
Let's just go for it.


Why? Why? Why?


Tell 'em that is
Human nature


Why? Why?


Does he do me that way?


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


MAN:
Ooh!


Does he do me that way?


I like livin' this way


I like lovin' this way


[ORTEGA LAUGHS]


[SPEAKING INDISTINCTLY]


Reaching out


[MEN SPEAKING INDISTINCTLY]


[SINGS INDISTINCTLY]


[WOMAN SPEAKS INDISTINCTLY]


At a stranger


The city winks a sleepless eye


Hear her voice


Shake my window


You sound great, MJ.
You sound great.


Sweet seducing sighs


Get me out


Bam, something right there.


Into the night-time


Four walls
Won't hold me tonight


If this town


Is just an apple


Let me take a bite


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


Does he do me that way?


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


Does he do me that way?


Reaching out


Into the night-time


Electric eyes are everywhere


See that girl


She knows I'm watching


She likes the way I stare


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


Does he do me that way?


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


Does he do me that way?


I like livin' this way


I like lovin' this way


Hey, why, oh, why?


Hey, why, oh, why?


Looking out


[MUSIC PAUSES]


Across the morning


The city's heart begins to beat


See that girl


She knows I'm watching


She likes the way I stare


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


Does he do me that way?


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


Does he do me that way?


If they say
Why? Why?


Tell 'em that is human nature


Why? Why?


Does she do me that way?


Why? Why? Why?


Hey


Does he do me that way?


If they say
Why? Why? Why? Why?


Ooh


Tell 'em


Hey


I like livin' this way


I like lovin' this way


Ooh


Why? Why?


Oh, why?


Oh, why? Oh, why?


Oh, why?


[BIG-BAND MUSIC PLAYING]


Put the blame on Mame, boys


Put the blame on Mame


Mame did a dance
Called the Hitchy-koo


That's the thing
That slew McGrew


Put the blame on Mame, boys


ORTEGA:
We're seconds away, Mike.


MAN 1: Rolling.
MAN 2: Rolling.


And Gilda singing.


Put the blame


On Mame


MAN:
Bravo!


What's he doing here?


And cut. Ha-ha-ha.
That was a good one.


Let's cut.


ORTEGA: Okay, Bruce?
JONES: Yes, sir?


ORTEGA: Rehearsed, and Michael
was great. We can do this.


JONES: Ready to shoot?
ORTEGA: Yup.


JONES: Okay, guys, let's shoot this.
MAN: Here we go, ready.


We are rolling.
ORTEGA: Action.


What do you want me to do? Count
three like they do in the movies?


ORTEGA:
Guys, that's the cue.


I'm sorry, are we
misunderstanding something here?


BEARDEN: No, we're not misunderstanding.


We're sizzling.


BEARDEN: He's sizzling.
I'm sizzling.


He's waiting for my point,
it's coming.


ORTEGA:
Oh, I thought...


Michael, I was telling them to start when
you turn toward the audience. Do you wanna...?


Oh, no, I wanna turn first,
face the audience with nothing.


ORTEGA:
Okay.


And then when he gets
my cue, then we go.


ORTEGA: The only thing is how will you see
the video change from the marquee to the city?


I gotta feel that. I'll feel it,
the screen behind me.


ORTEGA: All right. Now this
is all sizzle, sizzle, sizzle.


It says "Smooth Criminal."


The audience is going wild. The camera
now slowly starts to move over the marquee.


[BAND PLAYING
"SMOOTH CRIMINAL"]


Ow!


As he came into the window


It was the sound
Of a crescendo


He came into her apartment


He left the bloodstains
On the carpet


She ran underneath the table


He could see she was unable


So she ran into the bedroom


She was struck down
It was her doom


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?


Annie, are you okay?
So, Annie, are you okay?


Are you okay, Annie?


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?
Annie, are you okay?


Annie, are you okay?
Are you okay, Annie?


Annie, are you okay?
Will you tell us that you're okay?


There's a sign in the window


That he struck you
A crescendo, Annie


He came into your apartment


Left the bloodstains on the carpet


Then you ran into the bedroom


You were struck down
It was your doom


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?


You've been hit by


You've been struck by
A smooth criminal


Ow!


So they came into the outway


It was Sunday
What a black day


Mouth-to-mouth resuscitation


Sounding heartbeats
Intimidations


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?


Annie, are you okay?


So, Annie, are you okay?
Are you okay, Annie?


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?


Annie, are you okay?


Annie, are you okay?
Are you okay, Annie?


Annie, are you okay?
Will you tell us that you're okay?


There's a sign in the window


That he struck you
A crescendo, Annie


He came into your apartment


Left the bloodstains on the carpet


Then you ran into the bedroom


You were struck down
It was your doom


Annie, are you okay?


So, Annie, are you okay?


Are you okay, Annie?


You've been hit by


You've been struck by
A smooth criminal


Ow!


Ow!


Annie, are you okay?
Will you tell us that you're okay?


There's a sign in the window


That he struck you
A crescendo, Annie


He came into your apartment


Left the bloodstains on the carpet


Then you ran into the bedroom


You were struck down
It was your doom


Annie, are you okay?
Will you tell us that you're okay?


There's a sign in the window


That he struck you
A crescendo, Annie


He came into your apartment


Left the bloodstains on the carpet


Then you ran into the bedroom


You were struck down
It was your doom, Annie


You've been hit by


You've been struck by
A smooth criminal


[PLAYING "THE WAY
YOU MAKE ME FEEL"]


Pretty good.
Pretty good.


[LAUGHS]


Ah


[HUMMING]


BEARDEN:
You're gonna put that in?


Uh-huh.
MAN: Uh-huh.


BEARDEN: It's really cool
for me as a musical director


because I need the artist
to be hands-on


and MJ is always hands-on
with everything that he does.


He knows all of his records.
He knows all of his tempos.


He knows all of his keys
of songs.


Doo dah


No. Just a little drag,
a little bit more behind the beat.


Yeah. It's not
the right sound.


Like you're dragging
yourself out of bed.


Imagine this is the right sound.
Check this.


Don't change so soon, though.


Don't wanna change over so
soon yet. See, you're going:


[IMITATING KE YBOARD]


Don't do that one.
Don't do that one.


Don't do that one yet?
No, no.


It should be simpler.


[IMITATING KE YBOARD]


Uh-huh. Yeah.


We'll get the sound,
we'll get the sound.


BEARDEN: We'll get the sound
but that's not till tomorrow.


MICHAEL: We gotta do a
sound check tomorrow night.


That's what we need to do.


MICHAEL: And don't start
unless you do a sound check.


I know, that's why we doing it.


We need you to do
the sound check


because can't nobody hear
what you need to hear.


Some people might
not wanna have that bass...


I want it the way I wrote it.
I mean...


Like the audience hears it.


So whatever the record's doing,
that's how I want it to sound.


That's what it's gonna sound like, but
you gotta get closer to what you want.


Then if you wanna hear a little more
booty on something else, know what I mean?


Only you can say that.
You know what I'm saying?


[LAUGHING]


A little more booty.


That's funny.


But you knew
what I meant though too.


MICHAEL:
I know exactly what you meant.


Yeah, all right, then.


One more time from the top.


CHORUS:
Ooh-ooh


Ooh-ooh


Ooh-ooh


Ooh-ooh


Ooh-ooh


Ooh-ooh


MICHAEL:
Ssh-ssh.


Try to get the same sound.


Ooh-ooh


MICHAEL:
Good sound on that. Good sound.


BEARDEN:
No, no, not yet, Prince.


MICHAEL:
No. You gotta...


You gotta let it simmer.


It's got a moment
where it has to simmer.


BEARDEN: That's right.
You're not letting it simmer.


Just bathe in the moonlight. You
have to let it simmer a bit, you know?


BEARDEN: All right, Prince? We're
gonna add two bars after the "ch-ooh."


Or at least a bar.


Yeah. MJ, check it
from the top again.


See what we got,
simmer-wise.


One, two, three, four.


[PLAYING "THE WAY YOU
MAKE ME FEEL"]


CHORUS:
Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Pretty baby
With the high heels on


You give me fever
Like I've never, never known


I feel your fever
From miles around


I'll pick you up in my car
And we'll paint the town


Just kiss me, baby
And tell me twice


That you're the one for


You make me feel real


Doo-doo


You really turn me on


Doo-doo


Knocking me off of my feet now
Whoo!


Lonely days are gone


Doo-doo


Ooh


I gotta cue that.
I gotta cue that.


That shouldn't trigger
on its own.


That can't trigger
on its own.


I gotta cue that.


So you gotta watch me
for that growl, okay?


[DRUMBEATS]


[SONG RESUMES]


I never felt so in love before


Promise, baby
You'll love me for evermore


I swear I'm keeping you satisfied


Cos you're the one for me


The way you make me feel


CHORUS:
The way you make me feel


You really turn me on


You really turn me on


You knock me off
Of my feet now


You knock me off of my feet


C'mon, girl, come on


My lonely days are gone


The way you make me feel


You really turn me on


Whee-hee-hee


You knock me off of my feet


My lonely days are gone


Cha
Cha


Cha


Shoo, shoo


Shoo, shoo, shoo


Shoo, shoo, shoo


Ohh


The way you make me feel


You really turn me on


You knock me off of my feet


My lonely days are gone


Come on, give it to me


He-he


One more time.


You really turn me on


That's why we rehearse.


It's okay, it's okay.
Right here on this one.


My lonely days are gone


Ooh


BEARDEN: They wanted us to
take those eight out so...


It's okay, it's okay, no.
It was a little too soon.


ORTEGA: Yeah, I agree, Michael.
Yeah.


ORTEGA: I think let's add them back.
BEARDEN: Just leave it.


You don't feel totally
nourished by it, you know?


ORTEGA: MJ, we'll also have a fan
there, right there in the center.


I'm trying to hear you.
Say it again?


ORTEGA: There'll be a fan, right
there off the stage for you.


Boom, right there.


Okay, watching Michael.


[SNAPPING FINGERS]


CHORUS:
Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


Doo-doo


[DRUMROLL]


[AUDIENCE APPLAUDING]


DIANA ROSS [ON RECORDING]: Once again, ladies
and gentlemen, the world's most fabulous group:


The Jackson 5.


[PLAYING "I WANT YOU BACK"]


Everybody clap your hands.
Come on!


When I had you to myself


I didn't want you around


In a crowd


But someone picked you
From the bunch


Take a second look


Show you that I love you


Let me now


Back in your heart


Blind to let you go
Let you go, baby


Now since I see you


I want you back
Yes, I do, now


I want you back
Ooh, ooh, baby


I want you back
Yeah, yeah, yeah, yeah


I want you back
Na, na, na, na


I want you back


You guys, I gotta tell you this.


When I'm trying to hear and it feels like
somebody's fist is pushed into my ear,


it's really very difficult.


I know you mean well,
so, but it's...


I'm trying to adjust to the ear,
the inner ears, okay?


With the love,
with the love. L-O-V-E.


ORTEGA: Michael.
This is not easy though.


ORTEGA: Michael, one more
time. I couldn't hear you, sir.


The inner ears are very difficult
for me when you're raised


to use just your real own,
you know, aural... Auditory ears.


Now it feels like somebody's fist,
just their fist, is shoved into your ear.


ORTEGA: Okay.
I'm trying to hear and I can't.


So I'm adjusting
to the situation.


ORTEGA: Right. Michael, is there
anything they can give you now


in your ears to make it better
in terms of volume or mix?


Um...


If we could just
bring it down a little bit.


ORTEGA:
Bring it down a little bit, please.


Anything else, Michael? You
wanna hear more of anything?


You wanna hear more voice,
you wanna hear more...?


No.
ORTEGA: Okay, Michael,


after the next song, if it hasn't adjusted
to your liking, will you please let us know?


For sure.
ORTEGA: Thank you.


Would you like to
pick it up from?


"Stop! The Love You Save."
ORTEGA: "Stop! The Love You Save."


[BAND PLAYING
"THE LOVE YOU SAVE"]


Played tag in grade school


You wanted to be "it"


Now chasing boys was justified


Crossed your heart, you quit


When we grew up you traded
Your promise for my ring


Now just like
Back in grade school


You're doing the same old thing


Stop!
The love you save may be your own


Darling, take it slow


Or someday you'll be all alone


Stop!
The love you save may be your own


Darling, look both ways
Before you cross me


You're headed for a danger zone


[PEOPLE CHEERING
AND APPLAUDING]


God bless you.


[BAND PLAYING "I'LL BE THERE"]


You and I must make a pact


We must bring salvation back


Where there is love


I'll be there
I'll be there


I'll reach out my hand to you


I'll have faith in all you do


Just call my name


And I'll be there
I'll be there


Ohh, yeah


I'll be there to comfort you


Build my world of dreams
Around you


I'm so glad I found you


I'll be there
With a love that's strong


I'll be your strength


I'll keep holding on


I love you


If you should ever find
Someone new


I know he'd better be good to you


Cos if he doesn't


I'll be there


Look over your shoulders, honey


Whoo


I'll be there


Everybody!


I'll be there


Just call my name


I'll be there


Just look over
Your shoulders, honey


Ooh


I'll be there


I'll be there


There


I'll say, "Jackie, Jermaine, Marlon,


Tito, Randy, I love you.


Joseph and Katherine,
God bless you. I love you."


And


Just trying to conserve my
throat, please, so understand.


I will be


I will be


I will be


I will be


MAN:
Darling, be


I will be


CHORUS:
There


Hoo


[PEOPLE APPLAUDING]


ORTEGA: And blackout.
We'll make it cleaner at the back.


So you wanna get rid of the bad
specials, those profiles coming in.


There's a lot going on.
The dancers, you know,


we do maintenance with them,
you know, two to three times a week.


We do Pilates and stretching and
ballet, and they have physical therapy.


You know,
just keeping everybody together.


I saw you, you were
going like this, what is this?


That's Russian. This is Russian.


So Baryshnikov does it like this and
you guys are doing like this. Same thing.


MAN:
Good.


One more time.
MAN: Sure.


I mean, but we're straight
up and down now, right?


I don't think it's anything
except hand moving.


I think that's smoother,
you know what I mean?


I mean, I have nothing to move.


[PEOPLE APPLAUDING]


ORTEGA:
Dancers, music.


[BAND PLAYING "SHAKE YOUR
BOD Y (DOWN TO THE GROUND)"]


CHORUS:
Let's dance, let's shout


Shake your body
Down to the ground


Let's dance, let's shout


Shake your body
Down to the ground


Let's dance, let's shout


Shake your body
Down to the ground


Let's dance, let's shout


Shake your body
Down to the ground


Down, down, down, down


Down, down, down, down


[PEOPLE APPLAUDING]


[MAN SPEAKS INDISTINCTLY]


All right, "I Just Can't Stop
Loving You." Judith.


Let me know
when you're ready.


A mi amor eres tú


A mi amor eres tú


Cuando no estas
No hay quien me dé lo que das tú


A mi amor eres tú


[LAUGHING]


BEARDEN [IN SPANISH ACCENT]:
Do it for Ortega.


Ortega.
Here we go.


BEARDEN:
For his people.


MOFFETT:
One, two, three.


[PLAYING "I JUST CAN'T
STOP LOVING YOU"]


More echo in here?


Ahhh-ah


Each time the wind blows


I hear your voice so


I call your name


Whispers at morning


Our love is dawning


Heaven's glad you came


You know how I feel


This thing can't go wrong


I'm so proud to say I love you


Your love's got me high


I long to get by


My life ain't worth living
If I can't be with you


HILL:
I hear your voice now


You are my choice now


The love you bring


Heaven's in my heart


At your call, I hear harps


And angels sing


BOTH:
You know how I feel


This thing can't go wrong


I can't live my life without you


Your love's got me high


I feel we belong


My life ain't worth living
If I can't be with you


I just can't stop loving you


I just can't stop loving you


And if I stop


Then tell me, just what will I do?


I just can't stop loving you


At night when the stars shine


I think in you I'll find


A love so true


Hey


When morning awakes me


Will you come and take me?


I'll wait for you


You know how I feel


This thing can't go wrong


I'm so proud to say I love you


I do


This thing can't go wrong


This feeling's so strong


Well


My life ain't worth living
If I can't be with you


I just can't stop loving you


Oh, oh, no


I just can't stop loving you


Said I can't stop


And if I stop


Then tell me, just what will I do?


I just can't stop loving you


We can change
All the world


Tomorrow


We can sing songs
Of yesterday


I can say
Hey, farewell to sorrow


This is my life and I


I want to see you for always


I just can't stop loving you


No, baby


I just can't stop loving you


Said I can't stop


And if I stop


Then tell me, just what will I do?


What will I do?
No, no


I just can't stop loving you
He-he-he


He-he-he


I just can't stop loving you
He-he-he


Know I do, girl


And if I stop


Then tell me, just what will I do?


Tell me


I just can't stop loving you


I just can't stop loving you


Hey


And if I stop


Then tell me, just what will I do?
Break down


Because


Because


I just can't stop


I just can't stop


I just can't stop, baby


I just can't stop, yeah


I can't stop, no, baby


I just can't stop, no


I just can't stop, no


I just can't stop


I can't stop, baby


I can't stop, no


I can't stop, no, baby


I can't stop, no


HILL:
Yeah


Oh, I just can't stop


Oh, I just can't stop loving


You


Now, don't make me sing out
when I shouldn't be singing out.


I'm warming... I'm trying to warm up
my voice for this moment.


Why do you do this to me?
I shouldn't be singing right now.


No. No, no.
BEARDEN: You better sing!


I'm warming up to the moment.


BEARDEN:
But you just can't help it, MJ.


No, but, I shouldn't. I really shouldn't.


BEARDEN: Yeah, but you felt it.
No, no.


BEARDEN: But you can allow
yourself that one time.


I can't do that.


But you're fine to do it.
I gotta save my voice.


That ending was just like the
smelliest ending of all the versions.


Band, it's just this.


This is what it is.


[ALL CHATTERING]


Whoo. What day is it?
What time is it?


We're like, you know...
We're down to the wire.


We're like halfway through
our film shoot


for all of our incredible
new film content for This Is It.


Today we are filming new
segments for "Thriller," 3-D.


["THRILLER" PLAYING]


Argh!


Do I still have on my 3-D glasses?
Yes, you do.


Oh, good.


I think I look great
in these glasses.


Do I look
as old as I feel?


ORTEGA: Guys, please step
away if you're not in the shot.


Photographers, everybody.


Clear the set now for the crew.


WOMAN: Rolling!
ORTEGA: Here we go.


Action.


This guy should be
getting out soon.


PAYNE:
You guys, be aware of the camera.


Look up to it.


There's gonna be light on him,
Michael. There's no light on him now.


Give the information
to him.


ORTEGA: Gravedigger, right
into the camera. Put your...


There it is. Right into it, right
in there. That's it, keep going.


Right there.
ORTEGA: That's it.


Right into the camera. Reach your
hands out in front of you, guys.


Yeah, yeah, yeah!
That's it, beautiful!


Whoo!


ORTEGA: Keep coming. Yeah, right
into the lens, in the center.


I'm in the center of the camera.
There you go.


Now, go out. Go out. Good. And cut.
It's brilliant. Thank you, everybody.


ORTEGA: We call these the dead
brides and the dead grooms.


And there'll be a parade of them
moving through the aisles in "Thriller."


[THUNDER CRASHING]


[BATS SCREECHING]


[VINCENT PRICE CACKLING]


[SCREAMS]


VINCENT PRICE [IN VOICE-OVER]:
Darkness falls across the land


The midnight hour is close at hand


Creatures crawl in search of blood


To terrorize y'all's neighborhood


And whosoever shall be found


[HOWLING]


Without the soul for getting down


Must stand and face
The hounds of hell


And rot inside a corpse's shell


MICHAEL:
It's close to midnight


And something evil's
Lurking in the dark


Under the moonlight, you see a sight
That almost stops your heart


You try to scream


But terror
Takes the sound before you make it


You start to freeze


As horror
Looks you right between the eyes


You're paralyzed


Cos this is thriller


Thriller night


And no one's gonna save you
From the beast about to strike


You know it's thriller


Thriller night


You're fighting for your life
Inside a killer, thriller tonight


You hear the door slam


And realize there's nowhere
Left to run


You feel the cold hand
And wonder if you'll ever see the sun


You close your eyes


And hope that this is
Just imagination


Girl


But all the while


You hear a creature
Creeping up behind


You're out of time


Cos this is thriller


Thriller night


Girl, I can thrill you more
Than any ghost would ever dare try


Thriller
Whoo-hoo!


Thriller night


So let me hold you tight
And share a killer, thriller


Ow!


[SCREECHES]


VINCENT PRICE:
The demons squeal in sheer delight


It's you they spy, so plump, so right


For though the groove
Is hard to beat


Yet still you stand with frozen feet


You try to run, you try to scream


But no more sun you'll ever see


For evil reaches from the crypt


To crush you in its icy grip


Cos this is thriller


Thriller night


Cos I can thrill you more
Than any ghost would ever dare try


Thriller
Whoo-hoo!


Thriller night


So let me hold you tight
And share a killer, thriller


Ow! Ow!


[BAND PLAYING SOFT MUSIC]


[BAND PLAYING ROCK MUSIC]


[VINCENT PRICE CACKLING
OVER SPEAKERS]


ORTEGA: Make sure that there's
somebody waiting for Michael there


with a flashlight
and everything. Great.


MAN 1:
Whoo!


MAN 2:
Yeah!


Now, you know,
could we do that times 10?


Absolutely!


[PEOPLE LAUGHING]


Okay, so next is the fire screen. We're
gonna show you some chase sequences.


[PEOPLE CHEERING]


Rock 'n' roll!


["WHO IS IT" PLAYING]


Today was all about testing the
chandelier and bed props for the show


with our aerialists
and pole-dancing experts.


It's all about
checking dimension


and widths and pipe
and how things work together.


COTTEN:
Building props with people on it


is a big responsibility
and a lot of fun


because we have to design things
around the human body.


This is the first time in the history
that we've worked with Michael,


for the past 25 years, that we
are including lighted elements


in his "Billie Jean" costume.


The cut of the stones,
the refraction of the light


as we're applying them, you almost need sunglasses,
just the reflection if you're trying to get them on.


We're bringing things
into his performance


where they haven't been developed at all.
And it's just being developed for Michael.


I'm working with scientists
in the Netherlands,


I'm working with people in California,
I'm working with Swarovski.


Always trying to push the boundaries, you
know, because that's what Michael's about.


ORTEGA:
Now, is this working this evening?


Without running the number, I would
just like it, if Michael would like to,


just to give him a little ride so that
he feels his new cherry picker out.


From the top of "Beat It."


ORTEGA: Uh, you wanna
do it with music already?


Yeah.


ORTEGA:
Can I just give you a ride first?


Sure. If you want.
ORTEGA: Okay.


ORTEGA: Yeah. Just for
safety. Thank you, sir.


Thank you, Michael.


Sure. Sure.
BEARDEN: Daredevil MJ.


I trust in you.
ORTEGA: Thank you.


[BEARDEN CHUCKLES]


ORTEGA:
Just for safety. Thank you.


BEARDEN:
Stand by, guys.


ORTEGA:
You've been there before.


Whee.


ORTEGA:
MJ, this is just at mid-height.


It goes much higher than this.


This is the low height.


MICHAEL: Why would you say
that to me? You know better.


[ORTEGA LAUGHING]


BEARDEN:
See, why did you say that to him?


MICHAEL:
He's teasing me. That's why.


He know I wants to go higher.


[MICHAEL & ORTEGA LAUGHING]


God bless you, Kenny.


Hi.


ORTEGA: Yeah, yeah.
Are the fans working on this?


MICHAEL:
It's great.


ORTEGA:
Michael, please hold on.


Thank you.
It's very nice.


ORTEGA: Yeah? Is it smooth?
Yeah.


ORTEGA: Great. This is monumental,
Michael's back on the cherry picker.


Yeah.
Thank you.


ORTEGA:
We love you, Michael.


Love you too.


[BAND PLAYING "BEAT IT"]


Ho!


Ho!


Ho!


Ho!


Oh!
Oh!


Ho!
Ho!


Ow!


They told him
Don't you ever come around here


Don't wanna see your face
You better disappear


The fire's in their eyes
And their words are really clear


So beat it


Just beat it
Huh!


You better run
You better do what you can


Don't wanna see no blood
Don't be a macho man


You wanna be tough
Better do what you can


So beat it


But you wanna be bad


Just beat it
Beat it


Beat it
Beat it


No one wants to be defeated


Showin' how funky
And strong is your fight


It doesn't matter
Who's wrong or right


Just beat it
Beat it


Beat it
Beat it


Just beat it
Beat it


Beat it
Beat it


Whoo!


Beat it, beat it


Beat it, beat it, beat it


Beat it


Beat it
Beat it


Beat it
Beat it


No one wants to be defeated


Showin' how funky
And strong is your fight


It doesn't matter
Who's wrong or right


Just beat it
Beat it


Beat it
Beat it


No one wants to be defeated


Showin' how funky
And strong is your fight


It doesn't matter
Who's wrong or right


Ho!


Ho!


MICHAEL:
Ho!


Ho!


Beat it
Beat it


Beat it
Beat it


No one wants to be defeated


Showin' how funky
And strong is your fight


It doesn't matter
Who's wrong or right


Just beat it
Beat it


Beat it
Beat it


No one wants to be defeated


Showin' how funky
And strong is your fight


It doesn't matter
Who's wrong or right


Just


Beat it
Beat it


No one wants to be defeated


Showin' how funky
And strong is your fight


It doesn't matter
Who's wrong or right


Just


Beat it
Beat it


No one wants to be defeated


Showin' how funky
And strong is your fight


It doesn't matter
Who's wrong or right


[MUSIC STOPS]


[MUSIC PLAYING]


[MICHAEL SINGS]


BEARDEN: Okay, that's where
you want it? When we come up...


What we're doing is...


We're doing it for the height.


I'm gonna take off the jacket


and kick it, and beat it, and beat it
and we're gonna burn it.


The jacket's gonna be too hot.
It's gonna be on fire.


BEARDEN: I just wanted to
know when that last one was.


That's the one, I was pointing to it.


I was pointing that to you.


BEARDEN: I got you.
You don't have to do it again.


We can. Do it again.


BEARDEN: Here it is right
here, just do me the last one.


Come on the one before it.


BEARDEN:
Let's go on to C. One before.


MAN:
Whoo!


[MUSIC PLAYING]


And let it burn, and the lights out!


ORTEGA:
Lights out.


MICHAEL:
Lights out! Let it burn!


ORTEGA:
We're on a 10-minute break.


PANAGARIS: I'm just so happy.
This is a dream come true.


When MJ comes in the room
to rehearse with us, he, um...


It's just... His presence is just amazing.
It's pretty, pretty cool. Really, really cool.


[IMITATES GUITAR PLAYING
"BLACK OR WHITE"]


[LAUGHING]


Thank you.


Michael is the epitome of one of
the great entertainers of our time.


Performing with Michael
has just been a thrill.


You know, I've been, like, a Michael
Jackson fan since he was 8 years old.


It's like a lifelong dream for me
to actually work with Michael.


I've worked with
a lot of great, great artists,


but, you know, I consider this,
like, really a pinnacle.


Michael's a perfectionist.


And you don't really find that in
pop musicians. You can't fool Michael.


You have to come in
knowing the record.


And then, hopefully, finding a middle ground
to embellish it to make it even better.


He's just an icon of performance.


His talent runs so deep in creativity.
And he draws from a deeper emotion


than anybody else
I've ever seen or worked with.


Right here, right here, right here.


Okay, no second verse.
Sorry. Okay, sorry, sorry.


That was a mistake, there is no second
verse. Sorry about that, you guys.


First verse, oooh, then right
to the bridge, okay?


Let's do it one more time.
BEARDEN: Sure.


Wanna go down then come back up?
One more time.


Yeah. This is why
we have rehearsal.


BEARDEN:
There you go.


[BAND PLAYING
"BLACK OR WHITE"]


I took my baby
On a Saturday bang


Boy, is that girl with you?


Yes, we're one and the same


Now I believe in miracles


And a miracle
Has happened tonight


Ooh


But if you're thinkin'
About my baby


It don't matter
If you're black or white


So we'll run this way.


I am tired of this devil


I am tired of this stuff


I am tired of this business


So when the going gets rough


I ain't scared of your brother


I ain't scared of no sheets


I ain't scared of nobody


Girl, when the goin' gets mean


Protection
For gangs, clubs, and nations


Causing grief in human relations


It's a turf war on a global scale


I'd rather hear
Both sides of the tale


See, it's not about races
Just places


Faces


Where your blood comes from
Is where your space is


I've seen the sharp get duller


I'm not gonna spend my life
Being a color


Did you agree with me


When I saw you
Kicking dirt in my eye?


But if you're thinkin'
About my baby


It don't matter
If you're black or white


I said if you're thinkin'
About my baby


It don't matter
If you're black or white


If you're thinkin' of being my brother
It don't matter if you're black or white


Hoo!


All right


Ooh-hoo


All right


Yeah, yeah, yeah


All right


It's black, it's white


It's tough for them to get by


It's black, it's white, whoo


It's black, it's white


It's tough for them to get by


It's black, it's white, whoo


When they stop, you have to just
keep... Just hit your highest note.


[SINGS]


It's time for you to shine.


And hit a high, long one.


[SINGS]


I mean, way up there.


It's your time to shine.


We'll be right there with you.


[SINGS]


It's remarkable, it's some genius stuff
going on over here, man.


He is the king.


And he's a good guy too.
He's real humble.


You know.
And he knows his music.


What more can you ask for? Because
I'm searching for that flavor too.


[PEOPLE CHEERING
AND APPLAUDING]


["EARTH SONG" PLAYING]


Look at that.
I think it's beautiful.


Show him
the second one.


It'll come rolling out at us, right?
Yes.


And all golden. Look at this one.
It'll be floating so much.


I love her. I love the light.


God, and the lighting's great.
ORTEGA: Yeah. You got it.


["EARTH SONG" PLAYING]


MICHAEL [ON RECORDING]: I respect
the secrets and magic of nature.


That's why it makes me so angry when
I see these things that are happening,


that every second, I hear, the size of a
football field is torn down in the Amazon.


I mean, that kind of stuff
really bothers me.


That's why I write these
kinds of songs, you know.


It gives some sense of awareness
and awakening and hope to people.


I love the planet.


I love trees. I have this thing for trees
and the colors and changing of leaves.


I love it.
And I respect those kind of things.


What about sunrise?


What about rain?


What about all the things
That you said we were to gain?


What about flowering fields?


Is there a time?


What about all the things
That you said was yours and mine?


Did you ever stop to notice


All the blood we've shed before?


Did you ever stop to notice


This crying Earth
This weeping shore?


A-aha-ah-ah-ah-ah-ahh aah aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


A-aha-ah-ah-ah-ah-ahh aah aah


Ooh-hoo-oo-oo-oo-ooh ooh


What have we done
To the world?


Look what we've done


What about all the peace
That you pledge your only son?


What about flowering fields?


Is there a time?


What about all the dreams
That you said was yours and mine?


Did you ever
Stop to notice


All the children
Dead from war?


Did you ever stop to notice


This crying Earth
This weeping shore?


A-aha-ah-ah-ah-ah-ahh aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


A-aha-ah-ah-ah-ah-ahh aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


I used to dream


I used to glance beyond the stars


Now I don't know where we are


Although I know


A-aha-ah-ah-ah-ah-ahh aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


A-aha-ah-ah-ah-ah-ahh aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


A-aha-ah-ah-ah-ah-ahh aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


A-aha-ah-ah-ah-ah-ahh aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


Hey


What about yesterday?


CHORUS:
What about us?


What about those lions?


What about us?


What about yesterday?


What about us?


What about those lions?


What about us?


What about everything?


What about us?


I can't even breathe


What about us?


What about everything?


What about death?


What about us?


What about everything?


What about us?


Deep within our skin


What about us?


What about you and me?


What about us?


What about my fear?


What about us?


What about everything?


What about us?


I can hear them sigh


What about us?


What about everything?


What about the man?


What about us?


What about everything?


What about us?


What about the man?


What about us?


What about everything?


What about us?


Deep within our skin


What about us?


What about all the trees?


What about us?


What about the dream?


What about us?


What about everything?


What about death?


Aaah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


A-aha-ah-ah-ah-ah-ahh aah aah


Ooh-hoo-oo-oo-oo-ooh ooh ooh


The value would be greater,


you let it rumble,


let it stay open,
let it close in silence.


And when that door opens,
you start that piano.


Da-da da-da-da


[PIANO PLAYING "EARTH SONG"]


God bless you.


MICHAEL [ON RECORDING]: I really
feel that nature is trying so hard


to compensate for man's
mismanagement of the planet.


Because the planet is sick.
Like a fever.


If we don't fix it now,
it's at the point of no return.


This is our last chance
to fix this problem that we have,


where it's like a runaway train


and the time has come.
This is it.


I love you.


That'll be the ending
of this under the words.


Oooh


MICHAEL [ON RECORDING]: People are always saying,
"They'll take care of it. The government'll...


Don't worry. They'll..."
"They" who? It starts with us. It's us.


Or else it'll never be done.


Guys, can I have
the lighting crew?


Travis?
MAN: Yeah!


First of all, Michael will be
coming on from offstage,


and he's got, like,
an attaché case.


And right here, Michael,
you call it here.


So now it comes here. So it's a
light that is moving on his command.


Absolutely.
Right? Then when he moves forward,


he's in that light.


Yeah.
He's in that light.


But I wanna be able to step
into the pool once I'm fully dressed.


So that... So after he does this...
Why don't you do this, Michael?


After you go like this
and you send that down,


a gesture and a pool of light
comes on.


Now a pool of light comes on
down here,


wherever his light is,
MAN: Mm-hm. Yeah.


And the pool of light comes on and
now he'll walk into it, center stage.


And now he'll start.


["BILLIE JEAN" PLAYING]


She was more
Like a beauty queen


From a movie scene


I said don't mind
But what do you mean


I am the one


Who will dance on the floor
In the round?


She said I am the one


Who will dance on the floor
In the round


She told me her name
Was Billie Jean


As she caused a scene


Then every head turned with eyes
That dreamed of being the one


Who will dance on the floor
In the round


People always told me


Be careful of what you do


And don't go around
Breaking young girls' hearts


Hee


And Mother always told me


Be careful who you love


And be careful of what you do


Hey, hey, yeah


Billie Jean is not my lover


She's just a girl
Who says that I am the one


But the kid is not my son


Whoo


She says I am the one


But the kid is not my son


She was...
Moving on and on all the time


Cos we danced on the floor
In the round


So take my strong advice


Just remember
To always think twice


Do think twice
Whoo!


She told my baby
We'd danced till 3


Then she looked at me


Then showed a photo
My baby cried


His eyes were like mine


Gonna dance on the floor
In the round


People always told me


Be careful what you do


And don't go around
Breaking young girls' hearts


She came
And stood right by me


Then the smell
Of sweet perfume


This happened
Much too soon


Hey, hey, yeah


Billie Jean is not my lover


She's just a girl


Who claims that I am the one


But the kid is not my son


He ain't that, no


No, no, he ain't that, no


Billie Jean is not my lover


She's just a girl
Who claims that I am the one


But the kid is not my son


She says I am the one


Oh, baby


But the kid is not my son


Hee-hee-hee


Hey!


Whoo!


She says I am the one


She says I am the one


But the kid is not my son


He ain't that, no


Whoo!


Billie Jean is not my lover


She's just a girl
Who says that I am the one


Oh, baby, baby


But the kid is not my son


No, no, no


She says I am the one


But the kid is not my son


She says I am the one


She says he is my son


Breaking my heart now!


She says I am the one


Billie Jean is not my lover


Billie Jean is not my lover


Billie Jean is not my lover


Billie Jean is not my lover


Billie Jean is not my lover


Billie Jean is not my lover


Billie Jean is not my lover
Whoo!


Billie Jean is not my lover


[DRUMS PLAYING]


Ah-cha!


Ah-cha!


Ah-cha!


[PEOPLE CHEERING]


Whoo!


MAN 1:
Ho, ho, ho!


[CHEERING AND WHISTLING]


MAN 2:
Oh! Oh!


Billie Jean is not my lover


[EXPLOSION]


I know.


At least we get a feel of it.


God bless you.


[CHEERING AND WHISTLING]


Church.


The church
of rock and roll.


BEARDEN:
I'm a fan.


God bless you.


Get some water.


Water, water


ORTEGA: I just wanna say as Michael's
creative partner in this venture,


this has been one of the most extraordinary
experiences of my creative life.


I am so proud and so thrilled
and so excited,


and I just wanna thank everybody
for their extraordinary work.


And I'm gonna just give this
to Michael now.


Everybody's doing a great job.


Let's continue
and believe and have faith.


Give me your all, your endurance,
your patience, and your understanding.


But it's an adventure,
it's a great adventure.


It's nothing to be nervous about.


They just want wonderful
experiences, they want escapism.


We wanna take them places
that they've never been before.


We wanna show them talent
like they've never seen before.


So give your all.


And I love you all.
And we're a family.


Just know that.
We're a family.


That's right.
Amen.


We're putting love back into the world to
remind the world that love is important.


Love is important. To love each other.
We're all one. That's the message.


And take care of the planet.


We have four years to get it right or else
it's irreversible, the damage we've done.


So we have an important
message to give.


Okay? It's important.


But I thank you for your cooperation
so far. Thank you. Big thank you.


Blessings! Blessings to all.


ORTEGA:
Michael Jackson!


[CHEERING]


Have a beautiful Sunday.


Be safe. Stay healthy.
Energy!


ORTEGA:
On three! On three, "Michael."


One, two, three!


ALL:
Michael!


["MAN IN THE MIRROR" PLAYING]


What I'd like to do right now is just run,
for a sound check, "Man in the Mirror."


Okay.
And then we'll talk about the ending.


MJ Air.


Your favorite part.


Right?


They'd love that.
You have to do it like MJ.


No, no, no.


PAYNE:
You know you love that part.


I love when you...


No, no.


That's how the stewardesses do it,
I love when they do that.


I love it.


When I was in third grade, the first song
I sang in school was "Man in the Mirror."


So it's kind of cool, like,
going from that to this,


singing it onstage with Michael.


So it's just an amazing experience
to be onstage with him.


He's such an amazing artist.


And no message
Could have been any clearer


If you wanna make the world
A better place


Take a look at yourself
And then make a change


I'm starting with
The man in the mirror


Whoo


I'm asking him
To change his ways


Whoo


And no message
Could have been any clearer


If you wanna make the world
A better place


Take a look at yourself
And then make that change


I'm starting with
The man in the mirror


Oh, yeah


I'm asking him
To change his ways


To change


No message
Could have been any clearer


If you wanna make the world
A better place


Take a look at yourself
And then make a change


You gotta get it right
While you got the time


Cos when you close your heart
You can't close your, your mind


That man
That man in the mirror, oh, yeah


That man, that man


That man, that man
Make a change


You know, you know, you know


If you wanna make the world
A better place


Take a look at yourself
And then make that change


Whoo!


Whoo! Whoo!
Na-na-na, na-na-na


Whoo! Whoo!
Na-na-na, na-na-na


Whoo! Whoo!


Gonna feel real good


Yeah, yeah


Yeah, yeah
Na-na-na, na-na-na


Ooh
Oh, no, no, no


I'm gonna make a change


It's gonna feel real good


Change


Just lift yourself, you know


You gotta stop it


Yourself
Yeah!


Make that change


You gotta make that change


Today


Man in the mirror
You g