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You've got a roar. You've got through silence and call me home. I speak your yang frequency far. Still.

I feel scared when I see the expression in your eyes. I want to say goodbye, but sometimes I want to fight. I need you now and I need you even more if you hold on.

Oh, I love you. I love you. I love you. Love you. You so much. I love you. I love you. God God bless you.

I only want you, Pookie. To get over a breakup, get under someone else. Clean this side well. What's one move in bed that pleases a man?

Oh, I love you. I love you. I love you. Love you. You so much. I love you. I love you. God God bless you.

I'm stuck in the gutter, there's no way out. Save me from this crazy woman, she's driving me insane. She's my baby, but I need my money. Pay me what you owe me. I'm all set and ready to go.

In the morning when I wake and the sun is coming through. Oh, you feel my lungs of sweetness. To you?

You've got a roar. You've got through silence and call me home. I speak your yang frequency far. Still.

"Say something, I'm giving up on you." The speaker expresses a willingness to be with someone, stating, "I'll be the one if you want me to," and "Anywhere I would have followed you." They admit to "feeling so small" and that "it was over my head," confessing, "I know nothing at all." The speaker repeats, "Say something." They then claim, "Our children. They are not really our children."

I want you to call me. I want to hear from you. And you have to keep it a secret. You're a very attractive person. Don't tell mom what I just said. Understand? Mhmm.

Oh, don't you want me like I want you, baby? Don't you need me like I need you now? Sleep tomorrow, but tonight go crazy. All you gotta do is miss me.

You switched to hot? What happened to the baby? I’m done with you. This is your baby. Remember what we did? I’m done hiding her. Hey, my name is Agent 0. What’s up? Is this your baby mama? No way, that’s your baby, Kai. What’s her name? Zola. Zola? I don’t have a kid. But she looks just like you! How come you never told me? I don’t have a kid. You do! No, I don’t. Never! She really looks just like you, Kai.

I've thrown away my toys, even my drum and train. I want to make some noise. How would you like to sail away on the good ship Lolly pup? It's a sweet trip to a candy shop where bonbons await on the Sunday beach of Everland Bay. There are lemonade stands everywhere, and you can even find Microjag fans in the air. Happy landing on the chocolate bar. No need to worry about tummy aches.

Down in Louisiana, my dearest Dora Dean is a treasure. She attends church on Sundays and helps folks clean their homes on Mondays. Her home is neat, and you'll never find a better kept house. Have you ever seen my Dora Dean? She is the sweetest gal you've ever seen. I'm marrying sweet Dora Dean next Sunday morning. Once, at sister Holly's, Dora said she was the queen and could beat anyone in a dance. Aunt Dinah played a tune, and they started to test who was the best, and Dora walked off with a cake. Oh, have you ever seen my Dora Dean? She is the sweetest gal you've ever seen. I'm gonna marry sweet Dora Dean next Sunday morning. Oh, have you ever seen my Dora Dean? She is the hottest gal you've ever seen. I'm gonna marry sweet Dora Dean next Sunday morning.

I kidnapped you because there was no other way to get you. You're in Canada, so I can't send or touch you. It's not flattering, it's scary. Good night. Thank you. Bye.

Everyone knows, everyone knows that I love you, everyone knows, no need to ask, so much love to give, smile my baby.

I was at a crack game when a couple grabbed me. They took me to jail, somewhere I'd never been. The reason I'm in trouble is because of a song my sweet thing sang to me: "Goodbye, my honey, if you're gone, darling." The judge asked what I'd done, saying I was standing in a crowd game. The judge and jury said I killed three people and there's no bail. No more will I kiss my baby. The reason I'm in trouble is because of a song we sing. "Goodbye, my honey, if you're gone, darling. You've been a good wagon, but you done broke down. Bye bye." They put me on a train, loaded down with ball and chain. At every station, I imagine my honey, if she's gone.

Tu étais le moi, prends-moi dans tes bras et je n'ai plus personne. Ne laisse pas ton nom eau de imprégner mes droits et si tu m'abandonnes. Je ne suis pas celle que tu crois au plein. English translation: You were the me, take me in your arms and I have no one left. Do not let your name water impregnate my rights and if you abandon me. I am not who you think I am at all.

Speaker 0 addresses someone directly as "babe," conveying a sense of intimate familiarity and emotional intensity. The opening line, "It's you, babe," establishes the beloved as the central focus of the statement, signaling that the speaker is directed toward this person and that their presence matters deeply in the moment. The following phrase, "And never suck a fall away that you move, babe," continues the affectionate address, pairing the term "babe" with a suggestion about movement and action connected to the beloved, though the exact meaning of "never suck a fall away" is obscured by phrasing, it clearly centers on the beloved's motion and their impact on the speaker. The speaker then adds, "And I could try to rub, but it will be always late," which introduces a personal attempt at closeness or comfort—symbolized by "rub"—that the speaker believes will always arrive too late. This line communicates a sense of urgency tempered by inevitability, suggesting that any effort to bridge distance or provide support may not occur in time to alter the situation as the speaker desires. Continuing, the speaker reiterates the beloved’s significance with "You're the babe. Just waiting." This repetition reinforces the identification of the beloved as the essential, cherished figure, while the phrase "Just waiting" implies a state of anticipation or longing, as if the beloved is poised and ready, yet the speaker remains in a moment of waiting or expectation. The closing line, "You know I'll never be the same," asserts a lasting transformation tied to the relationship or the encounter described. It indicates that the speaker perceives a fundamental change in themselves stemming from this connection, one that persists beyond the immediate moment and alters their sense of self. Overall, the passage centers on an intimate, emotionally charged exchange with a beloved, emphasizing affection, a sense of imminent yet delayed closeness, and a lasting personal transformation prompted by the beloved’s presence and the dynamic between them. The language conveys vulnerability, longing, and a conviction that the speaker’s identity will be altered by the experience.

Speaker 0 presents a distorted version of the familiar greeting, saying, “A beautiful day for one neighborhood. Beautiful day for a neighbor. Would you be mine? I know it's hard, sweetie. Could you?” and adds, “But you'll still see dad.” The speaker then declares, “It's a neighborly day in this beauty wood, a neighborly day for a beauty. Would you be fun? Thank you.” The line ends with, “Star, could you be Big storm coming in. I Thank you so much.”

- Speaker 0 says: "Without you been feeling kinda strange. Well, I see that you're doing very well. You're looking very well. I miss the way your perfume smell. I miss the way that you blowed up my line." - They add: "If you don't back the fuck up off me before I do you in and still getting in this bitch and get litty on my mama."

Oh my god, do you miss your mommy? I miss you so much! Give me a kiss. I'm home now, and I feel free! Thank you, Jesus, for this freedom. The Lord is good. It's really cold out here, though. Alright, let's go!

In a digitized world, the speaker longs for a past of "soft refrains" and "whispered secrets on midnight trains." They recall dancing under a silver moon without screens, accompanied by a "lover's tune." Each touch was a "tender spark" in a smoky room with a piano. The speaker states they "found my paradise in moments like this." The speaker repeats that "tad notes drift from an old cafe, and dreams awake in a vintage way" and that "in a smoky room with the piano's kids, I found my paradise in moments like this."

Hello darkness, my old friend. I've come to talk with you again because a vision softly creeping left its seeds while I was sleeping. And the vision that was planted in my brain still remains within the sound of silence. In restless dreams, I walked alone. Narrow streets of cobblestone

A person attempts to get a girl's number, stating that they think she is cute. The person then jokingly asks if she wants to get married and have babies. Someone off-screen says to do a wheelie for her.