Scatterheart ( Complete Movie Version)

Björk · Other Songs - Björk

Selma - Black night is falling

The sun is gone to bed

The innocent are dreaming

As you should, sleepy head

Sleepy head, sleepy head

Selma (to Bill)- Does it hurt?



Bill- I hurt you much more

So don't you worry

Selma- I don't know what to do

Everything just feels so wrong

Bill -Everything is fine

Just stay strong



Selma- Silly Selma, you're the one to blame



Gene- You just did what you had to do

You just did what you had to do

You just did what you had to do

You just did what you had to do



Selma- The time it takes a tear to fall

A snake to shed its skin

Is all the time that's needed

To forgive, forgive me



Bill -You are forgiven

Come on, hurry



Selma (to Linda) -I killed your man



Linda- You have to hurry up

I called the police

They're just down the road



Selma -They've come for me

Why should I run?



Linda -They'll take your money

Run for your boy



Selma- Silly Selma, you're the one to blame



Gene -You just did what you had to do

You just did what you had to do

You just did what you had to do

You just did what you had to do



Selma- The time it takes a tear to fall

A heart to miss a beat

A snake to shed its skin

A rose to grow a thorn

Is all the time that's needed

To forgive me



I am so sorry



I just did what I had to do

I just did what I had to do

I just did what I had to do

I just did what I had to do

Scatterheart (Complete Movie Version)

Björk's 'Scatterheart' stands as a pivotal track from her 1997 film 'Hyperballad,' blending ethereal vocals with electronic textures to explore themes of identity and transformation. The song's extended 'Complete Movie Version' captures the atmospheric depth characteristic of her work during the late 1990s, where she seamlessly integrated avant-garde pop with experimental soundscapes. As a key component of her discography, the recording reflects her commitment to pushing musical boundaries and creating immersive sonic experiences that have influenced generations of artists. Its enduring presence in her catalog underscores its significance as both a cinematic score and a standalone artistic statement.