| Song | Film Noir |
| Artist | Peter Hammill |
| Album | The Margin + |
| He casts himself as an adventurer, | |
| all foot on floor and hell for leather; | |
| she never told him what he meant to her – | |
| perhaps that's for the better. | |
| She's never clearly seen dividing lines | |
| between real life and parts she's chosen, | |
| confuses character and rising sign, | |
| sex and emotion. | |
| She waits in the caravan | |
| at the side of the set | |
| for the scene with her leading man | |
| that he'll not forget... | |
| Things get crazy on location | |
| and they had their little swing; | |
| only yesterday he told her | |
| that it didn't mean a thing. | |
| She's in love with the hero of the movie | |
| but she's lost herself on some dark trip; | |
| she's in love with being in the movie. | |
| Call for action! | |
| This is it: the method actress | |
| and the shooting script. | |
| So she waits in the caravan | |
| for the film's final scene | |
| and her love/hate for the action man | |
| will fill the silver screen... | |
| On the dresser is the pistol, | |
| in the chamber are the blanks, | |
| in her pocket are the bullets | |
| with his name upon the shanks. | |
| She's in love with the hero of the movie | |
| but she's lost herself on some dark trip; | |
| she's in love with being in the movie. | |
| Call for action! | |
| This is it: the method actress | |
| and the shooting script. |
| He casts himself as an adventurer, | |
| all foot on floor and hell for leather | |
| she never told him what he meant to her | |
| perhaps that' s for the better. | |
| She' s never clearly seen dividing lines | |
| between real life and parts she' s chosen, | |
| confuses character and rising sign, | |
| sex and emotion. | |
| She waits in the caravan | |
| at the side of the set | |
| for the scene with her leading man | |
| that he' ll not forget... | |
| Things get crazy on location | |
| and they had their little swing | |
| only yesterday he told her | |
| that it didn' t mean a thing. | |
| She' s in love with the hero of the movie | |
| but she' s lost herself on some dark trip | |
| she' s in love with being in the movie. | |
| Call for action! | |
| This is it: the method actress | |
| and the shooting script. | |
| So she waits in the caravan | |
| for the film' s final scene | |
| and her love hate for the action man | |
| will fill the silver screen... | |
| On the dresser is the pistol, | |
| in the chamber are the blanks, | |
| in her pocket are the bullets | |
| with his name upon the shanks. | |
| She' s in love with the hero of the movie | |
| but she' s lost herself on some dark trip | |
| she' s in love with being in the movie. | |
| Call for action! | |
| This is it: the method actress | |
| and the shooting script. |