HitFix's Alan Sepinwall provided the transcript. This particular excerpt is from middle to the end of it when Chase begins to talk about Tony Soprano.
Now to talk about a third guy between us, there was you and me and this third guy. People always say, “Tony Soprano. Why did we love him so much when he was such a prick?” And my theory was, they saw the little boy. They felt and they loved the little boy, and they sensed his love and hurt. And you brought all of that to it. You were a good boy. Your work with the Wounded Warriors was just one example of this. And I’m going to say something because I know that you’d want me to say it in public: that no one should forget Tony Sirico’s efforts with you in this. He was there with you all the way, and in fact you said to me just recently, “It’s more Tony than me.” And I know you, and I know you would want me to turn the spotlight on him, or you wouldn’t be satisfied. So I’ve done that.
So Tony Soprano never changed, people say. He got darker. I don’t know how they can misunderstand that. He tried and he tried and he tried. And you tried and you tried, more than most of us, and harder than most of us, and sometimes you tried too hard. That refrigerator is one example. Sometimes, your efforts were at cost to you and others, but you tried. And I’m thinking about the fact of how nice you were to strangers on the street, fans, photographers. You would be patient, loving and personal, and then finally you would just do too much, and then you would snap. And that’s of course what everybody read about, was the snapping.
I was asked to talk about the work part, and so I’ll talk about the show we used to do and how we used to do it. You know, everybody knows that we always ended an episode with a song. That was kind of like me and the writers letting the real geniuses do the heavy lifting: Bruce, and Mick and Keith, and Howling Wolf and a bunch of them. So if this was an episode, it would end with a song. And the song, as far as I’m concerned, would be Joan Osborne’s “(What If God Was) One Of Us?” And the set-up for this — we never did this, and you never even heard this — is that Tony was somehow lost in the Meadowlands. He didn’t have his car, and his wallet, and his car keys. I forget how he got there — there was some kind of a scrape — but he had nothing in his pocket but some change. He didn’t have his guys with him, he didn’t have his gun. And so mob boss Tony Soprano had to be one of the working stiffs, getting in line for the bus. And the way we were going to film it, he was going to get on the bus, and the lyric that would’ve one over that would’ve been — and we don’t have Joan Osborne to sing it:
If God had a face
what would it look like?
And would you want to see
if seeing meant you had to believe?
And yeah, yeah, God is great.
Yeah, yeah, God is good.
Yeah, yeah, yeah.
So Tony would get on the bus, and he would sit there, and the bus would pull out in this big billow of diesel smoke. And then the key lyric would come on, and it was
What if God was one of us?
Just a slob like one of us?
Just a stranger on the bus
trying to make his way home.
And that would’ve been playing over your face, Jimmy. But then — and this is where it gets kind of strange — now I would have to update, because of the events of the last week. And I would let the song play further, and the lyrics would be
Just trying to make his way home
Like a holy rollin’ stone
Back up to Heaven all alone
Nobody callin’ on the phone
‘Cept for the Pope, maybe, in Rome.
To read the entire eulogy go to HitFix