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[birds chirping]

[atmospheric guitar music]

[water splashing]

[coffee dripping]

- [Andy] The facts,

we have held the
number one album spot

on the Billboard Charts for
four months without a break.

We have had the
number one single

in the United States
for eight weeks.

We are a phenomenon.

We have countless number one
records around the world.

We are three.

Happy New Year.
- Happy New Year.

♪ Should old
acquaintance be forgot ♪

♪ And never brought to mind

♪ Should old
acquaintance be forgot ♪

♪ And sing for auld lang syne

- [Andy] All this,
and yet it seems

like only five minutes ago,

that we were
pushing a broken van

back through the
streets of London

after a gig we'd
played to no one.

Tonight, we play out
the fantasy of millions.

♪ For auld lang syne, my dear

- [Interviewer] It seems
incredible that a band

that is hailed as one of
the great English bands,

and then you make the decide

at the sight of the
pinnacle, I'd day,

to call it a day.

- Well, I think we should
clear up this point

about calling it a day.

["I Can't Stand Losing
You" by The Police]

♪ I guess this
our last goodbye ♪

♪ And you don't care

♪ So I won't cry

♪ And you'll be
sorry when I'm dead ♪

♪ And all this guilt
will be on your head ♪

- [Andy] This is the
Cinderella moment.

The hands are close to midnight.

♪ I'm to full to
swallow my pride ♪

♪ I can't, I can't, I
can't stand losing ♪

♪ I can't, I can't, I
can't stand losing ♪

♪ I can't, I can't, I
can't stand losing ♪

♪ I can't, I can't, I
can't stand losing ♪

♪ I can't, I can't, I
can't stand losing ♪

- [Interviewer] The last concert

for three years, they say.

Is it gonna be?
- Well, two years,

three years, six months?
- Yeah?

♪ I can't, I can't losing
♪ No, no

- [Interviewer] It's about
the start of your show,

the final for two years.

Now, for both Stewart and Andy,

it seems hard to believe.

- What did they say?

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ I can't stand losing you

♪ Yo,

♪ Yo, oh

♪ Yo, oh, yo

Thank you, Happy New Year.

[audience cheering]

- [Andy] I knew that
this was inevitable.

That it was always
in the script.

The question was,
when would it surface?

- [Sting] Well, it's
been a great year.

- [Andy] The problem with
the demise of our group

was that we didn't play
out all our potential.

We were not washed up, finished,
or in a downward spiral.

We never acknowledged
our fans around the world

with a farewell tour.

[dishes smashing]

["Secret Journey" by The Police]

[melodic rock music]

[crowd cheering]

[audience cheering]

- I'd just like to
introduce the band.

Andy this is Stewart.

- Hey, I remember you.
- That's right.

[audience cheering]

- So, okay, we're
gonna come clean,

we're actually, we're
gonna go on tour.

[crowd cheering]

- [Interviewer] Why do you
think that we have seen

so much affection, bands
that after many years

do get together again?

- People like the fact
that we're back together.

Oh, they've mended their
arguments or whatever.

It's an old marriage that
got back together again.

- Dysfunctional,
- Reasonable

- but nonetheless.
- Persons.

[Sting laughing]
[audience laughing]

- [Andy] We're
just very lovable.

- And we're looking forward
to the tour, aren't we?

- Oh, yeah.
[audience cheering]

For a long time, I
dreamed about the band,

as if somehow trying
to rebuild it,

or reclaim something stolen.

Somewhere on the
subconscious level,

there was a need for closure.

[drums crashing]

- So just give it
some tempo, Stewart,

and he's gonna count us in.

- [Stewart] One...

["Murder By Numbers
by The Police]

- Hey, there's no, Andy, sorry.

You gotta hold that E.

- [Stewawrt] Hold your bloody E.

- And you could leave
a gap there, too.

You know, if we all do
it, it would nice, no?

- Oh.
♪ Ba, doo, da, deciding

♪ Do, da, do, ding

No, no, no.
- Sorry, sorry.

- Every time it's...
- No, I know, know.

- It's just [shrieking].
- I fucked up, I know.

I fucked it up.

I fucking made a mistake.
- One and two

and three and four.

♪ Now you can reach the
top of your profession ♪

- I got no room for mistakes.

♪ If you become the
leader of the land ♪

- We have a mistake.
[bomb exploding]

♪ For murder is the
sport of the elected ♪

[bombs exploding]

♪ And you need not lift
a finger of your hand ♪

♪ It's murder by numbers

♪ One, two, three

- [Andy] World War II.

My father is in
the Royal Air Force

stationed in the
North of England,

and my mother is packing bombs

to help out with the war effort.

Housing is in short supply,

and in desperation to
give my pregnant mother

a roof over her head,

my dad makes the purchase
of a gypsy caravan,

and this is the shelter
in which I start life.

[atmospheric guitar music]

My dad's most important job,

was leading convoys of lorries
across England at night

when no lights were
permitted in the country.

On the side, he led a
trick motorcycle team.

[cycle engine whirring]

[sirens wailing]

Times were tough for our family,

but we stayed together.

I started piano lessons at six,

but when I turned 11, my Uncle
Jim gave me my first guitar.

It was love at first sight.

I cannot put it down.

I have found a soulmate.

And suddenly, I feel different.

It's as if I'm in possession
of a secret power.

I spend every possible
second with my guitar.

It lays on my bed at night,

and I begin breaking
my head open

listening to every
kind of music,

and finding a way to play
those amazing sounds.

And by 16, I was
playing the local clubs,

and I absolutely lived
for these nights.

In fact, I dreamed about them.

And in the middle
of all of this,

I met a guy called Zoot Money.

- [Announcer] Ladies and
gentlemen, I present to you,

one of the foremost bands on
the rhythm and blues scene

in Britain today, let's
here it for these boys.

Zoot Money's Big Roll Band.

[audience cheering]

- [Andy] Zoot and I
started playing together,

and we decided to leave
home and go to London.

It was 1965,

and I knew that
music was my future.

[upbeat blues music]

Within a few weeks
of being in London,

we land one of the stellar
gigs for a band at that time.

We become the house
band at The Flamingo

in London's West End.

♪ I want to ride you

♪ All around town

♪ All around town

- [Andy] At this
point, being in a band

is about having a good time,

rather than being moody,
artistic and introspective.

♪ Big mama I just
can't turn you down ♪

- [Andy] We're supposed
to be entertainers.

The idea of calling
ourselves artists

was not on the dial yet.

♪ I wanna ride

- [Andy] Most of the bands
playing around London

eventually end up
playing at The Flamingo.

It's such a vibrant scene.

You can hang out
with other bands,

meet a willing girl, get stoned,

check out the action,

and every night we
share the stages

around London with Pink
Floyd, Cream, Jimi Hendrix.

♪ I don't wanna
see those girls ♪

♪ I don't wanna
ride those girls ♪

- [Andy] We're
having a great time,

but its the late 60's, and
everything is changing.

The culmination of
the times, the drugs,

and the urge to
write our own songs,

stretches the skin of our
band to the breaking point.

The Big Roll Band
comes to an end.

[audience cheering]

Zoot and I, caught up in
the fever of psychedelics,

in other words, dropping acid,

start a new band,
Dantalian's Chariot.

[psychedelic rock music]

To complete the full
psychedelic truth

we were about to
bring to the people,

we take a few more radical steps

as well as a few more drugs.

We paint all our equipment white

so that it will fully
reveal every nuance

of the glorious color we're
about to project on to it,

the stage, and ourselves.

Although we get gigs and
travel around the country,

we're usually greeted
by a stunned silence.

It seems as if we
are too far ahead

of the audiences
outside of London.

East Grinstead is
not Haight-Ashbury.

We're lost, we're
having no luck,

and finally, we decide to
go our own separate ways.

[airplane engine whirring]

[psychedelic rock music]

In 1969, feeling disillusioned,

and just about ready
to get a real job,

I got a call from Eric Burdon,

and asked me to get
on the plane to L.A.,

and join the New Animals,

one of the biggest
bands in the world.

And right then, it feels
like, yeah, I've made it.

♪ Hurry up, 'cause I'm
gettin' bored, yes, I am ♪

♪ And I get older, baby

♪ Day by day

- [Andy] Eric's house
is a 24 hour riot.

Girls, bikers,
actors, dope dealers.

All of L.A. passed
through the open doors.

And the party never ends until

after one album, Eric
decides to break up the band.

And here I am, thrown off
the merry-go-round again,

but I decide to stay in L.A.,

and do whatever it
takes to survive.

[upbeat rock music]

[sighing] So.

Good day, how are ya, Chuck?

Thanks for your help.
- Yeah, absolutely.

- Everything sounding
sympatico, yeah?

[atmospheric bass music]

Yeah, I've got
sunblock on already.

[drums pounding]
- Now I'm gonna change the key

of this song

'cause Stewart thinks I'm
not singing high enough.

- [Andy] Who wants to change it?

What's wrong with it?

I think the key's fine.

- It's my vote.
- Oh, for you.

Oh, yeah, I know,
yeah, you were.

Yeah, okay, well, okay,
if you wanna do it.

- No, I mean, he
wants to put it up.

If we go, if you
start at B-flat,

it means the first
chorus is in A.

- B-flat, yeah, yeah.
- Is that alright?

- [Andy] It's alright, yeah.

[atmospheric guitar music]

- [Sting] You've got an
nose hair stickin' out.

- Huh?

- [Sting] Fucking three
foot long nose hair.

- Oh, that's not good, is it?

- Well, it's not so in
front of 35 million.

[Andy laughing]

[drums bashing]

["Driven To Tears"
by The Police]

[hard rock guitar solo]

[atmospheric acoustic
guitar music]

- [Andy] By the time Eric
decides to break up the band,

I am at almost 25.

My life is without momentum.

I'm alone in L.A.,

and I'm not in a band.

Three years pass,

and I scrape by giving
a few guitar lessons.

Money is something
other people have.

I start counting change.

Figuring out how long I can
make a bag of brown rice last,

and then just when I thought
it couldn't get worse,

I'm arrested and thrown in jail
for possession of marijuana.

This seems like a sign that
I've finally hit bottom.

But I stay on in L.A.,

and gradually form a
large circle of friends,

and in this scene, I
meet a stunning girl

by the name of Kate,
and for the fist time,

I experience the
feeling of being

with someone I could spend
the rest of my life with.

She is the one.

["Be My Girl Sally"
by The Police]

We stay together and
everything changes,

and then I know I'm done
with this part of my life.

I pack up my stuff which
takes all of three minutes,

and with a loan from my dad

I booked two seats
on British Air.

I am 29.

We get to London,

and I know I've just gotta
push all the way through now.

Kate gets a job in advertising.

I try desperately to get a gig.

[psychedelic guitar solo]

I'm almost 30.

A death sentence by
rock'n roll standards.

And then one day I get a break,

when I get a call from
someone called Kevin Coyne.

Playing with Kevin gives
notice I'm in a band again.

And then it happens.

Front page of Melody Maker.

The Rolling Stones are
looking for a new guitarist,

and I'm listed as a possibility

along with Peter Frampton,
Jeff Beck, and Mick Ronson.

Could this be it?

Am I gonna make it?

No chance.

[guitar feedback]

["Tubular Bells"
by Mike Oldfield]

Virgin Records hires
me to play guitar

with the Newcastle
Symphony Orchestra

on a performance
of Tubular Bells.

The big hit of the moment.

The support act is a local
group called Last Exit,

who have a bass player
who calls himself Sting.

Two weeks later, I return to
Newcastle for another gig,

and meet a drummer in a
band called Curved Air.

His name is Stewart Copeland.

["Visions Of The
Night' by The Police]

Two months after that,

I get asked to do a
session as a practice run

for a one-off show in Paris.

By way of coincidence,

the other two musicians turn
out to be Sting and Stewart.

The session really gets going

when Sting starts into a song
called, Visions Of The Night.

♪ Gazed into the
visions of the night ♪

♪ See the darkness fall

- [Andy] We take a break,

and Stewart tells
me that he and Sting

have a guitarist
named Henry Padovani,

and started a punk
band called The Police.

♪ Creature of the night

- [Andy] I feel strange
about a punk group.

That's not what I am.

But Stewart tells me that
at this moment in London,

to survive in music
you must be punk.

♪ How long will you keep it

♪ They sow a harvest
but what's it worth ♪

♪ With no one left to reap it

- [Andy] We do the gig in Paris

and together, we're on fire.

♪ The darkness fall

- [Andy] Sting and I agree
that I should be in The Police,

but I tell him not
with another guitarist.

They have to make that decision.

Back in London, I
get on the train

with thoughts about The Police,

and the conversation with
Sting buzzing in my head.

It's a risk because
this band is nowhere.

No record deal, no
future, no money.

As I get off the train,

Stewart also gets out from
the next carriage down.

We laugh at this
weird coincidence,

and then have an
intense conversation.

Within short order, The Police,

as the world knows
the band is born.

[atmospheric electric guitar]

[crowd cheering]

[crowd cheering]

[crowd cheering]

[rolling drums]

- One, two, three.

["Next To You" by The Police]

[hard rock music]

♪ I can't stand it
for another day ♪

♪ When you live so
many miles away ♪

♪ And nothing here is
gonna make me stay ♪

♪ You took me over,
let me find a way ♪

♪ I sold my house, I
sold my motor, too ♪

♪ All I want is to
be next to you ♪

♪ I'd rob a bank

♪ Maybe steal a plane

♪ You took me over,
think I'll go insane ♪

♪ What can I do

♪ All I want is to
be next to you ♪

♪ What can I do

♪ All I want is to
be next to you ♪

♪ I had a thousands
girls or maybe more ♪

♪ Oh no, I've never
felt like this before ♪

♪ But I don't know
what's come over me ♪

♪ You took me over,
take a look at me ♪

♪ What can I do

- [Andy] Now having to
face the hardcore scene.

The moment of truth is upon us.

Stewart has knocked
out some tunes

in a valiant but rapid attempt

to give the band a punk edge.

They weren't very original,

but we had a secret ingredient.

We really could play.

♪ All I want is to
be next to you ♪

[aggressive guitar solo]

♪ I saw the doctor,
he said give it time ♪

- [Andy] Despite our
effort's to stand out,

we were still
victims of the scene.

♪ Gonna lose my mind

- [Andy] Spitting or
gobbing on the band

is becoming very fashionable,

and phlegm comes at us like
rain from the mob below.

It lands on the neck
of my Telecaster,

splatters on my face and hair,

and you know, I
fucking hate this.

I wanna kill somebody.

I feel violent and sick.

I think, fuck it, it's
just not worth it.

♪ All I want is to
be next to you ♪

♪ What can I do

[crowd cheering]

[melodic acoustic guitar]

- [Andy] Somewhere in the middle

of our first few
weeks as a trio,

Stewart turns up with
a big grin on his face,

and his hair dyed a
shocking platinum blonde.

Well in short order, Sting and I

also become blonde or blonder,

and it turns out that
our three blonde heads

works like a charm.

It unifies us and gives
us a strong identity.

The bleach boys.

During this intensive
practice period,

Sting gets left on
his own for a few days

when his wife Frances
goes home to Ireland.

Kate and I offered to
let him stay with us

and make sure he gets fed.

One night, as Kate and I

are finally
disappearing off to bed,

we hear a softly strummed
nylon string guitar,

and a song about a
girl named Roxanne.

We roll over and
drift off to sleep,

as the germinating seed

of you don't have to
put on the red light

caressed the last
embers of consciousness,

and makes a lullaby for the
bay that grows in Kate's belly.

A few days later,
Sting or I suggest

that maybe we try out
his new song, Roxanne.

At the moment,
it's a bossa nova,

and that could be a problem

in the intensity
of the punk scene.

Going Brazilian
would be suicidal.

We decided to try it
with a reggae rhythm.

["Roxanne" by The Police]

[upbeat reggae/rock music]

[Sting laughing]

♪ Roxanne

♪ You don't have to
put on the red light ♪

♪ Those days are over

♪ You don't have to sell
your body to the night ♪

♪ Roxanne

♪ You don't have to wear
that dress tonight ♪

♪ Walk the streets for money

♪ You don't care if it's
wrong of if it's right ♪

♪ Roxanne

♪ You don't have to
put on the red light ♪

- [Andy] We have long
strategy discussions that now,

as if faintly glimpsing the
possibility of a future,

extend past the music and
into a group manifesto.

The way we look, what
kinds of gigs we should do.

We dreamed together,
tossing out anything

that sounds like the
past or another band.

Unlike the Big Roll Band
and Dantalian's Chariot,

we weren't chasing the
moment, we were making it.

♪ So put on the red light

♪ You don't have to
put on the red light ♪

♪ Roxanne

♪ Roxanne

[crowd cheering]

- [Andy] In January, 1978,

we started going
to a small studio

on the outskirts of London,

and over a period
of about six months,

we cobbled together an album.

Miles Copeland,
Stewart's brother,

gets the record in front
of the executives at A&M.

- [Stewart] We
are the champions.

- [Andy] They are
enthusiastic, and they agree

to release our first
record, Outlandos d'Amour

in November, 1978,

- See you tomorrow, darling.

- [Man] Do you want to
talk to her tomorrow?

- [Andy] Okay, yeah,
we'll talk in L.A., yeah.

- [Man] Alright.

And give Kate a tele, tell
her that it's Dodger Stadium.

0kay.
- Alright, matey.

- [Andy] Thanks.

["I Can't Stand Losing
You" by The Police]

On October the second,
Sting's birthday,

we got on The Ole
Grey Whistle Test

to play Can't Stand Losing You.

♪ I called you so
many times today ♪

♪ I guess it's all true
what your girlfriend say ♪

♪ That you don't ever
wanna see me again ♪

♪ And your brother's
gonna kill me ♪

♪ And he's 6'10"

♪ I guess you call
it cowardice ♪

♪ But I'm not prepared
to go on like this ♪

♪ I can't, I can't, I
can't stand losing ♪

- [Andy] This TV show could
be a big break for us,

but it's slighty
marred by Sting's

having had a can of
hairspray explode in his face

just before appearing on camera.

By incredible luck,
there is an eye hospital

right around the
corner from the studio,

and they manage to wash all
the chemicals from his eyes,

but this takes time,

and by the skin of our teeth,

we just it made on the show

with Sting wearing a large
pair of dark sunglasses.

♪ Whoa, oh

- [Andy] Two weeks after this,

we leave for a three
week tour of the U.S.

Kate is now eight
months pregnant,

and I'm going to disappear
as the baby is about due.

This is difficult.

Almost a bad joke.

But we talk about it,

and agree that as
long as we stay close,

we can deal with the situation.

[birds chirping]

["Truth Hits Everybody"
by The Police]

♪ Whoa, oh, oh

- [Andy] Ian Copeland,
the brother of Stewart,

was an agent working
out of Macon, Georgia,

and he booked us into
a series of clubs

on the East Coast,
starting with CBGB's.

♪ Sleep lay behind me
like a broken ocean ♪

♪ Strange waking dreams
before my eyes unfold ♪

- [Andy] We play a
hard and edgy set

that rivets the audience.

It feels like a raging success.

♪ Take a look at my new toy

- [Andy] This is very different
than the London scene.

These people really
seemed to like us

for the music we were making,

and don't seem bothered
about punk credibility.

♪ Truth hits everyone

♪ Whoa, oh, oh, truth
hits everybody ♪

♪ Whoa, oh, oh,
truth hits everyone ♪

♪ Whoa, oh, oh, truth
hits everybody ♪

♪ Whoa, oh, oh,
truth hits everyone ♪

- [Andy] Roxanne is
becoming a hit in Boston,

and there are many requests
from A&M to do radio interviews.

Because of the Sex Pistols,

the US media are aware that
there's something called punk

and new wave going
on in Britain,

but found it
difficult to embrace

in the form of the Sex
Pistols themselves.

- They are punk rockers.

The new craze, they tell me.

Not the nice, clean
Rolling Stones.

- You dirty fucker.

- What a clever boy.
- We're gonna fuck him up.

- Well that's it for tonight.

- [Andy] We fill
the slot perfectly.

We have a great song, they
think we're a punk band,

and we don't destroy
offices or insult people.

Well, not to their
faces, anyway.

[aggressive rock music]

With three weeks
of playing, we gel,

and we finish with an
aggressive, in your face show.

After the gig, I get a
yellow cab to Kennedy

for the flight home.

Three hours after I landed,
Layla Zoe Summers was born.

♪ Truth hits everybody

♪ Whoa, oh, oh, truth
hits everybody ♪

♪ Whoa, oh, oh,
truth hits everyone ♪

♪ Whoa, oh, oh, truth
hits everybody ♪

♪ Whoa, oh, oh,
truth hits everyone ♪

[water pattering]

[razor scrapping against skin]

- [Man] We have two minutes.

[atmospheric guitar music]

- [Andy] Oh, what have
I got this guitar for?

- [Man] I don't know, would
you like to lose the guitar?

- [Andy] Will you
take it after all?

[atmospheric jazz music]

The Sting Jazz Club.

- Let's do the double
verse on Don't Stand.

- Okay, can I do
different pattern

for the first go round,

and then backbeat for
the second go round?

- Okay, and then it's the
long coda at the end of that.

You know what I really
wanna do is end this song.

Just end it, you'll
fritter out. [humming]

- Okay, well let's
look at each other

so that we do a classy ending
rather than a sort of--

- I like the frittery ending.

- Yeah, I know, but eye
contact's gonna be...

- [Andy] Yeah,
there's gonna be no...

- No, we should do some eye
contact at least, so there's...

- There's not gonna be,
we're not gonna do a Bach.

- No Bach.
- But we're just gonna

let it stop, and then
let the clicker start,

and they'll be a gap
between the end of the song,

and the beginning
of the next one.

- Generally, it
ends, it'd be great

if we had some eye
contact for the end

'cause a lot of 'em, you know,

it's sort of ringing and
you, you kind of do it--

- Do you have a
feeling we're playing

in Prague or somewhere?

[dramatic orchestral music]

- What?
- No, it's like Buenos Aires,

isn't it?

- Yeah, I think we got
like high class friends

who listen to like real music,
I guess that's what this is.

Are these your friends?
- My dressing room

has got music and vibe in it.

It's like, come here,
it's like Colditz.

- Well, I guess you're
getting, all the ambience

is going into your room.

- Um, this is almost the biggest
gig of our lives, isn't it?

[audience cheering]

- This next song
is the first time

it's ever been played in public.

This is a sort of
baptism, interesting.

This is called I hope
that someone gets my,

Message In A Bottle.

[upbeat rock music]

- [Andy] Returning to
England in February, 1979,

we were greeted by an
intense media focus.

♪ Just a castaway

♪ An island lost at sea, yo

♪ Another lonely day

♪ With no one here

- [Andy] In Holland, we
played the Pinkpop Festival.

We drive the crowd
mad, and at the end

are endorsed over the P.A.

by the great British DJ, John
Peel, and with his blessing,

it feels like we have
finally broken through.

♪ I'll send an
SOS to the world ♪

♪ I'll send an
SOS to the world ♪

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ Message in a bottle

♪ Message in a bottle

- [Andy] Sting is fast
becoming a media darling.

With his good looks, tenor
voice, and moody arrogance,

he's perfect fodder for
the star making machine.

♪ I should have known this
right from the start ♪

♪ Only hope can
keep me together ♪

♪ Love can mend your life

♪ But love can
break your heart ♪

♪ I'll send an
SOS to the world ♪

♪ I'll send an
SOS to the world ♪

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ I hope that someone gets my

- [Andy] The truth is
that this attention

to our singer does
cause friction,

but it also adds
fuel to the fire.

But now, underneath, there's
is the lingering shadow

that maybe he will, in the
time honored phrase, go solo.

- [Interviewer] Most things
are written by Sting.

Not all things.

Does that mean that
you write the lyrics

and the songs for yourself,

and then present it for
the rest of the band?

- I've told you,
we're not answering

this sort of question
on television.

- Well, what should I?
- No, what you're trying

to do is split us up.
- Yes, no, I'm not trying,

to take, I'm not trying to be
- You are, you're trying

you're trying to get us,
- against the group.

- You're trying to
wedge between us all.

We love each other.
- You'd like to

hammer it away, yes.
- And we don't talk about it.

- [Interviewer] I
just wanted to show

that three different people
can work well together.

- Well, our politics
are very complex,

but they seem to
work, end. [chuckling]

- [Interviewer] That's right.

- [Andy] A&M starts pushing us

to get on with our second album.

And despite some
pressure from executives

at A&M to get a
big time producer,

we are absolutely certain
that we do not want

someone telling us what to do.

We already have three
producers in the band.

Now, Sting, over that chord,

how about if you play
some over harmonics?

Like across your E chord.

We do it on our own,

and we argue and fight
our way onto tracks

that become the tight
compromise between our ideas.

Within in two weeks, we
have the album in place.

- Well that should
be quiet, though.

- No, well let me
hit the chord first,

and then you just plunk
across the top of it.

- The reason we need that quiet

is because when we come
into Vision Of The Night,

it's bling, one, two, three,
four, bam, da, da, da.

- [Andy] Yeah, right, exactly.

- Ba, da, la, la, la?

- Ba, da, la, la, la...
- You asshole.

It's not ba, da, la, la, la.

- Unga-chunga, unga-chunga,

ba, da, la, la, la, unga-chunga.

You know, that part.

- Alright, it's
time Philadelphia.

[mumbling] It's
time for The Police!

["So Lonely" by The Police]

♪ Just take a seat
they're always free ♪

- [Andy] The band
is getting bigger

than I ever imagined
it could be,

and at home, well, I tried
to be fully attentive.

I find it hard to be as
present as I should be.

The success of the
band eats everything.

♪ I always play
the starring role ♪

♪ So lonely, so lonely,
lonely, lonely ♪

♪ So lonely, so lonely

- [Andy] The phone
rings off the hook.

The baby cries.

The press beat on the door,

and we set off on
another tour of the UK.

♪ So lonely, so lonely

[melodic guitar solo]

- [Andy] In October, Regatta
de Blanc was released,

and enters the UK
charts at number one,

but instead of capitalizing
on our British success

and enjoying this
moment of glory,

we perversely go back to the US

to play tiny little clubs
with undersized audiences

who have never heard of us.

Why the fuck are we doing this?

But we try to keep
the spirit going

as we work our way
through a new frontier,

and despite the fact that
in our country we are kings.

In the testosterone
driven maleness of it all,

the band, the success, the
money, power is everything,

and little thought
is given to marriage,

babies or fragile situations.

We have to conquer America.

♪ So lonely, so
lonely, so lonely ♪

♪ So lonely, so
lonely, so lonely ♪

♪ So lonely, so
lonely, so lonely ♪

♪ So lonely, so
lonely, so lonely ♪

♪ Whoa

[audience cheering]

- [Interviewer] And
you're what, about

a third of the way into
the American tour now?

- [Andy] Ah, yeah, we've
done three weeks so far.

We have another five weeks left.

- [Interviewer]
How's it been going?

- It's been great.

We've discovered
parts of America

that nobody's ever
seen, I think.

[interviewer chuckling]
Really, it's like that.

- We put up a British
flag and everything.

We're taking it home with us.

We're establishing colonies
here and everything.

- Right.
- A gig

in the Everglades was lousy.

There was a lot of crocodiles.

- [Stewart] Yeah, pretty
snappy audience, though.

["Regatta de Blanc"
by The Police]

♪ Cha, cha

- [Andy] We spend November
crisscrossing the country

like game of snakes and ladders.

The priority seems
to be to make it

as physically demanding
for the band as possible.

Houston, Dallas, Tulsa,
Lawrence, St. Paul,

Chicago, Detroit, Milwaukee.

It all turns into a
kaleidoscopic journey

of freeways, truck stops,
invitations to party,

and a shit load of marijuana.

♪ Daylight come and
me wanna go home ♪

♪ Daylight come and
me wanna go home ♪

♪ Daylight come and
me wanna go home ♪

♪ Daylight come and me wanna

♪ We wanna go

♪ Home

♪ Home

♪ Home

♪ Home

♪ Home

♪ Home

- [Andy] In the United
States at this time,

the radio stations play
only safe, formulaic music.

Our music is not
playlist material,

and we have to
battle the convention

by accepting all the
radio interviews we can,

and proselytizing for
the new music scene.

We're willing, but it feels like

we're climbing a mountain
with our fingernails.

♪ E-Yay-Yo

♪ E-Yo-E-Yay

- [Andy] I begin photographing
everything around me.

I love the feel of
the camera in my hand.

It's like a gun.

I shoot the world, and I
possess the tours in a new way.

♪ E-Yay-Yo

♪ E-Yo-E-Yay

♪ E-Yay-Yo

♪ E-Yay-Yo

♪ E-Yay-Yo

♪ E-Yay-Yo

♪ E-Yay-Yay-Yay-Ya-Ya-Ya-Ya-Ya,
yeah ♪

- [Andy] As the heat
grows around the band,

photography becomes a private
world I can retreat to.

Gradually the roads, the hotels,

the fans, the limos,
and the Arizona night

become a black and
white tapestry.

My relationship
to touring shifts.

Music and photography merge.

The tours begin to unfold
like a roll of film.

A dream through the lens.

[aggressive rock music]

1980, we're about to
set off a world tour

that will take in 37
cities in 19 countries.

This will be the most time I
have spent away from my family.

[plane engine whirring]

[crowd cheering]

- I think that's it.

The group have arrived.

We're here in Bombay.

- [Andy] The concert is a
riot from beginning to end,

and it feels more
like an uprising

than a nice, quiet
evening of rock'n roll.

You played it

in twice the tempo.
Hole In My Life.

- Hole In My Life?
- Bah, bah, bah.

- It's really,
- No, man

- you're panic stricken.
- it's not working.

- Every time you play.
- I don't know about it.

- You are fucking diabolical.

- Don't attack me, sludge.

- Not at all.
- You're not well

my love.
- We survive that,

and continue on to play
a massive concert in Rio.

- [Man] Welcome to Rio.

- Andy?
- Andy?

Andy speaks
excellent Portuguese.

[audience cheering]

[atmospheric guitar music]

[train chugging]

[audience cheering]

- [Andy] We arrive
at the Holiday Inn.

Conveniently located
by the Great Pyramid.

I walk in, and see Kate
standing there with Layla.

[upbeat children's music]
[Kate giggling]

Layla?

For a moment we reunite,

but in the middle of this
rock circus, it's a strain,

and I can feel that
my head is elsewhere.

Hey, [chuckling] woo.

- [Interviewer] What
about your wives and kids?

I mean, how does she feel.

All these young things
drooling all over you.

I mean, is that a
threat for your ladies?

- I think it turns
them on, actually.

- [Andy] They like it, I think.

- Yeah.
- We're encouraged

in our erstwhile activities.

- [Interviewer] But
touring the way you do,

you probably don't get
to see them very much?

- No, we don't.

- [Interviewer] So how
do you feel about that?

- I feel pretty duff about it.

I like my wife
and kid, actually.

So, this is a sacrifice
we have to make to...

- Yes.

- But it's not
forever, you know?

We don't have to do
this forever, do we?

- Well, it's not
in our contract.

[Sting chuckling]

- You will play forever.

- The clause, that's
called the infinity clause.

- [Sting] Let me say, it's
nice to be here in Athens.

[crowd cheering]

["Driven To Tears"
by The Police]

[aggressive rock music]

- [Andy] We're the
first group to play here

since The Stones in 1969.

When the military
took over the country,

rock concerts in
Greece came to an end.

When we arrive in
our large, blue bus,

there is a huge crowd already
surrounding the building,

and an army of uniformed men
trying to control things.

[siren wailing]

We leave Athens and surge on
through the rest of Europe.

The show's becoming more
chaotic, disordered and riotous.

Like a cyclone, we
whirl through each city

leaving emotional and
physical wreckage behind us.

♪ Driven to tears

- [Andy] We do the shows
and make the records,

but already it's turned
three unknown hopefuls

into a machine.

♪ Driven to tears

- So, Stew, you
gotta help me out.

What I'm thinking
is starting at,

at the tempo we're
gonna stay at.

Starting this faster.

- It was incredible anyway
but will give it a go.

Whatever you want me to do.

- Here, you know, the
B-flat section in this one.

- That's after yeah, yeah, yeah?

- No, it's before it.

- Magic was the place where
I felt something like,

uh-oh, uh-oh, uh-oh, May Day.

- I thought Magic was alright.

I mean, no, but that
time I was fucked.

I was fucked up here.

- And, you know one little...
- It's just

one little part
- fuck up last night

was in Synchronicity.
- in one little place.

- I think you went to the double
thing before we got there.

- Where?
- Just in Synchronicity.

I think you doubled up that E.
- Oh, that's right.

That's right.
- It's not like...

- Well, we're gonna be toast.
- I did?

- Check.
- Well, it might be worth

you checking out, you know,

listen to your set one
time and you'll hear 'em.

[atmospheric guitar]

- Roll it again.
- That's not bad.

- Nobody works that.
- Ah, I still don't know

what you're talking about.

Let's do it by
just going into it.

- [Sting] The instrumental
verse in other words.

- Ba-dee-dee-da-leedle-la

- [Andy] Our best playing
now is during soundchecks,

where we can still cut loose
and play all kinds of music

with almost nothing
from the show.

And during these jams,

we come up with new
ideas for melodic riffs

and rhythmic concepts that are
the lifeblood of our music.

In the actual shows
now as we move through

the worked out setlist,

the songs the audience expect.

I feel frustrated.

I want more freedom to play,

and it's beginning
to feel like a cage.

[melodic rock music]

- [Interviewer] How do
you feel about that?

I mean, it's obviously great

that all this fabulous
stuff is happening to you,

but is there any
conflict at all?

I mean, is it tough at all

because you're getting
all this recognition?

- [Sting] It's nice, if there
is a problem, it's a nice one.

- [Interviewer] What
about the other guys?

Andy and Stewart.
- Stewart.

- [Interviewer] How do
they feel about the fact

that you're getting
all this attention?

- Well, it's only at
this present time.

The other two members of
the band are very dynamic

and very talented
in their own right,

and they have other things
apart from the group

which they're interested in,

which I'm not at
liberty to tell about,

but they do other things,

and obviously, the
band, The Police

is a platform for
us all to jump off.

So we can do other things.

We're not just gonna remain

as a rock'n roll band playing.

That's not all we're gonna do.

Because we've had hit records,

we're allowed to
do what we like,

and we'll do exactly that.

- [Interviewer] I wanna
ask Andy a question

because it was his quote.

- Why me?

- It was your quote.
- Oh, it was my quote.

- [Sting] Relax,
don't be nervous.

- Yeah.
- You said that

Sting is the perfect front man.

- I did?
- You said that?

- Name the article,
when did I say that?

- In Rolling Stone...
- Did I really?

- I think.
- I paid him $50.00

to say that.

- I wanna keep in
with him, yeah.

Well, no, he is, isn't he?

- You know, look at him, tall,
- Why?

- handsome, talented,
charming, smart,

and very rich, good
looking, can sing,

plays a good bass.
- Funny.

Gives.
- And

he knows what he wants.
- Gets what he wants.

- And he's prepared to go on.

- [Interviewer] They
small listed that you

were going to sort of,
not quit the group,

but spend a fair amount of
time away from the group.

- Who said that?

- [Interviewer] Well, this
article said this, we've just...

- It's not like it--
- It wasn't Sting,

it was I'm quitting the group.

- Oh, right, and you were
gonna go and record...

- Actually, all three
of us are quitting.

- Now, wait a minute,
wait a minute, one of us,

I'm quitting first.
- Someone has to quit first.

- I'm quitting first.

In fact, I'm gonna
quit right now.

- Well, it's time
to say goodnight.

Goodnight, Stewart.
- Goodnight.

- Goodnight, Andy, Sting.

- Which camera are we
saying goodnight, too?

- That one over there.

- Goodnight.
- It's Goodnight Australia.

[atmospheric guitar music]

- [Andy] We go to Holland

to begin recording
our third album,

and I've wondered ever since

we completed Regatta de Blanc,

how long Sting would
play this game?

He's not a team player,

doesn't want to share credits,

and makes comments in
the press to that effect.

Gradually, something
like an album emerges,

but we're short of material.

I have an instrumental
tune I want to do

called Behind My Camel.

Sting refuses to play
on it which is a drag,

but Stewart is willing.

So I put down a backing
track with me playing bass,

and later, I add all
the guitar parts.

Somewhere in the middle
of all this action,

Sting, half joking,
half serious,

hides the tapes in the gardens
at the back of the studio.

I get what's going on,

and a day later managed
to dig up the tape.

Not only does the song
end up on the album,

it goes on to win a Grammy
for Best Rock Instrumental.

On the last day before
we leave on tour,

we come to the conclusion
that the mixes aren't right,

and on a kamikaze mission,

remix the entire
album in one night.

We winded up at 6:00 a.m.,

and Zenyatta Mondatta is ready
to go out into the world.

["Voices Inside My
Head" by The Police]

[upbeat rock music]

1981, and as if we never left,

we return to North America
and Madison Square Garden.

[audience cheering]

Wherever we are now,

drug dealers leap like
genie's from the wallpaper.

The party never ends
and with a shrug,

we enjoy the festivities.

The pressure is really on,

but you have to get
out there and do it,

and occasionally, we really
need that rocket fuel.

- [Interviewer] Can I ask
you a serious question?

- Yes.
- I mean, like over the last

year, has it sort of like grown

out of proportion for you guys?

- Well, we try to grow with it.

I mean, obviously. [chuckling]

- [Sting] We try to grow out

- The operation gets bigger.
- than grow with it.

- [Sting] Stewart
and I grow in it,

but Andy, he's very stunted.

- We don't like to talk
about growth around Andy.

It's really not
fair to talk about,

you know, small people.

- No, seriously, I'm trying
to give him a serious answer.

- I'd like a serious answer.
- There's grapefruit

on me hand.
- It's not the question.

On we go to Hawaii,
Japan and New Zealand

to end the tour in
Western Australia.

I should return straight
home to my family

but dazed and confused,

I stupidly decide to
spend another three weeks

photographing in Asia.

♪ Echoes

♪ Things that you said

- [Andy] Stewart and I
have ourselves delivered

to the Obeori Hilton
in Kuta Beach, Bali,

and we spend a couple
of days recovering

from the rigors of touring
by hanging around the pool.

And we meet John Belushi,

and we immediately hit it off.

In five minutes, we discover
to our mutual delight,

that nearby there's a place

that sells magic
mushroom omelets.

♪ Voices

♪ Inside my head

♪ Echoes

[Layla crying]

- Are you hungry?

[atmospheric guitar music]

[Layla crying]
- Oh.

C'mon, c'mon.

I arrive back to the
creeping cold and gray,

to a partner who by
now is alienated.

And this time, it's difficult

to get back to where we were.

The intimacy, love, and humor
of just two years earlier

seems to be slipping away.

[Layla laughing]

Layla, hello.

In contrast to this
bleak environment,

our fourth album
is to be recorded

in the month of June, 1981

at Air Studios on the
Caribbean Island of Montserrat,

and we slip into a
luxurious new life

of swimming in the morning,
cruising the island,

and gathering in the
studio after lunch.

The other families are here,

but Kate has
decided not to come.

I feel her absence under
the bright island light.

This time, the studio
feels more like a canvas

for dirty fighting.

The stakes have been raised,

and instead of rejoicing
in the unbelievable success

we've created together,

we lose sight of
the big picture,

and go on in emotional disorder.

Each one of us battling
for his own territory.

Each one of us
wants his instrument

slightly louder than the other.

Wants his songs recorded.

Will not be less
than anyone else.

It's a combative process.

The poor engineer
trying to arbitrate

as three sets of hands
fiddle with the faders.

I get a call from Kate.

She tells me with hardly a
breath, she wants a divorce.

I argue on the phone with
her, but it's useless.

She's made her
decision, that's it.

[atmospheric guitar music]

We finish up the album,
Ghost In The Machine,

and that's about
what I feel like.

A ghost.

It's become senseless.

It maybe a good album,

but these days people tell
us what we want to hear.

Personally, I like
about half of it.

My mind is elsewhere.

In October, Ghost In
The Machine is released

with a collective sigh
of relief from the press

that we haven't blown it,

and they give us rave reviews.

Now that we are trapped
in the spotlight,

it's time for the tabloids
to expose our fragility.

The dirt, sex, money,
power, conflicts.

The human drama that
sells newspapers.

["Behind My Camel"
by The Police]

[psychedelic rock music]

To the press, we have
morphed from a trio

of smiling blonde heads,

into three maniacally driven,
egocentric individuals

who do nothing but
row with each other.

Sting in his corner begins
portraying himself as ruthless,

with his headline in The Sun,

"Why I may quit The Police.

"I'm out for myself,
and they know it."

There's a delirious buzz
that's reaching new heights.

Policemania is the word.

Now we're surrounded by muscle.

Large, beefy men ready to kill

at the slightest provocation.

They watch out for us and
occasionally overdue their job.

We work our way through
another giant pastiche

of American cities until it
is a disorientating blur.

Obsessed with photography,

I document everything endlessly.

I cogitate on ways
to make photography

in this hell of blandness.

Trapped trouser
legs under doorways.

Knock sand filled cigarette
bins to the ground.

Attach little rubber
sharks to body parts.

Place little toy nuns
on naked female bodies.

It's a passage through it.

We'd speed away from shows
in three separate limos.

It's either take off instantly,

or be trapped in the
building for several hours.

It's a peculiar anti-climax

to go within minutes
from a burning stage

in a crazed auditorium,

to the solitary
and roaring silence

of your pastel
papered hotel room.

Our tour manager waits
for me at the front desk

while I inspect
two or three rooms

before he checks me in
as Django Reinhardt.

I'm very specific
about my needs.

I don't even wanna see a
freeway, let alone hear it.

No male fans within
a ten mile radius,

and do not disturb me, ever.

Leave me the fuck
alone until gig time.

I feel as if I
opened the same door

to the same room every night,

pick up my guitar and
stare at the beige carpet.

I am a rock'n roll asshole.

An emaciated millionaire prick.

And fuck everything.

Brilliant.

[camera clicking]

[camera clicking]

[camera clicking]

[camera clicking]
[wood clattering]

[motorbike engine revving]

["Every Breath You
Take" by The Police]

♪ Every night you stay

♪ I'll be watching you

♪ Oh, can't you see

♪ You belong to me

♪ How my poor heart aches

♪ With every step you take

♪ Every move you make

♪ Every vow you break

♪ Every smile you fake

♪ Every claim you stake

♪ I'll be watching you

♪ Oh, can't you see

♪ You belong to me

♪ How my poor heart aches

♪ With every step you take

♪ Every move you make

♪ Every vow you break

♪ Every smile you fake

♪ Every claim you stake

♪ I'll be watching you

Ta-da.
[woman screaming]

[group speaking in
foreign language]

Yeah.

- [Interviewer] Did you
think when you made Roxanne,

that you then got
plans to become

the biggest rock'n
roll band in the world?

I mean, did you see yourselves

taking over the mantel

of the Stones and so on?
- Stewart.

- I'll tell ya what...
- Well, you're always

optimistic.

If you weren't, you
wouldn't be in a band.

- It's been a close shave

all the way, actually.
- That's right.

- [Stewart] It takes a lot of
optimism to be in a pop group

'cause there's a
lot of competition

to fight your way past and
you assume that you will.

And in our case, we have.

- [Interviewer] But
you've been sort of,

a weight--
- Let's face it, we're

in competition with ourselves.

You know, as a
group, we've achieved

what groups set out to achieve.

You know, gold records,
platinum records,

awards and everything.

We're really in
competition with ourselves.

We have to better ourselves.
- Mm.

- [Sting] Not with
anybody else, frankly.

[atmospheric guitar music]

- [Andy] Arriving
back in Montserrat

to record our fifth album

suddenly wipes the glass clear,

and we stare at one another
as if in assessment.

In the shocking
calm of the studio,

without the blanket of touring,

the mud drops to the
bottom of the glass,

and we eye each
other like strangers.

We've changed,

and as if underscoring
our current mental state,

we record in three
separate rooms.

Stewart is up in the
dining room of the house

with miles of cable
and ear phones.

Sting is in the control room,

and I am alone in
the actual studio.

All this for what the engineer
calls, "Perfect separation."

And with this album, we get it.

Although, not quite
in the way intended.

But we struggle on,
and end the sessions

with a ridiculous scene in which

we toss a coin to see which
tracks will go onto the album.

Will Stewart and I
get our songs on?

What will the final sequence be?

I finally solve this
one by suggesting

that maybe we put all the
softer songs on one side,

and the uptempo
stuff on the other.

Sting likes this idea,
and thus, it is ordained.

[crowd cheering]

[aggressive drum beat]

Synchronicity the album,

and Every Breath You
Take, the single,

hit number one on
the Billboard Charts.

- [Man] Congratulations,

wear it in good health.
- Thank you.

The single remains in this
position for eight weeks,

and the album for four months,

keeping even Michael Jackson
out of the number one spot.

- Humbled.
- Hooray, hooray,

hooray.
- We've done it.

["Synchronicity
II" by The Police]

[hard rock music]

♪ Another suburban
family morning ♪

♪ Grandmother
screaming at the wall ♪

- [Andy] MTV is only
in its second year,

and picks us as the band
to promote all summer long.

- [Andy, Stewart, Sting]
America, demand your MTV.

I want my MTV.

- MTV is the greatest
thing since sliced bread.

- [Stewart] If that
hat was a smaller size,

I'd be watching MTV.

- Hi, I'm Andy Summers.
[group laughing]

♪ Call your cable company
and say, I want my MTV. ♪

♪ Many miles away

♪ Something crawls
from the slime ♪

♪ At the bottom of a dark

♪ Scottish lake

♪ Another working day

♪ The factory belches
filth into the sky ♪

♪ He walks unhindered through
the picket lines today ♪

- [Andy] Sting, Stewart and I

try to rebuild some sort
of group camaraderie

so that we can go on tour,

but the success,
in classic fashion,

has brought about a
separation between us,

and the closeness of the
early days has disappeared.

♪ But all he ever
thinks to do is watch ♪

- Boy, okay, yes, we just
finished a wonderful show

at the Cincinnati
Auditorium, and, ah...

- And as far as your concerned,

- And as far as I'm
- You can have

concerned.
- the wrong job.

[Martha giggling]

- Well, I'm looking for a job
with Uriah Heep next week.

- And Martha would like
to say a few words.

- Right, and Martha is gonna

take my place in the band.
- And as for you, Summers.

Do you have your boxing
gloves on in that gig?

- I'll put my guitar on.

- I'd like to advertise
for a new band, please.

- Yeah, so would we, too.
- Hold on, hold on, hold on.

- Anyhow...
- We need to get

a little bit of Synchronicity
here for maybe a second.

- Synchronicity?
- Oh, but Synchronicity

has nothing to do with order.

It has more to do with chaos.

- It doesn't mean
anything, Sting.

[aggressive guitar solo]

♪ Yay

♪ Ay

♪ Oh

♪ Yay

♪ Ay

♪ Oh

- [Andy] At this inflated
point in our career,

it feels like Sting has
already broken away.

Although, I do not
think about it too much,

I can feel a shift taking place.

♪ Another working
day has ended ♪

♪ Only the rush
hour hell to face ♪

♪ Packed like lemmings
into shiny metal boxes ♪

♪ Contestants in
a suicidal race ♪

♪ Daddy grips the
wheel and stares ♪

♪ Alone into the distance

♪ He knows that something
somewhere has to break ♪

♪ He sees the family home now

♪ Looming in his headlights

♪ The pain upstairs that
makes his eyeballs ache ♪

♪ Many miles away

♪ There's a shadow on the door

♪ Of a cottage on the shore

♪ Of a dark

♪ Scottish lake

♪ Many miles away

[audience cheering]

Goodnight, thank you, goodbye.

[audience cheering]

- [Andy] Sharon, how you doing?

- [Man] How you guys doing?
Hey, welcome to the Apollo.

- Thank you.
- Really,

it's a pleasure having you.
- Oh, right.

It's great to be here.

- [Man] Welcome to the Apollo,

come on in.
- Thank you.

- Welcome...
[atmospheric guitar music]

- [Interviewer] How do
you feel about this all

coming to an end like this?

- Well, you know, I mean,

we're a band that, you know,
has sort of traditionally,

we never seemed to
quite close the door,

so we sort of say things,
but I mean, you know,

all of us now,
performers do that.

How many people just say
they're never coming back,

and they make like next
10 comebacks, you know?

- Eagles.
- So, it's whatever.

You know, we'll see
what happens, you know?

[audience cheering]

- Singer, bass player,
author, activist,

and all around good egg.

Ladies and gentlemen, Sting.

[audience cheering]

When you consider
everything in relation

to The Police, I mean,

you must, do you look back

with a sense of
achievement and affection?

Particularly in
having done this thing

of coming together
and playing again?

- It's almost like Mum and Dad

got back together again
after a divorce, you know?

[audience laughing]

People are so happy that
we're standing together

and singing and playing,
and then at the end

we hold each others hands.

That's very good,
but we've done it.

We've achieved everything we
set out to do a hundredfold,

and I, my personal thing,

is I don't want to step into
the same river more than twice.

[audience laughing]
[Elvis chuckling]

I think, um, we've
been hugely successful,

and I think the creative
thing is to say,

thank you, and not
be sentimental,

and you just keep doing it.

It's just my feeling.

- [Elvis] Well, I
think it's about time

that we got your
band mates out here,

and see what they got
to say about things.

- Absolutely.
[audience cheering]

- Ladies and gentlemen,
for the last time

on television, The Police.

[audience cheering]

Is there any part of you
that says never say never?

- No, never say never, but
here's what you can say,

Andy, Sting, you're fired.

[audience laughing]

- As we call Sting--
- I'm not fired,

you're fired.
- No, no, no, no.

- Oh, no, please.
- I fired you six months ago.

- It's sort of hard to deal
with from my point of view.

- To deal with what?
- To deal with this?

- To deal with an interview.
- We're like this

all the time, you know?

- This is it.
- I mean, we'll be like this

- This is what you get.
- tomorrow.

But at the moment, I
wanna have a fight.

- Yeah, you do?
- Much better television

than with the questions.

I promise you.
- Okay.

- I'll tell you what, she
we film me whooping Sting?

- Yes.
- That would be good,

wouldn't it?
- That would be great.

[table clattering]

- [Andy] Oh, dear.

- Let's go.
- That's that.

- Oddity.
- Everybody in the cars,

let's get outta here.

- [Andy] After a few years

and unparalleled
success together,

the fragile democracy has
become a dictatorship,

and Sting's agenda,
although veiled, is obvious.

He does not wanna be in a band.

In a way, I don't blame him.

Maybe it's time to split.

We've done our work, this
is as far as we can go,

and it sure feels
like the sunset.

[atmospheric acoustic guitar]

But things change.

And if anyone has
learned that lesson,

it certainly is me.

Every band I've been
in has broken up.

You go on.

Maybe, once again, there's
something new unfolding.

Life doesn't end here.

It just gets better.

In 1986, a miracle happened

when Kate and I,
after a divorce,

four and a half years apart,

and attempts at relationships
with other people,

found our way back together,

and Kate became pregnant
almost immediately.

And this time with twin boys.

Well, it's great to
have them all here.

Of course, it's the
greatest thrill for me

for them to finally see this.

Well, I've been blathering on
about it for all these years.

It is actually real.

That makes it a very
special pleasure.

- So, I was really
happy for Andy,

and really happy that he
had this chance to like,

do the thing that he really
loves the most again.

Yeah.

["Bring On The
Night" by The Police]

[melodic rock music]

- [Interviewer] Some of them
are pretty provocative, huh?

- Well, I thought about it.

I said, there has to be
a little bit of that.

And I mean, it's supposed
to be rock'n roll.

It can't be too straight.

I can't just put the
prettiest pictures up anyway.

So it'd be a bit gritty.

- [Interviewer] So it's an
accurate representation,

you would say?
- Yeah.

- Yes?
- Well, yeah, it's a life.

♪ The evening spreads
itself against the sky ♪

♪ Waiting for tomorrow

- Enjoying your...

Well, it's like this, and
then I was thinking there.

- [Andy] I've done
that today already.

- Just think that we were all
so pretty back in the day.

- I know, I know.
- Shit, we don't look

like that anymore.

♪ Bring on the night

♪ I couldn't stand
another hour of daylight ♪

- How are you?
- Are you guys ready

to reform, Sting? Andy?

[Sting screaming]
[Stewart screaming]

♪ The future has brought
a question mark ♪

- That's it.

Okay, thank you.

- And I'm Suzie.

Do you remember Suzie and
Mia from Bridgehampton?

It was that summer, the
Bridgehampton summer.

- You're that, Suzie?
- You were flying

all over the place.

- Yeah.
- Do you remember?

- I do.

- Anyway--
- That was you?

- That was me.
- Oh, wow.

- You were the one that
said call the roadies.

- Why don't you give
us an explanation

of this photograph right here?

Yeah, that's right.

- Well, they're all
works of the imagination.

♪ Bring on the night

♪ I couldn't stand
another hour of daylight ♪

[atmospheric guitar solo]

[crowd cheering]

- [Andy] Finally, the
concert at Hyde Park, London.

The last one we'll ever
do in our hometown.

Backstage, the
atmosphere is electric.

We don't feel smug or clever.

We really have to
pull this off tonight.

[crowd cheering]

Like a prayer, it was
now, it was forever.

I strike the first chord.

["Message In A
Bottle" by The Police]

[melodic rock music]

♪ Just a castaway

♪ An island lost at sea, oh

♪ Another lonely day

♪ With no one here but me, oh

♪ More loneliness

♪ Than any man could bear

♪ Rescue me before

- [Stewart] Well,
there's about another

$50.00.
- I'll take it, Andy Summers

is probably the, um,

the finest human
being in this room.

- Wow, thanks a lot.

- [chuckling] Well,
there's some pretty good

human beings in
this room, remember?

- [Interviewer] Are you
too old to rock'n roll?

- Too old to rock'n roll?
- Oh, man.

She's getting real heavy now.

- Uh-oh, this is the deep stuff.

- Now, wait a minute,
there are two Andy Summers.

There's a lot of
confusion about this.

One is really old, and
he used to play with all,

- And then there's a second one.

- And there's this one,

and this is his son.

- Hi.
- Junior, right?

- This is like,
- There's a lot

- it's very awkward, okay?
- of confusion.

- And the one who
played in Kevin Coyne

and Soft Machine and all
these groups of yesteryear

was his dad.
- Was his dad.

- Welcome to the show.
- Thank you.

- [Interviewer] Tell
us about Synchronicity?

I think a lot of your fans

must have gone through
the dictionary.

- In the studio, although
you work formally,

you hope that
accidents will happen,

and synchronistic events
will happen in the studio,

which will be more powerful

than when you try to just play

in a straightforward manner.

- Oh, yeah.
- Does that make

any sense at all to you, sir?

- [Interviewer] Yeah.

- Good.

[interviewer chuckling]
[Andy laughing]

Well, you asked.
- Yeah.

- Yeah, okay, I lost
you completely, right?

- Yeah.
- Good, okay.

Next question.
- Yeah.

- [laughing] If I mess this
up, you take over, Andy.

Andy has an important
announcement

to make about MTV.

- Hello.

What?

Ah, right.

- Excuse me, makeup.

- Oh, fuck off. [shrieking]

♪ Walked out this morning

♪ I don't believe what I saw

♪ A hundred billion bottles

♪ Washed up on the shore

♪ It seems I'm not
alone in being alone ♪

♪ A hundred billion castaway

♪ Looking for a home

♪ I'll send an
SOS to the world ♪

♪ I'll send an
SOS to the world ♪

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ I hope that someone gets my

♪ Message in a bottle

♪ Message in a bottle

[upbeat acoustic guitar]

♪ Just because my
hair is curly ♪

♪ Just because my
teeth are pearly ♪

♪ Just because I like
to wear a smile ♪

♪ Always dressing in
the latest style ♪

♪ Just because I'm
glad I'm living ♪

♪ Take trouble smiling
and the world is mine ♪

♪ I'm a lucky fella

♪ Got sun for my umbrella

♪ That's why they call me

♪ That's why they call me

♪ That's why they call me

♪ Shine