Original subtitles

[AUDIO LOGO]

[URBAN SOUNDS, OMINOUS MUSIC]

[LAUGHTER]

[CARLY SIMON, "YOU'RE SO VAIN"]

Hey, what are you looking at?

Go away, you idiot.

(SINGING) Oh, you walked into the party

Like you were walking into a yacht

Your hat strategically dipped below one eye

Your scarf, it was apricot

You had one eye in the mirror as

You watch yourself gavotte

And all the girls dreamed that they'd be your partner

They'd be your partner And

You're so vain

You probably think this--

If you aren't going to buy anything, go hang out elsewhere.

[LAUGHTER]

[SOULFUL MUSIC]

Hey, Bob Man.

Long time, no see.

Welcome to the party.

[GONG]

Bob, the prodigal son, has returned.

Let's welcome him back.

[GONG]

Welcome back, Bob.

Hey, Bob.

What's going on?

Hey.

Welcome back, Bob.

Bob!

[LAUGHS WARMLY] Bob.

Oh, man.

It's awesome to see you again.

I thought you were in Ibiza.

No, I was never in Ibiza.

I was in Majorca.

In Majorca?

Majorca?

Majorca?

Ah.

Where's that?

It's another island real close to Ibiza, but bigger

and with higher mountains.

Wow, wow.

That's cool.

That's cool.

Is there any dope there?

You bet, as much as your body can stand.

That's cool.

Are you sure there's enough.

[LAUGHTER]

That's cool.

We could go there once we're done with the tour.

Yeah.

Come, sit with us.

[SOULFUL MUSIC]

MAN 1: Let's see what we got.

[INDISTINCT]

Ever hear from Sid?

Still living with his mother.

Too much acid for breakfast.

Such a shame.

How I wish he were here.

Sure, he's real cool.

Hey, that friend of yours, the one

who made those freaky experimental movies, how is she?

What was her name?

Alif.

Alif, yeah.

Are you still together?

Yeah, not anymore.

Our relationship had turned into a bad trip, man.

Things went from bad to worse every passing day.

That's why I beat it, and I won't

stop running until I get her out of my head, if I ever manage to.

Bob.

BOB: Hey, Nick.

You bastard.

How are you.

Fine, fine.

But I'm not as fine as you.

[LAUGHS]

BOB: David tells me you really went for it on the tour.

Oh, fucking nuts, man.

We're rolling in it.

I don't know what to do with so much dough.

Have you guys met?

No, but I wouldn't mind.

Caroline, this is Bob, a really cool guy, just back

from--

where were you, Bob?

Where were you again?

Pleased to meet you, Caroline.

Are you a musician too?

Yeah, well, I used to sing and play the piano and the drums,

and I was in a band too.

But I ain't so sure anymore.

Are you still riding, though?

Yeah, I composed a few tunes while in Majorca, but you know,

I don't have the knack for writing lyrics.

It's almost all instrumental.

Well, play something.

You've still got the chops for it.

Those guys, those guys are big shots from top record companies.

If they dig what you've got--

Take that.

Do you understand what I'm saying?--

they'll fill your pockets full of cash.

BOB: They really look out for the cow.

Who cares about those guys?

I'd like to hear what you do.

Do you see that stage?

There's a set of drums.

I'll take the piano, and Roger, Roger will definitely join us.

Don't worry about the lyrics.

We'll improvise.

[SOULFUL MUSIC]

[LAUGHTER]

Nothing's ever changed, has it?

If nothing comes to mind, you can always

recite the phone book.

Show your skills.

Let's sing.

You bastard.

[SLOW MUSIC]

BAND: (SINGING) David on piano

And I may play on a drum

And we'll try to make the music work

We'll try to have some fun

But I just can't help thinking that if you were here with me

I'd get all my thoughts in focus and play more excitingly

I love you still, Caroline

I want you still, Caroline

I need you still, Caroline

If you call this sentimental crap

You'll make me mad

'cause you know that I would not sing about some passing fad

And if my attempts at rhyming are convincing to your ear

Then memories betrayed you through the passing of the year

I love you still, Caroline

I want you still, Caroline

I need you still, Caroline

You must think doubtful that I mean the words I sing

Or that all attempts to reach you

this way could not mean a thing

But you must admit, we both thought we'd be man and wife

And that I could make you happy for the best part of your life

I love you still, Caroline

I love you still, Caroline

I love you still, Caroline

[SLOW MUSIC]

I love you still, Caroline

[RELISHES] Hi, Alif.

Bob has been singing so well.

Here, have some grass.

[SUSPENSEFUL MUSIC, CHATTER]

[DOOR CLATTERS]

[KNOCKING]

Bob?

Bob, are you there?

Bob, it's Alif.

[KNOCKING]

It's Alif.

Bob!

[KNOCKING]

Oh, whoa!

Oh.

Bob!

Bob!

Open up, please.

Open the door.

[BANGING]

Open up, please!

Open the fucking door!

[BANGING]

I know you're in here.

Bob!

Fuck!

[BANGING]

[SOULFUL MUSIC]

[BANGING]

ALIF: (MUFFLED) Bob, open the fucking door.

I know you're in here.

Bob!

Bob!

Bob!

Bob!

Open up, please.

[BANGING]

[SCREAMS]

[OMINOUS MUSIC]

[ROBERT WYATT, "SEA SONG"]

(SINGING) You look different every time

You come from the foam-crested brine

It's your skin shining softly in the moonlight

Partly fish

Partly porpoise

Partly baby sperm whale

Am I yours?

Are you mine to play with?

Joking apart

When you're drunk, you're terrific

When you're drunk

I like you mostly late at night

You're quite all right

But I can't understand the different you

In the morning, when it's time

To play at being human

For a while

Please, smile

You'll be different in the spring

I know you're a seasonal face

Like the starfish that drifted with the tide

With the tide

So until

Your blood runs to me

The next full moon

Your madness fits in nicely with my own

With my own

Your lunacy fits neatly with my own

My very own

[SOFT CHANTING]

We're not alone

[SOFT CHANTING]

[SOULFUL MUSIC]

[BREATHES HEAVILY]

Alif, Alif, what are you doing here?

It's all very strange.

Are we in a boat?

I see everything, and yet, I can't go.

[SIRENS]

[ROBERT WYATT, "A LAST STRAW"]

(SINGING) Seaweed tangled

In our home from home

Reminds me of your

Rocky bottom

Please, don't wait for

The paperweight, oh

On the good side

Touch us when we collapse

Into the water, we'll go head over hill

We'll not grow fat inside the mammary gland

[HUMS]

[BEEPING]

[ROBERT WYATT, "LITTLE RED RIDING HOOD HIT THE ROAD"]

(TALKING) I want it.

I want it.

I want it.

Give it to me.

I give it to you back when I finish the lunch tea.

I lie in the road, try to trip up the passing cars.

Yes, me and the hedgehog, we busting the tires all day

As we roll down the highway towards the setting sun.

Are you Robert Williams's next of kin?

How is he?

Is he alive?

Can I see him?

The surgery went very well, but it really is a miracle

that he's still alive.

His spine is badly damaged and multiple bones are broken.

Is he going to recover?

We're doing all we can.

But you must know, if he survives,

his life will never be the same again.

Thank you.

BOB: Why are you crying?

What's wrong?

Nothing makes any sense.

I don't know how to carry on.

I don't even know if it's worth trying anymore.

Carry on with what?

What do you mean?

With cinema, with my films.

But you're so good.

Do you think people are interested in watching a woman's

hobby?

BOB: Don't be silly.

You think I'm being silly?

[PIANO MUSIC]

When you make music, you know people

are going to take it seriously.

Maybe they like it, maybe they won't.

But they'll take it seriously because a man made it.

What does that have to do with anything?

Really, Bob?

Just look at how the Sexual Revolution worked out for women,

to clean, to cook, surely not so that we can do anything other

than what is expected of us.

How many women have you played with?

Or were they all backstage?

Now you come to mention it, yeah.

I didn't realize.

That's right.

You didn't.

[PIANO MUSIC]

This feeling takes me back to a moment of anguish

when I lived in Madrid once.

A Sunday afternoon, I got lost in the deserted streets

of the center.

All the buildings had these enormous wooden doors,

all of them closed.

[SIGHS] And that's how I feel, lost with no open doors.

[SIGHS] I hate closed doors.

Come on, Alif.

Take it easy.

You also doubt your career path sometimes.

I know you do.

Yeah, yeah, but I find a way out.

Yeah, I know your way out, getting wasted.

I thought you weren't into that, like you didn't need it.

Do you want to try?

[PIANO MUSIC]

Maybe it's the only way out.

[PIANO MUSIC]

[SPEAKING IN SPANISH]

How are you, Robert?

Working hard?

No, just resting.

[LAUGHTER]

[PIANO MUSIC]

[BELL RINGS]

[BIRDS CALLING]

["KUMBAYA MY LORD" PLAYING]

[SINGING IN SPANISH]

What's up, Robert?

Resting?

No, I'm working.

[PIANO MUSIC]

[CHATTER]

WOMAN 1: Look at those shells.

WOMAN 2: Yeah, I love those.

MAN 2: Do you have any starfish?

Look at those.

[CHATTER]

[WAVES CRASHING]

[WIND BLOWING]

[DISTANT BARKING, FLIES BUZZING]

It's been a while since you haven't used your camera.

Really?

Yeah, maybe.

Why don't we get a couple of smiley pills, some wine,

and head over to Sa Calobra to get wasted, tonight?

I'll pass.

BOB: OK, all right.

[CIGARETTES BURNING]

You could open that silver case of yours, though.

BOB: That silver case is empty, as is our pockets.

We're nearly broke.

We're going to have to do something.

Sure, we'll think of something.

But for now, you could go get some more.

OK.

Want to come?

I don't feel like going out.

You go.

[DISTANT BARKING, FLIES BUZZING]

[MUSIC PLAYING]

Bob, you asshole, what the hell are you doing?

Kevin, what an unpleasant surprise.

What are you doing here.

[LAUGHS]

No, you're not leaving yet.

Stay here.

I'm waiting for someone you're going to want to see.

[MUSIC PLAYING]

That's fine, thank you.

[GUITAR MUSIC]

I think a bar is never too far for your friend, Kevin.

Let's drink to that.

And to the reunions and reconciliation

of three massive egos like ours.

I'll drink to that.

Cheers, mate.

Mm.

Follow Arianna's thread straight to the Palace

of the Eternal Smile.

[INSECTS CALLING]

[THUNDER]

[BARKING, CHEERING]

This is my favorite.

This is my favorite little dance.

I love this dance.

But you missed it.

(LAUGHING) You missed it.

[DOGS BARKING, COMMOTION]

Diana, Diana, Diana.

[COMMOTION]

[GUITAR MUSIC, INSECTS CALLING]

Richard, I told you already.

I think you should buy this hotel

and turn it into something big.

It could become the meeting place

for rock stars, painters, artists.

It's a beautiful, soothing spot.

Stop, stop.

Let me go.

Let me go.

Let me go.

Come on, young man.

Let me go.

Let me go.

Let me go.

Soothing with customers like Kevin.

Oh, come on.

You know what I mean.

Anyway, I'm not that rich yet.

Not yet, but soon enough.

[GUITAR MUSIC, BARKING]

Smile [LAUGHS]

Where the hell have you been?

What took you so long?

I went to Kevin and Alan.

For a moment, the band was back together again.

You should have come.

We had a blast.

Fuck you!

Did you get it?

Is this everything?

[SIGHS]

[WIND BLOWS, WINDOW CREEKS, DISTANT BARKING]

[BEEPING]

Bob!

Wake up.

It's so late.

I finished it.

I finished my film.

I want you to watch it.

I can't now.

Leave me alone.

Come on.

I want to hear what you think.

My head is emptier than the larder,

and I don't want to watch your fucking film.

You're a selfish son of a bitch.

There was hardly anything last night.

Give it to me.

I know you kept it to yourself.

Calm down.

You've got a craving, and you're going to hurt yourself.

You're the only one that hurts me.

Calm down.

Get out.

You've got a craving, and you're going to hurt yourself.

[GLASS BREAKING]

[HUMMING]

[KNOCKING]

[HUMS]

[KNOCKING]

Welcome to my universal electro domestic studio.

Come in.

Feel the good vibes and the flow of the synergies of a new age,

the age of Aquarius.

And here's where the magic happens.

But follow me.

And this is the studio.

I built this studio here because it's the best spot.

It has the best acoustics in the world.

And if you ever feel like puking,

the toilet is so much nearer.

And that thing there is the sacred bowl,

containing the water of goddess Diana, purified

during a whole lunar cycle.

What an awesome place.

Do you want to try it out?

Yeah, I'd love to.

I always have so much stuff in my head,

but I can never turn it into lyrics.

I never know what to say or, you know, how to say it.

That's not a problem.

Write a meta-lyric.

What the fuck is a meta-lyric?

Yeah, man, a meta-lyric, something like,

(SINGING) this ain't a meta-lyric

Oh, I see.

Well, I'll try that.

I'm going to sing a meta-song.

That's the spirit.

But first, pick a hand.

[LAUGHS] And later on, we'll take these.

[TAPE ROLLING]

[PIANO MUSIC]

[CHANTS]

(SINGING) This is the first verse

This is the first verse

This is the first, first, the first, the first

And this is the first verse, verse, verse, verse

And this is the first verse, verse

This is the first verse

And this is the chorus

Or perhaps it's a bridge

Or just another part of the song that I'm singing

And this is the second verse

And it could be the last verse

And this is a second verse, second verse, second verse

It could be the last verse, last verse

And this is the second verse

It is probably be the last one

And this is the chorus

Or perhaps it's a bridge

Or just another key change

Never mind

It doesn't hurt

It only means that I've lost faith in this song

'cause it won't help me return

[THROWS UP]

[CLINKING]

Yeah!

This is cosmic!

This is the here and now of universal music!

[THUNDER]

Yeah!

For [INDISTINCT] I want to merge with you!

Wow!

[ROBERT WYATT, "SEA SONG"] We're not alone

[CHANTING]

[THUNDER]

[ROBERT WYATT, "ALIFIB"]

[NON-ENGLISH SINGING]

I'm not your larder, jammy jars and mustard.

I'm not your dinner, you soppy old custard.

And what's a baloley when it's a folly?

I'm not your larder.

I'm your dear little dolly.

But when blops get too helly, I'll fill up your belly.

I'm not your larder and Alify your guarder.

[TENSE MUSIC]

[PIANO MUSIC]

I watched your film.

You should release it.

It's very good.

Richard and Christon are here.

I'm sure Richard will give us his money if we ask him.

It's not about money.

Bob, open your eyes, please.

Remember the hedgehogs?

Well, us, we're like them.

The more we lean on each other, the more we prick each other.

If we stay together, we'll destroy each other.

[GUITAR MUSIC]

Richard, I need money.

Bob, what a surprise.

I really wanted to see you too.

You could at least say hello.

Hello, Richard.

That's better.

Hello, Bob.

Tell me, what is it that you so desperately need?

Money, Richard, I need money.

But there's something I could give you

in return, the demo tapes for my new album.

Take a listen.

You're going to like them.

I will, Bob.

I really will.

But don't just stand there.

Sit down, please.

Would you like something to drink?

I appreciate it, but I'm not in the mood for formalities.

What's new, then, Bob?

Where's Alif?

It seems Bob is in need of money

and overendowed with creativity?

How can you be broke already after things

went so well with your band?

You're all a fucking disaster.

You know perfectly well that no one made so much money

on tours back then.

The money is in the records.

Come on.

Go back with Kevin and leave us alone.

[GUITAR MUSIC]

Ugh.

Good luck, Bob.

I know you're really talented, and so is Alif.

I don't need to listen to the demo.

I trust you.

Tell me how much you need, and I'll write you a check.

You can pick it up tomorrow before we leave.

It will be an advance on the record.

It's not a check I want.

There are no banks here.

I need money, and I need it now, whatever you've got.

Shit, Bob, I had no idea things were so bad.

I'll give you all I've got on me.

Drop by tomorrow, and we'll work out the rest of the advance.

Thanks, Richard.

I'll come by tomorrow, then.

But I'm going to leave with you.

[ROBERT WYATT, "LITTLE RED ROBIN HOOD HIT THE ROAD"]

(SINGING) In the garden of England

Dead moles lie

Inside their holes

The dead-end

Tunnels crumble

In the rain, underfoot

Innit a shame?

Can't you see them?

Can't you see them?

Roots can't hold them?

Bugs console them

Can't you see them?

Can't you see them?

Can't you see them?

Can't you see them?

Can't you see them?

Can't you see them?

Can't you see them?

Can't you see them?

Can't you see them?

[PHONE RINGS]

[SPEAKING SPANISH]

[MUSIC PLAYING]

I fight with the handle of my little brown broom.

I pull out the wires of the telephone.

I hurt in the head, and I hurt in the aching bone.

Now I smash up the telly with remains of the broken phone.

I fighting for the crust of the little brown loaf.

I want it.

I want it.

I want it.

Give it to me.

I give it you back when I finish the lunch tea.

[MUSIC PLAYING]

I lie in the road.

Try to trip up the passing cars.

Yes, me and the hedgehog, we busting the tires all day.

As we roll down the highway towards the setting sun,

I reflect on the life of the highway man, yum, yum.

Now I smash up the telly and what's left of the broken phone.

[MUSIC PLAYING]

[BIRD CALLS]

What happened?

How long have I been here?

Three weeks.

And how much longer do I have to stay?

Longer than we'd like, I'm afraid.

But for now, you just have to think about getting better.

But I got to get out of here and finish my record because I

was recording one, right?

Yes, a wonderful record.

Do you know what?

I don't care what has happened to me

or how much longer I have to wait,

as long as you're here with me.

But if you want to leave, all I can do is thank you.

That's all I can offer.

[DOOR CLOSES]

[CHATTER]

Rest assured that we'll never feel lonely.

You know I like to make brave decisions.

Alif, what a long and winding road I've taken to get to you.

[ROBERT WYATT, "AT LAST I AM FREE"]

[HELICOPTER BUZZING]

Therefore, I shall resign the presidency,

effective at noon tomorrow.

[SPEAKING SPANISH]

(SINGING) At last, I am free

I can hardly see in front of me

I can hardly see in front of me

At last, I am free

I can hardly see in front of me

I can hardly see in front of me

At last, I am free

I can hardly see in front of me

I can hardly see in front of me

ALIF: Bob.

[HUMMING]

["SEA SONG" PLAYING] [HUMMING]

(SINGING) You look different every time

You come from the foam-crested brine

With your skin shining softly in the moonlight

Partly fish, partly porpoise

Partly baby sperm whale

Am I yours?

Are you mine to play with?

Joking apart

When you're drunk

You're terrific

When you're drunk

I like you mostly late at night

You're quite all right

But I can't understand the different you

In the morning, when it's time

To play being human for a while

Please, smile

[VOCALIZING]

You'll be different in the spring

I know you're a seasonal beast

Like the starfish that drifted in with the tide

With the tide

So until your blood runs

To meet the next moment,

Your madness fits in nicely with my own

With my own

Your lunacy fits neatly with my own

My very own

[VOCALIZING]

We're not alone

[VOCALIZING]

[MUSIC PLAYING]

See this moon on my head?

Well, it's impossible not to, Alan.

It represents cosmic wisdom because, you

know, everything is connected, you

and me, you two, the moon, Mother of Knowledge

and the Earth, Mother of Life, everything.

And with "everything," I mean the whole universe.

We're all connected by a primal energy,

interconnected as if it all was just

a big recording studio, a universal studio

filled with microscopic cables that transport

the music of the spheres.

Let's drink to that.

And to the reunions and reconciliation

of three massive egos like us.

KEVIN AND BOB: I'll drink to that.

Cheers, mate.