Original subtitles

"I would like to write a book which would drive men mad,

which would be like an open door leading them where they would never

have consented to go, in short, a door that opens onto reality"

[suspenseful music]

[man] When I was 13,

on my 13th birthday...

There is a place in New Jersey,

it's called Great Adventure... I don't know if it's there anymore,

but they had this animal kingdom,

and you could drive through the animal kingdom,

and each area had different animals.

We got into the baboon area...

and, uh...

there were baboons...

There were baboons all over the car ahead of us.

If you've never seen baboon hands, they are often horrible.

The hairy, like, fully functioning baby... baby hands.

And they were coming through the crack in the window of the car.

See? My mom wanted us to have as much fun as the car ahead of us,

which was completely covered with baboons.

So we started giving Rolaids to the baboons,

figuring that if they are good for us, they are good for baboons, right?

It makes sense.

[suspenseful music continues]

It wasn't long before the car was covered with baboons.

And... that was fun...

until this one big baboon

just squats right in front of my mom

and he starts to get excited.

And he starts to masturbate.

And my mom is sort of looking around and going: "Maybe we'll go to Llama Land."

You know, nobody wants to look. She is honking the horn

and turning on the windshield wipers,

and this baboon is just sitting there... masturbating.

And I was 13, it's my 13th birthday.

July, it's a hot day, I'll never forget it.

My brother is in the back seat. He's 11, he doesn't know what's going on.

You know? And so...

I don't know where to look. Where do I look?

But the horror of it is...

that this baboon may finish

and this is not a great adventure.

A MOVIE BY ALEJANDRO AGRESTI

The radio is on this closed circuit thing,

-giving us fun facts about baboons. -[cell phone vibrating]

"The baboons subsist mainly on bananas and coconuts."

[door slams]

WE'RE NO ANIMALS

[soft music]

-[man on the phone] Listen, Tony... -Hey, Nick, is that you?

I want you to look over to your left...

-behind the window, there. -Nick, I can't talk right now,

I'm in the middle of a meeting.

No, no, no, please, just listen to me. Just look. You see the guy...

the kind of... the weirdo with the strange hat?

Well, that's my friend, the artist I was telling you about.

He's been following you for three days now, you know?

[Nick] His name is Patrick Pesto.

-Patrick what? -Pesto, Pesto, you know, like the sauce,

-like the Italian sauce. Pesto! -Oh, oh, yeah, yeah...

[Nick] P-E-S-T-O.

He's got an experiment, he wants you to be a part of it.

Experiment?

The row behind, I want you to look... There is a guy there with a toothpick.

[Nick] Do you see him? Well, that's my lawyer.

He's a drunk, but he is okay. He's not drunk now, he's dry,

but if he does drink I want you to call me, all right?

Is he an entertainment lawyer?

No, he's a criminal lawyer. You know, he's really...

His wife's name is Peggy Nefasti, have you heard about her? Nefasta.

-The singer? -Yeah. On their honeymoon,

she, uh... she went blind. [stutters] A swordfish... Panic, decompression.

I think it's a good idea to have a criminal...

expert on the script.

-What script? -Oh, you know, the guy, you see the guy--

Is he still talking about the baboon, that guy?

His name is Rudy Maravilla.

He did this thing, Sometimes, I'm Rudy. Fabulous.

It was a masterpiece, I gotta tell you.

I think maybe he could do the soundtrack, what do you think?

-Where are you, man? -I'm in a bookstore,

but my eyes are everywhere.

-Tell me, Nick, what do you want? -I don't know.

I want what I want. I mean, I want you to just do what we're gonna do,

what we talked about doing. We're gonna go over, I want you to meet these guys,

you don't know them. Introduce yourself, they are aware of what's going on.

They know you.

Okay, man, listen. Nick... I gotta go, um...

[mumbles] I've got a feeling... I don't want you backing off this.

You understand what I'm saying?

I don't want it to be like the other things.

You know? You go to the precipice, then you back away, and then you go,

and then you never... You never go forward!

You understand? You gotta move this.

Take this job, take this leap with me, go ahead.

[soft music continues]

That freak with the fish is your snitch!

"What an opportunity" is all I can tell you, you tell me.

Going to Argentina, Buenos Aires, something like that.

What will happen to you? All these things we talked about, wanting to breathe,

wanting to get out, wanting to do something different.

Wanting to just expand yourself.

And, you know, I'll tell you the truth: he needs it too.

That's the beauty of this. Tired of talking.

Tony, I gotta get off the phone.

You are gonna do this thing, I can feel it in your voice.

I know, I know.

I wanna go home, I wanna put my head on a pillow

[high-pitched] and I wanna dream about it!

Good night.

14 WEDNESDAYS LATER

[soft music ends]

[indistinct chatter in a restaurant]

AN ARGENTINIAN RESTAURANT IN BEVERLY HILLS

-So, what was your name? -I'm Syd.

Syd, Syd Kuliaky, he's the lawyer, yeah. And she is Conchita, she is Rosita...

-Same country as you. -Yeah.

Nick told me that... you learned English from watching porn movies, is that true?

Porn movies, black and white, Manhattan, 16 mm, 1966. I was living in the Village

before the Village had the mystique and all the bullshit you believe in.

In the end, it was pussy. Just pussy.

Did you miss Buenos Aires?

Yeah, I missed Buenos Aires, but I came back in 1976,

by the end of 1976, I think it was November.

And then they were killing people.

Actually, I came back to Buenos Aires because I thought:

"Okay, I learned a lot of bullshit in New York, maybe the people,

the young people, especially, can be happier."

Making art with nothing, with Campbell's soup frames, or black stuff,

or red stuff, like Ad Reinhardt or Russian Bach, or whatever.

[Tony] You don't like anything... nothing modern, no?

No, it's not "modern." Modern is what you don't know.

[Tony grunts lightly]

Look, let me focus this for a second. You...

seem like a really interesting guy. We don't know each other very well,

-but we have a common-- -We don't know each other at all.

Okay. So, Nick has brought us together, he thinks highly of you...

I don't mean to be kinda crass, but I have a thing I gotta go to.

Maybe you can help me, we can help each other, to make a beautiful film.

[Pesto] You can make the music.

You can act in the film.

He told me that you want to write.

I think you'll have to talk with Conchita and Rosita.

-[Tony] I'll just talk to them? Okay. -[Pesto] Yes, please.

They can explain much better what I want to do.

Done.

Everything's been taken care of. You'll have dinner with the girls

and they're gonna explain to you who I am and why you're here.

-[Rudy] Great. -[Pesto] Fair enough?

-[Syd] Fair enough. -My pleasure.

[in English] Have a good night.

-[Tony] Thank you. -Thank you.

[soft rock music]

202 WEDNESDAYS LATER

EZEIZA AIRPORT

♪ When I'm blue I take it ♪

-[screams of excitement] - ♪ To the sea ♪

♪ You shouted your name out loud ♪

♪ Just for me to hear ♪

[screams of excitement continue]

♪ Now after all these years ♪

♪ The sun is setting on my sea of red ♪

♪ Sometimes the rain comes in right Through my head ♪

♪ I've sat at tables You would not believe ♪

♪ I have no problem When it's time to leave ♪

♪ It's true ♪

♪ I do the best that I can do ♪

♪ I still remember Every single thing you said? ♪

♪ Sometimes the rain comes in right Through my head ♪

No word from Pesto? He knows we are coming in today.

-[Syd] Did you get anything from Pesto? -[Rudy] What, on my phone?

-[Syd] Yeah. -[Rudy] Are you kidding me?

My cousin came back from Europe and he had like an 8,000 dollar...

Whatever, I mean... Look at you.

You have... you have some sort of coverage.

-You have total coverage. -No, I have coverage.

I have "we fuck your ass and take your family away from you

if you make a single phone call" coverage.

[soft rock music continues]

[Tony] Hello.

[Rudy] Hi, how are you?

-It's great, yeah? -[Rudy] Yeah. It's great.

-These two are larger. -[all laugh]

-[woman] They're quite similar, so... -Anything on the 6th floor would be nice.

-[music continues] - ♪ Now you've been here for such a ♪

♪ Long, long time ♪

♪ You are officially a friend of mine All right... ♪

...darker. There's a giant--

You wait there, I'll be right back.

All right? I'm just getting all the numbers down because, like,

I could, like, make you something and I could fuck you.

♪ ...through my head ♪

♪ Oh, oh, oh, oh ♪

[music ends]

-[woman] This way, please. Sorry. -Thank you.

-This is the Imperial Suite. -Oh, great! Great, great, great...

[woman] You have here, um, the living room.

-Wow! -With a city view.

-[Tony] Yeah! -[woman] Do you like it?

[Tony] Sure.

[woman] Um... I'm your Experience Manager, Fernanda is my name.

-This is the best suite in the hotel. -[Tony] Yeah.

[Fernanda] You had the Presidential Suite,

but Mr. Pesto demanded that we give you this room.

Oh, wow... So, I had the Presidential... This is the Imperial one, right?

Exactly. So, I hope you like it.

-Did he put a credit card down for this? -Yes, you're covered, you and your stay.

It's amazing! It's always better to have the Imperial than the Presidential, yeah.

-Yes. -Sure.

[Fernanda] If you want, you can come outside

and take a look at the view.

[Tony] Yeah, okay. Do you guys have paparazzi here?

[Fernanda] No.

Nice! Nice, look at this!

-Fernanda? -Fernanda is my name, yes.

-What's your last name? -Maccio.

-Fernanda Maccio? Italian? -Yes, exactly, yes.

-Your parents were Italian-Spanish or...? -No, my parents are Argentinian.

[in Spanish] Yes, yes.

Yes. Do you know Spanish? Do you speak Spanish?

[in Spanish] A little bit.

I hope you enjoy your stay.

I'm your Experience Manager, Fernanda is my name

-and you can find me at the reception. -Sure.

-Just one thing... -Sure.

-I saw your film, Dangerous Beach House . -[murmur of agreement]

-You were great on it, but... -Thank you.

I'm sorry, it was a piece of shit.

-Yeah, yeah... -Why did you do that?

[sighs] Oh... I guess... habit. Habit, greed, sloth.

Those types of things.

You are the best actor in Hollywood, and then you do that kind of thing...

Yeah... well, sometimes we behave like donkeys.

[both laugh]

-Yes. -Yes.

So, you can find me at the reception. You can dial zero to call the operator.

[Tony] I will.

-If you need anything else... -We're having a very honest experience.

I'm just being honest.

Yeah, I know, and that's the kind of experience I want.

-Okay, perfect. -As a manager, yes...

-Perfect. Have a great day. And please... -You too.

-Don't do movies like that. -[Fernanda giggling] Exactly!

-A real piece of crap. -Yeah, I got the picture...

-Thank you so much. Okay. -[Fernanda] You're welcome.

[door slams]

[guitar music]

♪ She broke down and cried ♪

[Tony yells]

♪ On the day her baby said goodbye ♪

♪ She broke down and cried ♪

♪ When he told her he must go and ♪

♪ Find a bunch of other people ♪

♪ Living in the world ♪

♪ They were born on ♪

♪ The other side ♪

[guitar music continues]

♪ Shuffling down the street ♪

♪ Too much drink And not enough to eat ♪

♪ In the freezing cold ♪

♪ In the blazing sun As children... ♪

Excuse me. Pardon me.

Excuse me, ma'am. Do you speak English?

-[in Spanish] You're super famous. -[in Spanish] English?

I'm going to take a picture of you.

[guitar music continues] ♪ Other side ♪

[crack of thunder]

So, this is like "Faenaland" and that's Buenos Aires.

-Yeah, it's... [chuckles] -And that's the moat that surrounds it,

in case the natives try to get in.

It's the Plata River. It's a brown and lonely river.

[Rudy sings in a deep voice] ♪ It's a brown and lonely river ♪

♪ That divides Faenaland From Buenos Aires ♪

WAITING FOR PESTO

[silverware clinking]

[Rudy] What if he doesn't show up? I mean, what if this is the movie?

What if he's over there watching us? You know? It's a movie for one.

[Tony] Don't you think he's just lost in a Borges' novel? You know...

[Syd] Dude, that guy is the greatest.

[Tony] Another guy who was a fucking motherfucker was Rodolfo Walsh.

-[Syd] Who was he? -'74, he was this guy

who wrote his famous... His famous letter that he--

-[Syd] He's 74 now? -No, no, he was like...

Well, all the shit was happening in, like, '71, 2, 3, 4,

-when they killed everybody. -[Syd] '76. Wasn't it later?

I don't know the exact dates, but anyway...

So, his famous famous, this letter that this guy wrote,

was unbelievable. He was basically saying, you know, "come get me" and, like...

"this is how I'm gonna go out."

-[Syd] You have it? Is it in the... -Yeah, it's... Yeah.

-[Syd] ...interwebs? Can we find it? -Yeah.

It's probably one of the most powerful

-journalistic poetry, kind of.... -[Syd] E-mail me that shit.

...call to arms I've ever read.

[Syd] You know this travel agent?

I said: "Help me out this time" So, there's... [stutters]

There's some professor meeting me at the hotel.

-You guys can talk to him if you want. -[Rudy] Sure.

-Have you heard from Pesto? -I'm texting him now.

[Tony] He called me like three weeks ago and... he was drunk.

And he told me that he is a complete failure

as a screenwriter, a filmmaker, an artist and a fisherman.

He said: "Lovecraft, it's ten years in the making. Let's go.

Get down here on the 25th."

And I said: "What are we shooting? You know,

what are we shooting? If we are gonna work on it..."

He said: "Free spirits make original decisions

based on no experience or authority.

Let's have a specific temporal revelation."

I think he wants to talk about the script, he wants to talk about

what we are gonna do. Remember when we met the two girls?

It will be my first film. I don't want to make any more paintings.

-I just want to make a feature film. -[Tony] Just films?

Yeah, films. No more painting for me.

[Syd] Okay... Sorry, are you sisters?

-Are you friends? -Yes!

-[Syd] Oh, yeah, we... -No.

-[Syd] No? -No, we don't know each other.

So, what are you doing here, together?

You're supposed to tell us.

You look smaller in movies.

-[all chuckle] -[Rosita, in Spanish] He does!

-[Syd] You do, she's right. -Yeah, I think you look the same.

-And that is what you wanna do? -Yeah... I think.

-And you? -I'm a lawyer.

-And? -That's a living.

Why don't you tell us about, uh, yourselves...

Rosita and Conchita?

-We come from far. -I know, you come from faraway lands

-and mystic lands and-- -You think we are prostitutes?

-I... [stutters] You know what? -[Tony] No, no, no.

-I have nothing against prostitutes. -[Tony] How long have you known, um...

Emperor of Fucking Freak Show?

[all laugh]

Our parents were killed in a concentration camp.

One more time.

Our parents were killed in a concentration camp.

But we are not talking about Nazi Germany, we are talking about Argentina.

Are you... are you bullshitting us? Is that true, what happened to you?

-It's true. -No, I know about Argentina,

-I mean, for them. -We know you're a sweet guy.

How do you know I'm a sweet guy?

Because of the look of your eyes.

The thing is, all this fucking business really makes you... paranoid.

Especially when you are in front of some strangers.

So, um, is that what this, um... film is supposed to be about?

This, uh... Do you wanna talk to us about that?

Not especially.

-You don't either? -Not really, but... Pesto asked.

[traffic noise]

[Rudy] I wonder how much this place is, like, original

and how much of it has completely changed?

-[Tony] It was a Starbucks last year... -[Rudy, mockingly] Starbucks, yeah.

...and then they retrofitted it back to the revolutionary café.

[chuckling] No, but it's an undercover Starbucks.

-It's a long time ago... -It is.

So, what would be... what's the analogy, right? It would be, like, um...

You know, like a café of intellectuals.

[Rudy] If this was life and death, I mean, this is where people...

-[Syd] It's like... -[Rudy] This wasn't just intellectual.

[Syd] The thing is that there's is this, there's like a sinister thing, no?

Like, they fucking drove these green Ford Falcons

and they fucking, like, pulled guys out

and fucking... [imitates gunshots]

[Tony] It would be like if somebody pulled Sinclair Lewis out of the--

Exactly, exactly! Or, like, Sartre, like [stutters]

-Hi. -[Rudy] Hello.

-[Syd, in Spanish] What a cutie! -[Rudy] Hello.

-I want a pen. -[Rudy] What do you got?

-How much? -[Syd, in Spanish] 20?

-[Rudy] That was a good negotiation. -[in Spanish] Thank you.

-[in Spanish] Yes, what a cutie! -Thank you.

What the fuck calendar is this in here?

-It is, um... -There's some sort of device,

this thing... This thing's got a map on it!

It's Pesto, sending us a message.

[Pesto] Hey guys! Thank you for visiting La Paz Café.

I was not able to receive you this morning at the airport,

but tomorrow morning I promise I will be there.

In the meantime, Carlo Rossi, the financier,

-is throwing a party in your honor. -[Tony] Thank you. Hey!

You must be Carlo!

-Nice to meet you. -Nice to see you, man. How are you?

-Who are your friends? -Oh, this is great. This is Rudy.

-Rudy! Nice to meet you. -[Rudy] Hey! You, too.

-[Syd] Syd Kuliaky. -Syd Kuliaky.

[Pesto] After four years, I don't remember what this thing was about.

The only thing I keep in mind are these kind of foggy,

black and white images.

Patrick told me that you are going to finance this project of his, yeah?

-Yeah, yes, he told me about that, yes. -That's true?

He did? But I don't... Do you know anything about it?

-I will finance it, yes, yes. -Yeah, yeah... what is it?

-I don't know. -[chuckling] I don't know either.

-[Rudy] You don't know either? -Okay, nice to meet you.

-Cheers! -I loved your last movie.

-Oh, yeah, which one? Which one you saw? -Dangerous Beach House.

[electronic music]

[indistinct chatter]

[Tony] Hi.

[woman] Hi!

-There were many different lenses. -[in Spanish] Different kinds of lenses.

[indistinct chatter]

[all in Spanish] Cheers!

[in Spanish] To the Argentine government!

[electronic music continues]

-I don't... I don't know if I can-- -[Rudy] No, no, no, join us.

-[Tony] Come, sit. -[indistinct chatter]

-Where are you from? -I'm from--

-You're in Buenos Aires? -Yes, I live in Buenos Aires now.

Men, so long...

-So long. He is-- -You think?

He is huge, I'm sure.

[in Spanish] ...shirtless of the nation,

the ones present here today.

[imitating Evita in Spanish] Argentinians!

Tonight...

the general is asking me...

and with a heavy heart...

[Rudy] You're a peronist?

[tries different pronunciations] Peronist... peronista?

-Yes... yes, I am. -All right... then I am, too.

[cork popping]

[woman gasps]

Touch this.

No, no... Not like an animal.

Not like an animal?

[woman screaming in Spanish] Let me handle this!

Otherwise I won't get horny, do you understand?

-[woman] I'm gonna vomit. -Vomit? You gonna throw up?

[electronic music continues]

[indistinct chatter]

[woman screaming to Syd in English] Fuck you! Fuck you, fuck, fuck! Fuck you!

[woman screaming in Spanish] You thought you could just come

to Argentina to fuck around?

[electronic music ends]

[indistinct chatter]

HOW TO MAKE A MOVIE

[mellow electric guitar music]

[all in Spanish] I can't even remember what this is all about.

I don't remember what this movie is about. I don't feel like shooting it.

Don't make it if you don't want to, we can all go fishing,

-the three of us... No, the five of us! -Yes!

-That's what you like doing, come on. -Yes, that's what I like,

also I haven't seen you two in like a month, I don't know...

[Conchita] Syd didn't write anything, what has he been up to then?

-[Pesto] He was researching! -[Rosita] Thank you.

-You know? Researching-- -Researching what?

Researching what happened here, what happened to your parents.

-What a weird smell! -What does it smell like?

I don't know...

-Where are they? Have they arrived? -There! Isn't that Syd?

-[in English] How long can you stay here? -It depends on what you wanna do.

And where else did you go this morning?

-Um... the Recoleta. -Yeah?

-[Syd] We saw Evita, what's left of Evita. -[Pesto] Yeah...

We saw... Luis Firpo. Tony likes that.

-[Syd] You know, kickboxing and all that. -[Pesto] Yeah.

And, um... Oh, and Ara... "Aramubu."

Oh, Aramburu!

[Syd] Yeah, he's in the fucking center of the... thing.

-Where are the boys? At the gym? -It's been great.

They sleep-- I don't know, they sleep all day, you know?

[all laughing and talking loudly]

-[Syd] Hey, is that Spanish? -[Rudy] Where are we going?

-[Syd] Are you speaking Spanish? -Yes, I am! I'm dropping some español .

-[rapping] Español , motherfucker! -[Rudy speaks simulated Spanish]

[Pesto] I am not a filmmaker. I've never said I'm a filmmaker.

But I know about films, I saw two films in my life.

-[Tony] Which ones? -[Pesto] Half Doris Day,

I don't remember, something about "pillow."

-Yeah. [all chuckle] -[Pesto] And the other one,

-with the guy who doesn't have hands. -[Tony] That's a great film.

[indistinct chatter]

Well, look man, [stutters] you know... What do you wanna do?

I want a new drink, for instance.

A character, maybe... It's just that...

I'll tell you, personally, I don't want to do, like...

I'll do whatever the fuck you want, I'll do whatever, but I don't wanna,

like a drunk, play a drunk for three weeks.

If you fuck a chimp and you are drunk, people will say: "Well, he was drunk."

If you fuck a chimp and you never drink, you have a problem, because--

-Yeah, that's true. -Are we doing a movie? Or characters?

Is it performance art?

Do you think we need cameras, for instance?

[chuckles]

We need to shoot the film actually or... the thing can happen?

-Just happens. -[all laugh]

-You fucking... -[indistinct chatter]

Let's go, I want to show you San Telmo.

Why is that, um, the people who drive here are so crazy?

-Yeah, there are no rules. -Is it like Boston?

-[seat belt buckle clicks] -I don't know.

[man, in Spanish] The thing is that, on Sunday, we went dancing.

And this one hooked up with Silvina.

"How is this possible?", we said. "What is happening to her?"

-Was she high? Was she drunk? -Inexplicable.

How could she sleep with this idiot? We had her just right in front of us.

They were glued to each other, you know? Inexplicable!

-She was rubbing her pussy against him. -[all cackle]

What the fuck does this fatty have that we don't have?

A pot belly! Acne! Motherfucker...

Money! Oh, it could be money...

The fatty's dad owned a shop.

He had had three or four heart attack scares

and he had been admitted to the Pirovano Hospital.

So I said: "Pirovano, motherfucker!"

-[high-pitched] I got it! -[all laugh]

Silvina was a nurse at the Pirovano! Let me make this clear:

that cheeky one smelled the money and gave away her pussy to the fatty

because he was going to inherit the family business!

-You should be a detective. -Motherfucker! We were all so fucking sad.

"Fuck, what can we do?", until the short guy, the smart one,

slapped the table and said: "We can't let this fucking bitch

-take our friend away from us." -True friendship!

We all got a bit crazy. For us, a juvenile bunch, this was a life lesson.

We said: "We have to do something, we need to do something about this,"

and then someone came up with the idea of talking to the fatty.

-I think that was me. -See? Then somebody else said:

"No, no, we won't talk. We'll go beat her up!"

-[all laugh] -I said: "No, no way, no...

We'll all go and fuck her in the ass... and it's done!"

-[all laugh hysterically] -Justice against injustice!

-The idea spread around very quickly! -[man 2] One for all, all for one.

One, two... go! Off to the building where the chick lived.

We all went in like a hurricane,

straight into the bedroom.

The fatty was naked, sleeping.

[imitates the fatty] "What's up? What's up?"

"Take it easy, fatty, take it easy."

We grabbed him like this.

"Easy, take it easy." I was stroking his hair

and I told him: "Look, we are here for revenge."

In the meantime... in the meantime, do you know what Flavio did? [chuckles]

-He took out the junk that God gave him... -[all cheering]

...and slid it inside her without any spit on!

The chick tried to set herself free, we restrained her, knees on her back,

little bitch, and a gun to her neck.

-We all fucked her. -[cackles]

-[man 1] The bitch fainted. -[all laugh]

[man 1] Damn! See, how things go...

How things go... Can you believe that the fucking fatty

never talked to us again?

Can you believe how ungrateful he is?

In the end, the bitch married another one.

She's as fat as a cow, has a million kids...

[traffic noise]

That's some story.

You wouldn't believe what you can hear in places like this.

[soft electric guitar music]

[Tony] Do Argentinians love their country? I hope so.

Do I love America? I don't know, sure.

What does it mean to love a country? What does it mean to love your country?

I feel I love my country, but maybe, um...

[sighs]

to love a country is fear masquerading as love.

[Tony] Do I love my country? Sure.

But I feel more American when I'm outside the United States.

DEFINE YOURSELF

[Pesto, in Spanish] Guys, don't worry if you can see the boom

or the other camera.

During this part, all the cameras can be seen. Understood?

[in English] So, we're gonna shoot it, yeah?

-[Pesto] No, I don't know, I mean... -Wait, hold on.

We can do this in a minute, it's okay. We're not gonna shoot yet.

Like in, um... [in Spanish] five minutes.

-[hair stylist, giggling] Okay. -Okay.

-[Pesto] What is this, black sugar? -Yeah. No, no, I mean, we'll do it later.

-[hair stylist] Okay. -Okay, thank you.

-All right, listen. -[Pesto] Yeah.

We're trying to recreate what happened yesterday

-with you, yeah? -[Pesto] Yeah.

So, to me, that was... [stutters] What was most interesting about that

is where we got to walk us through the story, take us to the story. [snorts]

-[Pesto] Yeah. -And you sort of,

-you didn't want to talk about it, right? -[Pesto] Yeah, right.

[Tony] And then, at one point, we were asking more for, like,

traditional definitions of "story,"

and you didn't wanna give it to us.

No.

And you were trying to get your sort of sea legs,

and we were all trying to get our sea legs about what the story is.

Because we are going through this stuff about, like... We structured and we said,

you know, "who is Rudy?", you know, let's give him some definition.

-You were like: "Define yourselves!" -[Pesto] Yeah.

And then we said: "Yeah, but who the fuck is Conchita?"

-and what's the other girl-- -Rosita.

[Tony] We were, like, we didn't understand her place

in the story.

Because you read the script too quickly, you know?

I understand, you receive many scripts,

then you start to read and jumping lines.

[Pesto] They explain it even in the dialogue.

"We were born in a concentration camp... in Buenos Aires."

-Yeah. -[Pesto] Okay?

So, you know who they are.

We didn't know our parents.

Look, [stutters] I didn't mean to... offend you or anything.

I don't know Pesto, so...

Don't think anything wrong about him.

[Argentine National Anthem played on piano]

[chuckles]

[improvises on the piano]

As far as I'm concerned, [whispering] as far as...

Hey! Chin-chin.

[ice cubes rattle]

[sigh of satisfaction]

-[Syd] Professor Vidal? -Yes.

-[Syd] Hola. Syd. -Hello, Syd.

-Syd Kuliaky. -What?

-[chuckling] Kuliaky. Syd Kuliaky. -Kuliaky... Mmm-hmm.

[Syd] That's my name. [chuckles]

-Thank you so much. -Sure.

Thank you so much for taking the time to see me.

-It's... You're very welcome.

I don't know how much Daria explained to you about why I...

wanted to talk to you.

She explained a little bit what you wanna know.

-You know, you are the expert, so... -[Vidal chuckles]

I would imagine we begin talking about May 1810.

Um... [sighs] May 1810 is May Revolution.

Right.

[stutters] In that time, to tell you the true, the truly true... the truth...

The truth.

In Argentina... it wasn't really...

the Independence Day.

[stuttering] I believe that the Army was--

How do you say it in English?

- Fundacional. Foundati-- -[Syd] The foundation?

-Foundation! -[Syd] The foundation.

The foundation of this country [stutters] was with the Army.

-Mmm-hmm. -[stuttering] The Army against Spain

and the Army against, um...

-Indians! -Yeah.

-Natives. -Natives.

-Yeah. -Indians. [imitates war whoop]

[Tony] Page 19.

"Maybe that's why Patrick Pesto insisted on calling the movie

Project 'A Social Experiment,'

but then he changed it to 'A Sociological Comedy,'

and then he changed it to 'A Political Screwball.'"

So, we are trying to get where our characters fit in.

-[Vidal stuttering] -[Syd] This is Tony, Tony Lovecraft.

-[Vidal chuckles] -How are you?

-You came late to the history. -I did, I did, always late, yeah, yeah.

-[Vidal] It's okay. -Nice to see you.

-You wanna join us? All right! -I'll sit with you for a minute. Sure.

-I was gonna go out, but I don't have to. -It's okay.

[Syd] I think I told Tony that you were coming

and who you are, Professor Vidal.

Yeah.

It's... I know you.

Uh, I believe that I know you.

-From the... from the movies? -[Vidal] Yeah, yeah.

-Some of them played in Argentina. -[Pesto, in Spanish] Good afternoon. Hi.

-How are you? Hi. -[Tony] Patrick Pesto.

-[Syd] That's Pesto. -[Pesto] Patrick.

-[Vidal chuckles] -[Pesto] Patrick. He's the professor you--

-This is Professor Vidal.. -Hi, man. How are you?

-Good seeing you. -Nice to see you.

-Okay. -[stammers] Can I...?

-Please! Join us. All right! -[Tony] Yeah, yeah.

[Syd] This becomes a... [stutters] The plot thickens.

Wow.

You said: "Sometimes it's important to look at history... from way back.

And when it's too soon, it's..." [stutters] Right?

-Exactly. -Then, I agreed with you--

To get the big picture [stammers] and the context.

Right, and so I... I don't agree with that. I don't agree with that.

That... [stutters] That's history.

-It's not a zero-sum game. -[Pesto] But... Are you a Democrat?

Sure.

-[Pesto] American Democrat? -Sure.

But you are pissed at Obama at this moment.

-I'm what? -[Pesto] You like him?

-Yeah. -[Pesto] You like Obama.

-You are happy with what Obama is doing. -He is a--

-Absolutely, absolutely. -Are you?

-[Rudy] No. -No? You?

I think he is a fucking disaster.

-Why? -It's crazy. It's crazy.

We had George Bush. He is a fascist... [stutters] I mean, whatever, not fascist,

-but, I mean, we have Obama, we-- -Excuse me, why do you need politics?

These guys use politics, I don't use politics. I believe in America.

I want it to survive, I want it-- The world needs it to survive.

The world needs it to thrive. These guys criticize it, I'm... I'm...

I think America is good.

We have a very sort of simple pop explanation in America

of Perón, which is not even Perón, it's Eva Perón, it's Evita.

We have a musical, we have, you know, movies, we have Madonna--

-Yes, I saw that musical. -[Syd] And, so--

-Did you like it? -[stutters] No, no. I don't understand...

-You don't understand. -So, we have a feeling,

we have a strong feeling that Evita is a bunch of bullshit.

-[stutters] Excuse my language. -[Vidal] It's okay.

To me, it seems like Eva Perón brought the love of the people

to a pretty ordinary, military historian--

-Which people are you talking about? -The people, the... [stutters] pueblo ,

[in Spanish] the people, the...

[in English] She was a person of the people, yeah? That's correct.

[agitated] Perón brought what?

Something was sleeping... [exhales sharply] and appeared

like a... How do you say "malón"?

-[both in Spanish] How do you say "malón"? -Me?

-[Vidal mumbles] -Um... like in a crowd?

-[both in English] Like in a bunch. -[Vidal] Yeah, when the Indians say:

"We're all together," somebody called that "barbarie" , um...

-Barbaric. Barbaric. -[all] Barbaric.

-But you wouldn't call it that. -Of course I would!

-[Syd] Let me ask you a question.

I'm fascinated with the 1966...

-[Vidal] Mmm-hmm. -"Ongalía"?

-[Vidal] Onganía. -Onganía. Now, what happened there?

[Vidal] Soft dictatorship.

-[all] What? -Soft... dictatorship.

How can you call it "soft dictatorship"? You know, it was a dictator--

[in Spanish] If you understand politics, you will surely understand

that there is a transition from a populist movement--

[in English] What about Trelew, Mr. Soft Dictatorship? What happened?

Lanusse gave the order to massacre, to kill all these kids!

-You are a humanist. -[Tony] Did the United States--

Did the United Stated back the... [mumbles] How much... Any money into that?

The regime, here?

-[sighs] We needed help. -[woman clears her throat]

The generals were, um, generals who were trained in West Point, yeah?

[stutters] Of course, one of them.

-Yeah. -[Vidal] Not all of them.

-[stutters] One of them, only? -[Vidal] Only one, as far as I know.

-What was his name? -I can't say.

-[Syd] Videla? -[Pesto] Videla?

Videla, can be.

-[Syd] Massera? No? -No, not Massera.

-[Pesto] Galtieri? -Can be,

but I don't know for how long he was in West Point.

[Pesto] You are a fucking disgrace for this country.

-[Vidal] Thank you very much. -You know?

People like you... You know? You're a fucker.

-Violence? You want some violence? -Motherfucker! You don't have respect

-for anybody! -You want some violence? I'm your friend!

-[Pesto] Blow me! My friend? -Come on! I'm your friend!

-[Vidal] Violent person. -[chuckles] Violent?

-He's not a violent person! -He's an artist!

-He's an artist, he's a beautiful person. -[Vidal] Some artists are violent.

-[Tony] Yeah. -They try to change the world.

Some artists are artists-- You, in your movies.

-Yeah. -[Vidal] How many people do you kill?

Do you try to change the world?

-[Tony] How many people did you kill? -John Wayne?

-He's been president three times. -[Vidal] Three times! [chuckles]

You're talking about Reagan.

Reagan was old John Wayne and Bush was young John Wayne.

I love them!

-[both in Spanish] What are you saying? -[Vidal] What do you mean?

-[Vidal chuckles] I'm telling them that-- -What are you talking about? What--

[in English] I'm sorry to interrupt you, I don't mean to eavesdrop,

I'm just working on my thing here, but... where did you guys find this guy?

[Vidal] Oh boy! [in Spanish] Why don't you carry on with your duties?

-You know what I think it is? -[Vidal, in Spanish] You might be pretty,

but you have no right to interrupt a conversation between men.

Professor, professor.

[in Spanish] It's because of people like you that this country

is the way it is today. You fascist motherfucker!

...they said: "If you are a fascist..."

Everybody has a fascist in them, right?

All you gotta do is find the right button to push.

[soft electric guitar music]

[woman] You know what? It's always the same story here.

It's like we are stuck in time, you know?

It's the same story over, and over and over again.

[Tony murmurs in agreement]

I worked for a newspaper. All day long in the basement, typing.

I was young, I had ideals, I thought I could make a difference, you know?

[loud sucking noise]

-[sucking noise] -But, in this country, it's like...

it just can't move forward!

We're stuck. We're stuck in what happened 35 years ago.

I always think of Argentina as a...

as a black widow.

Somebody whose husband died 35 years ago,

and she was young and beautiful

and could have redone her life and... meet new people, meet men,

and... she just got stuck in the memory of her husband,

and every day she cries for him.

To be a member of the left or an artist back then

-was to be hunted, yeah? -Completely.

They had that in the States in the '60s and the '50s.

[woman] But you have a country that gives you opportunities, like,

you know, Manifest Destiny.

I don't think we have that here.

No, Manifest Destiny is an excuse to kill Native Americans.

Well, but you live in a country where you can be anything you wanna be.

Here it's not really like that.

-We are much more narrow-minded, if you... -I don't think so.

I don't have such a romantic vision of the United States, maybe,

as some people do.

HOW TO DEAL WITH BAD REVIEWS

I don't think you trust me.

Are you sure that I want to make a new film?

No. Maybe I want to make... a film, or something

that you've never experienced on a personal level,

and I've never experienced on a personal level,

and these guys have never experienced on a personal level.

-Let's get that fucking unicycle. -[sipping]

Let's get the unicycle, let's get the Fellini unicycle, right?

And a juggler. And go through the background.

Let's just do that. Let's just do that.

Let's just have the fucking guys in the background,

nothing means nothing.

And you can fucking throw the booby trap [spilling]

whenever, you know,

whenever anybody tries to do something that means something,

that has some literal sense.

Let's just fucking, you know... [metal clanking]

Let's just say: "Oh, it doesn't matter."

"No, we're shooting the thing in the movie, inside of the movie."

"No, no, that doesn't matter. [sighs loudly]

We're talking about art."

So, why don't you trust me?

Can you fuck this girl in the bed now?

-Who is this girl? -Eva Braun.

-Eva Braun? Like, Hitler? -[Pesto] Yeah, I call her Eva Braun.

She's full of my air. You know? My air.

-[Syd chuckles] -[Pesto] So, she is part of me.

[imitates blowing noise] I blow her...

-[chuckling] You blow her? -...with my soul, with myself.

So, her soul, her interior...

is part of myself.

Can we make...

20 seconds of silence so Rudy can come into this scene?

-[Syd] Yeah. -Please? Can we do that?

-Sure, absolutely. -Okay. Rudy, please,

-put music to this scene. -[Syd] Absolutely.

-Rudy? -[Syd] Absolutely.

[acoustic guitar music]

[choir singing]

-You know-- -[mumbles]

[acoustic guitar music continues]

[Syd clicks tongue]

Now sing the one when Patti Lewis was in rehab,

that you sang for her.

That's my... [mutters] That's my favorite song...

-[mutters] that you... have ever done. -He was doing something beautiful.

-[mumbles] -New. New.

You know, but I... [stutters] I wanna...

hear that song.

Why don't you let Rudy act?

Thankfully, film criticism is pretty much dead, which is good.

-Film criticism? Is dead? -Yeah. Nobody reads anything about films.

-Well... -Even this.

-You mean, how do you avoid this? -[Tony] Yeah.

Well, it's presumptuous in the first place, right?

-[Tony] Yeah. -To dare to even say something...

uh, about something, to anybody.

-It's presumptuous. Yeah. -[Tony] Yeah!

We know that, it's like:

"Excuse me, but...

-who the fuck are you?" -[Tony] Right!

[chuckles] Yeah.

You gotta make it entertaining...

-and slip it in somehow, right? -Yes.

"Every poet and every artist is an antisocial being.

-[Tony chuckles] -He's not that way

because he wants to be. He can't be any other way.

Of course the state has the right to chase him away!

And if he really is an artist, it's in his nature

not to want to be admitted.

The right to free expression is something

one seizes,

not something one is given."

I don't think you understood the script yet.

-I can't believe you did it. -I don't think we do, you're right.

-[Rudy mumbles] ...to hear you say it. -[Syd, in Spanish] I love it.

But, you know, I don't know what I write. Sometimes I just want to fill pages

to have more or less 100 pages because they told me, you told me,

than, in a script, there are 120 pages.

-Traditionally. Sometimes like 131. -Trad... And I bought this, um... final...

-The final draft. -The final draft, so it looks like a...

-a script. -It does look like a script!

And when you start to say: "Yeah, but I don't want a script,"

I'll say: "Let's call it 'the ass.'"

So, we have an ass.

We can penetrate the ass, put a baby hippo in the ass,

we can vaccinate the ass,

we can kick the ass, you can kiss me the ass, whatever you want,

but this is an ass.

-[all laugh] -We have something, we're making a movie.

So, we'll just make a movie about going around Buenos Aires,

the fucking most beautiful place in the world,

the most beautiful girls in the world.

If we make a movie about the fact that people get killed...

you know, we might as well fold up shop. And so what?

It happens all around the world, every day, right?

And we're lucky we're sitting in a fucking hotel.

-Well, I-- -So, [stutters] but what's interesting

is that you wanted to make a movie about it.

So, that's what's interesting.

-[Syd] Do you? I don't know. -Do you?

You know, I don't know why these kinds of things happened in Argentina.

I don't know why they killed so many people.

I don't know... I don't know why they tortured people,

I don't know why [voice cracking] they took out the nipples of girls.

I don't know why they put rats in the intestines of people here.

Don't ask me that. If I knew, if I even had...

a little answer, I would be like them.

[Syd, in Spanish] I understand.

[church bells ringing]

[motorcycle accelerating]

[traffic noise, motorcycle braking]

[footsteps]

[mellow instrumental music]

-[Tony] It's okay? -Sure.

-[both in Spanish] How are you? -Fine.

-[in English] What are you praying for?

[Tony inhales deeply]

Oh, I don't know yet.

[Tony] What are you praying for?

I can say I'm praying for courage.

I hate too many people. [chuckles nervously]

Mmm-hmm.

-So, you pray for, um... -Courage to forgive people.

It's one of the hardest things you can pray for,

but also the most beautiful one.

Maybe.

Wow.

[mellow instrumental music continues].

One thing I think is so crazy is that,

at least when I go around the world, I see all these...

fucking so-called "Christians," who are, like, these conservative...

pretty much fascists.

Um, not all, but some, and I think:

"You idiots! Don't you know that Jesus Christ was the biggest radical

who ever walked the face of the earth?"

He told everybody how to forgive everybody,

to love even the people who'd massacre your family.

That's a radical! That's not a conservative.

-That's a radical idea. -[Rudy] Yeah.

-I don't know, I think it's the hardest-- -For some people, it's radical.

For some people... [stutters] it's stupid.

I don't think it's stupid, I think it's radical.

What I'm saying is that I don't have the courage to do it

and I haven't even had anything bad happen to me.

I have the courage to... [stutters] It's not courage.

-I don't think so. I wish it was courage. -Oh, come on! Come on.

[stutters] It doesn't take courage to forgive?

♪ Well, I don't wanna miss you Don't wanna miss you ♪

♪ Don't wanna miss you when I go ♪

♪ Don't wanna miss you Don't wanna miss you ♪

♪ Don't wanna miss you ♪

♪ So I won't kiss you ♪

♪ 'Cause I don't wanna, wanna Miss you when I go ♪

[harmonica solo]

I'm not gonna... I'm not gonna try to seduce this girl.

If you think that, I'm not gonna do it.

-What? -Why? Why?

-She's perfect for you! -Tony! Give the girl a chance!

No, you can... really, you can keep filming,

it's just that I didn't wanna make it seem like I... [stutters]

I was trying to, you know...

-[woman] Seduce me? -Seduce you.

Shut up! [scoffs] Cut the lights, cut the sound, cut everything.

-[indistinct chatter] -[Pesto] Go back to Hollywood!

THINKING ABOUT THOUGHTS

-Hello! -[in Spanish] Hi, guys!

[Pesto] Hey, guys!

[traffic noise]

This is, um, this is, I believe, the law school.

The law school?

There's so much time to think, maybe, you know? I don't think that,

before, people had...

so much time to think, like we do.

Even if we have stupid jobs, we have a lot of time to think.

Maybe in a Chinese factory you don't have time to think.

I think if I was committed, um, I think if I was...

accused of a crime...

I'd rather be on trial in, um, in L.A. than on trial here.

Before, people worked all day

and there were no electric lights, nothing, you know?

They read a little bit the... [stutters]

the Bible and they go to sleep, and, um...

Yeah, and then in Europe they started to get time to think

and then everybody wanted to kill themselves.

[laughs loudly]

...but you can write up a contract that says:

"If you sue me and you lose, you have to pay my fees."

You're allowed to do that as a matter of contract,

but it's not a matter of the operation of the common law.

Shit like that. I'm good with shit like that, jerky.

-All right. -That's the kind of shit you learn there,

except that here, what they learn, I don't fucking know.

-So, every lawyer-- -They learn, like, you know...

"pay the guy 500 dollars," and...

-you know. -Hmm.

I don't know, that's, that's, that's sexist.

I feel my kids saved my life so many times.

[mellow music]

But then you think, um, all the stuff, you know, the...

[sighs] poetic stuff.

Hmm, romantic poetic bullshit

about not wanting to bring another kid into the world.

-Oh, right. -I don't know, it's just...

People who are really convinced

that bringing life into the world when the world is a mess...

[stutters] that's, in part, it's...

It's a big chunk of... narcissism, no? Because you think, um...

that, um...

that only you...

have the chance to change the world

and now the world didn't change, so your kids can't change the world,

and I think my kids can change the world.

Yeah, I'm gonna take my bone and I'm gonna go home.

[stutters] I, I... Turned out I wasn't the Messiah,

so, hmm, you know... fuck it.

Game over.

-You know what I mean? -Right.

Yeah, I think you're right.

[mellow music continues]

[traffic noise]

[silverware clinking]

[both in Spanish] Whatever you want, I don't know... it feels weird.

Why? Why does it feel weird?

A typewriter! Why? You never use typewriters.

No, but I find it... very romantic,

to receive a letter...

-No? -Sure.

[Pesto] At what age would you deliver it?

On his or her 20th birthday.

-[Pesto] No, it's okay. -"Letter for...

son/daughter." [typing]

[Pesto] Okay. I'm gonna say...

"I hope you're still making doodles."

[typing] "Still...

-[Pesto] Making doodles. -...making doodles."

And, if it's a girl, "doddlas."

[laughing] Okay.

[Pesto] "I hope you have your mother's eyes."

Aw.

-"Always listen to your mom." -[Pesto] "Listen to your mom."

"Listen to your mom." [typing]

[Pesto] Unless I'm there.

[both laugh]

-Travel. -Travel.

Without a camera.

-Without a camera? -Without a camera.

BACK TO WORK

[Pesto] And... action!

[Tony] We wanna see Rosita and Conchita, and he says:

"They're not ready for you. The film is not ready for you!"

[Rudy] What did he say about the film? Did you get any information?

[Tony] No, he's still pretending he doesn't know what a fucking camera is.

He said he wants to make something

and, I don't know, we'll probably end up making something...

-[Rudy] Doesn't it, like... bother you? -[Tony] ...against the white wall,

he'll throw paint on us or some shit like that, you know?

-An abstract. -[Rudy] That sounds like a good movie.

Yeah, it'd be fun, but, you know, let's get on with it, right?

Yeah, let's get on with the girls, we're here, let's go out.

-Please, please... -Am I supposed to write something?

You're supposed to write your great American novel

and one day Patrick Pesto will turn it into a big fish movie

and we will all... get rich!

-A four million dollar offer. -What about music?

[Tony] Music is post-production, bro, come on!

-Music, we'll do it later, let's go... -[indistinct chatter]

Yeah, it'd be fun, but let's get on--

How is music "post-production," dude? I gotta start working now!

Why would you call that asshole back?

Because he's the gateway to my financial future.

Armand?

Yeah, Tony Lovecraft for Armand.

Armand?

Hi.

Yeah, finished it, I didn't... I mean, I finished 25 pages of it

and it's, it's really...

-Yeah. -...it's too bad.

-Yeah. -It's too bad

that I can't finish the script, really.

It's what it is. So, I can't do it.

[inhales sharply] Look, we have to just wait, you know?

Find us something else out in the marketplace.

-[mumbles] -I saw, I saw Ridley Scott

in the airport and, um...

-[Rudy] Tony, hang up. -...he said he is doing that Alien prequel

but he said Fox is beating the shit out of him,

so, I mean, look, if they are beating the shit out of fucking Ridley Scott...

You know what I mean?

We just gotta ride this thing--

Armand! I don't wanna--

Watch how you talk to me, man!

-Tony, hang up the phone. -Hang up.

Armand, what chimp?

-[Syd mumbles] -What chimp?

-Hang up. - Space Chimps ?

-Armand! Son of who? -Gimme the phone.

-Gimme the phone. -Who is he the son of?

I don't know what the fuck you're talking about!

Hang up the phone, Tony.

Hang up the phone and put my cock in your mouth.

[Syd mutters] Armand.

Priorities.

[Syd] Hi.

Syd, you're a sexy man.

So, I was telling... anyway, I told Armand, I said:

"Listen, well... [stutters]

the loss of innocence is the first casualty of, you know, this film."

And... and then he hung up on me. [clicks tongue]

I'd never had a relationship where people hang up on each other so much.

-Don't call! Just don't call. -[clicks tongue] I know.

You're here! Bad things, out. B.A., in.

[Tony] Yeah.

[Rudy] Especially at that pool, surrounded by such beauty.

-[Tony] Do you think-- -Sorry, gentlemen.

A message from Mr. Pesto.

He asked me to read this to you.

" Chicos: I was deeply wounded by the cruel statement of your email.

I'm hard at work and suggest that you, lazy bastards, do the same."

[Rudy] What is this?

[stutters] Storyboards.

"Syd: the dog trots in the street.

The things he sees are his reality."

[Rudy] This is all... [grunts] very helpful.

[bird chirping]

[helicopter approaching]

FEAR OF DEATH AND ADVERTISEMENT

[Tony] I was waiting for my father--

Not waiting, but afraid that when he would die

he'd sort of tried to push it off, push off the date.

-[Syd] Yeah. -And when he dies, then you realize...

[chuckling] that you're next.

I can't even imagine it.

-And there's '77, and the idea... -But you do get a different sense--

Because, you know, when we would go to the beach, I still remember

riding waves, you know, you ride a wave

and you're getting down the wave, and you look to see

if your mother is looking, you know?

You wave, and then you go back and that's what it's all about.

There's always something about that in everything I do.

-[Pesto] Mmm-hmm. -You know? And I just feel like...

[stutters] I can't even... I... I can't even think about

-the idea that one-- -[Pesto] No?

[clicks tongue] Every song, every thing, every... you know,

there's a little bit of "looking back at the beach."

But it's not a free fall. I always thought that death was like a free fall, a terror.

-Right. -But you get gifts from it, weirdly,

because then you see a whole life in a perspective, and then...

people come up to you and say: "Oh, your father did these things,"

like, he... he met, you know

some young kid who was a waiter and said "I wanna write,"

and he said "Okay, well, send me one of your things,"

and then he kept a long correspondence with the kid

and really helped him.

-[Pesto] Nah. -All these things that come in,

-and then you think: "Oh, man." -[indistinct chatter]

And then you realize what kind of a heart--

You thought he had a big heart, but then you realize that was his gift.

-[Pesto] My God! -He was a scholar, but he was a generous,

you know, he was so much more--

I understand he was hugely successful at advertising and then went:

-"I don't wanna do this, I wanna go." -Oh, yeah.

[Rudy] And he turned his back on,

-Oh, yeah. -I mean, that's some pretty brave stuff.

-To go be an artist. -[stutters] Yeah.

Yeah, he just wanted-- He had to feed his family,

so he just did what a million people do. They do the job--

Yeah, they do the gig, but a million people

don't just get to a point and go: "You know what? I'm done with that."

Advertisement is shit, uh?

♪ There's a light in your eyes ♪

♪ I ain't seen in a while ♪

♪ Will you sing for me again? ♪

♪ People turn away All the things that they say ♪

♪ Let them talk ♪

♪ 'Cause I promise you when ♪

♪ You wake up Mmm-hmm ♪

♪ When you wake up Mmm-hmm ♪

♪ When you wake up ♪

♪ I'll be here ♪

♪ I feel you in my room ♪ [stumbles]

♪ On this hot afternoon ♪

♪ Can you hear the things that I say? ♪

♪ 'Cause I couldn't get in ♪

♪ Oh, to see you again ♪

♪ Too much traffic ♪

♪ Blocking my way ♪

♪ But when you wake up Mmm-hmm ♪

♪ When you wake up Mmm-hmm ♪

♪ When you wake up ♪

♪ I'll be here ♪

[helicopter approaching]

♪ Oh, what to do with the day? ♪

♪ Oh, where to turn... ♪

[Tony whistles]

[woman laughs]

[chuckles]

[in Spanish] Do you know what I like about all of this?

That there is no sweet talk, that there is no aspiration,

that you are not telling me lies.

It's very liberating.

Mmm-hmm.

Will you tell me if I'm too forward or... intense with you?

[in Spanish] No, I appreciate honesty and transparency.

You know? Few people feel confident enough

-to be this honest, so... -[Tony chuckles]

-[Tony] Nah, I think-- -You must be one of those.

No, no, you give me, um, you give me too much credit, that's...

I think it's you.

[in Spanish] I only hope this is not a dream.

[Tony] There's so much good stuff in here.

Maybe it would be better just as a novel.

"I believe she's the perfect woman, but too perfect.

I believe that, under certain circumstances,

we would have fallen in love, in a different age

or if I wasn't an actor, or public, or...

or if I wasn't suspicious of people that are so silent.

Nowadays, I need noise.

A woman who sufficiently resembles one I already had."

That's nice.

"Nowadays, you can't be beautiful and not say anything,

and not ask for anything."

-[Pesto] How are you doing? -I'm okay, I'm okay. How are you?

[Pesto] I'm fine.

Who's that?

It's David Wallace.

-You kind of look like him. -Yeah.

Can you see that? Bad resolution.

[Syd] This is an American writer who is my age, uh...

He's kind of romanticized right now because he killed himself, uh, in 2000...

Uh, in 2008.

[stutters] You know, he wrote an 1100-page book called Infinite Jest ,

which was almost impossible to follow.

He couldn't finish his last book,

which was about a bunch of IRS... agents in Peoria, Illinois.

He picked the, literally, the most mundane and insane thing

he could possibly think of to write about,

and then he couldn't survive, he couldn't...

He couldn't get out of the book.

[Tony] I like that, uh, "couldn't get out of the book."

[Syd] He couldn't finish it.

-He couldn't get out of it. -[Syd] Yeah.

[Pesto] Did you ever try?

No, I never tried, I never wanted to try, I never thought about trying.

-[Pesto] You never even thought about it? -No. Not even in the worst.

[Pesto] You, Tony?

No. Not really.

[Pesto] Or you don't want to talk about it.

No, I'd talk about it, um, I would be too, um...

like, romantically, it's like a romantic thing. But, uh...

No, I'd still have whatever... some part of me still pulsing for...

life.

[Tony] Were you really thinking about it?

[Pesto] It was a Monday and I said: "On Friday, I'll kill myself."

[laughing] And then the police was knocking on my door

and they took me out.

[laughing] And I said: "No, I'm fine, I'm fine, please!

Don't put me in jail! I promise I'm not gonna kill myself."

And they brought me anyway, [catching breath] just in case.

-[Tony] They brought you to jail? -[Pesto] Yeah. Three girls, policewomen.

Beautiful like hell! Blonde...

And, you know, what can I say, you know? If you, um...

It's true that I'm a little bit depressed,

-you know, but-- -Now I don't believe your story anymore.

-Could you tell me the truth? -I'm telling you the truth.

Three beautiful policewomen came by...

-when you were... -Yeah.

Yeah, yeah.

There was a guy in the car, in the van,

but the ones who opened my door and came in

were three... beautiful...

One was... not, but two of them, for sure. They were.

And I even joked, I said: "Listen, I mean, I mean, if...

If you take off your clothes and you..."

And they were very affectionate, they were not rude or saying:

"Oh, but you, anyway, you have to come."

And I... I said: "If you take off your clothes and...

and I can prepare you dinner, and we can talk,

and you stay here...

[laughs] I promise...

that I will feel much better."

A real great writer friend committed suicide.

-[Syd] Hunter? -Hunter Thompson.

-[soft electric guitar music] -[inhales deeply]

He took a gun and he put it... [grunts lightly] It was interesting

because, uh, when I was at the death scene there, I went afterwards, he, um...

Where he used to sit, he used to sit, uh, at a kitchen table...

and, in front of him, he had an American flag.

It was Woody Creek.

And behind him...

there was like a cabinet top to a stove

you know, one of those overhead duct heaters?

And where he... put the bullet in his mouth

and where it struck...

the cabinet top,

was right in this... right in the perfect spot.

And all I kept thinking to myself was...

when I saw that, was:

"That was intentional."

And, um... I heard a lot of the romance about it.

[sucking noise]

[smacks lips]

A lot of romance about that sort of thing

and people talking about how...

you know, someone went out on their own terms

and all those things, and, uh...

And actually, I would give them that right, you know?

And... wish them the best.

Say: "Fare thee well."

But... I do think it's, uh...

just madness and gibberish, you know?

A lot of the romantic talk about it.

I think, uh, his body was broken down

and he didn't wanna go out on a wheelchair.

This is just my interpretation as a... a friend.

I don't think he could write anymore.

And I think, if he couldn't do that, he didn't wanna, you know...

So, this is just my... No factual evidence

for what I'm saying, this is just actually an uninformed opinion from an old friend.

What is the "omelet surprise"?

What is the surprise in the omelet?

[in Spanish] What is the surprise in the omelet surprise?

[waiter, in Spanish] It's a... sponge cake filled with ice cream.

-[Tony, in English] It is a what? -[waiter] Covered with Italian meringue.

[in Spanish] That's an "omelet surprise"?

My father would wake me up on Sunday mornings

to listen to the gospel music.

Local gospel music, [stutters] from Philadelphia.

-Mmm-hmm. -[Rudy] From the black churches.

And we had nothing like that in our church. I was raised Catholic,

in a Catholic school.

And so, on Sunday mornings we'd listen to this gospel music.

Yeah, the Catholic churches have no genitalia.

-Yeah, there were no balls. -[Pesto laughs]

-It was just, you know-- -[Tony] No vagina, no...

-It's like the Oscar, just a eunuch. -Yeah. And so, one day...

someone comes to the door and all the kids were craning their necks to see who it is.

Everybody is just looking at me, saying: [whispering] "Your dad!"

-And I'm thinking-- -[Pesto] What?

-[whispering] "It's your... father!" -[Pesto] Yeah.

"What?" And the nun said: "Rudy, get your books and get your coat."

I get my stuff, I walk up to the front

and my father says: "You have a dentist appointment at one o'clock."

And I know my father does not handle dentist appointments.

-So, we walk out-- -Not his department.

It's not his department. My mother handled that... and everything else.

We walk out of the school in silence, we get in the car.

[imitates bang] Doors closed. My father says:

"Don't tell your friends, don't tell your mother.

There's a movie on at one o'clock called The Treasure of the Sierra Madre ,

-you have to see this movie." -On TV, at home?

Yeah. He took me out of school to watch this movie.

It was great. It was really cool.

That's a great movie, huh?

Until this day, my father quotes lines from Fred C. Dobbs.

-The character? Humphrey Bogart. -[Rudy] Humphrey Bogart's character.

I remember Walter Huston, dancing. [snaps fingers]

"You don't even recognize the gold under your own two feet."

[indistinct chatter]

And Bogart is always telling them, [chuckles]

he always calls the gold his "goods."

-[Rudy] His goods! -"I gotta protect my goods."

[Rudy] "What are you gonna do with them?"

"I'm gonna go to the finest restaurant in town,

I'm gonna order everything on the bill of fare

and [mumbles] when they bring it, even if it's perfect,

I'm gonna bawl the waiter out and send it all back."

[all laugh]

♪ In the blazing sun As children ♪

♪ Running down the hallway Dreaming ♪

♪ Brother, can you spare a dime? ♪

♪ Out there on the ♪

♪ Other side ♪

♪ Out there on the ♪

♪ Other side ♪

[strumming hard]

[all laugh]

Did you like that?

[girl] Yeah.

[Rudy] We'll teach you to play.

IN CASE OF EMERGENCY, FILM THE SCRIPT

[Tony] And, uh, and then we're talking about you

making an abstract feeling into film.

And then you challenge us to define ourselves and find our way into it, right?

Yeah, like, I think Rudy should be... more famous.

Why?

Not hugely famous,

-not famous like that famous. -I have some--

-[Rudy] We're talking about one person-- -I have some mails--

No, but we're talking about one time, getting recognized,

so it sets him up as someone who had records out.

-[fan] It's your album! -[Rudy] Somebody might remember him.

-[fan] You have fans. -[Rudy] All right!

Somebody who's there and says:

"Rudy Maravilla, I had your record in...

- in 1989." -[rock music]

-[fan 1] Hello. -[Rudy] Rudy.

[fan 2] Tomás, my name is Tomás.

-[Rudy] Cool! That's the original. -[fan 1] Yeah.

-[Rudy] That's awesome.

And I'm Alejandro.

[Rudy] All right. Alejandro, Tomás.

All right. Take good care, guys.

-[fan 1] Bye. -Bye, yeah.

Hey, guys! [horn honking]

[rock music continues] ♪ The first jazz went blooming ♪

♪ In the month of May ♪

Thanks.

♪ Like a good luck charm ♪

♪ Or a real good sign ♪

What do you think about the movie? So far, what we shot.

I think it is at its most ambitious, right?

But we may be...

below masturbation.

At least we are honest and we show that we are masturbating.

That's what I'm saying... maybe.

[jazz music]

♪ Like a good luck charm ♪

♪ Like a good luck charm ♪

♪ Or a real good sign ♪

♪ Or a real good sign ♪

♪ The first cop to arrive ♪

♪ The first cop to arrive ♪

♪ At the scene of the crime ♪

♪ At the scene of the crime ♪

♪ I will be yours ♪

♪ Will you be... ♪

-[music ends] -[softly] Excuse me.

You're such a thinker. I'm just, I'm sorry to interrupt.

I'm just looking at you and you're just... You're not here.

You're somewhere, but it is not here. You're just so intense.

[Tony] A man comes to the unicorn room...

for a tranquility that is being shattered by...

the madness of your song.

[gasps]

I see, so it's about rage.

That's cool. That's totally cool because you've picked the right place.

Interesting, though, that you should end up... trapped inside this room.

Inside of a wedding cake lodged in the ass of...

the devil diablo himself.

I don't know.

But I see the white unicorns of war lined up across from each other.

Their red eyes are blazing, their unicorn horns are glazing.

They're ready to go to war for your soul. "What soul?", you say.

[Rudy] "Do I have a soul?"

"Have I ever had a soul?"

I don't know the answer to that,

but I know you're not gonna find it in that iPad,

and I know you're not gonna find it in your special water,

and your special drinks, your special cappuccino,

your special poop juice and your living herbs and spices

that I see "sflittered" all around the table,

bags, empty bags, all over the place. I know it's not gonna be there.

I know is not on that massive painting of the cast of Dreamgirls

as they kidnap a bemused and somewhat...

frightened Michael Bolton and take him to the land

where they interrogate people like him, David Lee Roth and other people,

about crimes, Boltness crimes, that they've committed.

-The Michael Bolton crimes? -The Michael Bolton crimes.

The interrogation is on, my friend, and the unicorns are lined up,

head to head, ready to go in the battle, battle for your soul.

I think that there's a race of humans and, side by side that race,

there is another race of inhumans.

The race of the "hinumans."

I don't care, all I know is they're gonna be wearing shorts,

short shorts.

I'm talking about like 1972

fucking short shorts, you know?

Before they started putting Nike on everything,

because that's when it all went south somewhere.

I am talking about unicorns.

Eyes are blazing, lined up, in a fight.

♪ You gotta smell it like a man ♪

-Pardon me? ♪ -You gotta smell it like a man ♪

-I'm sorry? ♪ -And when you smell it like a man ♪

-Yep? ♪ -You're gonna smell it like a man ♪

-I didn't understand that first-- ♪ -My daughter smelled it like a man ♪

♪ My mamma smelled it like a man ♪

-I think you're suggesting- ♪ -And when they smell it like a man ♪

♪ You gotta smell it like a man ♪

The lyrics of this song--

♪ You gotta smell it like a man ♪ [voice cracking]

[Tony] How often does a piece of art, when it comes out,

gets appreciated for its real merit at the time that it comes out?

How many paintings or songs or albums?

-You're right with that. -So, society says:

"Everything right now, let me know right now,

whether your success or failure." It's like binary.

-Yeah-- -Yes or no, yes or no.

-[Pesto] True. -God or Devil, God or Devil.

Why do you have to think that way? It's so crazy.

[Pesto] What you say it's true, because Picasso also said:

"When there's a real new statement in art,

when something is really new in art,

always, at first...

seems to be a mistake."

[soft guitar music]

[stick beating on the ground]

[Tony] You won.

You got the money.

Well, what if you... What if you say "no"?

What if you say...

"Nah, I'm just gonna go do plays."

But who wants to do fucking plays? Really.

Truth of the matter is, I like the circus.

Truth of the matter is, I like the attention.

Truth of the matter is, I like the pussy.

Truth of the matter is, I'm lonely as fuck.

Truth of the matter is, I wanna change my life.

Truth of the matter is, I don't know how.

Truth of the matter is,

I wanna live in the United States of America.

Truth of the matter is,

I think the United States of America bores the shit out of me.

Truth of the matter is... I don't know what to fucking do.

[soft guitar music continues]

[Nick] You don't know what you're looking at and say:

"Well, I don't understand it."

-[Tony] To get led by impressions? -[Nick] But your impressions,

because you make it personal.

[Nick] The more personal it is...

the more that's apt to...

happen, because it becomes contagious.

It transmits itself

because it's so felt...

It's like anything, it's like... this, in a way.

When we're doing this, we're feeling it.

We're feeling each other's... without a story

[stutters] We have a reality!

-[Nick] That's a reality. -[Tony] Mmm-hmm.

KULIAKY'S LAW

[Syd] One of the things I'm fascinated about

is the difference in America, the great thing about America,

the predominant thing about America, ultimately, is the rule of law.

The rule of law dominates.

And when we really get to the bottom, we have the rule of law.

-You know? -We hope.

-But I think we do, Tony. -At its best.

I do think we do and here, for example, there's no rule of law.

Even today.

The best thing I've ever heard about it was--

-You know Mario Cuomo? -Yeah.

Somebody asked him, on a campaign trail, they go:

"What would you do if someone raped your wife...

and killed your kid?

Would you still be against the death penalty?"

And he looked at the reporter and he said:

"If somebody touched my wife, I'd take a baseball bat

-and I would bash his brains out." -[all chuckle]

And he goes: "But let me tell you something:

the law is better than me. The law is supposed to be better than me."

-And I thought that was the most-- -[Syd] That's my point, too.

-[Tony] The most precise judgment. -That's my point, too.

You know what they should do if they find Osama bin Laden?

My kids asked me: "What should we do if we find Osama bin Laden?"

And I said: "What should we do? We should put him on trial every day."

[Obama] Good evening.

Tonight, I can report to the American people

and to the world...

that the United States has conducted an operation that killed

Osama bin Laden, the leader of Al-Qaeda...

and a terrorist who's responsible for the murder of thousands,

of innocent men, women and children.

[Tony] In this corner...

-Weighed in at 160 pounds, it's Obama! -[guitar music]

[both imitate boxing commentators] Weighed in at 140 pounds, soaking wet...

-It's... -The man from Nazareth,

Jesus Christ!

[Rudy] And in this corner, at 90 pounds...

-[Tony] The man with no face. -[Rudy] The man with no name.

[Tony] It's Muhammad!

[Rudy imitates crowd cheering] He's a crowd favorite.

[Tony] In this corner, he parted the Red Sea,

he gave you the fluid and never the FLUCOME,

he gave you justice and law, it's...

[Tony and Rudy] Mo-mo-mo... Moses!

[music ends abruptly]

TWO WEEKS LATER

[absolute silence]

[footsteps]

[footsteps]

[grunts] Fuck it.

[sighs]

[ocean waves]

[water running]

[mumbles]

[yelling] Ramona!

[mumbles]

[mutters] Filthy, fucking...

[dishes clattering]

[yelling] Ramona!

Ramona, are you up?

I can't--

[yelling] I can't find the butter.

[phone rings]

[phone continues ringing]

-Yeah? -Hey!

-Hey! What are you doing, Tony? -[Tony] Hey, buddy.

-[Nick] How are you, babe? -[Tony] I'm good, you know, good. You?

Well, you know, it's seven in the morning here, uh... Tony.

-I'm in L.A., right? -[Tony] Yeah, yeah.

[Nick, mumbling] Can I put you on speakerphone for a minute?

-All right, buddy. -[Nick] Well, you know-- [slams phone]

-[Nick] Are you there? -[Tony] Yeah.

Okay. How are you doing, how's the movie?

[Tony] It's interesting, I don't know if it's gonna amount to anything,

-but, uh... but, uh... -What do you mean, "amount to anything"?

[Tony] Well, I don't know if it's a movie. We never know what we're filming...

[Nick] Yeah.

[Tony] And Pesto's gone actually, he left.

He just left you? What? [stutters] Did he have any reasons for it?

[Tony] Oh, he said he wanted to go fishing, uh...

But you're getting stuff on film, aren't you?

-[Tony] A lot of stuff! -Good.

-[Tony] I don't know what... [stutters] They're not really a story.

Well, don't worry about that, you know, that's...

All that stuff is supposed to cohere eventually, no?

[Tony] Yep, now we're doing that.

-[Nick] How long has he been gone? -[Tony] Two weeks.

-[Nick] Wow! -[Tony] He went to this place, Mar de Ajó.

Some half-heaven, half-hell shithole

where he likes to go painting or something.

Well, you know, he's got a... Jackson Pollock complex.

[Tony] You mean he wants to smash through a windshield?

Well, no, [chuckles] he just wants to, you know...

If he sees something that makes sense to him, you know, he wants to destroy it.

[Tony] Yeah, yeah.

[Nick] What are you doing for two weeks? Can you do anything without him?

[Tony] He left everybody here, there's a crew here,

but, you know, they're drunk and...

We never know when he's shooting or when he's not shooting, you know...

Sometimes he pretends like he doesn't even know what a camera is.

So... [stammers] where are you going with this thing?

Have you decided what it is? I mean...

What, is it a comedy? Is it, you know... [mutters]

[Tony] It's a scene where we are trying to make, sort of like a, a...

a painting, like a... with film,

where you just start painting with film.

[Nick] Like a collage or something.

[Tony] Nah, like an abstract or like an erroneous bash.

[yelling] Ramona! If you hear me, just make a sound!

Something, anything!

I don't wanna climb up the fucking stairs

to find out that you're not there!

I've got a maid who sleeps, uh, like there's no tomorrow.

You found a wife yet there, Tony?

You get someone like Ramona--

Hey, get out! Get out, get out! Go, close the door!

Close the fucking door!

[Tony] Fuck off! Close the door!

Come on!

I might leave, just, you know, kinda come back and just to be...

-If you hear from-- -Listen, Tony.

[stammers] I've got, I've got, I've got a...

I've got a philosophical question for you right now, okay? Which is...

Do you trust me?

-[Tony] Yes! -I know you do.

Don't leave.

[hard rock music]

LIFE IS NOT PERFECT

[in Spanish] Are you going to shoot here, at the coast?

-Um, Mar de Ajó. -[man] Oh, Mar de Ajó!

[indistinct chatter]

[hard rock music continues]

[inaudible dialogue]

♪ ...the road, little doggy Little doggy, little doggy ♪

[Rudy chuckles]

♪ Little doggy, little doggy ♪

♪ Take the road, little doggy Little doggy, little doggy ♪

♪ Take the road, little doggy [in a deep voice] In Mar de Ajó ♪

♪ Don't you be spooked By the wild dogs ♪

♪ They've all have their legs Mangled 17 times ♪

-[Tony and Rudy laugh] -[Rudy] ♪ ...every hour on the hour ♪

♪ But they're wearing a smile ♪

- ♪ And they're in Mar de Ajó ♪ -[Tony chuckles]

[Syd] Is it "chocolate bathroom"?

-Chocolate shell? -[attendant] "Chocolate bathroom."

-So it's a bathroom, a chocolate bathroom? -[ice cream man] Yes.

-What the fuck are you talking about? -It's a chocolate bathroom!

Order it, then.

-Order the chocolate bathroom. -[mutters] I got it, I got it, I got it...

[Syd, in Spanish] Lemon, pineapple, grapefruit...

-[Rudy] What did you get? Looks good. -[in Spanish] Thanks.

-[Syd, in Spanish] ...peach, plum, melon. -Uh... dulce de leche.

- Dulce de leche. -And... chocolate bathroom.

[Rudy] How do you say "half"?

[Pesto] ...and within the words, you define things,

but also words close doors instead of opening doors.

You know what I mean?

People say: "Okay, this is postmodernist."

-Or: "This is killing--" -[Tony] Who is the guy who said

"language is to experience

as, like, little tiny Matchbox cars are

to an actual car crash"?

[silverware clinking]

[clicks tongue] And this is another subject about Argentina

that I don't understand, you know, I always say that you have to...

Instead of making just victims, the people who died,

you have to talk about the ideology they had.

[Pesto] Innocents were killed everywhere.

-[Tony] Not civilians, innocents. -[Pesto] Not civilians, yeah.

I hate the word "civilians."

Then, the press keeps calling innocents...

-"civilians," you know? -[Rudy] Right.

[Pesto] A little baby,

just born, is killed with... [stutters] with his mother...

-[Syd] "Civilians." -...and they are two civilians less.

Fucking shit!

It's easier for people to take with their dinner

-as they watch the evening news. -[Pesto] Absolutely!

And it's completely different to say:

"Today we killed a thousand innocents...

-[Rudy] Yeah. -[Pesto] ...in Iraq."

[acoustic guitar music and choir singing]

Last time, we were fishing with Antonio

and then, we were sitting in the beach, after fishing,

you know, and we started looking at the stars.

And then, he started to ask me:

"Hey, daddy, how many planets are in this star?

In this other star? And this? And that?" There were millions of stars

and he started to ask me questions.

And I said: "I'm not Carl Sagan.

I don't know about the cosmos, you know?"

And then, and then, he took my hand and he said to me:

"Daddy, with you, it's so beautiful to share even what you don't know."

[music continues]

[all cheer loudly]

[cheering continues]

[all laugh]

[ocean waves]

The final, uh, act is to create art without any documentation.

No? [chuckling] Stop documenting it.

-Mmm-hmm. -Never show the movie.

Yeah. Oh, that's my idea too. [both chuckle]

-I thought... When I saw it, I said: -Yeah, you--

-Play a performance to an empty house. -"This is too good to be shown."

-Yeah, we're just... [both cackle]

That's the ultimate in narcissism, isn't it?

ONE LAST QUESTION

[ocean waves]

[Tony grunts lightly]

-[both in Spanish] Hi. -Hi.

[in Spanish] How... How are you going to name it?

[in English] Um... if it's a girl...

-Coral. -Mmm-hmm.

And if it's a boy, Ale.

It's a boy.

[in Spanish] I want to name him "Carlitos."

[in English] Charlie.

[inhales deeply]

[gasps]

How do you say, in Spanish,

"do you think you will ever tell them...

what happened to your parents?"

[in Spanish] If we are going to tell our children

what happened to our parents?

Cut.

[tango music] ♪ Fade in, interior ♪

♪ Dark night ♪

♪ Action and cut you like a knife ♪

♪ A brutal street of twisted dreams ♪

♪ Lit up just like a Christmas tree ♪

♪ A million strangers in the shadows ♪

♪ A million minutes of your time ♪

♪ Going by a million frames a second ♪

♪ It's the role of a lifetime ♪

♪ Now you can run But you can't hide ♪

♪ The calls are coming from inside ♪

♪ The house you built on solid ground ♪

♪ The fault line Runs right through this town ♪

♪ And in the wee hours of the morning ♪

♪ When your head begins to grind ♪

♪ You know that that's only a movie ♪

♪ But this is The role of a lifetime ♪

♪ And every morning ♪

♪ Comes without a warning ♪

♪ And every time you dance You disappear ♪

[instrumental guitar music]

♪ The sun can bore a men to death ♪

♪ The artists took their paints and left ♪

♪ The big top tent is burning down ♪

♪ So many lost and broken clowns ♪

♪ And in your head You keep a picture ♪

♪ A perfect piece of space and time ♪

♪ You gun your engine down the coast of ♪

♪ The role of a lifetime ♪

♪ And there's no future with no past ♪

♪ Another day Another mask ♪

♪ A story nobody else knows ♪

♪ Wrapped up in someone else's clothes ♪

♪ And in the august night around you ♪

THE RUM DIARY

♪ You count your friends And walk the line ♪

♪ You pour your soul into the heart of ♪

♪ The role of a lifetime ♪

♪ You pour your soul into the heart of ♪

♪ The role of a lifetime ♪

♪ You pour your heart into the soul of ♪

♪ The role of a lifetime ♪ [tango music ends]

[guitar music]

♪ Every cobblestone's a soul departed ♪

♪ Every corner is a dream Just starting out ♪

♪ A beautiful dream ♪

♪ Buenos Aires Sing to me your blues ♪

♪ So many pictures looking for a frame ♪

♪ You spoke so sweetly When you asked my name ♪

♪ And we danced Till the night was through ♪

♪ Buenos Aires Sing to me your blues ♪

♪ Buenos Aires Can I play for you? ♪

♪ From La Boca and San Telmo ♪

♪ To Belgrano and Palermo ♪

♪ Hollywood ♪

♪ On these streets The past and present ♪

♪ I can see where all the time went ♪

♪ Written on the wall ♪

♪ La, la, la, la, la La, la, la, la, la ♪

♪ La, la, la, la, la La, la, la, la, la ♪

♪ La, la La, la ♪

♪ La, la La, la ♪

♪ La, la, la, la, la La, la, la, la, la ♪

[electric guitar solo]

♪ You could kill a man Or make him stronger ♪

♪ Maybe I should stay a little longer ♪

[in Spanish] ♪ Good afternoon, my love ♪

♪ Buenos Aires Sing to me your blues... ♪