1
00:00:18,469 --> 00:00:21,603
HELLO. MY NAME IS MARTY DiBERGI.
2
00:00:21,672 --> 00:00:24,806
I'M A FILMMAKER. I MAKE
A LOT OF COMMERCIALS.
3
00:00:24,875 --> 00:00:28,209
THAT LITTLE DOG THAT CHASES THE
COVERED WAGON UNDERNEATH THE SINK?
4
00:00:28,278 --> 00:00:30,211
THAT WAS MINE.
5
00:00:30,280 --> 00:00:32,914
IN 1966,
6
00:00:32,983 --> 00:00:35,817
I WENT DOWN TO GREENWICH
VILLAGE IN NEW YORK CITY...
7
00:00:35,886 --> 00:00:38,854
TO A ROCK CLUB CALLED
THE ELECTRIC BANANA.
8
00:00:38,922 --> 00:00:41,189
DON'T LOOK FOR IT. IT'S
NOT THERE ANYMORE.
9
00:00:41,257 --> 00:00:43,792
BUT THAT NIGHT,
I HEARD A BAND...
10
00:00:43,861 --> 00:00:47,061
THAT, FOR ME, REDEFINED
THE WORD "ROCK 'N' ROLL."
11
00:00:47,130 --> 00:00:51,366
I REMEMBER BEING KNOCKED
OUT BY THEIR... THEIR EXUBERANCE,
12
00:00:51,434 --> 00:00:55,871
THEIR RAW POWER
AND THEIR PUNCTUALITY.
13
00:00:55,939 --> 00:00:59,574
THAT BAND WAS BRITAIN'S
NOW LEGENDARY SPINAL TAP.
14
00:00:59,643 --> 00:01:03,778
SEVENTEEN YEARS AND
FIFTEEN ALBUMS LATER,
15
00:01:03,847 --> 00:01:06,915
SPINAL TAP IS STILL
GOING STRONG,
16
00:01:06,984 --> 00:01:09,885
AND THEY'VE EARNED A
DISTINGUISHED PLACE IN ROCK HISTORY...
17
00:01:09,953 --> 00:01:12,721
AS ONE OF ENGLAND'S
LOUDEST BANDS.
18
00:01:12,789 --> 00:01:15,256
SO IN THE LATE FALL OF 1982,
19
00:01:15,325 --> 00:01:19,594
WHEN I HEARD THAT TAP WAS RELEASING
A NEW ALBUM CALLED SMELL THE GLOVE...
20
00:01:19,663 --> 00:01:22,609
AND WAS PLANNING THEIR FIRST TOUR OF
THE UNITED STATES IN ALMOST SIX YEARS...
21
00:01:22,633 --> 00:01:24,566
TO PROMOTE THAT ALBUM,
22
00:01:24,635 --> 00:01:26,595
NEEDLESS TO SAY, I
JUMPED AT THE CHANCE...
23
00:01:26,637 --> 00:01:30,539
TO MAKE THE DOCUMENTARY...
IF YOU WILL, ROCKUMENTARY...
24
00:01:30,607 --> 00:01:32,807
THAT YOU'RE ABOUT TO SEE.
25
00:01:32,876 --> 00:01:39,080
I WANTED TO CAPTURE THE
SIGHTS, THE SOUNDS, THE SMELLS...
26
00:01:39,149 --> 00:01:41,716
OF A HARD-WORKING
ROCK BAND ON THE ROAD.
27
00:01:41,785 --> 00:01:43,818
AND I GOT THAT.
28
00:01:43,887 --> 00:01:45,820
BUT I GOT MORE.
29
00:01:45,889 --> 00:01:47,889
A LOT MORE.
30
00:01:47,958 --> 00:01:50,158
BUT, HEY, ENOUGH OF MY YACKIN'.
31
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WHAT DO YOU SAY? LET'S BOOGIE.
32
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♪♪ [Drums]
33
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GIVES ME A LOT OF
ENERGY. MAKES ME HAPPY.
34
00:02:04,407 --> 00:02:06,252
HEAVY METAL'S DEEP.
YOU GET STUFF OUT OF IT.
35
00:02:06,276 --> 00:02:08,443
THE WAY THEY DRESS, THE LEATHER.
36
00:02:08,511 --> 00:02:10,489
WHICH ONE IS THIS?
IS THIS La GUARDIA?
37
00:02:10,513 --> 00:02:13,748
NO, THIS IS J.F.K.
NEW YORK, NEW YORK.
38
00:02:17,955 --> 00:02:20,889
WATCH HIS MOUTH.
WATCH HIS MOUTH.
39
00:02:31,401 --> 00:02:34,246
IT'S LIKE YOU'D BECOME ONE
WITH THE GUYS IN THE BAND.
40
00:02:34,270 --> 00:02:36,838
[Marty] YEAH. I MEAN,
THERE'S NO DIVISION.
41
00:02:36,907 --> 00:02:38,840
YOU JUST...
42
00:02:38,909 --> 00:02:44,012
THE MUSIC JUST UNITES
PEOPLE... WITH THE PLAYERS.
43
00:02:44,081 --> 00:02:48,850
COMIN' LIVE, DIRECT
FROM HELL... SPINAL TAP!
44
00:02:48,919 --> 00:02:51,519
♪ YOU'RE HOT YOU
TAKE ALL WE'VE GOT ♪
45
00:02:51,588 --> 00:02:53,955
♪ NOT A DRY SEAT IN THE HOUSE ♪
46
00:02:54,024 --> 00:02:56,557
♪ NEXT DAY WE'LL BE ON OUR WAY ♪
47
00:02:56,627 --> 00:02:58,905
♪ BUT TONIGHT I'M GONNA ROCK
IT TONIGHT I'M GONNA ROCK IT ♪
48
00:02:58,929 --> 00:03:01,496
♪ TONIGHT I'M GONNA ROCK IT
TONIGHT I'M GONNA ROCK IT ♪
49
00:03:01,564 --> 00:03:04,332
♪ TONIGHT ♪♪
50
00:03:07,170 --> 00:03:10,138
WE ARE SPINAL TAP FROM THE U.K.!
51
00:03:10,206 --> 00:03:13,808
YOU MUST BE THE U.S.A.!
52
00:03:40,837 --> 00:03:42,771
♪ LITTLE GIRL IT'S A
GREAT BIG WORLD ♪
53
00:03:42,839 --> 00:03:44,839
♪ BUT THERE'S ONLY ONE OF ♪
54
00:03:46,442 --> 00:03:50,444
♪ ME ♪♪
55
00:04:02,059 --> 00:04:05,293
[Cheering]
56
00:04:08,665 --> 00:04:11,066
LET'S, UH, TALK A LITTLE ABOUT
THE HISTORY OF THE GROUP.
57
00:04:11,134 --> 00:04:15,170
I UNDERSTAND, NIGEL, YOU AND
DAVID ORIGINALLY STARTED THE BAND,
58
00:04:15,238 --> 00:04:17,672
UH, BACK IN...
WHEN WAS IT, 1964?
59
00:04:17,741 --> 00:04:19,719
BEFORE THAT, WE WERE
IN DIFFERENT GROUPS.
60
00:04:19,743 --> 00:04:21,988
I WAS IN A GROUP CALLED THE
CREATURES, WHICH WAS A SKIFFLE GROUP.
61
00:04:22,012 --> 00:04:25,080
I WAS IN THE LOVELY LADS, AND
THEN WE LOOKED AT EACH OTHER...
62
00:04:25,148 --> 00:04:29,017
AND SAID, "MIGHT AS
WELL JOIN UP, YOU KNOW."
63
00:04:29,086 --> 00:04:31,397
SO, WE BECAME THE
ORIGINALS. RIGHT.
64
00:04:31,421 --> 00:04:34,055
AND, UH, WE HAD TO
CHANGE OUR NAME, ACTUALLY.
65
00:04:34,124 --> 00:04:37,192
THERE WAS ANOTHER GROUP IN
THE EAST END CALLED THE ORIGINALS,
66
00:04:37,260 --> 00:04:39,360
AND WE HAD TO RENAME OURSELVES.
67
00:04:39,429 --> 00:04:41,407
THE NEW ORIGINALS.
YEAH. THE NEW ORIGINALS.
68
00:04:41,431 --> 00:04:43,409
AND THEN THEY
BECAME... THE REGULARS.
69
00:04:43,433 --> 00:04:45,411
THEY CHANGED THEIR NAME
BACK TO THE REGULARS,
70
00:04:45,435 --> 00:04:48,581
AND WE THOUGHT, "WE COULD GO BACK
TO THE ORIGINALS, BUT WHAT'S THE POINT?"
71
00:04:48,605 --> 00:04:51,106
WE BECAME THE THAMES
MEN AT THAT POINT.
72
00:04:52,809 --> 00:04:56,444
♪ STOP WASTIN' MY TIME ♪
73
00:04:56,512 --> 00:04:59,814
♪ YOU KNOW WHAT I WANT ♪
74
00:04:59,883 --> 00:05:02,083
♪ YOU KNOW WHAT I NEED ♪
75
00:05:03,586 --> 00:05:06,955
♪ OR MAYBE YOU DON'T ♪
76
00:05:07,023 --> 00:05:11,793
♪ DO I HAVE TO COME RIGHT FLAT
OUT AND TELL YOU EVERYTHING ♪
77
00:05:11,862 --> 00:05:15,063
♪ GIMME SOME MONEY ♪
78
00:05:15,132 --> 00:05:18,633
♪ GIMME SOME MONEY ♪♪
79
00:05:24,808 --> 00:05:26,528
YOUR FIRST DRUMMER WAS, UH...
80
00:05:26,576 --> 00:05:28,509
THE PEEPER. JOHN "STUMPY" PEEPS.
81
00:05:28,578 --> 00:05:30,511
YEAH. HE WAS GREAT, GREAT.
82
00:05:30,580 --> 00:05:33,882
TALL, BLOND GEEK WITH GLASSES.
83
00:05:33,950 --> 00:05:37,051
GREAT LOOK. YEAH, GOOD
DRUMMER. GOOD DRUMMER.
84
00:05:37,120 --> 00:05:39,687
[Marty] WHAT HAPPENED
TO HIM? HE DIED.
85
00:05:39,756 --> 00:05:43,658
HE DIED IN A BIZARRE GARDENING
ACCIDENT SOME YEARS BACK.
86
00:05:43,726 --> 00:05:46,161
IT WAS REALLY ONE
OF THOSE THINGS.
87
00:05:46,229 --> 00:05:48,296
IT WAS, YOU KNOW,
THE AUTHORITIES SAID,
88
00:05:48,364 --> 00:05:52,600
"BEST LEAVE IT, YOU KNOW,
UNSOLVED, REALLY, YOU KNOW."
89
00:05:52,669 --> 00:05:56,570
AND HE WAS REPLACED BY...
STUMPY JOE. ERIC "STUMPY" JOE.
90
00:05:56,639 --> 00:05:59,240
[Marty] AND WHAT
HAPPENED TO "STUMPY" JOE?
91
00:05:59,309 --> 00:06:01,954
[Man] WELL, UH, IT'S NOT
A VERY PLEASANT STORY.
92
00:06:01,978 --> 00:06:05,346
BUT, UH, HE DIED. HE PASSED ON.
93
00:06:05,415 --> 00:06:08,549
HE CHOKED ON... THE
OFFICIAL EXPLANATION...
94
00:06:08,618 --> 00:06:12,020
WAS HE CHOKED ON VOMIT.
95
00:06:12,088 --> 00:06:17,225
AND HE PASSED AWAY. IT WAS
ACTUALLY SOMEONE ELSE'S VOMIT.
96
00:06:17,294 --> 00:06:19,393
YOU KNOW, THERE'S NO REAL...
97
00:06:19,462 --> 00:06:21,440
THEY CAN'T PROVE
WHOSE VOMIT IT WAS.
98
00:06:21,464 --> 00:06:23,442
THEY DON'T HAVE
FACILITIES IN SCOTLAND YARD.
99
00:06:23,466 --> 00:06:27,419
THERE'S NO WAY TO TAKE A
PHOTOGRAPH. YOU CAN'T DUST FOR VOMIT.
100
00:06:28,371 --> 00:06:30,538
HERE WE GO.
101
00:06:30,606 --> 00:06:34,242
SOHO, THEY CALL
IT. SOHO. SO WHAT?
102
00:06:34,311 --> 00:06:36,811
[Chattering]
103
00:06:40,483 --> 00:06:43,351
HOW ARE YA?
104
00:06:43,419 --> 00:06:48,556
IAN. HI, FELLAS! HOW YOU DOIN'?
105
00:06:48,624 --> 00:06:50,937
COME HERE. I WANT
YOU TO MEET EVERYBODY.
106
00:06:50,961 --> 00:06:52,939
BOBBI FLEKMAN. BOBBI FLEKMAN.
107
00:06:52,963 --> 00:06:54,941
WHO'S THAT? BOBBI FLEKMAN.
108
00:06:54,965 --> 00:06:56,943
WHO IS THAT? COME
OVER HERE, EVERYBODY.
109
00:06:56,967 --> 00:06:59,433
WITH THE RECORD COMPANY?
YES, BOBBI FLEKMAN.
110
00:06:59,502 --> 00:07:01,870
THE HOSTESS WITH
THE MOSTEST. WE KNOW.
111
00:07:01,938 --> 00:07:06,507
YOU KNOW. YOU KNOW. HI,
HANDSOME. HOW YOU DOIN'?
112
00:07:06,576 --> 00:07:09,555
ALL RIGHT, LISTEN. I WANT YOU
ALL TO MEET SIR DENIS ETON-HOGG.
113
00:07:09,579 --> 00:07:11,557
HE'S THE HEAD OF
POLYMER. WE KNOW.
114
00:07:11,581 --> 00:07:14,482
YOU DON'T TALK SO MUCH.
JUST SMILE AND LOOK SMART.
115
00:07:14,550 --> 00:07:16,951
DENIS, COME HERE! COME HERE.
116
00:07:17,020 --> 00:07:20,021
I WANT YOU TO MEET SPINAL
TAP, OUR GUESTS OF HONOR.
117
00:07:20,090 --> 00:07:22,523
HOW VERY NICE. KIDS, THIS
IS SIR DENIS ETON-HOGG.
118
00:07:22,592 --> 00:07:24,525
IT'S A PLEASURE. THIS IS NIGEL.
119
00:07:24,594 --> 00:07:28,096
THANKS A LOT FOR LETTING US...
120
00:07:28,164 --> 00:07:31,366
LET'S GO OVER HERE, AND WE'LL
ALL TAKE A PICTURE TOGETHER.
121
00:07:31,434 --> 00:07:33,601
WHERE'S CHRISTINE?
WHERE'S MY PHOTOGRAPHER?
122
00:07:33,669 --> 00:07:36,337
COME OVER HERE, HONEY.
WHAT'S YOUR NAME? CHRISTINE?
123
00:07:36,406 --> 00:07:41,642
OKAY, RIGHT OVER
HERE. GOOD! GOOD!
124
00:07:41,711 --> 00:07:45,513
HE'S NOT INTO NEGRO MUSIC.
NO, I DON'T EAT THAT SHIT.
125
00:07:45,581 --> 00:07:48,249
GUYS, YOU LOOK GREAT. I
MEAN, YOU LOOK FANTASTIC.
126
00:07:48,318 --> 00:07:50,296
YOU WOULD NEVER
KNOW YOU'RE ALMOST 40.
127
00:07:50,320 --> 00:07:53,321
IF I LOOKED THIS GOOD... FROM
THE STAGE TOO... IT'S AMAZING.
128
00:07:53,390 --> 00:07:57,558
DO THE DEAD BIRD. GET THE DWARF
CANNOLI. THE LITTLE ONES, OKAY?
129
00:07:57,627 --> 00:08:01,195
I DID THE BIRD. DON'T TALK
BACK. MIME IS MONEY. MOVE IT!
130
00:08:01,264 --> 00:08:04,299
NOW, WE HERE AT POLYMER,
WE'RE ALL LOOKING FORWARD...
131
00:08:04,367 --> 00:08:08,502
TO A LONG AND... AND FRUITFUL
RELATIONSHIP WITH SPINAL TAP.
132
00:08:08,571 --> 00:08:12,573
WE WISH THEM GREAT SUCCESS
ON THEIR NORTH AMERICAN TOUR.
133
00:08:12,642 --> 00:08:17,645
AND SO SAY ALL OF
US, "TAP INTO AMERICA."
134
00:08:17,713 --> 00:08:20,031
[Cheering, Applause]
135
00:08:22,986 --> 00:08:26,454
[Chauffeur] EXCUSE ME. ARE
YOU READING YES, I CAN?
136
00:08:26,522 --> 00:08:29,523
YEAH, HAVE YOU READ IT?
YEAH. BY SAMMY DAVIS, JR.?
137
00:08:29,592 --> 00:08:33,261
YEAH. YOU KNOW WHAT THE
TITLE OF THAT BOOK SHOULD BE?
138
00:08:33,330 --> 00:08:37,432
YES, I CAN... IF FRANK
SINATRA SAYS IT'S OKAY.
139
00:08:37,500 --> 00:08:39,946
'CAUSE FRANK CALLS THE
SHOTS FOR ALL THOSE GUYS.
140
00:08:39,970 --> 00:08:43,871
DID YOU GET TO THE PART YET WHERE
SAMMY'S COMIN' OUT OF THE COPA,
141
00:08:43,940 --> 00:08:48,276
AND IT'S ABOUT 3:00 IN THE
MORNING AND, UH, HE SEES FRANK.
142
00:08:48,345 --> 00:08:50,979
FRANK'S WALKIN' DOWN
BROADWAY BY HIMSELF.
143
00:08:53,716 --> 00:08:56,250
FUCKIN' LIMEYS.
144
00:08:56,319 --> 00:08:59,420
WELL, YOU KNOW, THEY'RE
NOT USED TO THAT WORLD.
145
00:08:59,489 --> 00:09:01,934
YEAH, YEAH. FRANK SINATRA.
IT'S A DIFFERENT WORLD.
146
00:09:01,958 --> 00:09:05,893
YOU KNOW, IT'S JUST
PEOPLE LIKE THIS, YOU KNOW,
147
00:09:05,962 --> 00:09:09,141
YOU KNOW, THEY GET ALL THEY WANT,
SO THEY DON'T REALLY UNDERSTAND,
148
00:09:09,165 --> 00:09:11,143
YOU KNOW, ABOUT
A LIFE LIKE FRANK'S.
149
00:09:11,167 --> 00:09:14,046
I MEAN, YOU KNOW, WHEN YOU'VE
LOVED AND LOST THE WAY FRANK HAS,
150
00:09:14,070 --> 00:09:16,737
THEN YOU, UH, YOU
KNOW WHAT LIFE'S ABOUT.
151
00:09:16,806 --> 00:09:18,739
THE TIMES MAY EVEN DO SOMETHING.
152
00:09:18,808 --> 00:09:20,853
REALLY? THE NEW YORK
TIMES. THE NEW YORK TIMES.
153
00:09:20,877 --> 00:09:23,589
A MINOR BUMP WE'VE GOT TO IRON OUT HERE
IS WHEN DO WE GET THE ALBUM RELEASED?
154
00:09:23,613 --> 00:09:25,958
I MEAN, IT DOESN'T MATTER HOW GOOD
THE PRESS IS OR WHAT THE STRINGERS...
155
00:09:25,982 --> 00:09:31,252
WELL, AS I EXPLAINED LAST NIGHT, WE'RE
NOT GONNA SATURATE THE NEW YORK MARKET.
156
00:09:31,321 --> 00:09:34,322
NOW, PHILLY NOW. THAT'S
A REAL ROCK 'N' ROLL TOWN.
157
00:09:34,391 --> 00:09:36,857
I'VE BEEN ASSURED THAT
THE ALBUM WILL BE AVAILABLE...
158
00:09:36,926 --> 00:09:39,293
ALL THROUGH THE PHILADELPHIA
METROPOLITAN AREA.
159
00:09:39,362 --> 00:09:42,997
YOU ARE HITTING THAT MARKET,
REGARDLESS OF HOW LONG WE'RE IN NEW YORK.
160
00:09:43,066 --> 00:09:45,466
WE'RE CERTAINLY... I'M
DOING EVERYTHING I CAN.
161
00:09:45,535 --> 00:09:47,646
YOU KNOW THAT WE'RE
NOT BLAMING YOU.
162
00:09:47,670 --> 00:09:50,116
BUT YOU DON'T FEEL THAT THESE
GUYS HAVE AN AFFECT ON AN AUDIENCE?
163
00:09:50,140 --> 00:09:52,740
I MEAN, KIDS GO TO THEIR
CONCERT, THEY HAVE A GREAT TIME.
164
00:09:52,808 --> 00:09:55,376
BUT IT'S, UH, IT'S
A PASSING THING.
165
00:09:55,445 --> 00:09:57,478
IT'S, UH...
166
00:09:57,547 --> 00:10:02,816
I MEAN, I WOULD NEVER TELL THEM
THIS, BUT THIS IS A... THIS IS A FAD.
167
00:10:02,885 --> 00:10:05,420
♪♪ [Rock 'N' Roll]
168
00:10:07,424 --> 00:10:09,924
[Cheering, Applause]
169
00:10:24,574 --> 00:10:28,209
♪ THE BIGGER THE CUSHION ♪
THE SWEETER THE PUSHIN' ♪
170
00:10:28,278 --> 00:10:30,278
♪ THAT'S WHAT I SAID ♪
171
00:10:32,449 --> 00:10:36,884
♪ THE LOOSER THE WAISTBAND
THE DEEPER THE QUICKSAND ♪
172
00:10:36,953 --> 00:10:39,253
♪ OR SO I HAVE READ ♪
173
00:10:41,657 --> 00:10:45,826
♪ MY BABY FITS ME
LIKE A FLESH TUXEDO ♪
174
00:10:45,895 --> 00:10:49,997
♪ I'D LIKE TO SINK HER
WITH MY PINK TORPEDO ♪
175
00:10:50,066 --> 00:10:52,166
♪ BIG BOTTOM ♪
176
00:10:52,235 --> 00:10:54,168
♪ BIG BOTTOM ♪
177
00:10:54,237 --> 00:10:58,005
♪ TALK ABOUT BUM
CAKES MY GIRL'S GOT 'EM ♪
178
00:10:58,074 --> 00:11:02,776
♪ BIG BOTTOMS DRIVE
ME OUT OF MY MIND ♪
179
00:11:02,845 --> 00:11:06,847
♪ HOW COULD I
LEAVE THIS BEHIND ♪
180
00:11:12,955 --> 00:11:17,091
♪ I MET HER ON MONDAY
'TWAS MY LUCKY BUN DAY ♪
181
00:11:17,160 --> 00:11:19,160
♪ YOU KNOW WHAT I MEAN ♪
182
00:11:21,331 --> 00:11:26,234
♪ I LOVE HER EACH WEEKDAY
EACH VELVETY CHEEK DAY ♪
183
00:11:26,302 --> 00:11:29,203
♪ YOU KNOW WHAT I MEAN ♪
184
00:11:30,673 --> 00:11:34,609
♪ MY LOVE GUN'S LOADED
AND SHE'S IN MY SIGHTS ♪
185
00:11:34,677 --> 00:11:38,078
♪ BIG GAME IS WAITING
THERE INSIDE HER TIGHTS ♪
186
00:11:38,148 --> 00:11:40,781
♪ YEAH BIG BOTTOM ♪
187
00:11:40,850 --> 00:11:42,883
♪ BIG BOTTOM ♪
188
00:11:42,952 --> 00:11:46,720
♪ TALK ABOUT MUDFLAPS
MY GIRL'S GOT 'EM ♪
189
00:11:46,789 --> 00:11:51,359
♪ BIG BOTTOMS DRIVE
ME OUT OF MY MIND ♪
190
00:11:51,427 --> 00:11:56,964
♪ HOW COULD I
LEAVE THIS BEHIND ♪♪
191
00:12:03,339 --> 00:12:05,384
LET'S TALK ABOUT YOUR
REVIEWS A LITTLE BIT...
192
00:12:05,408 --> 00:12:07,608
REGARDING INTRAVENOUS de MILO.
193
00:12:07,677 --> 00:12:12,246
"THIS TASTELESS COVER IS A GOOD INDICATION
OF THE LACK OF MUSICAL INVENTION WITHIN.
194
00:12:12,315 --> 00:12:16,116
"THE MUSICAL GROWTH RATE OF
THIS BAND CANNOT EVEN BE CHARTED.
195
00:12:16,186 --> 00:12:19,487
THEY'RE TREADING WATER IN A SEA OF
RETARDED SEXUALITY AND BAD POETRY."
196
00:12:19,556 --> 00:12:21,489
THAT'S NIT-PICKING, ISN'T IT?
197
00:12:21,558 --> 00:12:23,824
THE GOSPEL ACCORDING
TO SPINAL TAP.
198
00:12:23,893 --> 00:12:27,595
"THIS PRETENTIOUS, PONDEROUS
COLLECTION OF RELIGIOUS ROCK PSALMS...
199
00:12:27,664 --> 00:12:29,930
"IS ENOUGH TO
PROMPT THE QUESTION,
200
00:12:29,999 --> 00:12:32,966
"'WHAT DAY DID THE
LORD CREATE SPINAL TAP...
201
00:12:33,035 --> 00:12:35,869
AND COULDN'T HE HAVE
RESTED ON THAT DAY TOO?'"
202
00:12:35,938 --> 00:12:39,540
I NEVER HEARD THAT
ONE. THAT'S A GOOD ONE.
203
00:12:39,609 --> 00:12:41,542
THE REVIEW YOU HAD
ON SHARK SANDWICH,
204
00:12:41,611 --> 00:12:46,547
WHICH WAS MERELY A TWO-WORD
REVIEW, JUST SAID, "SHIT SANDWICH."
205
00:12:46,616 --> 00:12:49,317
UM... WHERE'D THEY PRINT
THAT? WHERE'D THEY PRINT THAT?
206
00:12:49,385 --> 00:12:51,519
THAT'S NOT REAL.
YOU CAN'T PRINT THAT.
207
00:12:53,189 --> 00:12:55,701
[Ian] ALL THOSE ARGUMENTS ABOUT
TOURING AND NOT TOURING AND ALL THAT.
208
00:12:55,725 --> 00:12:58,192
I MEAN, IT'S OBVIOUS WE
BELONG ON TOUR, YOU KNOW?
209
00:12:58,261 --> 00:13:00,194
I THINK IT'S A GREAT IDEA.
210
00:13:00,263 --> 00:13:02,708
[Man] ALL THAT STUFF ABOUT YOU
BEING TOO OLD AND BEING TOO WHITE.
211
00:13:02,732 --> 00:13:04,665
WHAT ABOUT THE ALBUM, IAN?
212
00:13:04,734 --> 00:13:07,513
THAT'S THE REAL PROBLEM.
IT'S BEGINNING TO BE A REFRAIN.
213
00:13:07,537 --> 00:13:10,849
THERE'S NO WAY TO PROMOTE
SOMETHING THAT DOESN'T EXIST.
214
00:13:10,873 --> 00:13:12,840
THAT'S A VERY
UNIMPORTANT REASON.
215
00:13:12,908 --> 00:13:15,376
IT'S JUST THAT THEY'RE JUST
EXPERIMENTING WITH, UH,
216
00:13:15,445 --> 00:13:17,645
WITH SOME NEW, UH,
PACKAGING MATERIALS.
217
00:13:17,714 --> 00:13:19,647
[Knocking] LET ME GET THE DOOR.
218
00:13:19,716 --> 00:13:21,694
DO THEY HAVE MONKEYS
OPENING IT? OH, THERE'S...
219
00:13:21,718 --> 00:13:23,962
THE OTHER THING IS THAT THE
BOSTON GIG HAS BEEN CANCELED.
220
00:13:23,986 --> 00:13:27,588
YEAH. I WOULDN'T WORRY ABOUT
IT. IT'S NOT A BIG COLLEGE TOWN.
221
00:13:27,657 --> 00:13:30,391
[Chattering]
222
00:13:30,460 --> 00:13:33,171
HEY, I HEARD YOU BOYS. YOU GOT
AN ALBUM COMING OUT OR ANYTHING?
223
00:13:33,195 --> 00:13:35,708
[David] SMELL THE GLOVE.
IT SHOULD BE OUT...
224
00:13:35,732 --> 00:13:38,444
SMELL THE GLOVE. SMELL
THE GLOVE. YEAH. YEAH.
225
00:13:38,468 --> 00:13:41,902
- IT'S A PROVOCATIVE TITLE.
- WAIT TILL YOU SEE THE COVER.
226
00:13:41,971 --> 00:13:44,071
VERY PROVOCATIVE, INDEED.
227
00:13:44,140 --> 00:13:47,408
[Ian] BOBBI, CAN I TEAR
YOU AWAY FOR A MOMENT?
228
00:13:47,477 --> 00:13:50,711
DO YOU HAVE A DRINK? I
DON'T REALLY NEED ONE.
229
00:13:50,780 --> 00:13:52,713
BUT, UM, LISTEN.
230
00:13:52,782 --> 00:13:55,349
I REALLY DO HAVE TO TALK
TO YOU A BIT ABOUT THIS...
231
00:13:55,418 --> 00:13:57,518
IAN, JUST TELL ME
WHATEVER'S ON YOUR MIND.
232
00:13:57,587 --> 00:14:00,788
THE ISSUE OF THE COVER. YEAH.
233
00:14:00,856 --> 00:14:04,358
WE, UH, I MEAN, WE FEEL,
AND IT SEEMS TO BE FACTS,
234
00:14:04,427 --> 00:14:07,595
THAT, UH, THE COMPANY'S RATHER
DOWN ON THE COVER, IS THAT THE CASE?
235
00:14:07,664 --> 00:14:09,775
YES. YOU CAN GIVE
IT TO ME STRAIGHT.
236
00:14:09,799 --> 00:14:11,799
LISTEN. THEY DON'T
LIKE THE COVER.
237
00:14:11,867 --> 00:14:13,845
WELL, THAT'S CERTAINLY STRAIGHT.
238
00:14:13,869 --> 00:14:15,903
THEY FIND IT VERY
OFFENSIVE AND VERY SEXIST.
239
00:14:15,971 --> 00:14:17,949
WHAT EXACTLY DO
YOU FIND OFFENSIVE?
240
00:14:17,973 --> 00:14:23,043
IAN, YOU PUT A GREASED
NAKED WOMAN ON ALL FOURS...
241
00:14:23,112 --> 00:14:26,847
WITH A DOG COLLAR AROUND
HER NECK AND A LEASH...
242
00:14:26,916 --> 00:14:29,883
AND A MAN'S ARM
EXTENDED OUT UP TO HERE...
243
00:14:29,952 --> 00:14:35,088
HOLDING ONTO THE LEASH AND PUSHING
A BLACK GLOVE IN HER FACE TO SNIFF IT.
244
00:14:35,157 --> 00:14:37,792
YOU DON'T FIND THAT OFFENSIVE?
YOU DON'T FIND THAT SEXIST?
245
00:14:37,860 --> 00:14:40,695
THIS IS 1982! THAT'S
RIGHT. IT'S 1982.
246
00:14:40,763 --> 00:14:43,531
GET OUT OF THE '60s. WE DON'T
HAVE THIS MENTALITY ANYMORE.
247
00:14:43,599 --> 00:14:45,944
WELL, YOU SHOULD HAVE SEEN THE
COVER THEY WANTED TO DO. I DON'T CARE.
248
00:14:45,968 --> 00:14:48,013
IT WASN'T A GLOVE, BELIEVE
ME. THIS IS SOMETHING...
249
00:14:48,037 --> 00:14:49,970
YOU'RE GONNA HAVE TO
TALK TO YOUR BOYS ABOUT.
250
00:14:50,039 --> 00:14:52,484
WE'RE NOT LAYING DOWN ANY
CONDITIONS. I DON'T THINK A SEXY COVER...
251
00:14:52,508 --> 00:14:55,008
IS THE ANSWER FOR WHY AN
ALBUM SELLS OR DOESN'T SELL.
252
00:14:55,077 --> 00:14:58,813
BECAUSE YOU TELL ME... THE
WHITE ALBUM? WHAT WAS THAT?
253
00:14:58,881 --> 00:15:00,815
THERE WAS NOTHING ON
THAT GODDAMN COVER.
254
00:15:00,883 --> 00:15:03,951
[Phone Ringing] EXCUSE ME.
WE'LL TALK ABOUT THIS AFTER.
255
00:15:04,019 --> 00:15:07,655
HELLO. OH, HI, DENIS.
256
00:15:08,924 --> 00:15:12,660
UH-OH. OKAY. WHY
DON'T YOU TELL HIM?
257
00:15:12,729 --> 00:15:17,665
OKAY, HOLD ON ONE MINUTE. IAN, IT'S
ETON-HOGG. HE WANTS TO TALK TO YOU.
258
00:15:17,734 --> 00:15:20,734
OKAY. THANK YOU, DARLING.
YOU'RE WELCOME, DEAR.
259
00:15:21,871 --> 00:15:24,004
HELLO, SIR DENIS.
260
00:15:24,073 --> 00:15:26,273
HI. HOW ARE YOU?
261
00:15:28,644 --> 00:15:30,944
OH.
262
00:15:31,013 --> 00:15:33,881
FUCKIN' POOFTER.
263
00:15:33,949 --> 00:15:38,719
BUT... BUT IT'S REALLY NOT THAT
OFFENSIVE, SIR DENIS, COME ON.
264
00:15:38,788 --> 00:15:42,055
OKAY. I'LL CALL YOU ABSOLUTELY
FIRST THING IN THE MORNING.
265
00:15:44,226 --> 00:15:48,295
OH, SHIT. THEY'RE NOT GOING
TO RELEASE THE ALBUM...
266
00:15:48,364 --> 00:15:51,899
BECAUSE THEY HAVE DECIDED
THAT THE COVER IS SEXIST.
267
00:15:51,967 --> 00:15:55,035
SO WHAT? WHAT'S
WRONG WITH BEING SEXY?
268
00:15:55,104 --> 00:15:57,438
I MEAN, THERE'S NO... SEXIST!
269
00:15:57,507 --> 00:15:59,707
OKAY, LISTEN. I WANTED
TO TELL YOU THIS,
270
00:15:59,776 --> 00:16:03,477
AND I WAS HOLDING BACK BECAUSE I DIDN'T
KNOW WHAT DENIS' DECISION WAS GOING TO BE.
271
00:16:03,546 --> 00:16:06,013
BUT AT THIS POINT, BOTH
SEARS AND KMART STORES...
272
00:16:06,081 --> 00:16:08,315
HAVE REFUSED TO
HANDLE THE ALBUM.
273
00:16:08,384 --> 00:16:10,962
THAT OLD ONE, HUH? THEY'RE BOYCOTTING
THE ALBUM ONLY BECAUSE OF THE COVER.
274
00:16:10,986 --> 00:16:14,755
IF A COMPANY'S BEHIND AN ALBUM, IT
CAN SHOVE IT RIGHT DOWN THEIR THROATS.
275
00:16:14,824 --> 00:16:17,391
MONEY TALKS AND BULLSHIT WALKS.
276
00:16:17,460 --> 00:16:20,740
AND IF THE FIRST ALBUM WAS A HIT,
THEN WE COULD HAVE PRESSED ON THEM,
277
00:16:20,797 --> 00:16:22,837
THEN WE COULD HAVE
TOLD THEM, "YES, LET'S..."
278
00:16:22,865 --> 00:16:26,366
EVERY CUT ON THIS ALBUM... I DON'T
GIVE A SHIT WHAT THE ALBUM SAYS.
279
00:16:26,436 --> 00:16:28,547
IT WAS A JOKE. A LONG TIME AGO.
280
00:16:28,571 --> 00:16:30,549
NOW THEY'RE MAKING
IT LIKE A BIG DEAL.
281
00:16:30,573 --> 00:16:34,074
IF WE WERE SERIOUS AND SAID SHE
SHOULD BE FORCED TO SMELL THE GLOVE,
282
00:16:34,143 --> 00:16:36,855
THEN YOU'D HAVE A POINT,
BUT IT'S ALL A JOKE, ISN'T IT?
283
00:16:36,879 --> 00:16:40,448
WE'RE MAKING FUN OF THAT
SORT OF THING. IT IS AND ISN'T.
284
00:16:40,516 --> 00:16:43,350
SHE SHOULD BE MADE TO SMELL
IT, BUT... NOT OVER AND OVER AGAIN.
285
00:16:43,419 --> 00:16:45,352
THE THING IS WE CAN
PROBABLY WORK SOMETHING OUT.
286
00:16:45,421 --> 00:16:48,221
I'LL TALK TO DENIS AND MAYBE WE
CAN COME UP WITH A COMPROMISE...
287
00:16:48,290 --> 00:16:51,024
AND A NEW DESIGN CONCEPT
THAT WE CAN ALL LIVE WITH.
288
00:16:51,093 --> 00:16:53,026
YOU GUYS WERE SCHOOLMATES?
289
00:16:53,095 --> 00:16:56,296
WE... WE DON'T... WE'RE
NOT UNIVERSITY MATERIAL.
290
00:16:56,365 --> 00:16:58,343
WHAT'S ON YOUR
FINGER? IT'S MY GUM.
291
00:16:58,367 --> 00:17:01,112
WHAT ARE YOU DOING WITH IT ON
YOUR FINGER? I MIGHT NEED IT LATER.
292
00:17:01,136 --> 00:17:03,136
PUT IT ON THE TABLE.
THAT'S TERRIBLE.
293
00:17:03,205 --> 00:17:05,673
NO. I MIGHT FORGET
IT ON THE TABLE.
294
00:17:05,741 --> 00:17:08,642
HOW OLD WERE YOU GUYS WHEN
YOU MET? CAN'T TAKE HIM ANYWHERE.
295
00:17:08,711 --> 00:17:12,112
EIGHT YEARS OLD. EIGHT OR NINE.
296
00:17:12,181 --> 00:17:14,515
YOU WERE EIGHT, AND I WAS SEVEN.
297
00:17:14,584 --> 00:17:16,562
THAT'S RIGHT, ISN'T IT?
298
00:17:16,586 --> 00:17:19,286
DO YOU REMEMBER THE FIRST SONG
YOU GUYS EVER WROTE TOGETHER?
299
00:17:19,355 --> 00:17:21,333
"ALL THE WAY HOME," PROBABLY.
300
00:17:21,357 --> 00:17:23,290
"ALL THE WAY HOME"? YEAH.
301
00:17:23,359 --> 00:17:26,093
CAN YOU REMEMBER A LITTLE
BIT OF IT? I'D LOVE TO HEAR IT.
302
00:17:26,161 --> 00:17:29,463
CHRIST. SOME BLACK COFFEE,
MAYBE WE COULD DO IT.
303
00:17:29,532 --> 00:17:33,567
HOW'S IT GO? ♪♪ [Humming]
304
00:17:33,636 --> 00:17:36,737
♪ BESIDE THE RAILROAD TRAIN ♪
305
00:17:36,806 --> 00:17:39,874
♪ AND I'M WAITIN' FOR THAT
TRAIN TO BRING YOU BACK ♪
306
00:17:39,942 --> 00:17:43,410
♪ BRING YOU BACK ♪
♪♪ [Humming]
307
00:17:43,479 --> 00:17:47,014
IF SHE'S... ♪ IF SHE'S
NOT ON THE 5:19 ♪
308
00:17:47,082 --> 00:17:49,483
♪ THEN I'M GONNA KNOW
WHAT SORROW MEANS ♪
309
00:17:49,552 --> 00:17:53,888
♪ AND I'M GONNA CRY, CRY,
CRY ALL THE WAY HOME ♪
310
00:17:53,956 --> 00:17:56,323
♪ ALL THE WAY HOME ♪
♪ ALL THE WAY HOME ♪
311
00:17:56,392 --> 00:17:58,893
♪ ALL THE WAY HOME
ALL THE WAY HOME ♪♪
312
00:17:58,961 --> 00:18:01,473
[Coughs] CRY, CRY
ALL THE WAY HOME.
313
00:18:01,497 --> 00:18:03,430
CRY, CRY, CRY ALL THE WAY HOME.
314
00:18:03,499 --> 00:18:05,799
THERE WERE ABOUT SIX
WORDS IN THE WHOLE SONG.
315
00:18:05,868 --> 00:18:07,801
WE'RE JUST REPEATIN'
THEM OVER AND OVER AGAIN.
316
00:18:07,870 --> 00:18:09,830
LET'S TALK ABOUT
YOUR MUSIC TODAY.
317
00:18:09,872 --> 00:18:14,875
ONE THING THAT PUZZLES ME, UM,
IS THE MAKEUP OF YOUR AUDIENCE.
318
00:18:14,944 --> 00:18:19,980
IT SEEMS TO BE
PREDOMINANTLY YOUNG BOYS.
319
00:18:20,049 --> 00:18:21,982
WELL, IT'S A SEXUAL
THING, REALLY.
320
00:18:22,051 --> 00:18:24,518
ASIDE FROM THE IDENTIFYING
THAT THE BOYS DO WITH US,
321
00:18:24,587 --> 00:18:29,423
THERE'S ALSO, LIKE, A REACTION TO THE
FEMALE... OF THE FEMALE TO OUR MUSIC.
322
00:18:29,491 --> 00:18:32,059
WHAT DO YOU THINK? REALLY,
THEY'RE QUITE FEARFUL.
323
00:18:32,127 --> 00:18:36,030
THAT'S MY THEORY. THEY SEE US
ON THE STAGE WITH TIGHT TROUSERS.
324
00:18:36,098 --> 00:18:38,699
WE'VE GOT, YOU KNOW,
ARMADILLOS IN OUR TROUSERS.
325
00:18:38,768 --> 00:18:41,346
I MEAN, IT'S REALLY QUITE
FRIGHTENING, THE SIZE,
326
00:18:41,370 --> 00:18:44,071
AND... AND THEY RUN SCREAMING...
327
00:18:44,139 --> 00:18:46,457
[Murmuring]
328
00:18:49,062 --> 00:18:51,228
[Nigel] IAN, CAN I HAVE A
WORD WITH YOU FOR A MINUTE?
329
00:18:51,297 --> 00:18:53,230
YES, OF COURSE. WHAT?
330
00:18:53,299 --> 00:18:57,501
THERE ARE A COUPLE OF PROBLEMS
WITH THE ARRANGEMENTS BACKSTAGE.
331
00:18:57,570 --> 00:18:59,503
WHAT EXACTLY?
332
00:18:59,572 --> 00:19:02,806
WELL, NO, I MEAN, THERE
ARE SOME PROBLEMS HERE.
333
00:19:02,875 --> 00:19:04,841
I DON'T EVEN KNOW
WHERE TO START.
334
00:19:04,910 --> 00:19:08,179
SOUND CHECK? WHAT?
NO, NO, NO, NO. THIS. LOOK.
335
00:19:08,247 --> 00:19:11,082
THERE'S A REAL PROBLEM
WITH... LOOK. THIS.
336
00:19:11,150 --> 00:19:15,852
THIS MINIATURE BREAD. IT'S... I'VE BEEN
WORKING WITH THIS FOR ABOUT HALF AN HOUR.
337
00:19:15,921 --> 00:19:19,923
I CAN'T FIGURE OUT... LET'S
SAY I WANT A BITE, RIGHT?
338
00:19:19,992 --> 00:19:22,025
YOU GOT THIS. YOU'D
LIKE BIGGER BREAD?
339
00:19:22,095 --> 00:19:24,728
I DON'T UNDERSTAND... YOU
COULD FOLD THIS, THOUGH.
340
00:19:24,797 --> 00:19:27,157
WELL, NO, THEN IT'S HALF
THE SIZE. NOT THE BREAD.
341
00:19:27,200 --> 00:19:31,535
YOU FOLD THE MEAT. THEN
IT BREAKS APART LIKE THIS.
342
00:19:31,604 --> 00:19:33,582
NO, YOU PUT IT ON
THE BREAD LIKE THIS.
343
00:19:33,606 --> 00:19:36,518
BUT IF YOU KEEP FOLDING IT, IT
KEEPS BREAKING. WHY KEEP FOLDING IT?
344
00:19:36,542 --> 00:19:41,445
EVERYTHING HAS TO BE FOLDED, AND
THEN IT'S THIS, AND I DON'T WANT THIS.
345
00:19:41,514 --> 00:19:46,450
I WANT LARGE BREAD, SO
THEN I CAN PUT THIS... RIGHT.
346
00:19:46,519 --> 00:19:50,354
SO THEN IT'S LIKE THIS, BUT THIS
DOESN'T WORK BECAUSE IT'S ALL...
347
00:19:50,423 --> 00:19:52,401
BECAUSE IT HANGS OUT LIKE THAT.
348
00:19:52,425 --> 00:19:54,358
WOULD YOU BE HOLDING THIS?
349
00:19:54,427 --> 00:19:58,229
I WOULDN'T WANT TO PUT THAT IN
MY MOUTH. ALL RIGHT, EXHIBIT "A."
350
00:19:58,297 --> 00:20:00,231
THEN WE MOVE ON TO THIS. LOOK.
351
00:20:00,299 --> 00:20:04,235
WHO'S IN HERE? NO ONE. THEN
IN HERE, THERE'S A LITTLE GUY.
352
00:20:04,303 --> 00:20:06,237
SO, IT'S A COMPLETE CATASTROPHE.
353
00:20:06,305 --> 00:20:09,507
NIGEL, YOU'RE RIGHT.
CALM DOWN. CALM DOWN.
354
00:20:09,575 --> 00:20:11,853
IT'S NO BIG DEAL.
IT'S A JOKE. I'M SORRY.
355
00:20:11,877 --> 00:20:15,912
IT'S JUST SOME CRAPPY
UNIVERSITY, YOU KNOW. IT'S A JOKE.
356
00:20:15,981 --> 00:20:17,959
I DON'T WANT IT TO AFFECT
YOUR PERFORMANCE.
357
00:20:17,983 --> 00:20:20,951
IT'S NOT GOING TO AFFECT MY
PERFORMANCE. DON'T WORRY ABOUT IT.
358
00:20:21,020 --> 00:20:23,621
I JUST HATE IT. IT DOES
DISTURB ME. IT'S DISGUSTING.
359
00:20:23,689 --> 00:20:25,722
BUT I'LL RISE ABOVE
IT. I'M A PROFESSIONAL.
360
00:20:25,791 --> 00:20:28,626
♪♪ [Rock 'N' Roll]
361
00:20:30,496 --> 00:20:33,997
♪ IT'S LITERALLY A HELLHOLE ♪
362
00:20:34,066 --> 00:20:37,885
♪ YOU KNOW WHERE YOU
STAND IN A HELLHOLE ♪
363
00:20:37,954 --> 00:20:41,738
♪ FOLKS LEND A
HAND IN A HELLHOLE ♪
364
00:20:41,807 --> 00:20:46,343
♪ GIRL, GET ME BACK
TO MY HELLHOLE ♪♪
365
00:21:37,730 --> 00:21:40,030
[Cheering, Applause]
366
00:21:40,099 --> 00:21:42,266
[Man] DO STONEHENGE!
367
00:21:42,335 --> 00:21:46,002
DO YOU PLAY... I MEAN, DO
YOU ACTUALLY PLAY ALL THESE?
368
00:21:46,071 --> 00:21:49,072
I PLAY THEM, AND I CHERISH THEM.
369
00:21:49,141 --> 00:21:51,074
THIS IS THE TOP OF
THE HEAP RIGHT HERE.
370
00:21:51,143 --> 00:21:53,522
THERE'S NO QUESTION. LOOK
AT THE FLAME ON THAT ONE.
371
00:21:53,546 --> 00:21:56,647
YES. IT'S QUITE UNBELIEVABLE.
372
00:21:56,716 --> 00:22:00,951
THIS ONE IS JUST,
UH, IT'S PERFECT, 1959.
373
00:22:01,019 --> 00:22:03,320
YOU KNOW, JUST LISTEN.
374
00:22:03,389 --> 00:22:05,601
HOW MUCH... JUST
LISTEN FOR A MINUTE.
375
00:22:05,625 --> 00:22:07,558
IT'S SUSTAINED. LISTEN TO IT.
376
00:22:07,627 --> 00:22:09,560
I'M NOT HEARING ANYTHING.
377
00:22:09,629 --> 00:22:11,607
YOU WOULD, THOUGH,
IF IT WERE PLAYING,
378
00:22:11,631 --> 00:22:13,642
BECAUSE IT'S FAMOUS
FOR ITS SUSTAIN.
379
00:22:13,666 --> 00:22:15,644
I MEAN, YOU CAN JUST HOLD
IT... SO YOU DON'T HAVE TO...
380
00:22:15,668 --> 00:22:17,601
♪ AHH ♪
381
00:22:17,670 --> 00:22:19,648
YOU CAN GO AND HAVE A BITE.
382
00:22:19,672 --> 00:22:21,650
♪ AHH ♪ YOU'D STILL
BE HEARING THAT ONE.
383
00:22:21,674 --> 00:22:23,607
HOLD THIS A SEC. SURE.
384
00:22:23,676 --> 00:22:27,578
THIS ONE, OF COURSE, IS
A CUSTOM THREE PICKUP.
385
00:22:27,647 --> 00:22:29,580
THIS IS MY RADIO
UNIT. OH, I SEE.
386
00:22:29,649 --> 00:22:34,752
SO I STRAP THIS PIECE ON RIGHT
DOWN IN HERE WHEN I'M ONSTAGE.
387
00:22:34,820 --> 00:22:37,299
IT'S A WIRELESS.
WIRELESS. EXACTLY.
388
00:22:37,323 --> 00:22:39,635
I CAN PLAY WITHOUT
ALL THE MUCKY MUCK.
389
00:22:39,659 --> 00:22:41,659
YOU CAN RUN ANYWHERE
ONSTAGE WITH THAT.
390
00:22:41,727 --> 00:22:44,428
THIS IS SPECIAL TOO. LOOK. SEE?
391
00:22:44,497 --> 00:22:46,430
IT'S STILL GOT THE
OLD TAGGER ON IT.
392
00:22:46,499 --> 00:22:48,432
YOU SEE, I NEVER EVEN PLAYED IT.
393
00:22:48,501 --> 00:22:50,612
YOU JUST BOUGHT
IT? DON'T TOUCH IT.
394
00:22:50,636 --> 00:22:52,614
I WASN'T GOING TO
TOUCH IT. DON'T TOUCH IT.
395
00:22:52,638 --> 00:22:54,616
I WAS JUST POINTING
AT IT. DON'T POINT.
396
00:22:54,640 --> 00:22:57,360
DON'T EVEN POINT? NO. IT
CAN'T BE PLAYED. NEVER.
397
00:22:57,410 --> 00:23:00,678
CAN I LOOK AT IT?
DON'T LOOK AT IT. NO.
398
00:23:00,746 --> 00:23:03,079
THIS IS A TOP TO, YOU KNOW,
WHAT WE USE ON STAGE,
399
00:23:03,148 --> 00:23:06,950
BUT IT'S VERY, VERY SPECIAL
BECAUSE, IF YOU CAN SEE,
400
00:23:07,019 --> 00:23:10,086
THE NUMBERS ALL GO TO 11.
401
00:23:10,155 --> 00:23:14,358
LOOK. RIGHT ACROSS THE
BOARD. ELEVEN, ELEVEN, ELEVEN.
402
00:23:14,427 --> 00:23:16,772
AND MOST OF THESE AMPS
GO UP TO TEN. EXACTLY.
403
00:23:16,796 --> 00:23:19,229
DOES THAT MEAN IT'S LOUDER?
404
00:23:19,298 --> 00:23:21,532
WELL, IT'S ONE LOUDER, ISN'T IT?
405
00:23:21,600 --> 00:23:25,536
IT'S NOT TEN. YOU SEE, MOST
BLOKES ARE GONNA BE PLAYING AT TEN.
406
00:23:25,604 --> 00:23:28,917
WE'RE ON TEN HERE. ALL
THE WAY UP. ALL THE WAY UP.
407
00:23:28,941 --> 00:23:31,908
YOU'RE ON TEN ON YOUR GUITAR.
WHERE CAN YOU GO FROM THERE?
408
00:23:31,977 --> 00:23:34,745
WHERE? NOWHERE.
EXACTLY. I DON'T KNOW.
409
00:23:34,814 --> 00:23:38,415
WHAT WE DO IS IF WE NEED
THAT EXTRA PUSH OVER THE CLIFF,
410
00:23:38,484 --> 00:23:40,651
YOU KNOW WHAT WE
DO? PUT IT UP TO 11.
411
00:23:40,720 --> 00:23:42,698
ELEVEN. EXACTLY. ONE LOUDER.
412
00:23:42,722 --> 00:23:45,856
WHY DON'T YOU JUST MAKE TEN
LOUDER, MAKE TEN BE THE TOP NUMBER,
413
00:23:45,924 --> 00:23:48,024
AND MAKE THAT A LITTLE LOUDER?
414
00:23:50,128 --> 00:23:52,062
THESE GO TO 11.
415
00:23:52,130 --> 00:23:54,498
ARE YOU SPINAL TAP?
416
00:23:54,567 --> 00:23:56,878
THIS IS SPINAL TAP. WELCOME
TO MEMPHIS, GENTLEMEN.
417
00:23:56,902 --> 00:23:58,969
WE HAVE A SLIGHT PROBLEM
WITH YOUR RESERVATION.
418
00:23:59,037 --> 00:24:00,949
NOTHING SERIOUS. HOW SLIGHT?
419
00:24:00,973 --> 00:24:03,139
YOU WANTED SEVEN
SUITES. SEVEN SUITES.
420
00:24:03,208 --> 00:24:06,910
YES. WE MISTAKENLY PUT YOU ON
THE SEVENTH FLOOR WITH ONE SUITE.
421
00:24:06,979 --> 00:24:09,413
THAT'S CONSIDERABLY
MORE THAN MINOR.
422
00:24:09,482 --> 00:24:13,283
BUT IT'S A GOOD-SIZED
ROOM, SIR. IT'S A KING LEISURE.
423
00:24:13,352 --> 00:24:16,331
HOW ARE WE GOING TO GET 14
PEOPLE IN A KING LEISURE BED?
424
00:24:16,355 --> 00:24:18,889
DON'T TEMPT ME, SIR.
HAVE A GOOD TIME.
425
00:24:18,957 --> 00:24:21,592
- I'LL TAKE CARE OF IT.
- WELCOME, GENTLEMEN.
426
00:24:21,660 --> 00:24:23,839
VERY ATTRACTIVE THEY
ARE TOO. LISTEN TO ME.
427
00:24:23,863 --> 00:24:27,964
WE WANT THESE SUITES NOW. THESE PEOPLE ARE
TIRED. WE HAVE A SOUND CHECK IN AN HOUR.
428
00:24:28,033 --> 00:24:30,679
RIVA, PERHAPS YOU CAN
HELP ME. WHAT'S THE PROBLEM?
429
00:24:30,703 --> 00:24:35,272
I'LL TELL YOU WHAT'S WRONG.
THIS TWISTED OLD FRUIT HERE...
430
00:24:35,340 --> 00:24:38,152
TELLS ME YOU HAVE NOT GOT MY
RESERVATIONS. I'M JUST AS GOD MADE ME, SIR.
431
00:24:38,176 --> 00:24:40,522
WHAT'S THE DIFFERENCE BETWEEN
GOLF AND MINIATURE GOLF?
432
00:24:40,546 --> 00:24:42,479
THE BALLS? [Woman Screams]
433
00:24:42,548 --> 00:24:44,748
UH-OH, LOOK OUT. HERE THEY COME.
434
00:24:44,817 --> 00:24:47,418
DUKE! DUKE!
435
00:24:47,486 --> 00:24:49,420
CAN I HAVE YOUR AUTOGRAPH?
436
00:24:49,488 --> 00:24:53,924
DUKE. YES, WE
KNOW. IT'S SPINAL TAP.
437
00:24:53,992 --> 00:24:55,926
DAVID ST. HUBBINS, SPINAL TAP.
438
00:24:55,994 --> 00:24:57,961
HOW'S IT GOING? DEREK SMALLS.
439
00:24:58,030 --> 00:25:00,997
WE GOTTA GET GOING. WHERE
YOU PLAYIN'? ARE YOU PLAYIN' HERE?
440
00:25:01,066 --> 00:25:04,145
WE'RE DOIN' THE ENORMO
DOME. WHATEVER IT IS.
441
00:25:04,169 --> 00:25:06,381
IT'S A GOOD HOUSE.
WE SOLD IT OUT.
442
00:25:06,405 --> 00:25:08,338
BIG PLACE. YOU SOLD OUT!
443
00:25:08,407 --> 00:25:10,841
WE REALLY SHOULD RUN.
444
00:25:10,910 --> 00:25:15,011
GOOD HEAVENS. HOW ARE
YOU, LARRY? GREAT TO SEE YOU.
445
00:25:15,080 --> 00:25:19,316
LIAM. IAN.
446
00:25:19,384 --> 00:25:22,886
WE'D LOVE TO STAND AROUND AND CHAT,
BUT WE GOTTA SIT DOWN IN THE LOBBY...
447
00:25:22,955 --> 00:25:24,933
AND WAIT FOR THE
LIMO, OKAY, BOYS?
448
00:25:24,957 --> 00:25:26,890
[All Talking At Once]
449
00:25:26,959 --> 00:25:29,838
YEAH, BEST OF LUCK.
CATCH UP WITH YOU LATER.
450
00:25:29,862 --> 00:25:31,840
GREAT. GREAT TO SEE YOU.
451
00:25:31,864 --> 00:25:36,399
GOOD DAY. JERK. FUCKIN' WANKER.
452
00:25:36,469 --> 00:25:39,235
WHAT A WANKER. HE'S
GOT THIS MUCH TALENT.
453
00:25:39,304 --> 00:25:41,237
HE'S GOT THIS
MUCH IF HE'S LUCKY.
454
00:25:41,306 --> 00:25:43,874
WE HAD TO APOLOGIZE
FOR HIM WITH OUR SET.
455
00:25:43,943 --> 00:25:45,921
PEOPLE WERE BOOIN' HIM
WHEN WE WERE ON THE ROAD.
456
00:25:45,945 --> 00:25:47,878
IT'S ALL HYPE.
457
00:25:47,947 --> 00:25:51,314
YEP, WE GOT OUR
ROOMS. BIG FAT SUITES.
458
00:25:51,383 --> 00:25:54,852
HAVE YOU SEEN DUKE
FAME'S CURRENT ALBUM?
459
00:25:54,920 --> 00:25:57,554
UM, YES. YOU'VE SEEN THE COVER?
460
00:25:57,623 --> 00:25:59,556
UH, NO. NO, I
DON'T THINK I HAVE.
461
00:25:59,625 --> 00:26:01,536
WELL, IT'S A RATHER LURID COVER.
462
00:26:01,560 --> 00:26:03,961
IT'S LIKE NAKED WOMEN AND...
463
00:26:04,029 --> 00:26:06,608
HE'S TIED DOWN TO
THIS TABLE, UH-HUH.
464
00:26:06,632 --> 00:26:08,610
AND HE'S GOT WHIPS,
AND THEY'RE ALL SEMINUDE.
465
00:26:08,634 --> 00:26:10,868
KNOCKIN' ON 'EM.
WHAT'S YOUR POINT?
466
00:26:10,936 --> 00:26:13,871
MY POINT IS IT'S MUCH
WORSE THAN SMELL THE GLOVE.
467
00:26:13,939 --> 00:26:15,873
HE RELEASES THAT,
AND HE'S NUMBER THREE.
468
00:26:15,941 --> 00:26:19,175
BECAUSE HE'S THE VICTIM. THEIR
OBJECTIONS WERE THAT SHE WAS THE VICTIM.
469
00:26:19,244 --> 00:26:21,211
OH. THAT'S ALL RIGHT.
470
00:26:21,279 --> 00:26:23,413
IF THE SINGER'S THE
VICTIM, IT'S NOT SEXIST.
471
00:26:23,482 --> 00:26:26,650
THEY DID A TWIST ON IT. WE
SHOULD HAVE THOUGHT OF THAT.
472
00:26:26,719 --> 00:26:30,159
WE WERE SO CLOSE. IF WE HAD ALL YOU
GUYS TIED UP, THAT WOULD HAVE BEEN FINE.
473
00:26:30,188 --> 00:26:34,424
IT'S SUCH A FINE LINE
BETWEEN STUPID AND CLEVER.
474
00:26:34,493 --> 00:26:36,471
IT'S JUST THAT LITTLE TURNABOUT.
475
00:26:36,495 --> 00:26:38,996
I HAVE A SMALL
PIECE OF BAD NEWS.
476
00:26:39,064 --> 00:26:41,042
ALTHOUGH, IT MAY NOT BE
THAT BAD. FOR A CHANGE.
477
00:26:41,066 --> 00:26:43,000
WE'RE CANCELED HERE.
478
00:26:43,068 --> 00:26:46,403
AT THE HOTEL? NO, WE'RE
CANCELED. THE GIG IS CANCELED.
479
00:26:46,471 --> 00:26:48,405
FUCK!
480
00:26:48,473 --> 00:26:53,376
IT SAYS, "MEMPHIS SHOW CANCELED
DUE TO LACK OF ADVERTISING FUNDS."
481
00:26:53,445 --> 00:26:55,378
THE LAST TIME TAP
TOURED AMERICA,
482
00:26:55,447 --> 00:26:59,082
THEY WERE, UH, BOOKED
INTO 10,000-SEAT ARENAS...
483
00:26:59,151 --> 00:27:01,384
AND 15,000-SEAT VENUES.
484
00:27:01,453 --> 00:27:04,454
AND IT SEEMS THAT NOW
ON THE CURRENT TOUR,
485
00:27:04,523 --> 00:27:08,859
THEY'RE BEING BOOKED INTO
1,200-SEAT ARENAS, 1,500-SEAT ARENAS.
486
00:27:08,928 --> 00:27:13,363
AND I WAS JUST WONDERING, DOES THIS
MEAN THE POPULARITY OF THE GROUP IS WANING?
487
00:27:13,432 --> 00:27:16,266
OH, NO, NO, NO, NO.
488
00:27:16,334 --> 00:27:18,268
NO, NO, NOT AT ALL.
489
00:27:18,336 --> 00:27:22,138
I-I JUST THINK THAT THEIR APPEAL
IS BECOMING MORE SELECTIVE.
490
00:27:23,508 --> 00:27:26,242
NOW, I NOTICE YOU GOT
THIS CRICKET BAT HERE. YES.
491
00:27:26,311 --> 00:27:30,113
DO YOU PLAY? NO. I CARRY
THIS PARTLY OUT OF...
492
00:27:30,182 --> 00:27:34,017
SORT OF... I DON'T KNOW.
493
00:27:34,086 --> 00:27:36,620
I SUPPOSE, WHAT'S THE
WORD? AFFECTATION?
494
00:27:36,689 --> 00:27:40,023
YES, I MEAN, IT'S A KIND OF
TOTEMISTIC THING, YOU KNOW,
495
00:27:40,092 --> 00:27:42,025
BUT TO BE FRANK WITH YOU,
496
00:27:42,094 --> 00:27:44,294
IT'S COME IN USEFUL IN
A COUPLE OF SITUATIONS.
497
00:27:44,362 --> 00:27:48,164
CERTAINLY IN THE TOPSY-TURVY
WORLD OF HEAVY ROCK,
498
00:27:48,233 --> 00:27:52,502
HAVING A GOOD SOLID PIECE OF WOOD
IN YOUR HAND IS QUITE OFTEN USEFUL.
499
00:27:52,571 --> 00:27:54,688
I MISS YOU TOO, DARLING.
500
00:27:54,756 --> 00:27:57,224
UM, NOT TOO WELL, ACTUALLY.
501
00:27:57,293 --> 00:27:59,371
WE'VE GOT SOME CANCELLATIONS.
502
00:27:59,395 --> 00:28:01,573
WE GOT TO MEMPHIS,
AND THERE'S NO GIG.
503
00:28:01,597 --> 00:28:03,575
AND WE FIND OUT THIS PROMOTER,
504
00:28:03,599 --> 00:28:08,034
UH, HAS PULLED OUT OF
ST. LOUIS AND KANSAS CITY...
505
00:28:08,104 --> 00:28:12,206
AND, UM, OH, DES MOINES.
506
00:28:12,274 --> 00:28:15,354
I DON'T KNOW. HE'S IN
INDIANA OR SOMETHING.
507
00:28:16,712 --> 00:28:19,313
[Continues, Indistinct]
508
00:28:19,381 --> 00:28:22,182
OH, DON'T TEASE ME.
THAT'S NOT UNTIL APRIL.
509
00:28:22,251 --> 00:28:24,418
GREAT! WE'LL DO IT.
510
00:28:24,487 --> 00:28:27,588
OH, GO... FUCKIN' GREAT.
511
00:28:27,656 --> 00:28:30,124
MILWAUKEE. MILWAUKEE, WISCONSIN.
512
00:28:30,192 --> 00:28:32,126
I HAVE NO IDEA.
513
00:28:32,194 --> 00:28:37,097
YOU MIGHT HAVE TO TAKE A PLANE TO
NEW YORK AND THEN GO TO MILWAUKEE.
514
00:28:37,166 --> 00:28:39,466
OH, GOOD. I LOVE YOU TOO.
515
00:28:39,535 --> 00:28:42,369
OKAY. BYE.
516
00:28:42,438 --> 00:28:44,371
[Sighs]
517
00:28:44,440 --> 00:28:46,373
MY PROBLEMS ARE
SOLVED. WHO WAS THAT?
518
00:28:46,442 --> 00:28:48,375
JEANINE. SHE'S
GONNA COME MEET US.
519
00:28:48,444 --> 00:28:53,347
SHE WAS SUPPOSED TO DO THIS WINDOW
LAYOUT FOR NEIL KAYET'S BOUTIQUE,
520
00:28:53,415 --> 00:28:55,393
BUT IT'S NOT TILL APRIL.
521
00:28:55,417 --> 00:28:57,351
IS SHE COMING TO
DROP SOME STUFF OFF?
522
00:28:57,419 --> 00:29:02,088
SHE'S COMING ON THE ROAD.
SHE'S GONNA TRAVEL WITH US.
523
00:29:02,158 --> 00:29:04,902
SHE SAID THAT SHE CAN HEAR I'M
EATING TOO MUCH SUGAR ON THE PHONE.
524
00:29:04,926 --> 00:29:07,661
SHE SAYS MY LARYNX IS FAT.
525
00:29:07,729 --> 00:29:12,032
YOU MIGHT WANT TO COME NEXT DOOR.
THE RADIO'S PLAYING A BIT OF YOUR PAST.
526
00:29:14,002 --> 00:29:16,537
[Laughing,
Muttering, Indistinct]
527
00:29:20,008 --> 00:29:22,409
I DON'T BELIEVE IT!
♪♪ [Radio, Indistinct]
528
00:29:22,478 --> 00:29:24,978
[Chattering]
529
00:29:40,128 --> 00:29:43,664
[Radio Announcer] OH, YEAH.
GOIN' ALL THE WAY BACK TO 1965.
530
00:29:43,732 --> 00:29:48,535
DOESN'T IT FEEL GOOD WITH THE
THAMES MEN AND "CUPS AND CAKES"?
531
00:29:48,604 --> 00:29:52,306
THE THAMES MEN LATER CHANGED
THEIR NAME TO SPINAL TAP.
532
00:29:52,374 --> 00:29:54,308
THEY HAD A COUPLE
OF NICE-SIZED HITS.
533
00:29:54,376 --> 00:29:56,588
THEY'RE CURRENTLY RESIDING IN
THE "WHERE ARE THEY NOW?" FILE.
534
00:29:56,612 --> 00:29:59,012
JOHNNY Q WITH YOU ON GOLDEN
106, AND RIGHT AFTER WE...
535
00:29:59,081 --> 00:30:00,980
[Radio Off] [Derek] FUCK YOU.
536
00:30:01,049 --> 00:30:03,850
[David] I'M NOT REALLY SURE
THIS WAS SUCH A GREAT IDEA.
537
00:30:03,919 --> 00:30:06,853
I MEAN, I DON'T FEEL ANY
BETTER THAN I DID AT THE HOTEL.
538
00:30:08,357 --> 00:30:11,658
HE WAS GOING TO DO A TV
SPECIAL FROM HERE BEFORE HE DIED.
539
00:30:11,727 --> 00:30:15,562
YEAH, THAT'S RIGHT. MUSICAL VERSION
OF "SOMEBODY UP THERE LIKES ME."
540
00:30:18,234 --> 00:30:21,368
♪ WELL, SINCE MY BABY LEFT ME ♪
541
00:30:21,437 --> 00:30:24,271
♪ I FOUND A NEW PLACE TO DWELL ♪
542
00:30:24,340 --> 00:30:27,374
♪ IT'S DOWN AT THE
END OF LONELY STREET ♪
543
00:30:27,443 --> 00:30:30,076
♪ THAT HEARTBREAK HOTEL ♪
544
00:30:30,145 --> 00:30:32,990
DO IT WITH THE HARMONY
PARTS. ALL RIGHT.
545
00:30:33,014 --> 00:30:35,349
♪ WELL, SINCE MY BABY ♪
546
00:30:35,417 --> 00:30:37,395
IN THE SAME KEY,
THOUGH, I THINK.
547
00:30:37,419 --> 00:30:39,620
♪ WELL, SINCE MY BABY LEFT ME ♪
548
00:30:39,688 --> 00:30:42,789
IF I'M GOING... ♪ SINCE
MY BABY LEFT ME ♪
549
00:30:42,858 --> 00:30:44,791
♪ ME ♪
550
00:30:44,860 --> 00:30:46,838
NO, YOU CAN'T HIT THAT NOTE.
551
00:30:46,862 --> 00:30:50,497
♪ SINCE MY... SINCE
MY BABY LEFT ME ♪
552
00:30:50,566 --> 00:30:53,967
♪ WELL, I FOUND A
NEW PLACE TO DWELL ♪
553
00:30:54,035 --> 00:30:57,937
THAT'S ALL RIGHT. NOT
REALLY. IT SOUNDS RAGA.
554
00:30:58,006 --> 00:31:00,285
YOU DON'T WANT TO GO RAGA.
NOT WITH THIS, YOU DON'T.
555
00:31:00,309 --> 00:31:03,810
♪ SINCE MY BABY LEFT ME ♪♪
IT SOUNDS FUCKING BARBERSHOP.
556
00:31:03,879 --> 00:31:06,346
BARBERSHOP RAGA.
WATCH THE LANGUAGE.
557
00:31:06,415 --> 00:31:09,816
WE ARE IN THE PRESENCE
OF THE KING. SORRY.
558
00:31:09,885 --> 00:31:13,754
[Sighs] THIS IS
THOROUGHLY DEPRESSING.
559
00:31:13,822 --> 00:31:16,134
IT REALLY PUTS A PERSPECTIVE
ON THINGS, THOUGH, DOESN'T IT?
560
00:31:16,158 --> 00:31:20,661
YEAH, TOO MUCH. THERE'S TOO
MUCH FUCKING PERSPECTIVE NOW.
561
00:31:20,729 --> 00:31:25,999
IN 1967, YOU... THAT WAS THE FIRST
TIME SPINAL TAP CAME INTO EXISTENCE.
562
00:31:26,067 --> 00:31:28,045
THE WHOLE WORLD WAS
CHANGING IN THOSE DAYS.
563
00:31:28,069 --> 00:31:30,682
AND WE HAD THE WORLD'S EAR
BECAUSE WE HAD JUST RELEASED...
564
00:31:30,706 --> 00:31:33,039
AN ENORMOUS-SELLING SINGLE.
565
00:31:33,108 --> 00:31:35,487
"LISTEN TO THE FLOWER
PEOPLE. "FLOWER PEOPLE."
566
00:31:35,511 --> 00:31:37,911
WE TOURED THE WORLD.
WE TOURED THE STATES.
567
00:31:37,979 --> 00:31:41,058
TOURED THE WORLD AND ELSEWHERE.
IT WAS A DREAM COME TRUE.
568
00:31:41,082 --> 00:31:47,120
♪ LISTEN TO WHAT THE
FLOWER PEOPLE SAY ♪
569
00:31:47,189 --> 00:31:49,723
♪ AHH ♪
570
00:31:49,792 --> 00:31:56,596
♪ LISTEN IT'S GETTING
LOUDER EVERY DAY ♪
571
00:31:59,201 --> 00:32:04,604
♪ LISTEN IT'S LIKE A
BOLT OUT OF THE BLUE ♪
572
00:32:04,673 --> 00:32:07,941
♪ AHH ♪
573
00:32:08,009 --> 00:32:13,847
♪ LISTEN IT COULD BE
CALLING OUT FOR YOU ♪♪
574
00:32:24,292 --> 00:32:26,660
[Inaudible]
575
00:32:32,568 --> 00:32:35,201
[Marty] DURING THE FLOWER PEOPLE
PERIOD, WHO WAS YOUR DRUMMER?
576
00:32:35,270 --> 00:32:37,738
STUMPY'S REPLACEMENT,
PETER JAMES BOND.
577
00:32:37,806 --> 00:32:41,641
HE ALSO DIED IN
MYSTERIOUS CIRCUMSTANCES.
578
00:32:41,710 --> 00:32:44,155
WE WERE PLAYING A, UH,
JAZZ BLUES FESTIVAL. FESTIVAL.
579
00:32:44,179 --> 00:32:46,913
WHERE WAS THAT? A
BLUES JAZZ, REALLY.
580
00:32:46,982 --> 00:32:49,215
BLUES JAZZ FESTIVAL.
THAT WAS IN THE ISLE...
581
00:32:49,284 --> 00:32:52,318
ISLE OF LUCY. THE ISLE OF
LUCY JAZZ AND BLUES FESTIVAL.
582
00:32:52,388 --> 00:32:57,090
AND, UH, IT WAS TRAGIC,
REALLY. HE EXPLODED ONSTAGE.
583
00:32:57,158 --> 00:32:59,136
JUST LIKE THAT. [David]
HE JUST WENT UP.
584
00:32:59,160 --> 00:33:03,997
HE JUST WAS LIKE A FLASH OF
GREEN LIGHT AND THAT WAS IT.
585
00:33:04,065 --> 00:33:06,332
NOTHING WAS LEFT.
LOOK AT HIS FACE.
586
00:33:06,402 --> 00:33:08,334
THIS REALLY DID HAPPEN.
587
00:33:08,404 --> 00:33:10,437
THERE WAS A LITTLE GREEN
GLOBULE ON HIS DRUM SEAT.
588
00:33:10,506 --> 00:33:13,874
LIKE A STAIN, REALLY. MORE
OF A STAIN THAN A GLOBULE.
589
00:33:13,942 --> 00:33:15,953
YOU KNOW, SEVERAL...
DOZENS OF PEOPLE...
590
00:33:15,977 --> 00:33:18,412
SPONTANEOUSLY COMBUST EACH YEAR.
591
00:33:18,480 --> 00:33:21,999
IT'S JUST NOT REALLY
WIDELY REPORTED.
592
00:33:23,552 --> 00:33:25,919
TESTING.
593
00:33:25,987 --> 00:33:28,199
TEST, TEST, TEST. THIS
IS MIKE NUMBER ONE.
594
00:33:28,223 --> 00:33:30,690
THIS IS MIKE NUMBER ONE.
ISN'T THIS A LOT OF FUN?
595
00:33:30,759 --> 00:33:32,737
TWO. TWO. OKAY,
HE'S GOT THE MIKES.
596
00:33:32,761 --> 00:33:36,095
LET'S DO G.S.M.,
ALL RIGHT? G.S.M.
597
00:33:38,434 --> 00:33:42,268
♪ STOP WASTIN' MY TIME ♪
598
00:33:42,337 --> 00:33:44,270
♪ YOU KNOW WHAT I WANT ♪
599
00:33:44,339 --> 00:33:49,910
♪ HEAVY UP YOU KNOW
WHAT I N-N-NEED ♪
600
00:33:49,978 --> 00:33:52,378
♪ OR MAYBE YOU DON'T ♪
601
00:33:54,316 --> 00:33:59,586
♪ OR DO I HAVE TO COME RIGHT SMACK
DAB OUT AND TELL YOU EVERYTHING ♪
602
00:33:59,655 --> 00:34:03,423
♪ GIMME SOME MONEY ♪
603
00:34:03,492 --> 00:34:06,893
♪ GIMME SOME MONEY ♪
604
00:34:06,962 --> 00:34:08,962
♪ OH, YEAH ♪♪
605
00:34:13,735 --> 00:34:16,402
[Woman Over P.A.]
HELLO, DARLING.
606
00:34:16,472 --> 00:34:19,205
HELLO. I GOT A SURPRISE FOR YOU.
607
00:34:19,274 --> 00:34:23,042
WHERE'D YOU COME FROM?
WHERE'D YOU THINK I CAME FROM?
608
00:34:23,111 --> 00:34:25,271
THE BLOODY AIRPLANE, DIDN'T I?
609
00:34:35,156 --> 00:34:37,090
OH, THAT FEELS GOOD.
610
00:34:37,158 --> 00:34:40,660
OH, I'VE BEEN WANTING TO
DO THAT FOR A LONG TIME.
611
00:34:41,897 --> 00:34:44,965
WANT ME TO CARRY IT
DOWN WITH ME? WHAT'S THIS?
612
00:34:45,033 --> 00:34:48,546
THAT'S THE FILM CREW. I TOLD YOU
ABOUT THIS. THAT'S THE FILM CREW.
613
00:34:48,570 --> 00:34:52,572
MARTIN, THIS IS JEANINE. HELLO.
614
00:34:52,641 --> 00:34:56,776
HERE IT IS, LADS.
VISITORS' DAY, ISN'T IT?
615
00:35:00,015 --> 00:35:02,135
GATHER AROUND. WHERE'S DAVID?
616
00:35:02,183 --> 00:35:04,183
DAVID. DAVID, GET UP HERE.
617
00:35:04,252 --> 00:35:07,787
DAVID, SMELL THE GLOVE
IS HERE. HELLO, JEANINE.
618
00:35:07,856 --> 00:35:11,625
IT'S THE MOMENT WE'VE ALL
BEEN WAITING FOR. HERE WE GO.
619
00:35:11,693 --> 00:35:14,995
I NEVER THOUGHT I'D LIVE TO SEE
THE DAY. PLENTY FOR EVERYBODY.
620
00:35:16,698 --> 00:35:18,877
WHAT DO YOU THINK? IS
THIS THE TEST PRESSING?
621
00:35:18,901 --> 00:35:20,834
NO, THIS IS IT.
622
00:35:20,903 --> 00:35:23,615
THIS IS SMELL THE GLOVE BY
SPINAL TAP? THAT'S SMELL THE GLOVE.
623
00:35:23,639 --> 00:35:27,541
THAT'S THE JACKET COVER THAT'S
GOING OUT ACROSS THE COUNTRY.
624
00:35:27,609 --> 00:35:29,843
THIS IS THE COMPROMISED WAY.
625
00:35:29,912 --> 00:35:31,845
IS IT GOING TO SAY
ANYTHING HERE?
626
00:35:31,914 --> 00:35:33,847
IT'S NOT GOING TO SAY ANYTHING.
627
00:35:33,916 --> 00:35:36,883
IT'S GONNA BE ALL BLACK. THAT
SIMPLE, BEAUTIFUL, CLASSIC.
628
00:35:36,952 --> 00:35:38,885
IT DOES LOOK LIKE BLACK LEATHER.
629
00:35:38,954 --> 00:35:42,022
YOU CAN SEE
YOURSELF IN BOTH SIDES.
630
00:35:42,090 --> 00:35:44,390
IT'S LIKE A BLACK MIRROR.
631
00:35:44,459 --> 00:35:48,361
IT LOOKS LIKE DEATH. IT
LOOKS LIKE MOURNING.
632
00:35:48,430 --> 00:35:52,365
EVERY MOVIE AND CINEMA IS
ABOUT DEATH. DEATH SELLS.
633
00:35:52,434 --> 00:35:56,402
I THINK HE'S RIGHT. THERE'S
SOMETHING ABOUT THIS THAT IS SO BLACK,
634
00:35:56,471 --> 00:35:58,638
IT'S LIKE, HOW MUCH MORE
BLACK COULD THIS BE?
635
00:35:58,707 --> 00:36:02,308
AND THE ANSWER IS,
"NONE." IS THAT GOOD?
636
00:36:02,377 --> 00:36:04,689
YOU'RE RATIONALIZING
THIS WHOLE THING...
637
00:36:04,713 --> 00:36:07,547
LIKE IT'S SOMETHING
YOU DID ON PURPOSE.
638
00:36:07,616 --> 00:36:12,118
YOU KNOW, I THINK WE'RE STUCK WITH A
VERY STUPID AND DISMAL-LOOKING ALBUM.
639
00:36:12,187 --> 00:36:14,766
THIS IS DEPRESSING. THIS IS
SOMETHING YOU WEAR AROUND YOUR ARM.
640
00:36:14,790 --> 00:36:18,257
YOU DON'T PUT THIS ON YOUR FUCKING
TURNTABLE. DAVID, IT'S A CHOICE.
641
00:36:18,326 --> 00:36:20,259
THIS IS THE TURNING POINT, OKAY?
642
00:36:20,328 --> 00:36:22,261
I THINK THIS IS... WE'RE
ON OUR WAY NOW.
643
00:36:22,330 --> 00:36:24,731
IT'S TIME... IT'S
TIME TO KICK ASS.
644
00:36:34,476 --> 00:36:36,977
♪♪ [Guitar]
645
00:36:56,698 --> 00:37:01,801
♪ WHEN THERE WAS DARKNESS
AND THE VOID WAS KING ♪
646
00:37:01,870 --> 00:37:05,238
♪ AND RULED THE ELEMENTS ♪
647
00:37:05,306 --> 00:37:08,241
♪ WHEN THERE WAS
SILENCE AND THE HUSH ♪
648
00:37:08,309 --> 00:37:12,512
♪ WAS ALMOST DEAFENING ♪
649
00:37:14,783 --> 00:37:16,716
♪ OUT OF THE EMPTINESS ♪
650
00:37:16,785 --> 00:37:20,787
♪ SALVATION ♪
♪ SALVATION ♪
651
00:37:21,923 --> 00:37:25,358
♪ THE RHYTHM AND
LIGHT AND SOUND ♪
652
00:37:25,426 --> 00:37:28,895
♪ 'TWAS THE ROCK
'N' ROLL CREATION ♪
653
00:37:28,964 --> 00:37:31,330
♪ 'TWAS A TERRIBLE BIG BANG ♪
654
00:37:31,399 --> 00:37:35,802
♪ 'TWAS THE ULTIMATE MUTATION ♪
655
00:37:35,871 --> 00:37:38,905
♪ YIN WAS SEARCHING
FOR HIS YANG ♪
656
00:37:38,974 --> 00:37:43,476
♪ AND THEY LOOKED AND
THEY SAW THAT IT WAS GOOD ♪
657
00:37:43,545 --> 00:37:46,312
[Laughing]
658
00:37:54,622 --> 00:38:01,728
♪ I LOOK TO THE STARS
AND THE ANSWER IS CLEAR ♪
659
00:38:01,797 --> 00:38:08,835
♪ I LOOK IN THE MIRROR
AND SEE WHAT I FEAR ♪
660
00:38:24,519 --> 00:38:27,821
♪ 'TIS THE ROCK
'N' ROLL CREATION ♪
661
00:38:27,889 --> 00:38:31,825
♪ 'TIS THE ABSOLUTE REBIRTH ♪
662
00:38:31,893 --> 00:38:34,794
♪ 'TIS THE ROLLING
OF THE OCEAN ♪
663
00:38:34,863 --> 00:38:37,330
♪ AND THE ROCKING OF THE EARTH ♪
664
00:38:37,398 --> 00:38:42,702
♪ AND I LOOKED AND I
SAW THAT IT WAS GOOD ♪♪
665
00:39:06,461 --> 00:39:09,896
GIVEN THE HISTORY OF
SPINAL TAP DRUMMERS...
666
00:39:09,965 --> 00:39:14,367
IN THE PAST, DO YOU HAVE
ANY FEARS, UH, FOR YOUR LIFE?
667
00:39:14,435 --> 00:39:16,469
WHEN I DID JOIN,
THEY DID TELL ME.
668
00:39:16,537 --> 00:39:21,174
THEY KIND OF TOOK ME ASIDE AND SAID,
"WELL, MICK, YOU KNOW, IT'S LIKE THIS."
669
00:39:21,243 --> 00:39:25,845
AND IT DID KIND OF FREAK ME OUT,
670
00:39:25,914 --> 00:39:29,015
BUT IT CAN'T ALWAYS
HAPPEN TO EVERY, CAN IT?
671
00:39:29,084 --> 00:39:33,203
RIGHT. THE LAW OF AVERAGES
SAYS YOU WILL SURVIVE. YEAH.
672
00:39:36,858 --> 00:39:39,826
WHOA. QUITE EXCITING.
673
00:39:39,895 --> 00:39:42,695
QUITE EXCITING, THIS
COMPUTER MAGIC.
674
00:39:42,764 --> 00:39:46,065
[Ian] HOW MANY PLANETS
HAVE YOU DESTROYED, VIV?
675
00:39:46,134 --> 00:39:48,902
ABOUT FOURTH OR FIFTH
TIME AROUND, I THINK.
676
00:39:48,970 --> 00:39:52,172
WE'RE DOING, REALLY,
FIVE GALAXIES GOING.
677
00:39:54,442 --> 00:39:56,620
THIS IS CINDY'S FIRST MUSTACHE.
678
00:39:56,644 --> 00:39:59,412
[Ian] IS IT?
679
00:39:59,480 --> 00:40:02,093
CAN I TAKE IT OFF NOW?
WHY, ARE YOU TOO HOT IN IT?
680
00:40:02,117 --> 00:40:06,786
NO, IT'S, UM, I THOUGHT I MIGHT GO
BACK AND SEE WHAT THEY WERE UP TO.
681
00:40:06,855 --> 00:40:09,989
I DON'T THINK THEY NEED TO SEE THIS
UNTIL YOU'RE FINISHED WITH IT, YOU KNOW.
682
00:40:10,058 --> 00:40:13,293
YOU WERE READING.
YOU CAN READ HERE.
683
00:40:13,361 --> 00:40:16,429
YEAH, BUT THEY GOT THE
NEW GAME BACK THERE.
684
00:40:16,497 --> 00:40:19,933
I THOUGHT... I THOUGHT I'D
HAVE A LOOK AT THE NEW GAME.
685
00:40:20,001 --> 00:40:21,935
IT'S LIKE A SUBMARINE THING.
686
00:40:22,003 --> 00:40:23,981
YOU'VE GOT ALL
STUFF OVER YOU AGAIN.
687
00:40:24,005 --> 00:40:27,406
[David] BEFORE I MET JEANINE, MY
LIFE WAS COSMICALLY A SHAMBLES.
688
00:40:27,475 --> 00:40:31,077
IT WAS, UH, I WAS USING BITS AND PIECES
OF WHATEVER EASTERN PHILOSOPHIES...
689
00:40:31,146 --> 00:40:33,079
HAPPENED TO DRIFT
THROUGH MY TRANSOM.
690
00:40:33,148 --> 00:40:36,149
AND, UH, SHE SORT OF
SORTED IT OUT FOR ME,
691
00:40:36,218 --> 00:40:39,458
STRAIGHTENED IT OUT FOR ME, GAVE
ME A PATH, YOU KNOW, A PATH TO FOLLOW.
692
00:40:39,487 --> 00:40:41,587
[Marty] I WONDER IF YOU
HAVE AS MUCH INFLUENCE...
693
00:40:41,656 --> 00:40:44,123
OVER HIS MUSICAL
EXPRESSION. OH, YEAH.
694
00:40:44,192 --> 00:40:48,627
I MEAN, I LISTEN TO HIM WHEN
HE'S EXPERIMENTING, DON'T I?
695
00:40:48,696 --> 00:40:53,032
HE'S, UH, HE PLAYS THINGS TO ME
SOMETIMES WHEN HE'S WORKED OUT...
696
00:40:53,101 --> 00:40:55,768
HE'S GOT A NEW BIT HE
WANTS TO TELL ME ABOUT.
697
00:40:55,837 --> 00:40:59,805
YOU KNOW, AND I SAY THAT'S
GOOD OR BAD OR SHIT OR WHATEVER.
698
00:40:59,875 --> 00:41:04,110
[David Laughs] YES, SHE'S VERY
HONEST. SHE'S BRUTALLY FRANK.
699
00:41:04,179 --> 00:41:06,179
HOW DOES THAT GO OVER
WITH THE OTHER BAND MEMBERS?
700
00:41:06,214 --> 00:41:10,216
I MEAN, YOU... SHE GIVES ME
THE BRUTALLY FRANK VERSION,
701
00:41:10,285 --> 00:41:12,263
AND I SORT OF TART
IT UP FOR THEM.
702
00:41:12,287 --> 00:41:15,454
OF COURSE, IT'S
STRANGE BECAUSE NIGEL...
703
00:41:15,523 --> 00:41:20,994
AND JEANINE ARE SIMILAR IN
MANY WAYS, BUT THEY JUST CAN'T...
704
00:41:21,062 --> 00:41:23,040
THEY DON'T DISLIKE EACH OTHER.
705
00:41:23,064 --> 00:41:25,542
THERE'S GREAT LOVE BETWEEN
THE TWO OF THEM. NO. OH, YES.
706
00:41:25,566 --> 00:41:31,154
BUT THERE'S SOME SORT OF COMMUNICATION
THAT'S JUST BLOCKED OR SOMETHING.
707
00:41:45,987 --> 00:41:48,988
IT'S PRETTY. YEAH, I LIKE IT.
708
00:41:49,057 --> 00:41:52,591
JUST BEEN FOOLIN' ABOUT
WITH IT FOR A FEW MONTHS NOW.
709
00:41:52,660 --> 00:41:55,128
VERY DELICATE.
710
00:41:55,196 --> 00:41:59,098
IT'S A BIT OF A DEPARTURE FROM THE
KIND OF THING YOU'D NORMALLY PLAY.
711
00:41:59,167 --> 00:42:02,135
YEAH, WELL, IT'S PART
OF A TRILOGY, REALLY.
712
00:42:02,203 --> 00:42:04,904
A MUSICAL TRILOGY
THAT I'M DOING...
713
00:42:04,973 --> 00:42:10,343
IN "D" MINOR, WHICH I ALWAYS
FIND IS THE SADDEST OF ALL KEYS.
714
00:42:10,412 --> 00:42:13,846
I MEAN, I DON'T KNOW WHY, BUT IT MAKES
PEOPLE WEEP INSTANTLY WHEN YOU PLAY IT.
715
00:42:13,915 --> 00:42:17,116
♪♪ [Singing]
716
00:42:17,185 --> 00:42:19,419
IT'S A HORN PART.
717
00:42:19,487 --> 00:42:21,421
IT'S VERY PRETTY.
718
00:42:21,489 --> 00:42:25,925
♪ BA ♪ YEAH, JUST
SIMPLE LINES INTERTWINING.
719
00:42:25,994 --> 00:42:29,295
YOU KNOW, VERY MUCH, LIKE, I'M
REALLY INFLUENCED BY MOZART AND BACH.
720
00:42:29,364 --> 00:42:32,731
IT'S SORT OF IN BETWEEN
THOSE, SORT OF A "MACH" PIECE.
721
00:42:32,800 --> 00:42:34,733
WHAT DO YOU CALL THIS?
722
00:42:34,802 --> 00:42:38,037
THIS PIECE IS CALLED
"LICK MY LOVE PUMP."
723
00:42:38,106 --> 00:42:43,008
[Man On P.A.] MIDWEST
AIRLINES, FLIGHT 406...
724
00:42:43,077 --> 00:42:46,390
[Beeping] DO YOU HAVE
ANY METAL OBJECTS?
725
00:42:46,414 --> 00:42:49,782
YEAH. TAKE THEM OUT AND
PUT THEM IN THE BUCKET.
726
00:42:49,851 --> 00:42:51,851
COINS. KEYS.
727
00:42:55,389 --> 00:42:57,490
TUNING FORK.
728
00:42:57,559 --> 00:42:59,959
MUSICIAN. I HAVE TO
STAY IN TUNE, YOU KNOW.
729
00:43:03,297 --> 00:43:05,230
[Beeping]
730
00:43:05,299 --> 00:43:08,312
OH. OKAY. COULD YOU
TAKE THIS JACKET OFF?
731
00:43:08,336 --> 00:43:11,270
OH, IT'S THE ZIPPER.
SET OFF THE MACHINE.
732
00:43:11,339 --> 00:43:13,806
[David] LET'S GO. LET'S GO.
733
00:43:15,443 --> 00:43:18,363
[Beeping] STEP
OVER HERE, PLEASE.
734
00:43:19,781 --> 00:43:21,781
RAISE YOUR ARMS.
735
00:43:30,157 --> 00:43:34,393
[Beeping]
736
00:43:40,969 --> 00:43:43,814
DO YOU HAVE ANY
ARTIFICIAL PLATES OR LIMBS?
737
00:43:43,838 --> 00:43:49,441
- NOT REALLY, NO.
- UM, WOULD YOU, UH...
738
00:43:49,511 --> 00:43:51,511
[Mick] DO IT!
739
00:43:59,487 --> 00:44:02,421
♪♪ [Rock 'N' Roll]
740
00:44:06,260 --> 00:44:08,628
♪ I DON'T NEED A WOMAN ♪
741
00:44:08,696 --> 00:44:11,931
♪ I WON'T TAKE ME NO WIFE ♪
742
00:44:13,267 --> 00:44:18,404
♪ I GOT THE ROCK 'N' ROLL
AND THAT'LL BE MY LIFE ♪
743
00:44:21,342 --> 00:44:25,845
♪ NO PAGE IN HISTORY,
BABY THAT I DON'T NEED ♪
744
00:44:28,082 --> 00:44:31,918
♪ I JUST WANNA MAKE
SOME EARDRUMS BLEED ♪
745
00:44:33,721 --> 00:44:37,823
♪ HEAVY DUTY ♪
746
00:44:37,892 --> 00:44:41,360
♪ HEAVY DUTY ROCK 'N' ROLL ♪
747
00:44:46,568 --> 00:44:49,702
♪ HEAVY DUTY ♪
748
00:44:49,771 --> 00:44:56,042
♪ BRINGS OUT THE
DUTY IN MY SOUL ♪♪
749
00:45:27,374 --> 00:45:31,043
HI. ARTIE FUFKIN, POLYMER
RECORDS. HOW ARE YOU?
750
00:45:31,112 --> 00:45:34,313
HOW YOU DOING? YOU
ARE... DEREK. DEREK.
751
00:45:34,381 --> 00:45:36,315
ARTIE FUFKIN, POLYMER RECORDS.
752
00:45:36,383 --> 00:45:39,752
I'M YOUR PROMO MAN HERE
IN CHICAGO. I LOVE YOU GUYS.
753
00:45:39,821 --> 00:45:43,288
AND, OF COURSE, NIGEL. I
LOVE YOU. NIGEL TUFNEL.
754
00:45:43,357 --> 00:45:45,603
RIGHT. I LOVE YOUR STUFF.
I GO BACK WITH YOU GUYS.
755
00:45:45,627 --> 00:45:47,605
ARTIE FUFKIN, POLYMER
RECORDS. RIGHT.
756
00:45:47,629 --> 00:45:49,561
I LOVE YOU. WHO
ARE YOU, DARLING?
757
00:45:49,631 --> 00:45:51,609
THIS IS MY SPECIAL
NEW FRIEND, CINDY.
758
00:45:51,633 --> 00:45:53,565
HELLO, CINDY. AND
THIS IS BELINDA.
759
00:45:53,635 --> 00:45:55,935
HELLO, BELINDA. ARTIE
FUFKIN, POLYMER RECORDS.
760
00:45:56,004 --> 00:45:58,037
AND I... OH, WHAT'S
GOING ON HERE?
761
00:45:58,106 --> 00:46:00,906
HI. HI, GUYS. ARTIE
FUFKIN, POLYMER RECORDS.
762
00:46:00,975 --> 00:46:03,442
NICE TO SEE YOU.
AND WHERE IS DAVID?
763
00:46:03,511 --> 00:46:05,489
[Knocking] DAVID,
HI. ARTIE FUFKIN.
764
00:46:05,513 --> 00:46:07,491
HOW ARE YOU? NICE TO SEE YOU.
765
00:46:07,515 --> 00:46:09,448
WE'VE GOT SOMETHING
EXCITING HAPPENING TOMORROW.
766
00:46:09,517 --> 00:46:11,729
OH, IT'S THE FOOD.
IT'S THE FOOD.
767
00:46:11,753 --> 00:46:16,022
OH, THANK GOD, CIVILIZATION.
WHERE DO I PUT THIS?
768
00:46:24,098 --> 00:46:26,331
[Man Sniffing]
769
00:46:42,416 --> 00:46:44,662
WHAT ARE YOU DOIN' TO ME
HERE? I'M NOT DOING ANYTHING.
770
00:46:44,686 --> 00:46:47,264
I THOUGHT WE HAD A RELATIONSHIP.
I DON'T KNOW WHAT HAPPENED.
771
00:46:47,288 --> 00:46:49,722
THIS IS TERRIBLE. WHAT CAN I
TELL YOU? THIS IS THE TRUTH.
772
00:46:49,791 --> 00:46:51,935
I KNOW BUSINESS IS TERRIBLE,
BUT WHAT HAPPENS WITH THE...
773
00:46:51,959 --> 00:46:54,404
WITH THE RECORD STORE, WITH THE
PROMOTION, AND NOBODY SHOWS UP?
774
00:46:54,428 --> 00:46:56,595
THIS ISN'T PERSONAL.
NOBODY'S COMING IN.
775
00:46:56,664 --> 00:46:58,642
FORGET PERSONAL THING.
WE HAD A RELATIONSHIP.
776
00:46:58,666 --> 00:47:00,577
FORGET PERSONAL. WHAT
ABOUT OUR RELATIONSHIP?
777
00:47:00,601 --> 00:47:03,635
[Artie] I FEEL LIKE A SCHLUB.
778
00:47:03,705 --> 00:47:05,637
I DON'T KNOW WHAT'S HAPPENING.
779
00:47:05,707 --> 00:47:08,140
IT'S ME. THAT'S WHAT'S
HAPPENING. IT'S ME.
780
00:47:08,209 --> 00:47:10,509
I DID IT. IT'S MY FAULT.
781
00:47:10,578 --> 00:47:12,556
WE WERE TOLD
MASSIVE RADIO SUPPORT.
782
00:47:12,580 --> 00:47:16,849
WE DID. WE DID MASSIVE. WE
SATURATED. WE OVERSATURATED.
783
00:47:16,918 --> 00:47:19,484
THAT'S WHAT IT IS. IT'S
ME. I DID IT. I FUCKED UP.
784
00:47:19,553 --> 00:47:21,887
I FUCKED UP THE
TIMING. THAT'S ALL.
785
00:47:21,956 --> 00:47:23,956
I GOT NO TIMING.
I GOT NO TIMING.
786
00:47:24,025 --> 00:47:26,792
DO YOU KNOW WHAT I WANT YOU TO
DO? WILL YOU DO SOMETHING FOR ME?
787
00:47:26,861 --> 00:47:29,795
DO ME A FAVOR. JUST
KICK MY ASS, OKAY.
788
00:47:29,864 --> 00:47:31,797
KICK THIS ASS FOR
AMENDS, THAT'S ALL.
789
00:47:31,866 --> 00:47:34,399
KICK MY ASS. ENJOY. COME ON!
790
00:47:34,468 --> 00:47:37,302
I'M NOT ASKING, I'M TELLING
WITH THIS. KICK MY ASS.
791
00:47:37,371 --> 00:47:39,872
[Cheering]
792
00:47:49,784 --> 00:47:52,351
WE'VE KEPT THEM WAITING LONG
ENOUGH. LET'S DO IT TO THEM.
793
00:47:52,419 --> 00:47:55,154
[Man] COME ON, MICK!
794
00:47:55,223 --> 00:47:58,257
LET'S GO, MR. SHRIMPTON.
ROCK 'N' ROLL!
795
00:47:58,325 --> 00:48:01,160
[Yelling, Indistinct]
796
00:48:03,164 --> 00:48:05,330
[Man] LET'S HAVE
SOME ROCK 'N' ROLL!
797
00:48:05,399 --> 00:48:07,332
ROCK 'N' ROLL! LET'S GO.
798
00:48:07,401 --> 00:48:09,401
[Chattering]
799
00:48:11,806 --> 00:48:13,784
THIS IS GONNA BE
A HOT ONE, ISN'T IT?
800
00:48:13,808 --> 00:48:15,853
IT'S GONNA BE A GREAT
SHOW. THAT'S NOT AN EXIT.
801
00:48:15,877 --> 00:48:17,837
THAT'S NOT AN EXIT.
WE DON'T WANT AN EXIT.
802
00:48:17,879 --> 00:48:19,879
THAT'S TRUE. OH, THIS WAY.
803
00:48:26,120 --> 00:48:29,255
UM, WAIT. THIS LOOKS
FAMILIAR, THOUGH.
804
00:48:29,323 --> 00:48:31,456
LISTEN. IT REALLY DOES.
805
00:48:31,525 --> 00:48:34,459
[Chanting, Cheering]
806
00:48:39,333 --> 00:48:41,267
LET'S DON'T LOSE IT, THOUGH.
807
00:48:41,335 --> 00:48:43,702
WHERE THE FUCK IS
IAN? HE SHOULD BE HERE.
808
00:48:43,771 --> 00:48:45,905
TAP! TAP! TAP! TAP!
809
00:48:45,973 --> 00:48:50,609
WE GOTTA GET TO IT SOME WAY.
WE'VE BEEN ONSTAGE, RIGHT?
810
00:48:50,678 --> 00:48:53,779
[Chattering]
811
00:48:53,848 --> 00:48:55,826
WE'RE IN THE GROUP
PLAYING TONIGHT.
812
00:48:55,850 --> 00:48:57,928
YOU GO RIGHT STRAIGHT
THROUGH THIS DOOR HERE,
813
00:48:57,952 --> 00:49:01,086
DOWN THE HALL, TURN RIGHT, YEAH.
814
00:49:01,155 --> 00:49:04,034
AND THEN THERE'S A LITTLE
JOG THERE, ABOUT 30 FEET,
815
00:49:04,058 --> 00:49:06,069
JOG TO THE LEFT. WE
DON'T HAVE TIME FOR THAT.
816
00:49:06,093 --> 00:49:10,429
GO STRAIGHT AHEAD, TURN
RIGHT AT THE NEXT TWO CORNERS,
817
00:49:10,497 --> 00:49:14,700
AND FIRST DOOR, THERE'S A SIGN,
"AUTHORIZED PERSONNEL ONLY."
818
00:49:14,768 --> 00:49:17,080
OPEN THAT DOOR. THAT'S
THE STAGE. YOU THINK SO?
819
00:49:17,104 --> 00:49:19,783
YOU'RE AUTHORIZED. YOU'RE
MUSICIANS, AREN'T YOU?
820
00:49:19,807 --> 00:49:21,740
THANK YOU VERY MUCH.
821
00:49:21,809 --> 00:49:25,244
ROCK 'N' ROLL! ROCK 'N' ROLL!
822
00:49:25,313 --> 00:49:27,847
LET'S GET IT! LET'S GET IT!
823
00:49:27,915 --> 00:49:30,015
THIS WAY? NO, THIS WAY.
824
00:49:30,084 --> 00:49:32,017
STRAIGHT THROUGH. ROCK 'N' ROLL!
825
00:49:32,086 --> 00:49:35,454
HERE WE GO. HELLO,
CLEVELAND! HELLO, CLEVELAND!
826
00:49:39,193 --> 00:49:41,160
YOU MUST HAVE MADE A WRONG TURN.
827
00:49:41,229 --> 00:49:43,229
WE GOTTA GO ANOTHER WAY.
828
00:49:44,732 --> 00:49:46,848
OTHER WAY. OTHER WAY.
829
00:49:46,917 --> 00:49:48,884
[David] I HATE TO
KEEP HARPING ON THIS,
830
00:49:48,953 --> 00:49:52,087
BUT I THINK THE NOTION OF A BLACK
ALBUM HAS CURSED US IN A WAY.
831
00:49:52,156 --> 00:49:54,401
[Ian] WE'RE GETTING SOME VERY
SUBSTANTIAL REPORTS OF AIRPLAY.
832
00:49:54,425 --> 00:49:57,059
I DON'T THINK WE HAVE
TO WORRY ABOUT THAT.
833
00:49:57,127 --> 00:50:01,063
IT MIGHT HAVE BEEN BETTER IF
THE ALBUM HAD BEEN MIXED RIGHT.
834
00:50:01,131 --> 00:50:04,567
NO USE CRYING OVER THAT.
OF COURSE, THAT'S TRUE.
835
00:50:04,635 --> 00:50:07,135
IT JUST WASN'T... IT
WAS MIXED ALL WRONG.
836
00:50:07,204 --> 00:50:09,304
IT WAS MIXED WRONG?
WERE YOU THERE?
837
00:50:09,374 --> 00:50:11,741
[David] SHE'S HEARD THE RECORD.
838
00:50:11,809 --> 00:50:14,510
OH, SO YOUR JUDGMENT
IS IT WAS MIXED WRONG.
839
00:50:14,579 --> 00:50:16,557
[Jeanine] YOU COULDN'T
HEAR THE LYRICS.
840
00:50:16,581 --> 00:50:18,514
YOU DON'T AGREE?
841
00:50:18,583 --> 00:50:21,016
[Nigel] NO, I DO NOT AGREE,
NO. WELL, I THINK MAYBE...
842
00:50:21,085 --> 00:50:23,085
IT'S INTERESTING
SHE'S BRINGING IT UP.
843
00:50:23,153 --> 00:50:25,087
SHE'D LIKE TO HEAR THE VOCALS.
844
00:50:25,155 --> 00:50:28,991
IT'S LIKE ME SAYING YOU'RE USING THE
WRONG CONDITIONER FOR YOUR HAIR.
845
00:50:29,059 --> 00:50:31,761
DON'T BE STUPID.
IT LOOKS SO FRIZZY.
846
00:50:31,829 --> 00:50:34,029
YOU DON'T DO HEAVY
METAL IN DUBLY.
847
00:50:34,098 --> 00:50:36,098
IN WHAT? IN WHAT?
848
00:50:36,166 --> 00:50:38,634
[Laughing] IN DUBLY?
849
00:50:38,703 --> 00:50:42,605
IN DUBLY. YOU CAN'T... SHE
MEANS DOLBY, ALL RIGHT?
850
00:50:42,673 --> 00:50:44,607
YOU KNOW PERFECTLY
WELL WHAT SHE MEANS.
851
00:50:44,675 --> 00:50:47,521
[David] YOU SHAN'T
RECOVER FROM THIS ONE.
852
00:50:47,545 --> 00:50:50,023
OH, COME ON. CAN I HAVE
THE FLOOR FOR A MOMENT?
853
00:50:50,047 --> 00:50:53,783
BECAUSE I'VE GOT SOMETHING
I'D LIKE TO SHOW YOU.
854
00:50:53,851 --> 00:50:56,652
THESE... JEANINE'S BEEN
WORKING ON THESE VERY HARD.
855
00:50:56,721 --> 00:51:00,723
[Jeanine] I'VE GOT NEW IDEAS
FOR A NEW PRESENTATION.
856
00:51:00,792 --> 00:51:04,092
THE STAGE LOOK OF THE BAND,
FASHIONED AFTER THE SIGNS OF THE ZODIAC.
857
00:51:04,161 --> 00:51:06,139
I THOUGHT WE NEEDED
A NEW PRESENTATION.
858
00:51:06,163 --> 00:51:11,901
THIS IS A LOOK FOR VIV. HE'S A
LIBRA. THERE'S THE YIN-YANG LOOK.
859
00:51:11,969 --> 00:51:15,003
THIS IS NIGEL. HE'S CAPRICORN.
860
00:51:15,072 --> 00:51:17,684
SORT OF A GOAT LOOK.
GIVEN YOU A LITTLE BEARD.
861
00:51:17,708 --> 00:51:21,376
IS THIS A JOKE? EXCUSE
ME. IS THIS A JOKE?
862
00:51:21,446 --> 00:51:23,690
[David] JUST BEAR WITH US
FOR ONE MOMENT, PLEASE.
863
00:51:23,714 --> 00:51:26,615
THIS... I LOVE THIS. I
WISH I WERE CANCER.
864
00:51:26,684 --> 00:51:29,129
THAT'S ATTRACTIVE.
THIS IS YOUR CRAB FACE.
865
00:51:29,153 --> 00:51:31,465
GIVE IT A CHANCE.
GIVE IT A CHANCE.
866
00:51:31,489 --> 00:51:35,090
DAVID, WAIT, PLEASE.
WAIT A MINUTE.
867
00:51:35,159 --> 00:51:39,328
HAVE YOU ANY IDEA
WHAT IT WILL COST...
868
00:51:39,396 --> 00:51:41,330
TO DRESS UP THE BAND AS ANIMALS?
869
00:51:41,398 --> 00:51:44,010
IT DON'T COST NOTHING.
THEY'RE SIGNS OF THE ZODIAC.
870
00:51:44,034 --> 00:51:46,046
[David] IT'S A WAY
TO FIGHT THE DRABS.
871
00:51:46,070 --> 00:51:48,003
YOU KNOW, WE'VE GOT THE DRABS.
872
00:51:48,072 --> 00:51:51,774
THAT'S TRUE. I THINK MINE
WOULD LOOK BETTER IN DUBLY.
873
00:51:51,843 --> 00:51:53,821
[Jeanine] OH, SHUT UP!
874
00:51:53,845 --> 00:51:57,613
ALL RIGHT, IF YOU'RE NOT
QUITE OPEN-MINDED ENOUGH.
875
00:51:57,682 --> 00:51:59,615
THERE ARE SOLUTIONS
TO OUR PROBLEMS.
876
00:51:59,684 --> 00:52:02,818
I THINK WE KNOW WHAT THEY
ARE. I'VE YET TO HEAR THEM.
877
00:52:02,887 --> 00:52:05,888
WE CAN TAKE A RATIONAL APPROACH.
878
00:52:05,957 --> 00:52:07,890
WE CAN SAY...
879
00:52:07,959 --> 00:52:10,771
I'VE GOT A SUGGESTION.
LET'S HEAR YOUR SUGGESTION.
880
00:52:10,795 --> 00:52:13,929
STONEHENGE. STONEHENGE.
881
00:52:13,998 --> 00:52:16,009
WHAT ABOUT IT? BEST PRODUCTION
VALUE WE'VE EVER HAD ON STAGE.
882
00:52:16,033 --> 00:52:18,868
WE HAVEN'T GOT THE EQUIPMENT.
WE HAVEN'T GOT STONEHENGE.
883
00:52:18,936 --> 00:52:21,770
PLEASE. PLEASE. JUST A MOMENT.
884
00:52:21,839 --> 00:52:25,541
[All Talking At Once]
885
00:52:25,610 --> 00:52:29,712
NO PROBLEMS MUSICALLY. WE GO
RIGHT ONSTAGE, AND IT'S QUITE SIMPLE.
886
00:52:29,780 --> 00:52:32,515
YOU KNOW, IAN CAN
TAKE CARE OF THIS.
887
00:52:32,583 --> 00:52:36,819
[Ian] WE DON'T HAVE THAT
PIECE OF SCENERY ANYMORE.
888
00:52:36,888 --> 00:52:40,756
I KNOW, SO WE BUILD A
NEW ONE, AND THIS IS IT.
889
00:52:40,825 --> 00:52:43,258
CONSIDER IT DONE.
890
00:52:43,327 --> 00:52:45,672
YOU'RE JUST GONNA
TAKE CARE OF IT LIKE THAT?
891
00:52:45,696 --> 00:52:48,408
YOU'RE GOING TO FIND SOMEONE TO
DESIGN IT USING THAT AS THE PLANS?
892
00:52:48,432 --> 00:52:50,611
LET'S TRY. IF YOU CAN
DO IT, I'LL DO THE NUMBER.
893
00:52:50,635 --> 00:52:53,936
DO YOU FEEL THAT IN
COLLABORATION WITH DAVID...
894
00:52:54,005 --> 00:52:57,873
THAT YOU ARE AFFORDED THE OPPORTUNITY
TO EXPRESS YOURSELF MUSICALLY...
895
00:52:57,942 --> 00:52:59,875
THE WAY YOU WOULD LIKE TO?
896
00:52:59,944 --> 00:53:01,955
I THINK I DO, YOU
KNOW, IN MY SOLOS.
897
00:53:01,979 --> 00:53:03,979
MY SOLOS ARE MY TRADEMARK.
898
00:53:39,684 --> 00:53:41,817
[Cheering]
899
00:53:49,694 --> 00:53:51,705
THIS LOOKS ABSOLUTELY PERFECT.
900
00:53:51,729 --> 00:53:53,662
IT'S THE RIGHT PROPORTION.
901
00:53:53,731 --> 00:53:55,709
IT'LL BE THIS
COLOR, RIGHT? YEAH.
902
00:53:55,733 --> 00:53:58,912
THAT'S JUST TERRIFIC. IT ALMOST
LOOKS LIKE THE REAL THING.
903
00:53:58,936 --> 00:54:00,803
GOT IT. YEAH.
904
00:54:00,871 --> 00:54:03,183
WHEN WE GET THE ACTUAL
SET, WHEN WE GET THE PIECE,
905
00:54:03,207 --> 00:54:05,218
IT'LL FOLLOW EXACTLY
THESE SPECIFICATIONS?
906
00:54:05,242 --> 00:54:07,487
I MEAN, EVEN THESE
CONTOURS AND EVERYTHING?
907
00:54:07,511 --> 00:54:10,345
I DON'T UNDERSTAND
YOU. THE ACTUAL PIECE?
908
00:54:10,414 --> 00:54:14,349
- WELL, WHEN YOU BUILD
THE ACTUAL PIECE.
- BUT THIS IS WHAT YOU ASKED FOR.
909
00:54:14,418 --> 00:54:18,286
WHAT? THIS IS THE PIECE.
910
00:54:18,355 --> 00:54:20,489
THIS IS THE PIECE? YES.
911
00:54:20,557 --> 00:54:22,992
ARE YOU TELLING
ME THAT THIS IS IT?
912
00:54:23,060 --> 00:54:25,527
THIS IS SCENERY?
913
00:54:25,596 --> 00:54:27,556
HAVE YOU EVER BEEN
TO STONEHENGE?
914
00:54:27,598 --> 00:54:29,999
THE TRIPTYCHS ARE 20-FEET HIGH.
915
00:54:30,067 --> 00:54:32,027
YOU CAN STAND
FOUR MEN UP ON THEM.
916
00:54:32,069 --> 00:54:35,437
I WAS ASKED TO BUILD
SOMETHING EIGHTEEN INCHES HIGH.
917
00:54:35,506 --> 00:54:38,473
LOOK. THIS IS WHAT I
WAS ASKED TO BUILD.
918
00:54:38,542 --> 00:54:42,344
EIGHTEEN INCHES. RIGHT HERE.
IT'S SPECIFIED. EIGHTEEN INCHES.
919
00:54:42,412 --> 00:54:46,214
I WAS GIVEN THIS NAPKIN.
FORGET THIS. FUCK THE NAPKIN!
920
00:54:51,055 --> 00:54:53,555
[Nigel] IN ANCIENT TIMES...
921
00:54:55,026 --> 00:54:59,327
HUNDREDS OF YEARS
BEFORE THE DAWN OF HISTORY,
922
00:55:00,464 --> 00:55:03,899
LIVED AN ANCIENT
RACE OF PEOPLE...
923
00:55:05,736 --> 00:55:07,736
THE DRUIDS.
924
00:55:17,548 --> 00:55:22,117
NO ONE KNOWS WHO THEY WERE...
925
00:55:22,186 --> 00:55:26,021
OR WHAT THEY WERE DOING,
926
00:55:28,059 --> 00:55:30,793
BUT THEIR LEGACY REMAINS.
927
00:55:31,662 --> 00:55:34,496
HEWN...
928
00:55:34,565 --> 00:55:37,299
INTO THE LIVING ROCK...
929
00:55:37,367 --> 00:55:39,467
OF STONEHENGE.
930
00:55:51,615 --> 00:55:54,649
♪ STONEHENGE WHERE
THE DEMONS DWELL ♪
931
00:55:54,719 --> 00:55:58,721
♪ WHERE THE BANSHEES
LIVE AND THEY DO LIVE WELL ♪
932
00:55:58,789 --> 00:56:02,024
♪ STONEHENGE
WHERE A MAN IS A MAN ♪
933
00:56:02,093 --> 00:56:06,628
♪ AND THE CHILDREN
DANCE TO THE PIPES OF PAN ♪
934
00:56:10,768 --> 00:56:12,935
♪ AND YOU, MY LOVE ♪
935
00:56:13,003 --> 00:56:15,337
♪ WON'T YOU TAKE MY HAND ♪
936
00:56:17,208 --> 00:56:19,925
♪ WE'LL GO BACK IN TIME ♪
937
00:56:19,994 --> 00:56:23,278
♪ TO THAT MYSTIC LAND ♪
938
00:56:24,915 --> 00:56:27,750
♪ WHERE THE DEWDROPS CRY ♪
939
00:56:27,818 --> 00:56:29,818
♪ AND THE CATS MEOW ♪
940
00:56:31,521 --> 00:56:34,389
♪ I WILL TAKE YOU THERE ♪
941
00:56:34,458 --> 00:56:38,560
♪ I WILL SHOW YOU HOW ♪♪
942
00:56:38,629 --> 00:56:41,163
[Screams]
943
00:56:54,278 --> 00:56:57,279
AND, OH, HOW THEY DANCED...
944
00:56:57,347 --> 00:57:01,150
THE LITTLE CHILDREN
OF STONEHENGE...
945
00:57:01,218 --> 00:57:03,852
BENEATH THE HAUNTED MOON.
946
00:57:05,122 --> 00:57:08,824
FOR FEAR THAT DAYBREAK...
947
00:57:08,893 --> 00:57:12,127
MIGHT COME TOO SOON.
948
00:57:36,019 --> 00:57:37,224
I DO NOT THINK THE
PROBLEM WAS THAT THE BAND
949
00:57:37,248 --> 00:57:38,532
WAS DOWN. I THINK THE
PROBLEM MAY HAVE BEEN...
950
00:57:38,556 --> 00:57:41,356
THAT THERE WAS A STONEHENGE MONUMENT
ON THE STAGE THAT WAS IN DANGER...
951
00:57:41,391 --> 00:57:43,826
OF BEING CRUSHED BY A DWARF.
952
00:57:43,894 --> 00:57:48,797
ALL RIGHT, THAT TENDED TO UNDERSTATE
THE HUGENESS OF THE OBJECT.
953
00:57:48,866 --> 00:57:50,944
I THINK YOU'RE MAKING
TOO BIG A THING OUT OF IT.
954
00:57:50,968 --> 00:57:53,447
[David] MAKING A BIG THING OUT
OF IT WOULD'VE BEEN A GOOD IDEA.
955
00:57:53,471 --> 00:57:57,639
NIGEL GAVE ME A DRAWING THAT SAID 18
INCHES. THAT'S WHAT I'M TALKING ABOUT.
956
00:57:57,708 --> 00:58:00,620
WHETHER HE KNOWS THE DIFFERENCE
BETWEEN FEET AND INCHES IS NOT MY PROBLEM.
957
00:58:00,644 --> 00:58:03,846
I DO WHAT I'M TOLD. BUT YOU'RE
NOT AS CONFUSED AS HIM, ARE YOU?
958
00:58:03,914 --> 00:58:06,348
I MEAN, IT'S NOT YOUR JOB TO
BE AS CONFUSED AS NIGEL IS.
959
00:58:06,416 --> 00:58:08,571
IT'S MY JOB TO DO
WHAT I'M ASKED TO DO BY
960
00:58:08,595 --> 00:58:10,986
THE CREATIVE ELEMENT
OF THIS BAND, AND I DID.
961
00:58:11,054 --> 00:58:14,089
THE AUDIENCE WERE LAUGHING.
SO IT BECAME A COMEDY NUMBER.
962
00:58:14,157 --> 00:58:16,367
YES, IT DID. IT FUCKING
WELL DID, AND IT WAS
963
00:58:16,391 --> 00:58:18,727
NOT PLEASANT TO BE PART
OF THE COMEDY ONSTAGE.
964
00:58:18,796 --> 00:58:21,196
BACKSTAGE, PERHAPS
IT WAS VERY AMUSING.
965
00:58:21,264 --> 00:58:25,300
MAYBE WE JUST FIX THE
CHOREOGRAPHY, KEEP THE DWARF CLEAR.
966
00:58:25,369 --> 00:58:28,103
WHAT DO YOU MEAN? SO
THEY WON'T TROD UPON IT.
967
00:58:28,171 --> 00:58:31,607
[David] I DON'T THINK THAT'S THE ISSUE. I
THINK IT'S SYMPTOMATIC OF TAKING ON MORE...
968
00:58:31,675 --> 00:58:35,577
THAN YOU CAN, UH, HANDLE.
969
00:58:35,646 --> 00:58:38,758
IT'S NOT THE FIRST TIME
YOU'VE MESSED THINGS UP, IS IT?
970
00:58:38,782 --> 00:58:43,585
[David] I MEAN, THERE HAVE BEEN SOME
GAPING HOLES IN THE BUSINESS END, THIS...
971
00:58:43,654 --> 00:58:46,755
EXCUSE ME. THIS IS A
BAND MEETING, RIGHT?
972
00:58:46,824 --> 00:58:49,536
ARE YOU HERE FOR SOME REASON? [David]
DON'T WORRY ABOUT IT. SHE'S WITH ME.
973
00:58:49,560 --> 00:58:51,805
IS SHE NOW IN THE BAND? IS SHE
SINGING BACKUP OR SOMETHING?
974
00:58:51,829 --> 00:58:54,963
[Jeanine] I CARE WHAT HAPPENS
TO THE BAND. [David] SHE'S WITH ME.
975
00:58:55,032 --> 00:58:58,867
DAVID, WHENEVER A SINGLE BUMP OR A RUFFLE
COMES INTO THIS ADOLESCENT FANTASY WORLD...
976
00:58:58,936 --> 00:59:00,976
YOU GUYS HAVE BUILT
AROUND YOURSELF,
977
00:59:01,038 --> 00:59:04,439
[David] DON'T KNOCK IT. YOU START SCREAMIN'
LIKE A BUNCH OF PONCEY HAIRDRESSERS.
978
00:59:04,508 --> 00:59:08,577
I MEAN, IT'S JUST A PROBLEM, YOU
KNOW? IT GETS SOLVED. [Jeanine] IT DOESN'T.
979
00:59:08,646 --> 00:59:12,213
YOU CAN'T LIVE IN A BUBBLE. IF IT
GOT SOLVED, THAT WOULD BE ALL RIGHT.
980
00:59:12,282 --> 00:59:15,183
BUT IT DOESN'T GET SOLVED. I MEAN,
WHAT DO YOU THINK HAPPENED OUT THERE?
981
00:59:15,252 --> 00:59:17,719
- WHAT GOT SOLVED TONIGHT?
- FOR ONE THING THAT GOES WRONG,
982
00:59:17,788 --> 00:59:21,056
ONE SINGLE THING, A
HUNDRED THINGS GO RIGHT.
983
00:59:21,124 --> 00:59:23,169
DO YOU KNOW WHAT I
SPEND MY TIME DOING? WHAT?
984
00:59:23,193 --> 00:59:27,228
I SLEEP TWO OR THREE HOURS A NIGHT.
THERE'S NO SEX AND DRUGS FOR IAN, DAVID.
985
00:59:27,297 --> 00:59:29,776
YOU KNOW WHAT I DO? I FIND
LOST LUGGAGE. [David] YES.
986
00:59:29,800 --> 00:59:33,068
I LOCATE MANDOLIN STRINGS IN THE
MIDDLE OF AUSTIN. WE'VE SEEN YOU DO IT.
987
00:59:33,136 --> 00:59:36,016
I "PRISE" THE RENT OUT OF THE
LOCAL HEBREWS. THAT'S WHAT I DO.
988
00:59:36,073 --> 00:59:38,401
[Jeanine] GET SOMEONE
ELSE TO FIND LUGGAGE,
989
00:59:38,425 --> 00:59:40,776
AND CONCENTRATE ON
WHAT'S GOING ON ONSTAGE.
990
00:59:40,844 --> 00:59:43,023
YOU'D LIKE ME TO BE
ROAD MANAGER? [David] NO.
991
00:59:43,047 --> 00:59:45,280
ALL BAD BLOOD
ASIDE... NO. COULD WE...
992
00:59:45,348 --> 00:59:48,750
WHAT DAVE IS TRYING TO SAY, IF
YOU'D LET HIM GET A WORD THROUGH,
993
00:59:48,819 --> 00:59:53,922
IS YOU COULD MAYBE DO
WITH SOME HELP. SOME HELP?
994
00:59:53,991 --> 00:59:56,925
MANAGING THE BAND. IT'S
THAT CLEAR. IT'S VERY SIMPLE.
995
00:59:56,994 --> 00:59:59,561
MAYBE THERE'S SOMEONE
ALREADY IN THE ORGANIZATION.
996
00:59:59,630 --> 01:00:02,664
WE DON'T HAVE TO PAY INSURANCE. WE
DON'T HAVE TO PAY EXTRA ROOM, ETCETERA.
997
01:00:02,733 --> 01:00:05,767
SINCE SHE'S ALREADY HERE,
SHE'S ALREADY AMONG US.
998
01:00:05,836 --> 01:00:09,437
- AND SHE'S PERFECTLY CAPABLE
OF TAKING OVER.
- "SHE"? WAIT A MINUTE.
999
01:00:09,506 --> 01:00:11,517
WAIT A MINUTE. WHO DO
YOU THINK I'M TALKING ABOUT?
1000
01:00:11,541 --> 01:00:12,699
I WOULD NEVER HAVE
DREAMED IN A MILLION
1001
01:00:12,723 --> 01:00:14,087
YEARS THAT IT WAS HER
YOU WERE TALKING ABOUT.
1002
01:00:14,111 --> 01:00:17,813
- [David] WHY NOT?
- I AM OFFERING
TO HELP OUT HERE.
1003
01:00:17,881 --> 01:00:20,526
NO. YOU'RE NOT OFFERING TO HELP OUT. YOU'RE
OFFERING TO COMANAGE THE BAND WITH ME.
1004
01:00:20,550 --> 01:00:24,185
- IS THAT IT?
- [David] YES. IN SO MANY
WORDS, THAT IS EXACTLY IT.
1005
01:00:24,254 --> 01:00:27,689
I'M CERTAINLY NOT GONNA COMANAGE WITH SOME
GIRL JUST BECAUSE SHE'S YOUR GIRLFRIEND.
1006
01:00:27,758 --> 01:00:31,727
"GIRLFRIEND," IS IT? YOU COULDN'T
MANAGE A CLASSROOM FULL OF KIDS.
1007
01:00:31,795 --> 01:00:34,963
I DON'T KNOW WHAT YOU'RE DOING MANAGING
A BAND. [David] WHY DON'T WE JUST...
1008
01:00:35,032 --> 01:00:37,365
LOOK. I... I... THIS IS
MY POSITION, OKAY?
1009
01:00:37,434 --> 01:00:40,113
I AM NOT MANAGING IT WITH YOU
OR ANY OTHER WOMAN, GOOD. RIGHT.
1010
01:00:40,137 --> 01:00:42,616
ESPECIALLY ONE WHO DRESSES
LIKE AN AUSTRALIAN'S NIGHTMARE.
1011
01:00:42,640 --> 01:00:44,718
SO FUCK YOU. FUCK ALL
OF YOU. FUCK YOU TOO.
1012
01:00:44,742 --> 01:00:48,844
BECAUSE I QUIT, ALL RIGHT?
THAT'S IT. GOOD NIGHT.
1013
01:00:55,385 --> 01:00:57,953
[Exhales]
1014
01:00:58,022 --> 01:01:03,458
CAN I RAISE A PRACTICAL QUESTION AT THIS
POINT? ARE WE GONNA DO STONEHENGE TOMORROW?
1015
01:01:03,527 --> 01:01:07,195
NO, WE'RE NOT GONNA
FUCKING DO STONEHENGE!
1016
01:01:07,264 --> 01:01:10,932
OKAY, WE'RE ALL SET.
THANK YOU. ALL RIGHT, FELLAS.
1017
01:01:11,001 --> 01:01:15,704
I GOT THE TICKETS. WE'RE
ON THE 3:10 FLIGHT AT GATE 24.
1018
01:01:15,773 --> 01:01:21,043
AND THIS ARRIVES AT 4:00 IN COLORADO.
THEN WE GOT A LIMO TO TAKE US TO THE LODGE.
1019
01:01:21,111 --> 01:01:24,012
[David] IT'S ABOUT A HUNDRED
YARDS FROM RAINBOW TROUT STUDIO.
1020
01:01:24,081 --> 01:01:29,117
WHAT I'VE DONE IS TO ARRANGE
A WHOLE LOAD OF CHARTS.
1021
01:01:29,186 --> 01:01:33,755
THIS IS SO GREAT. WE KNOW
THE BAND'S SIGN IS VIRGO.
1022
01:01:33,824 --> 01:01:39,027
YOU SEE, SATURN'S IN THE
THIRD HOUSE, AND IT'S A BIT ROCKY.
1023
01:01:39,096 --> 01:01:44,900
BUT BECAUSE VIRGO IS ONE OF THE MOST
HIGHLY INTELLIGENT SIGNS OF THE ZODIAC,
1024
01:01:44,968 --> 01:01:47,446
WE'RE GONNA PULL THROUGH
THIS WITH GREAT APLOMB.
1025
01:01:47,470 --> 01:01:50,016
YEAH. HAS SOMEONE NOT GOT ONE?
1026
01:01:50,040 --> 01:01:54,943
IT'S SO CLEAR, IT REALLY IS. NIGEL
HASN'T GOT ONE. WE GOT PAGES FOR YOU.
1027
01:01:55,012 --> 01:01:59,081
[David] HE'S GOT ONE. HE'S
GOT IT. HAVE A LOOK AT THIS.
1028
01:01:59,149 --> 01:02:01,161
THINK ABOUT WHAT A JUMBLE A TOUR
BOOK USUALLY IS. HE DOESN'T WANT IT?
1029
01:02:01,185 --> 01:02:03,318
HE'S GOT ONE. OH, HE'S GOT ONE?
1030
01:02:03,386 --> 01:02:07,422
WHAT I WANT TO EXPLAIN
TO YOU IS THAT DENVER...
1031
01:02:07,490 --> 01:02:11,626
HOW WOULD YOU CHARACTERIZE YOUR
RELATIONSHIP WITH DAVID OVER THE YEARS?
1032
01:02:11,695 --> 01:02:14,696
HAS IT CHANGED IN
ANY WAY? NOT REALLY.
1033
01:02:14,765 --> 01:02:20,335
YOU KNOW, WE'VE GROWN
UP, BUT REALLY IT'S NOT...
1034
01:02:20,403 --> 01:02:24,505
NO. NOT REALLY. WE FEEL LIKE
CHILDREN MUCH OF THE TIME,
1035
01:02:24,574 --> 01:02:26,975
EVEN WHEN WE'RE PLAYING.
1036
01:02:27,044 --> 01:02:32,013
WE'RE CLOSER THAN BROTHERS,
'CAUSE BROTHERS ALWAYS FIGHT,
1037
01:02:32,082 --> 01:02:35,450
SORT OF, DISAGREEMENTS
AND ALL THAT.
1038
01:02:35,518 --> 01:02:39,654
WE REALLY HAVE A RELATIONSHIP
THAT'S WAY, WAY PAST THAT.
1039
01:02:39,723 --> 01:02:42,224
♪♪
1040
01:02:42,292 --> 01:02:45,794
[Screams] ♪♪ [Discordant Chords]
1041
01:02:45,863 --> 01:02:48,474
HE CAN'T PLAY THE FUCKING GUITAR
ANYMORE. [Derek] YOU KNOW THE PARTS.
1042
01:02:48,498 --> 01:02:52,868
NO, HE DOESN'T. IF HE KNEW THE FUCKING
PART, HE'D PLAY IT, WOULDN'T HE? THAT'S IT.
1043
01:02:52,936 --> 01:02:57,372
- ARE YOU WALKING OUT? GREAT.
- JUST TELL ME WHAT WE'RE
SUPPOSED TO DO, ALL RIGHT?
1044
01:02:57,440 --> 01:02:59,753
WE'RE SUPPOSED TO PLAY
THE FUCKIN' THING, AREN'T WE?
1045
01:02:59,777 --> 01:03:02,944
WE HAVE NO CHOICE. WE SPENT AN
HOUR AND A HALF... I'M DOING MY PART.
1046
01:03:03,013 --> 01:03:04,880
YOU KNOW WHAT WOULD
MAKE THIS A LOT SIMPLER?
1047
01:03:04,904 --> 01:03:06,581
I MEAN, I HATE TO
CUT RIGHT TO IT HERE.
1048
01:03:06,650 --> 01:03:11,352
WHY DON'T YOU PLAY THIS ALONE, WITHOUT
SOME FUCKING ANGEL HANGING OVER YOUR HEAD?
1049
01:03:11,421 --> 01:03:14,734
JESUS CHRIST. THIS IS
FUCKIN' ALL WE NEED.
1050
01:03:14,758 --> 01:03:17,492
YOU CAN'T FUCKING CONCENTRATE
BECAUSE OF YOUR FUCKING WIFE.
1051
01:03:17,560 --> 01:03:20,862
SIMPLE AS THAT, ALL RIGHT? IT'S
YOUR FUCKING WIFE. SHE'S NOT MY WIFE.
1052
01:03:20,931 --> 01:03:23,965
WELL, WHATEVER THE FUCK
SHE IS, YOU CAN'T CONCENTRATE.
1053
01:03:24,034 --> 01:03:26,501
WE CAN'T FUCKING DO THE
TRACK. THIS IS UNBELIEVABLE.
1054
01:03:26,569 --> 01:03:29,437
NO, IT'S NOT UNBELIEVABLE AT
ALL. IT ALL LEADS TO UP TO THIS.
1055
01:03:29,506 --> 01:03:32,218
IT ALL LEADS UP TO THIS. AM I LOSING MY
FUCKING MIND? COULD YOU CHECK ME ON THIS?
1056
01:03:32,242 --> 01:03:36,077
AM I LOSING MY MIND? I DON'T UNDERSTAND
WHAT THIS HAS TO DO WITH ANYTHING.
1057
01:03:36,146 --> 01:03:40,982
WE'RE VERY LUCKY, IN A SENSE, THAT
WE'VE GOT TWO VISIONARIES IN THE BAND.
1058
01:03:41,051 --> 01:03:43,919
YOU KNOW, DAVID AND
NIGEL ARE BOTH LIKE...
1059
01:03:43,987 --> 01:03:47,923
UH, LIKE POETS... LIKE SHELLEY
OR BYRON OR PEOPLE LIKE THAT.
1060
01:03:47,991 --> 01:03:51,392
THEY'RE TWO TOTALLY
DISTINCT TYPES OF VISIONARIES.
1061
01:03:51,461 --> 01:03:54,062
IT'S LIKE FIRE AND ICE,
BASICALLY. MM-HMM.
1062
01:03:54,131 --> 01:03:57,699
I FEEL MY ROLE IN THE BAND IS TO
BE KIND OF IN THE MIDDLE OF THAT,
1063
01:03:57,767 --> 01:04:00,101
KIND OF LIKE LUKEWARM
WATER IN A SENSE.
1064
01:04:08,111 --> 01:04:10,101
I DON'T THINK WE'VE GOT
TIME TO GO TO THE HOTEL.
1065
01:04:10,125 --> 01:04:12,013
I THINK YOU'D BETTER
GO STRAIGHT TO THE BASE.
1066
01:04:12,081 --> 01:04:14,549
[Derek] TO THE WHAT? THE GIG.
1067
01:04:14,618 --> 01:04:16,663
YEAH, TO THE BASE. [Derek]
TO THE CIVIC ARENA, RIGHT?
1068
01:04:16,687 --> 01:04:19,721
- THAT FELL THROUGH.
- WHAT DO YOU MEAN?
1069
01:04:19,790 --> 01:04:23,625
WAIT A SECOND. HOLD IT. DO YOU KNOW
ABOUT THIS, AND WE DON'T KNOW ABOUT THIS?
1070
01:04:23,694 --> 01:04:26,172
WHAT ARE YOU TALKING ABOUT?
WE'RE GOING TO THE AIR FORCE BASE.
1071
01:04:26,196 --> 01:04:30,465
WHY ARE WE GOING TO AN AIR FORCE
BASE? THE ORIGINAL GIG FELL THROUGH.
1072
01:04:30,534 --> 01:04:33,335
♪♪ [Muzak]
1073
01:04:35,238 --> 01:04:37,806
OH, ARE YOU LIEUTENANT
HOOKSTRATTEN? HOOKSTRATTEN.
1074
01:04:37,874 --> 01:04:42,109
YOU ARE SPINAL "TARP"? I'M JEANINE
PETTIBONE, AND THIS IS SPINAL TAP.
1075
01:04:42,178 --> 01:04:44,767
SPINAL TAP. MY MISTAKE.
I'M BOB HOOKSTRATTEN.
1076
01:04:44,791 --> 01:04:46,881
WELCOME TO LINDBERGH
AIR FORCE BASE.
1077
01:04:46,950 --> 01:04:49,551
IS THIS YOUR FIRST VISIT
TO A MILITARY FACILITY?
1078
01:04:49,619 --> 01:04:53,032
[Band] YEAH. FINE. MAY I START BY SAYING
HOW THRILLED WE ARE TO HAVE YOU HERE?
1079
01:04:53,056 --> 01:04:56,458
WE ARE SUCH FANS OF YOUR
MUSIC AND ALL OF YOUR RECORDS.
1080
01:04:56,526 --> 01:04:59,839
[David] THAT'S GREAT. NOT YOURS PERSONALLY,
BUT THE WHOLE GENRE OF ROCK 'N' ROLL...
1081
01:04:59,863 --> 01:05:02,530
AND SO MANY OF THE EXCITING
THINGS HAPPENING IN MUSIC TODAY.
1082
01:05:02,599 --> 01:05:05,325
AND LET ME EXPLAIN A
BIT ABOUT WHAT'S GOING
1083
01:05:05,349 --> 01:05:08,035
ON. THIS IS OUR MONTHLY
"AT EASE" WEEKEND.
1084
01:05:08,104 --> 01:05:10,188
IT GIVES US A CHANCE
TO KIND OF LET DOWN OUR
1085
01:05:10,212 --> 01:05:12,273
HAIR, ALTHOUGH I SEE
YOU HAVE A HEAD START.
1086
01:05:12,342 --> 01:05:14,843
THESE HAIRCUTS WOULDN'T
PASS MILITARY MUSTER, BELIEVE ME.
1087
01:05:14,911 --> 01:05:17,512
ALTHOUGH I SHOULDN'T TALK. MY
HAIR'S GETTING A LITTLE SHAGGY TOO.
1088
01:05:17,581 --> 01:05:19,925
BETTER NOT GET TOO CLOSE TO YOU.
THEY'LL THINK I'M PART OF THE BAND.
1089
01:05:19,949 --> 01:05:22,228
I'M JOKING, OF COURSE. SHALL WE
GO IN, AND I'LL SHOW YOU AROUND?
1090
01:05:22,252 --> 01:05:25,820
[Lieutenant] WALK THIS WAY,
PLEASE, RIGHT THROUGH HERE.
1091
01:05:25,889 --> 01:05:28,368
DID YOU EVER RUN INTO A MUSICAL
GROUP... WORKS OUT OF KANSAS CITY,
1092
01:05:28,392 --> 01:05:30,692
CALLS THEMSELVES
"FOUR JACKS AND A JILL"?
1093
01:05:30,761 --> 01:05:32,361
THEY'VE BEEN AT A RAMADA
INN THERE FOR ABOUT
1094
01:05:32,385 --> 01:05:33,973
18 MONTHS. IF YOU'RE
EVER IN KANSAS CITY...
1095
01:05:33,997 --> 01:05:37,432
AND YOU WANNA HEAR SOME GOOD
MUSIC, YOU MIGHT WANNA DROP BY.
1096
01:05:37,501 --> 01:05:43,237
UH, I WOULD LIKE TO GET THE PLAYING ON
ABOUT 1900 HOURS, IF THAT'S SATISFACTORY.
1097
01:05:43,306 --> 01:05:47,275
WHEN WOULD THAT BE? I MAKE
IT NOW... IT'S ABOUT 1830 HOURS.
1098
01:05:47,343 --> 01:05:50,812
- SO, THAT'S WHAT? FIFTY HOURS?
- HUNDRED AND TWENTY HOURS?
1099
01:05:50,881 --> 01:05:53,926
THAT'S ACTUALLY ABOUT 30 MINUTES, ABOUT
A HALF HOUR, GIVE OR TAKE A FEW MINUTES.
1100
01:05:53,950 --> 01:05:57,852
I DON'T WANNA RUSH YOU. THE IDEA IS
WE CAN GET IT ON AND GET IT OVER WITH.
1101
01:05:57,921 --> 01:06:01,456
AND I HAVE JUST ONE REQUEST. WOULD YOU PLAY
A COUPLE OF SLOW NUMBERS SO I CAN DANCE?
1102
01:06:01,525 --> 01:06:03,958
♪ WORKING ON A SEX FARM ♪
1103
01:06:06,329 --> 01:06:09,263
♪ PLOWING THROUGH
YOUR BEAN FIELD ♪
1104
01:06:09,332 --> 01:06:14,436
♪ GETTIN' OUT MY PITCHFORK ♪
1105
01:06:14,504 --> 01:06:16,805
♪ POKIN' YOUR HAY ♪
1106
01:06:18,542 --> 01:06:23,077
♪ SEX FARM WOMAN I'M
GONNA MOW YOU DOWN ♪
1107
01:06:23,146 --> 01:06:27,315
♪ SEX FARM WOMAN I'LL
RAKE AND MOW YOU DOWN ♪
1108
01:06:27,383 --> 01:06:32,620
- ♪ SEX FARM WOMAN ♪
- ♪ DON'T YOU SEE MY SILO
RISIN' HIGH ♪
1109
01:06:32,689 --> 01:06:35,990
♪ HIGH, HIGH, HIGH, HIGH ♪
1110
01:06:37,393 --> 01:06:39,861
♪♪ [Screeching, Echoing]
1111
01:06:39,930 --> 01:06:42,730
♪♪ [Instrumental]
1112
01:06:46,069 --> 01:06:49,604
[Speaker: Female Dispatcher
Over Radio, Indistinct]
1113
01:06:49,673 --> 01:06:52,674
[Audio Feedback]
1114
01:06:52,742 --> 01:06:56,845
[Speaker: Man Announcing
Ball Game, Indistinct]
1115
01:06:56,913 --> 01:07:00,482
♪ WORKING ON A SEX FARM ♪♪
[Audio Feedback]
1116
01:07:00,550 --> 01:07:03,150
[Announcer Continues]
1117
01:07:03,219 --> 01:07:05,753
[Electric Guitar: Screeching]
1118
01:07:05,822 --> 01:07:08,490
[Announcer Continues]
1119
01:07:17,266 --> 01:07:20,635
HE TOTALLY RUINED THE
GIG. HE WALKS OFF AND THEN...
1120
01:07:20,704 --> 01:07:25,507
HE CAN'T SIT HOME AND GET MONEYS.
WE GOTTA GET SOMEONE ELSE IN THERE.
1121
01:07:25,575 --> 01:07:29,221
HAS HE EVER DONE THIS BEFORE? HAS
HE EVER... QUIT THE BAND BEFORE? NO.
1122
01:07:29,245 --> 01:07:32,947
NO, BUT YOU GOTTA UNDERSTAND
THAT IN THE WORLD OF ROCK 'N' ROLL,
1123
01:07:33,016 --> 01:07:36,918
THERE ARE CERTAIN CHANGES
THAT SOMETIMES OCCUR.
1124
01:07:36,987 --> 01:07:40,021
AND YOU'VE JUST GOT TO
SORT OF ROLL WITH THEM.
1125
01:07:40,089 --> 01:07:42,125
YOU'VE READ... YOU
SAW EXACTLY HOW MANY
1126
01:07:42,149 --> 01:07:44,526
PEOPLE HAVE BEEN IN
THIS BAND OVER THE YEARS.
1127
01:07:44,594 --> 01:07:47,962
THIRTY-SEVEN PEOPLE HAVE
BEEN IN THIS BAND OVER THE YEARS.
1128
01:07:48,031 --> 01:07:51,165
I MEAN, IT'S LIKE SIX MONTHS FROM
NOW, I CAN'T SEE MYSELF MISSING NIGE...
1129
01:07:51,234 --> 01:07:56,838
ANY MORE THAN I MIGHT MISS ROSS
MCLACHNESS, RONNIE PUDDING, DANNY UPUM...
1130
01:07:56,907 --> 01:07:59,073
OR LITTLE DANNY
SCHINDLER OR ANY OF THOSE.
1131
01:07:59,142 --> 01:08:02,109
I CAN'T BELIEVE THAT.
I CAN'T BELIEVE THAT,
1132
01:08:02,178 --> 01:08:06,213
YOU KNOW, YOU'RE
LUMPING NIGEL IN WITH,
1133
01:08:06,282 --> 01:08:09,161
YOU KNOW, THESE PEOPLE YOU PLAYED
WITH FOR A SHORT PERIOD OF TIME.
1134
01:08:09,185 --> 01:08:12,386
WELL, I'M SURE I'D FEEL MUCH WORSE
IF I WEREN'T UNDER HEAVY SEDATION.
1135
01:08:12,455 --> 01:08:17,258
BUT STILL, IN ALL, YOU GOTTA BE
REALISTIC ABOUT THIS SORT OF THING.
1136
01:08:17,326 --> 01:08:19,566
SO WHAT HAPPENS TO THE BAND NOW?
1137
01:08:19,629 --> 01:08:22,797
WHAT DO YOU MEAN? HE'S
NOT COMING BACK, OR...
1138
01:08:22,866 --> 01:08:27,234
NO. WE SHAN'T WORK
TOGETHER AGAIN.
1139
01:08:27,303 --> 01:08:30,137
[Chattering]
1140
01:08:33,476 --> 01:08:35,977
[Jeanine] OH, NO. [Derek] GREAT.
1141
01:08:36,046 --> 01:08:39,847
IF I TOLD HIM ONCE, I TOLD
HIM A HUNDRED TIMES...
1142
01:08:39,916 --> 01:08:43,284
TO PUT "SPINAL TAP" FIRST
AND "PUPPET SHOW" LAST.
1143
01:08:43,352 --> 01:08:47,321
- IT'S A MORALE BUILDER,
ISN'T IT?
- YOU GOT A BIG DRESSING ROOM.
1144
01:08:47,390 --> 01:08:49,390
WHAT? YOU GOT A
BIG DRESSING ROOM.
1145
01:08:49,459 --> 01:08:52,339
OH, WE'VE GOT A BIGGER DRESSING ROOM
THAN THE PUPPETS? THAT'S REFRESHING.
1146
01:08:52,395 --> 01:08:56,631
I'VE GOT SOME OF THIS MENDOCINO ROCKET
FUEL THAT'S SUPPOSED TO BE REALLY NICE.
1147
01:08:56,700 --> 01:09:00,234
CAN YOU PLAY... EXCUSE ME,
BUT CAN YOU PLAY A BASS LINE...
1148
01:09:00,303 --> 01:09:03,104
LIKE NIGEL USED
TO ON "BIG BOTTOM"?
1149
01:09:03,172 --> 01:09:05,607
CAN YOU DOUBLE THAT?
YOU RECALL THE LINES IT FITS?
1150
01:09:05,675 --> 01:09:08,454
OH, YEAH. YEAH, I GOT
TWO HANDS HERE, AND IT'S...
1151
01:09:08,478 --> 01:09:10,962
[David] SO THAT'S GOOD.
WE CAN PLAY THAT ONE.
1152
01:09:10,986 --> 01:09:12,480
HOLD IS OUT. HEAVY IS OUT.
1153
01:09:12,548 --> 01:09:14,526
[David] HEAVY HOLD.
HEAVY HOLD. WE KNOW.
1154
01:09:14,550 --> 01:09:17,819
"AMERICA" WE CAN'T DO. IT'S
NIGEL'S TUNE. IT'S NOT MY TUNE.
1155
01:09:17,887 --> 01:09:21,689
THAT'S A NICE LITTLE SET. THAT'S A COZY
TEN MINUTES. WHAT ARE WE GONNA DO?
1156
01:09:21,758 --> 01:09:25,693
- WE GOT NOTHING
TO PLAY HERE. NOTHING.
- TELL YOU WHAT WE'RE GONNA DO.
1157
01:09:25,762 --> 01:09:27,962
WHAT? "JAZZ ODYSSEY."
1158
01:09:28,031 --> 01:09:32,333
WE'RE NOT ABOUT TO DO A
FREE-FORM JAZZ EXPLORATION...
1159
01:09:32,401 --> 01:09:34,368
IN FRONT OF A FESTIVAL CROWD.
1160
01:09:34,437 --> 01:09:38,606
♪♪ YOU ARE WITNESSES
AT THE NEW BIRTH...
1161
01:09:38,675 --> 01:09:41,575
OF SPINAL TAP, MARK II.
1162
01:09:43,780 --> 01:09:46,714
HOPE YOU ENJOY
OUR NEW DIRECTION.
1163
01:09:46,783 --> 01:09:52,954
♪♪
1164
01:10:07,103 --> 01:10:10,437
ON THE BASS IS DEREK
SMALLS. HE WROTE THIS.
1165
01:10:15,694 --> 01:10:18,546
[People Laughing, Chattering]
1166
01:10:18,614 --> 01:10:22,650
[Woman] SO TONIGHT'S THE LAST
SHOW OF THE TOUR. HOW'S THAT FEEL?
1167
01:10:22,719 --> 01:10:25,820
IS THIS, LIKE, YOUR LAST WALTZ? ARE
WE TALKING THE END OF SPINAL TAP,
1168
01:10:25,889 --> 01:10:28,990
OR ARE YOU GONNA TRY TO MILK IT FOR
A FEW MORE YEARS IN EUROPE? WHAT...
1169
01:10:29,059 --> 01:10:32,359
WELL, I DON'T REALLY
THINK THE END...
1170
01:10:32,428 --> 01:10:35,129
CAN BE ASSESSED, UH,
1171
01:10:35,198 --> 01:10:37,631
AS OF ITSELF AS BEING THE END.
1172
01:10:37,701 --> 01:10:41,002
BECAUSE WHAT DOES THE END FEEL
LIKE? IT'S LIKE SAYING WHEN YOU TRY...
1173
01:10:41,071 --> 01:10:43,104
AND EXTRAPOLATE THE
END OF THE UNIVERSE.
1174
01:10:43,173 --> 01:10:47,608
YOU SAY IF THE UNIVERSE IS INDEED
INFINITE, THEN WHAT DOES THAT MEAN?
1175
01:10:47,677 --> 01:10:51,779
HOW FAR IS ALL THE WAY, AND
THEN IF IT STOPS, WHAT'S STOPPIN' IT?
1176
01:10:51,848 --> 01:10:57,284
AND WHAT'S BEHIND WHAT'S STOPPIN' IT?
WHAT'S THE END IS MY QUESTION TO YOU.
1177
01:10:57,353 --> 01:11:00,032
IT'S A GOOD CROWD,
GOOD CROWD. IT IS, ISN'T IT?
1178
01:11:00,056 --> 01:11:02,968
YEAH, IT REALLY IS. I MEAN, SOME OF THESE
THINGS JUST, YOU KNOW, DON'T MEAN MUCH.
1179
01:11:02,992 --> 01:11:07,729
IT'S HARD TO GET AT THE LAST MINUTE.
YOU CAN'T ARRANGE IT OVERNIGHT.
1180
01:11:07,797 --> 01:11:10,331
DAVID, WE HAD A
15-YEAR RIDE, MATE.
1181
01:11:10,399 --> 01:11:13,801
WHO WANTS TO BE A FUCKIN' 45-YEAR-OLD
ROCK 'N' ROLLER FARTING AROUND...
1182
01:11:13,870 --> 01:11:16,448
IN FRONT OF PEOPLE LESS THAN
HALF THEIR AGE... THAT'S SO TRUE.
1183
01:11:16,472 --> 01:11:21,542
CRANKING OUT SOME MEDIOCRE
HEAD-BANGING BULLSHIT WE'VE FORGOTTEN.
1184
01:11:21,611 --> 01:11:24,846
IT'S BENEATH US. WHO WANTS TO SEE
THAT? THAT'S RIGHT. ABSOLUTELY RIGHT.
1185
01:11:24,914 --> 01:11:28,149
I MEAN, WE CAN TAKE ALL THOSE PROJECTS
WE THOUGHT WE DIDN'T HAVE TIME FOR...
1186
01:11:28,218 --> 01:11:31,853
OH, AT LEAST DOZENS. WE DIDN'T
HAVE TIME FOR 'EM BECAUSE OF TAP...
1187
01:11:31,921 --> 01:11:33,899
AND BRING 'EM
BACK TO LIFE MAYBE.
1188
01:11:33,923 --> 01:11:36,368
DO YOU REMEMBER WHAT WE
WERE... AT THE LUTEN PALACE,
1189
01:11:36,392 --> 01:11:40,694
WE WERE TALKING ABOUT A ROCK MUSICAL
BASED ON THE LIFE OF JACK THE RIPPER.
1190
01:11:40,764 --> 01:11:43,831
YEAH. SAUCY JACK. SAUCY JACK.
NOW IS THE TIME TO DO THAT.
1191
01:11:43,900 --> 01:11:46,245
♪ YOU'RE A NAUGHTY ONE
♪ [Both] ♪ SAUCY JACK ♪
1192
01:11:46,269 --> 01:11:48,602
♪ YOU'RE A HAUGHTY
ONE SAUCY JACK ♪♪
1193
01:11:48,671 --> 01:11:51,617
RIGHT. IT'S A FREEING UP,
ISN'T IT? IT'S ALL THIS FREE TIME.
1194
01:11:51,641 --> 01:11:54,754
SUDDENLY, TIME IS SO ELASTIC.
IT'S A GIFT. IT'S A GIFT OF FREEDOM.
1195
01:11:54,778 --> 01:11:58,612
I'VE ALWAYS WANTED TO DO A
COLLECTION OF MY ACOUSTIC NUMBERS...
1196
01:11:58,681 --> 01:12:01,649
WITH THE LONDON
PHILHARMONIC, AS YOU KNOW.
1197
01:12:01,717 --> 01:12:05,486
WE'RE LUCKY. PEOPLE
SHOULD BE ENVYING US. YEAH.
1198
01:12:05,554 --> 01:12:08,389
I ENVY US. I DO. YEAH. ME TOO.
1199
01:12:08,457 --> 01:12:10,808
♪♪ [Tuning]
1200
01:12:15,815 --> 01:12:18,582
IT'S GONNA BE FINE, ALL RIGHT?
1201
01:12:19,852 --> 01:12:22,820
WE'LL MAKE 'EM MISS
US. [David] NICE THOUGHT.
1202
01:12:24,924 --> 01:12:29,626
I'M IN. I'M IN TUNE.
LAST TUNING.
1203
01:12:29,695 --> 01:12:34,564
I THINK WE SHOULD GO. HUH? I
THINK IT'S TIME TO GO, RIGHT?
1204
01:12:34,633 --> 01:12:37,367
READY TO GO? YEAH.
1205
01:12:37,436 --> 01:12:40,271
[David Speaking, Indistinct]
1206
01:12:52,451 --> 01:12:55,319
♪♪ [Guitar Twanging]
1207
01:12:56,823 --> 01:12:59,123
COME TO SEE THE SHOW?
1208
01:12:59,192 --> 01:13:03,327
YEAH. HI, MATE. NIGE.
1209
01:13:07,033 --> 01:13:10,701
SO DID YOU JUST COME HERE TO HANG AROUND
BACKSTAGE LIKE A REAL ROCK 'N' ROLLER?
1210
01:13:10,769 --> 01:13:14,071
- IS THAT WHAT YOU'RE DOIN'?
- I'M REALLY A MESSENGER.
1211
01:13:14,140 --> 01:13:16,907
OH, A MESSENGER. YEAH.
I BUMPED INTO IAN, AND...
1212
01:13:16,976 --> 01:13:21,345
IAN? OH, THE OTHER
DEAD MAN, YEAH. [Chuckles]
1213
01:13:21,413 --> 01:13:27,284
SEEMS THAT "SEX FARM"
IS ON THE CHARTS IN JAPAN.
1214
01:13:27,353 --> 01:13:31,655
SPINAL TAP'S RECORDING OF "SEX FARM."
IT WAS NUMBER FIVE LAST WEEK, ACTUALLY.
1215
01:13:31,724 --> 01:13:36,126
AND SO HE ASKED ME...
1216
01:13:36,195 --> 01:13:40,597
TO ASK YOU, TAP,
1217
01:13:40,666 --> 01:13:43,633
IF YOU'D BE INTERESTED
IN REFORMING...
1218
01:13:43,702 --> 01:13:47,304
AND DOING A TOUR IN JAPAN.
1219
01:13:47,373 --> 01:13:51,342
SO YOU'VE COME BACK TO RE-PLUG
OUR LIFE SUPPORT SYSTEMS IN, IS THAT IT?
1220
01:13:51,410 --> 01:13:56,080
BY THE GRACE OF YOUR... BY THE STROKE OF
YOUR HAND... IS THAT WHAT YOU'RE GONNA DO?
1221
01:13:56,148 --> 01:13:58,493
YOU'RE GONNA BRING US BACK TO LIFE?
IS THAT WHAT YOU'VE COME HERE FOR?
1222
01:13:58,517 --> 01:14:00,550
NO. I'VE COME. DON'T YOU...
1223
01:14:00,619 --> 01:14:05,555
FUCKING NERVE
YOU DISPLAY IN COM...
1224
01:14:05,624 --> 01:14:09,126
THAT'S JUST PASSING ON
THE INFORMATION, REALLY.
1225
01:14:09,195 --> 01:14:14,164
YEAH, WELL, IT'S TIME TO GO IN. WE HAVEN'T
GOT TIME TO DISCUSS THIS NOW. COME ON.
1226
01:14:14,233 --> 01:14:16,867
[David Speaking, Indistinct]
1227
01:14:18,237 --> 01:14:20,237
RIGHT?
1228
01:14:26,946 --> 01:14:28,946
[Inaudible]
1229
01:14:41,294 --> 01:14:43,493
DAVID?
1230
01:14:43,562 --> 01:14:46,096
DO A GOOD SHOW, ALL RIGHT?
1231
01:14:47,266 --> 01:14:49,266
YEAH. OKAY.
1232
01:14:55,774 --> 01:14:58,608
[Clattering]
1233
01:14:58,677 --> 01:15:01,845
♪♪ [Electric Guitar
Intro] [Crowd Cheering]
1234
01:15:01,914 --> 01:15:09,914
♪♪
1235
01:15:14,293 --> 01:15:17,227
♪ LITTLE GIRL IT'S A
GREAT BIG WORLD ♪
1236
01:15:17,296 --> 01:15:20,230
♪ BUT THERE'S ONLY ONE OF ME ♪
1237
01:15:20,299 --> 01:15:22,566
♪ YOU CAN'T TOUCH
'CAUSE I COST TOO MUCH ♪
1238
01:15:22,634 --> 01:15:26,270
- ♪ BUT TONIGHT
I'M GONNA ROCK YOU ♪
- ♪ TONIGHT I'M GONNA ROCK YOU ♪
1239
01:15:26,339 --> 01:15:28,383
♪ TONIGHT I'M GONNA ROCK YOU ♪
♪ TONIGHT I'M GONNA ROCK YOU ♪
1240
01:15:28,407 --> 01:15:31,041
♪ TONIGHT ♪
1241
01:15:39,051 --> 01:15:41,385
♪ YOU'RE SWEET BUT
YOU'RE JUST FOUR FEET ♪
1242
01:15:41,454 --> 01:15:44,721
♪ AND YOU STILL GOT
YOUR BABY TEETH ♪
1243
01:15:44,790 --> 01:15:46,991
♪ YOU'RE TOO YOUNG
AND I'M TOO WELL HUNG ♪
1244
01:15:47,059 --> 01:15:49,759
♪ BUT TONIGHT I'M GONNA ROCK YOU
♪ ♪ TONIGHT I'M GONNA ROCK YOU ♪
1245
01:15:49,828 --> 01:15:52,463
- ♪ TONIGHT I'M GONNA ROCK YOU ♪
- ♪ TONIGHT I'M GONNA ROCK YOU ♪
1246
01:15:52,531 --> 01:15:55,199
♪ TONIGHT ♪
1247
01:15:55,267 --> 01:15:57,468
♪ OH, YEAH ♪
1248
01:16:02,174 --> 01:16:05,309
- [Inaudible]
- [Inaudible]
1249
01:16:10,749 --> 01:16:14,351
[Crowd Cheering]
1250
01:16:19,392 --> 01:16:23,894
NIGEL TUFNEL ON LEAD GUITAR!
1251
01:16:24,997 --> 01:16:27,764
♪♪ [Guitar Riff]
1252
01:16:29,035 --> 01:16:33,170
[Speaker: Male Dispatcher
Over Radio, Indistinct]
1253
01:16:44,850 --> 01:16:47,217
♪ YOU'RE HOT YOU
TAKE ALL WE'VE GOT ♪
1254
01:16:47,286 --> 01:16:50,387
♪ NOT A DRY SEAT IN THE HOUSE ♪
1255
01:16:50,456 --> 01:16:52,789
♪ NEXT DAY WE'LL BE ON OUR WAY ♪
1256
01:16:52,858 --> 01:16:55,103
♪ BUT TONIGHT I'M GONNA ROCK YOU
♪ ♪ TONIGHT I'M GONNA ROCK YOU ♪
1257
01:16:55,127 --> 01:16:57,639
- ♪ YEAH, TONIGHT
I'M GONNA ROCK YOU ♪
- ♪ TONIGHT I'M GONNA ROCK YOU ♪
1258
01:16:57,663 --> 01:16:59,863
♪ TONIGHT ♪
1259
01:17:08,541 --> 01:17:12,076
♪ LITTLE GIRL IT'S A GREAT BIG
WORLD BUT THERE'S ONLY ONE OF ♪
1260
01:17:13,645 --> 01:17:16,746
[Screeching]
1261
01:17:28,727 --> 01:17:30,894
♪♪ [Ends]
1262
01:17:32,931 --> 01:17:36,400
[Marty] DO YOU FEEL THAT
PLAYING ROCK 'N' ROLL MUSIC...
1263
01:17:36,469 --> 01:17:41,505
KEEPS YOU A CHILD... THAT IS, KEEPS YOU
IN A STATE OF ARRESTED DEVELOPMENT?
1264
01:17:41,574 --> 01:17:47,411
NO. NO. I FEEL IT'S MORE LIKE GOING
TO A NATIONAL PARK OR SOMETHING,
1265
01:17:47,480 --> 01:17:50,214
AND THEY PRESERVE THE MOOSE.
1266
01:17:50,282 --> 01:17:54,384
AND THAT'S MY CHILDHOOD UP
THERE ONSTAGE, IS THAT MOOSE.
1267
01:17:54,453 --> 01:17:57,599
SO WHEN YOU'RE PLAYING, YOU FEEL
LIKE A PRESERVED MOOSE ONSTAGE? YEAH.
1268
01:17:57,623 --> 01:18:01,825
I'VE BEEN LISTENING TO THE
CLASSICS. I BELONG TO A GREAT SERIES...
1269
01:18:01,893 --> 01:18:05,195
IT'S CALLED "THE NAMESAKE
SERIES"... OF CASSETTES.
1270
01:18:05,264 --> 01:18:07,884
AND THEY SEND YOU THE
WORKS OF FAMOUS AUTHORS
1271
01:18:07,908 --> 01:18:10,200
DONE BY ACTORS WITH
THE SAME LAST NAME.
1272
01:18:10,269 --> 01:18:14,104
SO I'VE GOT DENHOLM ELLIOTT
READING T.S. ELIOT ON THIS ONE.
1273
01:18:14,173 --> 01:18:18,375
INTERESTING. I'VE GOT DANNY THOMAS
DOING "A CHILD'S CHRISTMAS IN WALES,"
1274
01:18:18,444 --> 01:18:21,044
BY DYLAN THOMAS,
AND NEXT MONTH...
1275
01:18:21,113 --> 01:18:25,315
IT'S McLEAN STEVENSON READS
ROBERT LOUIS STEVENSON.
1276
01:18:25,384 --> 01:18:28,552
TREASURE ISLAND, I BELIEVE. THAT'S
INTERESTING. THAT'S FASCINATING.
1277
01:18:28,621 --> 01:18:32,300
THERE'S ALSO SOMETHING... THERE'S
SHORTER WORKS OF WASHINGTON IRVING...
1278
01:18:32,324 --> 01:18:34,569
READ BY SOMEONE CALLED DR. J.
1279
01:18:34,593 --> 01:18:40,430
OH, THAT'S JULIUS IRVING. THERE
YOU GO. KEEPING WITH THE SERIES.
1280
01:18:40,499 --> 01:18:42,910
YOU LIKE THIS? [Marty] IT'S VERY
NICE. IT LOOKS LIKE HALLOWEEN.
1281
01:18:42,934 --> 01:18:47,404
THIS IS MY EXACT INNER
STRUCTURE DONE IN A T-SHIRT.
1282
01:18:47,473 --> 01:18:50,707
EXACTLY MEDICALLY ACCURATE. SEE?
1283
01:18:50,776 --> 01:18:54,110
SO, IN OTHER WORDS, IF WE WERE
TO TAKE ALL YOUR FLESH AND BLOOD...
1284
01:18:54,180 --> 01:18:57,781
TAKE THEM OFF. THIS IS WHAT YOU'D
SEE. IT WOULDN'T BE GREEN, THOUGH.
1285
01:18:57,849 --> 01:19:02,452
IT IS GREEN. SEE HOW
YOUR BLOOD LOOKS BLUE?
1286
01:19:02,521 --> 01:19:05,422
YEAH, WELL THAT'S JUST THE
VEIN, THE COLOR OF THE VEIN.
1287
01:19:05,491 --> 01:19:07,957
THE BLOOD IS ACTUALLY RED.
OH, MAYBE IT'S NOT GREEN.
1288
01:19:08,026 --> 01:19:10,427
ANYWAY, THIS IS WHAT
I SLEEP IN SOMETIMES.
1289
01:19:10,496 --> 01:19:13,664
DENIS ETON-HOGG, THE
PRESIDENT OF POLYMER RECORDS,
1290
01:19:13,732 --> 01:19:15,965
WAS RECENTLY KNIGHTED.
1291
01:19:16,034 --> 01:19:19,536
WHAT WERE THE CIRCUMSTANCES
SURROUNDING HIS KNIGHTHOOD?
1292
01:19:19,605 --> 01:19:24,107
THE SPECIFIC REASON WHY HE WAS KNIGHTED
WAS FOR THE FOUNDING OF HOGGWOOD,
1293
01:19:24,176 --> 01:19:29,313
WHICH IS A SUMMER CAMP
FOR PALE YOUNG BOYS. UH-HUH.
1294
01:19:29,381 --> 01:19:34,117
DAVID ST. HUBBINS. I MUST ADMIT, I'VE
NEVER HEARD ANYBODY WITH THAT NAME.
1295
01:19:34,186 --> 01:19:36,422
IT'S AN UNUSUAL NAME.
WELL, HE WAS AN UNUSUAL
1296
01:19:36,446 --> 01:19:38,455
SAINT. HE'S NOT A VERY
WELL KNOWN SAINT.
1297
01:19:38,524 --> 01:19:41,903
[Marty] OH, THERE ACTUALLY IS... THERE
WAS A ST. HUBBINS? YES. THAT'S RIGHT. YES.
1298
01:19:41,927 --> 01:19:45,562
WHAT WAS HE THE SAINT OF? HE WAS
THE PATRON SAINT OF QUALITY FOOTWEAR.
1299
01:19:45,631 --> 01:19:51,017
YOU PLAY TO, PREDOMINANTLY...
PREDOMINANTLY, A WHITE AUDIENCE.
1300
01:19:51,086 --> 01:19:53,587
DO YOU FEEL YOUR MUSIC
IS RACIST IN ANY WAY?
1301
01:19:53,656 --> 01:19:55,756
NO. OF COURSE
NOT. NO. NOT AT ALL.
1302
01:19:55,824 --> 01:19:59,826
WE SAY, "LOVE YOUR BROTHER."
WE DON'T SAY IT REALLY, BUT...
1303
01:19:59,895 --> 01:20:02,974
WE DON'T LITERALLY SAY IT. WE DON'T
LITERALLY MEAN IT. NO. WE DON'T SAY IT.
1304
01:20:02,998 --> 01:20:05,594
NO. WE DON'T BELIEVE IT EITHER,
BUT... BUT WE'RE NOT RACISTS.
1305
01:20:05,618 --> 01:20:08,552
THAT MESSAGE SHOULD BE CLEAR.
WE'RE ANYTHING BUT RACISTS.
1306
01:20:08,620 --> 01:20:12,006
YOU KNOW, WE'VE GROWN MUSICALLY. YOU LISTEN
TO SOME OF THE RUBBISH WE DID EARLY ON.
1307
01:20:12,074 --> 01:20:15,053
IT WAS STUPID. AND
NOW WE'RE... YEAH.
1308
01:20:15,077 --> 01:20:19,646
I MEAN, A SONG LIKE "SEX FARM"...
WE'RE TAKING A SOPHISTICATED VIEW...
1309
01:20:19,715 --> 01:20:24,651
OF THE IDEA OF SEX AND
MUSIC. AND PUTTING IT ON A FARM.
1310
01:20:24,720 --> 01:20:28,989
IF I WERE TO ASK YOU YOUR
PHILOSOPHY OF LIFE OR YOUR CREED,
1311
01:20:29,058 --> 01:20:30,991
WHAT WOULD THAT BE?
1312
01:20:31,060 --> 01:20:34,828
HAVE A GOOD TIME...
1313
01:20:34,897 --> 01:20:37,264
ALL THE TIME.
1314
01:20:37,333 --> 01:20:39,866
THAT'S MY PHILOSOPHY, MARTY.
1315
01:20:39,935 --> 01:20:43,370
I BELIEVE VIRTUALLY EVERYTHING
I READ, AND I THINK THAT...
1316
01:20:43,439 --> 01:20:48,742
IS WHAT MAKES ME MORE SELECTIVE THAN
SOMEONE WHO DOESN'T BELIEVE ANYTHING.
1317
01:20:48,810 --> 01:20:52,379
DO YOU HAVE A PHILOSOPHY
OR A CREED YOU LIVE BY?
1318
01:20:52,448 --> 01:20:54,748
WELL, PERSONALLY,
1319
01:20:54,816 --> 01:20:58,419
I LIKE TO THINK ABOUT SEX,
DRUGS AND ROCK 'N' ROLL. YEAH.
1320
01:20:58,487 --> 01:21:02,722
IF YOU WERE TO HAVE SOMETHING
WRITTEN AS YOUR EPITAPH?
1321
01:21:02,791 --> 01:21:06,793
"HERE LIES DAVID ST. HUBBINS"...
1322
01:21:07,796 --> 01:21:10,630
AND "WHY NOT?"
1323
01:21:12,401 --> 01:21:16,086
THAT SUMS UP YOUR LIFE? NO. IT'S
THE FIRST THING I COULD THINK OF.
1324
01:21:16,155 --> 01:21:18,600
OH, I SEE. YEAH. IT DOESN'T
SUM UP ANYTHING, REALLY.
1325
01:21:18,624 --> 01:21:22,026
I'M A REAL FISH NUT.
I REALLY LIKE FISH.
1326
01:21:22,094 --> 01:21:26,497
WHAT KIND OF FISH? WELL, IN
THE UNITED STATES, YOU HAVE COD.
1327
01:21:26,565 --> 01:21:29,333
I LIKE COD, AND I LOVE TUNA.
1328
01:21:29,402 --> 01:21:32,869
THOSE LITTLE CANS YOU'VE GOT
HERE... TUNA FISH... I LOVE THAT.
1329
01:21:32,938 --> 01:21:35,472
NO BONES. YEAH.
1330
01:21:35,541 --> 01:21:39,843
IF YOU COULD NOT PLAY ROCK
'N' ROLL, WHAT WOULD YOU DO?
1331
01:21:39,912 --> 01:21:41,912
I'D BE A FULL-TIME DREAMER.
1332
01:21:41,980 --> 01:21:43,992
PROBABLY GET A BIT STUPID...
1333
01:21:44,016 --> 01:21:46,114
AND START TO MAKE A
FOOL OF MYSELF IN PUBLIC,
1334
01:21:46,138 --> 01:21:48,118
'CAUSE THERE WOULDN'T
BE A STAGE TO GO ON.
1335
01:21:48,187 --> 01:21:50,220
PROBABLY WORK WITH CHILDREN.
1336
01:21:50,289 --> 01:21:55,892
AS LONG AS THERE'S SEX AND DRUGS,
I CAN DO WITHOUT ROCK 'N' ROLL.
1337
01:21:55,961 --> 01:22:00,364
I SUPPOSE I COULD WORK
IN A SHOP OF SOME KIND...
1338
01:22:00,433 --> 01:22:04,468
OR DO FREELANCE SELLING...
1339
01:22:04,537 --> 01:22:07,137
OF SOME SORT OF PRODUCT.
1340
01:22:07,206 --> 01:22:10,974
A SALESMAN? A SALESMAN,
LIKE, MAYBE IN A HABERDASHER...
1341
01:22:11,043 --> 01:22:16,580
OR MAYBE LIKE A CHAPEAU
SHOP OR SOMETHING.
1342
01:22:16,648 --> 01:22:21,452
YOU KNOW, "WHAT SIZE DO YOU
WEAR, SIR?" AND THEN YOU ANSWER ME.
1343
01:22:21,520 --> 01:22:24,955
SEVEN AND A QUARTER.
I THINK WE HAVE THAT.
1344
01:22:25,023 --> 01:22:28,358
SOMETHING LIKE THAT I COULD DO. DO YOU
THINK YOU'D BE HAPPY DOING SOMETHING...
1345
01:22:28,427 --> 01:22:31,261
"NO. WE'RE ALL OUT.
DO YOU WEAR BLACK?"
1346
01:22:31,330 --> 01:22:34,431
SEE, THAT SORT OF THING I
THINK I COULD MUSTER UP.
1347
01:22:34,500 --> 01:22:37,401
DO YOU THINK YOU'D
BE HAPPY DOING THAT?
1348
01:22:37,470 --> 01:22:39,836
I DON'T KNOW. WHAT
ARE THE HOURS?
1349
01:22:42,207 --> 01:22:44,641
[Roaring]