("Black Betty", Ram Jam)
♫ Whoa Black Betty bam ma lam
♫ Whoa Black Betty bam ma lam
♫ Black Betty had a baby bam ma lam
♫ The damn thing went crazy bam ma lam
(guzzling)
(thudding)
♫ Whoa Black Betty bam ma lam
♫ Whoa Black Betty bam ma lam
♫ Black Betty had a child bam ma lam
♫ The damn thing went wild bam ma lam
♫ You know it couldn't get a date
♫ Bam ma lam
♫ You know it couldn't get a date
♫ Couldn't get a date whoa
♫ Black Betty bam ma lam whoa
- [Duke] Oh, Daddy.
- Gentlemen.
I tried.
("Unhinged", Angry Samoans)
♫ Hear the garbage
through my restless head
♫ We fought some folk
but they get lost instead
♫ 'Cause down in the
paradise it threw me a pitch
♫ She said this world's
illusion get unhinged
♫ Here crouches the scums
to the tuned out mind
♫ An empty illusive,
self illuminating right
♫ I see the world times nine in a stitch
♫ I'm leaving behind that unhinged
♫ Unhinged
(engine rumbling)
- Your apartment's a mess, Angel.
Why don't you clean it up sometime?
Hey.
I'm workin' on a new song
here, I need your help.
It's called Van Gogh's Ear.
- Oh, a love song.
- Yes, sort of.
See, when Van Gogh cut off his
ear, he was demonstrating the
commitment you have to have
if you wanna be an artist.
You have to be willing to send,
to cut off your ear
and send it to a wh*re.
- So, it's more than a love song.
- I need to run, listen.
♫ When I think of Van Gogh's ear
♫ I know I don't have to fear
♫ Painted in the blood you read
♫ Just one ear is all you need
f*ck.
- Try this.
Now I can hear with Van Gogh's ear.
- That is it.
That's the line.
- Now you think we can
work together on it?
- Yes, that's profound, thank you.
- Well, let's work on it.
(punk music)
♫ In my prison bed of roses
♫ I don't get much sleep
♫ Take me to the sacrifice
♫ I'm a lamb but not a sheep
♫ I wear a crown of thorny wire
♫ There's a razor in my brain
♫ I drink the blood of virgins
♫ And ride that hellbound train
♫ 'Cause I'm the devil's child
♫ Yes, I'm Satan's son
♫ 'Cause I'm the devil's child
♫ Yes, I'm Satan's son
(somber Christmas music)
(tense music)
(punk music)
♫ I welcome destruction
♫ Chaos is my friend
♫ Slaughter is the pillow
♫ Where I lay my head
(somber Christmas music)
- [Spike] There he is.
(tense music)
(punk music)
♫ 'Cause I'm the devil's child
♫ Yes, I'm Satan's son
♫ 'Cause I'm the devil's child
- Police!
♫ Yes, I'm Satan's son
(engine revving)
(blasting)
(groaning)
(screaming)
(baby crying)
♫ All have a choice to heaven or hell
♫ Oh death
♫ Oh death
♫ Please spare me over 'til another year
- You call me?
- Who are you?
What are you doing?
- I thought you called me.
You didn't call me?
- I don't even know you.
- I guess you don't know me.
Let me introduce myself.
My name is Tanas.
Maybe you heard of me.
I'm a businessman.
You got an okay act, but I
think you're going nowhere.
- Oh.
- So, if you want to be commercial,
I think I can get some money behind you.
- Tanas.
I have heard of you.
You managed the Red
Dogs for a while, right?
- [Tanas] Yeah.
- They had a couple gold records.
Then the lead singer was
k*lled in a car accident.
His girlfriend's head
was severed or something?
- That's a painful memory for me.
- I heard they were trying
to get out of their contract.
- I never heard that story.
- Well, I'm not sure
we're ready for a big-time
manager like you, Mr. Tanas.
Maybe we should go it alone for a while.
What do you think?
- You don't want success, do you Lemmy?
You just wanna hang around going nowhere.
There's still time, Lemmy.
There's still time left to make a deal.
You can find me at the Bar Sinister.
You know where that is.
- I know where that is.
- Tanas, I don't understand why you want
to get involved with this rock and roller.
Do you really think he's
gonna be commercial?
- You didn't hear his music.
This is Satan's son, the devil's child.
I'm gonna show him
exactly what that means.
See, I take this sh*t personally.
- Well, alright, let's f*ck him up.
- No.
Let's let him f*ck himself up.
(alarm beeping)
(slow bluesy music)
- Poor Joe Green.
It's horrible.
Who would want to do such a thing?
(clears throat)
- Mrs. Jones, it's
apparently just a random
drive-by sh**ting, mindless violence
by those, by those gangs, the youth.
- Just doesn't make sense.
Weren't you involved in some kind
of business deal with him?
- No, no, no, not really.
Well, I think we better be going.
(somber organ music)
- They did a good job on him.
He looks better now than
he did when he was alive.
Don't you think, Mel?
- Yeah, yeah, they did a good job on him.
- You better hope they
do just as good a job
on you when your time comes.
(drumsticks tapping)
- Why are you guys not inside setting up?
- We're locked out, man.
They say we owe 'em too much money.
- They can't do this.
That's months of work.
That's all the tapes we have.
We were just starting to get good.
People were coming to hear us.
They cannot do this.
- Well, they're gonna do it, man.
- You're the only one with a job.
You think you can handle it?
- No, not this time, it's too much.
- They got all the demo tapes, too,
and they're threatening to
erase them and reuse the stock.
- We're f*cked, man.
- Yeah, f*ck.
(rock music)
♫ Redwings, redwings
♫ Redwings, redwings
♫ Don't know what kind of shoes you wear
♫ 'Cause there's always something
♫ On another pair
♫ She's growin' out of the ground
♫ But she...
- [Man] f*ck' Agent Orange!
f*ck it's the ace factor?
- I'm looking for Tanas.
- So what?
- Well, he said I could meet him here.
I'm supposed to meet him.
That door says, "Keep out."
- Don't go through there.
Forget this place.
- Ptoo!
(slow jazzy music)
- Lemmy.
Come on down.
I heard someone was looking for me.
This is a pleasant surprise.
Please sit.
I can see from looking at you
that you're ready to talk business.
Excellent.
- [Woman] Sick! Sick!
- What's the matter, babe?
This is art.
- Hey, Duke.
Can't you see we're trying
to transact business here?
- She's flippin' out.
- Give her her clothes.
Give her her clothes.
Excuse me, Lemmy.
Don't mind the distraction.
- [Woman] Pervert!
Creep!
- So what is it that you
want to see me about?
- Uh,
we wanna do it.
We wanna sign with you.
We need a cash advance up
front, show of good faith.
- This guy's a loser, Tanas.
All he wants is cash.
- He handles my contracts.
- What are you lookin' at?
- This says in exchange
for worldly success,
you're going to have
possession of my immortal soul.
- That's my standard contract.
- Is it a joke?
All we want is a manager.
If you can get some money behind us,
I mean, get us out of debt, maybe
get us some gigs, buy us some studio time,
then we'll give you 10 percent.
- I should've known.
I get 15 percent and expenses off the top.
- But this is just a
management deal, right?
None of this immortal soul jazz.
- No, that was just a little joke.
- Well, Tanas, I don't
know what your trip,
I don't care what your trip is
if you can just get
behind us, give us some
positive direction, that's
all that matters, yes?
- You're in good hands, Lemmy.
Let's shake on it.
- Don't we uh, don't we
need to sign something?
- Uh, not for this one.
Handshake's good enough for me.
We can always close that other deal later.
Of course, you and I
don't believe in anything
so medieval as an immortal soul,
do we?
But actually, between you and me, I doubt
that any of this immortal
soul stuff is even legal.
Hey Lemmy.
You mind goin' out that way, please?
He's a f*ck' as*h*le.
(tense music)
- Jimmy, don't go out to the pool.
Come on, can't out to the pool now.
Come on, it's too late for that.
There ya go, let's get you off
and I know you don't wanna go to bed.
Come on, let's go.
(banging)
Just what are you people doing here?
I told you never to come around my house.
That's my family in there.
- Shut up, Mr. Jones.
We gotta talk, Jonesey.
Mr. Tanas is very
concerned about the money.
You've been a bad boy, Mr. Jones.
Remember Joe Green?
My friend Joe Green was a bad boy, too.
- We're very concerned
about the money, Mr. Jones.
We're worried to f*ck' death.
(ominous music)
- Who were those strange people?
- It was nothing.
Just a bunch of weirdos, nobody.
- But those men were at the funeral home.
What are you mixed up in?
- I'm involved in a deal and I expect
to make a lot of money.
- You're in a deal with them?
Well, who on Earth are they?
- They hang around this place, it's a bar,
called the Bar Sinister.
Guess they give these
matches out as calling cards.
Anyway, they're just, some
sort of an association.
They all seem to be working
for the same person.
The point is, they don't
keep very good records,
and in this sort of deals, a lot of money
can fall through the cracks and I uh,
I got my hands on some of that money.
- Wasn't Joe Green
involved in this before,
before he got m*rder*d?
- Yeah, but, perhaps, sort of,
but I don't think that
his death was any way...
- You were insane to do this.
You're jeopardizing your family.
I'm going to the police.
- No, no, no, Sal,
look, you can't do that.
These guys, they own the police.
But don't worry, alright?
They're inefficient and that's my edge.
We are going to be very rich.
Sal, I did all this for you.
(engine rumbling)
(thudding)
(groaning)
- What the f*ck's the matter with you?
What the hell are you doing?
- Just trying to get you
in a conversational mood.
- Man, I've got nothing to hide.
- Where's our money?
- Man, don't you know anything?
Jones has got the money, Jones has...
- [Spike] What'd you say, what'd you say?
- Jones has got the money.
- Why does Jones have the money?
- f*ck, you're so stupid, man he...
- [Spike] What?
What did you say?
- Jesus, he's the one who
set up the whole deal.
He's the one who's got the money
and got the import finances.
Once the dope was sold, then we had to
pay off the investors.
Now it's all tied up in some off-shore
banking thing, I don't know.
- Bullshit.
- Hey, it's not bullshit, man.
It's the truth, man, I'm telling the tr...
Hey, that's my tailor.
Can we stop over there?
I got a real rip in my pants.
What the f*ck?
It's true!
Man, I got a rip in my pants, man.
What do you want?
Look, I want you guys to have the money.
I mean, I really do and that'd be
the best thing that could ever happen,
but, man, it's all tied
up in this banking thing.
- Those bankers, a
bunch of f*cking crooks.
(tires squealing)
- Take a hike, Mel.
- Man, I told ya everything I know.
Jones is the guy you want.
Jones is the guy you gotta deal with.
- You've been very helpful
and thank you, but get lost.
Take a hike, Mel!
(thudding)
(groaning)
- Bye, Mel.
(rock music)
(blasting)
- Hey, what is that sh*t?
- Sodium tetrachloride.
Industrial solvent.
- That stuff any good for ya?
- You shittin' me?
The stuff's toxic.
Burns right through your liver.
- Hey, where you goin'?
We just came over to hear the tapes.
Tanas got some ideas.
- The engineer can play it back for you.
We're leaving.
Got a gig tomorrow night.
- No, I think I'll stay.
I'd like to hear 'em again.
- Lemmy.
These guys are f*cked up.
Let's leave.
(tapping)
♫ I got my mind made up
♫ Come on, you can get it
♫ Get it girl
- Hey, somebody shut that guy up.
♫ Anytime
♫ Tonight is fine
♫ I got my mind made up
♫ Come on, you can get it
♫ Get it girl
♫ Anytime
♫ Tonight is fine
- What is that?
- Cough syrup, man.
Drink a bottle of this, you won't know
whether you're asleep or awake.
Go ahead, try it.
It won't k*ll ya.
- It's terrible.
- You gotta chase it with some of this.
- That's got a f*cking kick to it.
- Yeah, it's good.
♫ I got my mind made up
♫ Come on, you can get it
♫ Get it girl
- Just get him away from the microphone.
Please step back from the microphone.
♫ Anytime
♫ Tonight is fine
♫ Got my mind made up, whoa
♫ You can get it
♫ Yeah girl
♫ Anytime
- How's this?
You let loose a bunch of
birds during one of your songs
and just when everybody thinks
it's some sort of hippie-dippie,
love peace sort of thing,
you take one of the birds,
the dove would be nice,
and you bite its head off.
- You're f*cking kiddin' me, right?
- Well, think about it.
It sure would liven up the act.
- Lemmy.
You should listen to Spike.
- I don't know, man.
- You gotta be open to new ideas, Lemmy.
But don't forget, in a
purely business sense,
we own you.
(punk music)
- [Woman] Come on, lemme sleep man!
- Go inside, they got beds inside.
You can sleep there.
- [Woman] I don't wanna go in there.
- What are you doing
after the show, Lemmy?
Wanna come over to my place?
Got a tape of Blow Up, have you seen it?
- Yeah, I mean, I'd like that.
Um, Tanas is having a
little party after the show.
I thought maybe we could go there.
- Lemmy, that guy is a creep.
I don't even know why we have to
mess around with him in the first place.
- That guy got us all
the studio time we want.
That guy gave us our freedom.
- Lemmy, there's something
wrong with this whole thing.
- Whoa, whoa, whoa, wait a minute.
Now, all the things that we wanted,
all the things that were
just out of our grasp,
our freedom, our money, studio time,
rehearsal time...
- [Angel] Lemmy, the guy is a jerk!
- No, no, no, wait, listen
to me, listen to me.
Are you listening to me?
Studio time, money, rehearsal time,
exposure, you understand me?
I can't go on, I can't go on.
I can't go on.
- Would you be serious?
Cut it out...
- All that stuff that...
- [Angel] What is wrong with you, Lemmy?
- It's because of him.
It's within our grasp, now.
We can get all that stuff.
Tanas did that.
- The guy is an as*h*le!
Come on, Lemmy.
- Yeah, say yeah.
Say yeah.
I'm so glad to be back on.
- You're not even listening.
- And what's your suggestion?
- Look, just come over to my place, Lemmy.
Forget him!
Just come over to my place, please?
- Let's go the party for a little while
and then go to your place.
(heels clacking)
- You guys 'bout ready to go on?
- I can't go on.
(punk music)
(thudding)
♫ I'm living in rat's alley
♫ 'Cause I haven't got a home
♫ I'm living in rat's alley
♫ Where the dead men wash their clothes
♫ Waiting for the boat ride
♫ In a fool's disguise
♫ (mumbling)
♫ They used her for his eyes
♫ I'm living in rat's alley
♫ I'm not
(crashing)
(thudding)
(laughing)
♫ Rat's alley
♫ Living in rat's alley
♫ 'Cause I haven't got a home
♫ I'm living in rat's alley
♫ (mumbling)
♫ And I'm living in rat's alley
♫ And I'm flying
(thudding)
♫ Rat's alley
♫ Rat's alley
♫ Rat's alley
♫ Rat's alley
♫ Rat
♫ Rat
- Good beat, easy to dance to.
(thudding)
I'll give it an 83.
(rock music)
- Hey Lemmy.
I'm glad you could make it.
Now, that was good.
The thing with the snake and the rat?
I really like that.
- That's why we're here.
We wanna know.
- The more blood, the more
you can engage that certain
je ne sais quoi that really
makes a performance happen.
There's somebody I want you to meet.
- Ah!
- Or maybe, maybe it's
an ontological problem.
- Lemmy, this is Mabel.
- Michelle.
- I'm sorry Michelle.
- Michelle, Lemmy is a musician.
Do you remember the Beatles?
- No, I don't know them.
- Well, Lemmy is going to be
as important as the Beatles.
- Okay, so the problem
is not what can I be?
But more properly stated the question
should be how can I be?
- Lemmy loves and desires you, Michelle,
because you are beautiful,
because you are perfect.
- Action is the fact.
Existence is the result.
(rock music)
That's the name of the
game, being, not knowing.
That's the false game.
- If you really wanna see your mind,
you gotta be ready to rip your skull open.
- What'd he say?
To see your mind you gotta
split open your head?
That's good.
That's something I could've said.
(rock music)
(siren blaring)
- What did you give me?
- I think I might've had
too much of that sh*t.
(bottle crashes)
- What the f*ck were doing rolling around
the floor with that girl like that?
- It didn't mean anything.
Don't you get it?
- No, I don't get it.
- It's like the ear,
Van Gogh's ear, you see?
- I get the wh*re part,
I don't get the ear part.
- Listen to the man's ear.
Van Gogh's, he cut off a man's ear.
- No, I don't get the ear!
f*ck the ear!
- You gotta be crazy.
- f*ck you.
- Hey, hey, hey, no.
I love you so much.
- You're f*ck' nuts!
- I wanna be.
I wanna be f*ck' nuts.
(sexy jazz music)
- Are you gonna do your vocals this time?
Do you know how to count?
One, two, three.
Yeah, can you do it?
(punk music)
- One, um...
Can you guys, like, leave so I can,
so I can concentrate?
f*ck' split so I can concentrate, man.
- Are we still a band or
are we just sidemen now?
What you're drinking cough syrup now?
What the f*ck is wrong with you?
- I have a cold.
(crashes)
- What's wrong with Angel?
She's more f*cked up than you are.
What'd you do to her?
- What'd I...
I didn't do anything to her.
She's got her own free will.
What she does, she does to herself.
(thudding)
Look, I made the deal, why are you...
Would you just go on so we can concen...
I, I, I love you guys.
You know that, right?
Excuse me.
I f*ck' love you guys.
I couldn't do it without you.
You know that, but I'm,
I'm self-conscious today.
- Look at her.
She's totally f*cked up.
- She's a little bit tired.
We were out real late last night.
It's okay.
Come on, bye bye.
It's okay.
Bye bye, kiss kiss.
Angel.
No, come here, come on.
Okay?
Okay, (mumbling)
Okay, roll it.
(crashing)
- Hey you guys, you can't
bring those g*ns in here.
Mr. Stalag wouldn't approve of that.
- What are you gonna do about it?
- Just don't bring those
f*cking g*ns in here.
- Whoa.
Lemme see (mumbles) those f*ck' b*ll*ts.
(blasting)
Whoo!
(slurping)
(tense music)
- Hey, Lemmy.
You gonna eat that burger or wear it?
You're gonna wear it.
- Looks like bright boy's been
hitting a little heavy on the Robitussin.
(drum beating)
- Come on, Einstein, let's go.
(phone ringing)
- Hello?
- [Spike On Phone] Hello, Mr. Jones.
- Who is this?
Who is this?
- [Spike On Phone] It's
your creditors, that's who.
Where's our hundred thousand?
- Look, you're gonna have
to take that up with Mel.
- [Spike On Phone] I
can't take it up with Mel.
That f*cking guy's dead.
- What?
- Yeah, no sh*t.
This guy's a panic.
Look, you get us the money by tomorrow,
or we'll k*ll ya.
We'll k*ll your family, the whole thing.
Goodbye.
- Hello?
(tense music)
(phone ringing)
- Oh he's making a phone call.
Let's listen in.
- Mrs. Jones, please.
Hi honey, it's me.
Look, I want you to
listen to me carefully.
I'm having a little more
trouble than I expected.
Yeah, it's about that deal.
Look, don't panic, just listen to me.
In our safe deposit
box, there's a passbook
for a numbered account
in the Cayman Islands.
Now, there's over a couple
hundred thousand dollars
in that account, now, if I'm not around,
or if anything should happen to me,
I want you to take that money...
(clicks)
Hello?
Hello?
Sal?
(tense music)
- What are you trying to do?
You're a f*ck up, Jones.
(baby crying)
Why don't you just give us the money?
Look at your little boy.
- You're not a very good father.
It's way past his bedtime.
- Let go of him.
- Hey, hey.
(baby screaming)
- You have done something wrong.
You've betrayed a trust,
and I believe that when somebody
does something wrong,
they should be punished.
Duke, do you agree?
- [Duke] Huh?
- Do you agree with me that people
that do something wrong
should be punished?
- Yeah, sure.
Why the f*ck not?
- It would appear to be self-evident,
but Mr. Jones thinks otherwise.
Mr. Jones believes that anything goes.
He is amoral.
You know what that means Duke.
- Huh?
- He thinks he's beyond good and evil.
But I gotta tell you something Mr. Jones,
you are f*cked!
You are in error.
(blasting)
(splashing)
(tense music)
(tires squealing)
(gasping)
- Oh my, oh my god.
(screaming)
Jimmy!
Oh my god!
Jimmy!
Oh my god, Jimmy!
Jimmy, Jimmy!
(tense music)
(wretching)
- Did you have to k*ll the guy?
- What the f*ck were we supposed to do?
He was trying to rip us off.
Big f*ck' deal.
- Don't try to separate
yourself from this.
You were there.
Where do you think we get the money
to buy your studio time?
- f*ck' A jack.
Violence makes the world go 'round.
Get into it, man.
(tense music)
- Hey.
Wake up.
These people are f*ck' maniacs.
They just k*lled a guy.
- Where the f*ck are we?
- Did you hear what I said?
They blew his brains out.
Angel!
They blew a guy's brains out.
- You've got blood and
puke all over your shirt.
What happened to you?
You probably pissed
your g*dd*mn pants, too!
- You don't even care
that they k*lled this guy?
- Hey, I didn't do it.
You're the one that was there, not me.
What are you trying to do to me?
(thudding)
f*ck!
(chattering on police radio)
- This is your g*n or at
least it was registered
to your husband but we don't think
it was used in the crime.
- No, the g*n is okay.
See, parts of his skull
and his brain tissue
were scattered around the pool area
but the larger portion of his cranial mass
was left in tact, which tells us that
that was a small caliber weapon.
In fact, we found nine millimeter b*ll*ts.
Thank you.
Yeah, if it had been that g*n,
which is a 44 caliber, his head
would have exploded
like a ripe cantaloupe.
- Hey, take it easy.
Have some respect.
- Oh, I'm sorry.
Things get abstract, I lost touch.
Please forgive me.
- As soon as you hear from the kidnappers,
give us a call.
I don't think you'll be hearing
from them real soon, but uh,
I do think your boy's probably alright.
Do you have a match?
Oh, nevermind, I got one.
Look, call me anytime,
even if you just wanna talk.
I know this is a,
a terrible, horrible time for you,
but it's the time when your faith in God
can pull you through.
- I was trapped.
I was being manipulated
like a herky-jerky puppet.
I was, fate was pulling my strings.
I was being told what to do.
(smacking)
(mumbling)
- Angel!
- Is that what you want?
You wanna be loved?
(tense music)
- Hey Lemmy, what's the matter?
- My head is f*cked up.
I have to straighten it out.
- What for?
Why do you wanna stop now?
You wanna go back to
the insurance company?
There's nothing for you, there.
That's slow death, man.
The path of excess leads
to the powerful wisdom.
It's your choice, man.
(train bell dinging)
- I mean, it's 3:30 now.
Do you have any idea when he's coming?
- I don't know, how would I know?
- Just figured you might know, is all.
- Well, I don't.
- I guess you don't, then.
- Hey, hey, guys.
Look, look, we're doing Hellbound Train,
okay, and a hole opens up in the ceiling
and Angel comes down hanging from a rope,
and she's wearing a chain,
like a dog, you know?
And she gets down and Lemmy's
leading her around the stage.
Lemmy's being a real bad guy.
He's being very decadent and this is a,
this is a persona, huh?
But then the tables are turned.
Lemmy gets his come-uppance and he's
in the dog collar.
Angel gets him in it and he has to,
there's this big scaffold of amplifiers
and Lemmy is taken to the very top
and then the rope comes down again.
The same one like Angel
was on, but this time
there's a noose and Lemmy sticks his head
through there and he keeps singing
'cause the band is still
cranking this song on the stage.
Wouldn't that be a kick to have a fat lady
on the stage playing a tuba?
Now, where the f*ck was I?
- The news?
You're in the news?
- I was in the news.
I was in the f*cking news?
The news, wow.
f*ck me.
- How 'bout this?
You puke in your shoes, then you
put your shoes on your hands
and then you crawl across the stage.
- I get it.
You guys are being facetious.
- [Man] Hey, jump up your a*s.
(tense music)
Get drunk and be somebody, brother.
(uptempo music)
- Oh, yeah.
Anything you want, I got it.
Come on in here, man.
Oh, yeah.
Super mondo disco nexus.
- What the f*ck is this noise?
- Hey I bet I know what
you wanna hear, man.
I can play...
(crashing)
Man, what do you think you're doing?
(thudding)
- Here let me give you a hand, man.
(thudding)
Let me give you a foot.
(tense music)
- [Radio Announcer] 40 square blocks.
Authorities still don't know the cause,
but the fire is now almost under control.
Now here at KX100, the
hits just keep on coming.
- Can I sit here?
Uh, I'm wondering if you could help me?
I'm in a bit of trouble.
- Sure.
Trouble is my middle name.
- It's my car.
It's just outside and there's
something wrong with it.
I was wondering, maybe you could
listen to it and see if you
could tell what's wrong.
I'm, I'm just so helpless.
It's this car right over here.
I'll just start it,
and see what you think.
(engine stalling)
So what do you think?
- I know what's wrong.
The thing won't start.
- Uh, boy I really,
I really am in a jam.
(engine stalling)
If I could just get to my motel.
I have some traveler's checks.
And I could get the car fixed.
- Well, maybe I could give you a ride.
- Oh, could you?
That would be great.
It's right down the street.
(uptempo beat music)
(crashing)
- Hey, what the f*ck are you guys doing?
I didn't write that.
- We're trying something out.
We gotta check with you before we tune up?
- Well, who do you think you are?
You guys are the unlimited (mumbles)
orchestra as far as...
- Don't point that g*n at me.
- Orchestra as far as I'm concerned.
- Are you ready to do the vocals now?
- Yeah, man, I'm ready.
- You realize you missed
'em the last two times?
- Well, the last two times you, like,
took me by surprise.
(rock music)
(blasting)
- What the f*ck?
That kills it, I'm outta here.
- Wait, where you going?
That's gonna sound great.
What the f*ck is the matter with him?
- Maybe he's got a low
tolerance for g*nf*re.
(sexy jazzy music)
- Okay, it's this motel right over here.
(sexy jazzy music)
It's right up here.
I'll be right back.
(tense music)
Purse.
Oh God.
Purse.
- You looking for something?
- Um, my purse, I left
it here on this chair.
- Put it on.
The hat.
- No, I think it's too big.
- Put it on.
- No, no, that's...
- I said put it on!
Looks good.
It's right here, on the bed next to me.
- I just need to get my lipstick out
and just...
Hold it right there!
- Oh, I never seen a lipstick case
that looks like that!
- Don't try anything.
Don't move, don't try anything.
Don...
- You must think I'm like a
f*cking moron or something.
Oh, I'm so helpless.
(clinking)
(clicking)
(frenzied music)
(thudding)
(groaning)
Train time.
♫ Train kept a-rollin' all night long.
♫ Train kept a-rollin' all night long.
♫ Train kept a boom boom boom boom boom.
Yeah, it's me, get me Spike.
(moaning)
Hey Spike, I got a lonely lady here.
She wants some guys to come over
and give her a little romancing.
You know, some huggin' and kissin'.
Hideaway Motel room 10.
See ya in a few minutes.
See what these boys'll be gettin' into.
(uptempo saxophone music)
- Ah!
Oh!
- Come on, come here dirty girl.
Make dirty man dirty, you know?
Can't have no dirty girls, you know?
You know you can die
from that sh*t nowadays.
All kinds of sh*t.
You know, f*ck' a shitty
world out there, you know?
- I want my boy.
I want my boy back.
Give me my boy.
- I'm your boy.
- I want my son!
- I'm your son mama, here I come!
(blasting)
(thudding)
- Oh.
Oh, god.
(jazzy music)
- It's that b*tch.
She split.
- Looks like he was beatin' the bishop
at the moment of his demise.
- Well, at least he died happy.
- I hope she's a pretty girl.
Hey, room 10.
I got a hot date.
What, I came all this
way to f*ck a dead guy?
- Now, wait a minute.
- [Jane] Do you have any idea
what you're doing anymore?
- I can't stop.
I have to go.
I'm going straight to
the heart of darkness.
- You're completely out of it, man.
Your feet aren't even
on the ground anymore.
- Look what you've done to her.
- [Lemmy] She does it to herself.
- Are you coming, Jane?
- I'm not leaving.
If I leave her alone with him,
next time we see her, she's gonna be dead.
- Some chick blew Duke away.
I guess she lured him there.
I don't know why.
- We gotta do something about the kid.
He cries all the time.
- I cry all the time.
- What do you want us to do?
- Get rid of the kid.
- What do you mean?
- Take the kid, put him in the car
and you push it off the cliff.
- What about the money Jones owes us?
- Who gives a f*ck?
- Where you goin'?
What's the matter with him?
- I don't know.
Okay, man, get the kid.
- Me?
- Yeah, you.
Who the f*ck else?
(chime music)
- I have great, wild visions
and concepts in my head,
and I can never remember 'em.
- Yeah, you're too f*cked up.
- That is true.
Everything has its price.
- You makin' fun of me?
Don't make fun of me.
- What are you talkin' about?
- Don't make fun of me!
- Nobody's making fun of you.
Will you, don't do that, okay?
Would you, would you put that down?
Angel, Angel, Angel, here, here, here.
- It's okay.
It's okay, baby.
- Come on, come on, come on.
- It's okay.
- [Lemmy] Come here.
- Everything's gonna be okay.
- Angel, Angel.
That a girl.
(crying)
No, no, no, come here.
(tense music)
(crying)
Maybe I,
maybe I came this whole
way looking for you.
(baby crying)
(tense beat music)
- Get up against the wall.
- Looks like you've got
something on your mind.
- That's my boy's.
- That's my elephant,
but you can have it.
- You tell me where my boy is.
- How should I know?
- I wanna know where my son is!
- There's a saying,
"Those who the angels
love best die young."
- Kid's alright.
He's at the studio.
- What studio?
Where?
- Starlight Studio, over on West.
- What the f*ck is wrong with you?
- It's over, man.
Can't ya see that?
Tanas is sick.
He doesn't even care
about the money anymore.
He's dying and he wants
everyone else to die.
You can stay with the sick man,
but I've had it, I'm cashin' in.
(crashing)
(dramatic music)
- [Spike] You're f*cking dead, man.
- Hah, what's he doin' here?
- Search me, some guy dropped him off.
Friend of yours.
- This child is a reminder to us
that life replenishes itself.
But he doesn't belong here.
We have to do something about this.
Okay.
It's gonna be alright.
I'm gonna take care of this.
Yes, the time has come
for me to straighten this mess out.
("Daytripper", Beatles)
(ominous music)
- Hey, hey.
(whistling)
Hey, hey.
I brought ya a new boyfriend.
- Ah!
- Give us a big kiss.
(thudding)
(ominous music)
Hey, hey!
Turn me on, dead man.
- Hiya, Sally.
I'm death.
You hate me now, Sally,
but you'll love me later.
(tense music)
(engine puttering)
(rock music)
What's up, Lemmy?
You want a game?
- That kid's down at the studio,
the one you kidnapped!
You gotta let him go.
- The kid doesn't even matter anymore.
I got something better.
I got the kid's mom.
She's tied up in the other room.
We're gonna k*ll her, and
we're gonna videotape it.
You can get 20, 30 thousand per tape
for sh*t like that.
This video tape revolution,
it's a gold mine.
- Oh, you're sick.
You're f*cked up, you're f*cking crazy!
- You sure you don't want a game?
I'll give you white.
- I'm gonna set her free,
and I'm gonna let the kid go.
Ah!
I feel like I been sleeping,
I'm just now waking up.
- If you're waking up
you're dreaming, man.
You're already guilty of
m*rder and kidnapping.
Can't you see what's happening?
You're going around the bend.
First, you wanna be the bad guy
and then you wanna be the good guy.
You don't know what you're doing.
But it's okay.
It's okay.
'Cause it's all the same.
It's all the same f*cked up-ness.
But it's cool, man.
Go with it.
- No, I'm gonna do this,
so don't screw with me.
- I'm trembling.
(thudding)
I'm shaking.
(jazzy music)
See ya later, Lemmy.
(engine rumbling)
- You sure like to mix
it up, Tanas, don't you?
- Queen's gambit.
- Queen's gambit?
- Chess move.
I used my queen to get his queen.
♫ Hush little baby
♫ Don't say a word
♫ Mama's gonna buy you a...
(tense music)
(creaking)
- Jimmy.
(baby crying)
(blasting)
- Stop it, what are doing?
- Please, I wanna help her.
(mumbling) she tried to k*ll me.
She's trying to k*ll me goddammit!
- Baby, stop, stop it,
there's no one there.
Come on, we'll go look.
Calm down, we'll go look.
(baby crying)
See?
It's okay.
Now, give me the g*n.
(blasting)
(dramatic music)
- Angel.
No!
(blasting)
(screaming)
- You're dead.
You won't get away with this.
(moaning)
(baby crying)
- Everything's gonna be okay.
You're gonna be alright.
(tense music)
Okay, okay.
I realize now.
Are you okay?
(moaning)
I'll get you to a hospital.
Please don't die, Angel.
Please don't die!
Come on.
(tense music)
I'm sorry.
I'm so f*cking sorry.
I blew it.
(uptempo rock music)
(sirens blaring)
Ah!
- [Cop] Hold it right there!
Stop or I'll sh**t!
- Ah!
(thudding)
(blasting)
- [Cop] She's dead.
(tense music)
(sirens blaring)
(helicopter whirring)
- I'm not sure, she should
be here just momentarily.
Oh, and here is our artist today,
our lecturer, our speaker, a man who needs
no further introduction.
(clapping)
(tense music)
- Some, some, some of
you might be wondering
why I appear before you in such attire.
The subject I would really
like to address tonight is
faith.
(chatter on police radio)
A man may be repeatedly called upon
to make what the philosophers call
a leap of faith.
It looks very much like this.
Ah!
(crashing)
(clapping)
(clinking)
(engine rumbling)
(sirens blaring)
(slow punk music)
♫ I'm the devil's child
(groaning)
♫ I'm the
♫ Devil's child
♫ Yes, I'm
♫ Satan's son.
(blasting)
(gasping)
(chatter on police radio)
- This guy's a goner.
We supposed to take him to
the hospital or the morgue?
- Long as there's life in him,
you take him to the hospital.
(engine rumbling)
(sirens blaring)
- This guy's so full of holes if he took
a drink of water, he'd
leak all over the place.
- There's no way he'll pull through?
- Him?
Not a chance.
Hey, what are we stoppin' here for?
- Get out right now.
Hi Lemmy.
How's it goin'?
You don't look too good.
- You pissed me off, Lemmy.
All of that phony Satan sh*t,
that false devil worship.
If people don't believe
in me, I don't exist.
You took my name in vain.
- I got something for you to sign, Lemmy.
Look familiar?
- This is it, Lemmy.
You're a dying man, but I
can give you back your life.
And what about the girl, Lemmy?
What about Angel?
She doesn't deserve it.
You do, but she doesn't.
So, I'll tell ya what I'm gonna do.
I'm gonna give you two lives
for one soul.
Your life and her life for your soul.
- Okay, man, you ready to sign this?
You can just mark an 'X'.
Let's forget that.
How 'bout a thumbprint?
Yeah, that's good.
You even got it in blood.
Of course, things won't
be exactly the same.
I mean, they will change a bit.
You'll still be able to perform,
but you'll be playing different venues.
(slow rock music)
- Hey, relax.
Let's talk this over.
- what do you have to talk about?
- You've got the wrong guy.
I'm just the flunky.
Let me explain this to you.
It's Tanas, he did all this sh*t
just to get that kid, Lemmy.
Tanas hates that kid.
I didn't want to k*ll your husband,
kidnap that little boy.
I love kids.
Tanas made me do it.
He's the puppetmaster, I just dance
when he pulls the strings.
You and me,
we're just pawns in the game.
Evil is contagious.
It's got you infected.
You k*lled that chick and Duke.
I bet that you got Lemmy, too.
Isn't that enough bloodletting?
Give me the g*n.
I'll get rid of it for you.
Let's end all this.
(clicking)
Say goodnight Sally.
(clicking)
- I learned that from a friend of yours.
- No, no, no, no!
(blasting)
(crashing)
(melancholy music)
(ominous music)
- Hi Sally.
I'm Tanas.
You did a real good job.
- How good?
This good?
(blasting)
This good?
(blasting)
This good Tanas?
(blasting)
(somber music)
I'll see you in hell, Sally.
(tense music)
(ominous rock riff)
(melancholy music)
(mellow music)
♫ The soul that's lost can't be reclaimed
♫ There are things a man can't do
♫ Take heed from my story now
♫ Maybe I'm a bit like you
♫ Lemme tell you 'bout a friend I have
♫ All she does is cry and laugh
♫ Sometimes I think she
don't know what enough is
♫ I ask her why she acts that way
♫ She just wipes her eyes to say
♫ Well I guess you don't know
♫ But that's the way love is
♫ That's the way love is
♫ That's the way love is
♫ That's the way
♫ That's the way love is
- [Angel] Lemmy, look
out for the trash can.
(thudding)
- He put that in front of me.
- Come on, Lemmy.
- Tanas is always trippin' me.
♫ Take heed from my story now
♫ Maybe I'm a bit like you
♫ The echo is a creepin' down
- Come on, this way, Lemmy.
♫ But I guess that's the way
♫ That's the way love is
♫ That's the way love is
Come on, this is the way, Lemmy.
♫ That's the way
♫ That's the way love is
("Lost Highway", Angry Samoans)
♫ No no no I need a place to stay
♫ No no no I need another day
♫ My soul is lost
♫ It´s lost its way
♫ It´s been living in this lost
♫ This lost highway
♫ No no no no no no
♫ The night gets darker now
♫ I´m cold and all alone
♫ I took a turn in this life somehow
♫ I´ll never find my way back home
♫ I don´t know
♫ I can´t tell you girl
♫ What I seen there
♫ Demon spawn with bulging eyes
♫ The devil's living in disguise
♫ He´s in this world
♫ He´s here today
♫ He´s been living in this lost
♫ This lost highway
♫ This lost highway
♫ No no no no
♫ This lost highway
♫ This lost highway
♫ No no no no
♫ This lost highway
(funky jazzy music)
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Hellbent (1988)
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