REW FFWD (1994) - full transcript
A young photographer is on assignment in Jamaica. It's a cultural shock. First anguished, he later becomes quite fascinated by the people he meets, their neighborhood and their music.
(tires screeching)
(whipping)
(dog crying)
- [Voiceover] For God's
sake, what's that?
- [Voiceover] Now,
can you explain to me
why you put a dead dog
on the front cover?
- [Voiceover] This
is a black box.
- [Voiceover] I'm
your psychiatrist,
mechanic.
- [Voiceover] Pardon?
- [Voiceover] You're
the protagonist
of a broken down road movie.
Therefore, you need a
psychiatrist, mechanic.
- [Voiceover] This
is a psycho-drama.
This is your black box.
(speaking in French)
It belongs to the Periscope
Magazine Corporation,
an imaginary company.
- [Voiceover] You
are a paparazzi
looking for Ms. World 1976
in Kingston, Jamaica.
- [Voiceover] This black box
contains all the memory
of your last expedition.
It digitally recorded
every move, every thought,
every breath, everything.
You've been traumatized
by a special experience.
In the front, four buttons.
Let's push play.
(sucking)
- Yeah, that good.
Yeah, man.
Boys, that's right.
- [Voiceover] Well, we
must rewind the tape.
- Yeah, man, good thing
for everybody, you know.
- [Voiceover] Um,
I one day I hope
psychiatrically I can be
helped to stop smoking.
- [Voiceover] Okay, now, why
do you want to stop smoking?
- [Voiceover] Because I--
- [Voiceover] There it is.
The opening of the psycho-drama.
Just at the
beginning of the end.
- [Voiceover] Right,
now, some people argue
that the circumference
of a cigarette
is the same as the circumference
of a female nipple,
and that what you're doing
is satisfying your desire
to be breast-fed.
- [Voiceover] Boy, I
wish I could do that
as much as I smoke.
- [Voiceover] No sleeping
allowed since three days,
you're lost.
You must find your hotel,
your septic universe.
Did you find Ms. World 1976?
- [Voiceover] This
is not your world.
You don't want to get
into contact with it.
You must not get
into contact with it.
That's all you have in mind.
That's what everybody
told you to think.
- [Voiceover] No choice.
Stop the movement.
The doors are locked.
Nothing can happen to you.
(bird calling)
- [Voiceover] Hallucinations
due to active paranoia.
Dreams, watch out.
You're ready to wake
up in three seconds.
One, two, three.
Contact.
(grating)
(pounding)
- Hey, man.
What's up, man.
- [Voiceover] Do you feel panic?
- [Voiceover] Interesting.
(grating)
- [Voiceover] Pardon me?
- [Voiceover] This man,
you should follow this man.
- What do you mean,
what's the problem?
- [Voiceover] No problem.
Everything is okay.
- Stay calm man, we're cool.
- [Voiceover] The
car seems dead.
While you were dreaming
about a potential pelican,
someone had stolen a
piece of your engine.
The man said to you,
"Get out of your car,
"follow me, man."
- [Voiceover] Mike also said,
"I know a man who can help you."
And you got out
of your submarine,
and you followed him.
Very interesting.
How do you feel about this?
- [Voiceover] You're calm,
nervous at the same time.
The universe around you
looks like a bombed town.
It's like a hurricane just
passed by a few minutes ago.
Your car didn't stop
in a normal place.
You must be very careful.
You're walking on the border
of the eye of your storm.
You're in the middle
of Trench Town.
Talk to me about the storm.
(hissing)
- Yeah, man, that's Stewart.
This is the mechanic, he
can handle everything.
- Hey, now.
Good afternoon, sir.
I'm Hector Stewart,
pleased to meet you.
- [Voiceover] He'll
take a look at your car
tomorrow afternoon.
Please focus, remember.
- [Voiceover] Don't miss
it, I'm at the market.
- [Voiceover] Not so loud,
you might wake yourself up.
You're in the headquarters
of the Periscope Magazine
Corporation, a few days
before your departure.
What are you doing there?
- [Voiceover] Why?
- Now you have to
be very careful.
This country's
only 30 years old.
A teenager.
By the way, half the
island is under 18.
A third of the population
is under the step
of extreme poverty,
the scale of violence
is comparable
to the worst parts
of Los Angeles.
These people have
no respect for life.
- [Voiceover] Now we can
come back to your car
with more perspective.
- [Voiceover] And he
answered, Trench Town.
- [Voiceover] Right
in the middle of it.
Why are you so afraid?
- Now, in that country,
you never open your doors,
you always keep
your doors locked.
You never roll
down your windows,
and always wear a seat belt,
in case you need to take
evasive action.
If you're followed,
you must never go home.
If you're seriously concerned
for your personal safety,
do not hesitate to
drive on sidewalks,
against opposing lanes
of traffic or even
through traffic lights.
You never get out
of your vehicle,
and always bring a few spare
parts for your vehicle.
In some areas, spare parts
aren't very hard to obtain.
You must not drive in
areas of known danger,
and if you have an
accident in those areas,
do not stop.
You must never drive alone,
and if you are accosted,
do not resist.
- [Voiceover] Hmm, you're more
traumatized than I thought.
- [Voiceover] Concentrate, now.
You must associate
the image of your car
with the dog.
Bring the dog and
the car to life.
Good.
Alma Mockyen will begin
to speak in three seconds.
- [Voiceover] The voice.
- Now, the problem seems to be
to keep things in balance.
We want to hold
on to some of the
spirituality of the life we knew
when we were largely
rural-oriented folk.
We didn't necessarily
live in the country,
but our lives were
the simple lives
of rural people.
And we want not to lose that.
We want not to lose
the friendliness
that you find in
families even today,
which is why,
when an overseas
researcher comes here,
he can see that
we have something to offer
at family level,
where it's just people
relating to people
in a close association.
- [Voiceover] The room.
- [Voiceover] Mike says to you,
"You can stay the night."
He says that the
mechanic will take a look
at your car tomorrow.
He says that you're their guest,
and then invites
you to go with them,
talk with his friends.
- [Voiceover] Why?
- [Voiceover] You want to kill
time like a dog on a road.
(radio chatter)
- [Voiceover] Asking
confirmation for landing, over.
- [Voiceover] Ground
control to November 29,
we give you the
okay for landing.
The day is over, I repeat,
the day is over.
You can begin your
landing procedures, over.
- [Voiceover] November 29,
ground control well received
for landing in 45
seconds, over and out.
- [Voiceover] You see?
You're creating your
own psycho-drama.
You're the director.
Remember the dog and the car.
Shut up.
You direct your own reality.
Reality is not celluloid.
Open the light and go inside.
Exit the frame.
- [Voiceover]
November 29 is over.
Over and out.
- [Voiceover] Stop your cinema.
Wake up.
(rooster calling)
(rooster calling)
- [Voiceover] And from 2000
radios, you're hearing the voice
on air.
- [Voiceover] How do
we say to ourselves,
as well as to people coming in,
understand the person
behind the broad nose
or the straight nose
or the slanted eyes
or the straight hair follicle
or the kinky hair follicle,
or whatever.
The harder it is for you
to identify with the person
you are seeing, the
more you tend to
put distance between
yourself and them.
And that, too,
is influx.
That too is changing,
and again, my thesis is
how do we keep this
thing in balance?
- [Voiceover] Do you trust him?
- [Voiceover] Why did
you start to teach?
- [Voiceover] Now, we're
ready to go much further.
It has been nine days
since you're there
and you're still alive.
Your car's not fixed yet.
The mechanic, Mr. Stewart,
is too busy building
his own car.
He says to you, "Soon, come."
The rhythm slowly
begins to appeal to you.
During those days,
your attention has been
attracted by a very strange man.
He's always in the background.
Always somewhere,
hidden on the set.
So you decide to
watch him with your
250mm lens.
(chattering)
* Ah yeah
* Alright now
* Live right
* So right
* Life will be brighter
* Yeah
* Peace
* For many on the
outside looking in
* We in on the
inside looking out
* Every action
* Every action
* There's a reaction
* Bounce back
* Bounce back
* Bounce back
* Bounce back
* My name is the Carrion
* And take the call
* Don't chose come on
* It been grateful
* And they on top
* And they on bottom
* Ja Ja in the middle
* Darkness my riddle
* Say
* Do right, do right,
do right, do right
* Oh yeah
* Alright now
* Say it
* Live right
* Live right, live right,
live right, live right
* So right
* Life will be much brighter
* I say
* Every little action
* There's a reaction
* Bounce back
* Bounce back
* Bounce back
* Bounce back
* Bounce back
* Bounce back
Charlie, why offer
you (mumbling)
give the (mumbling).
(speaking in foreign language)
- [Voiceover] Without
warning, you find yourself
right in the middle
of one of their famous
philosophical discussions.
- [Voiceover] Your car
begins to fit in the scenery.
- [Voiceover] Keep your
mental car in movement.
Remember.
- The notion of efficiency
doesn't even exist there.
Do you understand?
Now, you have to work
on the occidental speed
in African laziness.
I know what I'm
talkin' about, boy,
I spent nine years
of my life in Africa.
Oh, it's a fascinating land.
My childhood dreams.
Africa is where
mankind was born.
Africa belongs to the
early beginning of life.
The African landscape
grabs your soul, boy.
Like wings in the air.
This human hell is a
paradise for photography.
- [Voiceover] You decide to
do what you're supposed to do.
Shoot pictures.
- [Voiceover] Photography
gives you the opportunity
to get closer and closer.
This man may be the
key to your problem.
You decide to follow him.
- [Voiceover] He can help you.
Trust me.
(creaking)
He's an engineer.
A car engineer.
- Most of these books
I found in the (mumbling).
And I see that it was
good enough to read,
so I tried to put them together.
A lot of it has been destroyed.
And I see if I can, you know.
Put all of.
That was not properly
registered in the book.
But, on paper for myself.
I've been studying
engineering, right,
but at a different level.
I've been studyin'
transmissions,
like differentials
and things like that.
- [Voiceover] But
how can you repair
a manual of instruction?
- Well,
the only thing you can do is
like take what's on this
and put on that.
Like some of these, now.
This one, right.
You don't exactly
know the word here,
but you could surmise it,
if you can think hard enough.
Why should that be there?
- [Voiceover] This
man just gave you
the key.
- [Voiceover] One of the
many African retentions
which have stayed with us
in the Caribbean, in the
diaspora, I would say,
is the concept of
the extended family.
Family doesn't necessarily
have to be somebody
related to you by blood ties.
It's a people who live in
the same yard with you,
it's people who share maybe
property with you.
And that extended family concept
has held our societies
together for a long time.
Now what is happening,
is that the extended family,
for a variety of reasons,
is perhaps suffering
a sea change.
Take a pivotal person
in the extended family,
the grandmother.
The matriarchal figure.
We often speak of a mother
who fathered me.
Well this grandmother is now
becoming a younger person.
The year-on system,
about which a lot has been
written in our society,
that is where people
live in a specific areas,
and when the parents of
one group are not there,
they look after all
the children and so on,
and they pass on values
to their children.
Not necessarily your children.
Your extended family.
Well, this grandmother
as I see is becoming
much younger.
She's in the labor
force much longer,
she's not there anymore
to help teach the children
in this big yard household
the values that are necessary
for social cohesion.
Yes, we are, very much a society
in change, in flux.
Now, the Jamaican
woman still has
or may in fact be the
mother of many children
by different fathers.
She is the strong,
central figure.
She has to be, she has
to scratch and scrape
to keep that family alive.
* This is myself
and it's attractive
* 'Cause this is myself
* And he so active
* Oh so wonderful
* Oh so beautiful
* Oh so wonderful
* Said oh so beautiful
* So carumba
* So carumba
* Said aruba de Babylon
* Macopana irie liquor daughter
* It was a sexy liquor daughter
* Lord and when she
start to rock with him
* The only thing it
put the (mumbling)
* Is what
* You never knew
love like this before
* Said he want some more
* Come on don't you
give him some more
* Because he never
* Knew love like this before
* Said he want some more
* Come on don't you
give him some more *
Sing, hear this.
* So, carumba
* Said aruba de Babylon
* Aruba de Babylon
(speaking in foreign language)
* So carumba
Higher, higher!
* So carumba
Higher!
* So carumba
Listen to me, now.
* Carumba de Babylon
* Arumba de Babylon
* Bacapana irie liquor daughter
* Bacapana irie
liquor daughter *
- [Voiceover] The engineer
is taking a look at your car.
- [Voiceover] What do you
expect to find in Africa?
- [Voiceover] What do
you see in those eyes?
Answer me.
- [Voiceover] The winds of
the storm are coming back.
We're beginning to
get out of her eye.
You hear the kerosene
angels leaving the ground.
Your dogs return.
Your fear of dogs
is coming back.
Everything is coming back.
How do you feel?
- [Voiceover] What do
you see in those eyes?
(chattering)
- [Voiceover] A month later
and you're out of there.
- [Voiceover] Keep the
dog in the car alive.
Concentrate.
- [Voiceover] Don't
lose your concentration.
(roaring)
* Forever
* I would say
* That Jaja is not
* The king of kings
* I would say
* That Jaja
* Is not my rightful ruler
* They must be mad,
they must be mad
* Woah woah
* They must be mad,
they must be mad *
- [Voiceover] The
tape's finished.
Let's do it again.
Let's push play.
* I would say
* That Jaja ah
* Is not the king of king
* I would say
* That my master
* Is not the rightful ruler
* They must be mad
* They must be mad,
they must be mad
* They must be mad
* Want you to do ah
* They must be mad
* They must be mad,
they must be mad
* They'll take your daughter
* They must be mad
* They must be mad,
they must be mad
* (mumbling) Mother
* They must be mad
* They must be mad,
they must be mad
* Jah rastafari
(whipping)
(dog crying)
- [Voiceover] For God's
sake, what's that?
- [Voiceover] Now,
can you explain to me
why you put a dead dog
on the front cover?
- [Voiceover] This
is a black box.
- [Voiceover] I'm
your psychiatrist,
mechanic.
- [Voiceover] Pardon?
- [Voiceover] You're
the protagonist
of a broken down road movie.
Therefore, you need a
psychiatrist, mechanic.
- [Voiceover] This
is a psycho-drama.
This is your black box.
(speaking in French)
It belongs to the Periscope
Magazine Corporation,
an imaginary company.
- [Voiceover] You
are a paparazzi
looking for Ms. World 1976
in Kingston, Jamaica.
- [Voiceover] This black box
contains all the memory
of your last expedition.
It digitally recorded
every move, every thought,
every breath, everything.
You've been traumatized
by a special experience.
In the front, four buttons.
Let's push play.
(sucking)
- Yeah, that good.
Yeah, man.
Boys, that's right.
- [Voiceover] Well, we
must rewind the tape.
- Yeah, man, good thing
for everybody, you know.
- [Voiceover] Um,
I one day I hope
psychiatrically I can be
helped to stop smoking.
- [Voiceover] Okay, now, why
do you want to stop smoking?
- [Voiceover] Because I--
- [Voiceover] There it is.
The opening of the psycho-drama.
Just at the
beginning of the end.
- [Voiceover] Right,
now, some people argue
that the circumference
of a cigarette
is the same as the circumference
of a female nipple,
and that what you're doing
is satisfying your desire
to be breast-fed.
- [Voiceover] Boy, I
wish I could do that
as much as I smoke.
- [Voiceover] No sleeping
allowed since three days,
you're lost.
You must find your hotel,
your septic universe.
Did you find Ms. World 1976?
- [Voiceover] This
is not your world.
You don't want to get
into contact with it.
You must not get
into contact with it.
That's all you have in mind.
That's what everybody
told you to think.
- [Voiceover] No choice.
Stop the movement.
The doors are locked.
Nothing can happen to you.
(bird calling)
- [Voiceover] Hallucinations
due to active paranoia.
Dreams, watch out.
You're ready to wake
up in three seconds.
One, two, three.
Contact.
(grating)
(pounding)
- Hey, man.
What's up, man.
- [Voiceover] Do you feel panic?
- [Voiceover] Interesting.
(grating)
- [Voiceover] Pardon me?
- [Voiceover] This man,
you should follow this man.
- What do you mean,
what's the problem?
- [Voiceover] No problem.
Everything is okay.
- Stay calm man, we're cool.
- [Voiceover] The
car seems dead.
While you were dreaming
about a potential pelican,
someone had stolen a
piece of your engine.
The man said to you,
"Get out of your car,
"follow me, man."
- [Voiceover] Mike also said,
"I know a man who can help you."
And you got out
of your submarine,
and you followed him.
Very interesting.
How do you feel about this?
- [Voiceover] You're calm,
nervous at the same time.
The universe around you
looks like a bombed town.
It's like a hurricane just
passed by a few minutes ago.
Your car didn't stop
in a normal place.
You must be very careful.
You're walking on the border
of the eye of your storm.
You're in the middle
of Trench Town.
Talk to me about the storm.
(hissing)
- Yeah, man, that's Stewart.
This is the mechanic, he
can handle everything.
- Hey, now.
Good afternoon, sir.
I'm Hector Stewart,
pleased to meet you.
- [Voiceover] He'll
take a look at your car
tomorrow afternoon.
Please focus, remember.
- [Voiceover] Don't miss
it, I'm at the market.
- [Voiceover] Not so loud,
you might wake yourself up.
You're in the headquarters
of the Periscope Magazine
Corporation, a few days
before your departure.
What are you doing there?
- [Voiceover] Why?
- Now you have to
be very careful.
This country's
only 30 years old.
A teenager.
By the way, half the
island is under 18.
A third of the population
is under the step
of extreme poverty,
the scale of violence
is comparable
to the worst parts
of Los Angeles.
These people have
no respect for life.
- [Voiceover] Now we can
come back to your car
with more perspective.
- [Voiceover] And he
answered, Trench Town.
- [Voiceover] Right
in the middle of it.
Why are you so afraid?
- Now, in that country,
you never open your doors,
you always keep
your doors locked.
You never roll
down your windows,
and always wear a seat belt,
in case you need to take
evasive action.
If you're followed,
you must never go home.
If you're seriously concerned
for your personal safety,
do not hesitate to
drive on sidewalks,
against opposing lanes
of traffic or even
through traffic lights.
You never get out
of your vehicle,
and always bring a few spare
parts for your vehicle.
In some areas, spare parts
aren't very hard to obtain.
You must not drive in
areas of known danger,
and if you have an
accident in those areas,
do not stop.
You must never drive alone,
and if you are accosted,
do not resist.
- [Voiceover] Hmm, you're more
traumatized than I thought.
- [Voiceover] Concentrate, now.
You must associate
the image of your car
with the dog.
Bring the dog and
the car to life.
Good.
Alma Mockyen will begin
to speak in three seconds.
- [Voiceover] The voice.
- Now, the problem seems to be
to keep things in balance.
We want to hold
on to some of the
spirituality of the life we knew
when we were largely
rural-oriented folk.
We didn't necessarily
live in the country,
but our lives were
the simple lives
of rural people.
And we want not to lose that.
We want not to lose
the friendliness
that you find in
families even today,
which is why,
when an overseas
researcher comes here,
he can see that
we have something to offer
at family level,
where it's just people
relating to people
in a close association.
- [Voiceover] The room.
- [Voiceover] Mike says to you,
"You can stay the night."
He says that the
mechanic will take a look
at your car tomorrow.
He says that you're their guest,
and then invites
you to go with them,
talk with his friends.
- [Voiceover] Why?
- [Voiceover] You want to kill
time like a dog on a road.
(radio chatter)
- [Voiceover] Asking
confirmation for landing, over.
- [Voiceover] Ground
control to November 29,
we give you the
okay for landing.
The day is over, I repeat,
the day is over.
You can begin your
landing procedures, over.
- [Voiceover] November 29,
ground control well received
for landing in 45
seconds, over and out.
- [Voiceover] You see?
You're creating your
own psycho-drama.
You're the director.
Remember the dog and the car.
Shut up.
You direct your own reality.
Reality is not celluloid.
Open the light and go inside.
Exit the frame.
- [Voiceover]
November 29 is over.
Over and out.
- [Voiceover] Stop your cinema.
Wake up.
(rooster calling)
(rooster calling)
- [Voiceover] And from 2000
radios, you're hearing the voice
on air.
- [Voiceover] How do
we say to ourselves,
as well as to people coming in,
understand the person
behind the broad nose
or the straight nose
or the slanted eyes
or the straight hair follicle
or the kinky hair follicle,
or whatever.
The harder it is for you
to identify with the person
you are seeing, the
more you tend to
put distance between
yourself and them.
And that, too,
is influx.
That too is changing,
and again, my thesis is
how do we keep this
thing in balance?
- [Voiceover] Do you trust him?
- [Voiceover] Why did
you start to teach?
- [Voiceover] Now, we're
ready to go much further.
It has been nine days
since you're there
and you're still alive.
Your car's not fixed yet.
The mechanic, Mr. Stewart,
is too busy building
his own car.
He says to you, "Soon, come."
The rhythm slowly
begins to appeal to you.
During those days,
your attention has been
attracted by a very strange man.
He's always in the background.
Always somewhere,
hidden on the set.
So you decide to
watch him with your
250mm lens.
(chattering)
* Ah yeah
* Alright now
* Live right
* So right
* Life will be brighter
* Yeah
* Peace
* For many on the
outside looking in
* We in on the
inside looking out
* Every action
* Every action
* There's a reaction
* Bounce back
* Bounce back
* Bounce back
* Bounce back
* My name is the Carrion
* And take the call
* Don't chose come on
* It been grateful
* And they on top
* And they on bottom
* Ja Ja in the middle
* Darkness my riddle
* Say
* Do right, do right,
do right, do right
* Oh yeah
* Alright now
* Say it
* Live right
* Live right, live right,
live right, live right
* So right
* Life will be much brighter
* I say
* Every little action
* There's a reaction
* Bounce back
* Bounce back
* Bounce back
* Bounce back
* Bounce back
* Bounce back
Charlie, why offer
you (mumbling)
give the (mumbling).
(speaking in foreign language)
- [Voiceover] Without
warning, you find yourself
right in the middle
of one of their famous
philosophical discussions.
- [Voiceover] Your car
begins to fit in the scenery.
- [Voiceover] Keep your
mental car in movement.
Remember.
- The notion of efficiency
doesn't even exist there.
Do you understand?
Now, you have to work
on the occidental speed
in African laziness.
I know what I'm
talkin' about, boy,
I spent nine years
of my life in Africa.
Oh, it's a fascinating land.
My childhood dreams.
Africa is where
mankind was born.
Africa belongs to the
early beginning of life.
The African landscape
grabs your soul, boy.
Like wings in the air.
This human hell is a
paradise for photography.
- [Voiceover] You decide to
do what you're supposed to do.
Shoot pictures.
- [Voiceover] Photography
gives you the opportunity
to get closer and closer.
This man may be the
key to your problem.
You decide to follow him.
- [Voiceover] He can help you.
Trust me.
(creaking)
He's an engineer.
A car engineer.
- Most of these books
I found in the (mumbling).
And I see that it was
good enough to read,
so I tried to put them together.
A lot of it has been destroyed.
And I see if I can, you know.
Put all of.
That was not properly
registered in the book.
But, on paper for myself.
I've been studying
engineering, right,
but at a different level.
I've been studyin'
transmissions,
like differentials
and things like that.
- [Voiceover] But
how can you repair
a manual of instruction?
- Well,
the only thing you can do is
like take what's on this
and put on that.
Like some of these, now.
This one, right.
You don't exactly
know the word here,
but you could surmise it,
if you can think hard enough.
Why should that be there?
- [Voiceover] This
man just gave you
the key.
- [Voiceover] One of the
many African retentions
which have stayed with us
in the Caribbean, in the
diaspora, I would say,
is the concept of
the extended family.
Family doesn't necessarily
have to be somebody
related to you by blood ties.
It's a people who live in
the same yard with you,
it's people who share maybe
property with you.
And that extended family concept
has held our societies
together for a long time.
Now what is happening,
is that the extended family,
for a variety of reasons,
is perhaps suffering
a sea change.
Take a pivotal person
in the extended family,
the grandmother.
The matriarchal figure.
We often speak of a mother
who fathered me.
Well this grandmother is now
becoming a younger person.
The year-on system,
about which a lot has been
written in our society,
that is where people
live in a specific areas,
and when the parents of
one group are not there,
they look after all
the children and so on,
and they pass on values
to their children.
Not necessarily your children.
Your extended family.
Well, this grandmother
as I see is becoming
much younger.
She's in the labor
force much longer,
she's not there anymore
to help teach the children
in this big yard household
the values that are necessary
for social cohesion.
Yes, we are, very much a society
in change, in flux.
Now, the Jamaican
woman still has
or may in fact be the
mother of many children
by different fathers.
She is the strong,
central figure.
She has to be, she has
to scratch and scrape
to keep that family alive.
* This is myself
and it's attractive
* 'Cause this is myself
* And he so active
* Oh so wonderful
* Oh so beautiful
* Oh so wonderful
* Said oh so beautiful
* So carumba
* So carumba
* Said aruba de Babylon
* Macopana irie liquor daughter
* It was a sexy liquor daughter
* Lord and when she
start to rock with him
* The only thing it
put the (mumbling)
* Is what
* You never knew
love like this before
* Said he want some more
* Come on don't you
give him some more
* Because he never
* Knew love like this before
* Said he want some more
* Come on don't you
give him some more *
Sing, hear this.
* So, carumba
* Said aruba de Babylon
* Aruba de Babylon
(speaking in foreign language)
* So carumba
Higher, higher!
* So carumba
Higher!
* So carumba
Listen to me, now.
* Carumba de Babylon
* Arumba de Babylon
* Bacapana irie liquor daughter
* Bacapana irie
liquor daughter *
- [Voiceover] The engineer
is taking a look at your car.
- [Voiceover] What do you
expect to find in Africa?
- [Voiceover] What do
you see in those eyes?
Answer me.
- [Voiceover] The winds of
the storm are coming back.
We're beginning to
get out of her eye.
You hear the kerosene
angels leaving the ground.
Your dogs return.
Your fear of dogs
is coming back.
Everything is coming back.
How do you feel?
- [Voiceover] What do
you see in those eyes?
(chattering)
- [Voiceover] A month later
and you're out of there.
- [Voiceover] Keep the
dog in the car alive.
Concentrate.
- [Voiceover] Don't
lose your concentration.
(roaring)
* Forever
* I would say
* That Jaja is not
* The king of kings
* I would say
* That Jaja
* Is not my rightful ruler
* They must be mad,
they must be mad
* Woah woah
* They must be mad,
they must be mad *
- [Voiceover] The
tape's finished.
Let's do it again.
Let's push play.
* I would say
* That Jaja ah
* Is not the king of king
* I would say
* That my master
* Is not the rightful ruler
* They must be mad
* They must be mad,
they must be mad
* They must be mad
* Want you to do ah
* They must be mad
* They must be mad,
they must be mad
* They'll take your daughter
* They must be mad
* They must be mad,
they must be mad
* (mumbling) Mother
* They must be mad
* They must be mad,
they must be mad
* Jah rastafari