Sunset Strip (2000) - full transcript

A day in Hollywood, 1972, with young people looking for the 24 hours that will change their lives. Zach will open that night for a British rocker at Whisky a Go-Go; he lives in a canyon and plays impromptu duets with a mysterious guitarist he doesn't see. Tammy is a costume designer, open to quick sex with the various rockers she works with and loved from afar by Michael, a photographer recovering from a case of the clap. His good friend is Felix, a morose, alcoholic songwriter. On hand for comic relief is Marty Shapiro, a fast-talking record producer. Getting ready for the gig at the club, Zach's performance, and the early-morning aftermath comprise the film.

(alarm rings)

(camera takes pictures)

* Ooh

* Shh *

* Hey, kid, rock and roll

* Rock on

* Ooh, my soul

FELIX: In Hollywood in 1972,

up on sunset, man...

the strip was packed
every night.

* Jump up and down

* In your blue suede shoes

FELIX: And not with tours,
but us...

the people in the back
rooms trying to make it.

* Where do we go
from here? *

* Which is a way
that's clear? *

* Still lookin' for

* That blue jean
baby queen *

* prettiest girl...

FELIX: We were all out there
looking for something,

because we knew
that L.A. was a gold mine,

and your life could change

in 24 hours.

And that's why
we came here.

Oh, that's right.
Just walk on by.

Oh, shit.

Michael, you know
I hate eating alone.

I'm sorry.
Come join us.

You want
some more coffee?

No. No, thanks.

I'm not hungry.

Okay, but do you want
more coffee?

* Rock on

here it is.

* Rock on

MICHAEL: I'm sorry
about today.

Things just got
a little out of hand.

So, who was she?


You really want to know
who she was?

Or you want to know
what she was doing to him?

So, the shoot's
still at 2:00?

I'll pick you up.


Did you ever think about
washing some of this?


Well, you should.

Hey, I like the new song.

Remember what you said
if it goes to number one...

Yes, but only if you learn
to play the guitar.

* Human nature *


* Always seems to

* Have a way of givin' in

I'll be right back.

Miss, miss.

Could you change
the radio station, please?

I like this song.

-I wrote this song.
-You wrote this song?

Yeah, and I really don't
want to hear it right now,

you know what I'm saying?

Mary, I got the guy
over here who did this song.




Is this you singing?


Look, if it was me

do you think
that I would be here

eating toast and eggs?

I'd be at the Hyatt, right?

With a 16-year-old girl
with perky little breasts

who thinks
I understand her,

you know?

But it's not me
singing, no.

You know why?

Because I'm not that guy.

So would you mind too much

changing the goddamn fucking
radio station, please?



Oh, man.

Oh, fuck.


Out. Come on.

Oh, baby.

Get out.


Bobby, come on.

Hey, baby.

Oh, come on, come on,
don't be that way.

Give your daddy
some sugar.

Come on.

I need to get
some sleep.


You know,

it wasn't that long ago
you were begging me

every time
I come off stage.

Yeah, and how many stages
you been on lately, Bobby?


You should eat more.

You're too skinny.

You should eat eggs.

I don't eat eggs,
Mr. Niederhaus.

We talked about this.

Everybody eats eggs.

I don't eat meat
or their baby embryos.

Do you eat fish?


I eat--I eat fish.


You should come tonight
to the show.

Maybe you could
come on stage

and play the tambourine.

Hey, come here.


Nice dog.


Come on.

Well, what do you
call yourself?

Naked Snake.

Naked Snake?

Now, that's a name.

I just wanted it
to be "Naked" first,

but then one of our guys
killed his snake

in his garage
during rehearsal,

so it was
some kind of sign.

I need to rest, okay?

You need this?

Let me have some of that.

This could be it,
Mr. Niederhaus.

Tonight, I may
actually be able

to get some of that
money that I owe you.

You know? I mean,
it goes well,

because there's going to be
some major labels there.

You know?

If they like us...

you buy some fish
before you pay me, okay?


Don't forget that.

No, no.

How many girls
have you been with lately?

Come on, Doc. I know
where I got it.

I just need the shot.

Yeah. Okay.

You know what they call
a guitarist

without a lady friend?

No. You got me.


Ha ha ha! It wouldn't have
hurt if you laughed.

You done?

Done, done, done.


oh, nice.

You're going to have
to let her know--

and anybody else
you've been with.

Don't worry.
She'll know.

Okay, who's next?

FELIX: Roses are red,

violets are blue.

Jennifer the cocktail
waitress has the clap,

and she gave it to you.

That's touching.
I like that.

Is that a new lyric?




you know, Mikey, I'd take
a couple of shots in the ass

for Jennifer.

You want me
to pass that on for you?

Nah. That's not

You want me to go
in there with you

for a little support,
you know?

It's kind of hard
to tell somebody

that they're diseased.

And I also want
to assure you...

and her...

that I'm not going
to say anything.

Thanks, man.

You got it.

All right, so what
do you got on today?

I got a lot of exclusive
interview type stuff

and, uh, you know.

-Don't work too hard.

Hey, Mike.

What are you doing here?

Jen's letting me crash.

(music playing)

You want a beer?

* Aw, yeah *

* Uhh

* Aw, yeah

What time is it, man?

It's a little
after 10:00.

Oh, you wait there.

Don't you fucking move,
all right?

You're going to love
this idea for the shoot, man.

So where is she?

Check this shit out, man.

It's just like
I was telling you,

right fucking here.

Glenn, this is Kennedy
just before

he had his head
blown off.

Exactly, man.

That's what's
so great about it.

Just imagine
the irony, Mike.

Okay? Add me

sitting up
on a back seat

playing my guitar,

I'm in color.


When's she going
to be back?

No, no, no.
You listen to me, Mike.

Check this out.

The rest of the band...

we make them
secret service agents.

That's great, man.
Bring it with you
to the shoot.


All right.

Hey, did you want
to talk to Jen?


Just tell her
she's got the clap.

(door closes)

Okay, take an inch
off Darryl's inseam

and an eighth
off the seat.

No, Tammy, man, take off,
like, 5 inches, man.

I want these pants
painted on, man.

I want little chickens
in the back row

to know who docks to the left
and who to the right.

You know what I mean?

Meat and potatoes, man.

Relax, Marty. I know
what you want, okay?

(telephone rings)

Ahem. Boys,
this here's the lady

that's going to make you forget
all about your days...

at Chester's
Chicken Shack.

Damn near everybody
Tammy lays her hands on

becomes a star.

Ain't that right, baby?

Tammy, Duncan Reed
is on the phone.

Is it him or his manager?

It's his manager.


well, take a message.

Take a message, man.

That guy's a prick.

what do you think?

Looks good.

Real bad ass, man.

What do you think, baby?

It ain't working, Marty.

What are you
talking about, man?

It's exactly what I wanted.

You've done a beautiful,
beautiful thing today.

Why don't you let
the lady speak, please?

How long you been
in the business, my man?

Like, 10 minutes?

Okay? I've been in
the business 10 years.

I think I know a thing
or two about pants.

Man, we are not
The Temptations.

You got it
all wrong, man.

Let me tell you
a little something

about The Temptations, man.
Even The Temptations

ain't dressing like
The Temptations no more.

You know why?
Do you know why?

Because Marty told them
it was time for a change.

That's right. R&B--

R&B is all about knowing
your "r"s from your "b"s.

No one knows that shit
better than me, man.

Because I keep my ears
close to the street, man.

I'm in touch
with the ghetto.

That's right.
Always have been, man.

Fuck. Shit, nigger,
I am the streets.

Get off it. You grew
up in the valley.


Okay, that's
the north valley, man.

Shit, man.

They got to like
what they're wearing.

No. I got to like
what they're wearing.

Brother, you got
to trust the lady.

All right,
you tell me how it is.

Yeah, man, let me
tell you something.

Marty, you got
to trust her, man.

What's this?

* You've got
to trust somebody *

* Yeah

* You've got
to trust somebody *

Okay, don't
get me started, man.

You know Marty
can't control himself.


* Yeah, yeah,
yeah *

* You've got
to trust somebody *

* Oh oh oh oh oh *

* Who's your baby?

* Who's your friend? *

* When it's cold outside

* I'll let you in

* Liars lie

* Yes, they do

* Like a new pair of shoes

* I'll walk with you

* It's kinda hard
to believe *

* In anybody but you

* But you can't do it
all by yourself *

* You've got to trust
somebody *

* Oh *

* You've got to trust
somebody *

* You've got to

* You've got to trust
somebody *

(telephone rings)


Excuse me, Tammy?

Marty Shapiro
doing his job, man.

New threads, a new tune--

that's why
I do the managing.


it's Duncan Reed.


Duncan Reed
is on the phone.

MAN: That's us?

Um, okay. I'll
take it upstairs.

Trust me, too, man.

Right on.

-Watch out, man.
-No shit.

All right, man,
let's celebrate.

What do you
want to do?

This is Tammy.

DUNCAN (Scottish accent):
I hate to pull you away

from whatever
you're doing.

Hey, Duncan.

I want to see you.

Oh, yeah?

How about the Hyatt?

Why don't you come along

and bring
some of your stuff?


well, we're--we're
kind of crazy here.



I'll tell you what.
Give me an hour, okay?

See you.

Yeah. Bye.

(electric guitar playing)

(guitar riff plays)

(duplicates guitar riff)

(guitar riff plays)

(duplicates guitar riff)


(plays first guitar riff)

Who are you?

* I wanna make you mine

* So I'm gonna
make you mine *

* I believe in you

(British accent)
Yes. Can I help you?

Um, I'm Tammy...


Duncan's expecting me.

One moment, please.

Right this way,
Miss Franklin.

Thank you.

I'm Nigel Richardson,

the band's manager.

Would you like some tea?

Um, yeah, sure.

It's there
on the trolley.

Duncan will be
with you shortly.

He says you're
very talented.

Thank you.

this spot for you--

I'm not talking
about it anymore.

The party
is before the show,

and that's it.
It's done.

Barry, it's absurd.

A party at, what, 7:00?

The sun will still be up.

You want the people
from the press

to be at this show
early and on time

and in a good mood,

Okay. We're going
to feed them.

We're going to booze them.

Excuse me.

Excuse me.

I would love
a cup of tea, please,

with just
a little bit of sugar.

And then reviews
will be great.

They'll be--
it's just...

trust me. This is
how we do it out here.

Not to mention
Jann Wenner

already loves Duncan

So it's, like--
it's not a big stretch,

and the band
doesn't care.

And then you can have
a big party afterwards

for all of us
with the tit and the 'ludes

and whatever, okay?


And not your 'ludes--
his 'ludes.


(door opens)

Hi, Tammy.

You're not leaving,
are you?

Hello, Duncan.

Good to see you.



Oh, you've been busy.

Yeah. Things have been,

you know, good.

Yeah. Thank you.

Now, I only did these
the other day.

I'd love to see you
in this one,

but if that
scares you...

we could always
do something like this.

What do you think?

Do you want a drink?

Why not?

The chap from
Rolling Stone is here.

I'm having
a conversation here.

(door closes)

So, how long
you in L.A.?

Do you know what?

You look
absolutely beautiful.

Do you know that?

Thank you.

I think...

keep these ready
for tonight,

and I'll swing by
and pick you up...

and we'll go
to the show together.




(music playing)

Excuse me.

I want to trade
these in.

Cash or credit?


6 bucks.

6? Man.

Or 9, in-store credit.

Did you even see
what's here?

That's the best I can do.

Man, this is war--

World is a Ghetto.

This is only one
of the greatest albums

of this century.

We've got it.

Man, do you even know
what this is?

Tell me.

School's Out.

Now, this one,

it's hard to let
this one go, man.

This one has...
the panties, man.

This--these are
a collector's item.

They're pristine--


Years from now, man,

these are going
to be worth bucks,

and I'm
throwing them in.

All this...

for another...


I'll give you 8.

What can I say?

Yes. Okay.

Man, I'm parked in the red.
You think I could just--

I'll be right
with you, sir.

Just a couple of packs
of smokes.

I'll be right
with you.



You don't mind,
do you, man?

I don't...

I don't think they serve
your kind here.


I want you to know
I don't have a problem

with your people.



Hey, man,
is that supposed to be

some kind
of racial slur?

Because that ain't cool.

No. I'm diggin' it, bro.
I'm with you.

Hey, you know, that--

listen, that--
god damn it, man.

You know, that attitude
of yours...

what, you perceive me as
something different from you?

Why don't you listen to
what my man king had to say?

You remember
Martin Luther king, man?

You know what
he's talking about?


Okay. You can mock me
all you fucking want,

but he's talking
about peace.

You got to open
your ears, man,

and listen for the sounds
of brotherhood,

you know what I mean?

Are you a brother?

Can I help you?

Let me get a couple
of packs of menthols

and some nasal spray.

Shit, man,
give me your hand.

Just--truce. Just give me
your hand. Please, man.



(breathes deeply)


You feel that, man?

You going to tell me
you don't feel that?


That's my aura.

You're getting
a parking ticket.

Aw. Fucker.

Get the fuck off
my ride, man.

When I was 17,

I was in this
really bad car crash.

It took them
almost 2 hours

just to get me out.

See, I don't tell
this story to many people,

you know,
but you seem cool,

you know, so...

Sure, kid.


While all this is going on,

I'm having
this kind of--

this near-death

You know, I'm floating
over my body.

There's this tunnel

and this white light,
you know?

And it's the whole bit.

And I'm thinking
it's Buddha

or Jesus
coming to get me,

but you know who it is?

It's--it's Jimi Hendrix.


Unstraps his strat--

this blinding-white
beautiful Stratocaster--

he hands it to me.

I take it, and
he starts to fade off

into this white light,
this purple sky.

MAN: Can you take
this down for me?

Hey, yeah.
Be right there.

All right, well...

first thing I do...

when I leave the hospital,

is I go straight to
the nearest music store.

And there it is...

like it's been
waiting for me...

this beautiful white Strat.

I plug it in and I
just start playing.

You know,
like I've always know how.

It wasn't great,
but I could feel his energy

moving through me, you see?

And that's--that's
when I knew

I could not screw around
with my life anymore.

That I had
to do what Jimi said

and I had
to come out to L.A.

That was almost a year ago. you still
want the strings?

Yeah, just the strings.

I'm sorry.

(camera clicks)

Hey, you.


Have we got
any messages?

What was he like?

Come on.
We gotta move fast.

What was who like?

Stop that!

Come on, Michael,
we're late.

Okay. Eileen,
let's go.

-I'm ready.

All right, lift.
Got it.

Got it.
Who are you fitting?

Duncan Reed.


You have to
start this for me.


Now, cut the pattern,
use this velvet,

and start the fitting.

Tammy, I don't think--

you can do it, okay?

It's just like he'd expect
me to drop everything.

But you did,
didn't you?


Drop everything for him.

-I did not.

I didn't.

So, did you look
at my colors?

Yeah, they're great.

Hmm? Did you?

What did you think?
You like them?

Yeah, they're great.

You didn't even look,
did you?


I was up all night
doing those, Michael.

I looked, okay?
I think they're great.

They'll work.

Thank you.


Do you think
they're big enough?

How am I supposed to answer
a question like that?

Do you know what I'm
talking about? My breasts.

Do you think
they're big enough?

I'm not your brother.

No, you're not?


No, seriously.

Okay, okay, okay.

Are they big enough
for what?

For me!

Just, you know,
for men liking breasts.



They're great.


We got that
out of the way now?

Thank you, yeah.


Ever think of
getting married?

No, I don't think so.

No, me, neither.

(gun cocks)



God damn it, man!

Come on, Mike!

Not a gun works
around here, man!

Now, who's on
these guns?

I'm sorry. I got it.

Ahh. Whoo.

Look, Mike,
I'm glad we let go

of that whole
Kennedy thing, man.

I hate the shirt!

I just want
to make sure--hey!

I just want to make sure

we ain't missing out on
any opportunity here.

Just to really--
unh!--you know?

I need
2 minutes, okay?


Where's the dirt?

Here, try this one.

Tammy, we need
the dirt.

I got the dirt.

It's gotta be
special, Mike!

I want an album cover
people are gonna remember, man.

They will, man.
Trust me.

Hey, how about this, man?

How about we shoot it

with me up on the horse?

Huh? Huh?

Sure. Charlie,
get him a horse.

-A horse.
-A horse?

You like horsies, huh?

Let's go
with this one.

-You like that?

I bet you do.

You look good.



What's her name, man?

Who, Tammy?


She always
so friendly?

Only if you play guitar.

Hey, uh, Tammy!


I think I need
a little more dirt!

You look great, man.
Let's just get the shot.

Whoa, whoa, whoa!

(guns firing)

Come on, boy!
Whoa, whoa, whoa!

Shit, Mike, I don't know
about this horse, man!

Don't you got
something to do?

Now, quiet, everybody!
Shut up!

I got it. I got it, man.

You know what it needs?

You know what this whole
thing needs, man?

No. No.

A woman, man.

Right up here
on the back.

All scared and all,
up here with me.

Let's try it
once more just like this.

(sighs) Hey, Tammy.


You want to be
a saloon girl?


Help me out here,

Just help me
out here.

It'll be fun.

This guy's
out of control.

Might be fun.
Come on.

Come on.

Yeah, okay. I'll be
your saloon girl.

I got
the perfect dress, too.

GLENN: All right!

Hey, Mike?

You just worry about

keeping it all
in focus, okay, Mike?

Come on, my man,
let's go.

Come on!

Action, Glenn!

Oh, my god, help me!

Whoa, whoa, whoa!
Slow down! Slow down!

Everybody hold up! Hold up!

I got an idea, my man.

Could you just shoot
the fucking gun, please?

What if--

No, no, let's
just do this.

No, you listen to me,
man, all right?

I'm telling you
what I want, okay?

What do you want
to do, Glenn?

Now, you ready?

Yeah, I'm ready.

-You ready?
-Yeah, I'm ready.

Just imagine this, man.

This whole place
is on fire, man.

I mean, burning down
to the ground, okay?

Tammy and I, we're
up here on the horse,

coming through all that.

Can't do it.

This is Hollywood.
We can do whatever we want.


What do you think,


Can we do it, Mike?

Tammy loves it!


Screw it.

Oh, man, come on, Mike.

What's the matter, man?

Pack the lights up
when you're done.



Hey, baby,
just let him go.


Somebody get me a camera!

Do this the right way.

Some film
and lights, too, man.

Shoot it my damn self.


Michael, you can't
walk away from this.

(starts engine)

Oh, well,
fucking go.

How many carrots
do you eat a day?

I try to eat 20,
but sometimes I don't.

I drink carrot juice
every day.

It was nice to meet you.

Yeah, nice to meet you.

I'm--I'm here a lot.


Hey. The Doberman.

This morning. I was
walking with the old man.

Did my dog do something
to hurt him?

No. Nothing like that.

So, listen, my band--
I'm in a band.

They're playing at
the Whiskey tonight.

If you want to come down,

I could put
your name on the list.

We don't get out much.

"We" as in
you and the dog?

Who's we?

It's--it's a boyfriend,


Well, I could put
you down for 2.

(engine sputtering)

If you want to
come down, you can.

What's your name?

(engine sputters)

Doesn't sound so good.

You should have your boyfriend
take a look at that.

You know, I could--
I could look at it.

If you want.

You want me to help you
with these bags?

I--I only have
a couple of dollars.

No, I'm--


what was that?

Nothing. He's just
shooting birds.


Just be cool, okay?

Hey, babe.

Where have you been?

I went to get groceries.

This is Zack.

The car died again
and he gave me a ride.

Hey, man. Wow.

Zack's band is playing
the Whiskey tonight.

ZACK: Yeah, we are.

If you want
to come down,

I can put your name
on the list.

You have been gone 2 hours.

You bangin' her?

No, man.

You know what?
I am so sick of this.

I want to talk to you. Now.

Hey, I can go if--if you
want to talk to him.

No, it's okay.

I'll be right back.


BOBBY: Where the hell
do you think you're going?!

Christine, you get
your butt back here

right now, god damn it!

You'd better go.

Yeah, okay.

What time did you meet her
at the store, kid?

Baby, why are you
doing this?

'Cause she gave me a time
and I want to see

if your time and her time
are the same time.

Man, can I just
say one thing?


Man, Monday, Monday,

California dreamin'...

I just want
to thank you, man.

Zack, he's not
John Phillips.

Fuck you!

Get the fuck
out of my house!


(engine roars)


Enter. This is my house.

Hey, Eileen?
Meet Glenn.

Glenn, my assistant

-How you doing, baby?

How's it going?
Hey, I know you.

Did you get the pattern
done for Duncan?

Yeah, I actually
started to sew it.

It's up by the machine.

He's so cute.

I want to see it.

Okay, sure.

GLENN: Hey, I just saw
Dennis Hopper, baby!

I guess you kids
keep your eye

on pretty much
the whole scene, huh?

Here, try this one.

What you got?

You like it?

Mmm...not as much
as I like you.

I guess not.




Mmm, easy, tiger.


Felix home?

Fuck Felix!







(doorbell rings)

Uh, hang on a minute.

They can wait.
Come on.

Stay here.
Don't move, okay?


Hi, Tammy.


Boy, you've really got
something going here.

I like it.

Thank you.

(music starts)

Come on, sit down.

I've got a car outside.
Can I take you somewhere?

Oh, I can't.
I've got a client.

Come on. There you go.
Make yourself comfortable.


Angelo was...


Look, I'll show you
what I've done so far,

and then you're gonna
have to go, okay?

* Man buys a monkey


* That helps him unwind

* He pays me 10 thousand

* To get the hate
off his mind *

* It's a mad world

* It's a mad, mad world

(camera clicking)

* Call me a counselor

* Call me a shrink

* I'll lead your path
across the water *

* Your girlfriend'll drink


* It's such
a mad, mad world *


Come on.

Ooh, ducky.

Got the arm?

Duncan, I have a client.


* The gift of it all

* It's a mad world

I have a client.
Just wait right there.

* It's a mad, mad world

try the pants
with the jacket.

* Whoo-oo-oo

Wake up! Wake up!


Okay, we're walking.
Let's go.

Okay, this is nice.

You're a great songwriter,
you know that?

You're Felix Tarkington.

You think you're gonna be
remembered when you're dead?

No. The Osmonds.

The Osmonds are gonna
be remembered, man.

Sherman, The Bee Gees.

These are the talents
the world's gonna know, man.

Not some cynical bastard
who knew the score

and still stupid enough
to pull shit like this.

Man, who do you
think you are?



Oh, missed you, baby.
Come on.

Here, come on, out.

No. Out.
I've got a customer.

You have to go.

No, no.
Please, baby, please.

Put your shirt on.

Listen, listen.

I may not be
a big man, okay?

But I'll make it
worth your while.

No! Oh, God.

Oh, God.





Oh, yeah!



Oh! Oh!



okay, you gotta go now.




You did this on purpose,
didn't you?


Oh, my lord, what a woman.



Oh, shit.



What were you thinking?


You know better, man.

You gotta eat the olives.
Otherwise, it's not a martini.

We talked about this. Huh?


Am I gonna have
to teach you again?


I just want you to know
I'm thankful for this.

'Cause I've had a great day,

and you just raised it
to another level.

I knew I could
count on you.

I really appreciate it.

Thank you.

You're welcome.


Gimme one of
your faces, man.

Mikey, that's--
that's cold.



That's very handsome.




I need a drink.


I think you're all out.

You okay, baby?

Uh, yeah, I'm fine.

I've just got
a difficult client.

I thought
you'd, uh, left.

do you know Duncan?

Duncan, this is Glenn.

Duncan's band's playing
at the Whiskey tonight.

I've heard your stuff.

-Oh, yeah?

It's not, uh...
it's not honky-tonk.


it's on its own.

I guess if you say so,
my man.

No, really. I love it.

it's real American music.

You've got good taste,
my man.

Now, let me tell you
something about yourself.

You fellas, you're
stealin' the blues

right out
from under us, man.

I mean, come on.

Thank you, brother.

Listen, I want you
to come to the gig tonight,

sit in with the guys.

Oh, no, no, no.
I couldn't do that, man.

Of course you can.


Ha ha! Good man.

-All right.

Hey, uh,
you like bikes?

I love bikes.

Check this out, man.

You're not gonna
believe this right here.


I'll see you tonight.

(door bell rings)

(dog barking in distance)

(plays riff)

(guitar repeats riff
in distance)

(repeats riff)

(botches riff)

(guitar playing)

(guitar playing)

Turn that thing down.
You've got a visitor.



Want me to make you tea
for your guest?

I'll make you tea.

Someone's got a view.


You know that
he played clarinet

in the studio orchestra
for Gone With the Wind?

MGM. He was there
for 20 years.

Look, I just wanted
to apologize.

How did you find me
up here?

Well, I wouldn't call
your car an eyesore,

but it wasn't exactly
difficult to spot.

Oh, so you--
you looked for it?




I hope it goes well
for you tonight, Zack.

I'll put your name
on the list.

(knock on door)

Michael, it's Tammy.
Can I come in?

Yeah, come in.


What are you doing?


Are these new?

You haven't seen those?


You can't just do that,


The shoot.
It was important to me,

and you just
pissed it away.

You know, you're not
the only one

who cares
about their work.

Your work?

Yeah, my work.

Come on, Michael, we both
know the way this works.

No, we both know
the way you work.

Yeah, whatever it takes,
that's what I do.

Look, this is not
really a good time.

You should probably leave.

Why don't you
ever use color?

'Cause I like
black and white.

But some shoots you
should work in color.

Like today's and some
shoots like today--

Black and white
works for me, so, uh...

I use it.

And to be honest, I have
a little trouble with colors.

What do you mean?

I'm colorblind.

That's why I was
never drafted.

Well, I'm glad you think
it's so funny.

I think
that's very funny.

Michael the photographer
is colorblind.

It's just blues,
reds, and greens.

I get them mixed up,
that's all.

Yeah, well,
it explains a lot.


What you're wearing.
That shirt and these pants.

It drives me crazy.

What, it doesn't work?


But it's okay.
I'll dress you.

I'll dress myself,
thanks very much.



A colorblind

Just don't tell anyone.


That's good.

that's really good.

Thank you.

I, uh, I got to go.

I've left Eileen
alone at the shop.

See ya.



(drums playing)

Make sure we got enough ice
back there, too, huh?

And remove the weed.

Aw, man, hey.

Aw, hey, man.

Ronny, it's cool.
Take it easy, man.

Ask him if we
can do another one.


Hey, Vito.

Yeah, kid?

Yeah, can we just
run it one more time?


Hey, man, you know,
Hendrix played here, man.

You know what I'm saying?

I don't know if we should
continue, you know.

Hey, mellow the fuck out.

He's right, Ronny.

You just gotta--
you gotta take it easy.

It's cool. Come on.


* Spent some time

* Feelin' inferior

* Standin' in front
of my mirror *

* Combed my hair
in a thousand ways *

-Hey, Mike.

What's the point
in traveling?

I know what you mean,

The days of Monterey pop
are over.

* Daddy said, son,
you better see the world *

You're great company.

Huh? Yeah.

* I wouldn't blame you
if you wanted to leave *

Nigel, what's the name
of the support band?

Naked Snake.

Naked Snake.
Well, that's genius.

* To a woman that'll
spend your bread *

* So I got out, whoo *

Stand clear.
Make way.

* Got arrested for inciting
a peaceful riot *

Come on, Duncan!

* When all I wanted
was a cup of tea *

* I was accused, whoo

* I moved on

* Every picture tells
a story, don't it? *

Glenn. Glenn, my man.

I got to talk to you,

Somebody know
that motherfucker?

What's this?

All right, kid, you're on.
Let's go. Come on.

Ladies and gentlemen,
for the very first time

the Whiskey A Go-Go
is proud to present...

Naked Snake.

(mild applause)

(mild cheering)

1, 2, 3, 4!

* Tonight *

* Beneath the moon rays

* We stand in the doorway

* Lookin' towards
other skies *

* They are yours and mine

* For now *

* Yeah, ride

* Ride the wild surf *

* Until the dawn

* Is ushered in
at your word *

* Your heart
must always burn *

* Burn like a star
in the cold night *

* Yeah, burn
until the dawn light *

* And make it
to a new time *

* Burning in my head

* Yeah

* We're gonna make it
to the new times *

* We're gonna make it
from the old times *

* We're gonna make it
to the good times *

* That's for sure

* Ain't gonna let it
slip away *

-Go home!

* Ain't gonna
let this chance fade *

* Ain't gonna let it
go in vain *

Shit! Get off!

Hey, shut your mouth,

Get out of here!

* In the cold night

* Yeah, burn
until the dawn light *

* And make it
to a new time *

* Burning in my head

Turn 'em loose!

I came here
to see Duncan!

(audience complaining)


All right, man,
come on!

Give it up!

Lay another one on me,
Naked Snake.

I'm here for you, man.

What? What do you
want to do?

Let's rock 'n' roll, man.

Duncan! Duncan!

* There's a fever burnin',
and I don't feel right *

* Yeah, my head's rushin'
right out of my mind *

* Went to see the doctor,
and he give me pills *

* Yeah, they numbed my pain
but didn't cure my ills *

* What's in the future,
'cause I can't see *

Hey, hey, hey,
stop that, man!

let 'em play, man!

Fight it, Naked Snake!
Fight it, man!

This sucks!

* Go and see
the fortune teller, baby *

* Find out how it goes

Duncan! Duncan! Duncan!

That's enough, kid.
Turn it down. Turn it off!

Cut it! Cut it!

(crowd yelling)

Get off the stage!

Get off
the fuckin' stage!

Ever heard
of practicing?!

You gotta rock 'n' roll!

Go home!

* Been 40 days *

Hi. How are you?


Oh, God.
That was short, huh?

I didn't think they were
that bad, actually.

* Do you know what I mean?

Can I get you
something to drink?

Uh, yeah, can I get
a Harvey Wallbanger?

Uh, I'm okay.

Where were you
this morning?

I stopped by.


* I just saw her,
asked her to stay *

Ooh, cocktail waitress.

Aren't you supposed
to be backstage?

Yeah, well, you know.

Yeah, I know.

* Her and Bobby
were steppin' out *

No, no, no, no, man.

Country rock,
country schlock, man.

It's like here today,
white tomorrow,

you know what I mean,

Well, man, you know,
the shit's been workin'.

Okay, man, focus in on it
for a second.

Okay, here's the thing, man.

It's like the scene, man--
the scene moves so fast, man,

you never know what's gonna hit
until it already has,

and then everybody's doing it,
and that does you no good.

What you got to do is,
you got to see what's coming.

All right? And then, okay,
be what's coming.

Know what I mean, man?

Baby, let me tell you

I am what's coming.

I've always been
what's coming.

I got some new shit
on the horizon, my man.

Check it out,
just check it out.

I got one word for you,
I got one word, man.

Listen up, listen up.


The word is "metal."

say that again.

Metal. Metal, yeah.

Metal, man, like in
my mama's teeth, man. Metal.

Metal, man!

That's heavy.
That's heavy.

I've been thinking
about stuff lately, man.

Lay it on me, man.
Lay it on me.

'Cause you know what
I think is the next wave?

I think it's
all about loud, thick,

dynamic, and just
fuckin' evil, man.

You're scarin' 'em,

Scarin' the fuck
out of 'em, man.

I want a fuckin'
stage show

that's gonna make people

drop their
motherfuckin' bowels.

You got smoke.
You know what you need?

-You need
motherfuckin' fire.

Fire, man, brimstone, man.

I'm talking about the devil.
That's what I'm talking about.

You know what I mean?
This is what you got to do.

Take it easy on that
a little bit,

but you're a smart man.
We should talk.

You got to lose
those redneck retards

you've been slumming with,
and you got to come with me,

and you gotta--
you're a visionary, right?

I like the way
you think.

I'm tired of these
fuckin' redneck bastards

crawlin' all over me.

Keep doing
the same thing.

I can help you realize that.
You know what I mean?

You want a line?
You do coke?




Oh, shit.

Ha ha. Oh, no.

My man.

Liquor store.

Oh, God.

How you doin', man?
How'd that aura turn out?

Not good.

That's too bad.
That shit usually works.

You know what? You got
an interesting look.

Are you a musician?
I'm Marty Shapiro.

I'm never too busy
to say hello.

You got
an interesting look, too.

I really dig your afro.

Okay. You know what,

That's hostile.
What are we doing?

We're just 2 dudes here
taking a leak,

and that hostility's
gonna kill you, man.

You know that?
You got a black heart.

Man, that's like you got
a charcoal heart.

You're a very hostile man.
You know that?

Come on, turn to me
when I'm talking to you.



It's okay, man.
It's okay.

You know what?
I don't give a shit.

I love you anyway.


Oh, you motherfucker.

What are you
still doing here?

We're going on.

I don't know
where the guys are.

Get out.

What? You said...

you said 2 sets.

You said 2 sets.

Get out.

Vito, Vito.

This one's gonna be better.

You said 2 sets!

(audience cheering)

All right.

What you've been
waiting for all evening.

Ladies and gentlemen,

the Whiskey A Go-Go
proudly presents

Duncan Reed and the Curb.

(glass shatters)

* Ohh

* Ohh ohh ohh *

* For a moment at least

* You've found release

* You fly everywhere
through the air *

* Temporary wings

All right, here's
a Harvey Wallbanger.

Thank you.


And a little
something special...

for your big fucking mouth.

I told Glenn
she's got the clap.


The clap.

why'd you do that?

'Cause Glenn's sleeping
with her, too.

What, she gave you the clap,

and then she gave it
to Glenn, too?

Yeah, I think so.

Jesus, you've had
a busy afternoon.

Oh, God.


* Ooh ooh-ooh-ooh

* Ooh, the change

* Don't ever change

Thank you, L.A.,
city of angels...

and all you
beautiful people here

at the Whiskey Go-Go.

But before
we go any further,

there's one very
special angel here tonight.

Miss Tammy Franklin.

I know you're here




How you doing?

Now, here's one
you may remember.

* Cocaine conversation

* Cocaine conversations

* And it rained
inside your mind *

* Rained and rained
and rained, it rained *

* Livin' in amnesia valley

* You don't even talk
a good game *

* Don't even talk

* Livin' in amnesia valley

* Eyes like windows

* Nighty-night

* Livin' in amnesia valley

* Don't even talk
a good game *

* Don't even talk
a good game *

* Cocaine conversation

* Cocaine conversations

* Don't even talk
a good game *

* You don't even
talk a good game *

Thank you!

Zack. Zack.

I--I waited for you.

How did it go?

It went good.

We got a contract.

Ha. I knew
you could do it.

I--I had
a feeling myself.

9:00, right?
9:00 you went on?

Yeah. Yeah.

We signed it.

Wonderful. Listen,

we'll go out
tomorrow morning.

We'll sit and talk and talk
and talk, all right?

And then you tell me
everything, okay?



Good night,
Mr. Niederhaus.

* It's

* So hard

* To get a break

* From the money machine

Come on in, babe.

* And you know *


* That it's easy

* So easy *

* To make a mistake

asking about you.

You look great.


I got in.
Can you believe it?

Here you finally are.

Duncan's been
asking about you.

The real party's
in the other room.


Here, let me take that.

Have fun.

She said I look great.


Tammy, Tammy, Tammy.

How's it goin'?

I'm sorry about this.

This was supposed
to be just me and you,

but the usual.

Party, party.

Would you like
to sit down?


You know what I mean?

Nigel, um, could you
get him out of here?

You are just
so, so great.

And how many girls have you
said that to tonight?



You're the one

I'm taking back
to London tomorrow.

Oh, yeah, sure.

Once you see London,

you'll know why
we laugh at L.A.

What, like,
for the weekend?

No. I want you to
pack up all your shit

and come and be
with me for a while.

But I...I can't just
drop everything.


Well, I got friends.

Fuck 'em.
We'll buy new ones.

And what about
my shop, huh?

That's my job.

You can have
anything you want.

We can be on a plane
and be gone

before this party's
even over.

WOMAN: Great show, Duncan.

Thank you very much.

So... come on.

Leave in 2 hours.

I call that
Barred and Grilled.

Inspired by the imaginings
of Miss Gina

from the seventh veil.

That's probably her
next door.


These women, you know...

designed to elude
and confound.


you tell them exactly
what they want to hear.

And what is that?

You understand them
and that you...

see them
as they really are

and that you're a shell
of a man without them.

The thing is that they
already know that,

you know?

They just want
to hear it from me.


That's right,
that's right.

I'm gonna go
get something to eat.

Hey, will you, uh...
leave the door cracked?

I want to listen
to the traffic.

You want
some more coffee?


What kinds of jell-os
do you have up there?

Well, I have red,
and I have green.

I'll take the green.

How much is it
for some whipped cream?

it's 25 cents extra.

Aw, okay.

No, thanks.

I'll be sitting
over there.


* Ain't it a shame?

* Oh, give me the beat,
boys, and free my soul *

* I wanna get lost
in your rock and roll *

* And drift away

* Oh, give me the beat,
boys, and free my soul *

* I wanna get lost
in your rock and roll *

* And drift away

I didn't charge you
for the whipped cream.


You're welcome.

What can I get you?

I'll have a cheeseburger.

That's it?


* The world outside
looks so unkind *

* I'm countin' on you

* To carry me through

* Oh, give me the beat,
boys, and free my soul *

Excuse me. Do you know
what time it is?

* And drift away

It's a little
after 4:00.


* Give me the beat, boys,
and free my soul *

* I wanna get lost
in your rock and roll *

* And drift away

* now, now, now

* Won't you,
won't you take me? *

I don't want the
cheeseburger anymore.

I'm sorry.



I thought
I'd catch you here.

The party's over?


I got your pictures.

What pictures?

Your pictures of me.

Thank you.


Now, I hope it fits.
I had to wing it.

Let's see...

it's perfect.

Now, let me explain it
to you, okay?

See, this is red,
and this is green,

and this is red,
and this is green.



I want you to be
with me.

(dishes rattle)

(electric guitar
playing familiar riff)

(plays riff)

FELIX: Everybody's
lookin' for somethin'.

Sometimes when
I'm writing a song,

I stop and consider
the possibility

of giving it a happy ending.

It makes me feel good.

Captioned by
Visual Data Media Services