Luyện nghe bài hát Uncle Meat Film Excerpt Part 1

FZ: We're shooting the uh, title sequence for Uncle Meat right now, which is the name of the Mothers of Invention movie that we've been working on for about years . . . without too much success.
Don: Boy, we really a hit single . . . Just think, I mean, the way the world's going today . . . with all the problems in it . . . I think I can actually change the world, because it's the young people that really need to be changed, and, and you can really do that through music and everything . . . This was our last hit single . . . it was really a bummer, they wouldn't even play it on the radio . . . Oh, well, gotta come up with something better than that . . .

Don: evening, this is Biff Debris.
Phyllis: You know . . . too much, I know.
Don: Coming to you the motel.
Look at that monster.
Don: . . .
FZ: Ha ha ha ha!
Phyllis: What are laughing about? He looks so beautiful when they laugh . . .
Don: That's my psychiatrist used to say . . .
Twelve years. It's the same story there with that song, I don't know what I'm doing, but look, look at the way he's changing . . . Oh, I remember that in the shower, the first time with the hamburger. Oh, that was good . . . But, I don't know, twelve years marriage, you get tired of the same thing. But I don't know, I can try it again sometime. Oh, look there's Minnesota! He was a great guy, Minnesota Tishman . . .
Don: We're coming to the of a new era
Phyllis: He was a guy . . .
Don: Don't you feel it
He was, he was okay in this time. He's washed up now, I heard about it though.

Ray: What is it you're doing, Mr.
Carl: I'm using the to measure it
Aynsley: . . .
You know what I used to do? I used to watch him eat, and while he was eating I would ask him what he's doing.
Haskell Wexler: What the hell are we doing in this
FZ: I'm going to . . . While you stand there and take pictures of that, I'm gonna tell you the, the plot of the movie. Alright. Basically what we're going to do, today, is spend some time around the house while you meet the that you're going to be photographing for the rest of the week . . . and we discuss some of the absurdities . . .
Haskell Absurdities?
FZ: Yes, we're just dealing with the . . . the absurdities of making the movie in the first place and especially the Mothers of Invention . . .

Guy From Alabama: You wanna have a
Aynsley: The
Guy From Circle-jerk.
A circle jerk? What's that?
Guy From Alabama: where you get everybody around and bet yer meat and see who can get it the fastest.
Yeah?
Guy From Alabama: Yeah, and whoever gets nineteen kegs
Aynsley: Nineteen
Guy Alabama: Kegs, you know . . .
Aynsley: Cakes of
Gee Jimmy, that's cool!
Cakes. Cheers. Yeah, anyway.
FZ: What could that possibly mean . . . hmmm, I what happens if you go like this . . .

Ray: is it that you're doing with this?
I'm using the . . .
FZ: You know what I used to do? I used to him eat. And while he was eating, I would talk to him while he was eating, and I would ask him what he's doing. And he would say, "I'm using the chicken to measure it."
Ok . . .
Don: Can I borrow comb?
Phyllis: You know what I to do?
Ray: What are you with that?
Phyllis: I to watch him eat.
Carl: I'm using the chicken to it.
Phyllis: You know, you know what I used to do? I to watch him eat. And while he was eating, I would ask him, "What are you doing?"
FZ: Do it again.
Ray: Why is he using a to measure it?
Phyllis: And he would say, "I'm using the to measure it." What did he mean by that?
Ray: . . . he's using the to measure it
Phyllis: Till this day I know what he's talking about . . .
FZ: Do it again.
Phyllis: That Tishman. That Tishman . . . What a guy . . .

Guy From Alabama: Eight inches or
Uh . . . eight inches.
Guy From Eight inches? Well, I'll get your kind of women, there, man.
Aynsley: You can? Yes, it's . . .
Guy From Oh, they got some whores there you wouldn't believe!
Meredith: Gee Jimmy, cool!
Guy Alabama: You can just . . . fall right in.
Aynsley: But do they play

Phyllis: a guy, what a sense of humour . . . The way he used to . . . let me get back to that.
FZ: at the way he hands that chicken . . .
Aynsley: Do you another ball?
FZ: He had a way with that . . .
Phyllis: He . . . at the way he handles that chicken, he had a way . . . look at the way he holds it, and fondles it, and he put it right near his privates . . .
Aynsley: But that's cool,
Guy From That's cool, yeah.
That's cool, yeah, I sort of followed the . . .
Guy From Alabama: I'm using the to measure it, though
You were?
Guy Alabama: Yeah.
Aynsley: Yeah, where's the shit . . . or the white
Guy From Alabama: I'm up to my in shit, man.
Really.
Guy From Alabama: There's all of shit, now about . . . all smokin' shit . . .

Massimo: And now, we are going to translate: "This is my left hand." Repeat me: "Questa e' la mia mano sinistra." And now: "This is my right hand." Repeat after me: "Questa e' la mia mano destra."
Ray: What is it you're
Carl: I'm using the chicken to measure it. Have you ever used a to measure it?
Gee Jimmy, that's cool!
Guy From Alabama: I a chicken . . .

Don: We're coming to the beginning of a new era wherein the development of the inner self is the most important thing. We have to train ourselves. So we can improvise on anything: a bird, a sock, a fuming beaker. This is, this too can be music. Anything can be music.

FZ: Yeah, are you busy? Well I was wondering --this is Frank-- can you come, yeah, can you come over here and be in our uh, teen-age movie? Okay, well, I'll tell you what the action is . . .
Phyllis: eating.
FZ: Ok, he's eating, you see . . . Don Preston . . . Well, it depends, mostly it's a hamburger, sometimes, well he doesn't eat the hamburger, 'cause he's a vegetarian . . . Okay now, Phyllis is here . . . Phyllis . . .
Phyllis: Who's
FZ: No, no, no, Phyllis is the girl that's the, my assistant editor on the, on the film . . . Yeah, she used to be Tom Wilson's secretary . . . Ok . . . You remember Tom Wilson were run for President?

Aynsley: Tom Wilson?
Yeah.
Aynsley:
Carl: Then she out here work on the Woodstock festival.
Ray: What are you doing that chicken?
And then uh, then . . .
Ray: I was the ball.
Carl: Then Frank hired her to on the Mothers movie.

Phyllis: Hi, I'm Altenhaus, and I'm working with Frank Zappa on his film Uncle Meat, in Hollywood. I'm a little nervous doing this 'cause it's the first time I'd even been a star in a film. I originally started working for Frank as his assistant editor on the film Uncle Meat, and one day we were sitting around watching the Festival Hall shots, the rushes, and I saw Don come on the screen --Don Preston plays the monster-- and I said, "Frank, look at Don! He's turning into a monster! I'm gonna vomit!"
FZ: she sees him turning into a monster she has to vomit.
Phyllis: Frank said, "That's it, that's the opening of the line, that, that, I mean, that's the opening of the picture." I said, "Frank, I can't be in your picture, first of all, I have such a bad Brooklyn accent, I'm embarrased by the whole thing!" And he said, "Don't worry, you'll do it." So, you know, with Frank, he has a certain way about him, I he just gets people to do these things.
Don: He just makes me sick when he into a monster.
Phyllis: Why? Why does he you sick?
Don: Oh, can't you see it how, how . . . it is that, being that monster? Oh, just, I can't stand it, I, I think I'm gonna be sick, I have to vomit.

FZ: She just, she tells me she has to vomit, see. She's trying to make me believe that it makes her sick when he into a monster.
Phyllis: There's about that that gets me so nauseous, I don't know what it is. Look at that, look at that.
FZ: Yeah, but not true. Well, you see, it gets her hot.
Phyllis: There's something so sexy about him. When he comes on that stage, I get so hot just looking at him drinking that, that smoke stuff, I don't know what it is. I don't care if he turns into a monster, I love it . . .
Oh dear!
Phyllis: Look at that, oh him with the cape, but he doesn't, he walks away. It's such a hot move and he, he's so terrific when he goes back to that gong, oh, so nice . . . Boy, I hope no one ever finds out I love it so much, that hot monster . . . oh, ooh . . .
Don: You're really good at those dials, baby. You're the most manipulating person ever seen.
Phyllis: I don't like to be called manipulating, that's for sure, but I like to of myself as being hot.
FZ: She gets hot. And then she runs into the toilet, and she stands in front of the mirror and she faces to herself so she can turn into a monster. Isn't it cute? That's right, then, when she does that, and she's having a fantasy that she's turning into a monster, the monster comes out of the toilet from behind her.

Phyllis: Oh . . . a lower, please.
Don: How do you work all those in there? That's really fantastic . . .
Oh, it's nothing.
Don: All of those and switches . . .
Phyllis: It's nothing. Look, look what's on there! Oh . . . oh, wow, this . . .
Don: I can't see how a girl could do all that.
Phyllis: Oh, now with the, the Women's Liberation Front we can do anything, kidding? Oh . . . oh! It's so good!
Don: This girl has some sort of demented problem in where she, she likes uh, monsters that drink foamy vile liquid and uh transform. It must be some uh, connection in her past, in her childhood of something. Maybe her father didn't demonstrate enough uh, affection for her. It's a . . .
Phyllis: Oh . . . it's been so . . .
Tell me, did your father demonstrate any affection for you?
Phyllis: I've been you on the screen for four weeks . . . Finally, my monster . . . Is it real? Is it really you? Oh that feels, oh, monster, can I have a bite off of your apple?
Don: Mm . . . I that uh . . .
Phyllis: It's so nice to be here a monster finally . . .
Don: It must be uh, her mother and father probably her that she's real ugly and awkward and dumb and everything . . .
Phyllis: It's a apple, monster.
Don: And so she to people that are ugly, dumb and awkward.
Phyllis: Let me take off your hat so I can really see happening underneath there. Just what I thought, a monster head.
Don: You'll find this is quite common in uh, today's
Phyllis: It's like Adam and Eve and the apple . . . Finally, my monster . . . after all this time . . .
That's why monster movies are so popular, you know?
Phyllis: I'd waited and . . .
Don: know how many a monster movie costs to make?
Phyllis: And there he is, he's here.
Don: Monster really cost a lot of money.
Phyllis: Sitting with me, I believe it! Is it really you, monster?
Don: And our young society today goes to all these monster movies and they see them on television after night.
It's so terrific to be with the monster.
Don: raising a new generation of monster lovers.
Phyllis: I've been waiting so long for the monster . . . this'll be the real thing.

Don: He's changing a monster! You should see this! God, I get so hot!
Aynsley: Would you like a quick Now you've ruined the whole thing
Have I? I'll take one down!
Aynsley: Oh, . . .
Carl: I thought you get the four balls.
No no . . .
Carl: It's to walk on three.
Don: I'm using the to measure it.
Carl:
Don: I'm using the chicken to it.
Charles.
Phyllis: Aynsley Dunbar, who's playing with Frank now, this real English popstar, very attractive guy, and he's like into a whole groupie thing with whips and things, don't ask me, and Frank got this great idea, actually he gets this great idea for me, to have Aynsley in the Hollywood Ranch Market, which we just did last night, hit him with toilet brushes. It's, it's a little but I went along with it, you know, what else are you gonna do? You're getting paid and uh, you do these things.

Phyllis: Cleanser . . . cleanser . . . . . . cleanser . . . cleanser . . .
Hello, there!
Phyllis: Cleanser . . . . . .
Say, could you do me a favour? Could you beat me with a toilet brush?
Phyllis: Beat you with a brush?
Aynsley: Shhh . . . might hear . . . yes, beat me with a toilet brush.
Phyllis: your name?
Aynsley: Ah, hello, my name is Aynsley Dunbar and I, I'm very interested in and canes, etc. I'm gonna fill, fill you in about uh, my background.
FZ: Are you serious about this? You really like whips and canes?
Oh yeah, yeah.
FZ: And you
Aynsley: I didn't have too much chance to use 'em here, as yet, because it's, you know the screams and that, would most likely wake the kids up! No, actually I'm moving on though to toilet brushes and things, 'cause I they'll be coming in this year . . . definitely.
Phyllis: You want me to beat you the toilet brush?
Yes.
Phyllis: I mean uh, I'm ready!

Phyllis: You know, I'll tell you something, I find myself saying, "I'm ready," you know, and like, I slap my face when I'm saying, "I'm ready," because it's uh, in the house I'm saying, "I'm ready," you know? And . . . there has to be a limit.

Phyllis: That's a whip, I right, you know I saw this handle sticking up here and I like, I, I guessed it right on first, you know? Like I know . . .
FZ: him while you're talking.
Phyllis: You know like . . . I tell you something. I hope it's not your kidney or anything like that.
Aynsley: Oh look, keep, keep, just keep it high, just it high.
Phyllis: You know what I mean? I got worried about those things, I got . . . you know I'm humane, Aquarius and all . . .
Aynsley: great . . . that's. . .
Phyllis: is arising, you know, I'm humane.
Aynsley: keep it high. Oh, love it, yeah, right.
Uhm . . . well, let's see . . .
FZ: Ask him, "Does it get you hot?"
Phyllis: Is it you hot?
Aynsley: Oh, it would do if I had another 'bout fifteen people.

Don: I know what gets you hot. get you hot, 'cause I picked you up in the pool hall!
Phyllis: You don't know what gets me hot, you don't have the idea what gets me hot!
Sure! Hamburgers! Look at this . . .
Phyllis: I can't it . . .
See that?
Phyllis: I take it . . . oh, God, that hamburger!
Don: But you don't know gets me hot.
Phyllis: I'd bet I know what gets you hot. Sticks, sticks on your on a table get you hot.
Don: I'm getting hot! . . . When I was drinking the potion . . . and that hat and that cape and . . . just incredible . . . I'd . . . wonder what it's like to, to change into a monster . . . it must be really great.
Phyllis: It's just so wonderful. Give me a bite of the apple there . . . Mmm, oh, my monster! Oh, that's so terr-- Oh! I love that, when a monster does that, mm . . . Well, just been thinking, monster, we can take rides in the country in the Volkswagen . . . and, my monster, you're feeling me up, my monster.
FZ: It get you hot.
Phyllis: Well . . . it get me hot.
FZ: I saw you laying on the floor in the with him!
Phyllis: I, it wasn't me laying in the corner! That was, that me!
FZ: Ha ha . . . Who was it?
Phyllis: was Sheba! It wasn't me!
FZ: Who is Ha ha!
Sheba is the one that's in love with Don.

Don: And why, why do you monsters?
Phyllis: It's, it's not their looks, it's the intellectual thing that comes across, you know, you tell that, I, looks aren't important to me, it's something about the intelligence. When you mix that potion, you know when I've seen you mix that potion, I don't know, it's the intellectual way I get hot.
Don: Yeah, but causes this?
Phyllis: You know I mean?
I mean, well . . .
Phyllis: It's, hotness.

Phyllis: It used to be very, it was really nice and quiet in this place, that's why I came here, because of the feeling like, like a place to get away from things, and now what's going on, it's like all noise and . . . I don't know, it doesn't . . . wherever you go nowadays the same thing, all these guys they're so disgusting, I can't stand it . . .
Don: Look, anybody . . . anybody sitting
No! Go right ahead, sit down!
Don: Thanks. drinking this beer in here?
No, I don't know what the bartender . . . he just left it there, I don't know what's going on . . .
Don: My is Biff Debris.
Oh, hi! Sheba Flieschman.
Don: How do?
Phyllis: So and uh, your name is Debris.
Yeah.
Phyllis: You know, funny thing, if we got married my name would be DeBiff.
My name is Biff Debris, not Debris DeBiff.
Phyllis:
Yeah.
Phyllis: Biff Debris . . . well, I'll tell you something, I once knew someone whose name was Dubois. It, it sort of sounds like Debris, you know what I Like, is that French, or what?
Well, actually I'm part Mohawk and part Norwegian.
Phyllis: Excuse me. Is the ready yet?
What sign are you?
Phyllis: Uh, I'm with Venus rising on my past.
Really?
Phyllis: Yeah. It's really good sign because it's the Aquarian age now, you know? And like, it's all together. You know what I mean by coming together?
Yeah.
Phyllis: I think since I from New York, you know, I'm really . . .
Don: Are you from New
Phyllis: Yeah, you can't tell!
No . . .
Phyllis: I you something, so it really means that I'm losing my accent, you know, because the other day I was talking to someone and they couldn't guess either, well, I asked them, I said to them, "Where do you think I'm from?" And you know they said, they said, "New Jersey," you know, so, and New Jersey accent is really completely different, you know? Like, it depends so, if you come from Patterson, it's different from Trenton and Orange County, but you know, I say "Orange" like this, "Orange," 'cause that's in California they say, "Orange," you know?
Don: What's the, what's the matter uh, Debris?
Phyllis: That's one thing I away from.
Don: Alright, free . . .
Phyllis: I that you can really be high on your own intellectual stratification.
Hamburgers.
Phyllis: Don't say hamburgers, it me so hot . . .
But you don't know what gets me hot, you see . . .
Phyllis: I know what you hot!
No, no . . .
Phyllis: I saw it in the pool
Don: You saw
Yeah!
Don: That what does it, you see. It really isn't.
Phyllis: Well, well, what is it? You know, like if it's not that, then is it?
Don: . . .
Phyllis: Well, don't be embarrassed! You can me, you know? Like I'm . . .
Showers.
Phyllis:
Showers.
Phyllis: Well, okay, you know, I can go see that, I can see, I can showers.
Not, not nude showers.
Phyllis: What you mean not showers?
Don: It's be a special shower, you know.
Phyllis: What kind of
Don: these special clothes on it.
Phyllis: You mean, you wear clothes you . . . ?
These clothes! These are the clothes . . .
Phyllis: These are the that you . . . ?
Right here . . .
Phyllis: There are clothes in there for me for the

Phyllis: Say he devised this plan, this is how this clothes and the shower thing all came by, because I was too embarrassed to stand in the shower. First roll, you know, I'm not gonna be standing naked but, the whole thing's taking out, so I figured, "Okay, I'll wear dungarees and a shirt." And, and anyway to tell you the truth I it's sexier because, you see like just a little outline . . . tiny little bit, you know, like, poinnnng!

I don't understand it, but it's like . . .
Don: I . . .
Phyllis: your trip, man! You know? Like, it's alright with me, you know? I don't care.
Don: And this children's belt with the little in it. Look at those pants!
Phyllis: Ooh, but what has this . . . do with the holes! I mean, you know, like I they fit up.
Don: It'll be . . .
Phyllis: You know, like, okay, try, I don't care, I'll try anything!

FZ: Hi, Phyllis, why don't you want to take clothes off with the monster?
Phyllis: Because I'm to.
FZ: What's to be embarrassed about?
Phyllis: Well, I've never done that before, and I wanna do it now!
FZ: But why you wanna do it?
Phyllis: I'd not. There's no reason, I'd just rather not.
FZ: But what's the matter? You got an ugly
No, I have a great body. I just don't wanna do it.
FZ: But why don't you wanna do it if you've got a great body? Don't you wanna share it the world?
No, I don't wanna share it with the world.

Phyllis: So I did it, and it was, I tell you, I was getting hot, see my

Phyllis: I'm ready! I got the shirt, I got the pants, and I got the belt with little yellow holes, you know? And I'm hot!
And I got the bun and the hamburger and the relish and the orange and I've got my clothes off and I'm hot!
Phyllis: Oh, on!
Don: You know how many times we . . . ? I go down to Mr. Pocket three times a week, trying to somebody that'll wear these clothes in the shower.
Phyllis: How do they on me?
Oh . . .
Phyllis: You it?
They're great, you know. I had those clothes in the refrigerator for about two months now.
Phyllis: Where is the hamburger? give me a bite, mmh . . . it's so great, you don't meet guys . . .
Don: Oh, it's . . .
Phyllis: You don't meet guys who get you off with hamburgers, I'm saying I'm happy that mmmm . . .
Don: Oh, the two of us really make a couple!
Phyllis: I know, me my clean clothes and the hamburger and everything like that, well, you know, we can go places.
Yeah.
Phyllis: You want me to wash your hair? While you, just hold the hamburger first, you know, while I wash hair . . .
Don: Do you want me to wash it to
Well, I don't know, I wasn't planning on it, it's alright, you can wash my back . . . mm, so nice the shower . . .
Don: I bear it.
Especially, especially, especially if you . . .
Don: Some are really weird.
Phyllis: Pull it on my back, just a little bit, it won't, it won't hurt, just a little bit over there, this side, terrific, with the hamburger.

Phyllis: Hamburger . . . Hhhh . . . Oh . . .
FZ: Wouldn't that be better if you had your clothes off then you can uh, enforce him on your
Phyllis: No, I . . . don't need my off, I can get the gratification that I want just like this.

Phyllis: Oh, doesn't that feel good, oh, it's so great. I'm so glad I met you today . . .
Don: . . .
And this hamburger . . .
Don: Do you if I rub some of this in your hair?
Phyllis: Oh I don't mind, let me just take out that thing here, mmm . . .
Oh, boy . . .
Phyllis: A little bit, wait, it's, but I don't know, do you have cream rinse here? . . . strip I won't be able to . . .
Don: Cream
Yeah . . . 'cause I . . .
Eugh!
Phyllis: I be, let me see how it feels with the soap.
FZ: parts get you the hottest that can be rushed with the hamburger?
Phyllis: I think uh . . . what part!
Oh, I love this with hamburgers under the clothes.

Don: You're getting hot, on.
Phyllis: Oh, am I hot, over this hamburger! Oh, I of my uh . . .
Don: For a hundred you're getting hot.
Phyllis: Oh, am I hot! I'm so hot! Hhh . . . I'm so hot this hamburger, oh . . .
FZ: Get hot!
I'm so hot!
FZ: Under, . . . Ha ha ha ha!
Undulate.
FZ: Look!
Don: You . . . it's better.
Where's the hamburger? Just . . . those . . .
FZ: with soap are good.
Phyllis: Ha-a . . . let me take a little bite, mmm . . . delicious! Let me put it in here so I don't loose it. I don't wanna in case I little piece after, could you do my back?
Don: Oh . . .
Phyllis: Underneath the shirt, don't be bashful, I, oh, I know it makes you hot, if you keep . . .
Don: Yeah, I like the better. I'll wash the shirt.
Phyllis: Oh, let me a little bit of the hamburger
FZ: Ha ha!
Phyllis: You know, the last guy that I was with he just had Ground Choc, you know Ground Choc tastes like in the shower, man . . .
FZ: Ha ha ha ha!
Oh . . .
Phyllis: This is odd meat, where did you get
FZ: Ha ha ha!
Phyllis: Just like the health food stuff, are you a health food You know, like . . .
No, I am Uncle Meat!
Phyllis: You are Uncle

Phyllis: And because the main man with the burgers . . .
FZ: "And the my trip."
Phyllis: And the burger's my trip and is such a groove, I wanna show my and I wanna clean your bathroom . . . the cleanser . . .
FZ: "I am to the Hollywood Ranch . . . "
I'm going to the Hollywood Ranch Market and I'm gonna buy the cleanser.
Don: And because you have the clothes . . .
Cleanser . . .
Don: got me hot, the shirt . . .
Cleanser . . .
Don: The pants and the brown belt, children's belt with the holes in it . . .
Phyllis: . . .
Don: I . . .
Phyllis: . . .
Don: Accept your offer to go to the Hollywood Market . . .
Cleanser . . .
Don: And get the and clean my bathroom.

Janet: He's from that group Cleanser. He pretty kinky. Too bad we didn't have our garters on.
& Lucy: EEEEEEEUH!
Janet: Oh, do you expect from work in this joint.
Lucy: Ooh Janet, he has a vibrator! Now, ooh . . . Eeeuhh! Ha ha ha! Ah . . . ah . . . aaaaaaAAAAH! Ooh wha . . . ooh! Hhh . . . . . .

Don: We're coming to the beginning of a new era at the motel, where we have been working secretly on a new composition in the back room, in our secret chambers. 'Cause everything is secret. We're trying to get the secret karma change for the whole world, you see, like this karma thing, it's really what's causing all the problems, so we have to get a composition and, I'm sure that it's going to be a hit single, because everyone is going out and buying our new hit single, for this group that uh . . .
FZ: "You our other single 'The Bun'?"
Don: Yeah, you our other single, "The Bun"? See, this, this was our last composition . . .
Plugging it in . . .
Don: And uh, it was pretty hard to play uh, some of the members of the group couldn't read music, you see? But we got it all straightened out and, some of them quit and everything but . . .
Aynsley?: A few in the Brothers . . .
Don: Uh, with our new arrangement we really hope to do big things, you know? Like we hope to change every single person's karma and that in turn will change and upgrade all the ecology problems, all the polution and all the air and everything, you know? And this right here is the composition I was speaking of and uh, this is the guitar part, this is the vocal, this is the bass part, and this little section over here could be for the dancer, but she keeps quitting all the time so we don't really know uh, if she's gonna be in it which she is now or just take it out like that. Now, very difficult to compose this type of thing, because like, the slightest movement that you can make of one single article could define whether it's underground or real commercial, see? If we put the sock over here it's more commercial than if it were over here, then it's real underground, you understand? So we take you now to the motel, where the group is deep in . . . just deep.

Motorhead: . . . member is the writer, you know what I . . .
Don: Hey, listen you guys, I would like . . .
Meredith: These guys can together.
Don: Talk the arrangement here
Aynsley: How about that new drum solo you worked out?
Don: got a new composition.
Meredith: rhythmic, huh?
Motorhead: Now beautiful.
Don: . . . Silence, fools! . . . SILENCE, FOOLS! Don't you believe in progress?
Carl: I'm using the to measure it.
Take that progress and stick it under a rock!
Carl: I'm using the chicken to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it.
FZ: What are you with the chicken?
Carl: I'm using the chicken to it.
FZ: What are you doing with the
Carl: I'm using the to measure it.
Motorhead: Outta site! outta site!
That's beautiful!
FZ: What are you doing the chicken?
I'm using . . .
Don: That's what we for our new song.
That was a good composition!
We got it!
Aynsley: Can you write one like that
Don: I did! . . .
You would? I mean . . .
Don: At last night, . . .
Ray: when he starts in with the guitar . . . ?
Don: Now . . .
Ray: Then he comes in with his guitar
Don: You guys, do you see over here?
Ray: Why does he have
Don: Can you see this over This is the new composition that we're going to make a hit single with.
What's it called, "Junk Shuffle"?
No . . .
"Junkyard."
Aynsley: What's it
I'm using the chicken to measure it.
FZ: It's "We're using the chicken to measure it."
Carl: I'm using the chicken to it.
Don: Right, "We're using the to measure it." Well, I couldn't get a chicken, I, all I got was . . .
Motorhead: would be the title. Ray's got a chicken.
Yeah!
Motorhead: You can use Ray's to measure it.
But uh . . .
FZ: No, no, that's part of the concept, you're using the to measure the pitch in?
Aynsley: what I choose.
Don: Oh, I see, yeah, are we using the chicken to it?
Or drumming?
Don: I'll show you, is . . .
Ray: How a sock?
Motorhead: I it was cooler.
Don: is the guitar part, right here.
Motorhead: let me see . . .
Pull her.
Motorhead: It's that I play? That's my part.
Don: your part.
Oh, that A . . .
Don: And is a new concept.
Motorhead: I learn that by tomorrow, man, there's no way.
Tonight.
Motorhead: I learn it tonight!
Listen, I got the time booked.
Motorhead: I even . . .
Tonight? OW!
Don: At the Ranch Market tonight, man!
That's pretty heavy, man.
But tonight?!
Meredith: That's heavy . . .
Motorhead: My strings are flat, my pickups are shot, do Herbie wouldn't us an advance so I can buy some new strings and an amp?
Don: Listen, I'll take of everything.

Don: You see, Countess, the problem is uh, it's very hard to talk about but, the guys need equipment, you know like he needs batteries and uh, and, and uh, needs strings for his guitar, you And, and some of the electronic equipment needs boosting and uh, we have a good prog and everything, you know? I just wanted to find out if we could get any awr . . . nng . . . gnn . . . Do you have a pencil and a paper? Uh huh . . . thanks . . .
Royalties?
Don: GNG! MMnnnngrgGGL! Sorry, would you mind not using that It's a . . .
Francesca: Who about royalties?
Grrah!
Francesca: Look, I've seen everybody around, The Beatles, The Rolling Stones, Arthur Brown, and his fire and his head . . . Oh, man, I've never got so hot as long, I've ever got so hot until I started to, to use the chicken head to it with it.

Guy From Alabama: We must say it in language, man, I can't understand.
"Guy From Alabama": Playing that kind of music and eating meat, you'll never . . .
I say . . . I say . . .
Guy Alabama: (unintelligible shouting)
Aynsley: I say, old boy, you speak
Guy From Alabama: Hey man, you got any or beans or anything like that?

Don: You to admit this is different.
Motorhead: Oh I hate . . . that's a drum, that's be a drum.
Don: I mean . . . I know what it's like, to me the idea of being is doing something different.
Meredith: Bet that a heavy one . . .
Carl: The way feed . . .
Don: You know? people can . . . can . . .
WAH!
Don: not the same old thing.
Hey, but that, that isn't a . . .
Meredith: to practise . . .
No!
WAH!
NO!
Motorhead: out!
Oh . . .
Don: it, Ray . . .
Chicken's in the . . .
Don: Now, use the to measure it.
Motorhead: in the . . .
Biff, man, how does that fit into the part, though . . . heavy like that . . .
Meredith: And what is after into that my part
Don: is the music.
Meredith: where?
Don: This, the thing is the music.
Meredith: Ah, but how does that one fit all . . .
But there's no head, man.
Meredith: But how does fit into all that?
Oh yeah, there's . . .
Ray: Are you using a to measure it?
Meredith: What's the of this?
There's no way we can play it.
Meredith: What's the concept of number?
Look, look . . .
Motorhead: Not by tonight, man! It be done.
Aynsley: Let me . . . anyway, man, I'm going out tonight, you know, got a few chicks to meet.
Motorhead: I'm to hear the Fudge.
Don: You guys, if you make a hit single and I mean, a hit single.
Aynsley: Yeah, but all I'm saying is as long as you pay us well, I don't wanna know.
Well, you'll get royalties.
Motorhead: You get some royalties, man!
Royalties?
Don: Listen, you . . .
A monster!
Phyllis: I'm wet . . . . . .
Meredith: This is turning too confusing, I just understand what all this is about, it's so confusing!
My monster!
WARrrGH!
Phyllis: My monster! I'm ready! I got the pants, I got the shirt, I got the belt with the yellow holes!

Phyllis: I can't get enough of stuff, mmm!
FZ: "We're to the beginning of a new era, at the motel."
Look at this over there, look . . . mmm mm . . .
Don: We're coming to the of a new era at the motel, we have been working secretly . . .
Phyllis: still, still the best.
Don: . . .on a new composition in the room . . .
Phyllis: I when he always did that . . .
. . . in our secret chambers.
Phyllis: changed into . . . I remember that . . .
Don: everything is secret.
Phyllis: For twelve years still working on the same song, I don't know what I'm gonna do.
Don: We're trying to get the secret karma for the whole world.
Phyllis: kinda get that "The Bun" thing. I gotta stop this, it's not good anymore.
Don: You see, like this whole thing, it's really what's causing all the problems.
Phyllis: Because after all we've got now.
Don: So we to get a composition.
Phyllis: And we can't, he can't do anymore, it's another whole life.
Don: And, I'm sure it's going to be a hit single.
Phyllis: But, I can't help it, I he's irresistible. The guy is irresistible.
Don: Because everyone is going out and buying our new hit single, for group that uh . . .
Phyllis: Look at that face, there . . .
FZ: "You remember our other single Bun'?"
Yeah, you rem--
Phyllis: Look at that, right that, there . . . mmm . . .
Don: Our other single, "The Bun"? See, this, this was our last . . .
Phyllis: Oh, God! Oh, I remember that too . . . . . .
Don: And uh, it was pretty hard to play uh . . .
Look at this, when he did that at the fare . . .
Don: of the members of the group couldn't read music, you see?
No . . . it's better, I'll tell you something . . .
Don: But we got it all out.
Phyllis: I don't know, I have to think this, 'cause I gotta tell him. Ah! I'll go back! I can't be bother 'cause my mind it's too, it's too crazy, it's going, it's driving me nuts already, I have to think about work, I have to think about him, I have to think about . . .
Stumuk: Maybe I oughta face it, twelve years "The Bun" just isn't a hit. Maybe I'm approaching it wrong. Look at him, a musician, a natural musician. This Motorcity was a serious little boy. Liked to pull down the shades before helping her with the dishes.
Massimo: And that's why it didn't sell. Look at . . .
Phyllis: Oh, look at that! I remember --let me stop that and see how the fume was coming out of his mouth, and the way the lips, the lips, so and the hamburger . . .
Massimo: Try to do something that.
Stumuk: that?
Massimo: figlio di puttana.
FZ: He's on set.
Massimo: E non il cazzo.
Stumuk: A non catzo.
Massimo: 'Cause I a big bunch of minchia!
A big bunch of minchia!
Phyllis: It's great you're Italian, I love . . . That's what I want! More, a little culture, it's enough already with "The Bun"!
I had, I had to change it. It wasn't right.
Massimo: These fucking things didn't work, I don't know why. Maybe, can you see all these little points, points, on these fucking things? You have to know that . . .
Stumuk: Can you
Massimo: . . . all this . . .
Stumuk: using the chicken to measure it with nowadays, even my kids!
Massimo: . . . from my nose, and maybe people didn't like it.
Stumuk: No more the . . .
Massimo: And I just don't why . . .
But "The Bun," the placement of "The Bun." It has seeds. It's different.
Massimo: I just imagine why they didn't like these balls that come from my nose, you know? This way, tshh! And I spent a lot of years of my life to do something like that, these fucking things, and it didn't work. What can I say?

Guy From Alabama: Far out! Far fucking out!

Hee hee hee hee!
Ah! I can dig it!

Guy From Alabama: DONG! DONG! I dong, that's what your minchia is!
Aynsley: Your
Guy Alabama: A minchia!
Aynsley: You your dick?
Guy From Alabama: You put minchia in the stinky-a.

Massimo: And you know why? 'Cause I have a big bunch of dick! Tengo una minchia tanta! And this of the lesson, I'm sorry, but you can't learn, 'cause Mother Nature didn't make you Italian.