Luyện nghe bài hát Uncle Meat Film Excerpt Part 1

FZ: We're shooting the uh, title sequence for Uncle Meat now, which is the name of the Mothers of Invention movie that we've been working on for about three years . . . without too much success.
Don: Boy, we really need 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 play it on the radio . . . Oh, well, gotta come up with something better than that . . .

Don: Good evening, this is Debris.
Phyllis: You know . . . too much, I know.
Don: Coming to you the motel.
Phyllis: Look at monster.
Where . . .
FZ: Ha ha ha ha!
Phyllis: What are they laughing about? He looks so when they laugh . . .
That's what my psychiatrist used to say . . .
Phyllis: 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 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: coming to the beginning of a new era
He was a nice guy . . .
Don: Don't you it coming?
Phyllis: He was, he was okay in this time. He's up now, I heard about it though.

Ray: What is it you're doing, Mr.
Carl: I'm using the to measure it
Aynsley: . . .
Phyllis: You know what I used to do? I used to watch him eat, and he was eating I would ask him what he's doing.
Haskell Wexler: What the hell are we in this bathroom?
FZ: I'm going to . . . While you 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 people 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 and especially about the Mothers of Invention . . .

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

Ray: What is it that doing with this?
Carl: I'm the . . .
FZ: You know what I used to do? I used to watch 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 to measure it."
Ok . . .
Don: Can I borrow your
You know what I used to do?
Ray: are you doing with that?
I used to watch him eat.
Carl: I'm the chicken to measure it.
You know, you know what I used to do? I used 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 chicken to it?
Phyllis: And he say, "I'm using the chicken to measure it." What did he mean by that?
Ray: . . . he's using the chicken to it
Till this day I don't know what he's talking about . . .
FZ: Do it again.
Phyllis: That Tishman. That Tishman . . . What a guy . . .

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

Phyllis: What a guy, what a of humour . . . The way he used to . . . let me get back to that.
FZ: Look at the way he hands that . . .
Aynsley: Do you another ball?
FZ: He had a way that chicken . . .
Phyllis: He . . . look 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 his privates . . .
Aynsley: But cool, still
Guy Alabama: That's cool, yeah.
That's cool, yeah, I sort of followed the . . .
Guy From Alabama: I'm the chicken to measure it, though
You were?
Guy From 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 kind of shit, now . . . all smokin' shit . . .

Massimo: And now, we are going to translate: "This is my hand." Repeat after 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 doing?
Carl: I'm using the chicken to it. Have you ever used a chicken to measure it?
Gee Jimmy, that's cool!
Guy Alabama: I fucked a chicken . . .

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

FZ: Hello? Yeah, are you busy? Well I was --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 . . .
He's eating.
FZ: Ok, he's eating, you see . . . Don Preston . . . Well, it depends, mostly it's a hamburger, sometimes, well he doesn't wanna eat the hamburger, 'cause he's a vegetarian . . . Okay now, Phyllis is here . . . . . .
Who's Phyllis?
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 were gonna run for President?

Aynsley: You're Tom
Yeah.
Aynsley:
Carl: Then she came out here work on the festival.
Ray: What are you with that chicken?
And then uh, then . . .
Ray: I was the ball.
Carl: Then hired her to work on the Mothers movie.

Phyllis: Hi, I'm Phyllis 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 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: When she sees him turning 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, 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 mean he just gets people to do these things.
Don: He just makes me sick when he into a monster.
Why? Why does he make you sick?
Don: Oh, can't you see it how, how . . . ugly it is that, being that 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 he turns 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 at him drinking that, that smoke stuff, I don't know what it is. I don't even 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 and he, he's so terrific when he goes back to that gong, oh, that's 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 I've seen.
Phyllis: I like to be called manipulating, that's for sure, but I like to think 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 makes 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 her.

Oh . . . a little lower, please.
Don: How do you work all those controls in there? really fantastic . . .
Phyllis: Oh, nothing.
Don: All of those and switches . . .
It's nothing. Look, look what's going on there! Oh . . . oh, wow, this . . .
Don: I just can't see how a could do all that.
Phyllis: Oh, now with the, the Women's Front we can do anything, you're kidding? Oh . . . oh! It's so good!
Don: This obviously 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 . . . been so long . . .
Tell me, did your father demonstrate any affection for you?
Phyllis: I've been watching you on the screen for four . . . Finally, my monster . . . Is it real? Is it really you? Oh that feels, oh, monster, can I have a bite off of your apple?
Mm . . . I think that uh . . .
Phyllis: It's so to be here with a monster finally . . .
Don: It must be uh, her and father probably told her that she's real ugly and awkward and dumb and everything . . .
Phyllis: a good 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: find this is quite common in uh, today's society
Phyllis: It's like and Eve and the apple . . . Finally, here's my monster . . . after all this time . . .
Don: That's why monster are so popular, you know?
Phyllis: I'd waited and . . .
Don: D'you how many a monster movie costs to make?
And there he is, he's right here.
Don: movies really cost a lot of money.
Phyllis: Sitting with me, I believe it! Is it really you, monster?
Don: And our young society today to all these monster movies and they see them on television night after night.
Phyllis: so terrific to be with the monster.
Don: We're raising a new generation of lovers.
Phyllis: I've been waiting so for the monster . . . Maybe 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 vibrator? Now ruined the whole thing
Carl: 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.
I'm using the chicken to measure it.
Carl:
Don: I'm using the chicken to it.
Charles.
Phyllis: Aynsley Dunbar, who's playing with Frank now, this 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 dumb 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 . . .
Aynsley: Say, could you do me a favour? Could you me with a toilet brush?
Phyllis: you with a toilet brush?
Aynsley: Shhh . . . someone might . . . yes, beat me with a toilet brush.
Phyllis: your name?
Aynsley: Ah, hello, my name is Dunbar and I, I'm very interested in whips and canes, etc. I'm gonna fill, fill you in about uh, my background.
FZ: Are you absolutely serious about this? You really 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 think they'll be in this year . . . definitely.
You want me to beat you with the toilet brush?
Yes.
Phyllis: I like 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 like 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 guessed right, you know I saw this handle sticking up here and I like, I, I guessed it right on first, you Like I know . . .
FZ: him while you're talking.
Phyllis: You know like . . . I tell you something. I hope it's not getting kidney or anything like that.
Aynsley: Oh look, keep, keep, just keep it high, just it high.
Phyllis: You know I mean? I got worried about those things, I got . . . you know I'm humane, Aquarius and all this . . .
That's 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 getting you
Aynsley: Oh, maybe it would do if I had 'bout fifteen people.

Don: I know gets you hot. Hamburgers 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 faintest what gets me hot!
Don: Sure! Hamburgers! at this . . .
I can't take it . . .
Don: See
Phyllis: I can't take it . . . oh, God, hamburger!
Don: But you know what gets me hot.
Phyllis: I'd bet I know gets you hot. Sticks, sticks on your body on a table get you hot.
Don: I'm getting hot! . . . When I was drinking the potion . . . and that hat and that cape and everything . . . just incredible . . . I'd . . . wonder what it's like to, to change into a . . . 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, I've just been thinking, monster, we can take rides in the country in the Volkswagen . . . and, my monster, you're me up, my monster.
FZ: It get you hot.
Well . . . it doesn't get me hot.
FZ: I saw you on the floor in the corner with him!
Phyllis: I, it me laying in the corner! That was, that wasn't me!
FZ: Ha ha . . . Who was it?
Phyllis: was Sheba! It wasn't me!
FZ: Who is Ha ha!
Phyllis: 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 that comes across, you know, you could 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 what I
Don: I mean, . . .
It's, it's hotness.

Phyllis: It used to be very, it was really nice and 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 it's the same thing, all these guys they're so disgusting, I can't stand it . . .
Look, anybody . . . anybody sitting here?
Phyllis: No! Go ahead, sit down!
Thanks. Anybody drinking this beer in here?
Phyllis: No, I don't know what the bartender . . . he just it there, I don't know what's going on . . .
Don: My name is Debris.
Oh, hi! Sheba Flieschman.
Don: How do?
Phyllis: So and uh, name is Biff Debris.
Yeah.
Phyllis: You know, thing, if we got married my name would be Sheba DeBiff.
Don: My 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 of sounds like Debris, you know what I mean? Like, is that French, or what?
Don: Well, actually I'm Mohawk and part Norwegian.
Excuse me. Is the hamburger ready yet?
Don: What are you?
Phyllis: Uh, I'm Aquarius Venus rising on my past.
Don:
Phyllis: Yeah. really good sign because it's the Aquarian age now, you know? And like, it's all coming together. You know what I mean by coming together?
Yeah.
Phyllis: I think since I came New York, you know, I'm really . . .
Don: Are you New York?
Phyllis: Yeah, you tell! Huh?
No . . .
Phyllis: I tell 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 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 with uh, Debris?
Phyllis: That's one thing I away from.
Alright, you're free . . .
Phyllis: I think that you can be high on your own intellectual stratification.
Hamburgers.
Phyllis: Don't say hamburgers, it me so hot . . .
Don: But you don't know gets me hot, you see . . .
I know what gets 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 not that, then what is it?
Don: . . .
Phyllis: Well, don't be embarrassed! You can tell me, you know? I'm . . .
Showers.
Phyllis:
Showers.
Phyllis: Well, okay, you know, I can go see that, I can see, I can showers.
Don: Not, not showers.
Phyllis: What you mean not showers?
It's gotta be a special shower, you know.
Phyllis: What kind of
Don: With these clothes on it.
Phyllis: You mean, you wear when you . . . ?
Don: These clothes! are the clothes . . .
Phyllis: These are the clothes you . . . ?
Don: Right . . .
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 think it's sexier because, you see just a little outline . . . tiny little bit, you know, like, poinnnng!

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

FZ: Hi, Phyllis, why you want to take your 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 don't you do it?
I'd rather not. There's no reason, I'd just rather not.
FZ: But what's the You got an ugly body?
Phyllis: No, I have a great body. I just don't do it.
FZ: But why don't you wanna do it if you've got a great body? Don't you wanna share it with the
Phyllis: No, I wanna share it with the world.

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

I'm ready! I got the shirt, I got the pants, and I got the belt with that little yellow holes, you know? And I'm hot!
Don: And I got the bun and the hamburger and the and the orange and I've got my clothes off and I'm hot!
Oh, come on!
Don: You know how many times we . . . ? I go down to Mr. Pocket three times a week, trying to find somebody that'll these clothes in the shower.
How do they look on me?
Oh . . .
Phyllis: You it?
Don: They're great, you know. I had those clothes in the refrigerator for two months now.
Phyllis: Where is the hamburger? Just give me a bite, mmh . . . it's so great, you don't guys . . .
Oh, it's disgusting . . .
Phyllis: You meet guys who get you off with hamburgers, I'm saying I'm really happy that mmmm . . .
Don: Oh, the two of us really make a couple!
Phyllis: I know, me with my 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 me to wash it to you?
Phyllis: Well, I don't know, I wasn't planning on it, it's alright, you can wash my . . . mm, so nice the shower . . .
Don: I bear it.
Phyllis: Especially, especially, if you . . .
Don: people are really weird.
Phyllis: Pull it on my back, just a little bit, it won't, it won't hurt, just a little bit there, this side, it's 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 arms?
Phyllis: No, I . . . need my clothes 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 that I met you . . .
Don: . . .
Phyllis: And this . . .
Don: Do you mind if I rub some of this in your
Phyllis: Oh I don't mind, let me just take out little thing here, mmm . . .
Oh, boy . . .
Phyllis: A little bit, wait, it's, but I don't know, do you have cream here? . . . this strip I won't be able to . . .
Cream rinse?
Phyllis: . . . 'cause I . . .
Eugh!
Phyllis: I be, let me see how it feels with the soap.
FZ: Whi-whi-which parts get you the that can be rushed with the hamburger?
Phyllis: Well I think uh . . . part!
Don: Oh, I love with hamburgers under the clothes.

Don: getting hot, come 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 from hamburger, oh . . .
FZ: Get hot!
I'm so hot!
FZ: Under, . . . Ha ha ha ha!
Undulate.
FZ: Look!
Don: You . . . it's better.
Phyllis: Where's the hamburger? . . . 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 wanna little after, could you do my back?
Oh yeah . . .
Phyllis: Underneath the shirt, don't be bashful, I, oh, I know it makes you hot, like if you . . .
Don: Yeah, I like the better. I'll wash the shirt.
Phyllis: Oh, let me take a little bit of the
FZ: Ha ha!
Phyllis: You know, the last guy I was with he just had Ground Choc, you know what 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 the health food stuff, are you a health food person? You know, like . . .
No, I am Uncle Meat!
Phyllis: You are Meat?

Phyllis: And you're 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 appreciation and I wanna clean bathroom . . . the cleanser . . .
FZ: "I am going to the Hollywood . . . "
I'm going to the Hollywood Ranch Market and I'm gonna buy the cleanser.
Don: And because you worn the clothes . . .
Phyllis: . . .
Don: got me hot, the shirt . . .
Phyllis: . . .
Don: The pants and the brown belt, children's belt with the holes in it . . .
Phyllis: . . .
I will . . .
Phyllis: . . .
Don: Accept your offer to go to the Ranch Market . . .
Cleanser . . .
Don: And get the and clean my bathroom.

Janet: He's from that group Cleanser. He looks kinky. Too bad we didn't have our garters on.
& Lucy: EEEEEEEUH!
Janet: Oh, what do you expect from 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 world, you see, like this whole 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 remember our other single Bun'?"
Don: Yeah, you remember our other single, "The Bun"? See, this, was our last composition . . .
Plugging it in . . .
Don: And uh, it was pretty hard to play because uh, 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 holes in the . . .
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 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, it's 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: . . . straightest member is the writer, you what I . . .
Don: Hey, listen you guys, I like just . . .
Meredith: These guys can together.
Talk about the arrangement here
Aynsley: How about that new drum solo you worked out?
Don: got a new composition.
Meredith: It's rhythmic,
Now that's beautiful.
Don: Listen . . . Silence, fools! . . . SILENCE, FOOLS! Don't you believe in
Carl: I'm using the chicken to 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 measure it . . . I'm using the chicken to measure it . . . I'm using the to measure it . . . I'm using the chicken to measure it . . . I'm using the chicken to measure it.
FZ: are you doing with the chicken?
Carl: I'm using the chicken to it.
FZ: What are you doing the chicken?
Carl: I'm using the to measure it.
Motorhead: Outta site! outta site!
That's beautiful!
FZ: What are you doing with the
Carl: I'm . . .
Don: what we need for our new song.
Meredith: That was a composition!
We got it!
Aynsley: Can you write one that then?
Don: I did! . . .
Ray?: You would? I . . .
Don: At last night, . . .
Ray: That's when he starts in the guitar . . . ?
Now look . . .
Ray: he comes in with his guitar solo?
Don: You guys, do you see this over
Ray: Why does he this?
Can you see this over here? This is the new composition that we're going to make a hit single with.
Aynsley: it called, "Junk Shuffle"?
No . . .
"Junkyard."
Aynsley: it called?
Carl: I'm the chicken to measure it.
FZ: It's "We're using the chicken to measure it."
I'm using the chicken to measure it.
Don: Right, "We're using the chicken to it." Well, I couldn't get a chicken, I, all I got was . . .
Motorhead: That would be the title. got a chicken.
Yeah!
Motorhead: You can use Ray's chicken to it.
But uh . . .
FZ: No, no, that's of the concept, you're using the chicken to measure the pitch in?
Aynsley: It's I choose.
Don: Oh, I see, yeah, are we the chicken to measure it?
Or drumming?
Don: I'll you, this is . . .
How about 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: That's part.
Oh, that A . . .
Don: And is a new concept.
Motorhead: I can't learn that by tomorrow, man, no way.
Tonight.
Motorhead: I can't it tonight!
Listen, I got the time booked.
Motorhead: I even . . .
Tonight? OW!
Don: At the Hollywodd Ranch tonight, man!
Meredith: pretty heavy, man.
But tonight?!
Meredith: That's pretty . . .
Motorhead: My strings are flat, my pickups are shot, do Herbie wouldn't give us an advance so I can buy new strings and an amp?
Don: Listen, take care 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 know? And, and some of the electronic equipment needs boosting and uh, we have a good 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 word? It's a . . .
Francesca: Who cares about
Grrah!
Francesca: Look, I've seen 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 measure it with it.

Guy From Alabama: We must say it in Alabama language, man, I understand.
Another "Guy From Alabama": Playing that kind of and eating meat, you'll never . . .
I say . . . I say . . .
Guy From (unintelligible shouting)
Aynsley: I say, old boy, you english?
Guy From Alabama: Hey man, you got any peas or beans or like that?

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

Phyllis: I can't get enough of stuff, mmm!
FZ: "We're coming to the of a new era, at the motel."
Phyllis: Look at over there, look . . . mmm mm . . .
Don: We're coming to the beginning of a new era at the motel, we have working secretly . . .
Phyllis: still, still the best.
Don: . . .on a new composition in the back . . .
Phyllis: I love he always did that . . .
Don: . . . in our chambers.
Phyllis: Then changed into . . . I remember . . .
'Cause everything is secret.
Phyllis: For twelve he's still working on the same song, I don't know what I'm gonna do.
Don: We're to get the secret karma change for the whole world.
Phyllis: Still get that "The Bun" thing. I gotta stop this, it's not good anymore.
Don: You see, like whole karma thing, it's really what's causing all the problems.
Phyllis: Because all we've got kids now.
Don: So we to get a composition.
And we can't, he can't do this anymore, it's another whole life.
Don: And, I'm that it's going to be a hit single.
Phyllis: But, I can't help it, I mean irresistible. The guy is irresistible.
Don: everyone is going out and buying our new hit single, for this group that uh . . .
Phyllis: Look at that face, there . . .
FZ: "You remember our other single Bun'?"
Don: Yeah, you
Phyllis: Look at that, right that, right . . . mmm . . .
Don: Our other single, "The Bun"? See, this, was our last composition . . .
Phyllis: Oh, God! Oh, I remember too . . . yeah . . .
Don: And uh, it was pretty hard to because uh . . .
Look at this, when he did that at the fare . . .
Don: Some of the 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 about 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 already, I have to think about work, I have to think about him, I have to think about . . .
Stumuk: Maybe I oughta face it, after twelve years "The Bun" just 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 why it didn't sell. Look at this . . .
Phyllis: Oh, look at that! I remember --let me stop that and see how the fume was out of his mouth, and the way the lips, the lips, so beautiful and the hamburger . . .
Massimo: Try to do something that.
Stumuk: Like
Massimo: figlio di puttana.
FZ: on television set.
Massimo: E non il cazzo.
A non cacarmil catzo.
Massimo: I have a big bunch of minchia!
Stumuk: A big of minchia!
Phyllis: It's great you're learning Italian, I . . . That's what I want! More, a little culture, it's enough already with "The Bun"!
Stumuk: I had, I had to it. It wasn't right.
Massimo: These fucking things didn't work, I don't know why. Maybe, can you see all these points, white points, on these fucking things? You have to know that . . .
Stumuk: Can you
Massimo: . . . all this . . .
Everybody's using the chicken to measure it with nowadays, even my kids!
Massimo: . . . come from my nose, and maybe people like it.
Stumuk: No more the . . .
Massimo: And I just know why . . .
Stumuk: But "The Bun," the of "The Bun." It has seeds. It's different.
Massimo: I just can't 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 work. What can I say?

Guy From Far fucking out! Far fucking out!

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

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

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