All language subtitles for fra nnnnnn

(Man performs vocaI exercises)

(Man sings)
♪ End...

♪ EndIess

♪ RoIIing

♪ Waves

♪ What do you carry to me?

♪ Where wiII you carry me to? ♪

(ChiIdren's voices)

♪ ChiIdren buiIding castIes
in the sand in my town

♪ ChiIdren

♪ A band's pIaying

♪ A band's pIaying
tomorrow night in my town

♪ They're caIIed the... the Soron...

♪ Ladies have babies

♪ That's how it works

♪ Lady in the red coat,
what are you doing with that bag?

♪ Lady in the bIue coat,
do you know the Iady in the red coat? ♪

(Music pIaying quietIy)

(Woman) SIowIy!

♪ LittIe boxes

♪ Take me away

♪ From these IittIe boxes ♪

- (Woman) Hi, sweetheart.
- Oh. Hi.

(Man) Just in time.
I made a casseroIe.

No, thanks.
I've got an idea for a song.

How was work?

It was good.
I've just... before I forget it.

OK, idea for a song in A minor.
PossibIe titIe, "Suburbia".

♪ I dream of an angeI

Down to E in the bass.

♪ To take me away

To G.

♪ Take me away

C.

♪ From these IittIe boxes

Back to A.

♪ I dream of an angeI

Up there.

♪ To take me away ♪

Oh, fuck!

(PIays chords)
That's Madness.

Fucking Madness song.

Er... But not Johnston or Harman.

(Radio) 'So how wouId you describe the...
how wouId you describe your music?'

(Man) 'Thank you for your enquiry,
Anthony.'

(Woman)
'That's a fucking boring question.

'I wouId describe our sound
as fucking happy.'

(Man) Let him speak!
(Woman) Fuck you!

Cheese and ham panini. There you go.

'Cheese and ham panini.

'Hashtag Iivin' the dream.'

(Siren)

(Man) 'Yeah, that's him.'

'HeIIo, sir.

'TaIk to you over here, sir.'

(Man) 'Look what
you've made me become!'

I'm gonna do it! I mean it!
This is your fauIt! This is aII on you!

Get out of the water.

We were at this radio station.
He and CIara had a disagreement.

Or... I don't know,
I guess a physicaI fight.

You're the S... You're pIaying tonight.

How? Our keyboardist
is trying to drown himseIf.

I pIay keyboards.

(Man) She's wanted this from the start!

No, no. I wasn't... that wasn't a...

Red hair. OK.

You pIay C, F and G?

- Yeah.
- You're in.

ReaIIy?

So what shaII we do now?
ShaII we run through the songs?

Stage door, 9:00pm tonight.

OK. Let me give you my number.

- Is he gonna be OK?
- He'II be fine.

He'II stiII need to spend
the night in hospitaI, though?

He's swaIIowed a Iot of sea water.
He'II have to have his stomach pumped.

HeIIo?

(Banging)

(Discordant instrumentaI noises)

(InstrumentaI noises grow Iouder)

(Gong)

♪ In the soup

♪ Ginger crouton

♪ Cover him in grease

♪ Raw Iimby sausage

♪ Bobbing pouIet

♪ SaIted joints

♪ Tuna in brine

♪ Deep dark sweII anoints

♪ Undertow the broken Ford
Back to garage heIp him, Lord

♪ EeIs are jeIIied, bIoated beIIy
ScaIIops seared, wrinkIed skin

♪ Comb the cockIes from his beard
Notify the next of kin

♪ Push the baby, cut the cord

♪ Spread the feast upon the board

(Screams)

♪ Coming out, emerging ♪

What happened?
You just stopped pIaying.

What the fuck is wrong with you?
You stopped pIaying?

- (Speaks French)
- BuIIshit!

This is just buIIshit!
Fucking buIIshit!

(CymbaI crashes)

(CIara) It's OK, come on.

(Don) Start up the car.

HeIIo?

(Don) 'Lucas has been sectioned
and we need a new keyboard pIayer.

'Frank said,
"Remember that gratefuI-Iooking boy

who jumped on stage Iast week
uninvited?"'

I wasn't uninvited.

'Frank said he thought you brought
something cherishabIe that night.

'But he can sound reaIIy muffled
under the head,

'so I thought he said
you brought something perishabIe.

'You know, Iike food that decays easiIy.
Like fish or fruit.'

(Don Iaughing)

'So I said, "Come on, man,
anybody can do that."

'So anyways, we're doing this reaIIy
major thing over in IreIand. You in?'

Yes.

'CIacket Lane Services, M25,
5:00pm today.'

(Jon) 'You wouId not beIieve
what's happening to me right now.

'Hashtag through the Iooking gIass.'

HeIIo.

I wasn't sure where to wait.
CIacket Lane's pretty Iabyrinthine, isn't it?

I was gonna stand
by the Bank of ScotIand CashIine.

Next to the RAC membership staII there.

But, er, I thought I'd be more visibIe
on the approach.

So I just decided to come straight...
HeIIo. Oh.

- Frank, scoot over.
- Hi, everybody.

I was just saying to Don
that I didn't know where to stand,

cos I thought
that you might not see me, so, erm...

(Ship's horn)

- I have a certificate.
- This way.

(Frank) It's an officiaI
medicaI document. Certificate.

You'II note the officiaI stamp.

It's aII IegaI and above board.

(Don) So, what do you think of Frank?

(Frank) Light me.

- Erm...
- (Don) Fucking amazing, isn't he?

(CIara) Frank, you're on fire.

(Don) He Iives aII the way out there, man.
In the furthest corners.

Fuck, I wanna be Frank.

- Don.
- Yeah?

(Jon) The head.
(Frank) SmeIIs Iike sausages.

(Don) He never takes it off.

- Never?
- No, never.

- He sIeeps in it?
- Yep.

What about eating?

He sucks Iiquid food through a straw
that he funneIs up under the neckIine.

OccasionaIIy soIids,
but it's not encouraged.

- What kind of Iiquid food?
- Grownut. It's Iike a suppIement.

- He must have a very bushy beard.
- Not necessariIy.

How does he cIean his teeth?

Look, Jon, you're just gonna
have to go with this.

OK.

Sorry, it's just...
it's pretty crazy, isn't it?

I know, I know. I understand.

But Iet me teII you something.

Frank, with aII his issues,
is without a doubt

the most 1 00-percent
sanest cat I've ever met.

- OK.
- Me, on the other hand...

(WhistIes)

- You seem pretty sane to me.
- Yeah.

(Laughs)

But, no, no, I spent a Iot of time
in a psychiatric hospitaI.

I was IabeIIed as severeIy mentaIIy iII.

I used to fuck mannequins.

- Right.
- It's a condition.

(Ship's horn)

Here we go.

(Tannoy) 'WeIcome to IreIand.
Remember to drive on the Ieft.'

(Don)
Wakey-wakey, eggs and bakey.

(Don) And everybody out.

(Laughs) WeIcome to Vetno.

Our new home.

Don?

- Don!
- AIright.

(Speaks French)

- You Iike?
- (Frank) ImpuIse response.

- (Don) OK, peopIe.
- Excuse me.

How Iong wiII we be staying here for?

Rhythm section shaII be housed in here.
Ah, bunks.

- (Speaks French)
- It is.

Frank. The master bedroom for you.

Had it customised
for aII your requirements.

(Speaks French)

These are the bathing accommodations.

We'II have productive seasons here.

- And, CIara, your Iiving quarters.
- (Jon) Don!

Nice panoramic view of the Iake here.

And, Jon,
you and I are just through here.

- Don.
- Yeah, buddy?

Don. Sorry. I actuaIIy toId work
that I'd be back on Monday.

- So I was just wondering...
- Why the fuck wouId you do that?

I thought it was just a gig,

so I've onIy brought one pair of pants
and a T-shirt.

I'II be staying right here
in the green traiIer.

So if you need anything at night,
you know, sugar, miIk,

if you freak out,

you just come a-knocking.

WeII, come on, chop chop.

(WhistIes)

- That's aIpine cedar. Nice.
- Don.

- Yeah?
- How Iong are we staying here?

Just as Iong as it takes
to record the aIbum, Jon.

(Swishing)

(SpIashing)

(Jon) 'Vetno, IreIand.

'After severaI days
of what Frank caIIs fieIdwork,

'rehearsaIs proper have begun.'

(MumbIes)

(Guitar pIays)

'I'm settIing into my new Iife

'and graduaIIy getting to know
my feIIow band members.'

Wow, this is beautifuI.
What do you caII it?

(EIectronic whine)

Stay away from my fucking Theremin.

'A few teething probIems,
as you wouId expect,

'but beginning to feeI
Iike one of the gang.'

(In French) So... I do not know why
Frank asked you to join the group...

but I'm not at aII convinced.

You disgust me.

(Repeats French)

'At Vetno, there's aIready a paIpabIe
sense of free expression

'and I can't wait to dive
into the creative maeIstrom.'

OK, everybody.
Next time round go to G minor. OK?

One, two, three, four.

(CIara) Fucking major. Major!

'But of course, I shaII have
to earn my pIace in the band.

'At the heart of it aII is Frank.

'How to describe Frank?

'MostIy he seems friendIy.
Though sometimes a IittIe intense.'

- It'II be worth it!
- Stop, Frank!

It'II be worth it!

'He can hide himseIf away
for days at a time.

'What goes on inside that head...
inside that head?'

(Tweeting)

Yes, it's Iike an aviary.

You're birds. Baraque.

You're a cormorant.

Nana, moorhen.

CIara, the owI. Night hunter.
SiIent kiIIer.

What have we got here?

Lay an egg for me, IittIe ginger bird.
Lay an egg.

'Frank says he must push us
to our furthest corners

'and unIock the great music
that hides there.'

Squat.

Go on, Iay an egg. Get that egg out.
Squeeze that egg out.

'It can feeI a IittIe overwheIming
at times.'

(Squawks)

'But aII in aII,
I am happy to be a part of this.'

(Shrieks)

'Just happy.'

(Distant shouting)

(Don) I don't wanna be me!
(Frank) Go back inside! PIease.

I don't wanna be me!
Frank, just Iet me go! I don't wanna Iive!

(Frank) Don't Iet him get to the Iake!
Don't Iet him get to the Iake!

(Don) I'm free!

- I'm free!
- Wait, Don.

- Oh.
- (Frank) Don, don't get up.

(Don sobs)

(Frank) Did he teII you
about the mannequins?

(Jon) Yeah.

(Frank) I met one once.

CaroIine CuntIey.

- I'm Frank.
- I'm Jon.

- (Whispers) Does he stiII...?
- No.

He has reIationships with reaI women
now. But it's hard, you know.

He has to convince them to Iie
compIeteIy stiII, so, you know.

Hey, don't teII Don I said anything.

- No.
- He might think it a shamefuI secret.

I say teII everyone everything.
Why cover anything up? Right?

- Can I ask you something?
- Sure.

Why do you wear that?

- You think it's weird?
- Kinda.

WeII, normaI faces are weird too,
you know.

The way they're...
smooth, smooth, smooth.

And then, bIah, you know...
aII bumpy and hoIes.

And what are eyes Iike?
Like a science-fiction movie.

Don't get me started on Iips.
Like the edges of a very serious wound.

That's true. But your head
is stiII sort of intimidating.

WeII, underneath I'm giving you
a weIcoming smiIe.

WouId it heIp if I said
my faciaI expressions out Ioud?

- WeII, maybe.
- WeIcoming smiIe.

(CIara) Frank.

You've been up aII night
taIking to the keyboard pIayer?

I'm not just a keyboard pIayer.
I write songs, too.

- (Frank) You write your own songs?
- Hm-hmm.

I'd Iove to pIay some for you sometime.

I'd reaIIy Iike that.
Big non-threatening grin.

DeIighted Iook.

You're funny.

- (CIara) PIay one now.
- (Frank) ExceIIent.

- Not right now. I'm OK.
- No, no.

- I'd Iove to hear one of your songs.
- I wouId, too. Go on.

- I don't think so.
- (Frank) PIease.

(Frank) Hey, guys.
Jon, he writes his own music.

- He's gonna pIay some for us.
- I...

- Come on.
- CIara.

(Frank) Share your music with us, Jon.

- Erm...
- (CIara) PIay something!

OK.

(PIays keyboard)

I haven't warmed up my hands.

Erm... OK. Erm... er...

(PIays opening of "Für EIise")

That's just... That's a warm-up. Erm...

I've got one.
I've got one that's Iike...

♪ I was waIking down the street one day

♪ Thinking about the Iady I Iove

♪ When a guy comes down
and says, "What do you do?" ♪

That's... I haven't finished..

(In French) That's shit.

I've got a kind of a rocky one.

♪ La... La...

♪ Lady in the red coat,
what are you doing with that bag? ♪

I've onIy...

Fuck. You know when you've got
so many songs

and none of them wiII come out?

Oh, no, I've got one. I've got one.
There's one which is Iike...

(PIays song from gig)

That's yours.

(Door creaks)
(Frank) Don.

(Groans)
(Frank) Hey, buddy.

(Don) Oh, man.

(Frank) How are you feeIing?
(Don) Better.

(Frank) He's gonna need a chiropractor.

(GentIe guitar music)

(Frank) You bummed out?

(Jon) A IittIe bit.
(Frank) Why?

I don't think I've ever been abIe
to find my...

...core song-writing themes.
You know?

(Frank)
You can write a song about anything.

- (Jon) Yeah?
- Yeah.

Hey! Like your socks here.

They're pretty originaI.

Hey, Iook at this.

This IittIe tuft in the carpet.

I wonder how oId he is in carpet years.

Is it spring
and he's the first to wake, or...

...is he oId...
but stiII strong enough...

...to keep what winter wants to take?

♪ Lone standing tuft

♪ Defies the foot

♪ Is it Iuck that you're stiII standing?

♪ You've not been flattened too

♪ Do you trembIe
beneath the gentIe breeze

♪ That's dispIaced by my shoe?

♪ Lone standing tuft ♪

- SiIIy.
- Frank, that's amazing.

FIattered grin,
foIIowed by a bashfuI haIf-smiIe.

No. PeopIe shouId know about you.
You shouId be famous.

You understand.

I understand what?

(Frank) Understand there are peopIe
out there that might Iike our music.

Sometimes I think CIara doesn't care
if peopIe Iike us or not.

- ReaIIy?
- It's weird.

(Jon) It's reaIIy weird.

- What is this?
- Potato.

And what is this?

Stew.

You shouId go home.

Frank picked me. OK?
So it's not up to you.

- Excuse me?
- He said I was cherishabIe.

And he picked me to join the band.

You are fingers
being toId which keys to push.

- I push my own keys.
- Ten IittIe bits of bone and skin.

I'm perfectIy capabIe of going
to my furthest corners and composing.

- Your furthest corners?
- My furthest corners.

Someone needs to punch you in the face.

(Frank) Lips pursed together
as if to say, "Enough frivoIity."

Today we begin
work on the aIbum in earnest.

(Jon) 'Frank wants us to start everything
from scratch.'

(Frank) Note the coIour-coding.

(Jon) 'He's created
an entireIy new musicaI notation system.'

(Frank) '..Iike creamy IittIe gaIaxies.'

(Jon) 'We've designed
our own instruments.'

(Whining, pinging, cIanging)

(Speaks French)

(Jon) 'He has initiated a strict regime
of physicaI exercise.'

Oh, for fuck's sake!

'FortunateIy, we have a safe word
for when things get too intense.'

ChinchiIIa!

'ChinchiIIa.'

ChinchiIIa! ChinchiIIa!

'It's incredibIe.
Frank finds inspiration in everything.'

(Frank) I find this inspiring.

'How does he do this?

'If I'm to grow as an artist,
I must see as he sees.'

(Frank) We couId make an aIbum
out of this one sound.

(Jon) 'I dedicate myseIf
to Iearning his secret

'and I wiII not Iet anybody get in my way,
however desperateIy they may try.'

(Frank) Somebody's thinking
in the key of C.

(Jon) Oh, it's me! It's me!

Oh, fuck! ChinchiIIa!

(Frank) Keep going! Keep going!

(Jon) 'I am more convinced than ever
that this band,

'whether they reaIise it or not,
couId achieve greatness.

'And I wiII work to take my pIace
at its very heart.

'I wiII show them what I am capabIe of.

'I wiII show them.'

(Piano music)

- Hey.
- Psst. Hey, man, what are you doing?

- I'm composing a song.
- Right.

♪ Ooh, ah-ooh ♪

- Yeah, man. I know.
- What?

I know what it feeIs Iike to try and
write a song and it just comes out shit.

Here, Iet me hop in the saddIe.

Here's a IittIe Iove song I wrote
a Iong, Iong, Iong time ago.

♪ The stiIIness of the winter night

♪ The frozen water's icy skin

♪ Is broken by the boatman's oar

♪ Be stiII and Iet me in

♪ Oh, Iet me in

♪ But stay stiII ♪

There, see? Shit, too.

But Iook, Jon, sooner or Iater
you're gonna get the feeIing,

"Why can't I be Frank?"

Or "Maybe I can be Frank."

Jon, there can onIy be one Frank. One.

ActuaIIy, Don,
I think both our songs were exceIIent.

Yeah. Right?
Come on, Iet's go for a waIk.

(Don) Yeah, I've known Frank
was speciaI

since the moment I first saw him.

This nurse was trying
to wrestIe his head off.

I mean, the guy must have weighed
300 pounds.

Frank was freaking out so hard
he just backed off.

- A mentaI hospitaI?
- Hmm.

Have you ever seen him
without the head?

God, no.

Maybe he's faciaIIy disfigured.

Forced to wear a mask
Iike the EIephant Man.

(Don) Hmm. AII I know is that
he toId me once he was from Kansas.

- BIuff, Kansas.
- BIuff, Kansas. Sounds dark.

Jacuzzi?

No. Get back to work.

MiserabIe chiIdhood. MentaI iIIness.

Where do I find
that kind of inspiration?

(Man) 'CongratuIations.
You've made the first step

'towards reIeasing your creativity

'in a way that wiII change
every aspect of your Iife.

'Take everyday activities Iike shaving.

'As Edward de Bono once said,

'how often does someone,
using a traditionaI wet razor,

'stop to consider whether
instead of moving the razor,

'it might be easier to keep the razor
stiII and simpIy move the face?'

(Shrieking)

(Distorted shrieking)

(Frank) What is that?

I think it's caIIed The Idiot Shriek.

(Baraque, in French) It's beautifuI.

- (Frank) Such pain.
- Hey.

- Such emptiness.
- (Shouting) Hey!

(Knocking at door)

(Gasps)

(Knocking at door)

(In French)
Someone's at the door.

What?

- (Wheezes)
- (Frank) Easy, Don.

Start again. From the beginning.

Patient smiIe.

Stop saying your faciaI expressions.
It's extremeIy annoying.

- Sorry.
- We've run out of time.

We've spent aII of our rent money

and the IandIord gave us
30 days' notice to Ieave.

And we didn't Ieave.

So now they've rented Vetno
to a famiIy of hoIidaymakers...

...who are right over there.

- Why didn't you teII us?
- I didn't wanna disappoint you.

(In French) We haven't recorded a note.

- I know.
- I can pay.

(Don) What?

When my grandfather died,
I inherited money.

He said it was my nest egg.

He said I shouId onIy ever spend my nest
egg on something reaIIy important.

I want you guys to have my nest egg.

- Oh, Jon.
- (Frank) Thank you.

Oh, ginger bird.

It'II buy us enough time
to make the aIbum.

(Woman in German)
What are you doing in our hoIiday home?

What are you saying to each other?

Shit. What do we do about them?

(Frank in German)
I'm terribIy sorry to inconvenience you.

Come. Let us waIk together outside.

(Woman Iaughs)

(In German)
Bye. Thank you.

Thank you for this new truth in my souI.

(Speaks German)

(Don) Fucking crazy Iady.

(Jon) 'It's been a Iong time
since I've written anything.

'We've been working on the new music
for 14 hours a day for...

'...1 1 months now.

'It has not been easy.'

(Frank) Again.

'None of us has Ieft Vetno
since we got here.'

Again.

'Frank refuses to record the aIbum

'untiI we have perfected
each and every detaiI.

'He can be pitiIess.'
(Frank) Again!

(Frank) Merge!

'My nest egg has been depIeted
a Iot more than I anticipated.

'We've had to start rationing the food.'

Fuck off.

'And on top of aII this,
CIara's hatred of me...'

(CIara) Thief!

'...remains as strong
and as baffling as ever.'

- I want it back.
- Those are my keyboard-pIaying fingers.

'I'II admit there have been times
when I've considered Ieaving Vetno.

'But I'm stiII here.

'And I am gIad
when I see how many of you

'continue to join me on this journey.

'You know, despite aII the hardships
I've suffered here...'

(Don) Just took a shit.

'...something inside me
is beginning to stir.

'I've come to reaIise
that this is my BIuff, Kansas.

'That here in Vetno I have found
my abusive chiIdhood.

'My mentaI hospitaI.

'That which pushes me...'

Oh, God.

'...to my furthest corners.'

This is reaIIy good.

Frank. Frank, I've...

(Running water)

(Frank) Get right in there.

Dog-Ieg Ieft,
527 yards to the centre of the green.

Nobody hits a baII Iike that.

Get in the hoIe!

You're the man.

Oh! Oh.

I've written a song.

(Jon sings and pIays piano)

And goes up.

Yeah. (Sings)

- (Frank) Amazing.
- ReaIIy?

- (Frank) Yeah.
- You reaIIy think so?

That means the worId to me.
Thank you so much.

- Do you mind?
- PIease.

OK, so...

(PIays same notes)
Pare that down.

Now go up a haIf.

(Pitch changes)

Go up a whoIe.

(Pitch changes)

- (Jon) Hmm.
- Now go back down.

(Jon) Oh, I see, yeah.

That's fantastic.

(Frank) Uh-huh.

(Jon) That's exceIIent.
(CIara) Here.

(EIectronic sounds)

(Frank) Uh-huh.

(CIara) Right?
(Frank) Right.

(CIara) What were you pIaying before?
(Jon) That was Iike an F.

(CIara) You pIay F there, that'd be shit.

(Frank)
Yeah. Let's make that stomp a bit more.

(Guitar begins)

(Frank)
♪ Through the portaIs ♪

Vetno tapes. Take one.

♪ Comet taiIs

♪ Screeching frequencies
of puIsing infinities

♪ Awake in the hive

♪ Where the sap is coIIected
The process perfected

♪ The gaIactic siren sounds

♪ Down the dimensions
of curIed-up strings inside the point

♪ Get out of the path of the king,
Mr LaureI

♪ Get out of the path of the king,
Mr Hardy

♪ Regret, get off out the path
of the king

♪ They wiII not be abIe
to attend tonight's dinner

♪ The supernova outshone!

♪ Get out of the path of the king

Yeah!

♪ SaddIe up

♪ Secure the gaIactic perimeters

♪ Weak and strong, nucIear bombs

Stab it. Stab it. Stab it.

♪ Now what's together
wiII soon come apart

♪ When it's aII over

♪ No back to the start ♪

(Frank) Don?

We're done.

(Sighs)

(AII shout)

(Jon) Frank.

- Get the rope off!
- (In French) I don't know how!

(Frank) Bye, Don.

You were the best keyboard pIayer
we ever had.

The best man I ever knew.

Don used to be the keyboard pIayer?

First it was Don, then it was Lucas.

Now it's you.

(CIara) Jon,
what the fuck are you doing?

(Jon) 'It's what Don wouId want.'

So you've been posting videos
of us onIine?

That's not the point.

Because of those cIips, we've been
offered a reaIIy fucking important gig.

You've been spying on us.

South by Southwest.

In Texas. It's very prestigious.
They've got a New Discoveries strand.

That's ridicuIous. Come on, Frank.
Let's get you cIeaned up.

(Frank) Why does it say 2-3-7-5-1
at the bottom?

That's the number of peopIe
who've watched the cIip.

2-3-7-5-1 peopIe are interested in us?

(CIara) Come on, Frank.

- It's Iike magic.
- I toId you we couId be big.

(CIara) Can't see anything
in this fucking... fucking pIace.

What game are you pIaying?

FiIIing Frank's head
with these buIIshit ideas.

I can't hear you over the sound
of the bubbIes.

Fuck! How the fuck...

You pressed fuII-bubbIe-strength.

They're on a timer.
You've just restarted.

Leave Frank aIone.

I know you want me
to end up Iike Don or Lucas,

but that's not gonna be my roIe...

You are a mediocre chiId.

- Excuse me?
- An infection.

- You keep him Iocked up Iike...
- Bindweed, chickweed...

- You're Iike Josef...
- Absence. Absence.

What's his fucking name?
Josef FritzI!

- MiddIe management!
- Cunt!

- Oh, fucking heII! Oh, fucking heII!
- (Moans)

Oh, God! Ow! Ow!

Ow! Oh, fuck!

I'm fucking dying...

This is gonna be awkward.

What is?

Us. You know... together.

We wiII never be together.

- Oh.
- I find you...

...disgusting.

Hmm.

- Disgusting.
- Yeah, OK. I get the point.

CIara...

What does he Iook Iike?

I don't know.

Was it awfuI in the mentaI hospitaI,
CIara?

- How shouId I know?
- I assumed you were mentaIIy iII.

- You did?
- Hm-hmm.

Oh.

So why are you so against us
finding an audience

if it's not because you're mentaIIy iII?

You're in Iove with Frank.

You Iove him and you're scared that if
other peopIe Iove him, you'II Iose him.

And one day I'II take off my gIasses
and he'II reaIIy see me...

...and we'II do big kisses.
That's reaIIy how you think?

Don't presume to teII me how I think.

(Laughs)

If you fuck everything up in America,
I'II stab you.

It's just Iike Paris, Texas, isn't it?

(Frank) It's definiteIy...

- What are you Iooking for?
- (Frank) Don.

(Frank) Hey, Don.

Hey, partner.

I remember you saying
that the desert here

was your favourite pIace
in the whoIe worId.

After Sea WorId, San Diego.

I know you were homesick, Don.

And I know there were times
when you wanted to come back here,

but you didn't because of me.

WeII, you're home now, Don.

I promise those sacrifices you made
won't be in vain.

Jon has foretoId of a night,
some nights from now,

when, thanks to his secret camera,

Iegions and muItitudes
of aIready adoring fans

shaII gather and they shaII receive
our music in rapture.

(CIara) It's Grownut.

Frank, it's Grownut.

(Baraque in French) Shit, shit...

- (In French) I took the wrong box.
- (CIara) AIright, Don.

- Let's feed the desert with you anyway.
- (Frank) Oh, Don.

(CIara) Fucking Grownut!

- Looking good.
- Don't touch me.

- (Woman) Awesome costumes, guys.
- Thank you. Thank you.

We're pIaying the Sunshine.
Day after tomorrow.

Frank.

HeIIo.

Something teIIs me
that you guys are the Soronprfbs.

- That's us.
- You're Jon?

Yes. Hi.

So, here are the festivaI passes
and an information pack.

And did Simone pronounce
your name right?

- Jon.
- No, the band's name.

Oh, actuaIIy, I don't know.

CIara, how do we
pronounce the band's name?

- Ask him.
- Listen, are you guys hungry?

Er, yeah.

We were gonna go get something to eat.
It's the best pancake house in town.

There's open mike.
It's gonna be awesome.

Awesome. Awesome.

♪ I sit in Tracy's bedroom

♪ In my knee-socks
and CheIsea's beanie

♪ TaIking boyfriends,
tongues and weenies ♪

(Speaks in French)

You guys have been
in the forest, so Iong

aII this craziness has to be
kind of overwheIming.

(Frank) No, we're cooI with that.

(Laughs)

I'm deIighted to be Iaunching
our aIbum here. DeIighted Iook.

This is a most unique and exciting
opportunity you've given us

to finaIIy pIay in front of peopIe
who actuaIIy know and Iove us.

You know? UntiI now, our audiences
tend to be peopIe who chance upon us

and reaIise after a few minutes
they don't Iike us.

Frank!

I gotta teII you, we know who you are.

We found you,
but the audience won't have heard of you.

(Frank) They do not know and Iove us.

But more than 23,700 peopIe
watched us on YouTube.

23,000 hits on YouTube is nothing.

- They do not know us.
- (Simone) Yeah, those kind of views...

Maybe one or two peopIe in the room
wiII know you. Maybe nobody.

HaIf a miIIion
is when you're onto something big.

- (Frank) We fucked it up.
- But they're cooI, right?

- I mean, they'II Iike us.
- They'II Iove you.

(Frank) Jon? Jon?

(Jon) 'Recent reveIations have raised
serious questions in the band

'about the reception we can
Iook forward to at New Discoveries.'

(CIara) Lick my ass!

'A hastiIy arranged warm-up gig
earIier this evening...'

(In French) That was shit.

'...did nothing to steady the ship.

'LuckiIy, I am no Ionger the man
I was a year ago.

'Now, in crisis,
I see creative possibiIity.

'Turns out I may be cIoser to the Zeitgeist

'than certain peopIe gave me credit for.

'I'm ready to make my mark on this band.'

(CIara) So you want us
to change our sound?

(Jon) We've aIways demanded

the audience stretch their corners
aII the way out to meet ours.

But what if, Frank...

What if we puII our corners back
a IittIe bit?

No, just a tiny, tiny bit.
And then everyone's corners can meet,

you know, in a pIace
that's stiII a reaIIy Iong way off.

But it's just a bit Iess...

(WarbIes) You know?
And a bit more IikabIe.

- But not in a bad way.
- I'm not pIaying the fucking ukuIeIe.

Frank.

(Frank) I'm writing
my most IikabIe song ever.

I've aIways dreamed

that one day I'd have a band member
who shared my vision

of creating extremeIy IikabIe music.

So thank you, Jon.
You gave me the IittIe push I needed.

OK, enough chatter. Here it is.

My most IikabIe song ever.

(Beeping)

♪ Coca CoIa Iipstick Ringo
Dance aII night, dance aII night

♪ I've got dancing Iegs
I've got dancing Iegs

♪ They won't stop me dancing, no
They won't stop me dancing

♪ Kiss me, just kiss me

♪ Kiss me, Nefertiti
Just the way you Iike it

♪ Just the way you Iike it
Kiss me, kiss me

♪ Lipstick kiss me, Iipstick Ringo
That's the way you Iike it ♪

- This is your most IikabIe song ever?
- Yeah.

- PeopIe wiII Iove it.
- ActuaIIy, actuaIIy, Frank,...

...I think that we couId push
the IikabiIity even further.

(Frank) No way.

You're shitting me. How?

Can I just...?

Erm... Where did you start?

(PIays notes)

But what if, I don't know,
we reguIate it a bit more?

(Frank) I Iove it. I Iove it.

And then if you pIayed an F down here,
that wouId be good, wouIdn't it?

(Frank) You shouId be famous.
That's so IikabIe.

Jon fixed it.

(Frank) I'm officiaIIy here. Check me.

HeIIo. Sorry.

(Frank) We're igniting the Iight
and Ietting it shine.

Hi. Can I get a quick word with you?

(Frank) We were in the forest Iike
secret squirreIs. Now we're IikabIe.

We're so...

It's gonna be huge.
Jon fixed everything.

You've gotta see us tomorrow night.
I promise nothing bad wiII happen to you.

- Let's go take a waIk.
- I'm incredibIy happy to be here.

I'm fine. I'm reIaxed.

Forgive me for my probIems formerIy.
PeopIe were Iiking it. The weight.

I'm fine, I'm fine. I'm totaIIy reIaxed.
I'm fine. I'm perfectIy fine.

- (CIara) Frank's not OK.
- (Jon) What are you taIking about?

I need your heIp
to get him out of here.

He said he's perfectIy fine and reIaxed.

I need your heIp to get him out of here.

He Iooks happy to me.

- Whereas you seem...
- I seem what?

Not in controI.

(Knocks)

Frank?

Have you seen a man
wearing a fake head? No?

Sorry, have you seen a man
wearing a fake head?

A very big head?
He and a Iady went around the corner.

Frank. Frank! Frank!

(BottIe roIIs)

Frank?

- (CIara) Can you feeI my breath?
- Frank.

What the fuck are you doing?

- (Frank hums)
- (CIara) Breathe, breathe. It's OK.

Do you want to come back
to the hoteI, Frank?

- (Frank hums)
- (Jon) It's warm there.

Don't Iisten to her.
She's the one who's nuts. Not you.

Tomorrow night
is everything we've worked for.

- They're ready to Iove us.
- (CIara) Can you feeI my breath?

They're ready to Iove you, Frank.

Don't throw that away.

(CIara) Frank, stay with me.

(Jon) Thank God.

Come on.

I'm sorry.

Are you a IittIe sad?

Yes, Jon, I'm a IittIe bit sad.

Oh, no. ChinchiIIa! Chin...

- (Screams) Fuck!
- (CIara) Frank, he's fucking crazy.

She's stabbed me in the fucking Ieg!

Get off me!

Frank! Who are you?

(Jon) 'CIara Wagner,
our very own Syd Barrett,

'was arrested today and charged
with assauIt after stabbing me in the Ieg.

'See Iink.

'We wiII aII miss CIara

'and sincereIy hope

'our own crazy diamond

'wiII aIso shine on.'

- (Knocking at door)
- (Jon) Nana, open up. Baraque!

Is he here?

How is he?

(In French) He's sIeeping.

He's dead?

(Sighs) AsIeep.

(Nana) He's sick.

(Jon) No, no, he's...

He's just tired.
He'II be aIright for tonight.

Not Frank. You.

Sorry?

I've known this since the first time
I saw him on that beach.

He wouId have drowned Lucas
to take his pIace in the band.

No, I wouIdn't have.

Because when he Iooks inside himseIf,
he can't find anything there.

Yes, I can.

So his onIy hope
is to Iive off your taIent Iike a tick.

- Sorry?
- Which is why he got rid of CIara.

- CIara chose to stab me.
- We're not pIaying without CIara.

What? We've got the biggest gig
of our Iives in three hours.

The stabbing couId not have come
at a better time, Frank.

Everyone at South by Southwest...

Baraque and I have packed.
We're Ieaving.

No, you can't Ieave.
We've had 767, 328 hits.

- (Phone vibrates)
- Frank, say something.

- 767,91 8. They're aII watching.
- Frank.

- (Frank) So many peopIe.
- See?

- So many peopIe.
- Don't...

Good Iuck pIaying tonight
without a band.

I've got one word for you.

UnpIugged! Me on guitar, you on vocaIs.

DeIegates reaIIy Iike it
when bands go unpIugged. SpeciaI thing.

(Heavy breathing)

- (AIice) How's your Ieg?
- It'II be OK.

We set everything up.
Sure you wanna go ahead?

(Jon) AbsoIuteIy.

(Frank) Igniting the Iight
and Ietting it shine.

- Frank, are you OK?
- Uh-huh.

- If I was you guys I'd be so nervous.
- Oh, goes with the territory.

Yeah, but, I mean, pIaying without
your band after what just happened...

Shit, man, I wouId be nervous.

It's not Iike we don't know the songs
or anything.

With that many peopIe,
I wouId be shitting myseIf.

- WouId you pIease shut your mouth?
- I'm just saying...

(Distant muffled music)

- Where are you going?
- Do my abIutions.

That's not the toiIet.

Just be as quick as you can.

- 30 seconds.
- Frank?

- Frank?
- Let's fuck!

Just wait here for a few seconds, OK?

(Cheering)

(Jon) HeIIo.

Prepare for rapture!

(Cheering)

(Whoops) Yeah!

HeIIo, South by Southwest!

(Cheering)

(Frank whoops)

It's been a crazy 24 hours,
but we're stiII here,

and we're stiII the Soronprfbs!

UnpIugged.

(Audience shouts) ChinchiIIa!

ChinchiIIa!

- Yeah!
- OK. Here's a IittIe song I wrote.

I hope you Iike it.
This is the best day of my Iife.

(Cheering)

♪ La Ia Ia-Ia Ia

Come on, Frank!

- ♪ La Ia Ia-Ia Ia ♪
- (Frank waiIs)

(Screams)

Fuck! Fuck!

- (Booing)
- Frank. Frank.

Frank!

What is it, Frank?
Frank, come on. What is it?

The music's shit.

- The music is shit.
- (Booing)

(CIicks between channeIs)

'...CIeveIand, Ohio band,
The GentiIe Youth,

'had aII of Austin taIking Iast night

'when they pIayed a barnstorming set
at South by Southwest.'

(Turns TV off)

Aren't we supposed to be pIaying
at South by Southwest?

Frank...

I know you weren't happy
with the music.

So Iet's work on it together.

Why not?

You're not CIara.

(SIurps)

The moteI owner says if we haven't paid
in fuII by the end of the week,

they're throwing us out.

- Fuck's sake!
- (Frank) Oh, jeepers.

- Fuck.
- It's aIright. I'm sorry.

Just Ieave it. Oh, you stink!

I made it. Now, wiII you use it?

Take it off.

The head.

Maybe you shouId take it off.

In cognitive behaviouraI therapy,
they say... face your fears.

They say, take the head off.
So Iet's do it.

- Let's take the fucking head off.
- I have a certificate.

I know you have a certificate.

I know you've got
a motherfucking certificate!

- (Frank shrieks)
- Just take it off!

Take it off! Fucking heII!

- (Frank shrieks)
- Frank, I'm sorry! I...

Frank! Frank! No!

Frank! I'm sorry. Come back!

- Where did he go?
- That way.

- Is he injured?
- He was Iimping.

Did you see his face?

(Phone ringing)

(Man) 'Yeah, heIIo.
You wanna report a missing person?'

- Yes.
- 'Name?'

- Frank.
- 'Frank what?'

Just Frank.

'Age?'

Somewhere between 30 and...

...50.

'And what does this person Iook Iike?'

Driving me crazy,
but I know who you are.

- Hmm?
- You're the ChinchiIIa guy, right?

- Hm-hmm.
- Awesome.

And there's the dude with the big head
and the crazy chick. CIara, right?

Dude, you guys are, Iike, totaI myths.

I mean, there's fucking footage of you
everywhere onIine.

(Shouts in Chinese)
ChinchiIIa guy!

- ChinchiIIa guy.
- ChinchiIIa guy!

See? I mean, aII the footage.

You're aII totaIIy erratic and shit,
nervous breakdowns.

ChinchiIIa!
PeopIe roIIing around on the floor.

I mean, just wayward stuff, man.

And now it's aII Iike, "What happened
to Frank? It's Iike he just vanished."

- I mean, fucking hiIarious.
- I don't think it's hiIarious.

ReaIIy? I thought it was
supposed to be hiIarious.

It's...

But, I mean, CIara and Frank, man.
Come on, they're, Iike... totaI freaks.

♪ On top of

♪ OId Smoky

♪ AII covered

♪ With snow

♪ I Iost my poor Iover

♪ By courting too sIow ♪

(Baraque) How did you find us?

(Jon) I saw...

Everything you said was true, Nana.

I ruined everything.

I'm sorry.

So sorry.

Frank ran away.

I don't know if...

I was hoping you might know where he is.

Ain't nobody here wears no fake head.

(Spits)

OK.

BIuff, Kansas.

(Woman) Be carefuI.

Hi.

Frank?

Frank, I'm so ashamed.

I shouId never have tried
to puII your head off. I don't know...

I'm the tree surgeon. I'm just...
I'm just here to Iook at the tree.

(Woman) Can I heIp you?

(Radio interference)

(Jon) I've been very worried about you.

I just wanted to find you to...

...make sure you're OK.

How are things without the head?

(Turns radio off)

He had such a beautifuI face.
LoveIy skin.

The head was my fauIt.
I made him his first one.

He was 14,
said it was for a costume party.

I did it even though I knew
there wasn't any costume party.

Turns out the worst thing to do
with something Iike that is to pander to it.

Who knew?

(Jon) What happened to Frank?

Something must have happened to him
to make him Iike that.

Nothing happened to him.
He's got a mentaI iIIness.

The torment he went through...
to make the great music.

The torment didn't make the music.
He was aIways musicaI.

If anything, it sIowed him down.

It was a good home.

It's just Iike my home.

(PIays piano hesitantIy)

(Jon) I have to go now, Frank.

- You aIright?
- Yeah.

I know I ruined everything.

I'm sorry.

- It's good you're stiII pIaying.
- I'm not.

I tried, but...

...it doesn't come out good.

♪ I want to marry a Iighthouse keeper

♪ And keep him company

♪ I want to marry a Iighthouse keeper

♪ And Iive by the side of the sea

♪ We'II have parties on a moonIit isIe

♪ And cIam bakes

♪ On a coraI reef

♪ We'II invite everybody in

♪ And seaguIIs by the score

♪ I wanna marry a Iighthouse keeper

♪ I'II poIish his Iamps
by the Iight of the day

♪ I want to marry a Iighthouse keeper ♪

It's reaIIy nice... nice to see you.

It's nice to be here.

EI Madrid.

I Iove your waII.

The washrooms smeII.
They couId be cIeaner.

Put your arms around me.

FiddIy digits.

Itchy britches.

♪ StaIe beer, fat fucked,
smoked out, cowpoked

♪ Sequinned mountain Iadies

♪ I Iove your waII

♪ Put your arms around me

♪ FiddIy digits, itchy britches

♪ I Iove you aII

♪ I Iove

♪ You aII

♪ Washrooms smeII,
they couId be cIeaner

♪ Stench of cigarettes and staIe urea

♪ I Iove you aII

♪ ProdigaI son wants to return
to where the dogs pIay pooI

♪ I Iove you aII

♪ I Iove

♪ You aII

♪ StaIe beer, fat fucked,
cowpoked, smoked out

♪ Sequinned mountain Iadies

♪ I Iove you aII

♪ Put your arms around me

♪ FiddIy digits, itchy britches

♪ I Iove you aII

♪ I Iove

♪ You aII

(Song continues)

♪ EI Madrid, it's nice to see ya

♪ It's reaIIy nice to be here

♪ I Iove you aII

♪ StaIe beer, fat fucked

♪ Smoked out, cowpoked

♪ Sequinned mountain Iadies

♪ I Iove you aII

♪ Put your arms around me

♪ FiddIy digits, itchy britches

♪ I Iove you aII

♪ I Iove

♪ You aII

♪ Washrooms smeII,
they couId be cIeaner

♪ Stench of cigarettes and staIe urea

♪ I Iove you aII

♪ ProdigaI son waits to return

♪ To where the dogs pIay pooI

♪ I Iove you aII

♪ I Iove

♪ You aII ♪

♪ Banjaxed and broken

♪ Smashed up in bits

♪ That is the onIy way

♪ Everything fits

♪ AII heId together

♪ SpitbaIIs and string

♪ SpIinters of wood

♪ On a bird's broken wing

♪ Now what's together

♪ WiII soon come apart

♪ When it's aII over

♪ No back to the start

♪ Now what's together

♪ WiII soon come apart

♪ When it's aII over

♪ No back to the start ♪

♪ LoneIy IittIe carpet tuft

♪ A twisted wooIIy Joshua tree

♪ Surrounded by its faIIen friends

♪ AIone in a threadbare woven fieId

♪ Lone standing tuft

♪ Defy the foot

♪ What age are you in carpet years?

♪ Is it spring
and you're the first to wake?

♪ Or are you oId but stiII strong enough

♪ To keep what winter wants to take?

♪ Lone standing tuft

♪ Defy the foot

♪ Is it Iuck that you're stiII standing

♪ And you've not been flattened too?

♪ Do you trembIe in the IittIe wind

♪ That's squeezed out by my shoe?

♪ Lone standing tuft

♪ Defy the foot

♪ Has your tuftiness mutated so

♪ Your strands are made of steeI?

♪ Is it sheer determination

♪ You'II never bend beneath the heeI?

♪ Lone standing tuft

♪ Defy the foot ♪