858 lines
28 KiB
Plaintext
858 lines
28 KiB
Plaintext
Pros and Cons stage show description
|
|
|
|
By Tom Bowers
|
|
|
|
|
|
This a complete and detailed description of the Pros and Cons
|
|
stage show (or at least as detailed as I remember it).
|
|
The lyrics are taken from the US CD notes and are primarily included
|
|
below so that we can understand the correct reference
|
|
point. Please don't flame me if this transcription does not
|
|
correspond exactly with what is on the album. My comments
|
|
are included in []s. Anything not in brackets and not in
|
|
the lyric sheet or on the album itself is taken from the
|
|
description given in the concert program. The program
|
|
includes Gerald Scarfe's rough sketches for the stage
|
|
show and by looking at these sketches (and his notes in the
|
|
margin) I was able to sift thru my foggy memory and
|
|
write a fairly accurate description of the show.
|
|
It was a fascinating concert and it is the one concert
|
|
(in the hundreds I've seen) that I'd MOST like
|
|
to see over. Fortunately I *did* get to see the stage
|
|
show again 8 months later (with a different backing band)
|
|
so my memory of the show is reasonably solid (having spent
|
|
almost a year thinking about the first performance, and
|
|
paying extra attention during the second performance).
|
|
|
|
If you show this to someone else, I'd appreciate it if you'd
|
|
leave this note intact (as well as my name).
|
|
|
|
- Tom Bowers
|
|
|
|
|
|
----------------------------------------------------------------
|
|
|
|
|
|
THE PROS AND CONS OF HITCH-HIKING - STAGE SHOW
|
|
|
|
|
|
4:30 AM SCENE I (APPARENTLY THEY WERE TRAVELING ABROAD)
|
|
The setting is a suburban bedroom somewhere near London.
|
|
[The backdrop behind the stage shows a huge modern
|
|
bedroom. There is a fifty foot wide TV on the right, a large
|
|
wall-length window on the left (with a clear moonlit
|
|
night visible outside the bedroom), and a night-table
|
|
with flowers and a book visible in the middle.] An Englishman
|
|
is in bed with his American wife and he has fallen asleep
|
|
while watching "Shane" on the television. [The film
|
|
visible on the TV from the audience's perspective,
|
|
however, is NOT "Shane". Apparently the Englishman
|
|
is dreaming of an incredibly violent b-grade western.
|
|
Jack Palance has left his classic role in "Shane" and now appears
|
|
in the western as the ringleader of a band of desperados.
|
|
Shortly into the violent western film, a woman is gang raped
|
|
by the desperados. The film continues for about about
|
|
15 minutes with people being killed about once every thirty
|
|
seconds. The film is very difficult to to follow from
|
|
a vantage point in the audience. Eventually the western movie
|
|
concludes and is replaced with a late night television
|
|
test pattern. The test pattern is then in turn replaced with
|
|
film footage of technicians at the television station.
|
|
Apparently they are shutting the TV station down until the
|
|
morning's programming. Then suddenly, without warning, a small
|
|
streaking fireball appears at the uppermost left of the
|
|
window and streaks toward the bedroom were everything
|
|
suddenly goes red, there is an earth shattering
|
|
explosion (in quadrophonic sound) and the bedroom
|
|
bursts into flame. From a vantage point in the
|
|
audience, this effect is *incredibly* startling
|
|
(even more so because it is entirely unexpected).]
|
|
The Englishman, struggling with this nightmare
|
|
is startled by this horrible image and wakes
|
|
his American wife. [As she speaks, the room returns to normal.]
|
|
|
|
Wife: "Wake up, you're dreaming"
|
|
Man: "What?"
|
|
Wife: "You're dreaming"
|
|
Man: "We were moving away from the border"
|
|
Wife: "Uh what border?"
|
|
The man mumbles disjointedly about his dream.
|
|
His wife soothes him back to sleep.
|
|
|
|
[As the music starts, the bedroom backdrop disappears.
|
|
The audience sees an eery spotlight shining on Eric Clapton
|
|
from behind as he plays the opening notes to "Apparently
|
|
They Were Traveling Abroad". The concert has begun.]
|
|
|
|
|
|
4:31 AM SCENE II
|
|
The man returns to his dream.
|
|
He and his wife are driving through continental
|
|
Europe. There is a vague feeling of threat.
|
|
The European psyche still shrinks from memories
|
|
of The Jackboot. Borders are dangerous places.
|
|
The law is a fickle friend.
|
|
They pick up two hitch-hikers, a beautiful girl
|
|
and a hooded terrorist...
|
|
|
|
[The backdrop behind the band is now that of a red and white
|
|
striped bar. It is a border gate. On the left,
|
|
we start to see a border check point booth and the gate is
|
|
lifted allowing free passage. As the songs proceeds,
|
|
the border gate divides into three and "dances" as the
|
|
music is played.]
|
|
|
|
Man: "We were moving away from the border
|
|
Looking for somewhere to sleep.
|
|
The two of us sharing the driving,
|
|
Two hitch-hikers slumped in the back seat."
|
|
Hitchhiker: "Hello"
|
|
Man: "I sneaked a quick look in the mirror.
|
|
|
|
[The backdrop shows glance into a rear view mirror in
|
|
time with the sound effect on the album.]
|
|
|
|
Man: "She gave me a smile.
|
|
I said 'Is anyone hungry?
|
|
Should we stop for a while?'"
|
|
|
|
Lust conquers fear, the man courts the girl.
|
|
|
|
Man: "So we pulled off into a layby.
|
|
Her dress blew up over her head.
|
|
I said 'Would you like to come with me?'
|
|
She said something foreign under her breath."
|
|
|
|
Man: "And the sun shone down on her lovely young limbs.
|
|
I thought to myself 'she's much too good for him'.
|
|
I lay down beside her with tears in my eyes
|
|
and she said
|
|
'Y-E-S'".
|
|
|
|
[The letters "Y""E""S" are displayed as the three windows on a slot
|
|
machine. Immediately after Roger sings the words "and she said...",
|
|
the backdrop changes to that of a slot machine. The slots are
|
|
spinning and they stop in sync with the beats in the
|
|
music, one letter at a time (beat-"Y", beat-"E", beat-"S").
|
|
The word "YES" is briefly apparent and then the slots begin
|
|
spinning again to spell out a new word (beat-"S", beat-"E",
|
|
beat-"X"). The slots then begin to spin again. This time
|
|
one of the slots stops on a cherry (yes!) and another slot
|
|
stops on the film image of a naked woman wearing nothing
|
|
but a red knapsack and red high heels (with her ass pointed
|
|
at the camera). The woman is standing in front of a white
|
|
backdrop and the camera pulls away showing us what appears
|
|
to be a photographer shooting the front cover for Roger's album.
|
|
(the infamous photo that was quickly censored with a black
|
|
mark obscuring the woman's rear end). A Hells Angel, however,
|
|
rides through the backdrop on a motorcycle and the naked woman
|
|
climbs on board and they ride off (the Hells Angel is Jack
|
|
Palance).]
|
|
|
|
|
|
4:33 AM (RUNNING SHOES)
|
|
His sensible family sedan metamorphosis into a mettalic
|
|
green Lamborghini.
|
|
The girl is impressed.
|
|
They go for a drive.
|
|
|
|
[The backdrop fades into an image of a winding white striped
|
|
line (i.e. a typical highway divider line). The winding
|
|
highway divider eventually fades and the backdrop fades
|
|
into that of a moonlit cemetary.]
|
|
|
|
Man: "So I stood by the roadside
|
|
The soles of my running shoes gripping the tarmac
|
|
Like gunmetal magnets.
|
|
Fixed on the front of her Fassbinder face
|
|
Was the kind of a smile
|
|
That only a rather dull child could have drawn
|
|
While attempting a graveyard in the moonlight.
|
|
But she was impressed,
|
|
You could see that she thought I looked fine.
|
|
And when she turned sweeter,
|
|
The reason (between you and me) was
|
|
She's just seen my green Lamborghini."
|
|
|
|
[The backdrop changes to film footage of the hitch-hiker.
|
|
She teases the camera and slowly entices us to follow
|
|
her into a wooded area away from the main road. As she
|
|
moves into the wooded area, she is slowly removing her
|
|
clothing.]
|
|
|
|
Man: "So we went for a spin in the country,
|
|
To feel the wind in my hair
|
|
To feel the power of my engine
|
|
To feel the thrill of desire".
|
|
|
|
He is about to seduce her when... Fear conquers
|
|
lust.
|
|
|
|
Man: "And then in the trees I heard a twig snap,
|
|
Warning lights flashed on my map
|
|
I opened my eyes and to my surprise..."
|
|
|
|
|
|
4:37 AM SCENE III (ARABS WITH KNIVES and WEST GERMAN SKIES)
|
|
Paralysed by fear, he is whisked back to suburbia
|
|
and attacked in his own home by a gang of Arab
|
|
Terrorists.
|
|
|
|
[The bedroom backdrop returns into our view.
|
|
There are hooded terrorists visible outside
|
|
of the window. We see a hand reach in and
|
|
break the glass. The terrorists walk around the
|
|
apartment as an alarm sounds and a siren
|
|
light flashes at the audience. We see a hand
|
|
turn off the alarm and the music then starts
|
|
back up - there is a long pause between
|
|
songs here that is not found on the album.
|
|
N.B. Someone posted something about dialog
|
|
in this spot that is found on some liner notes.
|
|
I suspect that corresponds to words
|
|
spoken by the terrorists as they invade
|
|
the apartment (I don't really remember).]
|
|
|
|
Man: "...there were Arabs with knives
|
|
at the foot of the bed.
|
|
Right at the foot of the bed.
|
|
Oh my God, how did they get in here?
|
|
I thought we were safe home in England"
|
|
|
|
Hitch-hiker: "Come on now kid, it was wrong what you did.
|
|
You've got to admit it was wrong."
|
|
|
|
[As the terrorists enter the bedroom, we first see
|
|
a huge knife glisten. We then see an arm attached
|
|
to that knife, and finally a hooded terrorist is
|
|
seen approaching the bed. The backdrop then fades into
|
|
a flesh colored pastel, only to be interuppted by
|
|
an image of a knife that splits the triple-screen as it travels
|
|
the entire backdrop from the very left of the stage to
|
|
the very right (about the width of a hockey rink).
|
|
The knife leaves a trail of blood in its wake that seeps
|
|
downward as the knife slices across.]
|
|
|
|
The Englishman rages in his impotence as the Arabs rape his wife.
|
|
|
|
Man: "Oh god... Jesus
|
|
Leave her alone...get out..out..get out of my house."
|
|
|
|
[The backdrop fades into a triple screen image of a mouth
|
|
screaming "LEAVE HER ALONE" (in sync with the voice from the
|
|
album). This image fades into that of a person wading in a
|
|
pool of blood.]
|
|
|
|
Man: "Sleep, Sleep
|
|
I know that I'm only dreaming.
|
|
Through closed eyes
|
|
I see West German skies on the ceiling.
|
|
And I want to get back
|
|
To the girl with the rucksack,
|
|
To feel her flaxen hair.
|
|
I want to be there.
|
|
See the sun going down
|
|
Behind Krupp's steelworks
|
|
On the outskirts of some German Town..."
|
|
|
|
[A sihlouette of an industrial village is shown against
|
|
an orange backdrop.]
|
|
|
|
|
|
4:38 AM SCENE IV
|
|
(A small Hotel overlooking the Rhine)
|
|
The man and the girl eat dinner.
|
|
|
|
[A Gerald Scarfe drawing of a fat German fellow dressed in green
|
|
(with the caption "Guten tag! Miner Namen ist Fritz") serves
|
|
as the backdrop for a huge paper mache puppet that pops out
|
|
out of nowhere (complete with a huge mug of beer in his hand)
|
|
and flits about in time with the album for about 5-10
|
|
seconds. Pretty interesting given that the puppet doesn't
|
|
appear anywhere else in the show. A prime example of
|
|
the excess associated with this production. I honestly think
|
|
Roger was out to "top" The Wall show (and he probably did, at
|
|
least in terms of the staging itself - the whole show was
|
|
about 100 times more impressive than the KAOS stage show -
|
|
if you can believe that.]
|
|
|
|
Fritz: "Guten Abend meiner Damen und Harren Ha Ha Ha Ha
|
|
Wilkomemmen in Konigsburg Ha Ha Ha Ha
|
|
Wollen zei danzen mit mir oder drinken Bier Ha Ha Ha Ha"
|
|
|
|
[The backdrops dissolves into orange and green Scarfe
|
|
drawings of laughing German people.]
|
|
|
|
Man: "Thank you but......
|
|
This yound lady and I
|
|
Will just finish this bottle of wine
|
|
It was kind of you...but
|
|
I think we'll just say goodnight."
|
|
|
|
Man (thinking to himself): "Leave us alone."
|
|
|
|
Man (to Fritz): "Goodnight."
|
|
|
|
Man (to himself): "Leave us alone."
|
|
|
|
Man (to front desk clerk): "Could I have the key to 143 please?"
|
|
|
|
[The triple screen images fades to that of three doors. The
|
|
center door has 143 on it.]
|
|
|
|
Front desk clerk: "There you are"
|
|
|
|
Man: "Thank you goodnight."
|
|
|
|
He takes her upstairs and orders breakfast.
|
|
|
|
Man (to room service): "Hello, yes, I'd like to order breakfast please"
|
|
"I'd like coffee for two, and toast with marmalade
|
|
No...marmalade."
|
|
|
|
He locks the door.
|
|
He reaches out for her...
|
|
|
|
|
|
4:39 AM (FOR THE FIRST TIME TODAY - PART 2)
|
|
[The backdrop changes to that of moonlit mountain scenary
|
|
overlooking the River Rhine, complete with a boat heading
|
|
from right to left across the backdrop as it steams along
|
|
the river.]
|
|
|
|
Man: "For the first time today
|
|
I held her naked body next to mine
|
|
In this hotel overlooking the Rhine
|
|
I made her mine."
|
|
|
|
|
|
4:40 AM SCENE V
|
|
Reaching out in his dream he wakes his wife again.
|
|
She is not a pleased woman.
|
|
He is horny.
|
|
|
|
The bedroom backdrop returns, "Shane" is still on the TV.
|
|
[N.B. This comes from Scarfe's notes on the stage
|
|
design in the program. I don't remember this as
|
|
being part of the show I saw.]
|
|
|
|
Man: "ooh babe... ooh babe
|
|
Come with me and stay with me,
|
|
Please stay with me."
|
|
Wife: "Uh... what is it?"
|
|
Man: "Stay with me
|
|
Stay with me
|
|
Stay with me"
|
|
Wife: "No..."
|
|
Man: "Stay with me"
|
|
|
|
She rejects him and goes back to sleep.
|
|
|
|
Wife: "Forget it"
|
|
|
|
He lies in bed, brittle and angry.
|
|
"Bloody toast crumbs"
|
|
He silently rants.
|
|
|
|
|
|
4:41 AM (SEXUAL REVOLUTION)
|
|
He falls asleep again.
|
|
|
|
[At this point the backdrop becomes Scarfe-animated colorful
|
|
shapes that continually change their form (frequently
|
|
suggesting sexual behavior - not unlike the f*cking flowers
|
|
found in the Wall movie.]
|
|
|
|
|
|
Man: "Hey...girl
|
|
Take out the dagger
|
|
And let's have a stab at the sexual revolution.
|
|
Hey girl
|
|
Let freedom for all be our rallying call
|
|
Tommorow lets make...our new resolution.
|
|
Yeah, but tonight lie still
|
|
While I plunder your sweet grave
|
|
And remember
|
|
Only the poor can be saved."
|
|
|
|
Man: "Hey girl
|
|
As I've always said, I prefer your lips red
|
|
Not what the good lord made
|
|
But what he intended.
|
|
Hey girl
|
|
Don't point the finger at me.
|
|
I am only a rat in a maze like you
|
|
And only the dead go free.
|
|
So...please hold my hand
|
|
As we blunder through the maze
|
|
And remember
|
|
Nothing can grow without rain".
|
|
(thunder and rain)
|
|
|
|
[As the thunder and rain washes over the audience in
|
|
quadrophonic sound, the backdrop shows an image of
|
|
a pair of red high heeled shoes walking up a stairway
|
|
dripping blood in their wake (note: there is no person
|
|
in the "walking shoes".]
|
|
|
|
Man: "Don't point
|
|
Don't point your finger at me."
|
|
|
|
Man: "I awoke in a fever,
|
|
The bedclothes were all soaked in sweat.
|
|
She said 'You've been having a nightmare
|
|
And it's not over yet'.
|
|
Then she picked up the doggy in the window
|
|
(The one with the waggly tail)
|
|
And she put him to bed between two bits of bread.
|
|
|
|
[The backdrop fades into an image of "Reg" the dog
|
|
between two slices of bread, the "ketchup" appears
|
|
to be blood. Reg the dog is an interesting
|
|
"Regald" Scarfe creation ("REG - or is it Rog?")
|
|
Presumably it represents the Englishman in the
|
|
story.]
|
|
|
|
|
|
4:47 AM (THE REMAINS OF OUR LOVE)
|
|
|
|
[Reg the dog is now shown pinned up against a wall.
|
|
"Home Sweet Home" is next to Reg on the wall.]
|
|
|
|
Man: "I just cowered in the corner
|
|
My pyjama coat over my head.
|
|
And she smiled as she finished her sandwich.
|
|
And her cold eyes fixed me to my dark history
|
|
As she brushed the remains
|
|
Of our love from the bed."
|
|
|
|
The Englishman dreams of a geographical solution to his marital
|
|
problems - They will return to his wife's native land
|
|
and live off it.
|
|
She will be fulfilled.
|
|
They will be happy.
|
|
|
|
Man: "And when she had turned back the covers,
|
|
When all of the prayers had been read,
|
|
She said
|
|
Wife: "Come one over here you silly boy
|
|
Before you catch you're death of cold
|
|
I was only joking.
|
|
[At this point, knives are thrown at the wall
|
|
pinning Reg the dog up against it as he
|
|
exclaims "I say old girl,steady on." If you
|
|
listen carefully to the album you can actually
|
|
hear the knives thrown at Reg at this point]
|
|
Let's leave behind the city grime,
|
|
Let's not compete,
|
|
It could be fine in the country.
|
|
Couldn't it though...come on let's go
|
|
Man: "I said 'OK'"
|
|
|
|
Wife: "Are we going to go now?"
|
|
Man: "Where would you like to go darling?"
|
|
Wife: "Mmm...Vermont...Wyoming."
|
|
Man(nods yes): "Wyoming..."
|
|
|
|
Wife: "huh huh
|
|
Children..."
|
|
Children(straighten up as if to say "What?"):
|
|
Wife: "We're going to Wyoming"
|
|
|
|
(in car)
|
|
Man: "Darling... Which way is Wyoming?"
|
|
Wife: "Hook a right here.
|
|
"You're going the wrong way."
|
|
Man: "I know that."
|
|
|
|
Man: "I know children...
|
|
Let's see how many...Volvos we pass
|
|
On the way to our new life in the country.
|
|
...(that's) One."
|
|
|
|
Wife(turning to child in backseat): "Jade, don't do that,
|
|
that's really negative."
|
|
|
|
|
|
4:50 AM SCENE VI (GO FISHING)
|
|
|
|
[The backdrop fades to yellow-ish Wyoming mountain
|
|
scenery.]
|
|
|
|
Man: "As cars go by, I cast my mind's eye
|
|
Over back packs on roof racks
|
|
Beyond the horizon
|
|
Where dream makers
|
|
Working white plastic processors
|
|
Invite the unwary
|
|
To reach for the pie in the sky.
|
|
Go fishing my boy!"
|
|
|
|
(A cabin in Wyoming)
|
|
|
|
Man: "We set out in spring
|
|
With a trunk full of books about everything.
|
|
About solar devices
|
|
And how nice natural childbirth is.
|
|
We cut down some trees
|
|
And we trailed our ideals
|
|
Through the forest glade.
|
|
We damned up the stream."
|
|
|
|
Man: "And the kids cooled their heels
|
|
In the fishing pool we'd made.
|
|
We held hands and we exchanged bands
|
|
And we practically lived off the land.
|
|
You adopted a fox cub
|
|
Whose mother was somebody's coat.
|
|
You fed him by hand
|
|
And then snuggled him down
|
|
In the grandfather bed while I wrote.
|
|
We grew our own maize
|
|
And I only ocassionaly went into town
|
|
To stock up on antibiotics
|
|
And shells for the shotgun that I kept around.
|
|
I told the kids stories
|
|
While you worked your loom
|
|
And the sun went down sooner each day."
|
|
|
|
Man: "Chapter six, in which Eeyore has a birthday
|
|
And gets two presents..." (pauses to light a joint)
|
|
|
|
[The backdrop changes to a triple screen image of Reg the dog
|
|
smoking a joint. This fades into an image of a surprised
|
|
Reg saying "Cripes! It's the wife." The wife (also
|
|
a dog) replys to a floating multi-colored Reg "Reg, come
|
|
down here you ridiculous clown and get on with some work."]
|
|
|
|
Children: "Daddy...come on dad!"
|
|
Man: "Eeyore the old grey donkey stood by the side
|
|
Of the stream and he looked at himself in the water
|
|
'Pathetic!' he said. 'That's what it is.'
|
|
'Good morning Eeyore' said Pooh.
|
|
'Oh' said Pooh. He thought for a long time.
|
|
|
|
|
|
The experiment fails. Through the trials and
|
|
tribulations of self-reliance the couple polarise.
|
|
|
|
Man: "The leaves all fell down
|
|
Our crops all turned brown
|
|
It was over.
|
|
As the first snowflakes fell,
|
|
I realised all was not well in the camp.
|
|
The kids caught bronchitis
|
|
The space heater ran out of diesel.
|
|
|
|
She falls in love with a "friend from the East".
|
|
|
|
Man: "One weekend a friend from the East,
|
|
(Rot his soul!)
|
|
Stole your heart.
|
|
I said 'Fuck it then
|
|
Take the kids back to town
|
|
Maybe I'll see you around.'
|
|
|
|
[At this point we see an image of Reg the dog staggering
|
|
drunk. The caption says "I don't normally drink in the
|
|
afternoon."]
|
|
|
|
They part.
|
|
|
|
Man: "And so...leaving all our hopes and dreams
|
|
To the wind and the rain
|
|
Taking only our stash
|
|
Left our litter and trash
|
|
And set out on the road again.
|
|
On the road again."
|
|
|
|
Jade: "Bye bye Daddy, Bye Daddy.
|
|
You can bring Pearl, she's a darn nice girl
|
|
But don't bring Liza..."
|
|
|
|
|
|
4:56 AM SCENE VII (FOR THE FIRST TIME TODAY - PART 1)
|
|
(The edge of a highway - somewhere in the States)
|
|
The man is now alone.
|
|
He is the hitch-hiker.
|
|
|
|
Man: "For the first time today
|
|
I feel it's really over.
|
|
You were my everyday excuse
|
|
For playing deaf, dumb, and blind.
|
|
Who'd have ever thought
|
|
This is how it would end for you and me,
|
|
To carry my own millstone
|
|
Out of the trees.
|
|
And I have to admit
|
|
I don't like it a bit
|
|
Being left here beside this lonesome road."
|
|
|
|
Wife: "Lonesome road."
|
|
|
|
Man & Wife: "Lonesome raod."
|
|
|
|
|
|
4:58 AM (DUNROAMIN, DUNCARIN, DUNLIVIN)
|
|
A truck pulls up.
|
|
|
|
[The backdrop for this song corresponds to film footage
|
|
of a truck pulling up to the Englishman (I don't
|
|
believe he was ever shown, the camera always shows
|
|
us his view). The film has the trucker talking
|
|
and basically follows the narative of the song
|
|
(complete with "Get off the goddam road you faggot"
|
|
and "not in my rig you don't.")]
|
|
|
|
Truckdriver: "Hey kid, you looking for a lift?... Get on up here.
|
|
"How's it going good buddy?"
|
|
|
|
He climbs in and whines to the truck driver.
|
|
|
|
Man: "I nailed ducks to the wall
|
|
Kept my heart in dark ruins
|
|
I built bungalows all over the hills
|
|
Dunroamin, duncarin, dunlivin.
|
|
Took my girl to the country
|
|
To sleep out under the moon,
|
|
Next thing she's going crazy..."
|
|
|
|
The truck driver, happy to join in the battle of the sexes,
|
|
commiserates for a while.
|
|
|
|
Truckdriver: "Women are like that kid
|
|
What the hell can you do?"
|
|
|
|
Man: "...She waits for the real Mr. Right to come,
|
|
Gently removing her heart
|
|
With his promises of real communication..."
|
|
|
|
Truckdriver: "I saw a program about that on TV..."
|
|
|
|
Man: "Who's always picking up the tab?
|
|
Who built a bungalow for his his mum and dad?"
|
|
Me....."
|
|
Man: "Who took you out to all the shows?
|
|
Who worked his fingers to the bone?
|
|
Man (to himself): "Me.... It was me... I did."
|
|
Man: "While you were asleep
|
|
I kept you in buttons and bows
|
|
(Christ! All those clothes!)
|
|
So you could encourage this creep
|
|
With his neat feet
|
|
And his clean fingernails
|
|
With his wise but twinkling eyes.
|
|
He's a rock standing out in an ocean of doubt..."
|
|
|
|
Truckdriver(not paying attention to the man but to the road instead):
|
|
"Get movin', get off the road ya Goddam faggot"
|
|
|
|
Man: "...And compromise.
|
|
I'd like to go with this bit of a song
|
|
Describing this schmuck.
|
|
I'd like to go on, but I'm going to throw up."
|
|
|
|
Then, realising that our hero is about to vomit all over
|
|
his highly polished cowboy boots, he throws him out
|
|
of the rig.
|
|
|
|
Truckdriver: "Not in my rig you don't boy...get the hell out of here!"
|
|
|
|
|
|
5:01 AM SCENE VIII (THE PROS AND CONS OF HITCH-HIKING)
|
|
(The Gutter)
|
|
Things go from bad to worse.
|
|
|
|
An Angel on a Harley
|
|
Pulls across to greet a fellow rolling stone.
|
|
Puts his bike up on its stand,
|
|
Leans back, and then extends
|
|
A scarred and greasy hand... he said
|
|
|
|
Hells Angel: "How ya doin' bro?...Where ya been?...Where ya goin'?
|
|
|
|
[We see film footage of Jack Palance (as a Hells Angel)
|
|
extending his hand behind the band.]
|
|
|
|
Then he takes your hand
|
|
In some strange Californian handshake
|
|
And breaks the bone."
|
|
|
|
Hells Angel's Girlfriend: "Have a nice day!"
|
|
|
|
A housewife from Encino,
|
|
Whose husband's on the golf course
|
|
With his book of rules,
|
|
Breaks and makes a 'U' and idles back
|
|
To take a second look at you.
|
|
You flex your rod,
|
|
Fish takes the hook.
|
|
Sweet Vodka and tobacco in her breath,
|
|
Another number in your little black book.
|
|
|
|
[At this point there is no backdrop. For once
|
|
we have nothing to look at but the band.]
|
|
|
|
Housewife from Encino: "These are the pros and cons of hitch-hiking
|
|
"These are the pros and cons of hitch-hiking."
|
|
|
|
Man: "Oh babe, I must be dreaming.
|
|
I'm standing on the leading edge
|
|
The Eastern seaboard spread before my eyes.
|
|
|
|
Yoko Ono: "Jump!"
|
|
|
|
Man: "Oh no...I'm too scared and too good looking"
|
|
|
|
Yoko Ono: "Go on.
|
|
Why don't you give it a try?
|
|
Why prolong the agony? All men must die"
|
|
|
|
Man: "Do you remember Dick Tracy?
|
|
Do you remember Shane?"
|
|
Could you see him selling tickets
|
|
Where the buzzard circles over
|
|
The body on the plain."
|
|
|
|
Television in the bedroom: "Shane!"
|
|
|
|
Man: "Did you understand the music Yoko,
|
|
Or was it all in vain?"
|
|
|
|
Television in the bedroom: "Shane!"
|
|
|
|
Man: "The botch said something mystical
|
|
So I stepped back on the curb again."
|
|
|
|
These are the pros and cons of hitch-hiking.
|
|
|
|
|
|
5:06 AM SCENE IX (EVERY STRANGERS EYES)
|
|
(A truckstop)
|
|
A waitress with a heart of gold sympathizes with our
|
|
hero reaffirming his basic belief in life and love.
|
|
|
|
[The film footage used here includes the waitress
|
|
at the beginning and ends with soaring mountain
|
|
scenary (the kind used in those movies where
|
|
you sit in some room at Disneyland and they try
|
|
to get you sick by showing you footage of
|
|
planes soaring over cliffs, rollercoaster rides, etc.
|
|
The exact same footage was used for this song on
|
|
the Radio KAOS tour.]
|
|
|
|
Waitress (an older version of the hitch-hiker with the ruck-sack):
|
|
"Hello... you wanna cup of coffee?
|
|
|
|
Another truckdriver: "Hey turn down that fucking jukebox!"
|
|
|
|
Waitress: "I'm sorry, would you like a cup of coffee?
|
|
Ok, you take cream and sugar?"
|
|
|
|
Man: "In truck stops and hamburger joints,
|
|
In Cadillac limosines,
|
|
In the company of has-beens,
|
|
And bent backs, and sleeping forms
|
|
On pavement steps,
|
|
In libraries and railway stations,
|
|
In books and banks,
|
|
In the pages of history,
|
|
In suicidal cavalry attacks,
|
|
I recognise...
|
|
Myself, in every strangers eyes."
|
|
|
|
"And in wheelchairs by monuments,
|
|
Under tube trains and commuter accidents,
|
|
In council care and county courts,
|
|
At Easter fairs in sea-side resorts,
|
|
In drawing rooms and city morgues,
|
|
In award winning photographs
|
|
Of life rafts in the China seas,
|
|
In transit camps, under arc lamps,
|
|
On unloading ramps,
|
|
In faces blurred by rubber stamps,
|
|
I recognise...
|
|
Myself, in every strangers eyes.
|
|
|
|
"And now from where I stand
|
|
Upon this hill I plundered from the pool,
|
|
I look around, I search the skies.
|
|
I shade my eyes, so nearly blind,
|
|
And I see signs of half-remembered days.
|
|
I hear bells that chime in strange familiar ways.
|
|
I recognise...
|
|
The hope you kindle in your eyes."
|
|
|
|
He wakes.
|
|
|
|
[Clapton takes a masterful guitar solo]
|
|
|
|
5:10 AM SCENE X
|
|
(Back in Suburbia)
|
|
As he awakes our hero experiences a moment of clarity.
|
|
He feels at one with the world.
|
|
He has the answer?
|
|
|
|
Man: "It's oh so easy now
|
|
As we lie here in the dark.
|
|
Nothing interferes, it's obvious
|
|
How to beat the tears
|
|
That threaten to snuff out
|
|
The spark of our love."
|
|
|
|
|
|
5:11 AM SCENE XI (THE MOMENT OF CLARITY)
|
|
(The bedroom - One minute later.)
|
|
The moment fades.
|
|
|
|
Man: "And the moment of clarity
|
|
Faded like charity does
|
|
Sometimes."
|
|
|
|
The man is afraid.
|
|
He reaches out and touches his wife's hair.
|
|
|
|
Man: "I opened one eye
|
|
And I put out my hand just to touch your soft hair
|
|
To make sure in the darkness, that you were still there.
|
|
And I have to admit,
|
|
I was just a little afraid, oh yeah
|
|
But then...
|
|
|
|
She is awake.
|
|
|
|
Man: "I had a little bit of luck
|
|
You were awake
|
|
I couldn't take another moment alone."
|
|
|
|
He loves her.
|
|
|
|
|
|
|
|
[The band returns for an encore of "Brain Damage->Eclipse"
|
|
complete with the original footage used during the Dark Side
|
|
Of the Moon show. This footage shows Nixon, Kissinger, Idi
|
|
Amin (laughing in sync to the booming laugh from the Dark Side
|
|
album), and other world leaders and ends with explosions
|
|
during the "All that you touch, all that you feel, etc."
|
|
part]
|
|
|
|
[This show was preceeded by the following set of old Floyd
|
|
standards:
|
|
Set The Controls For the Heart of The Sun
|
|
Money (using the unedited Dark Side film, the
|
|
film used by Gilmour during the Momentary
|
|
Lapse tour was missing the naked woman
|
|
with the coins falling on her)
|
|
If
|
|
Welcome To The Machine (with cartoon)
|
|
Have A Cigar
|
|
Wish You Were Here (with footage of business men in suits,
|
|
Clapton's playing is masterful on this)
|
|
Pigs On The Wing (with film footage of Pig at Battersea)
|
|
In The Flesh? (with walking hammers cartoon)
|
|
Nobody Home (with Rog watching TV in little room)
|
|
Hey You
|
|
The Gunner's Dream (with footage apparently prepared
|
|
for a "Final Cut" tour that never took place) ]
|