Where are you from?
-Venice. -From Italy! Italians!
Venice! I love bicycIes! And the Iadies?
-Cuban. -Living it up, l'm sure.
Here's a little song for you.
Playing rock n'roll, listen to the beat.
Things are looking up, the wind's at my back.
This is a war and there's no end in sight.
Who knows how long the lies will last.
People in the street
have their minds on hold.
This may be a party,
but we aren't having fun.
So take a ride to the other side.
Night is on lts way...
Take a ride to the other side.
The rumba's playing
so start dancing. Let's get crazy.
lf you can't beat 'em, forget 'em.
We're recording. Let's get to it.
Turn that down.
Get your feet off the bed, you're notat home.
How about some coffee?
l need some coffee.
Tito!
Here we go.
Dammit! One, two, three...
-No! -Tito.
Take it easy. Make up your mind.
-You've got it wrong. -Okay.
Like this.
There it is! Let's go again.
That's my boy!
You guys, aIl set.
Okay, guys. We're ready to go.
Gentlemen, we're all set!
Lucio, here's the song Iist and recording order.
Too many songs for 3 days.
We have no choice. Everyone ready?
Recording!
Here I am again, on this same street corner.
The smell of sweat, sex and cigar smuggling.
Between the street and the rum, life is rough.
l'm pedaling through time,
riding forward right back into the past,
back to the same place.
Trying to get by.
Fighting, baby, fighting. You know lt, momma.
Trying to get by.
Dreaming, baby, dreaming.
Momma, it ain't easy to laugh ln the city of the brave.
Llfe is rough here,
that's no surprise.
l do what I got to, using my own bare hands.
l'm low on cash. l can't afford rock n'roll.
Trying to get by.
Fighting, baby, fighting. You know lt, momma.
-It's dead. -What happened?
Lucio, what happened?
-Granny, we have to do it again. -What happened?
That damn computer.
Son of a bitch!
Okay.
TeIl that drummer to sIow down.
Okay, but watch those Iong pauses.
Spare me the singing Iessons!
It's not that...
Come on, enough garbage. Let's record.
Here, filI this up.
No, Granny.
Otherwise I walk.
And hurry up, I'Il miss my soap opera!
lf loneliness sickens your soul...
lfwlnter arrives at your window...
Make room, Santa Claus is here!
FinaIly.
The lobsterthe other day wasn't fresh.
How can you say that?
You know we Iove you, baby.
-Always top-quality. -How much?
-100, since it's you. -100?
-95. -No way.
90's as low as I go.
It's perfect for the poster!
Very nice, baby!
In Paris you could be a model.
Buy us tickets.
No, buddy.
Just you.
lfI can swing it, it'II be forone of you.
-Here, it's aIl I have. -Thanks.
It's pIenty.
WilI you be back soon?
l don't think so.
There are other pIaces besides Cuba.
But Cuba's where you have the most fun.
lf loneliness sickens your soul...
Goodbye, my love.
Pour la France!
And to VaIerie.
The carrierof our hope.
What do you think?
And...
It's about time.
-You want to hear it? -No, l'm too tired.
Tomorrow with the kids.
There it is. Afriend's gonna move it in France.
Maybe it'Il work this time.
What's this?
CarIitos wrote you a song and Lucy drew you a picture.
"Street rat rapper."
"Street rat rapper, rum rompin' robber..."
He wants you to write background and sing it with him at the concert.
I quit school.
My cousin got me sick leave fordepression.
In case anyone calIs, or if you see anyone from schooI...
When did you decide that?
You didn't teIl me.
Are you sure?
l'lI do handicrafts fuIl-time.
The money my mom sends isn't enough.
You like teaching.
If you did your share, maybe I wouldn't have to quit.
Let's forget it. I don't wantto discuss the subject.
My decision is made.
Did you find somewhere to go?
The demo's taken aII my time.
Always making excuses.
Big deal, a few more days.
It wiIl be, if you don't leave soon.
Turn off the lightorgo outside. I want to sIeep.
And shower. You stink ofFrench perfume.
l started at this theater as an errand boy.
Then I was doorman, then usher...
After the Revolution triumphed, they made me manager.
Never in my wiIdest dreams could I have imagined.
l had to learn, so I did.
AlI the big names of Cuba have been through here.
My grandmotherdebuted here when she was 16.
Luz Maria Ferrer!
Then she's the one who caIled you?
She said you were good musicians.
That you needed a hand for your debut concert.
You said on the phone the government handles the sound system.
I was about to mention that.
They denied our request.
They say the event isn't in the pubIic interest.
What the helI do they know! Sorry, comrade.
-Don't worry, I agree with you. -What did you telI them?
Thatthe concert was on. l'lI take care ofit.
Not withouta sound system.
Wait.
JuIio, ourtechnician,
fixed our system.
And he Ioaned us two mikes.
Try them.
Thanks, but we need a good system. This concert means a lot to us.
With a fuII house...
Think you'lI filI it?
We hope so. We may be unknown,
-but we have a foIlowing. -To see it full one last time...
One Iast time?
The city architects want to cIose it.
They're afraid it'Il colIapse.
Follow me.
You can rehearse in here for the time being.
That is, if you've got nothing better.
Anything's betterthan nothing.
Then search no more. l'lI clean it up for you
and it'Il be perfect.
-How about it? -Bro, we're broke.
How can we afford the system?
We'lI think of something.
When new sounds reach the island, one of our own
always finds a way to add a llttle Caribbean flavor.
Listen to X-Alfonso's new song
and see what I mean.
Be good, and don't wait tiIl tomorrow if you can be happytoday.
Rober!
Our big concert's next month, Saturdaythe 28th. And of course,
-you're the host. -I'm honored, gentIemen.
-And promoter. -Leave it to me.
AII of Havana wiII know. ls that my demo?
It's hot.
Chen, rememberwe're taping next week's showtomorrow.
-That's complicated. Bye. -Bye.
"Doing the Havana," the 2nd track, wiIl be a hit. When'lI they play it?
l don't decide the pIay list.
-Shit, Rober! -You guys have nothing to Iose.
This job is aIl I've got.
Here, a gift.
This couId get me into trouble.
I'Il see what I can do. Goodbye.
Wait, wait!
l heard there are Spanish producers here scouting Cuban talent.
-Those are rumors. -Come on.
You've asked every musician in town fora demo.
Relax, my friends. It's a surprise.
-Not any more! -It's a rough project...
The Spaniards have arrived.
You see? The surprise is here.
Just in time. Gentlemen, if you'Il excuse me, I have an engagement.
Rober!
More smaIl-timers, maybe.
SmaII-timers? She's gota big-time resume.
She produced all the best rock groups in Spain in the 90's.
Her record labeI is smalI but the media corporation behind it
has a share of the U.S. market.
-Where did you meet them? -Her at Cuba Disco last year.
I pitched hera project with underground groups...
-Like us! -A record, a tour in Spain...
lntroduce me. I want to be discovered before I'm 90.
We've got to meet them.
Okay, sIow down. There's no rush.
This is my territory, don't meddIe.
-MeddIe? -l know you.
-You don'ttrust us? -l trust no one.
PeopIe always ask me for heIp and then Ieave me out in the coId.
I gotta run my own show.
ReIax, we won'tgive you any troubIe.
HoIy shit. It's the director.
l thought it was odd he was Iate. He smelIs them coming.
-Introduce us. -No.
We have an important meeting.
There's a cocktail party at the Music Institute later.
-You can meetthem there. -You're the man!
l'lI take a chance on you.
Don't screw it up, okay?
Okay.
Now get Iost. My boss hates hippies.
-The feeIing's mutuaI. -Fuck off!
Can I have a cigarette?
Give me a cigarette. Come on, do it!
It'Il mean a Iot to Cuban cuIture...
She smiIed.
With your face and my dick you couId ruIe
-Havana. -Don't be crude, you're an artist.
That's not why I'm weIl endowed.
And cIueIess.
CIueIess? Why do you say clueless?
How much?
25.
But for you,
22.
Okay. Give me a second.
Your daughter's waiting for you to fix her bike.
Caridad, I can't. I'm late.
You start work at 10:30.
Yeah, but we have to meet some Spanish producers first.
Have you got 10 dolIars on you?
-l've got five. -Notenough.
-Take itanyway. -No, keep it.
I can onIy give you 15. I'Il pay you the resttomorrow.
Honey, I trust you. But this time I can't do it.
Take a pairof the necklaces I make.
I selI them for 15 doIIars a pair. You'Il double your money.
Hey, Chino.
You shouId get rid of that meat.
-Caridad, teIephone! -Coming!
Hey, go get the phone.
Okay, okay.
Thanks. Come back later
-to choose the pair you like best. -After the soap opera.
Sweetie, take this in the kitchen for me.
Put it in the fridge.
HelIo? Hi, Pancho. What's up?
When did you hear?
ls that permanent?
Those bastards!
There's no other option?
Hold on a sec.
CarIitos, cut it out!
l can't even talk on the phone here.
What was that, Pancho?
Where the heIl would I get 500 dolIars?
Imagine that. Oh, well.
It's alI ready to go. I'Il bring it over
in the morning. AlI right.
Okay.
Goodbye.
Give me a peso.
Celeste!
Here's your phone back! Thanks, honey!
What happened?
They revoked my license to seIl at the fair.
I can get another for 500 dolIars.
What wiIl you do?
What can I do?
Keep paying someone to seIl at theirtabIe.
Goddammit! Where wiIl I get that money? We're broke.
The kids wilI hear.
You hear me?
It's hopeless.
They're keeping us down.
Dad, it's Tito.
TeIl him l'm coming.
I'm going, too.
Don't be Iong!
Chari has something speciaI planned for later.
I'Il come pick you up. Luz Maria wouId Iove to see you.
I can't, too much work. Besides, I'm not in the mood
for tourists. I get my share during the day at the fair.
Give her a kiss for me. TelI her I'Il stop by next week
with the kids.
Where the fuck is Rober?
The Spaniards are overthere.
-Let's meet them. -No, wait for Rober.
-Feardoesn't win battIes. -Rushing doesn't either.
What's up?
Where were you? We've been waiting for 2 hours.
-Take it easy. -We don't have alI day.
-We have work later. -It's aIl set.
I aIready gave them your demo. It's aIl arranged.
l just need your heIp with a coupIe things.
The Spaniards wanta beachhouse, nota hotel. I don't know any.
Damn, Rober.
-What an amateur. -Hey, fuck you.
-Piece of cake, man. -Make sure it's amazing.
-And with a good cook. -Find out how much they'lI spend.
The otherthing...
We'lI look into it.
Things are tight, but we'lI try.
If you have any more questions, you can ask me later. Goodbye.
Goodbye, thank you.
Marta, Lorenzo, these are Tito and Ruy.
The musicians who gave us the demo.
-Hi. Nice to meet you. -Likewise.
l think you'lI like them. It's the type of stuff we're Iooking for.
Any previous records orcontracts?
No, producing is so expensive here...
Cuba's blocked. It's a tough situation.
-But you'lI love ourstuff. -I'd like to hear it.
-They're finding a beachhouse. -Give us a coupIe days.
With a big living room, for an office. Money's no object.
Then space won't be a probIem.
Whatabout dinnertonight?
I don't know. Any ideas?
l was thinking something simpIe...
-The FIoridita... -No, Rober.
Save the tourism. Leave it to us.
We know a nice IittIe pIace with great music,
-good food... -If you don't like it, ourtreat.
Send me the revised contracts.
And the editorial rights.
Tomorrow I meet with the consuI and the cultural attaché.
The visa won't be a problem.
Yeah, we've signed the pre-contract.
Quite a featover here.
I've had two meetings. l aImost gave up. HoId on. Hi.
Hi.
Sorry, gotta go. l'm getting into the Time Machine.
-What is this reIic? -A 1952 Chevrolet.
A 1952 ChevroIet. How quaint.
-ls this it? -Yeah.
Hey, bro!
Rober!
-How's it going? -Fucking awesome.
WeIcome to Terror PaIace.
Where have you played?
SmalIjoints. More than three people
is a conspiracy here.
Just kidding. AcoupIe pIaces here in Havana. The last time was...
l forget.
Keep in mind the BeatIes
were banned here for "ideologicaI subversion."
To Cuba!
Let's cut the crap and give these Spanish invaders a IittIe heII.
One, two, three.
What the fuck was that?
Anarchy, subversion,
boycott...
Get sucked.
Won't open her legs, says to wear a condom.
She's on the rag, her tummy hurts.
Here's some advice for that speclal moment.
You'll both enjoy lt. Get sucked.
We black people got together
-and declded... -No more rumba!
We black people
got together
-and declded... -No more rumba!
We black people got together
-and declded.. -No more rumba!
Manga rode that horse...
Yahoo, deja vu, it's you...
Don't stop, keep going.
You'll love lt.
Feel the glamor.
We black people
got together
and declded...
No more rumbal
What was that emaiI about? What do you mean, Miami?
l can't, l'm working.
Exactly.
I don't want to see those conceited assholes.
Listen...
Don'texplain the obvious. Of course I know we need them.
l realIy don't want to go.
Fine, I'll go. Okay. When?
Let me know.
Yeah, we've seen some good stuffhere.
Good ideas, good concept, bad producing.
Don't fIatter me, you know I don't Iike it.
EspeciaIIy when l'm pissed off. Okay, bye.
Coming through, gentIemen.
Don't askwho we are, or who we were,
or where we were born,
or how we survlve.
Don't worry, what matters
isn't how we got here.
You should sign these guys right away.
They're leaving for France next week.
They're awesome. ReaIly great stuff.
-They're leaving next week? -Yeah.
...overcoming adverslty.
You're riding a star, so don't turn back.
lt may be rough, but don't turn back.
You're riding a star so don't turn back.
We can't take anymore
of all this corruption!
For years my people
have faced oppression!
-All we can do is fight! -Fight!
Strength in unlty!
We'll never betray
the future of the nation!
No more pain!
No more fear!
Change is inevitable!
Open your eyes
to the suffering
of the innocent!
Don't think
about defeat!
Protest!
Don't hold back!
Don't think about defeat!
Protest! Don't hold back!
Don't think
about defeat! Protest!
Don't hold back!
Don't think
about defeat!
Cuba rebellion!
Whata gorgeous cousin I have!
Oh, my God!
It's my cousin!
I wish my aunt couId have been here.
So do I. How is she doing?
Fighting like a tiger. If she were a man she'd be a section chief.
But being a woman, and at her age, she manages.
Hold on a sec.
Look, here's 150 dolIars and the Iist. Check that it's alI there.
Just as weIl. This'lI keep me going a coupIe more months.
Caridad,
l talked to your mom.
She wants you in Miami.
We have a contact to get you out.
We've been overthis.
-l don't want to Ieave. -Keep an open mind.
Read the Ietter, she expIains everything. Your mother needs you.
Working overthere is hard
for a 56-year-old. She's IoneIy.
What about Armando?
Armando Ieft her
a couple months ago.
She didn't want to worry you, but you shouId know.
Forget that muIatto.
He's hopeless.
Make your mom happy.
The kids wilI be fine. l'lI take care ofit.
What does she say?
Nothing, that she's working a lot.
You remember her, next to my mom?
That's Oeste! We aII thought she'd been eaten by sharks.
They're working together.
As soon as she saw her she said,
"Everyone, this lady makes the best fried maIanga in aII ofHavana."
She's having a rough time.
Caridad, teIephone!
Mommy, it's Grandma!
Hurry, she's on the phone!
Mom! What a surprise. How are you?
Oh, we're fine.
Don't send so much money.
Yeah.
Yeah, it arrived fine. The kids love their toys.
-Say thanks for me. -Let me talk to her!
Mom, Ruy says hi and thank you
for the guitarstrings.
-Me too, Mommy! -CarIitos, hold on.
I wish I could give you a kiss.
How are you? I read the Ietter, but taIk to me.
l'm fine, don't worry.
Yeah, I talked to her.
l don't know, l'lI caII you.
Relax. Seduce me.
l'm heating up, riding your hlps like a train.
Nighttime is when I shlne.
l can feel that tingle
ln my splne.
So relax, darling.
Seduce me.
l'm heating up,
riding your hlps like a train.
My adrenallne's pumping east and west.
Your whlsper makes my heart
want to jump right out of my chest.
Go on, baby, grab lt.
Glve me your klsses and honey.
Come on, glve it up.
l came all this way for you.
Let yourself go. Do your thing.
You're a natural. So relax.
Seduce me.
l'm heating up...
Ay, what's wrong?
That look and that mouth are killing me.
Ay, what's wrong?
What's under your dress ls bllnding me.
Go on, grab lt, baby.
Come on, glve it up.
Go on, grab lt.
l'm breaking my ruIe here.
What ruIe?
I never screw the musicians I work with.
We're not working together yet.
We'lI see how your audition goes.
Why?
l'II have to decide which is more in my interest.
You in the project,
or you fucking me.
RuIes are made to be broken.
I don't Iike breaking mine.
Nice evening, isn't it?
A bit chiIly to be out here doing nothing.
I thought you'd stay for breakfast.
Coffee, scrambled eggs, orange juice...
She's a tough one. Likes sIeeping alone.
How interesting.
They say it's hot in Madrid in August.
Yeah, they do.
Not hotterthan here.
BIackouts, shitty fans, the whole shebang.
They have blackouts in Madrid?
No, I doubt it.
ShalI we go?
Yeah, let's go.
But where to?
Havana or Europe?
Europe. Europe alI the way.
Hit it.
l have to visit my cousins in Camaguey tomorrow.
What for?
My mom asked me to in her Ietter. You'II have to watch the kids.
Damn, it had to be this week.
I'm auditioning for the Spaniards.
Figure itout. The kids aren't taking a 400 km trip so you can
-pIay around with Spaniards. -I'm not playing around.
l don'tcare. You have two kids
and you have to take care of them.
l'm sick of everything always being about you.
Fine, l'lI watch the kids.
And next time it's this late
just don't come back. This isn't a motel.
I'll sIeep with the kids.
And find yourseIf somewhere to Iive before I get back from Camaguey.
Tito's, wherever. I can'ttake this anymore.
I don't deserve to be treated Iike this.
-How's the sound coming along? -We're on it.
We're getting a good price.
-WelI, guys? -How are things going?
Afternoon, gentIemen.
Sorry we're late, we were delayed.
Yeah, I know about your "deIays."
-You and all Havana. -Yeah.
-We're not here to waste time. -We work forfree, remember?
We know, bro. It won't happen again.
-First song? -"Doing the Havana."
We've already got that one down.
Pick anothersong.
We're starting with "Doing the Havana."
I have a new change.
It's perfect for the audition.
We can't aIways be changing shit aIl the time.
It'd be stupid to not give them what they want.
Hey, great. But l'm not here to pIease anybody.
Who cares? Let's have a little coIlaboration.
Hey, I colIaborate
aIl the time.
But I'm in this for the music.
If that's how you feeI,
-then quit. -Don'tget aIl bad ass
-with me, motherfucker! -Fuck you!
What the fuck?
Guys, there are chiIdren present.
Be cooI, man.
-You heard him. -Forget him, he's a shithead.
Shithead? You, too?
Look, man. You know me. l never back out of anything.
You taIk with your dick in your mouth.
Try in your sister's mouth, jerk-off.
You tried and got rejected.
Come on, let's go.
We've wasted enough time.
Doing the Havana.
Playing the gultar. Dancing the rumba.
Doing the Havana.
Doing buslness.
Spreading the word.
Riding downhill on my bicycle
through Bethlehem.
The hldden Havana,
the one you never see.
Full of good people,
with humble roots.
Nostalglc and with purpose,
searching for every door to the solution.
Doing the Havana. Playing the gultar.
Dancing the rumba
through Bethlehem.
Doing the Havana. Doing buslness.
Spreadingthe word.
The system squeezes tlght andwon't let up.
On the black market you find
just enough...
Bye.
This is great. But whatabout us? Are we last?
Haven't you heard? The Iastones go first.
ActuaIly I was aIways taught to be first at everything.
Patience, my friend.
No, thanks.
Life's too short, and in Cuba wasting time
is a nationaI pastime.
Behlnd Cuba's tourist-poster façade
hldes a worker glving hls all.
This island isn't justrum, cigars and hookers,
beaches and sun. It's more.
People work all day long for a betterfuture.
So let's do lt.
Doing the Havana.
Playing the gultar.
Dancing the rumba.
Doing the Havana.
Doing buslness.
Spreadingthe word.
Where do we celebrate?
Celebrate what?
Marta's birthday, man.
And also...
You guys are fucking awesome
and you're in the project!
-Great! We'Il have a huge party. -Where?
-At my pIace. -Your pIace?
Sure.
We want to interview Tito, Ruy, alI the musicians.
Dude!
What a musician!
Where's your suitcase? The plane's taking off, baby!
Be cool until we sign. It's a free ride.
lf they get me out of here, l'lI pay my own way.
To the Spanish sIaves!
Finally, bro! What happened?
Double the work, man.
Don't worry, in a month we'lI be in Spain making 20 times as much.
-Where's the kitchen? -That way.
HoId on, careful in the kitchen...
-Where's Caridad? -ln Camaguey with hercousins.
l knew she must be away.
How'sJuIia?
With a big round beIly.
Give me two gIasses.
Hey, I don't work here.
If this trip works out,
Caridad shouId start fresh.
Her mom wants her to go to Miami.
-Even better. -Better?
She shouldn't be aIlowed to separate me from my kids.
l thoughtyou were Ieaving.
-I'Il come back. -BuIIshit.
She can't raise them here aIone.
I'd send her money.
Spain is a question mark. And you go through money Iike water.
Daddy, I'm going to bed.
-Yeah, IittIe man. -Daddy, I'm sleepy.
Good night.
Thanks, CeIeste.
-Save me a drink. -Okay.
-So now we sign a contract, right? -Of course.
WiIl they pay us weIl?
I don't know aboutthat. That's up to the boss.
I hope so.
Yeah, but generalIy...
Enough smaIItalk. Get to the point.
We need to rent a sound system and some instruments for ourconcert.
We're completely broke.
We need money up front.
400 doIIars.
400 doIIars? That's nothing. IfMarta doesn't help you out,
-I wilI. -You're the man!
When Marta gets back from Miami we'lI sign the contracts.
You see? You guys really know how to do business.
-"Tito's bar special." -Right on.
What's she got in Miami?
Business, man, business.
Miami's the key to the Latin market.
There are people there interested in our project.
Those people aren't interested in us.
My friend, when there's money to be made,
people onIy see one coIor. You dig?
Yeah. "Doing the Havana."
Are those drinks ready?
Right here, my love. For you.
Anything else?
Start making another.
They're pretty. Who makes them?
Caridad, the mother of my children.
"My wife" is easier.
We're getting separated.
-But you sIeep in the same bed. -So the kids won't know.
She's either dumb orvery in Iove.
Caridad ain't dumb.
-I'm looking to move out. -You don't seem to be
-Iooking very hard. -It's not easy in this country.
When I find something we'lI teIl the kids
-about the divorce. -I think your search is over.
When I get back we sign the contract and in a couple weeks
we fIy to Madrid.
Thatsounds awesome. What about in the meantime?
Keep rehearsing.
Help Lorenzo handle things.
Warn those who can't keep up that they'Il be Ieft behind.
No one's spot is safe. You foIlow?
I folIow.
Turn around.
It looks good on you.
Keep it.
I wantto cIarify one thing.
l didn't pick you because you're fucking me.
I did it because you're good musicians.
So you owe me nothing.
That's not why...
l'm too oId forfairy taIes.
Shit!
Caridad, what are you doing here?
And my kids?
With Celeste.
Get up and throw alI these people out.
Caridad, don't...
Shut up, Tito.
ShalI I come up?
That would make it worse.
Save me some room in your bed. l'm sleeping overtonight.
Daddy, Mommy punished us
-for not going to school. -Shut up.
Not a peep!
You'lI learn to be responsibIe.
It's not theirfault. Leave that, l'II clean up.
Go downstairs.
Go on, move it.
Stay in front of the buiIding. Don'ttest me.
-I'm sorry. -You wenttoo far.
Way too far.
I'Il find a place this week.
No, l'm the one Ieaving
this time.
To the U.S. with the kids.
You've decided? You're just upset. lt'Il pass.
-We have a contact to get a raft. -A raft?
Are you nuts? Listen to yourself.
-A raft! -I want the divorce.
You know how many people get kilIed?
Oreaten by sharks?
You think I'd risk our kids' Iives
-if it weren't safe? -They're my kids, too.
For how long?
-Whatabout when you're in Spain? -Why not?
You think I don't Iove them?
I know you love them, but it's over.
You've got a chance to startover in Spain.
l wish you the best. But I have to do the same for them.
We'lI find a solution. l'lI send for you
-from Madrid. -l don't trust you anymore.
Your mother can getyou green cards.
-It wouId be safer. -ReaIly?
And wait in Iine for 5 years? No way.
lt took me Iong enough to decide.
l'm through waiting.
You can eithersupport me ordeal with it.
Or you can report me.
Look.
If you won't support me, at least don't complicate things.
Caridad's taking the kids to the U.S.
in a raft.
What?
She's taking the kids
in a raft.
You're kidding.
-I'm worried about them. -Yeah, so am l.
But couIdn't you have said something to change her mind?
It's too late for that.
You're a fucking idiot, man.
She's stood by you for 10 years, and what have you done?
Besides stopping her from studying and practicalIy
Iiving offher? What eIse have you done?
What raft?
Some friend ofhers.
But what about the raft?
You can't Iet them just leave
withoutseeing what kind of raft they have!
What the heIl can I say? "Don't leave"?
No, support her, for once
in your life.
Yeah, they're not your kids.
They might as welI be, dammit.
Come in strong on the second chorus.
And...
Let's see.
Didn't we agree yesterday to change the Iastverse?
-Yeah, but I don't want to. -It's too Iocal.
This is getting too locaI. People only understand it
here in Cuba.
This record is for the Spanish market.
It's a Latin market.
Yeah, but with Cuban musicians.
Wait, hold on.
Look, it's simpIe. We need to selI it,
peopIe need to understand it, so it needs to be changed.
What people need to understand is our music isn't like that crap
-they make in Spain. -Watch it.
Let's get this straight.
We're making a quaIity record. It's in our own
seIf-interest, but we also have to consider
our market. This is a business, gentIemen.
Business is business.
The sun rises and I get up...
Hey, go pIay with your stuff. Play with your doIl.
Hi, Mommy. Aunt Betty!
l haven't lost faith.
l just don't know what to do anymore.
l wantto belleve...
for those who are here, sketching a sunrise.
Praying for those who take to the sea at night.
Sllence outto sea...
Weeping for those who mlss the sunset.
It's not like I know
what's best...
orworst.
Now that you're here, what will you do? Tell me.
Fate is carrled by your volce, your judgment,
for a better life.
l haven't lost faith, l just don't know what to do.
l don't know what to do
for those who are here, sketching
a sunrise. Praying, praying...
...for those who take to the sea atnight.
Sllence outto sea...
Weeping for those who mlss the sunset.
What are you doing up?
So you wouIdn't have to sIeep aIone.
There, I told you.
Let's sing a happy song for the future.
Not too much to ask.
A speck of your love...
This isn't life.
lf you can keep up,
glve a llttle more...
This is your home.
And l'm back for anothersunrise.
Sorry, guys. It's my fauIt.
l'm realIy sorry.
Should we stop? l need to leave early.
Okay, more tomorrow.
What happened?
l feeI awfuI.
I can't stop thinking about that raft.
ReIax.
lt'll be alI right.
When wouId it be?
Not even they know that.
Anytime after your mom pays.
They give me 3 hours notice,
and I take you and the kids whereverthey say.
Only three hours?
-Forsafety reasons. -They wait for no one.
Either show up or Iose your money.
l'd Iike to meet them.
-Can he? -What for?
They've never botched a trip.
What if something goes wrong?
It's my wife and kids!
Then don't let them go. Don'ttake the chance.
l have to see this boat. l'd feeI safer.
l don't blame you.
But I'm doing you a favor.
l'm aIready risking
too much.
-Try to understand. -Betty, you know them.
They won't risk showing their boat to anyone.
They'Il Iaugh in my face.
He's right. Cousin, you have to make up your mind.
Your mom has the money ready. If I call her you'Il have it
by tomorrow.
Prepare a bag with water, food, toweIs
and bathing suits for you and the kids.
lf the police stop us we'lI say we were spending the day at the beach.
ls that cIear?
5,000 pesos now, and wait tiIl I Ieave.
-l can tear it up if you want. -What for?
What wiIl I do with that old car?
Here.
Try WiIson's, he's seIling a great rum from Santiago.
-Granny, I toId you... -Don't Granny me!
What's the fucking point if I can't drink a little rum?
Keep it.
-The plumber's coming tomorrow. -Another idea
of yours?
Granny, you've been
complaining for years about the tub. He's going to instaII a shower!
Afternoon,
-comrade. l'm here for my class. -Come in, PabIito.
Today you've got lesson number 3.
And stop calIing me "comrade" and "professor." Just Luz Maria.
Your coffee wiIl get coId.
Give me a kiss.
Okay!
Stop a second. This is fucking crap.
We've been at it for 3 hours.
Nobody remembers the arrangement?
We have to focus.
-Again. From the top. -Look what time it is.
I'm exhausted.
-I can't go on. -We've been here
-since 9 A.M. I'm delirious. -Show them what we're made of.
Hey, l'm as much as a musician as you are.
Come on, fellas!
Lorenzo, we're having a bad day.
Tomorrow we'Il take it from the top again.
Fine, tomorrow it is. But remember, you guys
have to be at 100 percent
and we wanttotaI dedication. Okay?
Okay. See you guys tomorrow.
You're crazy, man. This is a total burnout.
Not Iike this, man.
-ln the reaI world... -Man, I don't care.
l've had enough for today.
Remember, we're not in Spain yet.
Show some respect for your colIeagues.
I'Il meet you outside. And hurry up.
Caridad needs heIp cooking dinner.
l can't go. I have to pick up Marta at the airport.
Don't do that to Caridad!
l'm sorry, I forgot. What can I do?
Do as you please.
TeIl Caridad I'll be there
as soon as I can.
That was deIicious. The pork was amazing.
Better to not get too used to eating so much.
You guys, I gota Ietter from Orlandito with the last catalogue.
I heard he boughtan apartment in downtown Madrid.
Yes, sir.
And we can'teven afford new shoes.
ls he doing that welI?
Yeah, he's selling a ton.
He got so Iucky.
It's not luck. He went after it.
l realIy Iove OrIandito,
but what he's doing now doesn't compare to what he used to do.
So what? He's painting
-what peopIe buy. -Such extremes...
I think peopIe should live as they please.
That's impossible in this country.
An artist needs a pubIic.
-How wouId you know? -Business is business.
Pure art is dead.
No, it should be kiIIed.
Let's drink to that.
No way. l won't drink to that.
l've been putting up with his poetry nonsense for 14 years.
He never asks his aunt in New York for medicine or shoes or money.
He asks for books and magazines.
And now that he's finalIy writing something good,
we can't throw it aIl away. No way, guys.
You'Il keep being my cursed poet
and pay no attention to these
capitalist scumbags.
-You hear me, darling? -Yes, dear.
l don't care if I have onIy one pair of shoes
or if I have to wait in Iine for hours
to buy a coupIe eggs and bread.
I'll be a hooker if I have to.
Hey, wait.
An erudite hooker, of course.
But you promise to be a pure artist, the purest in the worId.
-Right, my love? -Yes, dear.
My Mariana GrajaIes of the cursed poets.
MyJoan of Arc of misunderstood verse.
The pure artist
Iives on!
Let's drink to that.
To the pure artist.
The unquestionable Iighthouse of a disoriented humanity.
Such a way with words.
Come here.
Baby, say something.
-Like what? -l don't know, anything.
We're sick of lighthouses.
My onIy Iight pours out of your eyes.
My onIy verse is your smile.
My best song is aIready written inside you.
-How mushy! -Bravo!
My Iove...
You guys, there are children present.
What's wrong?
Nothing. We'lI taIk Iater.
Who wants coffee?
Caridad appeared to me...
Not that one.
...one afternoon among unlverslty notebooks...
And goodbye loneliness...
Who did it?
-You told him to sing that. -Me?
Yes, he did. It was Daddy.
Traitor!
Enough.
...ofvoraclous love.
Today I look through you
andsee the streets of my Havana.
Your sadness and your pain
are her skyllne.
Your soul and solitude are the volce
of this tlred nation.
Alone, you and l...
ln the sleeping city.
Alone, you and l...
klssingthe wounds.
Oh, Havana.
You forgot more and more of yourself
to support my dreams.
But I know I broke your heart
by playing with your feelings.
lt was the light
l had stolen
when I cast darkness upon your deslre.
Alone, you and l...
ln the sleeping city.
Alone, you and l...
klssing lts wounds.
l have to let you go.
Putting the sea between us.
Payingthe price for others
that llve in contradiction.
Another family
marked by separation.
How can I fight the sun,
politics and God?
-Are they asleep? -They're tough ones.
Prepare yourself. Making them is easy.
The hard part comes later.
My felIow Iovers...
Of poetry and other human misery...
Ourfriend Ruy here
and yours truIy,
the Iady who filIed your stomachs this evening...
...have two pieces of news.
Depending on your viewpoint, they're notgood or bad, or both good
-or both bad... -Spit it out,
suspense is bad for pregnant women.
We're getting a divorce.
Bravo!
-It's about time! -Thank God
you went through with it.
And the other news?
I'm taking the kids to the U.S.
l didn't wantto leave without warning you first.
I didn't want you to ask people
where I was and hear that I Ieft just like that.
Or you to think, "Hey,
she could have at least given me a hug, or carried a letterfor me."
l don't know.
We'Il do the hugs now then.
And the letters tomorrow.
Right.
Anotherfriend to visitabroad.
Another poem taken out of the book. Anotherfriend...
to dedicate a song to.
And more pIants to water!
Another dog to feed!
Let's have a toast. To everyone here.
I'Il realIy miss you aII.
To the good times we've had together.
And to the good times ahead, dammit.
Let's not be sad. It's a party.
Alex, play something fun.
Give me that. We've got the bIues tonight,
so I'lI play a bIues song. Where's my pick?
Let's see what happens. You might like it.
During the blackout
Grandma's gonna start
getting all
fussy and grouchy
and knocking the government
and Grandpa will bitch about
how it's because of lmperiallsm by OPEC
and free trade...
Baby, pass me that candle.
l'm gonna mlss my soap opera again.
Close the Westinghouse, lt'll defrost again.
What will I do with my electrlc gultar?
l wanna dance with a lighter.
Light me up with tales oflove.
Sing me the blues before the lights come back on.
Sing me the blues before the lights...
Sing me the blues
before the lights...
come back on.
How pretty.
FIaca!
What's up, muIatto?
-Why is this cIosed? -The rehearsaI got canceIed.
The Spaniards had a meeting
and everyone left.
And Tito?
-With the Spaniards. -ls that it?
Nobody told me anything.
They met
with Alex in the office and had a fight.
HelIo? HeIlo?
Luz Maria.
This fucking phone!
-Hello? -Luz Maria, it's Ruy.
-Is Tito there? -Yes.
l need to taIk to him. It's urgent.
-Tito! -Yeah?
-It's Ruy! -I'm coming!
How was the dlvorce?
Fine. We're broke so it was easy.
-Fix this damn phone. -Okay.
We're on our way, bro! We sign tomorrow.
l toId you we couId do it.
But tell me, what happened with Alex? I went by there...
Typical stuff. The bastards in Miami. They imposed conditions.
-on Marta for the bands. -What conditions?
-HeIlo? -I'm here.
-Ruy? -What conditions?
OnIy unknown bands.
We have to canceI the concert.
But she knew we had it pIanned. It means a lot to me.
And to me. But what choice have we got?
-We comply orwe're out. -What?
-Tl... -HelIo?
Hey!
Damn teIephone! Ruy, can you...? Ruy!
Hey, Iet's talk in person.
HelIo?
Shit!
There. Listen, meet me at the beach house.
-Okay. -What?
Ruy!
Shit. This thing's fucked.
Get it fixed!
-l need a phone! -Yeah, later. Bye.
Miami wilI distribute 100,000 copies
and pay for a tour across the Western Hemisphere.
And most importantly, they have
-a sponsor for the Spanish tour. -In exchange forwhat?
They want onIy unknowns
who haven't had any concerts or records and haven't been
out of Cuba. Those who don't qualify wiIl be dropped.
-Who cares if we're unknowns? -They're pitching "forbidden music."
You know, poIitical stuff against the regime
and a little trash taIk.
AcoupIe interviews and were famous,
right?
That's suicide, man.
lf we criticize Cuba they'Il never Iet us back in.
We know that.
This isn't easy for us, either.
EspeciaIly for me.
-I have no choice. -The Cuban issue
-lsn't our fault. -Yeah, but you expIoit it.
This wiII benefit alI of us.
And ifit doesn't?
A risk you have to take.
At Ieast you'II have gotten
out of here.
The two of you in Spain
will have no probIem finding
a way to survive.
What happened, man?
Marta's looking for you. Something about her making dinner.
-This is kilIing me. -What's wrong?
I hate being pIayed with.
Don't think so much about it.
Dog eat dog, man. The ship's sinking.
lf things get rough they'Il drop us Iike a bad habit.
-A risk we always knew about. -But we can't come back.
l know, I'd be leaving my grandma behind.
You shouId think more about her.
Don't worry about her. She's my probIem.
Besides, we're better off in Spain even if this faIls through.
l don't feel right going around talking buIlshit.
We're musicians, man. What do we care
-about politics? -Then where's the probIem?
Leaving isn't the same if it's for good.
Don'tget worked up over it.
Man, the euro, tours... We're going to make a record
with more than 100,000 copies aIready soId.
Be smart, bro. This is the best we've got.
l know, man. But not like this.
I can't do it.
What?
I don't want to be used, period.
lt has to be about the music, not just some assholes
who could give a shit aboutthis country trying to get rich off us.
Don't give me that, Ruy.
Look, doing the concert wilI open otherdoors.
-And waitanotherfew years? No way. -We're Iocking ourselves in here.
What do you care? Caridad's taking the kids.
lt'lI be easierto go see them from Spain.
If they screw us, we dump the lot of them.
Ruy.
I can't do this without you.
Man, trust me.
Tito!
-Come on, it's late. -l'II go with you.
What? No, you stay here
with Marta. Keep her happy.
She can go pIay with someone eIse.
Don't get cocky. There are plenty of Cubans around.
Not Iike you and me.
Get reaI, bro!
Musicians are a dime a dozen here.
Later.
-Want a beer? -Thanks.
Are you okay?
Yeah.
ShalI we go for a swim?
l didn't bring a suit.
So? l'lI take mine off and we'lI be even.
I'm not in the mood.
l want to go home early.
-It'Il be dark soon. -We'II get a taxi.
No, I've got my bike parked outside your house.
Fine.
lt was nice whiIe it lasted.
l'm reaIIy sorry about everything.
My company does important business with the Americans.
They're in charge now.
They make the rules, unfortunately.
Anyway...
l'm going for a swim.
The water's great and nobody's going to ruin my evening.
Bye.
Can't you finish it?
I'm bIocked. Nothing comes to me.
ls there a probIem?
-Did you fight with someone? -No, nobody.
WeII, nobody in particular.
In that case,
maybe you're angry with yourself.
It's possibIe.
That means whatever it is
can stiIl be resoIved.
What day do you Ieave?
ln three weeks,
more or Iess. Why?
My mom might selI the apartment to my cousin Betty.
Where do I come in?
You probabIy won't come back, so we might seII it.
Why probabIy?
Why wouId you come back?
Spain has anything you need.
And Tito's dying to stay there.
But if you're coming back, we need someone to Iook after it.
Your mom shouId selI it if she wants to.
Don't be a shithead.
She said she'd selI it if you planned to stay in Spain.
It's not my probIem.
Don't Iook at me that way.
How?
You know exactIy how you're Iooking at me.
Who cares?
l do. I'm not your wife anymore. Or did you forget?
l'lI be frank with you guys.
This contract,
reIatively speaking, is crap. lf you were established
musicians you'd throw it back in my face.
But you're getting started and it's reasonable.
It lasts for three years. During that time
the company owns your work.
-AIl of it? -AIl of it.
Nothing is done without the company's consent.
That has to be totalIy cIear.
-You foIlow me? -Get me out ofhere
and I'Il foIlow you anywhere.
From the moment we leave Havana, and during the first six months,
the company wiII take care of you. In Madrid you'Il have
room and board and spending money.
After six months, you're on your own.
With what money?
Your cutof concert profits.
What's our cut?
25 percentthe first year. Itgrows yearly up to 60 percent.
-Is that enough to live on? -Notat first,
but I think you'Il be fine in no time.
Just watch your expenses.
Let's continue. No royaIties wilI be paid
until recording and marketing expenses are covered.
-So we pay for the recording? -Of course.
We front you the money.
It's our investment,
we're taking the risk.
Who decides when expenses are covered?
The company, obviousIy. But you can solicit information.
And finaIly, during these three years of contract,
50 percent of the editoriaI rights
-go to the company. -What's left for us?
You expect us to spend three years living for your company?
We've aIways been poor, man. It's no big deaI.
Nobody gets rich off my work.
Whoeverdoesn't want
to be exploited can just not sign.
Okay, Iet's stay calm.
My company wants to invest in you. They'II guarantee a record a year
foreach group and a single
based on each group's performance.
We can'teven negotiate editorial rights? 50 percent is pretty high.
You'd complain if you
got screwed with vaseline.
You want it to hurt.
Guys,
listen up. My advice is don't dweIl on
the contract detaiIs. Considerthe possibiIities
it opens up to you. AlI musicians have to start somewhere.
They're out there waiting, dreaming of being discovered
by someone who'lI produce them.
That's what this company is offering you.
So we should be grateful on top of it.
Why not? To a certain extent, yes.
Frankly, we depend on them
-and they don't depend on us. -Not quite.
They take advantage of oursituation.
-You don't know what you're saying. -And you do?
Maybe you guys have a juicier contract
-than we do. -Man, don't go there.
Easy, feIlas. You can say
whatever you want, but don't get nervous.
Any more comments?
Gentlemen.
We alI know the contract is nothing speciaI
but it's an opportunity I can't ignore.
-Aren'tthere any others? -Gorki, I need to get off
this isIand. l can't take it anymore.
l'd do italI forfree.
That's bulIshit.
We deserve to be treated
-like this. -Ruy.
You're awfulIy quiet.
What the helI can he say?
All right, man.
Could Ruy please give us
his opinion of this generous contract?
-It's betterthan nothing. -Notvery enthusiastic.
He needs more practice.
No, you don't seem very convinced.
Because l'm not.
Would Ruy pIease expIain
his Iack of enthusiasm?
PersonaI matters.
Shit, Iet him answer!
Goddammit, Gorki!
-You're overdoing it. -You're the ones overdoing it.
You want us to be politicaI toys,
to work for squat...
and we have to smiIe about it.
We're not starving here, bro.
We're hungry, but l'lI eat a brick
before I make some company rich.
Does that mean you won't sign?
You can say it louder, Marta. But not any cIearer.
Can you give us a second?
Thanks. Leave us, Rober.
l expected this from Gorki, but not from you.
I consider us friends. I'm asking you
-to think this through. -l have, Marta.
The contract is abusive and your plans for us are buIlshit.
l know it sucks but it's the best I can do for now.
Maybe once in Spain Marta can negotiate for you guys on the side.
You have no chance here.
Ruy.
If you don't sign,
Tito can'tgo either.
We'Il be fine, don't worry.
-You're making a huge mistake. -Perhaps, but I feeI great.
How's that fora bad contract?
-None whatsoever. -I've betrayed a lot of people.
lncluding myseIf.
But never my music. It's the only reaI thing I have.
Avery moving speech.
l hope you're good in bed, you fucking idiot. in a few months
you'Il remembertoday and realize how stupid you were.
You'lI be back in Iine waiting for a new producerto come.
Maybe he'lI like mulattos like you and it'lI be your ass next time,
free of charge!
Ruy, pIease.
l shouId punch you in the face, Lorenzo.
-Bro, you screwed me. -l'm sorry.
Why did you do that?
lt was a shitty contract.
-Shitty forwho? -For everyone.
Why didn't you taIk to me? You know how badIy I want to Ieave.
lf we're good, we'Il have pIenty of chances.
You're so naive!
You think success
comes from taIent? BuIlshit! Success is knowing
when to jump at your chance, you hear me?
In Cuba that's how it is, you dumb muIatto.
That's not true.
Get outof my car.
Look, I may be a dumb mulatto...
-Yeah? -But l'm not a whore.
Get out.
You and I are through.
Get out.
Get out, dammit!
Fuck!
Nothing in this country works!
They'd have fed us for 6 months.
Six months away from this fucking stubborn carthat's ruined my life.
Six months of real Iife, dammit.
What was fucking wrong with that contract?
Are we any betteroffhere? Tell me, are we?
Sure we are. We have ourconcert.
-Fuck the concert! -They were vampires.
They would have sucked us dry.
But we'd be in Spain, dumbshit.
ln Spain!
We'd have managed on our own.
You dumbfuck. They would have sued us for breach of contract.
Three years as their slaves!
Whose sIaves are we here?
Nobody's. Our own.
Fuck you, Ruy. Spare me your speeches. I'm sick of them.
Man, we'lI find a way.
l want out of here. I'm 28 and l've never been off this damn isIand!
-Easy, bro. -Fuck that!
AwhoIe month kissing
theirasses and right when we've gotthem you come aIong
-and screw it up. -Then you go ahead.
Go sign their damn contract if that's what you want.
Not without you, dickhead.
You're coming with me!
l don't want to go aIone, dammit!
No fucking way!
Fuck! Fuck!
Not so rough!
That wasn't rough.
Come on, it hurts.
HoId stiIl. Your kids behave betterthan you.
I'm canceIling the concert.
With only 5 days Ieft?
Without Tito there's no concert.
Sing your own songs.
There aren't any. We wrote them aIl together.
He'lI be over it by tomorrow and you'Il be friends again.
I don't know aboutthat.
Your kids are excited about the concert.
They want 20 tickets for theirfriends.
-Get them at Ieast ten. -There is no concert.
Do what you want, but after aIl you've put into it
I think it's pretty stupid.
It's not just the concert.
When I write a song it's Iike he knows what I'm Iooking for.
You understand?
l understand perfectly. But you're on your own now.
Orwill you quit music?
Deal with it. This is what life is about.
Everyone foIlows theirown path. You without him,
and me without you.
TaIk to him. He's probably over it by now.
He'll have changed his mind.
-I'Il go with you. -His mind won't change.
Tito, enough screwing around.
I'Il forget about what happened with Lorenzo.
Just convince him.
It's your only chance to Ieave. It's up to you.
You're wrong, Marta.
Without me, there's no project.
l'lI report alI of you.
I have nothing Ieft to lose.
You'II screw everyone.
lfI don't go, no one does. Nothing will happen to them.
-But you'd be screwed. -You wouIdn't.
I wouIdn't? Try me.
Are you nuts?
Comrade manager!
TeIl me, EstreIlita.
Ourfriend's here about the concert.
You're just in time.
Don't move, stay right there. I have a surprise for you.
Julio, kiII the lights!
It's no big deaI,
-but we tried. -Curtain!
Comrade manager had to fight with haIf the Ministry of Culture.
-EstreIlita... -If it were me,
l'd have cIosed the theater. Let the damn thing colIapse
-if they won't fix it. -EstreIIita!
Do it right or don't do itat aIl.
Julio!
Lights!
WelI? What do you think?
Pretty, isn't it?
It looks really great.
But come down here, René. l have something important
-to discuss. -Of course.
No.
-There's one more thing. -That's right, I aImost forgot.
I have anothersurprise.
l'd rathertalk to you first.
Just fora second, boy.
JuIio, dim the stage Iights!
Do it, Julio!
WelI?
The best spotlight in alI of Cuba.
ThisJuIio's a genius.
You know the last time that equipment was used?
Five years ago. And there it is, alI yours.
It's so wonderful up here.
Just imagine it with a crowd.
I get goose pimpIes just thinking about it.
What did you want to teIl me?
We couIdn't get the money.
We have to canceI the concert.
We'Il see about that!
Luz Maria?
-How's it going, old man? -Here I am.
Like they say, the show mustgo on.
My friend here is going to give us a hand. Tell Chari
what you need. She'Il front us the money
if we do her cabaretagain. How many nights
-did you say? -Ten, Luz Maria.
We need more repertoire.
Granny, I can't do it.
Sure you can. Who's gonna stop you?
l can do it all.
l may be small but I don't suck my thumb.
No.
Street ratrapper, rum rompln'robber,
running down the boardwalk.
The rat steals rum cuz there's cheese in the cellar.
The ratuses hls hands to steal,
not to work. l use mine to paint,
play and fly.
And to glve my mom a hug
or my dad.
Not to steal, brother.
That'll make your face stlnk.
The street rat rapper plays tough,
jumping from wall to wall
ln the cellar. He's no frog,
he's a kangaroo.
The rat's tlme will come, hls path will lead hlm astray.
Maybe on a rainy night
or under a full moon or stars...
But he'll end up all alone, he'll fall
like a bowling pln, like a bull
at a bullfight. You can hear a slgh...
Poor ratl
l can do it all.
l may be small but I don't suck my thumb.
Nol
Daddy, if Tito goes to Spain and you stay here,
you won't sing togetheranymore?
-Yeah, more or less. -That sucks!
ltalways happens when people are together a Iong time.
They separate
and go their own ways.
Does that mean Tito won't come camping at the beach?
No, he won't.
-Who'Il take us? -Aunt Betty's husband.
Yes!
l Iike Tito's car better.
l know, baby. l can't go camping with you.
Why not?
Because I have to work at Chari's club with Luz Maria.
Tomorrow's concert is expensive and I have to pay for it.
Come on, spend the day with us.
We'lI make a bonfire like last time
and I'Il sing "Street Rat Rapper."
We can charge tourists on the beach to coverthe cabaret.
Silly IittIe boy!
You think the tourists wilI give you money?
Sure they wiIl.
You're dreaming.
They'lI pay me, alI right.
-Who said? -Mommy said.
What's your problem, boy?
Easy on the piano.
You're leaving, but l'm staying. And that's my living.
It's offkey.
What are you talking about? You're the one off key.
I can't work like this. It needs to be tuned.
No, it doesn't. The piano's fine.
If you want to tune something, tune yourseIf. Go talk to him.
-There's nothing to say. -Don't be such a pussy.
TaIk to him, work it out. You're too old for this crap.
It's notcrap. He almost got me taken off the project.
Is it his fauIt? He's the onIy guiIty party?
He's the one who quit!
He chose his path, and you chose yours.
After aIl these years? I don't wantto leave without him!
Then Iook.
It's right if frontof you, you hear me?
If you decided to leave once and for aIl despite everything,
then go ahead. Leave aIready, dammit.
Just stop whining aboutthe damn trip!
Whatabout you?
What about me?
-What wiIl we do with you? -l can take care of myseIf.
I never needed anybody, you hear?
Forget about me.
Go get famous.
And send me cash every month.
Where are you going?
To geta bottle of rum.
Mine is aImost out.
Take an umbreIla!
Okay, bro. It's time.
Let's get to it.
Come on.
Let's go.
WelI, how do I Iook?
-Let's hear it. -Like the Queen ofHavana.
Remember, muIatto. Next week you're mine
and if you let me down I'lI take off my wig
and cut your baIls off.
-Don't worry. -Okay, boys.
Good luck. And remember, after the concert,
party at Chari's! We're having a bash tonight, baby!
We can sing background vocaIs if you want. Good luck!
-Come on, kids. -Bye, girIs. Let's find our seats.
Go on, go with Julia.
-What aboutyou? -I have to heIp Daddy.
Good Iuck, Daddy.
Show them what you're made of.
Go on.
Good Iuck.
Okay, gentlemen.
It's show time.
Thanks foraII your hard work, it's been rough.
Which shirt?
Wearthis one.
You couId be my manager now.
You're crazy. After this concert I neverwant to see another musician.
Stick around.
I'll be here.
It's your big night.
Enjoy it.
Here's your towel and water. Have you warmed up?
Right now.
Hurry, it's aImost time.
It's fulI, huh?
A huge crowd.
The stage looks amazing.
The peopIe who run the theater realIy out did themselves.
And Chari came through in a big way.
Yeah.
And Caridad and a few friends contributed.
That's what friends are for.
Yeah.
That's right.
You hit me hard the other day.
You deserved it.
Damn, bro. Spain won't be the same without you.
Staying here aIone won't be much fun either.
When I'm famous don'tgo asking me
for money and concert tickets...
And don'tgo calIing me saying "l miss the rice and beans
and that fried maIanga
back in Havana..."
Give me a kiss.
What? Back off, you homo.
Shit.
Come on.
l can't Iet you have alI the glory.
Good evening, ladies and gentIemen.
Ladies and gentlemen, guys and dolIs...
Tonight, undera fuIl moon, we have the pIeasure to witness
the musical debut of one of ourvery own new stars.
Ladies and gentlemen, dear family, alI of Cuba...
Ruy Santos!
And the co-star,
or shouId I say the other star,
since they're together again...
And the two of them together are Iike one...
even if they are the biggest troublemakers in alI ofHavana...
Ladies and gentlemen, I give you...
Ruy Santos and Tito Garcia!
Go get 'em, boys!
Good evening, Havana!
Tonight
we're cIaiming our right
to delirium and utopia. Havana rocks!
Here I am again,
on this same street corner.
The smell of sweat, sex and cigar smuggling.
Between the street and the rum,
life is rough.
l'm pedaling through tlme,
riding forward right back
into the past,
back to the same place.
Trying to get by.
Fighting, baby, fighting.
Yeah, momma.
Tryingto get by.
Dreaming, baby, dreaming.
Hey, man. l'm moving ahead. All I need is a dlfferent spread.
Stlck to your own. Just tell them what you feel.
l'm here to shout what l'm all about,
l'll never stop dreaming.
Come along for the ride.
Let me into your dreams.
Don't look back.
Come along with me.
Don't look back.
And you'll fly with me.
Don't look back.
l'll dle with you.
Don't look back.
Let me into your dreams.
Don't look back.
Come along with me.
Don't look back.
And you'll fly with me.
Don't look back.
l'll dle with you.
Don't look back.
I'd like to dedicate this song
to my children and their mother,
my partnerand friend for many years.
For you, "Sands of Solitude."
Starting over,
free of fate and possessions...
Following the right path that teaches me
not to lose faith.
Escaping this pain
without looking back.
What good is a heart without the beat to belleve...
ln the beauty and truth behlnd the hope
that drives our thlrst forlove,
ln the feelings left behlnd,
the everlasting dreams...
l searched and was taken prisoner
bythe wings oflove,
beyond dlstance
and memory, ln the sands of solitude.
Prlsoner of a broken
sllence.
Chlldren of the sunrise that never came.
Pleasure led me astray...
And I close my eyes just to understand.
What good is a heart
without the beat to belleve...
ln the beauty and truth behlnd the hope
that drives our thlrst forlove,
ln the feelings
left behlnd, the everlasting dreams...
l searched and was taken prisoner
bythe wings oflove,
beyond dlstance and memory,
ln the sands of solitude.
...ln the beauty and truth behlnd the hope
that drives our thlrst forlove,
ln the feelings left behlnd, the everlasting dreams...
l searched andwas taken
prlsoner by the wings oflove,
beyond dlstance and memory,
ln the sands of solitude.
...ln beauty and truth behlnd the hope
that drives our thlrst forlove,
ln the feelings left behlnd, the everlasting dreams...
l searched and was taken prisoner bythe wings oflove,
beyond dlstance and memory
ln the sands of solitude.
TO CUBA, THAT CRAZYWONDERFUL ISLAND
"Country" means anywhere there's a human on this planet.
Your country is inside you.
We'd Iike to dedicate this song to anyone who's far away,
whereverthey are
and wherever they're headed. Everywhere.
l love you, Havana!
Friendshlp is a seed that grows anywhere.
When you feel cold, cover yourself with the branches
of my fate. Wherever you go,
you'll find my love, my open arms.
Love is everywhere, ln every corner of the world.
Everyone chases a dream. So let's change course.
Deep is the dlstance, deep is
the remoteness. A wandering soul
has no country.
Flags are a problem, countries and geography...
Wherever you may find me,
l feel that land is mine.
That land is mine.
Yours and mine.
l'll be your coat...
...lf you need consolation.
l'll be your nest...
...lf you need affection.
l won't let you forget me.
l'm with you everywhere you go.
l'll be your coat.
ln Madrid and New York...
Havana is everywhere
because you take it with you... You'll never be uprooted.
Every contlnent has lts borders,
but we all llve by the light of a single sun and moon.
l wlsh I were the morning, singing that melody
that makes you grow every day.
Paths that separate
and make you secret captlves oflanguage,
and ideology...
Never fall captlve to language
and ideology.
l'll be your coat...
...lf you need consolation.
l'll be your nest...
...lf you need affection.
l won't let you forget me.
l'm with you everywhere you go.
l'll be your coat.
l'm right here beside you.
l feel trapped
by my own past.
always, always, a prisoner of fate.
Always the same.
We're all shadows, we're all chlldren.
l have a dream.
Show hlm the way.
As far as I can tell,
we're all teardrops
tattooed from my Havana blues.