The Friends Of Mr. Cairo
Anderson (Jon) and Vangelis Lyrics

[shooting]
A scene from a movie where a character named Johnny has been seriously injured and his friends are conflicted about what to do

[movie like speech:] Frankie: Okay, this is the picture. Johnny's been hurt. He's been hurt bad.
Frankie explains the situation to the others, emphasizing Johnny's severe injuries

Woman: Look, we can't leave him here, we can't. Look, he's in a pool of blood. He's gonna die, I know it.
The woman is desperate to help Johnny, fearing that he will die if they leave him

Frankie: We've gotta leave him here, honey. We gotta. He won't talk, I promise you that! Will you Johnny?
Frankie insists that they have to leave Johnny behind, assuring the others that Johnny won't betray them

Woman: Frankie, I don't care whether he talks or not, I just can't leave him like this.
The woman expresses her concern for Johnny's well-being and is unwilling to abandon him in his injured state

Johnny: Listen. Leave me here I... I... I can ... I can ... handle it.
Johnny tries to reassure the others that he can handle the situation on his own

Woman: Oh, no, Johnny, no...
The woman expresses her emotional distress and refusal to leave Johnny behind

[interlude]
Instrumental section

[movie like speech:] Frankie: The cops are outside. Luke's in the car. Come on, let's get the hell outta this joint.
Frankie alerts the others that the police are nearby and urges them to leave immediately

Woman: Frankie, when they get here wer're gonna be dead, I know we are! We don't have agun!
The woman expresses her fear of the consequences they will face when the police arrive, highlighting their lack of a weapon to defend themselves

Frankie: Listen. We got three million... Listen, [spud]. We got three million in the can, here. We can't look after him, I'll send the bird to his mother. Come on, let's just get out of this place, we can do it!
Frankie suggests that they cannot afford to stay and take care of Johnny, offering to send money to his mother instead, and encourages them to escape the situation

Woman: Oh, no, Johnny, no...
The woman repeats her earlier statement, expressing her refusal to abandon Johnny

[interlude]
Instrumental section

Frankie: Okay now, just lean up against that door. When I give the word "Go" we just..., we just go through it and blast at the same time.
Frankie instructs the others on their plan to shoot their way out of the situation, coordinating their actions

She came, as in the book, Mickey Spillane That Saturday night dark masquerade Had filled his friend with lead, the same, sweetheart
Referring to a fictional character from a Mickey Spillane book, the lyrics describe how a masquerade party led to the friend's death by gunshot

But then, as nothing happens quite the same Investigation is the game He had to check her story right away-he dead Sam Spade his buddy Archer first to go he got it
Highlighting the unpredictability of events, the lyrics switch to the story of an investigation in which the artist's friend is killed, and Sam Spade's partner Archer is the first casualty

She spelt it out, how could they know the 'Fatman' got it -he dead Her sister didn't really live at all-confusion-he dead His chase led to the Fatman, to face the friends of Mr. Cairo
The woman revealed the identity of the person responsible for the murder, leading to more deaths and confusion. The artist's pursuit of the 'Fatman' and Mr. Cairo's associates ensues

[movie like speech:] Woman: Hey, there's a really terrific dress shop. Can we stop this raid while I buy a new gown?
The woman suggests a detour to a dress shop, wanting to buy a new dress amidst the chaos

Frankie: I'll buy you the whole factory, sweetheart. Don't worry.
Frankie offers to buy the woman an entire factory, indicating his willingness to fulfill her desires

That night, the double crosser got it right Pretending he was really dim He slipped to Sam a double gin (Mickey Finn)
The lyrics describe a night where a deceitful person successfully executed their plan by pretending to be unintelligent, and slipping a drugged drink to Sam

He woke, the boys had gone, but not his gun They'd left a note to lead him on The chase to find the Maltese Falcon-you bet-
When he regained consciousness, he discovered that his comrades had left and took his gun, leaving behind a clue that leads him on a pursuit to find the Maltese Falcon

Early thirties gangster movies Set to spellbind population From Chicago to Hong Kong Via Istanbul the Talking Tong Dirty rats through' prohibition Money flowed through gangsterism Acting out this fantasy In Hollywoods vicinity The best part for the best rendition Al Capone he sent to prison Citizen Kane came fast and quickly Conquering ol' New York City Poking fun at superstition Media became television Give me Cagney anyday Or Jimmy Stewart for President Or Edward 'G' and all those guys Who always shoot between the eyes Between the eyes Between the eyes
Describing the popularity of gangster movies in the 1930s and their influence on society. References to notable gangsters and movies are made, highlighting their impact and the rise of television as a form of media. Personal preferences for actors like Cagney, Stewart, and Edward 'G' are also mentioned

[movie like speech:] Kasper: ha, ha, well done Mr. Cairo, and what do you have to say about that, my friend?
Kasper congratulates Mr. Cairo and asks for his response to the situation

Spade: Allright. So you've got me in it. What about her?
Spade acknowledges that he is involved in the situation and asks about the woman

Brigid: Don't worry about me, I'm okay
The woman reassures the others that she is fine and doesn't need to be a concern

Kasper: Very magnanimous, sir, very magnanimous indeed, ha, ha, ha
Kasper sarcastically praises Spade for his generosity and laughs

Mr. Cairo: You mean..., you won't make us an offer we... we can't refuse...
Mr. Cairo jokingly references the famous line from The Godfather, implying that Spade won't force them into an offer they cannot reject

Father love do you work, do you work for Mother Chances could call, and accept that, be no other Science as it might, disappear correspond with colour Chance is the fruit, will outlive, what is now the brother Call for total wealth to distribute like a picture In black and white, give it joy, give it, let it hit you
The lyrics reference the roles of father and mother, the influence of chance and science, and the power of wealth and its distribution. The importance of embracing joy and experiencing life's impact is also emphasized

Spoil our existence by extreme gift to population Father love do you work, do you work for Mother Tell me straight be the Godfather be no other Media Kings give us now give us total movie Straight right now, give it clear, give us total movie Now being here, being now, being here believing
Critiquing the excessive influence of the media and the way it shapes society. The lyrics express a desire for honest representation and a longing for immersive storytelling in movies. Emphasizing the importance of being present and believing in the present moment

[movie like speeches:] Man: I don't know which words to put in there sweetheart, you know, I can't do it. Pretty kind of useless, though, don't you think so Mary?
A man expresses his difficulty in finding the right words, questioning the purpose and usefulness of their conversation

Man: Come with me to the far lands of Baghdad.
The man invites the woman to accompany him to the exotic lands of Baghdad

Woman: Oh, if only I could. That's what I want more than anything in the world, but it could never be...
The woman expresses her longing to go to Baghdad, but also acknowledges that it is an impossible dream

Man: Of course it can...
The man reassures the woman that their dream of going to Baghdad can indeed become a reality

Woman: But my father would find us wherever we went. Yes, he has forbidden me to... to even speak to you, if he finds me now. I don't know what he'd do...
The woman voices her concerns about her father's disapproval and the potential consequences they would face if he discovered their relationship

Man: But he doesn't know that I'm... I'm a prince. Before, I was the thief of Baghdad now...
The man reveals his true identity as a prince, explaining that he used to be a thief but has now transformed

Woman: It doesn't matter...
The woman dismisses the man's status and reassures him that it doesn't affect her feelings for him

Man: Then follow me, darling, follow me now to the ends of the Earth
The man urges the woman to join him on an adventure, promising to take her anywhere she desires

One on one to talk to you Like film stars they get close to you You've mirrored his appeal He wants you so, he wants to be beside you Then you pass by giving him the other side of you Like the mystics do So that every time he moves, he moves for you
The lyrics describe a situation where someone desires a close connection with another person, but the other person only reveals a small part of themselves, keeping a sense of mystery and enchantment. Despite this, they still have a profound impact on the person's actions

Soul and light can always see The meeting of true love and she This silent night and I, I guess a lonely mind might see
The lyrics suggest that a person's soul and true essence can perceive the connection between two individuals in love, even in the midst of solitude

I've seen love on the screen I've seen a screen goddesss and me-oh How often this, how often, this the power of you And so, I must confess Whatever I see I'm meant to be there with you With you with you
The lyrics express the impact of love and the allure of on-screen romances. The artist admits that they are drawn to the person they see on the screen and feels a deep connection, desiring to be with them

Silent golden movies, talkies, technicolour, long ago My younger ways stand clearer, clearer than my footprints Stardom greats I've followed closely Closer than the nearest heartbeat Longer that expected-ther were great- Oh love oh love just to see them Acting on the silver screen, oh my Clark Gable, Fairbanks, Maureen O'Sullivan Fantasy would fill my life and I Love fantasy so much Did you see in the morning light I really talked, yes I did, to Gods early dawning light And I was privileged to be as I am to this day To be with you. To be with you
Reflecting on the golden era of cinema, the lyrics evoke nostalgia and a longing for the past. The artist reminisces about following famous actors like Clark Gable and Maureen O'Sullivan, who brought fantasies to life on the silver screen. The lyrics also allude to a spiritual experience that shaped the artist's identity and expresses gratitude for being with the person they love

[movie actor like speech:] Mr. Cairo: Listen. I have arranged this display for... for all of you people to... to come here this evening and I... I know you have been searched, but, what you... you don't realize is, is that in the back of the Maltese Falcon, I have it ...
Mr. Cairo addresses the others, explaining that he has arranged the gathering and has hidden something valuable in the back of the Maltese Falcon