All language subtitles for The.Fruit.Machine.1988.mkv

[music playing]

[bell ringing]

WOMAN: When will you go?

MAN: Almost immediately.

In about two weeks' time.

Quite near, isn't it?

Do you want me to stay?

Do you want me to
turn down the offer?

Oh, don't be foolish, Harry.

I'll do whatever you say.

That's unkind of
you, my darling.

MAN: The train from Catchwood isnow arriving at platform three.

[sobbing]

You're not angry
with me, are you?

No, I'm not angry.

I don't think I'm
anything, really.

I just feel tired.

Forgive me.

Forgive you for what?

For everything.

For meeting you in
the first place.

For taking the piece of
grit out of your eye.

For loving you.

Oh!

MAN [ON TV]: For bringingyou so much misery.

I'll forgive you
if you forgive me.

[sobbing]

Oh, Mom.

Is it that sad?

No.

I can't help myself.

It's the actress in me.

Did you get everything?

Yeah.

I got "Some Like It
Hot," "West Side Story,"

"Carousel," and "King
Hearts and Coronets."

Oh, Eddie.

Why didn't you get
"Mildred Pierce"?

They didn't have it in, Mom.

So I got "Saturday Night
and Sunday Morning."

Didn't I tell you never tobring that film in this house?

Didn't I?

Yeah, but you
won't tell me why.

Hmph!

Mom, is it true
you got offered

a part in it, in the film?

Who told you that?

Oh, gon on, Mom.

Did you?

Maybe I did.

Well, tell us, Mom.

Please.

I don't know why
you want to know.

It's happened years ago.

Oh, come on, Mom.

Well, there I was,
out with Lilly Chambers.

She was a bit of a
singer, and she had

this audition in the morning.

John Schlesinger, marvelousbig film director,

is auditioning her for the partof the barmaid in his next film

"Saturday Night and
Sunday Morning."

So he gets her ready
and into the cab.

Oh, come with me, Jean.

My nerves are gone.

So I go with her.

She's waiting to go in.

And her name's called.

WOMAN: Lilly Chambers.

JEAN [VOICEOVER]: And
there, inside the door,

dressed all in black, witha little silver beard,

was John Schlesinger.

And I sees him,
looking me up and down.

So I looked at him
like, you know,

who the fuck are you looking at?

Well, I think no morel of it.

And five minutes
later, she's out again.

How did you get on the set?

He wants to see you.

Me?

What for?

She just shrugged.

So I thought he was going togive me a bollocking, you know.

So I thought, right.

Big film director or not, I'mfucked if I'm going to let

him come the almighty with me.

So in I march, as
boned as brass.

You wanted to see me?

Read this, he said.

Two lines, it was.

Two lines.

I'll never forget them.

Do them, Mom.

Do them.

You speak to me like that,I'll give you a clout round

the earhole, you brassy monkey.

Did he love you, Mom?

Well, he thanked me very much.

Asked me name and that,
told me to wait outside.

Next thing,
[inaudible] comes up,

tells me to come
back at 5 o'clock.

Did you?

Oh, Mom.

Why didn't you?

I just didn't have
the bottle, lad.

I just didn't have the bottle.

I wish I had, though.

And now look at me.

I'm like a beached whale.

I know.

[inaudible]

Oh, I couldn't be bothered.

Oh, go on, Mom.

The stuff's just there.

You look like Marilyn Monroe,with your [inaudible] done.

Or like Barbara Cartland.

Oh, go on.

Now, go and get the bleachfrom the back kitchen.

MAN [ON SPEAKER]:
The Ladies' Day

Sauna and Turkish Bathis now open to invitation

of membership.

Application forms can beobtained from club secretary.

Ladies Only night is Thursdays
from 6:00 till 10:00.

Tell all your friends, andremember, the rest of the week

is still for fallas.

Tell your mates.

[music playing]

Hello, Ray.

All right, lads.

Ray, Ray.

No trouble, eh?

Cup of tea?

Ray!

[groaning]

Go to work.

No!

No!

No!

No!

Oh, Jesus!

[suspenseful music]

He's not gonna
kill her, is he?

[knocking]

That would be your phone.

So don't give it any of thegirly mannerisms or anything.

No!

I'm only telling
you for your own good.

You know what he's like.

We're here, babe.

All right.

What's this [inaudible]?

[inaudible].

With Marilyn Monroe.

What are you's
watching this shite for?

Cause I like it.

JEAN: Sh.

Not the handbag.

Don't go back for
the handbag, Marilyn!

Why can't you be a man, eh?

There's nothing
wrong with him.

He talks like a fucking nancy,dresses like a fucking sissy,

for Christ's sakes, and
all his fucking friends

are like pigs ears.

Billy, don't.

Leave the lad alone.

[inaudible].

You're just wasting your time.

Where do you
think you're going?

To back [inaudible].

I [inaudible] scared of
putting my makeup on.

Christ, you're a bastard.

What's he done to you, eh?

What's he done to deserve that?

He knows what he's done.

He wants me to
be a man like him.

Well, I can't.

I just can't.

Look at him.

He even works like
a fucking poof.

Why, now many
of them do, yeah?

Folly.

JEAN: Christ, you're a bully.

[phone ringing]

BILLY: He needs
straightening out.

JEAN: He needs nothing exceptbeing left alone by you.

BILLY: [inaudible].

JEAN: And what if he doesturn out to be a big poncee?

Hello.

Ed, it's me!

What's going on?

The usual queer-bashing
saga from my old fella.

BILLY: [inaudible].

See what I mean?

Anyway, where are you?

Never mind that.

Listen, she had me stuck away.

EDDIE [ON PHONE]: Who?

Me ma, [inaudible].

EDDIE [ON PHONE]: Why, mate?

Because they
caught me in a sauna.

They took me to a detentioncenter on [inaudible]..

EDDIE [ON PHONE]: What happened?

But I broke out.

EDDIE [ON PHONE]: You OK?

I told you, they
caught me in a sauna.

The police and me ma saidthat I was a rent boy.

But I'm not, [inaudible].

I just didn't have
anywhere to go.

Oh, Ed.

There was murder.

EDDIE [ON PHONE]: Were you hit?

No, I'm all right.

I hid behind a door.

Honest, they didn't see me.

[inaudible]

The police are looking for me.

EDDIE [ON PHONE]: Mike,
what are you gonna do?

I don't know yet.

But I'll find a way.

We've got to leave,
Ed, the pair of us.

It's all getting too heavy.

Are you with me?

What?

MICHAEL [ON PHONE]: Tonight.

No.

Mike, I'm worried about you.

What have you got yourself into.

MICHAEL [ON PHONE]: I don'tknow what you're worried for.

[inaudible]

I understand all that, butI can't just get up and leave.

Don't worry.Everything will be all right.

You know I'm not a
rent boy, don't you?

Come on, Ed.

You're me mate-- my best mate.

We can be off into
the night together.

I'll take care of
you, I promise.

[dance music]

[thunder]

[baby crying]

JEAN: Were you asleep?

Look, I know what
people call you.

But you're not.

You're artistic, aren't you?

You've got to toughen up,lad, make yourself harder.

BILLY: [inaudible].

JEAN: [inaudible].

They're all the
same [inaudible]..

Use a bloody ashtray.

I don't want to get
burned in your bed.

[inaudible]

BILLY: [inaudible].

[cheering]

You were wonderful, darling.

You were wonderful.

[interposing voices]

[clapping]

Congratulations, [inaudible].

You've never been
in better form.

Thank you, thank you.

That's it, that's it.

Thank you, gentlemen.

Please move that, and
let's get changed.

Thank you.

That's it.

That's the end.

No, it isn't.

It's just the beginning.

[chuckling]

[both chuckling]

It's a big boy, then, eh?

Big boy!

Here.

Ta.

Eddie!

Where have you been?

Who's he?

It's-- eh, me uncle.

Uncle who?

Uh, it's me Uncle Dick.

Yeah, that's right,
my Uncle Dick.

[honking]

Wave goodbye, then.

Oh, yeah.

Come on, let's go.

- Where?
- In here.

Inside.

[knocking]

Yes, what do you want?

We want to come in.

We're members.

Yeah.

[inaudible].

You're not 18,
you're not a member,

and you've been warned aboutbringing chickens in here.

I'm nearly 18, and so is he.

Aren't you?

Yeah, nearly.

Rules of house.

No fooling around
in the toilets,

no poppers on the dance floor,and no bitching with the staff.

I must be out of my
[inaudible] rollers

letting you two in here.

We belong here, like you.

All right.

I'll let you's in,
just this once.

But keep yourselves to
yourselves, as there's

been trouble here tonight.Big trouble.

And they may be back.

Now, sign this book.

What's Revolution
Night for, Annabelle?

You're supposed to come
as your favorite peasant

or aristocrat.

Just a little idea of mine.

Who have you come as?

Oh, no.

I couldn't be bothered.

Just dressed casual.

What's your name, [inaudible].

Cat got your tongue?

Oh, Eddie.

Doesn't look like an
Edwena, does she, girl?

[inaudible].

I don't think you looklike an Annabelle either.

Mind your lip.

[inaudible]

Jail bait, that's what you are.

Jail bait.

I hope you don't
mind me saying,

I really like your dress.

Mm.

It's dead nice.

Honest, it looks lovely on you.

You can come again.

Actually, actually, youwouldn't think to look at it,

but I made it myself.

Run it off of my
own little machine.

Oh, you'd never know.

Fits you like a glove.

You are a treasure.

Now remember what
I told you, lads.

Keep your noses clean.

I want no more trouble today.

Think they'll be back, slag?

Enjoy yourselves.

[MUSIC - PAUL LEKAKIS, "FRUIT MACHINE"]

Hello.

[inaudible].

Do you like it?

[inaudible].

They used to sell fruit herefrom all over the world.

It used to be a fruit exchange.

[inaudible].

It still is.

It's like faded elegancegiven a second chance, isn't it?

What?

You know, like an
old granny, someone's

got makeup on, done
her hair forward

and dolled her up again.

It's the fruit machine.

We're in the fruit machine.

It's like a freak show.

No, it's not.

MICHAEL: [inaudible].

EDDIE: What?

To get off with other men?

No.

To get away from that old sign.

[inaudible]

Will they save us?

[inaudible].

You'll learn to play on them.

Don't be long, Michael.

[MUSIC - DIVINE, "I'M SO
BEAUTIFUL"]

MAN: And tonight, here
at the Fruit Machine,

we have treats installed for allyou queens with rubbery legs,

and [inaudible] strut
that funky stuff.

Yes, it's Friday night.

And it's [inaudible]
famed Fruit Machine

dance competition, [inaudible]by our very own Annabelle.

[cheering]

I love you all!

So get ready to do it here.

First prize, a
night out with me.

Oh.

OK, then.

The winner will receivethe grand sum of 30 quid.

That's 30 quid for theone with the most action.

Going to enter, then?

I can't dance.

Why don't you?

Nah.

I'm not making a[inaudible] out of myself.

They're all [inaudible].

Shit house.

- I'm not.
- OK.

I'll take your word for it.

On the dance floor, thecompetition starts after this.

[inaudible].

Of course you can't.

MAN: Right.

Let's have all the
people entering

the dance competition down hereon the dance floor, please.

'Cause the dance competitionis about to begin.

Actually, the competitiondoes look a little tough to me.

MAN: Yo, all you partypeople, let's get ready to go.

As we bring our judgesdown for the competition,

[inaudible] Fred Astaires,Nureyevs, and Ginger Rodgers

down here on the dance floor.

Go on, get off
your [inaudible]..

Don't you talk
to me like that.

I wasn't talking to you.

[inaudible].

MAN: Are you ready?

Let's get ready to go andstrut that funky stuff.

Yes, it's Friday night
at the Fruit Machine.

Put those over there, please.

Congratulations.

So you've finished
your final performance.

How does it feel?

Like the prison
doors have been opened.

But it's you I'm worried about.

Me?

Why?

Well, all of this.

You don't normally
throw your money about.

What's going on up there?

Absolutely nothing.

And anyway, it isn't mymoney I'm throwing about.

It's the company's.- But you own the company.

It doesn't suit you
to be so suspicious.

And besides, we need the
publicity for the ads.

I don't need the publicity.

Your company needs
the publicity.

I am not media fodder, Eve.

So just you be careful.

[MUSIC - PAUL ZONE, "MALE STRIPPER"]

Get lost!

Oh, put your shoes on.

Sorry, [inaudible].

Come on, Michael.

You can do it!

[whistling]

Hey!

Show us your [inaudible].

Get them off!

Oh!

[cheering]

Schoolie.

Who are you?

What do you want from me?

[toilet flushing]

Are you all right?

Did you just see a man here?

By the door?

There's no one there.

I thought I saw someone.

[inaudible].

Look, if you don't findwhoever you're looking for,

I'll come find you instead.

A simple job, an
easy little piece

of work, and what do I get?

Amateurs.

Fucking amateurs.

[inaudible]

You let yourself get worked overby a couple of stinking queers.

You [inaudible]
the two fucking

big dockers wearing dresses.

They were worse than men.

They are men, donkey brain.

Idiot.

That's why I brought you in.

This is my town.

I run the clubs here.

And no fat fairy
faggot's moving in.

Oh, but I forgot.

You like messing up
queer boys, don't you?

So let's make this one niceand quiet, clean and tidy,

and no witnesses like thesauna, or you're on your own.

[MUSIC - SANDY STEVENS, "MOVE CLOSER"]

He must still
be here somewhere.

But it's finished.

They'll be throwingeveryone out in a minute.

Can't we wait until the end?

Was there something
special about him?

Yeah.

Something sad.

All riht.

We'll stay here then
until everyone's gone.

And don't worry.
We'll find him.

If he's still here, he won'tescape my beady little eyes.

I mean, he shouldn't be toohard to find, should he?

What was it now?

Bright green eyes and what?

Dripping wet?

Well, if you
don't believe me--

Well, you go and
look in the toilets,

and I'll have a wander
around there, then.

Well, go on.

Well, go on!

So I just said to him, ifit's as big as your mouth,

I'll see you in the car park.

[chuckling]

Thank you.

Right.

Now come on.
Go on.

Go home.

[interposing voices]

Come on!

[inaudible]

MAN: Right.

That looks like the last.

Remember what I said, Echo.

No witnesses, all right?

You think I imagined
it, don't you?

But I didn't.

I know I didn't.

What are you two
still doing here?

The rest of the bottom ofthe barrel left hours ago.

Don't you have homes to go to?

Come on.

No, we haven't.

We were hoping that
you'd invite us

back to your place, Annabelle.

You know, [inaudible]
with each other.

Hm.

Well, I was thinking of goinghome later and running up

a little sweater.

Run along.

Come on.

Mm.

[heavy breathing]

Is there somebody there?

Hello?

Hello?

Hey, blondie.

The party's over.

My, that's a big weapon.

[screaming]

Move!

Let's get out of here!

Do you think he's gone?

I hope so!

Shit!
Oh, no.

Come on.
Move.

[alarm bell]

[inaudible].

Don't play.

Just get that gate
open, will you?

We haven't done fuck all!

Come on, Eddie.

And we've saw naught.

Don't tell on me.

Please, don't kill us.

We won't tell anyone.

[police siren]

He's in here.

He's the one you want!

What are you two
lunatics up to?

He's got a machete.

Look!

[gasping]

Stop!

What have I got myself into?

Oh, please, God.

I'm sorry.

I've got to go through
the gates [inaudible]..

Just let me wake up in
a minute, back at home,

bleaching my mom's hair.

He won't get us, Ed.

I'll look after you.

You?

You can't even look afteryourself, never mind me.

I'm going.

I didn't have to run away.

I'm not on the run.
You are.

The police don't want me.

Yes, they do.

You only signed your ownname in the book, didn't you?

What book?

The book in the club.

You went and signed
your real name.

The police, they'll
know who you are.

And if they can
find out, so can he.

I'm scared!

I'm scared!

What a world!

What a world!

What a world!

Stop your sniveling
and grow up, will you?

Look, we don't matter to them.

They'll just use us to get him.

[inaudible]

And I'm not going
back there- not

for him, not for the
police, and not for you.

I told you I'd look
after you, haven't I?

Listen, I got you away
from him, didn't I?

Well, what are
we gonna do, then?

Michael.

Michael, wait for me.

Michael.

Michael, wait.

Please.

Please.

Please.

Blow.

It's "Rigaletto."

What?

It's "Rigaletto," the opera.

No, it's not.

It's our bed for the night.

Come on.

What?

[operatic singing]

Excuse me.

Do you--

Sh.

[TENOR SINGING "LA DONNA E MOBILE"]

[cheering]

OK, boys.

It's been a very long evening.

We've all had more
than our fair share.

Now come on, boys.
Be reasonable.

WOMAN: Just one more.

One more for the road.

There.

It's all over.

Yes.

Isn't it?

Then why so miserable?

Oh.

Just thinking about the
past and the future.

- It's a lot of money, Vincent.- Yes, it is.

But what price would you puton your soul, Eve, assuming,

of course, that you have one?

Well, it's too late
for second thoughts now.

You signed the contract.

Oh, correction.

I have agreed to
sign the contract.

That's quite a different thing.

I've had the good fortuneto come to nearly all

of his performance.

He's quite a remarkable artist.

Let's do one.

We don't fit in here.

I can tell they hate us.

I can feel them
all staring at us.

Like that one over
there, fat ass.

EDDIE: Oh, Michael.

They're all right.

God, look at all that food.

I'm starving.

Do you want some?

They'll bring you
some on a plate.

Don't want none.

You go.

[inaudible].

I'm not hungry.

You go, will you?

Come with us.

I'll wait here for you.

I'll bring you some
back on a plate then.

Hello.

If you're hungry, you
don't have to steal it.

Just eat what you like.

I'm sorry.

I didn't mean to be rude.

It's not for me.

It's for my mate, Michael.

Should I put it back?

Nonsense.

It's all free anyhow.

How do you do?
I'm--

Vincent [inaudible].

I was listening to you today.

Oh, you were at the recital.

Oh, no.

I've got loads of your records.

[inaudible] is my
favorite, though.

Mine too.

It's dead sad, isn't it?

You don't sound Italian.

I was born in Bath.

It's funny.

You don't look anything likeyour photograph on the cover.

You look a lot older.

Oh, I'm sorry.

No, that's OK.

Anyway, I'm a lot older.

But, you see, they insiston using younger photographs

and touching them up to makethe housewives drool, I suppose.

Does it?

Why else would
they buy my records?

You're the greatest
singer we've ever had.

Whoa, whoa, whoa, whoa, whoa.

You will swell my
head, young man.

Did you like the singing?It's from an opera called--

"Rigoletto."

I've always enjoyed
the way you sing it.

My ma's got all your records.She--

You seem to know an
awful lot about me,

and I know nothing about you.

What's your name?

Eddie.

Eddie what?

Eddie.

Just Eddie.

Did you know Maria Callas?

Yes, I did.

Got a photo of
her here, in my bag.

She used to be my
mom's best mate.

That's why I know
so much about opera.

And look, she even signed it.

"To Jean," that's my
mom, "love, Maria."

She's not like that now, though.

She's still lovely, of course.

Always will be.

But she's-- she's
a little fat now.

She said, it was having methat wrecked her figure.

Women are as roses, alas,that they are so, dying even

as they, to perfection, grow.

What are you and your
friend doing here?

Can I trust you?

Ah, well--

OK.

We've run away from home.

Well, I have.

Michael's on the run.

I'm sorry?

He's doing it from DC.

Ah, da capo?

No, detention center.

And what was he doingthere in the first place?

His step-mother put him there.

For being different.

We're both different.

That's why I've
run away as well.

So now you're off into theworld, looking for adventure.

Yeah.

I suppose we are.

How old are you?

We're both 16.

And a half.

I don't know why I'm
telling you all this.

We don't even know each other.

Well, I know you
because you're famous.

But I could be anyone.

I'm sure you couldn't
be just anyone.

You only meet a better classof person in the Adelphi Hotel.

The Adelphi.

It's a nice name, isn't it?

[inaudible].

I think it's the
Greek for dolphin.

Yes, the dolphin hotel.

Oh, that's amazing.

Because look.

[chuckling]

Empty your pockets.

I won't.

You do understand English.

Then empty your pockets
of all the things

you have just stolen, andplace them on the bed.

OPERATOR [ON PHONE]:
Good evening.

Can I be of service?

Thank you, reception.

OPERATOR [ON PHONE]:
Yes, can I help?

Yes.

I'd like to be put throughto security, please.

OPERATOR [ON PHONE]: Right away.

You can't prove anythingif I put it all back.

It'd be your word against mine.

You've ransacked
everything in the place.

No, I haven't!

I've been watching you.

MAN [ON PHONE]: Security here.Hello?

Hello, security.

MAN [ON PHONE]:
Yes, can I help you?

Yes, this is Eve
Carr from suite 100.

MAN [ON PHONE]: Ms. Carr.

Is there something the matter?- Yes.

I'm terribly sorry
to trouble you,

but I'm afraid we
have a thief up here.

MAN [ON PHONE]: All right.

We're on our way.

In the meantime,
try to [inaudible]..

Yes, he's here in
the room with me now.

MAN [ON PHONE]: What?

Quick, Ali.

Suite 100, there's an
intruder in the room.

Can you hold him?

No, he won't be
going anywhere.

I've made sure of that.

MAN [ON PHONE]: You're notin any personal danger?

No, I'll be quite safe.

MAN [ON PHONE]: Well, call againif it gets worse, won't you?

Yes.
Thank you.

It will be much simpler if youemptied all your pockets now

before you're forced to.

I've emptied all my pockets.

I've put everything back.

So it looks like you're goingto make a tiss out of yourself.

And anyway, what's to stopme taking the key off you?

A room full of
people next door.

Who are you anyway,
Jennifer Justice?

I've done nothing.
It was only money.

Was it your money,
your possessions?

You's are all loaded.

You wouldn't miss a bit of it.

Look.

Look, I even put a tennerin here, because there

was nothing in it.

Oh, well done.

What a performance.

And who are we now, Robin Hood?

I'm only 16.

They'll stick me awayforever if you blow me up.

You should have
thought of that before.

But what do you's expect?

Flaunting your money
and your wealth.

And most of us can't even affordto buy a packet of ciggies.

We have to rob to survive.

Spare me the working
class rhetoric.

You're a tedious,
insignificant thief.

Nothing more.

[knocking]

And you deserve all thatyou have bought on yourself.

Just give me one more chance.

That's all, one.

I'll never do it again, ever.

Tell him it was
a mistake, a jok.

Why should I?

MAN: Miss Carr,
are you in there?

It's the hotel security.

Are you all right, love?

I'll make it up to you.

And how would you do that?

I don't know.

I don't know.

Please, don't tell him.

I'll do anything you want.

It must be great to
have a gift like yours,

to be an artist.

I don't do it for art anymore.

I do it for money.

I'm going to Brighton to shootthree commercials advertising

cut price cassettes.

Commercials?

Mm-hmm.

God, it must be a great life--

making adverts and
going down to Brighton.

Then why don't
you come with me?

I've got a car outside,waiting to take me to Brighton.

I have to shoot the first
commercial tomorrow.

Do you mean it?

Of course.

I'll go and tell Michael.

You're not joking, are you?

Go and tell your
friend we're leaving

before I change my mind.

So you see, I've made
rather a fool of myself.

It seems I've been
the victim of a hoax.

Do accept my apologies.

That's OK, love.

So long as you're sure
everything's all right.

Absolutely positive.

You come and have a drink.

What's going on?

You haven't done
anything, have you?

Of course I haven't.

Are you sure?

Get off me back, will you?

You're like an old woman.

Michael, I've got a surprise.

How do you fancy going downto Brighton, by the sea?

Michael, are you
listening to me?

We're going down to Brighton.

I know we are.

God, I wish my mom was here.

She wouldn't believe it-- meand you going down to Brighton

with Vincent Barbielli.
And I've done it.

Just think.

You should believe
people, you know.

What do you mean?

You shouldn't believe people.

That's all.

We don't have to go
if you don't want to.

I don't mind really.

As long as we're
together, that's all.

[honking]

VINCENT: Come on, boys?

What's that?

Is is a car?

No.
It's an orgasm.

Come on.

What make is it?

It's rich, that's the make.

Oh, shit.

[SINGING] Running
wild, lost control.

Running wild, mighty bold.

Feeling gay, reckless too.

Don't, Ed.

They're looking at us.
- So what?

It's my favorite song.

Carefree minds all the time.

Never blue, ooh!

Oh, it's Marilyn Monroe.
It's who I feel like.

Is this a Rolls-Royce?

No, it's a Bentley.

I always think that Rolls-Roycesare a bit pretentious,

don't you?

Yeah, always.

JEAN: He's gone, Billy.

BILLY: What do you
mean, he's gone?

JEAN: His clothes
are gone as well.

He's took his dolphin.

He's gone, Billy.

He's left home because
of you, persecuting

him morning, noon, and night.

Come on, girl.

You know I didn't mean it.

Oh, didn't you?

Oh, well it's too late totell him that now, isn't it?

No, he won't.

I hope you're satisfied.

You've hounded that lad.

I wanted him to be
a man, to be tough.

By calling him every
queer under the sun?

They're giving
them a disease now.

It's not just a stigma anymore.

It's a disease, and it's
fucking killing them.

You're wrecked his headmore than anyone, you have.

I don't slap him
around the face.

I love him.

Oh, yeah.

Bette Davis, Marilyn
Monroe, Joan Crawford.

He's a young lad,
for fuck's sake.

He doesn't want
to listen to you,

sitting there like
some aging actress,

trying to live your
life through him.

And what type of
life or alternative

have you ever offered him, eh?

Of how you're goingfor the part in "Saturday

Night and Sunday Morning."

You're just jealousbecause I got offered a part,

the part of the bar maid.

I could have been famous.

I could.

You know John Schlesingerwas never in Liverpool.

He was.

He was!

You know he never
offered you a part.

He did.
You wasn't there.

It was before I met you.

And do you want to
know how I know, eh?

Because John Schlesinger
never directed

"Saturday Night and
Sunday Morning."

It was directed by
a woman, Carol Rice.

Well, it was a long time ago.

I must have got
the names mixed up.

The only thing you got mixedup with our Eddie's mind.

And you knew exactly
what you were doing.

Don't, Billy.

Don't spoil the only
dream I've ever had.

Wake up, will you?

You're not in a movie.

You're here with me
in friggin' Kirby.

Our Eddie believes me.

He'll always believe me.

That's why he took
the photograph.

Oh, nay.

You never met Maria
Callas either.

I'm not listening to you.

You're trying to
distort everything.

You clipped that
photo out of a magazine

and took it to a shop ina town with a photo of you

and had them cut together.

It was you that signed thefront, "To Jean, love, Maria."

Fucking pathetic woman.

And you've got the cheekto wonder why I'd kick off.

Well, I'm glad he's gone.

REPORTER [ON TV]:
--a male transvestite

and manager of the well-knownhomosexual [inaudible]..

It's not true.

Don't say that.

Because I know why
he really left, and it

wasn't to get away from me.

It was to get away from you.

Billy, where are you going?

REPORTER [ON TV]: --running awayfrom the scene of the attack.

One of the youths is believedto be Michael Austin--

Billy!

REPORTER [ON TV]:
--who absconded

from the youth detentioncenter early yesterday evening.

Police request that
the public should not

approach the youths, as they areboth believed to be dangerous.

[soothing music]

[yelping]

Thank you for the bed.

I think we've ironed out
our little difference

with the contract
now, don't you?

I'll see you at the studio.

Oh, by the way, regarding ourlittle deal, I've taken my 10%.

Is Eve your girlfriend?

Um, no.

She owns an advertising companyI'm to do some commercials for.

But really I think she's
a frustrated actress.

Soundsa bit like my mom.

I can't believe I'm here.

I never met a star before.

I've smelt a star, though.

You've what?

I've smelt a star.

It was years ago.

I must have been
about five or six.

I was at my gran's,
and my Auntie

Muriel came home from aDusty Springfield concert

at the Empire.

She ran to the house with thisdead expensive-looking handbag,

a big red leather one witha silver clasp on top.

Dusty Springfield had onlythrown it into the audience,

and my auntie caught it.

There was murder.

People tried to
snatch it off her.

But she just held onto it.

I remember picking it
up once, opening it,

and smalling inside.

It smelled of mink and perfume.

Not the cheap
strong stuff, mind,

but expensive, elegant stuff.

It smelled of Dusty Springfield.

That's the nearest I'veever got, till I met you.

Dusty Springfield.

I'm flattered to be
in such good company.

I came here once to
Brighton with my mom.

I was only a kid.

She took me to the dolphinsin the dolphinarium.

You must mean Wonderland.

It's still here.

They're probably stillusing the same creatures.

Why don't you go there?

To Wonderland?

Why, it's only fiveminutes' walk along the beach,

and you might see some
of your old friends.

- I'll go and wake Michael up.- No, no.

Don't do that.

The poor boy must be
absolutely exhausted.

No, you run along.

I'll wake him with somebreakfast before I leave.

Here.

You don't have to
do that, you know.

You may need it.

It is very expensive.

But--

[inaudible].

I insist.

Now, let's see.

Hm?

I think that one's the nicest.

Looks like the one
Montgomery Clift

wore in "Suddenly Last Summer."

Say, thanks for
the money, Vincent.

Oh, it's nothing.

GIRL: Take one of these, please.

Would you take one
of these, please?

You must stop dolphins
from being [inaudible]..

Would you read this, please?

Thank you.

Wait, wait, wait.

Hold on.

Take one of these
before you go in,

and read it very carefully,please, will you?

[music playing]

[cheering]

Don't be so impatient, Sooty.

Beverly.

Beverly!

Oh, shut up.

And now, ladies
and gentlemen, I'm

going to ask Sooty to
perform a trick for you

which has never been doneby dolphins in the wild

or in captivity.

And in a moment, you'll see why.

[drumroll]

[cheering]

I thought this
was for the kids.

Thank you.

Thank you.

And we mustn't forget thedolphins, especially Sooty.

[cheering]

And now, before the
end of the show,

I'd be delighted to
answer any questions

from the boys and girls.

Well, is there anybody outthere that would like to ask

a question about the dolphins?

Ah, yes.

Little girl at the back.

What would you like to know.

Is Sooty a boy or a girl?

And how old is he?

Well, as all the menin the audience observed,

Sooty is most definitely a man.

I can assure you of that.

And he's the grand
old age of 23.

Now, is there anybody else?

Ah, yes.

The young gentleman.

Do you think it's cruel
to treat him like that?

He shouldn't be here.

Throwing dead fish in
the wild, you know.

And how long do you
expect him to live

in that tiny little pool?

Well, actually, if youknew anything about dolphins

in captivity, you
would know that they

live to a considerable age.

This isn't Wonderland.

It's hell.

It shouldn't be here.

It's sick and degrading.

Look at it.

Just look at it.

How would you like to be trappedin that tiny little poof for

the rest of your stupid life?

Well?

Why don't you answer me?

Pulling your bra off.

You just want to show
your tits, don't you?

[groaning]- Hey, leave the girl alone.

So that's your problem.

It's called entertainment,if you didn't already know.

No, it's not.

It's exploiting animals.

That's what it is.

Here, come with me.

Right protestors.

You lot just don't learn.

I'm just trying to
say that it's cruel.

And I'm not an animal
rights protestor.

And it is cruel.
WOMAN: Go on to mommy.

What'd you come in here for?

[interposing voices]

Come on, let's go.

Do you want a swig?

Oh, go on.

I hate drinking alone.

What is it?

Nectar that puts
hair on your chest.

Ew.

Cheers.

Mm.

Did it do your head in in there?

Why do they do it to them?

It's crazy.

I don't understand.

Because they're
money-grubbing bastards.

That's why.

Do you know they'd throwtheir own granny in there

and make her jump throughhoops if they thought they

could make a few bob out of it?

We've been down
here for months now.

We sneaked in there one night,smashed a window, got in.

Well, we had all had a few--

I mean, not pissed just--

well, a bit
[inaudible],, you know.

Anyway, in we get.

I tore the knickers offmyself on the broken glass.

What happened?

Well, we decided
we were going to try

and get them out and free them.

But they wouldn't come near us.

I don't blame them.

Anyway, so I dived in with them.

Weren't you scared?

Aye.

I shit myself.

Sooty is a fucking
randy bastard.

He kept swimming in between mylegs and rubbing up against me.

I felt dead sorry for him.

I had half a mind togive him a sympathy wank.

He's going to die in there.

They always do.

Oh, don't say that.

Oh, they don't ever survive.

But they said
Sooty was already 23.

That's a lie.

Well, I mean,
they're hardly going

to tell the kids that it'son its last legs, are they?

What happens when they die?

Well, they just buy anotherone, give it the same name,

and no one's the wiser.

I want to go backthere, rip the place apart

with my bare hands, bring himdown here, and put Sooty back

in the sea, where he belongs.

Sooty.

Sooty.

I mean, what a fucking name, eh?

Do you know, they give themthese pathetic little names

so they seem significant.

That way they're
as indispensable

as an old worn-out Durex.

I feel like that sometimes.

What, like an
old worn-out Durex?

No.

Like I've got to be
something I'm not.

I've never told anyone
this before, but I'm--

well--

Oh, come on.

I mean, what does it matter?

But I sort of feel
like that dolphin.

Jump for the nice people, Sooty.

Speak in a girly
sissy voice, Sooty.

Yeah, but you're not trappedin a dolphinarium, are you?

Aren't I?

Anyway, I always thought
people like you--

animal rights
protestors, I mean--

always wore wooly hats.

Ah.

No peeking.

[chuckling]

Hey, do you fancy a swim?

Oh, it looks too cold.

I'd freeze the balls
off myself in there.

And anyway, I haven't
got my swim cozzy.

Oh, who needs one of them?

What's wrong?

Haven't you ever
seen a fanny before?

Fanny?

Looks more like a pound
of chopped liver to me.

Oh!

[screaming]

See ya!

Hey, so what's your name?

Sooty.

My name's Sooty.

See ya, Sooty!

[carnival music]

[intense music]

[thunder]

[muffled voices]

EDDIE: Michael,
are you in there?

You are in there.

I can here you.

No, he's not in there.

EDDIE: But he's in there.

I can hear him.

I am not a liar.

He's not here.

[inaudible]

He was going for a
walk along the front.

You are in there.

I know you are.

Short of letting yousearch the bedroom, there's

very little I can
say to satisfy you.

Would you care to
search under the bed?

I thought he was
in there with you.

I sleep alone.

Always.

You and Michael are
here as my guests.

I require nothing from you.

I'm sorry.
I just thought--

I know.

Is he gone?

Yes.

What a strange littlerelationship you two have.

He's my best mate.

He cares about me.

He's just a bit
sensitive, that's all.

He's also a little bit--

what's the word
I'm looking for--

simple.

Don't you laugh at him.

I wouldn't have done any ofthis if it hadn't been for him.

He needs looking after,someone to take care of him.

Then why don't you
let me take care of him?

You?

Don't you ever go near him.

You go near him--

Come back to bed.

No.

Why not?

Because I don't
like the way you laugh

about Eddie behind his back.

And I don't want to, OK?

Then, what
exactly do you want?

Do you want the truth, do you?

I don't want you.

But last night and
yesterday morning, you

seemed to want me then.

Do you think I wanted to?

Do you really believe that?

I'd done it for me andEddie, for somewhere to stay.

You don't think I
could fancy a dried

up old queen like you, do you?

You might have conned
him with your posh talk

of operas and arty-farty people,but it means fuck all to me.

You didn't bring it down herebecause darling would think

you're both absolutely divine.

You brought us down
here because you

wanted to get inside my undies.

Well, I can't count the timesI've met people like you

before.

You're a vampire.

That's what you are, a vampire.

And it's not blood
that you suck.

It's--
- I don't deserve this.

What right have you to
speak to me like that?

I've done nothing to you.

Don't make me laugh.

The first time I done itwas for pay and for a lift

and somewhere to stay.

And now I want money
for last night.

And what makes you
think I'd give you any?

Oh, you'll give me itall right, because if you

don't, I'll make you pay.

One way or the other.

And you'll pay dearly.

Oh, bravo, bravo.

OK, speech over.

Now, get your things
together and leave.

I'm not going anywhere
until you've coughed up.

I want money.

You stupid little rent boy.

Do you think I haven't
come across grasping

benders like you before?

You've been idiotic
over all of this.

I liked you.

I liked you a lot.

You could have done
very well out of me,

if only you'd used your head.

And you mean used me ass.

Don't you understand,
Miss Mozart?

I can't bear the
fucking sight of you.

It's you smelling delicateand fucking sickly.

I want money, and I want it now.

You leave me no option
but to call the police.

Go on, then.

Call them.

But isn't it against
the law to do what

you done to a 16-year-old lad?

So yeah, you fucking
call them, and I'll

tell them everything and more.

They'd never believe you.

It would be your
word against mine.

Doesn't matter whether
they believe me or not.

It wouldn't look very nicefor you, though, would it?

Especially if thenewspapers got hold of me.

Get out!

Aging opera star in gay shame.

Do you think that would makea good headline, Vincent?

Now give me the money.

Not a hope in hell.

Well, I'm not going anywhereuntil you give me money.

[music playing]

MICHAEL: I thought
I'd find you here.

I'm not going back there, Ed.

To Vincent's.

Why not?

Because he's been
trying to sleep with me.

Said I owed it to him.

And if I didn't, he'd
kick us both out,

then phone the police.

Tell them I was on the run.

He did.

I didn't think
he was like that.

Neither did I. So
you know what I done?

I told him to shove
his ought up his hole.

And then I left.

So it looks like we're
on our own again, Ed.

Just me and you.

I don't mind.

I like you.

Being with you, I mean.

Besides me ma, you're
the only person who--

Shut up.

We're like Bonnie
and Clyde, aren't we?

Bette Davis and Joan Crawford.

Jack Lemmon and Tony Curtis.

No, we're just like JaneRussell and Marilyn Monroe.

Just a pair of little queer[inaudible],, aren't we?

No, we're not.

We're lads.

We're young men.

Where'd you get that from?

Off Vincent.

You didn't rob it, did you?

He gave it to me.

I'm not going back there, Ed.

But I'll have to.

All my stuff's there.

Why can't you leave it?

I can't leave Brighton.

Why not?

You know why.

The fish?

It's not a fish.

It's a creature.

And I want to set it free.

Vincent?

Are you up there?

There you are.

I've been looking all
over the house for you.

Why are you sitting in herewith the curtains drawn?

Who done that to you?

No.

It wasn't-- he
wouldn't do it to you.

No.

[door closing]

Michael!

Michael!

What are you doing?

Why did you do it?

Why did you do it?

[inaudible].

You slept with him andsmashed his face in because he

wouldn't give you any money.

Why did you do it?

I didn't do anything.

Liar.

You liar!

I didn't touch him, Ed.

I didn't have to.

Look.
I took this.

I took it for us.

I took it for you.

Why does everything haveto end in violence with you?

Is it the only language
you understand?

I didn't touch him, Ed.

I didn't have to.

He gave me the money.

Isn't that why we
left Liverpool, eh?

To get away from people
who want to hurt us?

I didn't touch him, Ed.

Then who did, eh?

Who did?

I wouldn't hurt anyone.

It's all an act.

Eddie!

[music playing]

Sooty.

Sooty, where are you?

[dolphin noises]

There you are.

They tried to keep
me away from you.

But I had to come and see you.

I'm like you, you see.

Trapped.

I'm gonna come in with you.

I know you won't mind.

[dolphin noises]

[music playing]

[gasping]

What's wrong, Sooty?

[dolphin noises]

What's wrong, eh?

Come on, mister.

I didn't do anything.

It wasn't me who
told the police.

Honest.

Oh, please.

Oh, not like this.

I'm only 16.

Why?

Eddie!

Eddie!

Hey!

Eddie!

Eddie!

[gasping]

[shouting]

[yelping]

Ed!
You're all right!

What's he done to you?

I'm all right, Michael.

All right.

Is he dead?

I don't know.
I don't know.

Come on.

We've got to get
out of here now.

[woman screaming]

[gulls squawking]

I think you need--
you need help, mate.

A doctor.

No.

But he's hurt you.

I've got to go for help.

I'm all right, Mike.

Don't go.

They'll catch you.

It doesn't matter.

There's nothing to
be frightened of.

They can't catch us.

No one can.

Don't go.

Please.

I'll come straight back.

I promise.

Don't go!

MAN: Get it right down
to the front, yeah?

Where are you taking it?

But it's dying.

Can't you see that?

Oh, come on.

Why don't you do somethingwith your life for once

and put it into the
sea where it belongs?

Look, it's only there!

Look, if you mustknow, that dolphin killed

someone in a pool last night.

Oh, rubbish.

Where are you taking it?

Windsor Sea World,
as far as I know.

Now, move back.

What, are you
heartless or what?

[inaudible].

Look, there are people
starving [inaudible]..

Now, why don't you
go and set them free?

It's only a fish.

You [inaudible].

It's not a fish.

It's a creature.

Yeah.

Will you help me?

Yeah, if I can.

Can you drive?

Where to?

Special, this dolphin, isn't it?

They're all special.

Have you ever set
an animal free?

No.

I'll do it because--

because I owe it to someone.

Right, let's go.

Hey, I'll distract the driver.

The keys are in the ignition.

OK, go for it.

I'm not letting you
take it to Windsor

Sea World or anywhere else.

You can go and fuck yourself.

MAN: Get away from there.

What's wrong with you?

You off your head, or what?

No!

Get away from there!

Drive it to the sea!

Drive it to the sea!

Yes!

[music playing]

[sirens]

I think you better goand get him out of there.

Why don't you?

If you had been doing
your job properly,

there'd be no need
to get anyone out.

For Christ's sake,
get him out of there.

He's only a kid.

Animal right sprotestors.

They're a pain in
the bloody ass.

Help!

Wait!

Wait for me!

Ed.

You said you were all right.

I set it free for you, Ed.

I set it free for you.

For me?

Because I love you.

Scalliwag.

I done it for you, Ed.

You're my best mate.

Don't leave me now.

Don't be sly.

We've only just
begun our adventures.

No one can catch
us, not me and you.

Oh, hold on, Ed.

Hold on.

[inaudible].

Shall I sing you your
favorite song, Marilyn

Monroe's "Running Wild"?

[SINGING] Running
wild, lost control.

Running wild, mighty bold.

Feeling gay.

Restless too.

[sobbing]

It's just not fair.

It's not fair!

No one can hurt him anymore.

He's safe.

He's safe.

He's out there in the sea.

He's safe.

Swim.

Swim.

Swim!

[music playing]