All language subtitles for Don Levy - Herostratus

(VOICE ECHOING)

(INAUDIBLE)

(GRUNTING)

(BOTTLE CLATTERING)

(MUMBLES)

Heavy, hmm?

(CHUCKLES)

Can you?

Hey, people!

(CHUCKLES)

(MUMBLES)

Sheep. Sheep!

(SIGHS)

Hey, Sandy! Sandy!

- Sandy?
- Yeah?

Hi.

- How's things?
- All right. Okay.

Haven't seen you around here
for quite a while.

I've been upstairs in my room.

You should've dropped in, Sandy.

You can come down.
We're neighbours, you know.

I wanted to be on my own.

So do I. I like being on my own, too.

- Where are you going?
- Down to the station.

See if I can get a man to pay for my rent,
buy me a beer.

Um... What do you want?

Oh, just dazzled by my beautiful life, that's all.

Crummy house! I'm sick of this place.

(SIGHS)

(CHILDREN CLAMOURING)

Look, I've got to go now.

Hey, Sandy, you don't...
Don't be in such a hurry.

I haven't seen you around.
I mean, it's always nice to see you again.

I mean, we're both on a scrap heap, aren't we?
I mean, let's be honest.

The old scrap heap of humanity.
That's you and me.

I mean, I'm the only one
who's fit company for you.

I mean, why don't you step into my apartment
and let's talk it over?

Look, I'll give you the benefit.
I'm the bargain of the week, Max, me.

Free, cut-price offer hamper.

Oh, what lovely eyes you've got, Sandy,
and such perfect skin.

Oh, for God's sake.
Cut it out, Max, will you? Cut it out!

- What do you want?
- Sandy, what's the matter? Come in.

Kick your shoes off and relax.

Look. For one minute, you stopped me.

You wanted something,
now ask me what you want. Come on.

(GROANS)

- Genuinely ask me what you want.
- Thank God for the neighbours.

Or maybe I'll give it to you. Come on, risk it.

- What's all the fuss about, Sandy?
- You risk that big, fat ego of yours,

and ask me genuinely for what you want...

- Oh, you'll fuck anything.
...instead of playing around like a little boy.

Look, you have guys come in here
every so often.

- You take them upstairs and they pay.
- Come on, Max, ask me for what you want.

What's the matter?
You want money, is that it?

You know what I want
and you know what I mean.

You want paying?

Come on, risk it, that great, big ego of yours.

All that could happen
is that you get it a little crushed.

Or then I might leave it whole. I might say yes.

(ALL CLAMOURING)

You'll never know
until you take that risk, Max...

- All right, Sandy, you're right.
...for once in your life.

You're trying to compete with me?

Try.

Please, go on.

Look, Sandy, I need some money. I'm broke.

Okay.

I'll give you some when I get it.

Today?

Depends on how lucky I am.

(VOICE ECHOING)

(OPERA MUSIC PLAYING)

(BANGING ON DOOR)

Will you turn that flaming row off?

(BANGING ON DOOR CONTINUES)

(SHOUTING) I said,
will you turn that flaming row off?

(INCREASES VOLUME)

What are you doing in there?

(BANGING ON DOOR)

There are people in the building besides you,
you know.

A request number, no doubt.

Turn that bloody thing down!

(BANGING)

Turn that bloody noise off!

Oh, hell's bells!
You can't hear yourself think round here!

(BANGING)

I'm fed up with you!

Now look, you come down here
and pay your rent right now!

(BANGING)

Nymphomaniac!

Look, if you don't shut that thing off,
I'll go and get the copper now!

Come on!

Turn that flaming thing down or I'll go mad!

All right, Mrs Simms. I'll be out in a minute!

(YELLING)

You hear that, Simms? Hear that, do we?

(GRUNTING)

(YELLING)

(EXCLAIMING)

(LAUGHING)

(PANTING)

(LAUGHING)

(SCREAMS)

(BOTH YELLING INDISTINCTLY)

SIMMS: Don't you touch me!
Don't you touch me!

(LAUGHING)

(SCREAMS)

(LAUGHING)

You ought to be put away!
You never ought to be allowed out!

You won't be coming back in this house again,
don't you ever think you are!

Get out of here! I don't wanna see you...

(MAX WHISTLING)

Oh, yeah.

(CONTINUES WHISTLING)

(INDISTINCT CHATTERING ON PA)

(THUDDING)

Matches?

Miss Bentwood, his personal secretary.
She's on the right, right here.

Have you had a personal tragedy?

- On the right over there.
- Who?

On the right over there.

I'm very sorry.
I hope it wasn't someone too close to you.

Yeah.

(BANGING ON WALL)

Mmm-mmm.

Something's wrong here.

I would like to see Mr Farson.

Yes. Do you have an appointment
with Mr Farson?

Since I clapped eyes on you
from that doorway over there, I said,

"That girl is the sort of girl
who makes appointments.

"She spends her life making appointments."

How would you like to do something different
and not make an appointment,

and let me get up to see Mr King Kong?

No, I'm sorry, I've told you.

You can't see him
if you don't have an appointment with him.

JC is here. Please don't get up.
You can crucify me later.

Look, please don't be put off by my clothes.
I know you think I'm poor.

You probably think I got these clothes
on hire purchase, don't you?

Look, let's get this straight, shall we?
I'm here on business. Serious business.

Look, I haven't just escaped from somewhere.

Look, I've got to see Farson.

Now, I've got a really sharp,
fantastic deal for Farson.

This is going to knock the business sideways.

The whole advertising industry
is just gonna go over that way

when Farson comes up with the proposition
that I'm gonna put before him in a minute

when I see him upstairs or wherever
he happens to be hiding.

You know... You following me?

The only reason I'm here
is to make appointments.

If you haven't got one,
then I'm afraid I can't help you.

Now look, listen to me. Will you just
calm down and stop being hysterical?

Look, Farson is upstairs, isn't he? I'm sure.

And I'm going to see him because I have
a fantastic thing for Farson, the most...

Look, you can't just expect to see
Mr Farson like that.

- Why don't you write him a letter?
- Look, I've had an accident. Impossible.

I can't get the top off the inkwell.
You do understand, don't you?

(SIGHS)

Could you exercise
a little tolerance and liberalism,

and get that high priest on the phone?

Because, really, I have got to talk to Farson
and he has got to talk to me.

Now look,

Mr Farson is the head of one of the largest
advertising companies in this country.

(MAX WHISTLES)

There are people who write up
and make appointments months in advance

and they still haven't seen him yet, you see.

You just can't walk into an office like this.
He's a very, very busy man.

So why don't you just go home,
write him a letter,

- and see what happens, huh?
- Yeah. Hmm.

(LIGHT SWITCH CLICKING REPEATEDLY)

Is that irritating you?

What do you do around here, exactly?
I mean, you must be pretty busy.

All those rulers and typewriters and things
I can see on your desk,

and that pile of notebooks and pencils and...

I've got you at last... I've tumbled you.
Yeah, I know what you are.

Why didn't I see it before?
You're a deb, aren't you?

Go on, tell me. You're a deb, I know it.

I'll bet you've been Deb of the Year sometime,
haven't you?

Bet you cut a pretty fancy foxtrot.

I'm sure you've got a lot of work to do
and I wouldn't wanna detain you at all.

So why don't you put a call through
to old guard upstairs, huh?

And tell him Mr Genius
is waiting to call on him.

I'm afraid you're going to have to do
a lot better than that, sonny boy,

if you really want to impress
the more important people of this world.

So why don't you just run off, huh?

And you can start by removing
your grubby pants off my desk!

(GROANING)

It's too much.

This, madam, is war.

Look, get me Farson, will you?
It's an emergency. Yeah.

As quick as you can.

Farson, is that you?

Look, this is fantastic. We're all involved here.

Look, it's a big crap heap, Farson.
We're all involved. We're all underneath it.

ALLEN GINSBERG: "Oh, for the hate
I have spent in denying my image

"and cursing the breasts of illusion.

"Renounce my power.

"So that I do live, I will die!

(AUDIENCE APPLAUDING)

"And over for now the vomit,

"invisible skull, the fear of bones,

"the grasp against man and woman and babe

"Till my turn comes

"and I enter that blind maw
and change to a blind rock..."

Sit down, I'll be with you in a moment.

(BUZZING)

(OPERA MUSIC PLAYING)

(MAN SINGING IN FOREIGN LANGUAGE)

(PNEUMATIC DRILL)

(EXPLOSIONS)

(WHINE OF AEROPLANE
IN RAPID DESCENT)

(CAT YOWLING)

(TRAFFIC ROARING)

Look, if this is supposed to be entertaining...

(CACOPHONOUS RECORDING CONTINUES)

(TYRES SCREECHING)

(TURNS OFF TAPE)

Thank you.

Now we've had the overture and
you've made yourself thoroughly at home,

would you like to explain a little more?

I beg your pardon. Do sit down.

Thank you.

Farson,

I bring you the biggest proposition that
you've ever heard of in your uninspired life.

Do you know about that?

Never mind the sales talk, tell me what it is.

I bring you a commodity, Farson,
that you just cannot ignore.

- What is it?
- It's me.

Not a very good selling point, I'd say.

Farson,

I am going to commit suicide.

My congratulations.

But...

I want you to handle it for me.

And you can use it any way you like.

Except I want as many people to know
about it as possible.

But why should you want a thing like that?

Surely, it'd be far more dignified
just to crawl away into a small hole and die.

Farson, is your odious little mind working?

Oh, Fars.

Farson, come on!

Where's the power, the strength?
Can't you see anything in this gimmick?

You must be able to, Fars.

I thought you were one of the guardians
of the nation's institutions.

But what do I find? A flabby old gentleman.

You're just ready for teatime or something.

Farson, please, come on.

Don't depress me,
don't bring me down, Farson.

Farson, you're making me lose my faith.

Just because rather a tall, fair-haired,
common urchin thrusts his way into my office,

doesn't necessarily mean
that I'm going to get angry

or to listen to him,
but I would like to know what you want.

You're an empire builder, Farson,
you're at the top of the rat race.

Ah! Flattery now.

You've really made it.
All this expensive crap in here,

all these symbols of all your little frauds,
your double-dealings,

your dirty little kicks and punches.

They told me, Farson,
everybody told me about you.

They said Farson is the biggest bastard out
when it comes to selling something.

They call you
the "Human Crapology Machine",

selling it to the native.

Oh, come on, Fars.

Don't let me down, please.

You're not getting senile?

You know what? I really think that
it's time to put you out to graze, you know.

I think you're washed up.

Look, you must be able
to see something in this.

I know you.
I know what you can do, I've seen it.

Pour out the poison. Come on.

The poison that makes you money,
my suicide.

Just supposing I do go along,
only supposing, mark you,

with your macabre little idea, when will you...

Great God, Farson!

Fast thinking little piggy's got there at last.

Farson, what's this?

Doesn't it confuse you?

Look, I'll tell you what.

If we're going to be partners,
I've got a few suggestions.

First of all, why don't we have a couple of
big, fat, voluptuous Rubens nudes?

Or wouldn't your mistress like that?

And then, Fars, when we've got the nudes up
and the clients come in,

you can sit there
and they'll stare bulge-eyed at the nudes.

And you can work
all the sharp deals you want.

Isn't that a brilliant, initiative idea?

(THUNDER RUMBLING)

FARSON: From a professional point of view,
I can see some flaws in your little proposition.

But nevertheless I'm not going to attempt to
dissuade you from doing what you propose.

- Thank you.
- Not at all.

Now, do you mind if I find out
a few more things about you?

After all, I don't know very much, do I?

You don't mind if I pry around a little?

You walked in here unannounced.
What's your name?

- Maximilian, but Max for you.
- Max. Max what?

Woodframe.

- Where do you live?
- In a mansion.

- 176 Harrow Road.
- 176 Harrow...

The Duke's away at the moment,
so he said I could use it...

...Road.
...though I did leave in rather a hurry.

Now, after you kill yourself,

(BUZZING)

Can you tell me anyone who'll care?
Personally care, I mean.

Well, I have to know in case relatives turn up
to take in the body.

They'll all care, Farson. My fan club. Relax.

Why are you going to commit suicide?

Got a headache, Farson.
Nothing seems to work.

Why are you going to kill yourself?

Tell you what. Why don't you do it with me?

Why are you going to commit suicide?

I'm bored stiff.

I could fall asleep standing up sometimes,
you know that?

What's the real reason
for your committing suicide?

(HUMMING)

(SIGHING)

So you wanna know why
I'm committing suicide?

Because of you, Farson,
and all the other freaks in your outfit.

And the 10 million other freaks
around the world

who get us all jumping around
like Mexican beans.

That's why.

Always prodding and poking.

Now, can you think of a better reason
than why anyone should

want to jump off a building
than 'cause of fat Farson?

That's about it.

That's it, boy.
That's why I want to commit suicide.

Why are you going to commit suicide?

(SIGHS)

You sit so comfortably there, don't you?

So sure, so confident, on your big behind.

You're sitting right on the edge of a big,
black chasm, Farson.

Right on the edge.

And maybe once you saw it.

Well, boy, you're so padded out,
you couldn't see it now, could you?

All your little toys surrounding you
and all your little games, all your diversions.

You're so protected and you say,
"Why? Why? Why?"

Like some mindless parrot.

(SIGHS)

Farson, why?

Because it's all so empty, Farson.
It's all so futile.

It's all so meaningless,
and yet everybody sweats.

Everybody stands on their head,
making such a fuss about being here

and getting the best moments out of it.

And yet, all the time,
there aren't any best moments.

I'm tired.

And by Christ, I wish you were.

As you sit there, Farson,

you're getting closer to being
a corpse every day.

And one day that's all you will be
and that's all it'll ever have amounted to.

All your hired things, all your double-dealings,
all the tricks you ever thought up,

all the nights you've spent awake
trying to think,

"How do I get that? How do I get this?"

That's what it ends up as, Farson.

(SCOFFING)

A decomposing lump of flesh in the ground.

Why don't you just sit back and take it easy
and say, "Well, this is the score"?

"I'm born, I'll have a few laughs
and then I'll kick out."

Why can't they do that?

Why just can't they sit back in their seat
and let it go?

Space between birth and death.

And it's all filled up
with bloody noise and racket.

Have you ever looked at their faces?

Have you ever looked? Seen what's there?

(SCOFFS)

They're all so screwed up,
it's just unbelievable.

And why?

'Cause they want.
They think there should be something else.

(MUMBLING)

(THUNDER RUMBLING)

I see.

A remarkably coherent statement,
if I may say so.

Now, a few proposals of my own, if I may.

You should spend the night,
tonight at any rate, at our studio.

Not far from here.
And I'll arrange transport for you.

It's got all the comforts of home, I assure you.

I'll be around either tonight or I'll phone you
and let you know our final decision.

- That agreeable with you?
- Yeah, that's fine, Farson.

- Couldn't have asked for anything better.
- Good.

David, I want a car round the front.
Fifteen minutes.

That's right.

(CHILDREN CLAMOURING)

(YELLING)

Victory!

(YELLING)

Come on, man! Let's go!

Let's go! Come on, now.
I've seen you. Come on.

(MAX WHOOPING)

(VOCALISING)

Good morning!

Finished? Good.

You know, you've been
radiating disapproval all afternoon.

Do I get my lecture now or later?

Why don't you just explain what you're doing?
'Cause I really don't understand you.

I don't think there's anything to explain,
my dear.

A rather unattractive kind
comes up and offers us

an admittedly
rather strange commodity for sale,

and we're considering it.
That's all there is to explain.

What do you suggest I do?
Do you think I handled it badly?

- Should I have sent for priests? Psychiatrists?
- I'm just surprised that you handled it at all.

It doesn't seem to be
your line of country, Farson.

I mean, he's not important enough, is he?

- No, he's insignificant, I grant you.
- Completely.

But if I can make
something important out of him,

so much the bigger achievement, surely.

Um... Did he...
Did he intimidate you in any way?

Did he frighten you?
Is there something personal...

Intimidate me? Certainly not!

Look, why are you going on
like this suddenly?

Where's that diamond-hard girl
we've known and loved for so long?

- I'm just worried about him.
- Worried?

I don't understand.

I'm merely exercising expertise
and perhaps a modicum of power.

- It's probably vain of me, but there you are.
- Power?

- Why not?
- Over that? It's nothing.

It may be nothing, but it's what he's asked for,
isn't it?

I think it's only kind
that we should give it to him.

Yes, but what's the point? Because he's not...

You know as well as I do
that he's not going to kill himself anyway.

- Of course he's not going to kill himself.
- So?

He merely wishes to read his own obituaries,
and so I think we should let him do it.

We might even explore the idea a little further,
see what happens.

Anyway, nothing's decided yet.

- Come on.
- Isn't that a bit sick?

Maybe it is.

It's a new idea,
and new ideas take a little time to assimilate.

Anyway, nothing's been decided yet.

Come on, we'll go and meet Alan and Colin.

- Come on.
- Farson.

Yes?

I don't want anything to do with this, you know.

Oh...

Well, I think it will prove difficult,
but we'll see what we can do.

Come on.

(WHISTLING)

Yeah.

The old Farson hero factory.

(WHIRRING)

Go!

(INAUDIBLE)

(OPERA MUSIC PLAYING)

(HUMMING)

MAX: Apparently,
if this relationship is to survive,

we must stop trying to communicate

because I've been thoroughly pissed off
with listening to how lonely you are.

I am lonely too. But so we'll communicate.

But what shall we communicate about?
Loneliness?

Christ, where have they all gone?

(ALL CLAMOURING)

(ALL CHEERING)

MAN: President Roosevelt,
President Truman fostered the United Nations

as an instrument for world peace.

He became the chief spokesman
for global freedom.

In the face of tremendous odds,
he fought earnestly in the cause of humanity,

as his opening address from the Capitol
to the United Nations reveals.

You members of this conference
are to be the architects of a better world.

In your hands rests our future.

We shall know if suffering humanity

is to achieve a just and lasting peace.

We must strive for a sane and just peace.

Security from war.

Food, houses, clothing...

Greater security against poverty,
unemployment, sickness and old age.

Employment, leisure,
and social security for all.

Greater equality and social justice.

Where well-to-do people
can afford to build luxury homes

and poor people go without homes.

(SPEAKING RUSSIAN)

(SPEAKING SPANISH)

(CROWD CHEERING)

HERBERT MORRISON: There are, however,
these differences

between the 1945 programme and this one.

We introduce a new application of socialism
and of socialistic doctrine.

It is called a competitive public enterprise.

MAX: Max... 21, 22...

You are the embodiment all virtues, Max.

A man of multifarious tasks...
Must be 23, right?

I don't... I don't like you.

MAN: The message is as follows.

1, 2, 3, 4, 5, 6...

...10, 11, 12, 13, 14, 15...

(MUMBLES)

# Look what they've done to me #

(HUMMING)

(MUMBLING)

(OPERA MUSIC PLAYING)

Do you want me?

If you do, there's something
you've got to get for me.

Well, you do want me, don't you?

(LAUGHS)

(EXCLAIMS)

Well, what is it you have to give me, then?

(MOANING)

A stable full of big...

racing...

stallions.

(MOANING)

Oh, no, no, no.

A great big lilac Cadillac. No, no!

Or lots of tiny pink babies?

Don't be silly. Of course not.

A slinky, snakeskin parasol,

with two knobs.

No! No! No!

(HUMMING)

Oh!

Anybody who really wants me
will have to buy me...

(EXCLAIMING)

...Orator's orange rubber gloves!

(DRAMATIC MUSIC PLAYING)

Smooth on the inside.

They are absolutely leakproof.

Use them for all your dirty work.

Yeah. Oh, in fact...

(BOTH YELLING INDISTINCTLY)

MAX: Farson.

(CROWD CLAMOURING)

(SPEAKING GERMAN)

(CROWD CHEERING)

(CROWD CHANTING)

(INAUDIBLE)

GINSBERG: (ECHOING) "I am false name"

MAN: You are growing old.

You are growing old.

The flesh decays. The cracks open.

The mind decomposes.

A mould buries the senses.

The functions puncture one by one.

And the skin fills with sickness.

Ultimately, you will be on all fours,
waiting to be fed.

It is the slide down. It has begun.

Loathing comes with it. Affection rots away.

Friendships fall apart.

Who can love you? Who will look after you?

Who will care for you?

Why should they care for you?

What will you have to sell them
that will be wanted?

The fear. The fear comes.

The panic.

Feel the fear come.

Think about yourself.

Think about yourself now.

Look after yourself. Grab everything you can.

Look after yourself.

It is getting late.

It is getting very late.

(OPERA MUSIC PLAYING)

Men are divided into friends and enemies.

The purpose is to beat the enemy.

Those you do not know cannot feel.

(BELL TOLLING)

(TRAFFIC ROARING)

Seven seconds.

It's quite a drop. I think
we can promise you death and not mutilation.

I bet I do it quicker than that.

Ah, but it won't be this roof that
you'll be going from, you see.

It will be another one. Somewhere over there.

- We'll arrange the whole thing for you.
- Farson, I can't do it.

- Don't talk nonsense.
- I can't go through with it.

I'll arrange the whole thing for you.
I'll arrange access to the roof.

I'm scared of heights. I get dizzy.

We'll give you a loudhailer
so you can talk to the crowd.

- Do make it short, won't you?
- Yeah.

We don't want people interfering,

overzealous policewomen
and things like that helping you.

Let me introduce you.

This is Pointer,
one of our best market researchers.

- How do you do?
- One of my better hatchet men.

Never mind too much about that.
Just a technical phrase.

He helps out, though.

I'm happy to say
that we've got the money fixed.

Several clients are very interested
in the whole thing.

Very tidy, isn't he?

We've also got people interested
from television...

- Very smart.
...and the Fleet Street world.

We felt, under consideration, didn't we,

the best time for a jump would be
on a Monday.

- Monday. Yeah, 28th.
- For a really good selling jump, yes.

- What?
- 1:45.

- 28th?
- 28th.

- Certainly.
- That's a bit bloody soon, isn't it?

- Well...
- Dear man, I'm afraid with all

the goodwill in the world, you can't keep
a human-interest story bubbling

- for very much longer than that, can you?
- No, you can't. Yeah. Certainly not.

I've chosen 1:45 because, you know,
everybody's got this black Monday feeling

- after the weekend.
- I see.

- And...
- Yeah.

They're dying for something
to happen, you know.

I see.

They've got their whole week
stretching out before them.

And therefore if something
like this comes up...

- Yeah, quite right.
...it'll be the best moment,

when they're all coming back from lunch.

And the money boys have appointed a very
good front man because, you see, we have...

He's more than a tailor's dummy, isn't he?

- We have to be very careful...
- Can say that for him.

...to keep our own names
out of the whole thing.

Yes, very careful.
Otherwise it will ruin it completely.

FARSON: This is all right for you then, is it?

Which means running
a denial technique as well.

- Yes, the controversy.
- What's that?

Well, some people will say
it will be happening,

some will say that it won't be happening,

so that everybody will be wondering
what the whole thing is about.

- Are you going to jump or aren't you?
- That'll give it a greater interest.

- And clears us with the authorities, you see.
- That's pretty clever.

- We have to keep our own names out of it.
- Pretty clever.

What we need to do is to present you
with a clear, positive image.

- A good selling image for the general public.
- Yes, a sort of hero image.

What do you think I am?
A box of detergent or something?

As far as we're concerned, you are.

You put yourself in our hands,
you really can't complain

at the expert treatment you receive.

A clear, positive image is all we ask.

Don't worry, Pointer will be
putting you through interviews.

Yes, we'll be recording you.

Look, I don't want to hear any more
of this old balls, you know.

You do what you like,
but just leave me out of it.

Just get on with it. I don't want to hear all
of this crap about images and...

(GROANS)

- I said he might be difficult.
- Yes, well, you're right.

Look, want to do it now, then?

Come on, puppy dogs.

Look, it's simple. I jump off the building.
I do my part, you do yours.

All right, there has to be some sort of
front bit to the whole thing,

which we have to work together on.
This is all we're trying to say now.

We've got to get some
co-operation out of you.

I really don't see why
you're playing up so funny.

You agreed we could do
anything we liked with you.

I'm co-operating. I'm gonna jump.
I'll do my part on the day, all right?

- Now you're starting all this other old crap.
- It can't just happen on the day.

It's got to be a definite campaign.
It's got to be carefully thought out.

For another thing, we don't think
your reasons are good enough.

POINTER: No.

What kind of reason do you
expect a guy to have for committing suicide

other than the ones I gave you? That it stinks.

Well, first of all, they're far too personal.
They're negative.

We've got to give you something positive,
something altruistic and idealistic

that the public will look up to

and they'll respect you for
and be interested in you.

They'll only be interested in you
for your positive points.

We've got to turn you into a positive
human being, an attractive one.

At the moment you're negative, that's all.

Do you think I'd commit suicide for laughs,
for giggles?

Which is exactly what we're saying.
We've got to give you good reason for it.

FARSON: It's a small, personal feeling.

Small, happy, acceptable
reasons for the general public?

POINTER: Not happy reasons at all, no.

FARSON: Give them generalisations.
That's what they need.

There are things you've got to be against
and things you've got to be for.

You've got to stand for something.
You've got to mean something.

You've got be something meaningful to them.

So my reasons aren't good enough.

No, we'll work on the fashionable ideals
at the moment.

What you're scared of, Farson, is that my
reasons might just be a bit too near the mark.

I might start a revolution, mightn't I?

POINTER: Well,
we'll keep them vague enough...

You're scared the million hordes over there
are gonna get behind me

and swoop the old locusts out like you.

POINTER: Well, we're gonna
keep it pretty indefinite.

It's not very safe if we have...

(SCOFFS)

Don't worry,
Pointer is an expert at this sort of thing.

The whole thing will be carefully fed to you
sentence by sentence.

You'll be carefully rehearsed.

We're gonna have things you really stand for,
things you really believe in.

Things you're gonna be against.

That's even more important
than what you stand for.

You know what I'm against?

- Well, yes.
- Build you up into a sort of hero image.

- And you're gonna do that?
- We hope we are, yes. For sure we are.

You're gonna be my personal tutor
and hero instructor?

That's right, that's right.

FARSON: And I'm quite sure
he'll do a good job.

Your tie is crooked.

Come on, let's get off this roof and sign
those contracts. I think it's gonna rain.

I've got them here, actually.

Couple of bastards.

(MAX SCREAMING)

"...in droves, oiling the stomachs
of your children that you do not die,

"but shudder in your serpent
and worm shape forever.

"Hail to your horrible desire,

"your godly pride!

"My heaven's gate will not be closed until

"we enter all, all human shapes..."

(WOMAN COUNTING IN GERMAN)

Is it something personal?
You know, did he frighten you?

MAN ON TV: And now, finally,
here's a curious little story

floating about in the columns
of the newspapers

and in the conversation of journalists.

A man, an individual, name unknown,
address unknown,

has allegedly threatened to take his own life
publicly at a particular time,

by way of protest against what he considers
to be clear signs of degeneracy

in our behavior and way of life.

- Now, does this man really exist?
- Believe you me.

Who knows? Of course he could exist.

Human egotism is perfectly capable
of supposing that by extinguishing

one little ego, the whole of the rest of mankind
can be brought to heel.

Indeed, the Christian religion itself
is based on such a proposition.

My own opinion, for what it's worth,

is that if the public

continue to follow the story,

you will find when the time comes
for this act of public suicide,

there'll be not one, but some scores
and perhaps hundreds

of putative suicides anxious to
participate in the publicity.

You stay right there, all right?

Or, what's perhaps more likely,
by the time zero hour approaches,

the other sensations will have risen
and the whole thing will have been forgotten

and our good man, if he exists,

will find no one present is interested
in whether he lives or dies.

(MAX SCREAMING)

I know you're in there somewhere.

(YELLING)

(PANTING)

That was a good programme. I enjoyed that.

I'm sure viewers will enjoy that.

MAN 1: Cut!

MAN 2: All right, cut!
MAN 3: Cut video.

- What's the matter?
- You know damn well what's the matter.

Well, you interrupted me again.

- You like interrupting me, don't you?
- You're doing an absolutely appalling job.

This is the third time
you've done it really badly.

FARSON: It's getting expensive.
We'll have to try something else.

- I'm very well aware of that.
- He keeps making me read it, you know.

And all this noise around the place
and people like you talking,

how can I read?

- I'm beginning to believe you can't read at all.
- I'm fed up, man.

Are you going to do it or not?

Look, what do you think of this?

Honestly, what do you think
of the quality of this stuff?

I'm not concerned with what the quality of it is.

Well, it's not the greatest contribution

to English literature that
I've ever seen, you know.

It's not scintillating, sparkling prose, is it?

POINTER: Yeah?

(MAN CHATTERING)

- Yeah. One hour.
- "I am speaking to you from my last home."

Okay. Well, either we'll get it done in that time
or we'll not get it done at all.

- Now listen, Max.
- What?

Look, if this is your idea of bedtime reading,
you show me how to read it.

- Go on.
- All right, I will.

- Ah!
- Wait a minute, wait a minute.

- Can I have camera two on me, please?
- Ladies and gentlemen, your attention, please.

Mr Peter Pointer.

POINTER: On camera two, please.
MAN: All right.

(CREW CHATTERING)

(BELL RINGS)

"I am speaking to you from my last home,

"and in what I know to be
my last hours on earth.

"But do not weep for me
because I myself have no tears,

"no regrets, no burden of sorrow,

"for at this moment,
I feel very much one of you.

"I feel no sadness

"because I know that my message
is going out to fine people,

"and that these simple and sincere words
will be heeded

"and that my sacrifice will not then
have been made in vain.

"Your lives are good
and I beg of you, drink them to the full.

"Be a strong and satisfied people,
for all the best things are being offered you.

"Why then my great sacrifice?

"I give my life as a warning,

"for among us there are abominable,
selfish elements seeking to destroy us..."

- MAN: Hear, hear.
- "...our nationhood, our stability, our peace,

"our freedom,
the finest democracy in the world."

MAX: Yeah, yeah, yeah.

"I warn you.
They say 'improve', but they mean 'enslave'.

"They say 'equality',
but they mean 'debasement'.

"These putrid elements
have no love of their soil.

"Their ideas have been
allowed to grow unchecked,

"like a cancer among us, too long.

"Too long have these lying, greedy
and hypocritical elements been among us.

"There comes a time to say nay to toleration.

"Tolerance is not for the beasts.
The whip and the cage are for the beasts.

"For those who would take advantage
of the very freedom we give them,

"they must be ferreted out,
burnt out, annihilated."

That's enough of your toilet talk for the day.

(CREW CHATTERING)

MAN: All right, that's it. Break down.

Well, that about wraps it up.

(CREW CHATTERING)

- He's had six hours. Six hours of nothing.
- Farson's baby.

It's about the worst you've ever handled,
isn't it?

It was dreadful.

GINSBERG: (ECHOING) "...prey
of Yamantaka, devourer of strange dreams"

Do you mind me sitting next to you?

What are you doing sitting here all alone?

Haven't you got any friend?

Aren't you cold?

I like your dolly.

Very big dolly.

Can I hold her?

I won't hurt her.

What's your dolly's name?

Father.

(MAX LAUGHING)

Father.

(GROANS)

MAN: Here is something new.
Something completely new.

Something for the jaded taste.

(SITAR PLAYING)

(INDIAN CLASSICAL MUSIC PLAYING)

(JAZZ MUSIC PLAYING)

MAN: (ECHOING) Stop! Fear!

(WOMAN COUNTING IN GERMAN)

MAN:2, 3, 4, 5,

6, 7, 8, 9, 10...

(WOMAN CONTINUES
COUNTING IN GERMAN)

(SCREAMS)

(STATIC BUZZING)

(RAPID CLATTERING)

(EXPLOSION)

(WOMAN SCREAMING)

(INAUDIBLE)

(DOOR OPENING)

- I've been watching you sleep.
- Yeah?

You've been having bad dreams, haven't you?

Mmm, no.

You looked as though you were.
Are you sure you weren't?

- Why did you come here?
- I was sent.

- Farson?
- No, the Mafia.

Oh.

I think you've been having bad dreams
because you're afraid of dying.

- Tell me I'm wrong.
- I don't have to.

Would you like a present? Mmm?

Yes, I would.

Mmm, I bet you wouldn't refuse a present.
I'll bet you've never refused a present.

Don't tell me you've got presents here as well,

as well as this beautiful bed and this...

Now, shut your eyes.

- Come on, shut your eyes.
- Both of them?

Yeah. Both together.

- At the same time?
- If you like.

It would be a wink otherwise, wouldn't it?

I wouldn't do that to you.
You don't need encouragement.

Are you ready for the present?
Are you ready for your present?

Yes.

- Excited?
- A bit nervous.

- No cheating.
- No.

You know Farson drinks?

Is it going to be furry and small?
Something I can take home?

- No. Don't guess.
- All right.

- I've got a lot more questions to ask you, Max.
- Save 'em. I've got a nice present for you.

A present that you have never seen
the like of before.

- It's going to be a hat, I know it.
- Or heard the like.

(GUNSHOT)

Well...

Nice present?

No comment.

All right. I've played your game.
Wasn't very good, you know.

- Didn't you like my present?
- No.

Would you like to play my game now?

All right. That's fair.

It's called Revenge.

But you've got to keep your eyes open.

All right? Promise no cheating?
You mustn't even blink.

I'll try.

Watch this very, very carefully.

(INAUDIBLE)

'Cause now, I'm going to trap you.

(HISSES)

(OPERA MUSIC PLAYING)

(LOW BUZZING)

(HISSES)

Did you like that game?

- Is this supposed to work on me?
- Of course.

Why don't you talk to me?

You go for ages without saying anything.

Some people say I talk too much.

- What's the time now?
- About 2:00.

- Hmm, 2:00?
- Yes.

- What day? What day is it?
- It's Sunday.

Hmm.

- You haven't got very long, have you?
- No, not very long.

Don't you care? Really.

I care in a way, but it has to be done.

Hmm.

Why are you doing it?

- Why did you come?
- To ask you why you're going to do it.

- Are you curious?
- Yes.

- A morbid curiosity you have.
- I'm not curious. I just wanted to really know.

See, I don't believe
that what you're telling everybody is true.

I suppose I care.

That's why I'm doing it,
'cause nobody cares, you see.

In a day's time, I'll be on top of the building.

In the heart of London.

High, high building.

People down below in the street,

busy street. Scurrying crowds of people.

Someone will notice me up on the roof.

See me standing there ready to jump.

Then they'll all begin to notice.
Suddenly the street gets slower and slower,

and they all stop and they're all looking up.

"Don't jump, don't jump!"
That's what they're all thinking.

They're forgetting themselves for a minute
and they care about me.

They care that I'd just throw my life away
down into the street.

Then I'll jump.

And that's the truth? That's all you want?

- Mmm-hmm.
- That's the only reason you're doing it?

That's how it has to be. Like that.

It's not good enough.

You're very lovely, Clio.

- You're changing the subject.
- No.

CLIO: What are you thinking?

(MAX SIGHS)

I'm thinking you're different
from what I expected.

- So different.
- How?

You know what to laugh at.

You laugh at the things
you should laugh at.

(CLIO LAUGHS)

You make me feel very good.

- Does it?
- Mmm.

Do you mind me touching you?

- No.
- No?

It's wonderful. Like you.

I love it.

What's the matter? You keep on going away.

No, nothing.

- You're sure?
- No, I'm just looking at your eyes.

Seeing how beautiful you are.

- Have you...
- No.

You are the loveliest woman I've ever seen.

Mmm, have you seen many women?

A few.

Aren't you going to kiss me?

What is it?

Clio...

I... I don't know.

There's things about women
that remind you of your mothers.

You understand?

Doesn't matter. Really, really doesn't matter.

Mmm. No. Please be gentle. Please. Okay?

Mmm. That's better, that's better.

- Do you think a lot of me?
- Oh, no.

(MOANING)

(MAX MUMBLES)

(CLIO SIGHS)

(MOANING)

(OPERA MUSIC PLAYING)

- (WHISPERS) Clio.
- Yes?

I wanted to wake you up.

I'm awake.

I'm so happy.

- Are you?
- Mmm.

Will you be careful?

Will you?

(WHISPERS) Just lovely. So, so lovely.

Well, don't let them get you, Max.

No, I won't let them get me.

Don't trust them, huh?

I worship your hands.

Gentle hands,

strong hands.

Don't get soft, please.

I can't believe it happened.

I can't really believe it happened.

(MAX CHUCKLES)

I can't either. I can't believe it happened.

It did, Clio, didn't it? Hmm? It did happen.

Yes, it did.

Oh, darling.

I'm tired.

I know.

I'm really, really tired.

All right, my golden Clio, I'll let you sleep.

I'll look after you.

I'll protect you in the night.

Go to sleep. Sleep.

Good night, my Clio.

Good night.

(SIGHS)

(CLIO SOBBING)

- How'd it go?
- (SOBBING) All right.

- How was it?
- It was all right.

(INAUDIBLE)

(THUNDER RUMBLING)

FARSON: Wake up.

Wake up.

Christ!

- Good morning.
- It's like the Army.

- How do you feel this morning?
- Huh?

- How do you feel this morning?
- Oh, great!

Lovely bed you got here, Farson.
Do you use it yourself anytime?

I recommend it.

- What's that?
- I reckon a plate.

Why? Ooh, breakfast. Sausages, mate.

I love them.
How did you know I love sausages?

- Everybody loves sausages.
- Yeah?

Well, not as much as I do.

This looks good.

Thank you, Daddy.

Ah. Must have a bit of coffee.

Always drink coffee when I wake up.

Ah, it's a bit cold.

Toro!

(HUMMING VOTRE TOAST)

(UTENSILS CLATTERING)

The bull is dead.

Se�orita, let me present you
with the ears of my first bull.

Ol�!

Eat your breakfast.

Farson, you're a very depressing
character sometimes.

You know, you've got me down.
I don't know what's the matter with you?

You've just got no humour.

Maybe not. Look, another present for you.

This coffee's got no steam coming up.

Yeah, look at these keys.

You know what, Fars?
The problem is you don't try.

You don't make me feel at home.

Look at these keys.

- You've got to learn to put yourself out...
- Will you look at me?

Now, this first Yale key opens the main door.

The second one,
the office we've told you about.

And this long one
will open the door onto the roof.

Here.

Well, if it'll make you happy, I will.

Look, I've had a good breakfast,

good sleep, very nice bed.

I feel great!
And you want me to jump off a roof?

That's what you're contracted to do,
that's what you're going to do.

Today is the day.

You want me to die of indigestion?

Huh?

You're making me lose my appetite.
Yeah, you are.

(BREAKFAST TROLLEY CLATTERING)

You be careful, my friend.

You want to be very careful. They still think
you're running too true to form, you know.

These last few weeks,
I've had a pretty good breakdown on you.

There's nothing very much about you
I don't know.

Nothing very much of it
pleases or delights me.

(CHUCKLES) No, I didn't think it would.

It didn't. You're quite right.
'Cause you're a failure, a flop.

- Good.
- The monumental flop of all time.

What have you ever done?
What have you ever achieved?

Your sincerity, your freedom,
where's it got you? Nowhere.

Breakfast in bed.

You arrived at my door, begging for help.

- Oh, that's a bit strong, isn't it?
- It's true.

Where have you to go to? Nowhere.
You came to me, all right? I built you up.

- And why? 'Cause you couldn't do it yourself.
- 'Cause of your big heart.

You couldn't do it yourself
because you've never been able

to complete anything your own.

You've never completed anything at all.

We've been to your house,
that stinking little hovel you call a pad.

We've seen the dirty milk bottles, the empty,
ghastly vacuum of the whole thing.

All your sincerity, all your hope
has got you nowhere.

In your 20 odd years, what have
you achieved? Nothing, nothing whatsoever.

You had to come whining for help.

All right, I gave it to you.
Now, what is it you really want?

You say freedom. All right, that's not true.

What you really desire, my friend, is fame
in your own small, pitiful way, isn't it? Fame!

Isn't it? You're so truthful, you're so honest,
you're so sincere. Go on, answer me!

That's it, yes, fame. You know what fame is?

The adulation of people you despise.

And it can be manufactured.
I've manufactured it!

Don't think you're a hero.

You're nothing of the sort. Don't believe
your own headlines, I made them.

You're nothing. A futile nothing!

You've been doodling on water
all your life so far.

Now do something positive!
Go through with this!

'Cause have you thought for a single moment
what might happen if you didn't?

Who've you got to go to?
Where's your future?

Where are your friends,
your money, your talent?

Well, what happened to you?

Squatting out on The Embankment,
begging for money.

All right in the summer,
not so nice in the winter.

The dirty doss houses.

Where are all your clever jibes now? Gone?

Haven't got much chance to say anything.

And a good thing too for a change.

Take a good, clear look at yourself.
Where are your achievements?

You're young. What have you done? Nothing.

And that's all you're good for,
tearing down other people's work,

because you can't do anything your own.

You can't contribute.
You don't contribute, do you? Do you?

You know something? It's not good enough.

It isn't just society that's wrong, it's you!
You must face it!

Go through with this!

And then you may at least have
achieved something. Self-destruction.

And another funny thing,
those poems of yours.

We found a whole drawer full of them there,
and they're very, very funny.

But I think before I read one,
we ought to have an audience.

Clio! Come in here!

(DOOR OPENING)

This is a poem. A love poem.

Curious under the circumstances.

"There is a dark smoke underneath your skin

"that falls as a dew
as it feels the first rays of my caress.

"The sun pauses behind the slow-turning
cavern of your hair

"and haunts the lingering foliage of your eyes.

"The dawn descends the valley of your thighs.

"And then, followed by my infinite shadow,

"I move into the mists of our distress."

I call it a curious poem because,
you see, at the time the poet wrote it,

he was a virgin.

I'm surprised you aren't happy today, my dear.

She's just received rather a large bonus.
Eighty guineas to be exact.

- MAX: What do you mean?
- Oh, it's her usual fee

for softening up a difficult client.

Last night's client was difficult.

And rather clumsy, too, I believe you said.

Didn't you?

MAX: Not with me.

Clio.

Clio!

Clio.

(BREATHING HEAVILY)

(SCREAMING)

Why?

Why, Clio?

Why?

(SHOUTS) Why?

(SOBBING)

Clio!

(SOBBING)

(WAILING)

(WAILING HYSTERICALLY)

(SCREAMING)

(WAILS)

(CLIO SOBBING)

(LOUD BUZZING)

Come on. There's really no point
in hanging around now.

I don't know about you, but I'm feeling thirsty.

- Let's have a drink.
- Where?

Oh, I don't know. Wherever you like.
We've got the car.

There's nowhere really, is there?

- What do you mean, "there's nowhere"?
- Well, it's Sunday.

Oh, yes. So it is.

Well, we could go back to the office.
Plenty of liquor there.

Yes.

Well, come on, let's go.

(LOUD BUZZING)

"Oh, thin Bengali sadhus adoring Kali mother,

"hung with nightmare skulls.

"Oh, myself, under your pounding feet.

"Yes, I am that worm soul

"under the heel of the demon horses,

"I am that man trembling to die in vomit

"and trance in bamboo eternities,

"belly ripped open by red hands
of courteous Chinamen kids.

"Come sweetly now back to myself

"as I was."

Quiet!

(WOMAN SOBBING)

Don't be afraid to look!
There's nothing the matter with me!

What's the matter?
You ever seen a genius before?

Piss off.

(SANDY SOBBING)

I wish there was a war.

Christ, I wish there was a war.

How the hell are you, friends?

Max, the man,
the hero you've all been waiting for.

This is the day! This is all that's left of it!

I'm gonna do it after all.

They weren't lies you heard or read,
this is the truth,

a new fashion, a new solution.

And, Farson, do you hear me too?
This is for you more than me.

All right, listen to me, you sold-out shells!
I'm going to do this.

There's no choice!

- You little speck trying to cross down there...
- Oi! Hold it! Hold... Wait a minute!

...come on! Say something!

Hang on, you idiot!

- Get off me! Let go of me!
- Take it easy!

(BOTH GRUNTING)

MAX: Get off! What are you doing?
Let go of me!

MAN: For God's sake!

MAX: Can't I just jump?

Oh, no! I'm...

(OPERA MUSIC PLAYING)

FARSON: Clio!

Clio.

Get away from me. Don't come near me.

(VOICES ECHOING)

MAN: (ECHOING) Fear!

- Clio, wait.
- Leave me!

Clio!

Who are you?

I don't want anything to do with this.
Do you understand?

FARSON: What's the matter with you, Clio?
I don't understand.

Do I really have to tell you, you stupid man?

I'm not ordinarily stupid.
Tell me what's the matter.

Why are you behaving like this?
I've never seen you like this.

What do you think you're doing?
What do you think you're doing? You're...

(CHILDREN CLAMOURING)

Why did you have to... Why did you have to...

There's something else, isn't there?
Isn't there something else?

- You didn't think I...
- She couldn't, you see, because I...

Finish what?

Why? Why? What is it?

Isn't there? Isn't there?

Oh no, you don't. There's something
you really care about, isn't there?

Is it me? Is it?

- Clio...
- Do you care about me?

- Why are you behaving like this suddenly?
- Do you care about me?

- Do you?
- You know I do.

- You do, don't you?
- Yes.

Tell me, down there.
Tell me you care about me.

- What do you mean?
- Get down on your knees, Farson, and tell me.

- Clio, no! Not like this, not in hatred.
- Get down on your knees!

Get down!

You pig!

Kiss my foot.

- Clio...
- Kiss my foot, you fat pig!

(FARSON KISSES)

Oh, you...

It didn't mean nothing. Do you know that?

It doesn't mean a thing.

You're all the same.

There's not... There's not one person
who really...

(SOBBING)

CLIO: Stop it! Stop it!
No! Stop! No! Stop it! No!

Oh, God, I want to go home!

I want to go!

(WAILS)

Oh, I'm not! I'm not! I'm not at fault!

(SOBBING HYSTERICALLY)

(SCREAMING)

I want to go! Let me out!

- FARSON ON PA: You can't get out.
- I want to go! Let me out!

You can't get out!

(SOBBING) I want to go!

You're choosing! You're choosing, aren't you?

Yes! Yes!

Yes, I am! Yes, I am!

(GROANS)

(SOBBING)