Original subtitles

[♪ Hazel O'Connor: "Writing on the Wall"]

♪ Down a tunnel ♪

♪ In a tube ♪

♪ On the floor knocked down by booze ♪

♪ Busy man has blown his fuse ♪

♪ While crossword people look for clues ♪

♪ I say sir, get your nose out the paper ♪

♪ Take a good look at what's going down ♪

♪ Get clued into the shape of ♪

♪ The shape of things to come ♪

♪ Have you seen the writing on the wall? ♪

♪ Reaching out for your calls ♪

♪ Have you seen the writing on the wall? ♪

♪ Did you look for your cause? ♪

♪ Writing on the wall ♪

♪ Life, I'm told is a compromise Lethargy in disguise ♪

♪ Exclusive by the fine-toothed parts, stuck in the mud before they start ♪

♪ They say, sir ♪

♪ Wouldn't you rather be on top of the world ♪

♪ As opposed to always travelling underneath the ground? ♪

♪ Have you seen the writing on the wall? ♪

♪ Reaching out for your calls ♪

♪ Have you seen the writing on the wall? ♪

♪ Did you look for your cause? ♪

♪ The writing on the wall ♪

[vocalizing]

♪ I say sir, get your nose out the paper ♪

♪ Take a good look at what's going on ♪

♪ Get clued into the shape of ♪

♪ The shape of things to come ♪

♪ Have you seen the writing on the wall? ♪

♪ Reaching out for your calls ♪

♪ Have you seen the writing on the wall? ♪

♪ Did you look for your cause? ♪

[crowd cheering]

More! More!

[disco music plays]

- Hey, you got a pass there, son? - I'm with the band.

- [man] Who are you, then? - What?

Derek Larner? Danny Price.

Yeah, you manage for Pink Floyd.

- I've always wanted to... - Can I see your pass, son?

What? I'm with Derek here.

I rang you earlier about some promotional ideas. You remember.

- I don't know this bloke. - Come on, out you go.

You will do, mate. You will do.

- [man] Push off. - [door shuts]

[disco music plays]

[toilet flushes]

- [woman] Hello. - [man] Hello.

Will you introduce me?

[indistinct chatter]

All of people working on it. It will all build up very nicely.

You did a promotion for Wings, right?

- Yeah. - I have one or two ideas I want to talk to you about.

Yeah, well, drop us a line about it, eh?

I have. I already have, several times.

Drop us another.

I don't think you should worry about it.

[man] Susie Sapphire's coming on.

[woman] I like her.

Yes, it's... a flashback from the early 60s.

From the early 60s right through until now.

Excuse me. Excuse me.

- Um... What? - Come on. Off it.

And next time I'll call the law.

[door closes]

All right there?

Looks good, that.

It's all right then.

Trouble is, you get all these little lumps.

It's made the nose go so wobbly.

What sort of stuff do you do? Punk?

- I'm not punk. - Uh... new wave then?

Not new wave. It's inspired by punk.

I see, but it's better, is it?

Yeah.

Well, go on then. Tell us some of your lyrics.

You'll have to come and see a gig.

I don't think I'll be able to.

Come on, I'm a person who knows a lot of bands.

Gets about a bit. I could give you a name.

- Really? - Yeah.

- Go on, sing us a song. - In the street?

I thought singers were meant to be all unshy and let it out.

I'd sing in the street. I'd talk really loud.

[shouting] Sing us a song!

Oh, I don't mind. I'll give you a bit of a song.

I'll dedicate it to ya. It's called "Give Me an Inch".

♪ Ba-ba-ba-buh-cha! ♪

♪ Hey you, standing there ♪

♪ What you got to stare at? ♪

♪ I'm not shy of your beady little eye ♪

♪ That views me like some mishap ♪

♪ Cackling laughter behind your hand ♪

♪ You're so funny You're so bland ♪

♪ Here's a thing you can't understand ♪

♪ You are just a program You're a program ♪

♪ Da-da-da-da-da-da-da-da ♪

Get the gist of it?

Yeah, I'm a program.

Do you know what I mean when I'm saying that?

No, you'd better tell me.

I mean, like nice people knuckle under, don't they?

Like programs, computer programs. Like the song.

- What, and you don't? - No, I don't.

I don't like the way life is for the majority of us.

I dare say I can't change it,

but I can certainly write about it.

I've been working on movements too, like robots, you know? Like this.

- Do you like singing? - Of course I like singing.

Yeah, but do you really like singing? I mean, would you keep at it?

Oh, God, what you on about?

All right, I'll come to your gig.

- Next Monday, 8:00, OK? - I thought you were busy?

I'm gonna cancel all my appointments. You're all right.

♪ Who is mind-blind ♪

♪ Mind-blind, mind-blind, mind-blind, mind-blind ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Supercilious smile ♪

Go away, fucking shit.

[music stops]

- Shit! - [feedback]

[belligerent chatter]

♪ You are programs ♪

♪ You are programs ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

Feces!

♪ Smile ♪

Big man, what'd you think of it?

- Rough. - Right, the singer. She's good.

Got a lot of potential.

♪ Give me the distance from your supercilious smile ♪

♪ Supercilious smile ♪

[shouting]

[shouting, screaming]

[Danny] You need a manager.

I don't believe in managers.

[man] Get out the way, blondie.

- Have you got somebody in mind? - Yeah, well, me.

[muffled punk music]

We won't talk about that in a moment.

I'll keep in touch. I've got your address.

Here's my card.

I'll pass the word around for ya.

Get you some decent musicians.

I don't need a manager.

You can find somebody else to make you rich.

You wanna sit outside lavatories for the rest of your life?

- Here she comes. - You wanna buy some blow?

Can I be your groupie?

Whoop! Cleaned you up, eh?

It's all right, I'm your groupie.

- Let go! Let go of me! - ♪ I'm your groupie ♪

[all laughing, shouting]

[muffled music continues]

[siren blaring]

- [disco music on radio] - [woman] I got something for you.

- [woman moans] - [woman #2] Here it is.

♪ One more time ♪

[man on radio] Unemployment figures published yesterday

jumped one more time by half a percent.

Bringing the overall total to the highest since the war.

And this is "One More Time" by Susan Sapphire.

A welcome change of mood,

climbing to number 31 in the top 60.

- ♪ Ooh ♪ - ♪ It's practically eight now ♪

♪ It isn't too late now All right ♪

♪ Well, I will try and love you ♪

♪ One more time ♪

[telephone ringing]

♪ One more time ♪

[ringing continues]

- Hello? [man] Is Katey Sue there?

- Who? - Katey Sue. I'm ringing about a guitarist for the band.

- I read the ad. - Ad? What ad?

[doorbell ringing]

Hang on a minute.

[song continues]

Shit. Who's that?

The name is Tony O'Brian.

The ad says auditions nine to six.

I thought I'd get here early.

Show you what I can do with my bass.

It says this address in the paper.

I brought it with me. See?

Well, I've got my bass with me.

You got somewhere I could plug it in maybe?

What sort of stuff do you do then?

- Uh... - I like the rift-y kind of stuff myself.

And heavy metal.

You got a tape, maybe?

- Yes. - OK, let's play the bloody tape then, eh?

Listen, um, I think I know what happened.

- Do you wanna give me... - Do you know Danny?

- Hold on. Yeah, I know Danny. - Yeah.

I met him down in Ash Vale. He was telling me all about you.

- Hang on a minute, huh? - [plucks at bass]

In fact, I'm always first for auditions.

This is my 63rd audition.

- It's a new strap. - Really?

Let's go then, eh?

I didn't think they'd put it in this week.

I was woken up at 8:00 this morning by loony number one.

Then loony number two. Then loony number three comes in.

They all end up drinking tea in me bloody room!

Right? What is this?

- Music. - What is this? Susan Sapphire?

They've been plugging her all week.

- Yeah. - Yeah. You've got piles of Susan Sapphire.

Do you manage her or something?

No, I don't manage her.

I promote.

Promote? How do you promote?

I don't get it.

These have all been bought retail from different shops.

Yeah.

What are you up to?

You're up to something fishy, aren't you?

- What, do you really want to know? - Yes.

[Danny] Massage upstairs, mate.

Well, shut the door then.

Upstairs.

- Sit here. - Get on with it. Tell us what you've got to say.

I fix the charts.

Well, I help fix the charts.

[scoffs] You help get crap like Susie Sapphire into the charts?

Well, look, the charts is a load of crap anyway, right?

I can get anything into the top 30.

Well, top 40.

Just by buying from the right shops.

You're sick.

Sure I am.

Is that all you've got to say for yourself? Sure?

Yeah. [chuckles]

- [car horn honks] - He looks a bit like a Stone or something.

- Ferrety face. - No.

- Got a lot of energy though. That makes a change. - [car honking]

- Sorry, regular customers only. - [man] I've been queuing.

- You should read the sign. - I've been queuing for 15 minutes.

So you think I should ditch the band then, eh?

- [woman] Well, they're not much good, are they? - What?

- Yeah, I should ditch them if I were you. - [horn continues honking]

I demand you serve me petrol.

Well, I'm sorry, but we're only serving regular customers.

You'll have to try somewhere else, mate.

[man] I've been queuing here for 15 minutes.

We're doing auditions tomorrow, so I'm going in.

- [continues honking] - [♪ "Monsters in Disguise"]

♪ What kind of things are you that live on papers? ♪

♪ White papers that you say apply to me ♪

♪ Reams of rules constructed for protection ♪

[saxophone plays off-key]

♪ Protection for yourselves but not for me ♪

- Yeah! - ♪ You hide behind your walls of bureaucracy ♪

♪ I find that you've nothing to do with me ♪

♪ You're all aliens I opened up my eyes ♪

- ♪ And saw to my surprise ♪ - [man screams] Yeah!

♪ Monsters in disguise wearing bowler hats ♪

♪ And old school ties ♪

[playing in tune]

That's great. Amazing. Thank you.

- What? - Thank you.

- Thank you. - [Danny] Yeah,

I'll give you a ring later on in the day.

- What? - I'll give you a ring later on in the day.

Listen, why don't you give us a ring, yeah?

- Yeah. - OK. See ya.

- All right, Ken, ta-ta. - Bye-bye.

- [Ken] OK. Can I get past... - [indistinct chatter]

- He was good. - Yeah.

A bit funny, though. A bit deaf.

Must be at least about 30, yeah?

That's really old, isn't it? 30.

I wouldn't be surprised though, if he isn't into a bit of that.

Oh, just chuck your gear down there and set it up there, yeah?

This is life's music and you're gonna love it!

Yeah.

- So, we got ol' cloth ears on sax, then? - Yep.

[Danny] All right.

- What about the bass player? - Oh, terrible.

I know a couple of guys who are all right from Leeds Poly.

- Live in a squat round the corner from here. - [woman vocalizing]

They're very good. you should go and see them.

[unintelligible harmonizing]

♪ My Redeemer ♪

♪ Redeemer ♪

This is all very good for our street credibility, all this.

- Whole block's a squat. The police can't get anybody out. - Yeah?

♪ So you hide in your palace of bureaucracy ♪

♪ I hope that you never contaminate me ♪

♪ You're all aliens ♪

♪ I opened up my eyes ♪

♪ And saw to my surprise ♪

♪ Monsters in disguise ♪

♪ Wearing bowler hats and old school ties ♪

- Yeah, nice one. - Great.

Yeah, well, I'll play you some of the other stuff next time.

Yeah, I like the lyrics. Maybe I can give you a hand with them, eh?

Well, would you excuse me and Kate a minute if we just go next door, have a little chat?

- Yeah, sure. - Yeah.

- Ken? Want to come? - What? Oh, yeah.

[man] Make us a cup of tea while you're there.

They're a right pair of Flash Harrys.

Well, they got some bright ideas though.

Oh, yes, like giving me a hand with my lyrics sometime.

Well, they're quite classy.

They're always turning down offers.

I think we should delay a bit.

Tell them we got some more people to see.

- Ken? - Hmm?

Well, what do you say?

Mm. Yeah.

OK.

[guitar plays off-key]

We got to bring those two in. They're the best we've seen.

All right? There's nobody can touch them.

- Ken, what do you think? - Hm...

There you are! Democratic decision. Two against one.

Come on, Ken, that wasn't a yes. Yes or no?

I think we should go with Mick.

- Who? - Who is Mick?

He's the drummer.

[♪ "Monsters In Disguise"]

[chattering]

♪ Today you went out to inspect your servants ♪

♪ I saw you wave and rave from my TV ♪

♪ You promised soon that they would have a paper ♪

- ♪ Give them the right to kill quite legally ♪ - [men chanting] Sieg heil!

♪ So you hide in your palace of bureaucracy ♪

♪ I hope that you never contaminate me ♪

♪ You're all aliens ♪

♪ I opened up my eyes ♪

♪ And saw to my surprise ♪

♪ Monsters in disguise ♪

♪ Wearing bowler hats and old school ties ♪

Up! Turn it up! I can't hear it!

♪ What kind of things are you who live on papers? ♪

♪ White papers that you say apply to me ♪

♪ Reams of rules constructed for protection ♪

♪ Protection for yourselves but not for me ♪

♪ You hide behind your walls of bureaucracy ♪

♪ I find that you've nothing to do with me ♪

♪ You're all aliens ♪

♪ I opened up my eyes ♪

♪ And saw to my surprise ♪

♪ Monsters in disguise ♪

♪ Wearing bowler hats and old school ties ♪

- [light applause] - [person blows raspberry]

Why did you book us in here?

It's square one, isn't it? Lots of bands have started here.

If he's gonna be our manager he's gotta get some bread together.

Get us some proper gigs.

Well, what did you think?

Well, it's not exactly XXX, is it?

But you're up on beer sales.

- Well, um... - Aren't you?

- Eh? - Uh... marginally, yeah.

Well, 15 quid, please.

See how it goes next time.

So long.

What did you think of Tony? That's the guitarist.

Good, he knows his oats.

Yeah, he's after 'em, I know.

Why do you do this?

Well, I'm a manager. I like managing people.

Is that all?

It's second on the left.

I mean, is that all you do it for or do you believe in the music? What?

Well, of course I believe in the music. I think it's great.

I can't wait we get a record out, I'll be playing it all the time.

[Danny] Park just here.

[Kate] Get a record out? I don't know what you're talking about.

[Danny] Well, come up, right, we'll have a cup of tea.

- [Kate] I don't understand! - [Danny scoffs]

[Kate] We ain't talking the same language at all.

I don't want a record contract. I don't believe in record contracts!

- Oh, come on. - How can you live in a prison like this

and not understand what I'm singing about?

Look, what did you expect me to say?

That I believe all that socially-committed stuff

- you read in the music papers? - Yeah.

Oh, come on. He was black, he was crippled, he lived 20 stories high.

And the lift didn't work. Yeah.

- Yeah. - [mumbling]

No, I've a packet of biscuits upstairs,

- it's Wednesday, we can have one. - I'm going.

- [Danny] Oh, come on! - Good night!

- We'll talk about it tomorrow. - All right, see ya!

[♪ Susan Sapphire: "One More Time"]

♪ I really can't breathe ♪

[man on radio] "One More Time" by Susan Sapphire.

And she's really leapt up the charts this week.

Now number 11, and looking set for the top.

There's no 11:00 news coming up after this

because of a journalist strike.

The news is all strikes anyway.

Come on, Susan, do your stuff.

♪ One more time ♪

Give him a buzz, we need him desperately. OK?

- OK. - Tell him the champagne's getting warm.

And also that blond girl. I don't remember the name.

- Hi there. - [indistinct chattering]

What the hell are you doing here?

Special delivery.

All this crap is blocking up my office.

Are you trying to embarrass me?

Yeah. Yeah.

Here's my bill.

Yeah, that is 200 pounds more than we agreed.

Well, I've been having very heavy working expenses. I'll take it in cash.

I'll send it round to you. Now piss off, will you?

[♪ "One More Time" playing]

[music volume increases]

See you later.

- You're Chris Campbell, aren't you? - Sure I am.

Oh, Danny Price, I manage a new group called Breaking Glass.

- Oh, yeah. - We're making a demo tape.

I was thinking about sending you one.

Must you?

I can't move for demos in my office. [shouts]

[Kate] "Blackman" intro, take three.

One, two, one, two, three, four!

♪ I am the blackman and you are the white ♪

♪ I am the deviant and you're always right ♪

♪ I am the darkness and you are the light ♪

♪ I am the blackman you're the white ♪

♪ Yeah ♪

♪ You are the good little holier than thou ♪

♪ You hide your head in your hand ♪

♪ You hear no, see no, speak no, no, no, no ♪

♪ Understand ♪

That's it. It's time up. Where's the money?

No, but we got to put them two together. Come on.

- Come on, hurry up. - Stop now. It's really good.

- Come have a listen. - How did it go then?

Well, it went really well. It was really good.

How much more time have we got?

We ain't got no more money.

- [begins playback] - Oh, no. What have you done to my voice?

- Turn my voice up! - It's better like that.

It's better, it's softer!

Hold on. Hold on!

- [playback continues] - I can't hear the sax!

I can't hear anything now, you pellet!

It's gotta be much harsher. It's a harsh music.

Where's the guitar?!

- What's that button for? - That's the drums!

Well, turn it up, you moron! I can't hear 'em!

- I don't like it like that! - [all shouting]

What's that?

That's good though, yeah?

That's much better.

- Yeah, listen. - Where's the money?

- Yeah. - ♪ Yeah bugger it ♪

♪ I am the white man and I paint you black ♪

♪ I am the traitor ♪

♪ But I put you on the rack ♪

♪ I am the coward ♪

♪ And I shoot you in the back ♪

♪ I am the white man I paint you black ♪

♪ Yeah ♪

♪ I am are the good little holier than thou ♪

♪ I hide my head in my hands ♪

So, on the 26th, I'll just check it.

Well, no, a bit of gray on the end, won't it?

[conversations overlapping]

I mean, a lot of shit.

[man] Yeah, it's all girls with big tits, lots of bum.

- All that sort of business, you know what I mean? - [turns volume up]

Thanks a lot. That's enough.

You haven't listened yet.

Give us a chance, this isn't shit.

This is new stuff.

Be fair.

Look, as soon as you get a gig, give us a call, all right?

- Yeah, but you got the monopoly on all the gigs. - Yeah, I'm holding.

I mean, we're lucky if we can get to play in public lavatories.

OK, we'll put a gig on for you at our local pub.

Look, all right, we've heard the tape. Now turn it off and go, eh?

I'm turning the tape up full blast

until you both put your phones down and listen. Listen!

We've come a long way today. We've given up a day's work.

The least you can do is listen!

All right, look, we'll send somebody to your gig. Fair enough?

Now piss off.

[man] Send the next bloke in, will ya?

That's you next, mate.

[telephone ringing]

[screaming music plays]

[♪ "Blackman"]

[chattering]

♪ I am the white man and I paint you black ♪

- [men chanting] Sieg heil! - ♪ I am the traitor ♪

♪ But I put you on the rack ♪

♪ I am the coward and I shoot you in the back ♪

♪ I am the white man I paint you black ♪

♪ Yeah ♪

♪ I am are the good little holier than thou ♪

♪ I hide my head in my hands ♪

♪ I hear no, see no, speak no, no, no, no ♪

- ♪ Understand ♪ - Get off the stage!

♪ I am the blackness I am the dark ♪

♪ I am the alcoholic pissed in the park ♪

♪ I am the girl who sold her body to the dark ♪

♪ I am the truth of it ♪

♪ You are the hypocrite ♪

♪ I am the blackness I am the dark ♪

[girl screaming]

♪ I am the girl who sold her body to the dark ♪

♪ I am the truth of it ♪

♪ You are the hypocrite ♪

♪ Blackman ♪

- Come on, let's get out of here. - Did the bookers turn up?

No, they sent their bloody secretary. That bird over there.

- [Tony] What did she think of it? - "Fab", she says.

Come on, get your bass and let's go.

[crowd chanting] Sieg heil!

Sieg heil! Sieg heil! Fascists!

Bastards!

Stings didn't like your music very much.

Bunch of bully boys!

Sniffing glue, you can sniff my arse.

Go on, out you go.

Eighteen glasses smashed, three chairs broken.

Well, I do apologize. All I want is me money.

Yeah, well, I suggest you leave your guitar here to help pay for the damages.

People have been flushing billiard balls down the toilets out there.

Well, I'm sorry about that. But I manage the band and they want their money.

Do you think I'm gonna pay for that excrement you call music?

- That filth? - I think you have to pay.

What? On a screeching slut singer?

Don't have a go at my singer, you bastard.

You think that's a sausage? That's a lethal weapon, son.

I suggest you just put your guitar down, all right?

Otherwise, you'll leave here with a broken head, right?

Come on, Danny, let's go. Leave.

You heard what the slut said. Go on. Put it down.

- Danny. - No.

- No? - Now I want my 30 pounds.

- All right, get the guitar. - Come on, son.

- Get off! Get off! - Tony! Danny needs some support in here!

- Get off, eh? - [siren approaching]

- [grunts] - [gasps]

- [indistinct shouting] - Go! Go!

Go, go, go! Run!

Run! Kate, go! Go!

Go on, run!

Were you done with this coffee?

[Kate] It's tea.

Oh.

Ooh. Come over here.

It really hurts, you know?

Let's have a feel.

Bastard skinheads done that, didn't they?

Oh, yes! There's nothing wrong.

Does your boyfriend know you're doing this?

I don't have a boyfriend.

- Come on! - I don't have a boyfriend.

My last relationship didn't end too well.

Oh, with that drummer boy.

How did you know about that?

Well, you've given him a bit of a hard time, apparently.

Not at all! He gave me a hard time.

How did you know about that?

- That meant to hurt? - No.

Come here.

This is stupid. It's time you went, anyway.

But I haven't finished me coffee yet.

I want to sleep here.

Oh, come on, you only live down the road.

Yeah, but it's freezing cold outside.

I'd rather you went.

What, you want me to go home?

It's late.

OK, then.

All right. You could crash on the sofa if you want to stay.

I'm up now, aren't I?

You're always controlling people.

You want to control people all the time, you do.

Good night.

Good night.

[door closes]

[♪ "Will You?"]

♪ You drink your coffee ♪

♪ And I sip my tea ♪

♪ And we're sitting here ♪

♪ Playing so cool ♪

♪ Thinking what will be will be ♪

[ambulance siren]

[pounding on keys]

[Breaking Glass practicing]

[vocalizing to beat]

Try that drumroll now.

That's great, great!

It's got a really threatening robot feel.

[knocking at door]

We won't be long, this is a quick check.

[band stops playing]

All right, put those guitars down, please.

Now I want names and address from all of you.

John, go through the place.

It's the old filth, isn't it?

You, the drummer, what's your name?

Mick Lethal.

[man] What's your name?

I'm Michael Leaf.

Check CRL on Michael Leaf.

- Get his address. - [Danny] I know what this is about.

You came to the pub last night after we left.

- [man] What's your name? - [Danny] Look, I want to know what this is about.

Name. Name and address.

I can't remember.

Look, I don't have to give you that sort of information.

Name, please, son.

Daniel William Arthur Price.

[whispering]

Well, we certainly have a large file on you, Mr. Leaf.

- Oh, Christ! - [drumsticks clattering]

You always start, don't you? I mean, you never leave me alone, do you?

Where did this equipment come from?

- [Mick] I bought it! - [man] You got the receipts?

I'm telling you straight, I bought this.

I'm going down to tell Mr. Gray about you.

He said any time you bastards start on me, go down there.

- What did you say? - I'm just telling you!

[Mick groaning]

What are you running in here?

A home for the mentally sick?

There's nothing wrong with him.

[♪ "Big Brother"]

♪ They'll tear out your heart throw it neatly in a cart ♪

♪ 'Cause that's what they do with the scum like me and you ♪

♪ And you feel as if you died Whilst you're standing on the line ♪

♪ And you wonder all the time why can't you cry? ♪

♪ But the people in control don't care for you ♪

♪ They're just a robot with a job to do ♪

♪ And when your use exhausted, they'll be rid of you ♪

♪ As soon as look at you ♪

♪ Go to the back of the queue ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah-ah ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah ♪

♪ Arse ♪

We'll get you the gigs,

but we want a reasonable return on our investment.

What, you into comedy?

We want the publishing rights on your material for the next three years.

That's our standard terms.

Three years? Piss off.

Have you read this? It's bloody feudal!

- What's "feudal"? - OK, two years, but no less.

That's our offer.

Oh, let 'em have it, for God's sake.

At least we'll get some proper gigs.

OK, two years.

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah-ah ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah ♪

♪ Arse ♪

♪ His eyes are dull They stole his soul ♪

♪ They left him to rot in some stinking council hole ♪

♪ Where they keep him doped on beer and hopes ♪

♪ Of television dreams He's living on the screen ♪

♪ See there's something that he used to believe in ♪

♪ That was every human being should have his freedom ♪

♪ But bobby's truncheon had to wait to show him ♪

♪ He should be more useful ♪

♪ As they broke into his skull ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah-ah ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah ♪

♪ Arse ♪

♪ Big Brother ♪

♪ Beware ♪

♪ 'Cause some of us ♪

♪ Do care ♪

- ♪ And the worm ♪ - ♪ And the worm and the worm and the worm ♪

- ♪ May turn ♪ - ♪ May turn, may turn, may turn ♪

- ♪ And the violence ♪ - ♪ And the violence and the violence and the violence ♪

- ♪ In my head ♪ - ♪ In my head, in my head, in my head ♪

♪ Is real ♪

♪ Bam-bam, you're dead ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah-ah ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah ♪

♪ Arse ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah-ah ♪

♪ Big Brother's got no heart ♪

♪ When I get my chance I'm gonna kick it in the ah-ah-ah-ah ♪

♪ Arse ♪

♪ Arse ♪

We've got 40 minutes to pack up and get to the station. The bloody van's busted.

- The 11:40's the last train to come. Now let's move! - What?

Don't say "what", just get your saxophone packed up, let's move.

- That was a really good gig. - What?

- How much did we get paid? - I don't know.

Some rubbery-looking check about minus-80 quid.

What, you waiting for the roadies or what? Get your arse moving!

- My arse is moving, mate, all right? - Well, come on, let's go!

I think they liked us.

- Get out of the way! - Get out of the way, or you're getting a drum kit on your head.

[men singing, indistinct]

Danny, did you get the duck?

- Did you get the duck? - Yeah.

Yay, we're on the last train!

We're on the last train!

Stop here, stop here! Stop, stop!

Out! Come on, you lot, get out.

This is the 11:40, right?

This is the 11:40. Out.

- What? - This is the 11:40, but it ain't going nowhere.

- What you on about? - I'm on strike. We're on strike.

It's Christmas Eve!

I know! Glad you come out in support of engineers.

- Solidarity, is it? Go on, out. - We're getting on.

- Off! - Piss off.

All right, all right, I don't care.

There ain't another train running till Boxing Day.

This one's due to shuffled all around Leeds.

- Is this the 11:40? - This is the 11:40.

[all laughing]

Oh, sod it. Happy Christmas.

[train horn blowing]

Hey, Dan. Oi, Dan! Here's a place.

There's knives and forks and food. Wait.

Check that, check the till.

Check it! Check it!

Hey, look, we got a kitchen.

I'm gonna inspect the sleeping quarters.

- [Kate knocks] Good night. - [groans]

[Mick] Where you going?

[speaking German]

[continues speaking German]

Happy Christmas.

Here, Sister, I got a confession to make to you.

[brakes squealing]

[Kate] Here.

Christ, I'm freezing.

No. If I drink any more brandy, I'll fall off me bloody bunk.

[Kate] Can I borrow your blanket? I'm really cold.

[Danny] Well, why don't you come up here, right?

And I'll share your coat and you share my blankets?

No, you come down here. It's easier.

No, come here. Heat rises.

There ain't no heat.

Come on, I'll give you a hand.

Ohh...

[both groaning]

- [thud] - [both laughing]

- I'm here. - Come here.

- Happy Christmas. - Happy Christmas.

Ohh.

So, what do you think?

It's been a good year?

Ain't been too bad, has it?

We didn't achieve much.

We haven't achieved anything.

[rattling]

I thought the train drivers were meant to be on strike?

Maybe one of the nuns is having a bash.

Right. This is quite sexy though, isn't it?

You know what?

I've been waiting and waiting

to get to this for ages and ages.

And now I've got to it, it's different.

[brakes squeal]

Let's get married.

- [laughing] - No, no, no. All right then.

- Should we just, um... - Bunk up for the night?

Um, or we could just, like, sleep together, if you wanted to.

Could ruin our relationship.

No, I've got it all sorted out in my head.

In my book as well.

And it will not ruin our professional relationship.

Scares me a bit.

Does it?

A bit.

No need to be scared because...

...you what how I really think about you, don't you?

No.

I'm really very fond of you.

[♪ "Will You?"]

I'm fond of you too.

♪ You drink your coffee ♪

♪ And I sip my tea ♪

♪ And we're sitting here playing so cool ♪

♪ Thinking what will be will be ♪

♪ But it's getting kind of late now ♪

♪ Oh I wonder if you'll stay now, stay now, stay now, stay now ♪

♪ Or will you just politely say good night ♪

[band rehearsing]

Hang on, hang on. There's something wrong.

Yeah, the guitar's out of tune.

Bollocks! How do you know my guitar's out of tune, Danny?

All I'm saying is the guitar's out of tune.

- Dave, is my guitar out of tune? - It's all right.

- What, so I'm deaf now, am I? - Danny...

Why don't you just go and do something useful, eh?

Go get us some decent gear and somewhere to rehearse!

We need a record contract, Danny.

We're not into record contracts.

Course we are!

I'm not doing this for fun, you know.

Sign a record contract, become part of the machinery!

- I'm not into that. - Look, if we don't get some decent gigs,

earn some money, the band is gonna fall apart.

That's right and you know it.

I need a new drum kit.

Hi, there.

What do you want?

I brought you a Christmas present.

I forgot to bring it to you last year.

Here you are, Susie Sapphire.

- Here, have another one. - Leave it up, will you?

I was thinking of coming up with a couple of fiends of mine from the music press.

'Cause they're really sort of interested in your promotional techniques.

[both laughing]

What do you think? The red or the yellow?

Two minutes, please, Chris. Thanks.

Doing a gig Wednesday at the Music Machine.

Be there, OK? And bring ole jack-in-the-box with you, eh?

I'll see you then. Oh! And keep them, I got some more at home.

It's a real hall of fame, isn't it, eh?

Makes you really humble being here.

Whatever happened to XXX?

Bogies got him.

- Anyone turned up yet? - Yeah, there's about 200 people out there.

- We mean record people. - Don't worry, Tony, I pulled in some old contacts.

Oh, wow, you look great!

You look really great.

- Feel all right? - Yeah.

[indistinct]

I'll see you all later.

You amaze me.

I mean, when was the last time you were here, 1967?

1969, XXX.

[Kate] One, two, three, four.

[♪ "Monsters In Disguise"]

[indistinct conversation]

♪ What kind of things are you who live on papers? ♪

♪ White papers that you say apply to me ♪

♪ Reams of rules constructed for protection ♪

- [crowd groans] - [Kate] Shit!

[crowd booing]

I'll kill those sodding unions.

Come on, what's happening?!

Turn the lights on!

- I'm off. - No, Chris!

It's probably just a gimmick to get everybody's attention.

You know, you're full of surprises, but you're even more full of shit!

[angry shouting]

I wanna see a show!

[Danny] Can we have a bit of order, please!

- Can we have some order? - Oh, piss off!

Have you not seen a power cut before?

It's gonna come back on in a minute, right?

So, just be quiet. Shut up and be quiet!

They're gonna come back on!

All right, this'll cheer you up.

[man] Come on! We don't wanna see...

Ah, bullocks!

[man] Boo!

[passes gas]

Did good on that one, eh?

[crowd grumbling]

Who needs it?

We don't need electricity, do we?!

Who needs it?

[playing acoustically]

Come on!

[♪ "Who Needs It?"]

♪ Living in the shadow of the mushroom tower ♪

♪ Who needs it? ♪

Come on, get on with it!

[angry shouting]

[man] You sketchy bitch!

♪ Nuclear rain ♪

Bullocks!

♪ Melting my brain ♪

♪ Who needs it? Not you, not me ♪

♪ Who needs this insanity? ♪

♪ At the top of the tower there's a creature who wants power ♪

♪ Who needs it? ♪

♪ If he gets in the dungeon he could just press the button ♪

- ♪ Who needs it? ♪ - Who needs it?!

♪ He'll flee inside ♪

♪ And you'll have nowhere to hide ♪

♪ Who needs it? Not you, not me ♪

♪ who needs this insanity? ♪

[all] Who needs it?

♪ Who needs it? Who needs it? ♪

♪ I need it like a hole in the head ♪

- ♪ Don't need it Don't need it ♪ - Who needs it? Who needs it?

♪ Here comes the era ♪

♪ The era of the living dead ♪

I'm into this.

You're into this? I'm into this! Oh, yes!

[all chanting] Who needs it? Who needs it?

♪ Who needs it? Who needs it? ♪

♪ I need it like a hole in the head ♪

♪ Don't need it Don't need it ♪

♪ Here comes the era ♪

♪ The era of the living dead ♪

[chanting] Who needs it?

♪ Who needs it? Who needs it? ♪

♪ I need it like a hole in the head ♪

♪ Don't need it Don't need it ♪

♪ Here comes the era ♪

♪ The era of the living dead ♪

♪ Who needs it? Who needs it? ♪

♪ I need it like a hole in the head ♪

♪ Don't need it Don't need it ♪

♪ Here comes the era ♪

♪ The era of the living dead ♪

[crowd shouting]

[crowd cheering]

Thank you.

You're an angel. Let's celebrate.

["Big Brother" plays]

- ♪ Arse ♪ - Great.

- Thanks. - It's amazing.

We've been playing it all week.

I think that is truly off-the-wall material.

It's right off-the-wall. They are truly anarchic songs.

- Anarchic? - Well, they are anarchic, aren't they?

Well, you'd call yourself an anarchist, wouldn't you?

In some ways.

Well, what do you mean by anarchic? I know what I mean. What do you mean?

Well, Mick's one of nature's anarchists, aren't ya?

Go on, Mick, give him a flash.

- It's disappeared. - [all laughing]

Let me try and define what I mean by anarchist.

I mean, someone who doesn't believe in government.

Someone who believes in self-expression. Self-rule.

Yeah, which brings us to some of the self-expression in your lyrics.

Oh, yes. Go ahead.

See, there's absolutely no way that we can get radio airplay

for a song with the word "arse" in it.

What, no "arse", eh?

No.

Happy birthday.

Here, I have another one.

Now, look...

We believe "Big Brother" is a possible hit, OK?

I mean, a real biggie.

Now, Chris and I, and our house producer,

we've discussed this one a lot.

Now, he suggests, possibly "bum".

I don't know what you think about that.

Otherwise, we suggest that you substitute for the phrase "kick him up the arse",

the phrase "punch him in the nose". All right?

So it would go: "Punch him in the nose, nose, nose, nose,

nose."

[all laughing]

All right, maybe that's not a very serious suggestion.

I'll leave the lyrics entirely to you.

But it's got a great beat.

[chuckling continues]

Uh, you'll have to excuse me. I'm getting a pain in the nose sitting here.

- [band laughing] - [telephone ringing]

- [door closes] - All right, let's get serious.

- What's next? - Producer.

[man] Oh, yeah.

We don't want one.

We'll do it ourselves.

OK, let's try that for a bit. See how that goes. Fine.

Now, look, I've drawn up a list of street gigs, rallies, political events coming up.

I think it's fairly essential you attend some of those.

- Well, yes. - [Chris] There's the anti-Fascist rally,

there's an anti-plutonium meeting at Trafalgar Square, but the real must,

the Rock Against 1984 in Notting Hill next month.

You wouldn't want to miss that, would you?

Wouldn't dream of it, comrade.

[♪ "Top of the Wheel"]

♪ How could we feel? ♪

♪ We're so unreal ♪

♪ Stuck at the top of the wheel ♪

♪ You're the sucker who fell for their spiel ♪

♪ You're the crawler who fell for their deal ♪

♪ Your smug little cliches they get up my nose ♪

♪ Your hair dyed your fine clothes ♪

♪ They're all for the pose ♪

♪ Naked before me Your cover is blown ♪

♪ Here come the robots the mindless, the clones ♪

♪ And you sold up our insides ♪

- ♪ Body and soul ♪ - [loud feedback]

♪ Do as you're told now and we'll play our roles ♪

Hold it a minute, I'm just coming down.

- Like the lyrics? - Mm-hm.

Good God.

You know, it's a silly thing to say, but...

Sometimes this new music really gives me a headache.

I can appreciate it, as you know, but

occasionally, I just long for John Lennon.

It's not the music that gives me a headache, it's him.

[♪ "Top of the Wheel"]

♪ Stuck at the top of the wheel ♪

♪ You're the sucker who fell for their spiel ♪

♪ You're the crawler who fell for their deal ♪

[man on radio] "Top of the Wheel" by Breaking Glass.

Rising rapidly to number 14 in the charts.

And you'll be able to see Breaking Glass this afternoon

at the Rock Against 1984 meet in Notting Hill.

Where agitators against growing government-increased powers

are gathering for a month.

[band playing]

[disco music]

[Danny] No, I don't want it on there.

I don't want Overlord Records part of this lorry.

I want Breaking Glass on this...

[Kate] Come on, get it off!

[Danny] The guy with the fuzzy hair, well, I don't want it on here!

- Take it off. - Totally ridiculous.

What a farce! You know they got eight groups back there.

Look, we've all decided we should piss off and go home.

Don't go. We can change it. The music will change things!

We've had enough, we're going!

[Chris] Wait, don't go!

You're defeating yourself, Danny, if you try and go.

- Listen, Danny. - Mind it, move!

- Move! - We can rescue it if you just stay a little bit longer.

You're copping out, Danny!

There's too many bands.

- [Danny] We're going home. - [Chris] I can see you're going home, you fool.

[Danny] Don't call me a fool. Join the walk home.

Oh, no. Look at that mob!

- [group chantinSieg heil! - [Danny] Come on, back the other way.

Back the other way!

- [chanting continues] - [Danny] Back the other way!

Oh, come on, let's do "Blackman"!

♪ I am the blackman and you are the white ♪

♪ I am the deviant and you're always right ♪

♪ I am the darkness and you are the light ♪

♪ I am the blackman you're the white ♪

♪ Yeah ♪

♪ You are the good ♪

♪ You hide your head in your hand ♪

♪ You hear no, see no, speak no, no, no, no ♪

♪ Understand ♪

♪ I am the blackness I am the dark ♪

♪ I am the alcoholic pissed in the park ♪

♪ I am the girl who sold her body to the dark ♪

[man] You nigger lover!

[chanting] Sieg heil! Sieg heil!

Fascist pigs!

Get out!

You are all pigs!

[man] Fucking burn the niggers! Kill them!

[chaotic shouting]

Stop it!

- [Danny] Let's go! - [maniacal scream]

[screaming]

[Kate screaming] Sieg heil! Sieg heil!

Kill 'em! Kill 'em!

[screaming]

Kill!

[boy continues screaming]

[loud feedback]

[slow-motion scream]

[Chris] You've all read the newspapers, you've heard what everybody is saying.

The kids in Liverpool, Birmingham, Glasgow, they all wanna hear her sing.

If Kate doesn't do this now while she's got this power,

well, she's gonna regret it for the rest of her life.

Anxiety, depression, we all get that...

Can I make a suggestion?

We get in another mind.

A producer who'd be acceptable to Kate.

There's not one.

Bob Woods, that's all.

Bob Woods? All right, let's get Bob Woods then.

We've gotta get this bloody album finished.

- Look, she's exhausted! - Listen, Danny,

we're all very concerned about Kate's welfare!

I hoped I hadn't had to say that.

We've gotta get the bloody album out.

We are not going to repeat this enthusiasm.

This psychic energy is not gonna come again like this.

This is the moment! Sorry!

- Sorry. - I'm off then.

[muttering]

[Danny] If he hands out any crap,

we don't have to do anything.

Don't let him overrule you.

I'm gonna go in the garden and wait.

It's a nice garden.

I don't want to get involved in all that business stuff.

OK, but you're gonna have to meet the guy.

OK, I'll meet him.

- What's the matter? - What do you mean?

What is it?

I'm OK.

[♪ "Who Needs It?" plays]

♪ Living in the shadow of the mushroom tower ♪

♪ Who needs it? ♪

Great! Fantastic!

♪ Find no shelter from that kind of shower ♪

♪ Who needs it? ♪

It's like a lot of new wave stuff.

I don't know.

That's her?

[Chris] Yeah.

♪ Who needs this insanity? ♪

I think she has talent. Ask her in.

♪ There's a creature who wants power ♪

♪ Who needs it? Who needs it? ♪

♪ If he gets in the dungeon he could just press the button ♪

♪ Who needs it? Who needs it? ♪

♪ He'll flee inside ♪

♪ And you'll have nowhere to hide ♪

♪ Who needs it? Not you, not me ♪

Bob, this is Kate.

And this is Tony.

- Hello, Kate. - Hello.

- Hi. - Hi.

Well, sit down.

♪ Don't need it Don't need it ♪

I like some of your songs very much.

Thank you.

Danny told me about your recent experience.

- [song ends] - I'm very sorry.

You know, in a way, it makes us almost fellow travelers.

I lost somebody very, very dear to me.

- Not long ago. - [Kate] Oh, I'm sorry.

[Bob] Thank you.

I hear you've written something new in the last couple of weeks.

Mm, it's a slow song. "Who Calls the Tune?"

Oh. Would you mind singing it for me?

Sure.

- I'll use the piano, shall I? - Help yourself.

[♪ "Calls the Tune"]

♪ Well, I saw your face in a photograph ♪

♪ Cried so much I nearly laughed ♪

♪ You never really had the chance ♪

♪ To question why did you live some ♪

♪ To cry some and die? ♪

♪ Who, what and how writes the song ♪

♪ Calls the tune ♪

♪ Says what's right and... ♪

Shit, this is a wank.

[♪ "Calls the Tune"]

There's nothing for me to do here.

Now, look, Kate, there's no point in my being here.

- ♪ Who, what and how writes the song ♪ - Kate.

♪ Calls the tune ♪

♪ Says what's right and wrong ♪

♪ Writes the song ♪

Hey!

There's nothing for me to do.

I'm going home. I'm going home!

♪ Who, what and how writes the song ♪

Right off-the-wall. It's fantastic!

We should do a video as well.

You know, we could have laser beams, like a lattice.

We can't do a video of this one.

There's no saxophone in it.

What's it got to do with sax?

But the laser idea could be very good. I know an A-1 laser guy.

No. Neon tubes. That's what we'll have.

A forest of neon tubes.

♪ Says what's right and wrong ♪

♪ Who, what and how writes the song ♪

♪ Calls the tune ♪

♪ Says what's right and wrong ♪

♪ Writes the song ♪

♪ Calls the tune ♪

♪ Says what's right and wrong ♪

[Bob] Hold it!

Cut the playback.

That was great.

You are enjoying yourself, aren't you?

Feels good to be singing again.

The best drug in the world.

Feels good.

- They all love you in the studio... - Kate.

Do you want to put your coat on?

[off-key note plays on piano]

What's the matter with you, Danny?

I didn't like the video tonight.

I thought you were terrible.

[sighs] Let's talk about it tomorrow, huh?

[Danny] No.

Look, I don't want to talk about it now.

I've got a cold, I'm tired. I want to go to bed and think.

How wonderful you are?

- Is that what you think? - [Danny] Yeah.

Good, 'cause I am what I am, Danny.

Yeah, it's not what you were.

[scoffs] When I first met you, you were nothing but a little street hustler.

Now suddenly, you've got this newfound integrity.

You're telling me what I should do!

Well, it's better than Woods telling you what to do.

You want to end up like him?

'Cause that's the way you're going.

First you look up to me as an idol,

then you cut me down.

Things aren't black and white, Danny.

That's not you talking, that's Woods.

What's he turning you into? A psychologist?

People don't stand still.

Neither does music.

Still talking to Woods.

- [♪ "Will You?"] - ♪ You drink your coffee ♪

♪ And I sip my tea ♪

♪ And we're sitting here playing so cool ♪

♪ Thinking what will be will be ♪

♪ But it's getting kind of late now ♪

♪ Oh I wonder if you'll stay now, stay now, stay now, stay now ♪

♪ Or will you just politely say good night? ♪

Don't mind my asking, but, um...

How much will Danny be paying you on this tour?

- We get 80 quid a week each. - [Chris laughs]

Yeah, well, we get one or two other things, like hotels.

Danny's a very clever man, you know.

[Mick] Yeah, he's a good manager.

Once a chart-fixer, always a chart-fixer.

There's something about Danny I'm not sure about, actually.

All right, I'm speaking out of turn,

I'm gonna foul up the tour if I carry on like this.

[♪ "Will You?"]

♪ I move a little closer to you ♪

♪ Not knowing quite what to do ♪

♪ And I'm feeling all fingers and thumbs ♪

♪ I spill my tea ♪

♪ Oh silly me ♪

What's the matter, hmm?

Well, Tony and Dave are complaining that they want more money,

and better equipment.

We're halfway through the record advance already.

Take my advice, keep a tight hold...

...on them and on the money.

♪ But it's getting kind of late now ♪

♪ I wonder if you'll stay now ♪

♪ Stay now, stay now, stay now ♪

[crowd roaring]

[crowd chanting] We want Kate, we want Kate!

Here you are, here's your bass.

Come on. Right, get back out on that stage, because they're all shouting for more.

We can't hear a bloody thing we're playing out there!

- The sound's atrocious! - Look, it sounds OK from where I'm standing!

- It's just the money test. - What do you mean?

What do you know about the money test?

- We're working with shit! - Now, listen!

It's the same equipment we have always used!

You used to like a raw sound!

There's a difference between the raw sound and the shit sound!

- Go on, ask Kate. - I'll ask Kate.

Well, I mean... Turn the lights on. You're going back on!

[man, indistinct]

[crowd shouting]

I want a word alone, please!

Kate and I have got a few things

- to talk to you about. - I said alone, please!

- What is it, Danny? - I want you to get the band on stage

and I want you to do an encore!

Danny, your sound system is a total piece of shit.

I wasn't talking to you. I was talking to Kate.

Who I happen to manage! Kate's a rock singer who sings down the line.

- You're trying to turn her into a bloody goddess! - For Christ's sake, Danny.

Now, in future, if you wanna talk business, you don't talk business to that turd!

You talk business with me, OK?

I've got some good news for you all.

I'm resigning. I'm resigning, 'cause I think you're shit.

Look, Danny, I think you should talk to Kate about this.

Even we keep Danny, we lose Woods.

I'm sorry, but I believe in speaking my mind.

Look, Danny's inexperienced. I know we're all inexperienced,

but it's management that really counts.

Well, I don't want to carry on with a bunch of bastards, right,

who don't trust me and think they know it all!

'Cause I don't trust you! And I don't trust you!

And I don't trust you either! Stop the coach, mate, stop the coach!

- I'm getting off and going back to London! - Danny, stop being so stupid!

Thank you very much.

[♪ "Will You?"]

♪ But it's getting kind of late now ♪

♪ I wonder if you'll stay now, stay now, stay now, stay now ♪

♪ Or will you just politely say good night? ♪

[strums off-key note]

[♪ "Give Me An Inch"]

♪ Hey you, standing there ♪

♪ What you got to stare at? ♪

♪ I'm not shy of your beady little eye ♪

♪ That views me like some mishap ♪

♪ Cackling laughter behind your hand ♪

♪ You're so funny You're so bland ♪

♪ Here's a thing you can't understand ♪

♪ You are just a program ♪

♪ You're a program ♪

♪ You're a program ♪

♪ Program, program, program, program ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Supercilious smile ♪

- Huh? - Christ, look at that.

Leave him. That's a junkie-sick.

Isn't it?

Kate?

♪ You are all programs ♪

♪ You are all programs ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Supercilious smile ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Give me an inch and I'll take me a mile ♪

♪ Give me the distance from your supercilious smile ♪

♪ Supercilious smile ♪

[crowd cheering, applauding]

[feedback]

- So you've left the band? - [Mick] Yeah.

Well, it was turning into a bit of a wank, wasn't it?

It was like all I had to do was sit there and play tom-toms.

This is all right, isn't it?

Yeah, my metal palace.

I've even got myself a music license.

- Yeah? - Yeah.

Well, how is she?

Not too good.

She's knackered. Puts all her energy into the gigs.

She's having jabs in the arse to keep her going.

[♪ "Come Into the Air"]

♪ Come into the air ♪

♪ And cast your body like a care ♪

♪ You belong nowhere and you can't bear it ♪

♪ Come into the air ♪

♪ And cast your body like a care ♪

Oh! Ohh.

Oh, dear.

Oh, no, no!

[giggling]

[Kate] God, what's up with him?

- [Tony laughing] - You all right, Ken?

Sick bastard.

Stop mucking about, Dave.

Give him his stuff back.

- [Dave] Oh, God. - It's not funny.

Give him his stuff back!

Here you are, then.

But not in here. Go and shoot up in the street or something.

Sick bastards.

Oh, for Christ sake!

Let him go. We don't need him.

There's dozens of sax players about that don't have to shoot up half the time.

That is not the point.

He's part of this group.

[Dave] Group? She's always talking about a group.

Do yourself a favor, Kate, ditch him.

♪ There you are waiting at the station ♪

♪ Searching frantically the place where you belong ♪

♪ Gave you a map that showed you your direction ♪

♪ A shadow tore it up and told you it was wrong ♪

♪ That way was too long ♪

♪ And danced a little song ♪

♪ Come into the air and cast your body like a care ♪

♪ You belong nowhere and you can't bear it ♪

[man] "Come Into the Air", that's Kate Kurley's latest single on the Overlord label.

Kate's in the studio here to answer your questions.

She's a very appropriate guest on this program,

where we're always concerned with artists who want to sing about something.

Kate certainly sings about something with songs like

"Big Brother" and "Blackman". Now, here's the first question

- coming through from... - [woman] Anita. Anita Price.

Me and my friends have got all your records.

And we want to know, is your music going on progressing in the same direction?

Or are you moving away from the new wave?

- Why are you asking that question? - What?

Well, we all love it and it's changed a lot in the last few months, hasn't it?

Well, yes. Yes, of course it has.

Well, would you ever sing anyone else's material?

If someone wrote something for you?

I mean, do you have to believe in what you sing about?

Well, yes. What do you mean? What are you trying to say?

I think she means, uh,

do you have to believe in what you sing about?

[scoffs] Well, of course I do.

That's a stupid question.

You trying to catch me out or something?

No! I just want to find out why your music's changed.

Well, we're moving towards 1984. It's happening. 1984.

Machines are taking over.

Silicon chips. That's what I want to write about now.

[man] Next question from David Wilken.

[David] But the record companies choose what you do.

It's them that control the material. Not you.

No, the record companies don't control my material.

I control. I control what I sing.

They try to, but I control. Me!

- [man] And the next caller. - [Danny] Kate?

- Yes? - You sold out, haven't you?

You pretended you were into one thing, but really you were into the ego trip, eh?

- Danny, is that you? - Shit.

Is that you, Danny? Danny?

You poseur.

You're just one of the shit.

[Ken] Have you seen Kate lately?

No. I don't mix with rock stars.

You pulled out at a really bad time, you know?

For Kate, Mick, me.

It could still be all right though.

Look, she wanted Woods as number one.

The band wanted Woods as number one. Come on, I'm not ignorant.

When things got a bit uncomfortable, you couldn't cope, could you?

You screwed this all up.

I mean, we were there, near enough.

Wasn't enough for me.

I don't like being treated like shit.

Well, I thought you and Kate really had something.

We did, till she changed.

Yeah, maybe.

But, we could always start again.

No.

We can't start again.

- She'll want control. - You have to have control.

That's what you mean, Dan.

Maybe that's what you mean, maybe you have to be number one, Danny.

Eh?

[sighs, mutters] Ridiculous.

[♪ "Big Brother"]

♪ Big Brother ♪

♪ Beware ♪

♪ 'Cause some of us ♪

♪ Do care ♪

- ♪ And the worm ♪ - ♪ And the worm and the worm and the worm ♪

- ♪ May turn ♪ - ♪ May turn, may turn, may turn ♪

- ♪ And the violence ♪ - ♪ And the violence and the violence and the violence ♪

- ♪ In my head ♪ - ♪ In my head, in my head ♪

Kate, is it true? Some newspapers say you sold out.

♪ Bam-bam, you're dead ♪

♪ Big Brother's just a pose ♪

♪ When I get my chance I'm gonna hit him on the ♪

♪ No, no, no, no, no ♪

♪ Big Brother's just a pose ♪

♪ When I get my chance I'm gonna hit him on the ♪

♪ No, no, no, no, nose ♪

♪ Big Brother's just a pose ♪

♪ When I get my chance I'm gonna hit him on the ♪

♪ No, no, no, no, no ♪

♪ Big Brother's just a pose ♪

♪ When I get my chance I'm gonna hit him on the ♪

♪ No, no, no, no, nose ♪

[man on radio] The government confirmed today

that it will be instituting measures

to give the police increased powers

to combat civil unrest.

A welcome change of mood will be offered

by Kate and Breaking Glass

in their climactic gig at the Rainbow tonight.

Kate is rumored to be developing a new style.

[cheering continues]

[crowd chanting] We want Kate! We want Kate!

We want Kate! We want Kate!

[distorted chanting]

I'm not going on.

I've got the doctor for you, Kate. He'll see you. He'll look after you.

Now come along, Kate. I just want to see how you are.

Come along, come along. Don't be stupid.

- I'm not going on. - Come on, Kate. Come on, Kate.

- That's it, that's it. - [chanting continues]

- Hold her still. - Come on, hold still.

- It's just a little injection. - [whimpering]

[whimpers]

[chanting continues]

Come on, Kate.

We want Kate! We want Kate!

[cheers, applause]

[♪ "Eighth Day"]

♪ In the beginning was a world ♪

♪ Man said, "Let there be more light" ♪

♪ Electric scenes A maze of beams ♪

♪ Neon brights to light our boring nights ♪

♪ On the second day he said, "Let's have a gas" ♪

♪ Hydrogen and CO are of the past ♪

♪ Let's make some germs We'll poison the worms ♪

♪ Man will never be surpassed ♪

♪ And he said, "Behold what I have done ♪

♪ I've made a better world for everyone ♪

♪ Nobody laughs Nobody cries ♪

♪ A world without end Forever and ever ♪

♪ Amen, amen, amen" ♪

♪ On the third we get green and blue pill pie ♪

♪ On the fourth we send rockets to the sky ♪

♪ On the fifth metal beasts and submarines ♪

♪ On the sixth man prepares his final dream ♪

♪ In our image let's make robots for our slaves ♪

♪ Imagine all the time that we can save ♪

♪ Computers, machines The silicon dream ♪

♪ Seventh he retired from the scene ♪

♪ And he said, "Behold what I have done ♪

♪ I've made a better world for everyone ♪

♪ Nobody laughs Nobody cries ♪

♪ A world without end Forever and ever ♪

♪ Amen, amen, amen" ♪

♪ On the eighth day machine just got upset ♪

♪ A problem man had not foreseen as yet ♪

♪ No time for flight A blinding light ♪

♪ Then nothing but a void Forever night ♪

♪ He said, "Behold what man has done ♪

♪ There's not a world for anyone ♪

♪ Nobody laughs Nobody cries ♪

♪ A world's at an end Everyone has died ♪

♪ Forever amen, amen, amen" ♪

♪ He said: "Behold what man has done ♪

♪ There's not a world for anyone ♪

♪ Nobody laughs Nobody cries ♪

♪ A world's at an end Everyone has died ♪

♪ Forever amen, amen, amen" ♪

- [song ends] - [cheering]

[cheering continues]

[cheering becomes faint]

[footsteps]

[car horn honking]

- [traffic noises] - [footsteps continue]

[subway train approaches]

[instrumental medley]

[Kate] ♪ You are a program ♪

[man screaming]

[woman joins in screaming]

[both screams fade]

[key opening lock]

[door opening]

- [door closes] - [Danny] Kate?

[footsteps]

[kissing sound]

[Danny] Bastards.

I almost had to kill to get in here.

I got you a present.

[rustling]

- [Danny] This present... it's yours. - [unzipping sounds]

[rustling]

[Danny] There's a note. And you never go anywhere without it.