Original subtitles

PRIDE GOES BEFORE A FALL

BEWARE OF A HOLY WHORE

A film by Rainer Werner Fassbinder

Then there's the story of Wee Willy, the gangster.

Goofy wants to be a children's nurse,

so he borrows some clothes from his aunt Anna,

a red and white checked calico dress and a big hat.

He tries his luck as a kindergarten teacher, but not very successfully,

because the kids all say they’ve never seen such a queer old doll.

Goofy gets beaten up by the kids and flings his disguise in the trash can.

At that moment, an escaped convict comes by,

Wee Willy, the gangster.

He's no bigger than a 3-year-old girl.

He finds Goofy’s disguise in the trash can and puts it on.

On his way home, Goofy bumps into Wee Willy wearing Aunt Anna's dress.

“Poor little homeless mite,” Goofy thinks and takes the little girl home.

He dishes up pheasant and partridges and a whole goose,

and Wee Willy stuffs himself full.

Goofy’s pretty surprised at the little girl’s appetite,

but he's mighty pleased too and thumps his fists on the table.

Wee Willy behaves terribly,

but Goofy finds joy at last looking after a child.

During the night, the house is surrounded by gangsters.

No, not by gangsters. By police.

They storm the house and find Wee Willy.

They recognize him, despite his disguise.

Goofy’s amazed and asks what they want with a poor little girl.

“This is terrible. What has she done? Poor little orphan.”

The police inform him it’s Wee Willy, a wanted criminal.

And as the police carry Willy out, explosive as a hand grenade,

Goofy SaY5x

‘‘It must have been a shock for the poor little girl

to find out she’s a crook.”

Look how he gives him a light.

Thanks.

I still think he's great.

Surely you can get me a number in Stuttgart!

Yeah, I'll wait.

David!

I'm busy.

Room 23.

Hanna?

It's Fred.

— They all belong to the same clique. — Who?

Hanna, Ricky,

David, Fred, the girl with the curls.

- You should brush your teeth. — Don't touch me!

And Kosinski_

They're in a kind of commune.

What’s a commune?

They all live together and so on.

We start shooting tomorrow, Herr Meister_

There's absolutely no chance.

No, we'll have the check from Munich.

okaY—

I'll phone you later.

It makes me sick.

Another repressed queen.

— Who? — Our coach.

I’ve drawn up the list of works.

You idiot.

We don’t even have the film stock, and you make a list of works!

— You don’t have to shout at me. — I'll shout at you as much as I like.

— Cuba Iibre_ — SI’.

Where's Manlich?

You have to wait for the high.

Then it’s peace all the way.

When I came back from a high once,

I knew what it was like in the womb.

When’s Jeff due back?

Candy!

Sefior Candy!

Damn it! How often do I have to shout?

Whenever I want to ask you something, I have to shout.

What the hell are you unit manager for?

Don't you realize how fond I am of you?

Come on. Get up.

I hate you, you satyr!

You too, you witch!

I could have done that.

Shut your mouth, Kéberlel

I'm as quiet as a mouse.

He's probably ancient.

Who knows?

There was a race steward in Le Mans who was 60,

but he was really with it.

— How much? — 4,000 feet.

You’re all rats!

Assholes!

What’s the matter?

They're all so nasty.

Come on, now. Let’s have a drink.

Everything’s going wrong.

We're not getting the film stock from Germany.

The check has bounced.

Okay. You’re welcome.

Someone will publish my book.

You think so?

Otherwise I'll start an international hash ring.

That’s pretty dangerous.

Luck’s on my side.

I don’t know what he sees in Eddie.

Do you see him as a big box—office draw?

What do we know?

I do my job, and that’s all.

The Spanish lighting guy turns me on.

He's 93V-

You think so?

Let’s wait and see.

This place is crawling with gays.

Charlie.

What happens if the film stock doesn’t turn up in time?

They've cashed the checks.

I thought they’d wait a few days.

— Babs! — Yes?

Go upstairs and write the call sheet.

Care to do some work, or do you earn your money by sleeping?

— Whatever I do is wrong. — Quit answering back.

— He doesn’t know when to stop. — That’s nothing new.

Hello, Margaret. I hope everything’s okay.

Yes, thanks, Mark.

Things are fine with us.

May I sit down?

Sure.

The English dialogue —

Just a moment.

We have to synchronize the English and German text for the German dubbing.

Obviously.

Just do your job, and they'll leave you alone.

They won’t let me do my job.

— Are you from Germany? — Yes.

Please, Margret. My German's not good enough for that.

Thanks.

‘ IS he ‘ Who?

The lighting guy.

If only I knew what I'm supposed to look for!

The director of the film isn't even here yet.

The director must decide on the casting.

No understand.

Jeff? Hello.

But you —

No, Jeff.

Yeah, sure I understand.

But let's at least —

But —

We can talk about it again tomorrow.

RickY-

Move your butt.

He's coming, but he doesn’t want to make the movie.

He says he's spoken with people in Germany.

Schléndorff, Lemke, and so on.

He thinks one of them will do it.

No, I'm not having that.

What should I do with the bar?

Here, give it to me.

Should I bring something to drink?

— Yes, please. Coffee. — Anyone else?

Do some work, you lazy bitch.

Lazy bitch, yourself.

Everyone thinks they can push me around.

— Where's Ricky? — He went to the coast.

With whom?

How are things, Hanna? — Fine, Jeff.

Where's the cameraman?

He refuses to work before he's talked with you.

No problem. Say, what is this place?

The minister’s villa.

Are you all crazy?

I want a palace, and you get me this lousy little hole!

I just don’t believe it!

What is this? A kindergarten?

Learn how to make movies first, you bastards!

A villa? Don't make me laugh.

If you want to get into car racing...

you have to do a lot of rally driving...

before they'll accept you.

And that’II cost you.

He looks really old.

Who?

I think he's great.

— How are things, David? — Fine, Jeff.

— Where's Manfred? — Room 30.

— Hello. — Hello.

— How are the horses doing? — Okay.

If you need anything, just let me know.

Have you seen the set?

I said, have you seen the set? — I thought you'd like it.

It's not even a house, let alone a palace!

It's a miserable shack!

But who cares? I'm flying back tomorrow.

Why then?

The film stock wasn’t on board.

What stock?

We can't get the film stock from Germany,

so we’ve ordered it from Madrid.

Why Madrid?

Do you think I'm shooting with Spanish stock?

There's no difference, Jeff.

Sascha!

I'll go and get him.

For once in my life,

I wanted to make a movie without having all the responsibilities.

You’re producing it with my money anyway

and making a mess of it too.

I must be nuts.

You all do what you like with me

because I'm such a reasonable guy!

— What’s wrong now? — I'm not putting up with it anymore.

I stuff my money down that bastard’s throat,

and I don’t even get first—cIass film stock.

I'm flying home.

Book me a flight for tomorrow.

Let’s talk it over.

Have you seen the face he pulls?

Where?

It's really funny.

He keeps doing this.

You’re beautiful.

— Really? — Yeah.

She was so impertinent with me.

— Who? — Margret.

I feel really sorry for her,

for both of them really.

They're scared of getting old.

Why is Jeff having the movie produced with our money?

Ask him.

He got into this scrape somehow.

You can't ask him anything.

He's so strange lately, especially with us.

Isn’t he?

Really?

Especially with our group.

Maybe you can have a word with him.

You’re all from Munich?

Yes.

I'm from Rome.

I'm subhuman in your eyes, I know.

I don’t understand.

You treat me like a nigger.

You’re all so seIf—satisfied_

I'm an outsider for you.

You give me the cold shoulder.

You’re the superior beings because you all belong together.

That’s bullshit. Why not?

I can't get up enough concentration.

Oh, yeah?

I just want you to have fun.

I'm not important.

I can't anymore.

— Babs! — Yeah?

Come on, Babs.

Okay, I'm leaving.

There's work to be done.

Bye.

— Do you have any say here? — I guess so.

I'm looking for a job as an extra or something.

I may be able to fix you up.

Are you alone here?

No.

I'm with my husband. — I see.

In that case...

Thank you.

Jeff!

Just let go of me, honey.

Kiss me, Jeff. I haven't seen you for two weeks.

I told you to let go or you'll regret it.

I have a right, Jeff.

Just leave me alone.

But I love you.

You hit me!

You all saw it.

He nearly killed me.

He promised to marry me.

He wanted to have kids with me.

It's all your fault, you pig.

Pig!

You'll see.

I'll show you, all of you.

You’re all witnesses.

He nearly beat me to death.

I'll show you.

You'll see.

Come.

Two cuba Iibres for me.

Sure.

Cheers, Jeff.

— What’s wrong now? — The usual.

Jeff!

Yeah?

Irm’s in the production office. She wants her money.

She says you promised to marry her.

She wants her money, or she’s quitting.

Let her quit.

Tell her I don’t want to see her here again.

I'm not shooting a single foot of film if that woman's on the set.

— I'm going to bed. Good night. — Good night.

— Okay, I'll tell her. — At once.

Okay, but I have no money to pay her out.

The lazy bitch should do some work before she asks for money.

— Good evening, Mr. Constantine. — Evening.

— Enjoy your dinner? — It was excellent.

Do I get my money?

Excuse me.

Irm, Jeff said no, and he said you should go.

Four years I’ve been working for that bastard.

I even whored myself out for the swine.

You’d have starved without me.

He promised to marry me.

What a stupid bitch I am.

It was just so I'd go on working for him.

He wanted to have kids with me,

and I believed it all!

Come on, Irm_

It’ll be okay.

Good evening, Mr. Constantine.

Evening.

Care to tell me what we’re doing tomorrow?

Sure.

Mike, I want an incredibly long, slow shot.

Dolly slowly through the two rooms.

Since this is the scene of two brutal murders,

our approach must be in complete contrast.

If we make it quick and snappy, and use fast editing afterwards,

the audience will never get the feeling that a murder takes time,

that it’s not so simple.

The woman must know at once she’s going to die. She just stares.

After a time, she begins to cry.

I want to dolly into the house with Eddie, stay behind him a while,

and observe how the minister reacts to his appearance.

When the minister stands up, we start with Eddie.

He speaks about his mandate, his honor and so on.

We dolly out to a long shot. Then the murder’s committed.

Maybe we pan to the woman first.

She’s standing in the doorway, watching.

She’s speechless and retreats.

Then a slow pan to Eddie.

The minister is murdered.

Eddie looks for the woman, moves out of the picture.

Camera stays on the minister, then pans past old oil paintings,

the guy’s ancestors maybe,

and returns to the woman, frontally, with Eddie from the rear.

They look at each other.

Eddie strikes her. She collapses.

Eddie goes outside, sits on a bench in the garden and lights a cigarette.

And that's it.

A murder like that’s a strange thing.

It can be really sentimental,

and the audience feels shattered

because it thinks it knows the people up there.

But not the way they tick.

And that’s what we want to try to show.

You have to understand what a murder really means.

Tremendous, but it won’t be easy.

You think Eddie can pull it off?

Pull it off? Sure. He's got brains.

— The lighting won’t be easy. — I know.

— I'm going to bed. — Good night.

What’s the matter?

That woman over there.

Oh, I see.

— What’s wrong? — He's got the hots for that woman.

I wouldn’t say no either if she were to come up to me.

— What if she didn't? — Then I'd keep it in my pants.

Sascha, come down, will you?

Cigarette?

Me too.

Obviously. Why else do you think I'd call?

What’s the problem?

Leave me in peace.

Do you have a problem, Mark?

No.

— Do you know this game? — What game?

I'll show you.

You knew I would come.

Shit.

The other way round.

David, you try it.

Well, what’s up?

Can you fix it for Ricky to fuck that woman?

— Which woman? — The one sitting there.

She’s here with her husband.

Offer her money.

She just has to tell him she wants to. Otherwise, he can’t_

No way.

Good night.

Want to try?

His reflexes are tremendous.

Society has made him dead somehow.

He can't react from within anymore.

Don't talk so much.

Try it with me.

If you catch me, I'll kiss you in front of everyone.

You little ass peddIer_

There.

Let’s go.

— You have to go? — I'm afraid so.

— Bye. — Bye.

Good—bye!

Go on. Run after the screwed—out cunt.

That’s all she needs, a pig like you.

Let’s go listen to some music.

okaY—

And you can go to hell too.

How can anyone sleep with this racket?

Serves you right.

My face feels like it’s inside out.

— Are you drunk? — Yeah.

Me too.

Do you really believe that?

Damn it! I can't understand a word when you speak French.

Shall I tell him?

— Let’s sing a song! — What song?

I'll start and you follow. Okay?

okaY—

Oh, where am I to turn to

Now!

Oh, where am I to turn to

when sufiering grief and pain?

Whom can I tell of my delight

when joy fills my heart again?

7'0 thee, to thee

Oh, Father

I come in pain and sorrow

Thou sendest bliss and gladness

Thou healest all my woe

Thanks.

I think so.

I would move to Spain too, but__

I don’t know what we should do either.

He must phone Bonn and ask them to send the second installment earlier.

Everything okay, Mike?

— Korbinian! — Yes?

Bring me a cup of tea.

Quick.

Don't worry. They’ll get the message.

Let me have the cups back. I need them again.

In two years, I'll be making movies myself.

I may be a bit slow, but I'm no fool.

— Like a cigarette? — Yes.

You can be nice when you want to.

Yes, you can.

They were all scared of you.

But you’re not really like that.

Why don’t we get married?

We could go off to Peru together.

I can't do that to Sascha.

We never powder the face in France.

No?

We can take it off again.

Can you hurry it up?

Billie, how much longer do I have to wait? — I'm working as fast as I can.

We’ll see.

— Her parents are wealthy Spaniards. — Yeah? So what?

— Tell him about Bonn. — Okay.

Can I have a word with you? — Sure, just a second.

— What are you doing here? — Jeff took me with him.

— I give you your orders! — Don't shout at me.

When I tell you to be in the office, then stay there!

Korbinian!

— Is Ricky here yet? — I haven’t seen him.

When he turns up,

go through his dialogue with him till he knows it by heart.

Do you understand? — Okay.

Go and have a few cuba Iibres_

It's your turn, Margret.

— Can’t you be more careful? — I'm scared of you.

Lift it a bit.

Still not far enough, damn it.

Hi, Eddie. Everything okay?

Where's my coach?

— He's having a nap in there. — Then wake him up.

What do you think you’re being paid for? To crash out?

Do you think the others are working just for fun?

They're all crazy, I suppose! Get up, you lazy bastard!

Sascha!

He should go through the scene with Eddie.

— I'll run through it again. — He already knows it.

Can we go through it now?

No.

How are things? — Fine.

Jeff, I'm so pleased we’re starting at last.

Good.

I think I'll play the part in the nude.

It gives a completely different feeling. — If you think so.

I can't kill a woman with a karate chop.

Is that what you call it?

It's just not right.

I can't hit a woman, then kill her.

Can you tell me what the scenek about?

I explained the whole scene to you in detail yesterday.

I just don’t understand why the set isn't ready.

Sascha! — What’s wrong?

— Why is nothing ready here? — You’re right.

You explained it all to me,

but you have to decide where you want to dolly.

Must I do everything myself?

If you can't decide for yourself, you'll never enjoy your work!

Set it up here!

— Do you understand now? — Of course.

Ricky, I'm supposed to go through your dialogue with you.

Come on, then.

Jeff, you’ve got to phone Bonn.

We need the second installment. — Am I going crazy?

You can't have spent nearly 200,000 marks —

No, 185,000 marks — before the first day of shooting!

— We have. — That’s sheer madness!

— Are you going to phone or not? — Sure.

For God’s sake, tell me if you like it.

Yeah, maybe a few more cherubs_

Where the hell am I going to get cherubs?

He gets crazier every day.

Alemania.

Bonn.

I wonder if he’ll ever get the thing to work.

Habla. What’s going on?

Bonn, understand? jAlemania.l

Where's the interpreter?

She’s up there with my brother.

— What’s he doing here? — He's the sound engineer.

I said I'm shooting without sound. Send him home!

And get the interpreter. — Linda!

Can you move a bit faster?

My God, the bitch is slow.

I want Bonn, the Ministry of the Interior.

Damn it. You talk to him.

What’s wrong?

He says you should go home.

Lemmy Caution was always such a gentleman,

so noble.

What I want to show here is the guy at the height of his power:

brutal

coId—bIooded,

capitalistic, rational,

cold as ice.

I don’t want to show a grain of sympathy for people

who act in the name of some fascist government.

What news from Bonn?

— I think you’re fabulous, Billie. — Come on!

— Let’s marry and go to South America. — Yeah, sure.

I won’t be content until I know he's been completely destroyed.

I guess I won’t be content until I know he's been completely destroyed.

Anything wrong?

No, nothing.

Something’s up with you.

I’ve got stomach pains.

My ulcer hurts. That’s all.

— You should have an operation. — Yeah, probably.

It was the same when I was in kindergarten.

I always sensed when something was wrong.

— What do you mean by that? — Nothing in particular.

Because of David, you mean?

Because he's assistant director?

I couldn't care less.

Look, Ricky,

David's doing it simply because I need someone.

I don’t give a damn.

I guess I won’t be content until I know he's been completely destroyed.

He needs to go to the hospital.

— Why? — He has an ulcer or something.

I'll have a word with him.

I was with a guy like that for two years.

Only later did I realize he must have suffered like a stuck pig.

What’s that supposed to mean?

My whole picture of your masculinity is vanishing fast here.

Margret!

Margret!

I don’t have stomach pains. No one’s gonna put the screws on me.

I didn’t let them in the navy, and I won’t here.

Is that clear?

I hope you can at least play silent fear, you lame cow!

Or do you have special privileges as the producer’s wife?

You act like a bumpkin on a village stage!

Katrin!

You play the part!

No!

Why me, Jeff? Do you think I can?

Yeah!

Can we get this makeup table out of here?

Linda!

I'm coming.

Can we get rid of that table?

Tell the workers to move it out!

Of course. Just don’t shout.

Pack your bags, you deadbeat, and get out!

Beat it! Have I made myself clear?

Avantil Move it!

I'd give anything to sit with Marlene Dietrich in some bar in the desert,

knocking back a few, wouldn’t you?

I imagine her ice cold,

like a businesswoman_

No, I think she’s real sweet and nice.

I imagine her hand on the table, and I lay my head on it.

I want to get out of here. I don’t want to make this damn movie.

Why not?

All this shit makes me sick.

I think it’s going to be tremendous.

Yeah, that’s the problem.

Cameriere!

You’re a stupid Spanish waiter.

You’re so dumb,

you don’t even understand me.

Aren't you ashamed of yourself?

You want to earn money, right?

Then learn German first.

You stupid, stupid man.

Go away.

It's just for a few days.

He's as big as a tree,

and he looks like Gene.

It's just a bit of fun, that’s all.

Come on, Sascha.

If I had half a chance...

Women are so strange.

I'm no fool.

Always with this stupid job...

Then try directing, you asshole.

Don't just be a unit manager.

It's hard work.

If only I knew...

My wife...

She keeps me down...

and I enjoy it.

Jeff!

I'm so unhappy.

— Why? — I don’t know.

Where's Ricky?

He's so amateurish.

That’s no way to work.

You have to get to know him.

He can give you...

a sense of latitude as an actor...

and that’s something rare.

Okay. 6:00.

Wonderful.

The whole bathroom’s under water.

Exquisitely young.

Really?

Don't I?

I need 25 extras by tomorrow morning.

You understand? Okay, then.

You can treat me as you like,

because you have quality as an artist.

Fuck off.

And then a new guy came, straight as they come,

Wolfgang Wagner.

I didn’t notice him at first.

One day, we were in the guard booth.

We were pretty drunk.

We were on guard duty.

We smiled at each other, and I gave him a look.

He said yes, and we went to bed together.

About two weeks later,

we were on guard duty again,

and I said, “How about it, Wolfgang?”

And he just said, “No_”

That was all.

Sascha, send them all home. I'm not shooting today.

— It's too expensive. — What do you mean? It's my money.

The bastard doesn’t have a cent, and he's producing movies.

Okay, send them home.

Do you hear? The producer says send them home.

All right. All right.

Shit.

Before long, I'll have to explain every single take.

Come on, Jeff.

It's true, Eddie. I don’t want to start from scratch every time.

Hanna, tell him. Either he plays it my way, or he can go home.

What do you mean by “fun”?

We're all dependent on you.

Try your luck elsewhere.

That’s no alternative.

It has to function here.

You’re more likely to enjoy your work here than somewhere else.

Try to understand.

That’s all well and good, but we’re still dependent on you.

And dependency leads to fear, which is what we escaped from.

Why are you dependent on me?

Because we don’t know what’s going on.

And we’re scared. We really are.

Let me explain.

One day Manfred phones.

He says he has a Spanish coproducer

who's willing to invest 250,000 marks in a movie.

“Great,” I think.

“We’II shoot it cheaply

and make the movie with the coproducer’s money.”

Then he estimated production costs at 500,000 marks,

and there was no arguing about it.

So I thought, “Okay, I'll invest the money we have from the state too_”

Then suddenly there was no coproducer,

and I realized it would have to be fully financed with our money.

It was too late to back out. The contracts had all been signed.

That’s our position.

And now even that’s too little,

and we don’t even get paid.

It's a pain in the butt for me too.

This is ManIich_

— You kicked Linda out. — Yeah. What about it?

One more high—handed act like that, and I'll have you deported.

This is Spain! There are laws here.

Am I right?

Do you love Ricky?

Maybe.

He just does it for the money.

So what?

He told me that himself.

Oh, Jeff, the world’s so bad.

Here. It's Sascha.

Sascha, darling.

We're in bed together.

Okay, I'll come down.

Get out, all of you! I don’t want to see you again!

You bloodsuckersl

I hate you all!

You just exploit me, then leave me in the lurch!

You terrorize me, you bastards! You want my blood!

I hate you all!

Korbinian!

I want 10 cuba Iibres! Do you hear?

Don't forget you’re making a movie with people

who’d rather be at home in peace and quiet.

I love you.

Sascha, I can't take this anymore.

You'll have to get someone from Germany or finish the movie yourselves.

I can't go on.

You know very well no one but you can finish this movie.

, okay-

You know,

the biggest favor you can do him is not to sleep with him.

It's important that the Iight’s harsh, almost expressionistic_

There can be hard crosses cast by the window onto the bed.

It introduces an artificial tension.

It doesn’t matter if it seems unnatural.

Come up with something yourself.

If you say you’re making a movie against power —

Not against power.

Against brutality sanctioned by the state.

But if you portray it so aesthetically, in such detail, that’s not right either.

There must be more to it than that, surely?

You’re the meanest, most brutal bastard I’ve ever known.

You dirty, little bourgeois rat.

He said he's fond of you.

You know what the worst thing is?

When one realizes how damn bourgeois one is oneself.

You’re just discovering that now?

Yes.

But look at the movies you’ve made.

You know so much about that sort of thing.

Leave me in peace. You’ve cheated me terribly.

— What do you mean? — You —

I don’t want to go into all that again.

It's crazy.

Sometimes I could kill you.

Sometimes I could tear the clothes off your body.

No, that’s really perverse.

I can't play it. It's unmotivated_

I think it’s really hot. Imagine it.

He has an orgasm and dies.

What a death. It's terrific. Can’t you see it?

No. You two go.

Hey, Ricky.

I think he's cutting us off.

Shall I?

I'll kill you, you bastard.

I'll knife you, you fat slob.

Stop it!

My wife’s just the same.

She always decides...

how things are done.

Otherwise, she refuses to sleep with me.

And one reacts accordingly.

Leave him alone.

— Aren't I right? — Sure. Absolutely.

Now beat it, you idiots!

Bastard!

You keep out of it! Beat it!

I'll give you a ride home,

though I often walk home myself.

It clears the mind for thoughts one wouldn’t have otherwise.

Just leave me in peace.

Sorry to bother you.

Babs goes home tomorrow.

Do you understand, Sascha?

If I see that woman here tomorrow, you can sort out this mess on your own.

I swear it.

We’ll see whether I can really use the little bit of power I have!

I’ve gone to so much trouble,

and you never say a word.

I told you what you’ve done is great.

Honestly, Fred.

You never say a word.

I always have to ask.

You do as I tell you.

If I say, “Lay the tracks there,”

then the tracks go there and not somewhere else!

Is that clear?

Learn what movies are first! I had to.

But it has to fall into your laps, it seems!

It makes me sick.

Try using your heads for once!

It's not so hard to use your brains.

You know,

the only thing I accept is despair.

I just want to talk with the bastard.

Stop it.

If I can't afford to do that, what am I working for?

If I can't smash something, I might as well be dead.

Do you understand?

Ricky, did you mean what you said about the family?

— What kind of movie is it? — It's a film about brutality.

What else would one make a movie about?

Get me something to drink.

You’re the only one. You.

I have a friend.

Did you bring a newspaper with you from Munich?

Here.

There's a picture of you in it.

“The Devil of GrL']nwaId_

At about 10:00 yesterday evening,

the police succeeded in arresting 23-year-old Joseph K_,

a sexual offender who has long been sought for numerous offenses.”

It's going to be wonderful.

He has rediscovered something that’s been forgotten,

time.

I guess I won’t be content until I know he's been completely destroyed.

And I say to you

that I am weary to death

of depicting humanity

without partaking of humanity.