Breaking Glass (1980) - full transcript
A rock singer is determined to rise to the top of the profession, letting nothing stand in the way of that goal.
[♪ 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.