Original subtitles

(Children call out)

(Waves breaking)

MAN: Off you go, baby!

Elsa, go out to sea backwards!

(Waves crash)

CHILD: Oh, my towel's falling off.

My towel's falling off!

(Sea birds call)

(Sombre cello music)

(Bird calls shrilly)

(Bird calls repeatedly)

(Bird calls repeatedly)

(Distorted) ! Onward Christian Soldiers

CHILD: There it is!

What is it?

SECOND CHILD: Where?

CHILD: It's an ambulance, is it?

Where's Mummy?

- Gone. - She's gone?

WOMAN: / can't breathe.

(Steam engine chugs)

(Steam engine chugs)

(Steam whistle blows)

(Wind whistles)

(Door creaks)

(Wind whistles)

(Door creaks)

(Music box plays)

(Water bubbling)

WOMAN: I'm watching my hands ageing.

He'll come for me.

Devoted wife and mother, up and down with the big jug,

till she rested in peace.

Read me some more, Irene.

What can you see, darling?

(Faint sobbing)

(Woman murmurs)

June forced at her quarters rec...

Good night.

Wicked old bitch!

(Mouths)

(Softly) Wicked old bitch.

Wicked old bitch. Wicked old bitch.

Wicked old bitch. Wicked old bitch.

Wicked old bitch.

Wicked old bitch. Wicked old bitch.

Open your legs. Open your legs.

Open your legs.

Open your legs. Silly old bitch.

(Continues ranting)

Open your legs! Open your legs!

(Ranting intensifies)

(Screams)

(Mournful cello plays)

(Music distorts)

(Frenzied chords)

(Silence)

WOMAN: Begin at the beginning.

One cell.

Multiply.

Divide.

Divide. Multiply.

Divide. Multiply.

Divide. Multiply.

Multiply. Multiply. Multiply. Multiply.

Multiply. Multiply. Multiply.

(Repeats)

Multiply. Multiply. Multiply. Multiply.

Multiply! Multiply! Multiply! Multiply! Multiply!

Multiply and divide. Multiply and divide.

Multiply and divide. Multiply and divide. Divide! Divide! Divide! Divide!

Divide! Divide! Divide! Divide! Divide! Divide!

(Screams)

Have you got bloody knickers on?

(Cello mimics speech)

Have you got...bloody knickers on? Ha!

Meg the Peg can read your thoughts, little girl.

Mine!

Mine.

Mine.

I need it for my...

Mine.

Mine. Mine.

Mine. Mine.

Mine. Mine. Mine. Mine!

Not right. Not right.

Not right. Not right.

Not...right...little.. girl.

Not right.

Either you want a magic act...

...or you don't.

(Rattling)

Would you like to be my assistant?

Would you like to help?

That's... .right...little...girl.

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think! Think! Think!

Think of a number.

Double it.

Divide by four.

Multiply by six.

Answer!

(Laughs hysterically)

My stomach is made of blubber.

Blubber!

Made of blubber!

Strike a match, light up his nose.

His long grey finger grows...

and grows...

and grows...and grows!

Meg the Peg can read your thoughts, little girl.

You're spoiling the show.

His long grey finger grows...

and grows...

and grows...and grows!

You're destroying the act.

Can you add up?

Can you subtract?

Inside your head...

rattle, rattle.

Inside your head...

...unsightly apple.

An observer. A watcher.

A grub.

Now... little...girl.

- Dum dum dum

- Dum dum dum

- Dum dum dum

- Dum dum dum

- Dum dum dum

(Singing continues)

It's all envy.

En...vy!

Envy.

En...vy.

En...vy.

En...vy.

En...vy.

En...vy.

She's pretty!

She's a got a pointless mind.

- She's pretty. - She's got a pointless mind.

- She's pretty! - She's got a pointless mind.

- She's pretty! - She's got a pointless mind.

(Repeat rapidly)

Now...we're going to saw the old woman in half!

Ha ha ha!

Now, I'm going to begin a story.

And the little boy in the bed...

...Will be my helper.

Ha ha ha ha ha!

Ha! Ha!

Hah!

Ha ha ha ha ha!

(Laughs manically)

(Siren blares)

(Clock ticks)

YOUNG WOMAN: It's a cast of my head.

THERAPIST: Tell me about your head. YOUNG WOMAN: Hm?

Tell me about your head.

I don't know very much about my head.

Why did you do that?

- You tell me. - Because you hate us.

You think I hate you?

Why do you despise me?

You think I'm petty and greedy.

I think you're petty and greedy? Mm-hm.

Do you think that, or do I think that?

I think I've got petty, petty, petty, petty things.

What are you thinking about now?

I'm thinking that you're looking at me with incredibly critical eyes.

Yes?

- Can you look in the mirror? - I don't want to.

- Why not? -'Cos I don't like that face.

- You don't like your face or my face? - No, my face.

- Which one don't you like'? - 1 don't like mine.

Why aren't you crying? You're always crying when I see you other times.

I'm not crying always.

Well, what's wrong with your face?

Why are you trying to make a fool of me?

- Am I trying to make a fool of you? - Mm.

- How do you know that? - I just feel it.

Why do you feel that...

...that I'm trying to make a fool of you?

Why do you feel that?

I can just feel laughter, you know, inside you most of the time.

Inside me most of the time is laughter?

About me, yes.

All the things you're gearing me towards are about being hostile towards you.

When did I start that?

You think I felt hostile?

- Do you think you're ill? - I think most people are ill.

- No, do you think you are ill? - Probably.

Hm? What do you think your illness is?

- Greed. - What was that?

- Greed. - Greed.

Why are you so hungry?

YOUNG WOMAN: £ Dum dum dum

- £ Dum dum dum

- Dum dQum dum

(Continues singing)

I feel a sense of loss all the time.

You feel a sense of what?

Loss. All the time.

All the time. Mm-hm.

People are stealing things from you?

No, I'm losing them.

And what's your definition of 'calamitously ill'?

I haven't lost complete and total contact with my physical self or the physical world.

I would feel that was infinitely more calamitous.

Have you ever experienced orgasm?

- Very rare. - But you have.

Mm, once or twice.

Can you tell me about those occasions?

They weren't actually...

Maybe they weren't really orgasms because they weren't very phenomenal...at all.

And how do you decide what is really orgasm?

Well, it must be a moment of ecstasy.

I don't think I've ever really experienced a moment of ecstasy, no.

Do you think there's an analogy between colonised people and women?

(Strikes match)

It's like trying to scatter all their brains.

(Snaps fingers) Like that.

So why are you on my list?

Because you are in control of the situation and I'm not.

I haven't really said very much.

Oh, I Know. You don't have to say much.

Why is that?

Oh, oh, how can I say why is that?

Oh, I know that a lot of my relationship with you is about treatment.

But I keep probably fooling myself that some of it isn't.

And what's the bit that you keep fooling yourself about?

That I actually have something to give you.

Go to bed now.

Why do you want to give these things to somebody

who thinks you're a petty, stupid, ridiculous, foolish, little person?

Because even though you sort of think those things, I still love you, so...

That's probably stupidity or masochism. I don't know.

(Touches piano keys)

(Bangs piano keys)

MAN: What are you supposed...? What are you supposed to be doing?

THERAPIST: You're up against the wall.

It's such a huge wall.

So heavy.

Let go of the wall.

Oh...

Ohh!

Let go of the wall.

There needn't have been a wall at all.

- What? - There needn't have been a wall at all.

They bound me very fast.

Who bound you fast?

Who bound you?

I don't know.

(Sighs)

They knew how to bind well, anyway.

They knew what?

How to bind very well.

They've had a lot of practice.

Mm. Very.

Urh!

Ohh!

Yes.

(Sighs)

Why?

THERAPIST: Why what?

Why do they want to bind me?

Why do they want to bind you?

Why do they want to bind you?

Why do they want to bind you?

To strike me.

To take away my breath.

I can't breathe.

(Footsteps)

(Chiming)

(Cymbals and percussion)

(Clanging)

(Chime)

(Clanging)

(Laughter)

(Water bubbling)

(Clanging)

(Clattering)

(Woman screaming)

(Slapping)

(Woman screaming)

(High-pitched whine)

YOUNG WOMAN: Little sister was cute like a little sister

(Laughter)

(Footsteps)

(Clanging)

(Bell tolls)

(Sobs)

Dirty girl.

Dirty.

Dirty.

Dirty.

Dirty.

Dirty.

Dirty.

Dirty.

Dirty.

Dirty.

Dirty.

Dirty. Dirty.

Dirty. Dirty. Dirty.

Dirty. Dirty. Dirty. Dirty.

Slut.

Dirty girl.

Dirty. Dirty.

Dirty.

Dirty. Dirty.

(Pants)

(Sobs)

(Laughs)

Daddy's girl.

Little pearl.

Little treasure.

Stroke her thighs.

Little prize.

Prize.

Prize.

Prize.

Prize.

(Gasps)

(Sobs)

(Chiming)

(Retches)

THERAPIST: Where is this man?

- Where is this man? - Which man?

This man who's never gone anywhere.

Which man?

Which man?

He's not born yet.

No, I know. I know.

I know.

I know.

I thought we were all burning.

WOMAN: Burning, burning, burning.

Ohh!

(Sobbing)

What do you see there?

Oceans of blood.

Oceans of blood.

(Sobs uncontrollably)

Oceans of blood.

Oceans of blood.

Over the years.

(Children laugh and squeal)

Oceans of blood.

(Church bells ring)

(Laughs)

(Sombre organ music)

(Sombre organ music)

(Wind whistles)

(Organ plays wedding march)

(Congregation sings hymn)

PRIEST: ..the blessing of God Almighty...

(Whining)

WOMAN: Won't somebody help me?

(Gunfire)

Help me, somebody.

(Discordant voices)

(Music hall piano strikes up)

(Groans)

f Glory and love to the men of old

f Their sons may copy their virtues bold

Courage in heart and a sword in hand

2 We're ready to fight, we're ready to die for Fatherland

J Who needs bidding to dare by a trumpet blown?

- Who lacks pity to spare when the field is won?

(Artillery fire)

(Ship's horn blares)

(Explosions)

Courage in heart and sword in hand

f We're ready to fight for Fatherland

- Now, home again we come

- The long and fiery strife of battle over

? Rest is pleasant after toil as hard as ours beneath a stranger sun

- Beneath a wild and stranger sun

f Many a maiden fair is waiting here to greet her truant soldier lover

2 And many a heart will fail

f And brow grow pale to hear, to hear the tale of cruel peril he has run

f And many a heart...

2 And many a heart will fail

- And brow grow pale to hear the tale of peril that he has run

2 We are at home

S We are at home, we are at home

2 We are at home

f Glory and love to the men of old

f Their sons may copy their virtues bold

Courage in heart and a sword in hand

f We're ready to fight for Fatherland

We're ready to fight, we're ready to die, for Fatherland

We're ready to fight, we're ready to die...

£1 want to sleep with Daddy

MAN: How does that click?

WOMAN: Steve was an old bugger.

MAN: Used to keep his riding switch above the door.

Hooked it above the door, he did.

Kept it above a door.

And he used to point to it, he did.

He pointed at it and he said,

'If you goes on like that, I'll bloody use it on your bottom! I bloody will!' he said.

'I bloody will!'

Old pig!

I'll fucking get him one of these days.

I'll fucking get him!

Fucking get him, I will!

All the things he told you was to protect you. You know that, don't you?

It's to fucking protect you.

Yeah. Protect you his way, that's what it is. Protect you his way.

It's their way. It's nothing to do with you.

It's their way, and their way's quicker.

Come on, do it.

That's right, 'cos I want it now.

Now, I want it! Now!

(Air-raid siren)

Bloody now!

(Flames crackle)

It's not about anybody else.

You're all right!

You've got to grow old, haven't you?

(Whistle)

(Steam train chugs)

(Screams)

Ahh! Argh!

(Screams)

Ahh! Argh!

(Screams)

MAN. I'll say you need this!

(Screams)

YOUNG WOMAN: I've remembered it's a kind of word.

Like a pivot in the middle of everything.

(Piano plays)

5 Je veux...

$ mo...

2 ..aime...

J ..your...

(Siren blares)

Wicked old bitch.

(Water running)

(Water dripping)

THERAPIST: Why are you crying?

It is very beautiful.

YOUNG WOMAN: Lies.

THERAPIST: What's the truth? What's the truth?

YOUNG WOMAN: I've got these funny noises.

Lies! (Sobbing)

THERAPIST: What's the truth? - What's the truth?

- Can't you see? - Can't she see what?

Can't she see what?

A stranglehold!

(Echoes) A strangle...

Can't you see?

THERAPIST: Ask her.

Go on, ask her.

Can't you see?

THERAPIST: Why can't you see?

I want to see something underneath.

- I want to see something underneath. THERAPIST: Or what?

Underneath or what?

What do you want to see? There is everything under there.

Under each of us is all the pain and all the love.

All of it in all of us.

(Soundtrack masks speech)

THERAPIST. It seems like a very...

archetypal image that goes back...

Very.

When she said you were old...

WOMAN: Old.

So ancient!

WOMAN: Ancient.

THERAPIST: ..the very roots... WOMAN: Old.

...a whole history..

And just epitomising oppression...

WOMAN: Oppression.

Oppression.

No, you don't like us!

- What? - 'Cos you don't want to look at us.

- Why not? WOMAN: Oppression.

All this pain and it's so simple.

It's so simple.

Just empty it out...

There's no change.

They were in fucking pain but then it's gone.

Just...

Oh, why are we so afraid of caring?

They're so fucking beautiful.

THERAPIST: You don't believe anything she's saying. Why's that?

Why don't you believe her?

Hm?

THERAPIST: Why don't you believe... - It's lies!

THERAPIST: What's the truth? What's the truth?

What's the truth?

lam you!

THERAPIST: When you choose. - Choose? There's no choice. We are!

That's what it's all about!

- There's no choice. - Oh, yes, there is.

You've got to say there's that margin of freedom.

Of course there is. Of course there is. I know that. I know that.

Look, you're saying now, 'Yes, I know: But that's not what you feel.

It's not how I act. My feelings. My...

Yes, I make my responses in the wrong direction.

I get caught always in this archetypal oppression.

Caught, caught, caught.

But there are always some time, somewhere the spaces I can see through.

THERAPIST: Do you go through or do you see through?

Do you go through or do you see through?

I don't go through for very long, but at least -

At least they have...happened...a moment.

A day...

And so you know that you can dive into the dungeon.

(Echoes)

I feel as though I've been placed as an outsider,

but I feel an outsider.

Strangled!

Oh!

Look and not do.

All right.

How long can you be bound?

How long can you be bound?

There are things that aren't bound - things that grow, for Christ's sake.

Caught, caught, caught.

And I get caught always in this archetypal oppression.

I take this pain on myself.

(Echoes) Pain on myself.

I've stepped...

I've stepped in deliberateness.

(Echoes)

I've stepped in and it's all right. THERAPIST: Do you believe her?

GIRL. I believe that she's at the abyss, yes.

- Do you believe her? - The abyss. The abyss.

- What? - We've established some belief.

What? - We've established some belief.

Is that what it is?

THERAPIST: Lost. - It's lost.

THERAPIST: And...we've got 5,000 years of whips on our back.

Lost.

It was my own fault. I have colluded. I have colluded and decided not to be...

...part of this.

That's why I was in the nursing tent.

And what you get...

What you receive there, you receive hostility.

Because they will take...

Those people only have the time to accept you as the role you choose.

The role you choose.

(Laughter)

Collusion.

Collusion.

I feel a tremendous collusion.

Collusion between us?

Against you?

Fears of exclusion, of rejection,

of needing that sum...

It felt safe to step outside.

THERAPIST: Why haven't you danced since you've been here?

- I have. - I haven't seen you.

I danced last night. I dance in my room.

- I often dance... - Well, then.

Why don't you dance publicly?

I will.

I'd do anything now, but it doesn't matter any more.

(Sobs)

I'm trying to keep up some kind of facade.

I'm trying to keep up some mad image to please somewhere or other.

THERAPIST: Me too.

Where you place the most need.

(Echoes)

But why is paralysis and rigidity something that's going to be for the most need?

Paralysis and rigidity. Paralysis and rigidity.

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

Just because I'm very frightened.

Now I can no longer be frightened.

It doesn't matter. I cannot receive from where... Where?

From where?

Well, I've been looking. You receive it from each and every... every person.

Don't place it in one.

- Or if you do it... THERAPIST. It hurts.

It hurts.

That's exclusion and collusion.

(Echoes)

And get it in one. One is everything.

Yes.

Yes. And the one contains everything.

- Everything. Everything. - Why are you crying?

Everything.

Why has it paralysed you?

'Cos there's... 'Cos there's no free flow.

(Echoing) Free flow.

I can only look at it.

(Echoing) Look at it.

It doesn't flow.

THERAPIST: Your face or my face - which one don't you like?

I don't like mine.

You don't like your face?

'Cos I've never seen it so beautifully flow when it does, whichever direction it takes.

THERAPIST: What are you thinking?

- Sentimentality. - Sentimentality.

(Echoing)

She's pretty.

MEG THE PEG: She's got a pointless mind.

- She's pretty. - She's got a pointless mind.

- She's pretty. - She's got a pointless mind.

(Repeating more rapidly)

You can't ask people to explain how they feel and then constantly put it down.

This is what I've searched out all my fucking life and I find it here as well.

THERAPIST. You think that I was putting you down?

The most.

Desire?

I did seek to be put down, obviously.

Oh, it's so mad, this.

It's so jealous, the ego...

...while I'm talking.

(Echoes) ..I'm talking.

It's so one-dimensional. It's...

(Echoes) One-dimensional.

Oh, fuck it!

None of it. Oh, fuck it.

- Oh, fuck it! - None of it.

None of it. None of it.

None of it.

You are exactly like your mother.

(Echoes)

Exactly like your mother.

WOMAN: ! think you're being cruel.

MAN: Better to be cruel than ridiculous.

(Laughter echoes)

(Wind whistles)

(Sings ethereally)

WOMAN: Our father, king of worms,

Multiplier of numbers,

We have made a cross-section of the facts,

And come up...murder.

Mur-der!

Mur-der!

Mur-der!

Mur-der!

Murder!

(Imitates machine gun) Murder!

(Imitates machine gun) Murder!

(Imitates machine gun) Murder!

(Imitates machine gun) Murder!

Strength, little girl...is madness.

And madness is the persistent belief in one's own hatefulness.

Lightning in the brain

signals down the arm,

persuading the fingers to conclude that which happened a very long time ago.

When...this...light...goes...out...

...we'll measure it...against the sky.

And the difference...will ascertain...

...the night...of the witch howl.

The night...of the burning.

(Ship's horn blares)

I'm going to begin...and stop.

And the little boy...in the bed...

. Will be...my helper.

Ha ha ha ha!

Ha ha ha ha!

- Underneath my nightie

St Guess what I got

Ahh!

- Underneath my nightie

- Guess who it is

- Underneath my nightie

5 Guess who I am

All together...

fellas.

It's your castrating mum!

(Cheering and whistling)

- Underneath my nightie

- Guess who it is

- Underneath my nightie

St Guess what I got

- Underneath my nightie

5 Guess who I am

All together...

fellas.

It's your castrating mum.

That's who lam. Your castrating mum.

(Piano starts up)

I I'm your...

- Bar room...

(Cheering)

(Pots smash)

(Rattling)

And your Auntie Flo...

Ha ha ha ha!

...smacked you...

Trained you on the...

...PO.

(Slow piano)

Big...

as a mountain.

(Laughter)

Remember Ursula, Raquel and the lovely Diana.

Tits...

like an iron grid.

CHILD: Mustn't touch it. - You dirty slut!

(Sound of toilet flushing)

What are we going to do for a piss, then, later?

(Raucous laughter)

Better go on.

(Laughter drowns speech)

You can't piss out of the window, can you?

(Laughter)

Bloody gauntlet.

Tits like an iron grid.

CHILD: Mustn't touch it.

All together, fellas.

Guess who I am.

It's your castrating mum.

(Piano)

Und now...a little Eine Kleine...

...Nacht Musik.

2 Ever since

- You were just

J A little toddler

Und you lay...

Christ!

How you lay!

F You lay the vay

- You lay today

I In my lap

& Und my hand vent smack!

- You so frightened me with your little vee vee

Ha ha ha!

I could bite him off...

(Rattling)

...aS SOON as spit.

(Hawks)

- Soon as...

2 ..Spi-i-i...

...It

- Et maintenant, peut-étre

- Tu aimes la petite bebe

5 Je veux...

$ mo...

2 ..aime...

J ..your...

I ..big...

I ..Wairy...

5 ..spider

(Purrs)

5 ..chews up...

é ..little flies

? Big...

J ..as your eyes

5 Chews up...

é ..little flies

é Little

J Flies

What's it gonna be?

Are you gonna take the money?

(Laughter)

Open the lock!

- Underneath my nightie, guess who it is

- Underneath my nightie, guess what I got

St Underneath my nightie, guess who I am

All together, fellas...

(Laughter)

f It's your...

? Castrating mum

CHILD: It's not right. It's not right.

It's not right. It's not right. It's not right...

(Discordant strings)

Then...

(Audience chatter dies down)

...1 grew old.

And I died.

(Applause)

(Audience chatter)

(Toilet flushes)

(Siren blares)

(Steam train chugs)

CHILD: Mustn't touch it. Mustn't touch it.

(Sound of train passing by)

(Sound of train's whistle)

MAN: The aim of the game...

...1S to find out why...

(Train clatters by and whistle blows)

(Laughter)

(Sea bird calls)

(Waves breaking)

(Laughs)

(Sobs)

(Woman sobs hysterically)

(Sobbing intensifies)

(Violent sob)

I know what it is!

Oh, I know what it is.

(Sobs) Oh, I Know what it is.

It's not wanting to leave.

It's the thing about mother and father not wanting to leave.

(Sobs)

Ahh!

Ahh! Oh, what are we doing to ourselves?

Ahh! Ahh!

(Wails) How can we forget...

(Speech drowned out by soundtrack)

Ohh!

Ohh!

And I keep waiting for the night, I guess.

Oh! It's blood!

I can feel it!

WOMAN: Hush to the sounds of the beasts!

(Dramatic electric organ)

(Drums and bass guitar strike up)

(Screams maniacally)

(Band plays blues rock)

(Music reaches crescendo)

(Feedback howl)

(Music stops)

She presented with what we thought in the beginning was schizophrenic symptoms.

She was grimacing, crying,

tearing a handkerchief she had in her hands to bits.

This was the first time we saw her.

'I can't stand it, I can't tolerate it. Everything is all wrong.

I have to do away with myself.'

This kind of thing.

'I have the throw abouts often.'

What do you mean by the 'throw about'?

'Oh, I throw furniture often and I beat my husband. '

So we saw her alone for the first time.

She was referred by a psychiatrist at the day centre.

So we thought, 'Hmm, my God,' you know. 'It's a hell of a problem here.

Well have to see the whole family because we can't fit this into context'

So she was put on some sedative medication,

just to keep her nice and quiet,

containing her until the next time we could see the husband and the children.

- What's a schizophrenic? - What is a schizophrenic?

Oh, my God, there are so many different definitions, you see,

depending upon the psychiatrist who's making it.

So it's entirely through his eyes?

It is, exactly.

If you had Sergeant, who is the chief, he uses medicine.

He used to use lobotomies, they're out now.

They are really out of date and nobody does that any more.

He uses medicine.

Then you get other people who would use a philosophical approach to it.

You see?

We've got half a dozen psychiatrists in two hospitals.

And the three in each use different approaches.

And how you come out will depend on which doctor you've been under.

Isn't it?

This IT will cling to, all the time.

What can you see in the water?

What can you see?

Hmm?

It's like everything kind of dropping into...

_.its centre well.

A little.

What's in the well?

What is in the well?

Water?

MAN: Excuse me, could you identify what is happening, please?

Excuse me, could you...

Could you tell me what's happening, please? I'm the hospital secretary.

Ring the police!

Ring the police!

Get her away from me.

Pull her away.

Hey! Come on!

No! Leave her where she is. We're having the police.

We're having the police.

WOMAN 1: The police?

'Can't help that,' said the Cat.

'We're all mad here.

I'm mad. You are mad.'

WOMAN 2: I want you to take a card. - 'How do you know I'm mad?' said Alice.

'You must be,' said the Cat. 'Or you wouldn't have come here.'

WOMAN 2: Then give it back to me.

WOMAN 1: Alice didn't think that proved it at all.

However, she went on...

'How do you know that you are mad?'

WOMAN 2: We've had some illness in the family.

For a long time I think.

WOMAN 1: 'A dog's not mad. You grant that.'

'l suppose So,' Said Alice.

WOMAN 2: But you are keeping very well.

WOMAN 1: 'You see, a dog growls when it's angry and wags its tail when it's pleased.

Now, I growl when I'm pleased.

And wag my tail when I'm angry.

Therefore. ..I'm mad.'

WOMAN 2: That's a good lifeline you've got there. Hasn't changed over the years.

WOMAN 1: I'm mad.

You're mad.

I'm mad...you're mad.

- I'm mad. - Mad.

- I'm mad. - Mad...

Come, little girl.

Come.

Oh, thank you.

Do you want some more?

Would you like to put some grapefruit juice in this?

Yeah.

That's it, tear a bit off.

Scrunch it up.

Steady now. There's a good girl.

That's right.

That's right, that's right.

(Baby cries)

The more the merrier.

(Laughter)

Where's the other cock got to?

(Sings notes)

MAN. I'll tell you when to stop.

(Laughter)

Stop!

'I'll tell you when to stop'!

Mm.

- May you live forever. - Good wine.

Good wine.

Fish.

(Strings tuning up)

(Whooping)

(Plays) ! Please Release Me

- Oh, release me

J And let me love again

- I have found a new love, dear

2 And I will always want her near

- Her lips are warm while yours are cold

- So, release me

J And let me love again

(Song finishes)

MAN: Quiet.

- And I touched you...

With soft words I whispered your name

£1 had your love on the tips of my fingers

- But that's as close as 1 came

- Your eyes were a vision

5 Of sweetness

- Your lips were at my command

Wahoo!

£1 had your love on the tips of my fingers

f And I let it slip right through my hands

- Somebody took you when I wasn't looking

- I should have known from the start

I It's along, long way from the tips of your fingers

£ To the love hidden deep in your heart

£ To the love hidden deep in your heart

5 Ave Maria

MAN. I'm only here for the beer.

5 Ave Maria

I'm only here for the beer.

5 Ave Maria

(Native American-style wailing)

(Lively jig)

What can you see?

What's in the well?

Goodnight Irene

Stand back. Now, stand back.

Now, fight fair. Fight fair.

Out the way. Let them fight fair.

No-one's on the floor.

- Come on, now. WOMAN: Stop fighting.

Right, as you were, now.

Hey.

- Thank you. - Hey.

You and Gibbs have done, haven't you? Now, you see...

All right, that's enough.

That is enough!

Now shut your fucking mouth.

(Barrel organ plays discordantly)

And perhaps when you show me the film I'll be able to see myself as I am without these.

Yes.

Come on, boy, rear round.

What dance is that?

Ch-ch-ch-ch...

Oh-ho, John.

Yes, lam.

What are you waiting for?

(Wails)

BOY: Irene! Irene! Irene!

£ Good night, Irene

2 I'll see you in my dreams

- The stars reveal your dreams are real

2 I'll see you in my dreams

Argh!

- Goodnight, Irene

S I'll see you in my dreams

2 The stars reveal your Creams are real

S I'll see you in my dreams

(Screams)

(Factory hooter)

(Sound muted out)

(Bell tolls)

(Church organ)

(Cymbals)

(Woman sobs)

(Sings notes)

(Mouths)

(Woman screaming)

(Cacophony continues)

YOUNG WOMAN: It's a cast of my head.

THERAPIST: Tell me about your head.

Tell me about your head.

I don't know very much about my head.

Why did you do that?

You tell me.

Because you hate us.