All language subtitles for Absolute Beginners 1986 vosteng_track3_[eng]

(ROCK MUSIC PLAYING)

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

I've nothing much to offer

And there's nothing much to take

I'm an absolute beginner

But I'm absolutely sane

As long as we're together

The rest can go to hell

I absolutely love you

But we're absolute beginners

With eyes completely open

But nervous all the same

If our love song

Could fly over mountains

Could laugh at the ocean

Just like the films

There's no reason

To feel all the hard times

To lay down the hard lines

It's absolutely true

Ba-ba-ba, ooh

Ba-ba-ba, ooh

COLIN: I remember that hot,
wonderful summer

when the teenage miracle
reached full bloom,

and everyone in England stopped
what they were doing

to stare at what had happened.

The Soho nights were cool in the heat,

with light and music in the streets.

And we couldn't believe
that this was really coming to us at last.

Nobody knew exactly why.

But after so many dreary years

of bombs and blitz and slow rebuilding,

no sugar, no jam,
nothing sweet anywhere,

with the whole English world

dressed in gray it seemed forever.

Suddenly life broke out
in warm colors again,

so young and beautiful that a lot of people
couldn't stand to look at it.

For the first time ever,
kids were teenagers.

We had loot, however come by.

And loot's for spending.

And where there's loot, trouble follows.

No?

COLIN: During my last teenage year,

I kept myself by taking photographs.

Naughty pictures for profit.

And solid street pictures for love.

So that when the blossom went off,
and the flower turned to plastic,

me and my friends
could remember how it looked.

Money for looks. Money for film.

Do you like it?

But most of all, money for Suzette.

You got it.

My beautiful Crêpe Suzette.

SUZETTE: Don't be late, Colin.

(UPBEAT MUSIC PLAYING)

(BELL TINKLING)

- What, no trousers, Ken?
- That's fine with me.

Yeah, this is England. Go back home.

Come on. Is this enough?

MAN: All right, 50 quid.
But that's for two of you, right?

Where to, girls?

- Mandy's house.
- Hey.

(BOTH LAUGHING)

Oh, you bitches, where are you going?

COLIN: It was England all right,
but very un-English.

Every class, every income, every kink.

Boys, girls, black, white, yellow,
bent, versatile,

all on equal terms.

(GIRLS LAUGHING)

BOTH: Bye!

SAILOR: Hey, Joe, we got us some fun!

All right.

(MEN EXCLAIMING)

(GIRLS CHATTERING)

Let's have a night on the town, baby.

(GIRL GIGGLING)

(HOOTING)

What a big boy, isn't he?

Ooh.

You naughty child.

(EXCLAIMS) Leave off.

(SCREAMING)

COLIN: Take it easy.

Bloody teenagers.

COLIN: True, sometimes a knife came out.

But that was always between friends.

You behave yourself,
you're all right here.

It's not in Soho where some sex maniac
leaps on your back and violates you.

That's strictly for
the respectable neighborhoods.

All right then, come on.
I've got half an hour to kill.

Me and my pals are regulars down here.

Every night the same old young faces.

(INDISTINCT CHATTER)

Wizard.

COLIN:
Wiz, a real child of the pavements.

Baby face like a mask
over his 2,000-year-old soul.

- (BLOWING TRUMPET)
- A colored cat named Cool.

So cool for reasons
too obvious to mention.

Fabulous Hoplite.

Our own low-rent Oscar Wilde

and a very well-connected boy.

(PEOPLE CHEERING)

Dean Swift.

A sharp modern jazz creation.

Expensive habit.

No bread.

- Whoo-hoo!
- Big Jill.

Hiya, big boy. Give us a flash. Ooh!

Chicks only for Big Jill.

But a boy's best friend anyway.

Christ. Midnight.

Hey, nobody.

Open up.

(UPBEAT JAZZ MUSIC PLAYING)

(WHISTLING)

COLIN: Just doesn't do
to be late for a girl like Suzette.

(GASPS) Hi, doll.

Hi, hon.

You nearly lost me there.

(PLAYING UPBEAT JAZZ MUSIC)

(WHISTLING)

(PEOPLE CLAPPING)

Cool, honey.

Hold this.

Mods!

Trads!

Mods!

Trads!

(CROWD CHANTING)

- Mods! Mods! Mods! Mods!
- Trads! Trads! Trads!

- Mods! Mods! Mods!
- Trads! Trads!

(MAN SHOUTING)

(CROWD CLAMORING)

Yum-yum. Crêpe Suzette.

(HISSING)

Nice enough to eat.

(CHUCKLES)

Careful, Wizard.

(MUSIC CONTINUES)

(MUSIC STOPS)

Hey, Dorita, can I walk you home?

The streets have eyes, Cool.

And my mom and dad would kill me.

Why roll the dice, Dorita,
if you didn't want to bet, huh?

It's one thing in there,
but it's different on the streets.

- Look, I've gotta go.
- Taxi!

Taxi!

Come on, Suze. Hey!

(SUZETTE SQUEALING)

COLIN: Whoo!

(BOTH LAUGHING)

Come on, it's not that late.
Your place or mine?

Some of us have to work for a living.

I have to be at Henley's show
tomorrow morning.

Why do you work for that creep, hon?
He's just using you.

You could take your designs anywhere.

I'm using him, too.
I may even get to Paris this year.

Paris, France?

Oh, Colin.

Look, he could help you, too,
if you'd let him.

You could take pictures of my designs.

We'd work together.

I told you, I'm not taking pics

of a lot of high-class tarts
wearing your silly hats.

And certainly not Henley's glad rags.

Oh, sorry, I forgot.

You're taking all those pics
for your exhibition.

Right!

The one you're having
in your wildest dreams.

- (TAXI APPROACHING)
- Taxi.

Hold it! Taxi!

Go on, get out of here.

You should be at school in a few hours time,
you ratty little sod.

Take me there. Let me in.
Come on, let me in.

Look, I found another client for you.

(SCOFFS) Harold Charms, the pop mogul?

He could easily find
his own dirty postcards.

SUZETTE: You'll do it. You're down
to your last pair of mock crocs.

And you promised to take me
to dinner tomorrow night.

Money isn't everything.

I know. But...

Well...

It'll do until everything comes along.

(WOMAN SCREAMING)

Help! Somebody!

Stop! Please, stop!

They've got knives!

Colin.

Help! Help! No!

Don't get involved, Colin.

(GRUNTING)

(GASPING)

Oh, let's get out of here.

Taxi.

Over here.

I need my beauty sleep.

DRIVER: Where to, luv?

Bayswater.

Okay. Jump in.

Well, last chance, Colin.

See you after the show
tomorrow, all right?

And don't be late.

(BOTH CHUCKLE)

COLIN: Last chance.

She means business, all right.

I couldn't even afford a down payment.

But anyway, you don't get a girl
like Suzette on the never-never.

It's not that I've got
anything against money,

it's just what you have to do to get it.

Still, there's always tomorrow.

At least, there's other
casanovas in the same boat.

Napoli, the land that time forgot.

We always came home
with the night shift.

Now you might say,

"If you're so cute, kiddo,

"how come you live in
a disaster area like this?"

Well, for one thing,
as you might imagine, it's cheap.

Cash to the landlord once a week.

But otherwise, goods circulating

on a more or less informal basis.

I saw that.

But the thing I love most
about these streets

was the thing that made some people
positively hate them.

Because here, nobody cared
where you came from or what color,

what you did or who you did it with.

(EXCLAIMS) Santa Maria.

Unfortunately, it wasn't exactly Suzette's
idea of a desirable address,

which is why I've never
brought her home.

(INAUDIBLE)

- Catch.
- How's that?

Come on!

Come on, you owe me two months' rent,
and I'm not going until I've got it.

You can't charge rent
for that, Saltzman.

You need to put a roof on it first.

(SPEAKING IN ITALIAN)

- Hiya, Big Jill.
- Hiya, lady killer.

Oh, Napoli, Napoli, Napoli

Not the one in Italy

Come on, darling.

Home.

Sweet and sour home.

(BARKING)

HENLEY: People often ask me
how I became dressmaker to the Queen.

My answer is always that I owe it all
to my wonderful clientele.

(CLEARS THROAT)

- (PEOPLE CHATTERING)
- And I can only hope that you kind ladies

will grace our latest collection
with your favor.

(LADIES CHATTERING)

Ladies and gentlemen, I give you Henley's
new Elizabethan collection.

Opening with a selection of
costumes de baigneuses,

with a touch of rococo,

in aquamarine,

bouteille, and nuit.

Decorated with cerulean oysters,

pearled fish, scallop shells
and shimmering starfish.

Guaranteed to sink any passing ship.

(PEOPLE LAUGHING)

And for evening wear,
our shell and mermaid creations

in crepuscule and turquoise
and inlaid with over

- 18,000 Majorcan pearls.
- (YAWNING)

(INDISTINCT CHATTERING)

And for the more daring among you,

our latest bikini styles...

- (PEOPLE EXCLAIMING AND CLAPPING)
- ...in oyster and coral motifs.

Henley, you have got to be kidding.

I mean, you are not seriously

going to show these gowns in Paris.

Honey, they will laugh you
off the stage.

And, Henley, hemlines can't come down.

They've got to go up.

Really, Dido, there's nothing worse

than the back of a woman's knees.

They remind me of uncooked rock cakes.

- (INDISTINCT CHATTER)
- GIRL 1: Somebody help me!

- GIRL 2: Oh, God, Suzette.
- GIRL 3: I'm just taking off my...

Oh, Colin.

COLIN: I said I wouldn't do this.
And here I am doing it.

A few painless shots,
and I can pay for dinner.

That's what I call integrity.

MAN: But you've never heard it
like this, Mr. Charms.

It's a sure-fire hit.

COLIN: Just look at these
fame-starved urchins

putting on the agony,
all trying to sing like hillbillies,

just praying for Harry Charms
to snap them up

and sell them into pop slavery.

(SINGING)

I mustn't throw stones,

especially not at Americans.

Yanks invented teenagers.

England for the English, and all that.

But being anti-Yank's
a sure sign of defeat.

I've got the tickets for
the Stravinsky recital.

Harry Charms, I've got an appointment.

He's in there.

Do me a favor,
don't drive me mad down there.

COLIN: He was precious, all right.

Loonies.

And very nasty in the wrong hands.

Listen.

You know the three
most useless things in the world?

The Pope's balls, a nun's tits,

and a good write-up
in The Record Mirror.

Harry Charms?

- Who are you?
- My name's Colin.

Sonya, how many times
do I have to tell you...

- Suzette sent me.
- Oh.

I've come about the dirty pictures.

Dirty pictures? No, no, no.

Where'd she get that idea from?

Do you mind?

This is the Harry Charms Stable
of Stars.

Each one a star in their own right.
Come and sit down.

No, over here.

Whitey Britain, Charles Harold,
Zesty Boy Swift.

All my own discoveries.

And over here...

At least one more, maybe two.

They don't know it yet.
Neither do I, for sure.

(CHATTERING)

Right, come in here and have a look.

- (SHUSHING)
- All right, settle down, everybody.

All right, stars?

(SNAPPING FINGERS)

Right.

It's not just their talent,
you see, it's mine.

- (ALL CHUCKLING)
- Look at this.

Stand up. No, not you, you.

No, not right. Who else?

You, let's have a look at you.

I'm a great drummer.

Too many cream buns.

(LAUGHING)

Naming them, taming them,
famousing them up.

Oh, he's very musical.
Oh, he's a great mover...

Leave it out, Mum.

You could be right.

Well, Colin, I've got a new song.

- (PEOPLE MURMURING)
- With your help,

I'm gonna make it a hit.

(UPBEAT MUSIC PLAYING)

(GROWLING)

Well, there's gonna be some changes

What a mover.

Around the garbage can

Get a shot, Colin, get a shot.

When you lean, lean right forward.
That's good, baby.

It's a hit. We've got a hit.
I can feel it.

I may look like a little kitten

That's good. Give it to us, baby.

Boom it out. Yeah! Ooh!

Look out, big cat,
a little cat's moving in

Yeah, yeah.

Now move your hips.

Move your hips forward, back.
Now twirl them around.

Come on, baby, boom it out, baby!

Sing it, baby.

Baby, boom it!

Baby Boom!

Baby Boom! That's it!

Get a shot of Baby Boom.

Until I start to roar

(ROARING)

(FAINT APPLAUSE)

(PEOPLE MURMURING)

- Come on, Suzette, I need to go.
- Yeah, yeah, yeah.

I'll pin you underneath.
Oh, God, I'm caught!

SUZETTE: (WHISPERING)
Stop, Camilla. Stop.

- (WHISPERING) Get off!
- Stop.

Will you get off?

(ALL GASPING)

Oh!

DIDO: Oh, Henley, you've been
holding out on me, you rascal, you.

(ALL GASPING)

Watch it, will you?

Oh, I love this look.
What do you call it?

(EXCLAIMING)

Henley, this is one of yours?

(SQUEALING)

- (SUZETTE EXCLAIMS)
- I'll bloody well get you for this!

(ALL CHATTERING)

There she is! Her!

DIDO: Oh! Bravo, bravo.

WOMAN: Get her!

Ooh!

(UPBEAT MUSIC PLAYING)

(LAUGHING)

SUZETTE: Va-va-voom!

(WOMEN LAUGHING)

(PEOPLE CLAMORING)

Heya!

Oh, Henley, you're a genius.

Get this.

(INAUDIBLE)

(SQUEALING)

I'll bloody well get you for this.

(SCREAMING)

- It's a very exclusive club.
- It's here somewhere.

I know I had it. I had it...

What seems to be the problem?

This gentleman, sir.

WOMAN: Look out. What are you doing?

I don't think she'd appreciate
your presence here right now.

- Come on.
- What's that supposed to mean?

(SQUEALING)

Come on, boys!

Look at that!

Disgraceful!

- Fantastic!
- Wow!

(YELLING)

(MAN HOOTING)

(MUSIC STOPS)

(CROWD CHEERING LOUDLY)

CROWD: (CHANTING)
Henley! Henley! Henley! Henley!

HENLEY: Thank you, ladies and gentlemen.

Thank you, thank you,
ladies and gentlemen. Thank you.

Thank you, ladies and gentlemen.

You have witnessed an historic event.

The birth of Henley's young idea.

Bravo. Bravo.

Darling, I didn't know
you were so talented.

Let's talk about it over dinner.

But a friend and I were going to eat.

Well, the Paris collections
start next week.

I know a lot of people who'd like to get
acquainted with you, design-wise.

Would you like to meet Yves? Christian?

I'd love to.

MAN 1: I've got whores!

I've got whores!

Anybody want a whore?

MAN 2: Out of the way.
Watch out. Thank you.

MAN 3: Less lust.

Young men and young women.

Two coffee, coffees coming up.

(PEOPLE CHATTERING)

Can't you two get a room?

Move it!

I will tell the whole truth,

and others will continue
what I have begun.

I am like Zola...

POET: I'm in a trance!

COLIN: I'm your boy, Suze.

Forever and ever.

Every man is a reasonable being.

Scram.

(LAUGHS)

Hi, Colin.

Hi, hon.

I don't believe it.

How come you're not late?

I made sure.

Listen, Colin.

I can't make dinner tonight.

I've got to work.

Don't be like that, Suze.

- Why didn't you turn up?
- I did turn up.

No, you didn't, Colin.

I did. Ask your Uncle Henley.
He knows all about it.

I even did the Harry Charms
shots for you.

Oh. Don't worry about it, Colin.

Stay on here in the Land of Oz,

with the Wizard
and all those other creepy pals of yours

and you'll never need to know.

(SIGHS)

I've gotta go.

(FINGERS SNAPPING)

You ask me what I want

When I thought I'd made it clear

Although I won't stop loving you

You can never have me near

Don't blame me

I never asked you to fall

No one's gonna stop me
from having it all

Having it all

You'll never stop me from having it all

Having it all

You'll never stop me from having

Having it all

Having it all

You'll never stop me

From having it all

You've got to accept

I'm no ordinary girl

And I'll never fit

In your perfect little world

Don't take it lightly

Baby, I'm not bluffing

To get what I want

I'll stop at nothing

Having it all

You'll never stop me

From having it all

Having it all

You'll never stop me

My reasons are simple

So don't ask me why

I'll never forget you

Good

Bye

MAN: Less lust through less protein.

(UPBEAT BOSSA NOVA SONG PLAYING)

Have you ever chased the night

That sailed in front of you

On a boat that's bound for hope

But left you in the queue

With the shouting, waving, taunting

Flaunting friends that's cruel

Telling you that every lie
you ever heard was true

Have you stood up on that dock

Have you ever had it blue

Ooh, ooh

Doo da doo doo doo da doo doo

Have you ever woke
to find the morning didn't come

Undelivered with the paper
stolen by someone

Found the milkman bound and gagged

And with shackles round the sun

And the holder of the keys
turns out to be the one

The girl you had your heart set on

Have you ever had it blue

Have you ever had it blue

Have you ever had it blue

COLIN: The days really
drag by when it's hot.

No Suzette to make the time fly.

Five days without her.

It seemed like a year.

Back to the old ancestral seat.

I still have my darkroom.

Down in dreary Pimlico,
where my parents live.

If you can call it living.

Hello, Ma.

Hello, blitz-baby.

(RADIO PLAYING SOFTLY)

MAN ON RADIO: We present
Tony Hancock, Sidney James,

Jim Kerr, Hattie Jamieson,
Kenny Williams

in Hancock's Half Hour.

(BELCHING)

(EXHALES DEEPLY)

What are you doing
in my darkroom, Jules?

My name's Vern, ain't it?

Moron.

So why do you keep calling me Jules?

(MACHINE RATTLING)

(KNOCK AT DOOR)

COLIN: Come in.

Hello, Dad.

I tried to stop him moving in.

Been misbehaving with the lodgers again.

Bloody wogs.

Thanks, Dad.

How's the photo album going?

All right. Here, have a go at those.

COLIN: (CHUCKLES) You're not
still on the poor old 1930s, surely.

It was a terrible time to be young.

Poverty. Unemployment.

No light at the end of the corridor.

It's better now, even with the bomb.

Hold it a minute. We'll not do this.

Should've had my youth along
with all these drip-dry shirts and sputniks,

not like then.

Come on, Dad,
you're toughening it up a little, aren't you?

You and Ma look like you were having
a good time in these snaps.

My wedding day.

I remember it like it was yesterday.

I wish it was tomorrow,
then I'd cancel it.

(LAUGHING) It's not that bad.

You should get out more often.

What do you hang around this dump for?

'Cause the dump has to look respectable.

She keeps him here.

Ignore him, Dad.

He's nothing to do with me.

And keep him away from my pictures.

I don't want my image splattered
all over the ceiling in the morning.

You really are a horror.
A real unidentified slob from outer space.

Is that a fact?

Well, you're a traitor
to the working class.

(LAUGHING)

COLIN:
Well, Suze, that's the way it goes.

If you could see my weirdo family,

you'd never have to ask why I left home.

Poor Dad,

sweetest bloke you'd ever want to meet,

locked up with his pre-war photo album
and his sad memories.

Mum trying to keep her looks,

always carrying on with the lodgers.

Half-brother Vern,

born middle-aged, thick as two bricks

and you wouldn't even want to imagine
what he gets up to.

- Hi.
- If this is adult life,

I think I'll stay
an absolute beginner forever.

Something's happening,
but I'm just gonna turn a blind eye

If I see no evil

(BIRD CHIRPING)

I ask no questions and I hear no lies

Get them down
to the kitchen and wash them.

Can't communicate
with minds that are small

With some people it's like
talking to the wall

And the fella who walks away

Lives to battle another day

And I've really got no appetite

For a fight

Sign here, Governor.

Not tonight

- What the hell is going on in there?
- Coming, Mum.

All I want is a quiet life

Anything for a quiet life

No ambition to rock the boat

When I can just stay afloat

And be content with a quiet life

All I want is a quiet life

Anything for a quiet life

Here, wash these.

Hear no evil, see no evil

Speak no evil at all

You naughty boy.

Confidentially, between these walls

I'm on top of it all

(GIGGLING)

I'd rather have 'em think
I'm deaf, dumb and blind

Than aggravation every time

I speak my mind

Keep spoonin', have a quiet life

Anything for a quiet life

What, you lazy sod,
what you doing in here, anyway?

Get upstairs and vacuum the carpets.

Panty, bra.

(TOASTING IN FRENCH)

I could easily blow my top

Hello, Dad.

Start a row, but why start now

(MOANING)

(SPEAKING ITALIAN)

Give your daddy a quiet life

Give your mama a quiet life

Anything for a quiet life

Oh, the telly's on the blink.

(SCREAMING)

Vacuum cleaner. Dad!

(SHOUTING)

WOMAN: Switch that bloody thing off!

Hey, what's going on?

Look, get off.
Come on here, pretty baby.

Switch it off!

(SCREAMING)

Give your daddy a quiet life

Give your mama a quiet life

Anything for a quiet life

Confidentially, between these walls

I'm on top of it all

(ALL SHOUTING)

MUM: Colin?

Son, I want a word
with you about your dad.

- I'm busy.
- Oh, it's important.

How's the male harem?

The Pal Joeys? The gigolo lodgers?

Grow up, Colin.

Bed-and-breakfast, evening meal?

You nasty little bastard.

Mother should know.

COLIN: Gotta snap out of this.

I'm too young for tears.

Suzette will be back...

Sooner or later.

Time's on my side.

(PEOPLE CHATTERING)

Nice day.

Yeah, so I hear.

(SIGHS)

- Hey, Cool?
- Yeah?

Couldn't lend me a quid, could you?

Crazy, man. What're you doing?

Over here.

Take all this crap furniture

and all your little schwartzes,
and piss off out of it.

You know, there's something odd
around these parts.

(CHUCKLES) Yeah, so what else is new?

COOL: All the other families
are moving out or being moved out.

Which, to my mind,
means somebody else is moving in.

Who the hell would wanna
move in around here?

- Trouble.
- (WINDOW SMASHES)

(CHUCKLES)

It's only your kid sister.

Hey, Cool, I know
you was rolling dice last night,

and I'm gonna tell Mama on you,
Mr. "I'm Cool" Cool.

I'll tell Dad as well,
and it'll mean big trouble.

See you later, Cool.

COLIN: God, I love this city.

And I never wanna leave it.

'Cause though it seems
so hard and untidy,

if you get to know it well,

if you're its son,
it's always on your side, come what may.

That's what I imagined, anyway.

COLIN: Hello, bad boy.

What are you doing
pounding around down here?

Well, I've moved down here.

My God, it talks.

(MIMICKING ED)
And why's it moved down here?

'Cause I moved in with me gran.
She lives here.

Anyways, I live where I like.
It's a free country, isn't it?

Face it, Ed,
all you old-style Edwardians

have been put out to pasture
in the provinces,

where, no doubt, you'll live forever.

But down here, (SNIFFS)
Ted is definitely dead.

Never.

You're an old man, and only last week
a snot-nosed little kid.

Watch it.

Your problem was never
being a teenager in between.

Teenagers? Get out of here.

That's kid's stuff.

Drown the lot of them.

If you say so, sucker.

Yank!

Go home, Yank!

And take sambo with you.

(LAUGHING)

- Hi, Cool.
- What's he doing here, man?

Are you all right, Colin?
What's going down?

(GRUNTS)

- (LAUGHING)
- (DOG BARKING)

Hey, who threw that brick?

Was it you?

You bloody hooligan!

Oi, come here,
I want a bloody word with you.

Oi, what's your game over there?

(WHISTLES)

(WOMAN SHOUTS)

Hey, we're trouble on the rubble
at the bum side hop

It ain't never gonna stop

Come on, Teds

We're trouble on the rubble

And the bum side is the hop

I know you don't like it
but it ain't gonna stop

Like it or lump it
you can't show us the door

We licked Hitler in 1944

Ted ain't dead

Yeah, look at my bleeding window.

FLIKKER:
We could use them, Mr. Saltzman.

They've got nothing better to do.

And if we use them,
what's it gonna cost?

(SINGING UNINTELLIGIBLY)

(SHOUTING)

Ted ain't dead, Ted ain't no dead

We all have not too much to say

Ted ain't dead, he's alive

Ted ain't dead

Gonna kick you in the head

Since I was a young boy

Round about 13

I knew rocking Ted would
outlive any passing scene

Still do now, still do now

Still do now

Still do now, still do now

Ted ain't dead

Oh, hello, Ted

HAROLD: Here they are,
my two latest discoveries,

Eddie Sex and Baby Boom.

Hey, Colin.

COLIN: I'd asked everyone,
but Suzette hadn't been around in weeks.

(GIRLS SCREAMING)

Now this is urgent.

I need a new whosit
for my whatsit, you dig?

Tough.

Give me your jacket, Eddie.
And they're all mine.

My boys!

(PEOPLE EXCLAIMING)

HAROLD: What a mover! What a mover!

CROWD: (CHANTING) We want Baby Boom!
We want Baby Boom!

Go on, give her a kiss.

CROWD: We want Baby Boom!
We want Baby Boom!

(ALL SCREAMING)

(LAUGHING)

Hold it.

This teenage scene's
getting out of hand.

COLIN: Yeah, well, you
should know, Wizard.

Hello there, pop pickers.

You will give my boys a mention,
won't you? That's it.

Hello, pop pickers.

(LAUGHING)

Sorry, boy.

I won't regret it
when the teenage label's

torn off my drip-dry, sky-blue jeans.

It's not working! I want my money back!

Shut up and keep singing.

I may look like a little kitten

New label.

They never know the difference.

- Oi!
- I'll show you the real thing later, girl.

And you big old ginger Toms

That's his kick, not mine.

Must all be missing persons
when I've gone, along

Baby Boom,
14 years old with a mental age of nine.

It blows younger every year.

From what I hear, your snaps played
a certain part in that spermlet's rise.

- (CHUCKLES)
- Don't knock it, Colin.

Milk it, shake it, rake it, make it.

Take it for all it's got.

The power of youth.

- (MACHINE DINGS)
- Have you seen Suzette, Wiz?

You're a born adult number.
Good for your girl.

Paying for nosh.

You need educating.

(LAUGHS)

Hi, Wiz.

- Hello.
- Hello.

Shut up.

Wiz, you're a real specimen.

I'm surprised they don't use you
in some experiment.

Her name's Dorita. Going into business.

What?

You heard.

Gotta blow. Give my hi to Crêpe Suzette.

You should hear them all meow

Look out, big cat,
little cat's moving...

Look out, big cat,
little cat's moving in

Look out, big cat,
little cat's king cat now

(GROWLS)

(PEOPLE CHATTERING)

(PHONE RINGING)

- (COIN CLANKING)
- Hello?

Hello, Suze?

Oh, Colin. It's you.

What are you doing these days?

I'm getting ready to go out.

Where you going?

Well, I'm going to Dido Lament's party,
if you must know.

COLIN:
Dido Lament, the gossip columnist.

That vampire?

Chumped-up spivs
and body snatchers, that's her scene.

Watch out, Suze.
You don't know what you're getting into.

(UPBEAT JAZZ MUSIC PLAYING)

(GASPS)

(LAUGHING)

Deary me, child,
what are you doing here?

Socializing, like everyone else.

Everyone you hate.
All the parasites are here.

Oh, the Fabulous Hoplite.

Dido.

And a new friend.

(BOTH EXCLAIMING)

Not your usual type, Hoplite.

Doesn't swing my way, sugar.

Dido, this is Colin.

Colin is one of
olde London's hottest talents,

with his camera.

Well, honey, if you're so handy
with this little thing,

why don't you fix me up
with a few party snaps?

What's the price these days?

(LAUGHS)

You do it for love.

- Cocktail, madam? Sir?
- Ah!

- To life!
- Thanks.

To love.

Careful, child.

It's got alcohol in it.

Selling out

- (SCREAMS)
- (PEOPLE LAUGHING)

Selling out, selling out

To love.

(LAUGHS)

Well, you've never seen
my little place here, have you?

Uh, oh. Oh, oh, darling.

Darling.

- One-hee
- One-hee

- Two-hee
- Two-hee

- Can he
- Can he

- May he?
- Maybe

Colin, I'm so glad I caught you.

I've got so much work for you.
Now call me.

Dreadnought, seven, seven, double seven.

ALL: Dreadnought, seven,
seven, double seven.

Bitch.

I'll see you later, Fido.

It's Dido.

Oh, what a shame.

Nobody's wild about Harry.

(SIGHS)

Are you ready for something
a little more potent?

SUZETTE: Don't worry about it, Colin.

Stay on here in the Land of Oz,

with the Wizard and all those
other creepy pals of yours,

and you'll never need to know.

(MOUTHING) Who are you talking to?

I'm talking to you.

Don't bug me.

What are you doing here?

Let's get legitimate.

Why don't you disappear?

How far are you going?

Hey, man, I'm going all the way.

We'll never live this down, man.

I don't care what people say.

If I become a swinging somebody

I'll get my Crêpe Suzette

I'm selling out

Selling out

Selling out

Selling out

(GIGGLING)

It's ready. Ah!

- Selling out
- Don't try to stop me

- Selling out
- I'm pulling out

Are you with me or without me

(GIGGLING) Let's party.

Yeah!

Right. Go and circulate.
Why don't you push yourself forward.

You know, give it some of that.

Oh, Hoplite. Who got you ready?

Hi, Call-Me-Cobber.

He's researching a TV Special.

Do you know any authentic teenagers?

What are they?

Teenagers are the new economic class.

This is the age of the teenager.

It's my aim, it's my mission in life,

to bring pop culture to the masses.

Uh, why don't you give me a ring?

My number's Speedwell...
What is my number, anyone?

ALL: Speedwell 8-7-6-5.

COBBER: Yes, that's it.

What he actually wants to know is,

do you teenagers
have an active sex life?

- (MUMBLING)
- Well, do you?

None of your business, nice bitch-girl.

(BOTH LAUGHING)

Oh, I love anger.

You know,
you and I ought to argue sometime.

Selling out

Selling out

COLIN: Good idea.
You need a nose job, Harry.

Having it all

Having it all

Having it all

You'll never stop me

We meet at last, Colin.

Harry's been telling me all about you.

Fantabulous.

Selling out

Selling out

He tells me you have integrity,

just the kind of thing
my agency stands for.

- (WATCH ALARM SOUNDING)
- Tomorrow's watch, today.

I can use a guy like you.

Bell me. Mayfair, zero,
zero, double zero.

What was that?

ALL: Mayfair, zero, zero, double zero.

Oh.

MAN: Oh, I'm seeing double

Selling out

Suze.

MAN: Come on, surrender

Selling out

It's what she's hoping

- SUZETTE: Do you like my designs?
- What designs?

Colin, what are you doing here?

I'm selling out.
What are you doing here?

Selling out

Selling out

Selling out

(INDISTINCT CHATTERING)

I can still see you, Colin.

The French have a word for it.

I don't care what the French call it.

He's an old queen,
and I call it disgusting.

I can understand why he'd do it.
But you?

He's just using you.
You're just a front for his...

Is this some kind of a gag?

What, you going out with Suzette?

Aren't you a little old for her, Henley?

I'm only 37.

(SCOFFS) Thirty-seven?

Around the waist, maybe.

Afraid that can't be, dear boy.

I'm afraid we've named the day.

Show him, my dear.

Not now, Henley.

Show him.

You couldn't afford her
in the first place.

- (SCREAMING)
- Oh!

MAN: You'll ruin everything.

We'll never live this down, man

I don't care what people say

If I become a swinging somebody

I'll get my Crêpe Suzette

(ECHOING) I'm selling out

(RADIO PLAYING)

MAN OVER MEGAPHONE: My friends,

a specter is haunting Britain.

The specter of immigration.

People of Kensington,
time is running out.

But a great man
has returned to our shores,

and he has chosen these streets
to launch a campaign,

which will cleanse the country
of this pestilence.

Now is the time to act.

Come to the public meeting

and hear him speak about this evil.

It is a black tide,
which threatens to engulf our country.

Only last week, in Tilbury Docks,

a black spider over 8 inches long

was discovered, concealed in a crate
of bananas from Africa.

Your women are being sold

into sexual slavery,
to pander to the lust...

- Give me that.
- ...of the African barbarians.

The time for talking...

"Way out." I'll see you out
with pleasure.

What, the hell,

right do you think you've got
coming here, stirring up trouble?

You want to smell my broom?

You shut up, curly-locks.

SALTZMAN:
Naturally, we're doing all we can

for anyone who can't afford it.

You know what I mean?
Little incentive schemes.

Don't you worry.

Is this who I think it is, Maury?

He lives at one of ours,
in Ladbroke Crescent.

Bright boy. He'll land on his feet.

COLIN: Hey, ease up.

Hello, Tradewind.

Jump in.

Close shave, Colin.

City's full of people, kid.

People looking for rainbows, Colin.

Cantare

Oh, oh, oh, oh

But I've been looking for you.

Ho, ho, ho!

You deserve a drink, Colin.
It's over there.

I don't drink.

Well, not anymore.

Smoke? Take a strand.

You're never alone with a strand, Colin.

What's this?

A housing development for newlyweds.

It's lovely.

No, it's not, son. It's horrible.

But it's lucrative.

Which brings us back to you.

I've been looking at your photographs.

You are talented. Smile.

But you're wasting your time.

I think I can safely say
you could get anything you want.

Ow!

By working for me, Colin.

What, selling things to people
who don't want them?

Never things, Colin.
We don't sell things.

We sell dreams.

- (SNAPPING FINGERS)
- Rich.

Mellow.

- Dazzling.
- Radiant.

Fresh.

King-size.

(TYPING RHYTHMICALLY)

(POP MUSIC PLAYING)

Do you hear what I hear?
Do you see what I see?

Colin, I want you to use
your imagination

You wake up one morning
and you ask yourself

Why am I so exciting?

What makes me dramatic?

You're trying to say
something about yourself

This dazzling crime of wisdom

You fall for reality

You're bruised and bewildered

Then you learn to fall in love
with yourself

That's motivation

You raise yourself high,
presenting your soul

You step from the shadows,
you hear the command

An image to dream, you
tremble permission

Tomorrow's rewards
flood the skies of today

You're swept by the tide

Of delight's every dream

A life of such powerful meaning

Now you has class

Now you has flash

Now you has mass motivation

There's an image I can recommend

There's a product you will die for

Here's a nightmare that will never end

Gets you fired up burning

Then you go, go, go, go

You know you got something

You know you got style

BOTH:
We don't take much, just a little bit

That's motivation

Welcome to the world
of your dreams, Colin

Where you can do what you want

Commit horrible sins
and get away with it

Lust

Gluttony

Pride

Anger

Sloth

Avarice

And jealousy

You know you got something

You know you got the style

BOTH:
We don't take much, just a little bit

That's motivation

No more false illusion

Good bye to confusion

BOTH: Stand out from the madding crowd

Motivation is symphony

Symphony and style

ALL: That's motivation

- It's thrilling
- Original

That's motivation

- Scintillating
- Charismatic

ALL: That's motivation

As fresh as tomorrow

That's motivation

- Say what?
- Motivation

New soul

ALL: Now you has class motive

Now you has mass motivation!

I'm your boy, Vendice.

COLIN: For most of the summer, then,

Suze and I only saw each other
in the smart magazines.

At least she could
follow my meteoric career

as a professional teenager.

She must've known
I was only doing it for her,

so she wouldn't have to
slip into that world completely alone.

"From now on," I said,

"I'm gonna be a tough, tough nut
and a very practical boy."

My exhibition could wait.

It's funny,

once you make up your mind
to let go and sell out,

it's one damn check after another.

Money at the best time to have it,

when you're young and strong.

Money to catch Suzette when she falls.

And she's gonna fall.

Wait and see.

And as for photography,

well, it isn't exactly difficult, is it?

Right. Hands on the handlebars.

Hands on the handlebars, Dean, right?
And turn away from me.

Hands on the handlebars,
and turn around to profile.

That's it, just hold it there.

That's, uh, that's great, Dean.

Right, feet off the handlebars,

and look straight into the lens.

Dean, straight into the lens, man.
Come on.

That's it. Just hold it right there.

That's lovely.

Teenage phenomenon.

Crashing into the TV casbah,
are we, Colin?

That's the name of the game, Dean.

(SCOFFS) Can't say I'm not displeased.

(TAPPING)

Cool it, man. These are serious shots.

And this is a real pearl.
And this is Mr. Dean.

(LAUGHS)

Smash his trash.

Just one more, Dean. Hold it.

Dean, just one more.
I haven't finished the session.

Hey, Reptile.

Hiya, Wiz.

Where'd you get the new skin?

Like it?

It's all right. Must've cost a few bob.

What've you been up to, then, stranger?

Haven't seen you
around the track lately.

Well, I've moved out of Napoli.

It's not England anymore, is it?

I've got a pad down here now.

Yeah?

And I got a brand new racket.

Do you want a free sample?

(LAUGHING)

(TELEPHONE RINGING)

GIRL: Poodle parlor. Yes.

Oh, no, we only do the straight shampoo.

Yes. Ten minutes?

That'll be fine.

Eat.

Match me, Wiz.

Yeah, that's a nice suit, Colin.

Formula works, doesn't it?

The power of youth, remember?

See, lover girl's younger than me.

None of the poodles is under 50.

It works like a dream.

Wet dreams, Wiz.

Risky.

Seedy.

No class.

You could keep it
clean and unreal, look, like me.

That's a bit rich coming from a kid

I've known around town
for flogging dirty pictures.

I was just in that kick
for giggles, Wiz.

I've moved on.

Yeah, I knew you'd go up in the world
once you got rid of that girl.

Or did she get rid of you?

You wouldn't understand.

Motivation, that's what you need.

Self-motivation.

She's jailbait,

and you're the one who'll end up inside.

Can you imagine me in a court?

Who's gonna believe a baby face like me
could be in this racket?

If you could see yourself now,

you'd realize you don't look
young at all.

You just look old.

Old and used.

Yeah, well, it's an old business,
isn't it?

Anyway, if the cowboys come down on me,

you'll have the money
to bail me out, now.

You're so flash.

Don't be so sure.

You'll come running. You adore me.

(DOOR OPENS)

(DOOR CLOSES)

(DORITA LAUGHING)

Uh!

(CHURCH BELLS RINGING)

(MUSIC PLAYING)

MAN: Happy honeymoon!

Long life, everything crash

In the world if we use the gas

Move out.

(INDISTINCT CHATTERING)

(WHIRRING)

Say hello to the TV cameras for me.

You're going now, then?

Gimme a break.
See you later at Chez Nobody's.

Adios, bambino. Adios!

Two...

One...

Cue, Cobber.

Hi there, pop pickers.

COBBER: Tonight, the teenage phenomenon.

I have with me in
the studio Amberley Drove,

conservative member for Beckensfield,

and a former headmaster.

(CROWD APPLAUDING AND CHEERING)

Top pop picker, Harry Charms.

Hello there, pop fans. Nice to see you.

COBBER: We have that
delightful lady newshound

all the way from the U.S. of A,

Dido Lament.

Hello.

And last but not least, Colin.

JILL: Don't he look good, eh?

Hooray!

He's a teenager
who's really going places.

Ladies and gentlemen,
teenagers, let's get with it.

Now, Colin here
snaps the habits of his fellow teens,

capturing them alive.

Well, uh, half-dead, some of them.

(AUDIENCE LAUGHING)

What?

I've often wondered what you'd get

if you crossed Jayne Mansfield
with an orangutan.

(PEOPLE LAUGHING)

What's he saying that for?

- What the hell do you think you're doing?
- Colin, it's all right.

That bourgeois bastard.

He's the kind that's turned this scene

into minks and jags,

and little homes in Teddington.

Now, that's more like it.

COBBER ON TV: Colin, are teenagers
really as highly-sexed

as we are led to believe?

I mean, if the right girl came along,

would you bother to tie the knot

or is that just old square talk?

What the hell do you think you're doing?
These are my friends.

COBBER:
More of that later on, all right?

Now, Harry, you're the toast
of Tin Pan Alley, I see.

I see also that you just recovered

from a very unsuccessful nose job.

Can you still smell success
in your teenage discoveries?

- (THUDDING)
- Well...

(GROANS)

First of all, may I say
how marvelous it is

to be on your show tonight

with my latest discovery.

You know, my boys
are always being criticized

for the way they move.

And it's a great shame
we still can't show

what they do below the waist.

Amberley, I think we'll bring you
in here, now.

I mean, you have actually
taught teenagers yourself, haven't you?

Yes, Cobber, I did.

And I think it taught me a great deal.

I've always been
a firm believer in that old maxim,

"Spare the rod and spoil the child."

Of course, the root cause of the problem

seems to be the unbridled promiscuity

they seem to have inherited

from the colored influx to these shores.

And all these loud clothes
and jungle rhythms

only serve to fan the flames...

- (GASPS)
- Get your hands out of my trousers!

- Who said that?
- COBBER: Colin, will you sit down?

Cut. Call the musicians.

I've got a message for you and you

and all you telly witchdoctors
and advertising pimps.

Get that boy off camera. Get down there.

Colin, sit down!

COLIN: All you old sordids
with your toupées and your falsies.

Get off the set.

This teenage ball had a real splendor
in the beginning.

Cue, Baby Boom, get on.

Because we found out no one could
spit in our faces anymore...

- Whoo!
- ...because we've loot to spend at last.

And our world must be our world,

- the one we wanted.
- (INAUDIBLE)

But it's over now. Finished.

You've choked it!

This teenage fishbowl
is as real as your rug, pop picker.

- (SCREAMING)
- (LAUGHING)

Darling, have you deserted your guests?

Of course not, Henley.

I'll be down in a minute.

You old faces, here I am...

Cut.

(BRAKES SCREECHING)

(HORN HONKING)

(JAZZ MUSIC PLAYING)

(SNAPPING FINGERS)

MAN: It's Colin.

(PEOPLE CLAMORING)

Thanks.

Colin!

Colin! Colin!

We're so proud of you.

You were so fantastic.

Come here, stud.

Uh-huh.

(LAUGHING)

Sit down.

You're just in time, stud.

Feast your eyes on a vision.

(PEOPLE CLAPPING)

Athene Duncannon.

Pretty little thing

She held all the magic

So hard to believe

Never too far away

It's hard to conceive

Never thought she'd have to go

Never thought she'd leave

It came like a killer blow

A killer blow

Funny, isn't it

That a little girl could make the world

Seem so small

Hard to believe

The little girl can seem so tall

And the thing that he calls love

Isn't thick enough

She had to go

That's the way it goes

(VOCALIZING)

Killer blow

Oh

(SNAPS FINGERS)

Girl, her love has wings

That took her to the things

He couldn't give

She's got the kiss of life

- Kiss of life
- Kiss of life

She's goin' where it's so easy to live

It's so easy to leave

Searching for the scent of content

Oh, no!

It's a killer blow

Ooh, ooh

Aah, aah

Killer blow

(MUSIC STOPS)

Get along without me, boy

Get along without me

You see, things aren't quite

What they seem to be

Get along without me

Wipe me

Out of your dreams

(ENGINE REVVING)

I'm no angel

I know this may come

(TIRES SCREECHING)

No!

As a killer blow

Killer blow

Killer blow

(HENLEY SNORING)

(GROANING)

COLIN: She can go to hell.

They can all go to hell.

(PEOPLE SHOUTING)

MAN: Over! Turn it over!

Bollocks off the top floor and get out!

(SCREAMING)

What's up, Ed?

Look what you made me done!

Stupid.

Fry the bastards!

Niggers out! Niggers out!

Fry the bastards, you black scum!

You shake my nerves
and you rattle my brain

Your kind of love drives a man insane

You broke my will, what a thrill

Goodness gracious, great balls of fire

I laughed at love
'cause I thought it was funny

You came along and you moved me, honey

I changed my mind, this love is fine

Goodness gracious, great balls of fire

You're shite! We're white!

Goodness gracious, great balls of fire

(ALL CLAMORING)

(FOOTSTEPS APPROACHING)

Is that you, Cool?

(SCOFFS) No, I'm not Cool.

Oh, no. What do you want?

First of all, about these platters.

I wanna sell 'em.

Is there anything else?

Yeah.

Flikker sent me.

Who's Flikker?

He heads my gang, see.

He wants Cool out of here.

Yeah. Well, you tell Flikker
I'm getting some sleep.

You don't tell Flikker.

Ed, you can go piss up your leg.

Well, what about these platters, then?

How much do you want for 'em?

Five pound.

(LAUGHING)

I'll pay anything to get rid of you.

(GROANING)

(GROANS)

ED: All right, you asked for it.

(GRUNTS)

Right, let's have you.

I give in, Col!

(GROANING)

(POUNDING)

(FOOTSTEPS APPROACHING)

(BOTH PANTING)

(BOTH GASPING)

Oh!

I heard some trouble.

Yeah.

That's it.

Him?

His crew and Flikker

just introduced themselves to my family.

(PANTING)

Those are my records.

And this is my kid sister's toy!

I told you there was gonna be trouble.

Let's get rid of him.

Yeah.

Who is this Flikker character?

You wouldn't know.

You haven't been around here lately.

Flikker leads the Teddy boys...

They're just hooligans.

Listen! They're organized.

They're an army now.

They have a general behind them.

And they wanna kick us
out of your country!

What are you talking about?
This is your country, too.

You think so?

I'm on your side, Cool.

Well, that's nice of you, Colin.

But you don't know what side you're on.

(GRUNTS)

The truth is, Colin, you're on your own.

COLIN: He's right.

It's been building
with the heat all summer,

right in front of my eyes.

How could I have missed it?

These have always been my streets.

"Henley. Partners."

What's this?

VENDICE: It's a new housing
development for newlyweds.

It's lovely.

No, it's not, son. It's horrible.

COLIN:
Yeah, that's their star, the bastards.

Suzette couldn't know about this.

Could she?

COLIN: Suze.

Is this really you?

(CRYING) No.

You are...

But I married him.

Why don't you skip, hon?

I can't.

He can't stop you, Suze.

I've ruined what we used to be.

It's all just a mess.

It's just a mess.

(SOBBING)

What do you know about this, Suze?

It's... It's one of Henley's companies.

He seems to think
it's going to make him a fortune.

Hello.

What, no cocktail, Susan?

Sorry, Henley. What will it be?

(MUSIC PLAYING ON RADIO)

Shall we make it a Between the Sheets?

White City Properties, Henley,
anything to do with you?

Not that it's any business of yours,
young man, but yes.

It's a company I have
a small interest in.

And would that be the same company

that's redeveloping West 11?

Bitters?

You know what I mean, Henley.
Redeveloping.

Knocking down old houses,
putting up new ones.

Down the hatch.

It's just a cover-up, isn't it?

The whole thing.

The corset, the royal jelly,
and you, Suzette.

Susan, did you invite him here?

(SOBBING)

Well, young man,
as you obviously weren't invited,

I suggest you leave.

Haven't you got enough already
without hiring Teds

to put people out onto the streets?

Please.

Jesus, Suze.

THE FANATIC: We must keep
Great Britain white!

That is our theme for tonight.

(PEOPLE CHEERING)

Hate in church

and hate in school,

hate at home, hate in your hands,

hate's the way to clean the land!

Hold it, boys!

(SNAPS FINGERS)

Hey, this summer, it won't last forever?

Oh, yes, it can.

It'll last until the calendar says stop,
Daddy-O.

Hey, it's not Daddy-O. It's Mario.

Listen, Henley, I'm...

Look, I've told you before
not to call me here.

If you don't get over
a bit lively with some cash

we're gonna be bang in trouble.

What on earth are you talking about?

I've got a feeling the whole thing's
gonna blow up on us!

You bloody fool, can't you take care
of anything for yourself?

Hope you're proud of yourself, Saltzman.

Get outta my way.

(PEOPLE CLAMORING)

(SHOUTING)

(BABY CRYING)

Did you get the pictures, Dido?

Boy, you really
wanna nail this guy, don't you?

It's not just Henley.

There's someone else involved.

Someone we both know.

In fact, I wouldn't
be surprised if this was his idea.

Like who?

Let's just say he's moving out
of selling dreams,

into property development.

My, my, my.

Well, it seems you've been
a naughty boy,

Vendice.

There he is, the nigger lover!

See the chickie run.

Come on, lads, let's get him.

ED: Come here, you!

Quick, Jill, inside.

What's going on?

Shut the door.
Is Cool in the house? Where's Cool?

Haven't seen him all day.
Don't know where he is.

MAN: Come on. Run for it!
Get out of the way!

(ALL YELLING)

(JILL EXCLAIMS)

Get away!

THE FANATIC: Hitler had the right idea.

Don't knock him, son.

You need him here.

Jackboots smashing up your rear.

MAN: I serve in the Royal Air Force,

fighting for this country in the war.

COLIN: What's going on, Cool?

MAN: I have a medal to prove it.

I even met Mr. Churchill
and shake him hand.

This is my country.

We must leave it up to the police
to protect us...

Don't worry, Colin.

Remember, this is England.

(ALARM RINGING)

But without force. That is not the way.

Do something before
we are forced out of here.

(SCREAMING)

You're sitting there doing nothing.

Shut up and listen!

I've got to split.

Look after yourself.

But you're talking a whole load of shit!

WOMAN: Right.

We don't need no representations
or committees.

What we need is a few pieces of iron
and my organization

so when they do come in here tonight,

we can defend ourselves!

(CROWD CHANTING)

If you go down to the woods today

You're in for a big surprise

If you go down to the woods today

You'll hardly believe your eyes

Nigger lover!

Lynch the bastard!

Lynch the bastard!

Good night, golliwog, sleep tight!

MAN: You have a better solution.

Have some real fun!

Burn the bastard!

(ALL CLAMORING)

What in God's name do you maniacs
think you're doing?

I'm not paying you to cause
this sort of trouble.

That's all right, Mr. Saltzman.

This one's for free.

Never. That's not my game.

Get on with it. I'm going.

(THUNDER CLAPPING)

Saltzman, come for yours!

Die! Die! Die! Die!

Henley!

Henley, stop. Stop, Henley.

- (SCREAMS)
- Oh, God.

(MOB SCREAMING)

SUZETTE: Leave him!

Come on, let's go!

Cool!

COOL: Suze. Get the hell out of here!

Hey, you.

Hello, boys. What's happening?

You choose the wrong night to be white.

Hold it.

What're you doing around here?

Cool it, kiddo.

Come to the real teenage ball.

(CROWD CHEERING)

(PEOPLE APPLAUDING)

We don't want the Blacks or Jews,

yellow, red, brown or blue,

and let's kick out the homos, too!

(PEOPLE CLAPPING)

Fascism is here to stay.

Trains on time. Regular pay.

Jobs for all the Christian whites.

Hate's the way to win our fight!

Hate's the way we shall unite!

(ALL CHEERING)

Give me your hands to make us free!

Give me your fists to crush the beast!

(ALL CHEERING)

Give me your pain and misery!

Give me your vote for victory!

(CROWD WHISTLING)

Keep

Britain

white!

ALL: (SHOUTING) White!

- Keep Britain...
- ALL: White!

(ALL CHANTING)

This guy's flipped, man.

Look. You wanted kicks and fantasy.

Whose side you on, teenager?

Keep Britain white!

(CHANTING STOPS)

That's the last white breath
you'll draw.

MAN: Get him!

Take this.

(WOMAN SCREAMING)

(GROANING)

Stop it.

(GRUNTING)

Break it up. Leave it out.

DEAN: Go get him, Misery.

My man.

(MOB SHOUTING)

MAN: Go! Get him. Dust him over.

Get off! Stop it!

What's the matter
with you crazy bastards?

(MUSIC PLAYING)

They're ruining it.

Hello, and welcome to the streets
of Notting Hill in torment.

The flaming passions of hatred

consume these streets
known as Jungle West 11th.

Rent asunder by the passions
of the color riots.

(INAUDIBLE)

(THUNDER CLAPPING)

(MAN SCREAMING)

COBBER: And we have violent
teenage gangs roaming free,

causing panic in the streets.

Come on!

(PEOPLE SHOUTING)

Take that.

(ALL EXCLAIMING)

Down the club, quick.

You bet.

(ALARM SOUNDING)

(ALL CLAMORING)

- Open up.
- Open up.

Let us in. Come on, open the door.

- Come on, Paul.
- We're friends.

Hurry up. Good. Thank God for that.

(ALARM RINGING CONTINUES)

COBBER: An uneasy calm is finally returning
to these troubled streets.

The question now
is whether this divided community

can work together to heal the wounds.

Their task is not easy,
as a fuse has been lit

and the whole area
threatens to blow sky high.

- Hello, Mum.
- Get off. This is national television.

(BELL TOLLING)

(UPBEAT MUSIC PLAYING)

Suze!

Colin!

Let me through.

- Hi, hon.
- Colin.

You all right?

Suze.

Hon.

(GASPS)

Run! Run, Suze!

(GRUNTING)

Don't drop me! Don't drop me!

You all right, Jill?

(LAUGHING)

(LAUGHING LOUDLY)

(SCREAMING)

Colin, where's Cool?

COLIN: Leave it!

There's nothing you can do now.

If you go down to the woods

(HISSING)

SUZETTE: He's crazy.

You don't learn.

(GRUNTS)

- What's up? Lost your cool?
- (SUZETTE SCREAMS)

(HISSING)

(SHOUTING)

Cool!

Didn't get me, did you, Flikker?

Golliwog pie.

You'll die for that, Flikker!

(GRUNTING)

SUZETTE: Colin!

Get off him! Leave him alone!

Leave him alone! Get off him!

(SCREAMING)

Leave me alone!

Cool!

JILL: Get off.

Come here, you.

JILL: Why don't you pick
on someone your own size?

Wiz.

(GROANS)

(THUNDER RUMBLING)

Yeah, a real nigger, chocolate drop?

Where you gonna run to now?

(GRUNTING)

SUZETTE: Get up, Cool! Get up!

(GRUNTING)

Fight! Die!

Where are you? Show yourself!

Come on! Where are you?

(GROANING)

I was put up to it.

I was paid!

(SCREAMING)

(BREATHING HEAVILY)

You ain't worth it, whitey.

(SCREAMING)

(BOTTLE BREAKING)

(ALL CHEERING)

COLIN: All right, Cool, nice one.

We'll be back.

ALL: So what?

Now whether you're white
or whether you're black

Here comes a real exclusive
medical shark attack

A medical thing called "So what?"

Oh, yes, we're in '58

ALL: So what?

The year of absolute beginners

ALL: So what?

This is no ordinary year

Why not?

Let me explain it

ALL: Why not?

There were race riots in the streets

ALL: So what?

In the longest, hottest summer

So hot

Stirred up by ignorance and hate

So what?

And indecent people

So what?

I had to fight like me be mad

(ROCK MUSIC PLAYING)

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

I've nothing much to offer

There's nothing much to take

I'm an absolute beginner

But I'm absolutely sane

As long as we're together

The rest can go to hell

I absolutely love you

But we're absolute beginners

With eyes completely open

Finders, keepers.

But nervous all the same

If our love song

Could fly over mountains

Could laugh at the ocean

Just like the films

There's no reason

To feel all the hard times

To lay down the hard lines

It's absolutely true

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

I just can't believe it.

It's the most incredible thing

that's ever happened to me.

(WHIMPERS)

It'll ruin his career.

Nothing much could happen

Nothing we can't shake

Well, we're absolute beginners

With nothing much at stake

As long as you're still smiling

There's nothing more I need

I absolutely love you

But we're absolute beginners

But if my love is your love

We're certain to succeed

If our love song

Could fly over mountains

Could sail over heartache

Just like the films

If there's reason

To feel all the hard times

To lay down the hard lines

It's absolutely true

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh

Ba-ba-ba, ooh