- 3 months ago
Four people - a science fiction illustrator, a saxophonist who moves from busking to Top of the Pops, an analyst of satellite photography and Julian, a PHD student, meet at intervals, their lives set against a background of recess...
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TVTranscript
00:04:16Can I see?
00:04:18Uh-huh.
00:04:19What's it like up there?
00:04:22Oh, like Remedius the beauty when she suddenly starts to rise into heaven in the middle of hanging out the washing with her grandmother.
00:04:29You know, all you need is some way to neutralize gravity.
00:04:33The whole earth will be encased in some kind of special magnetic cocoon and everybody will have a device which can focus on this cocoon.
00:04:41You activate the device, you shoot up a sort of gravity-free channel, you reangle to wherever you want to go and down you come again.
00:04:49Magnetism.
00:04:51Hmm.
00:04:53Birds migrate by magnetism.
00:04:57What about charm?
00:04:59There's a force deep down in the depths of electrons called charm.
00:05:03You could steer your way through the universe by charm.
00:05:07Oh, charm.
00:05:09There was this one series I did.
00:05:11The cities were camouflaged, so they blended imperceptibly into their backgrounds.
00:05:17Well, how did you see them?
00:05:19You couldn't. That was the trouble.
00:05:21They weren't very commercial.
00:05:25You know, the imagery I use shows the invisible, infrared-
00:05:29Watch it! Idiot!
00:05:31What's this?
00:05:33Jesus Christ.
00:05:35Oh, let's get out of here.
00:05:37Oh, no.
00:05:39Farting over a video.
00:05:45Media rip-off.
00:05:47This is a job for the Dream Patrol.
00:06:01What an unexpected surprise.
00:06:03There's always something daunting about the unexpected.
00:06:09It produces fear.
00:06:13Why, there was no anxiety.
00:06:1524 hours ago, I thought I'd been New York.
00:06:19But the spot market in coffee was restricted.
00:06:21So here I am in London.
00:06:27Neil, this is my husband.
00:06:33Most of the time he's abroad.
00:06:35He travels a great deal.
00:06:37And when he's away, I lead my own life.
00:06:39I did not expect to find him here tonight.
00:06:43Vermilion's husband lived in a world where almost anything could be made into a commodity, given its label and put on the market.
00:06:51In his eagerness for the fantastic, Neil had been caught off guard.
00:06:55He could not read the label which he felt had been ignominiously attached to him as the token of his unforeseen reverse.
00:07:03Neil had been extremely surprised to find a lawful wedded husband in the flat to which Vermilion took him.
00:07:09Appealing.
00:07:10This pleasure of the unexpected was one that had lost its glitter and its charm.
00:07:14The lawful wedded husband, on the other hand, had not seemed the slightest bit surprised to see Neil.
00:07:20Leaning back in his lamb's wool pullover, he had seemed as relaxed and at ease as Neil was at a loss and displaced, like a found object in its wrong context.
00:07:32After submitting Neil to a set of intricate observations, he had explained to him, with a glance towards Vermilion, the exact obligations of their marriage contract.
00:07:42The relevant clauses concerned his wife's lovers.
00:07:45While he was in London, he was entitled to reject any of them he pleased.
00:07:49But the more he exercised this right, the more allowance he had to pay her.
00:07:54He liked to combine being liberal with being practical.
00:07:58Neil turned away from Vermilion's game of chess.
00:08:02The meaning of the moves eluded him, and he could not further out the logical end to which he had been offered as a sacrifice.
00:08:08It was better to leave, give up the voyage, and seek landfall in a taxi home.
00:08:15Sorry I'm late, mate.
00:08:28Just let them have a cup of tea.
00:08:31Oh, I'll tell you what.
00:08:32I just dropped this couple off at Allgate.
00:08:34It's murder.
00:08:35My legs are killing me.
00:08:36Do you know that?
00:08:37I've been working with this Chinese cab firm for about a fortnight, and I'll tell you something.
00:08:42It's getting right through to me.
00:08:45Still, this is the new model.
00:08:47What a laugh.
00:08:48Here, hop on.
00:08:49Where are you going?
00:08:50I'm waiting for a black taxi.
00:08:54I know they're out of fashion now.
00:08:56We've got these new ones.
00:08:58Job lot from Singapore.
00:08:59Where are you going?
00:09:00No clues?
00:09:01I ain't got a light on in any of you.
00:09:04No, I don't smoke.
00:09:05That was a joke.
00:09:06Got a light, please, mate.
00:09:07No, I don't smoke.
00:09:08You got a light?
00:09:09Yeah.
00:09:10Nice and healthy, then.
00:09:11Got a light, please, mate?
00:09:12Sorry.
00:09:13Excuse me, you got a match, please?
00:09:14What?
00:09:15A match.
00:09:16Here you go.
00:09:17Oh, cheers.
00:09:18Thanks.
00:09:19What, you waiting for a black cab, are you?
00:09:20Yeah.
00:09:21I was going to say, you could have got my rickshaw at the front.
00:09:35Like that, dear?
00:09:36Not bad, eh?
00:09:37Did you catch that, dear?
00:09:38What, you just, er, got back from Brideshead, have we?
00:09:43Jeez, I'm that cold, isn't that?
00:09:48Hey, freezing.
00:09:49I'm saying cold.
00:09:50Poor Bridey.
00:09:51Fucking mad, ain't it, mate?
00:09:52Quarter past twelve in the morning.
00:09:53Can you believe it?
00:09:54Any other city in the world, mate?
00:09:55Cheap, subsidised public transport.
00:09:56You'd be laughing tea cakes now.
00:09:57All on board, off home.
00:09:58Lovely.
00:09:59Look at that.
00:10:00Middle of fucking popsy London.
00:10:01Where's your language?
00:10:02All right, all right, don't worry.
00:10:03Let's make a conversation, that's all.
00:10:05Nothing bad in that, is there?
00:10:06Imagine us like now, waiting for a bus, eh?
00:10:07All on the top deck, fantastic.
00:10:08None of these standard, like, six stuffed, bleeding Eskimos waiting to get home.
00:10:11All on the top deck, singing and dancing, eh?
00:10:12Pop the whiskey room.
00:10:13Roll out the barrel.
00:10:14Someone like that.
00:10:15You'd remember that, won't you, son?
00:10:16Got something wrong with it, is it?
00:10:17Operation.
00:10:18I'll tell you something, if Papa Ken Livingstone had his way, mate,
00:10:19I'd have to go to the top deck.
00:10:20All right, all right, no worry.
00:10:21Let's make a conversation, that's all.
00:10:22Nothing bad in that, is there?
00:10:23Imagine us like now, waiting for a bus, eh?
00:10:24All on the top deck, all on the top deck, all on the top deck, all on the top deck,
00:10:27all on the top deck, singing and dancing, eh?
00:10:28Pop the whiskey room.
00:10:30Roll out the barrel.
00:10:32Someone like that.
00:10:33You'd remember that, wouldn't you, son?
00:10:35Got something wrong with it, is it?
00:10:37Operation.
00:10:38I'll tell you something, if Papa Ken Livingstone had his way, mate,
00:10:41we'd all be on the bus now, no fares, happy as sound boys, all of us,
00:10:45singing away, eh?
00:10:46Having a great time.
00:10:47You said, look at us all, look.
00:10:48What?
00:10:49You, not me.
00:10:50Look at you.
00:10:51All individuals, are we?
00:10:52Making a get-o and go our separate lives.
00:10:54All individuals, are we?
00:10:55All individuals, are we?
00:10:56Making a get-o and go our separate ways.
00:10:58I should cope, though.
00:10:59Waiting for the opportunity to get ripped off fucking rotten by some black rat.
00:11:04All right, all right.
00:11:06Only words.
00:11:08The word's the virus.
00:11:10We don't know who said that.
00:11:12Eh?
00:11:13The word's the virus.
00:11:15Ain't catching round here, is it?
00:11:17Oh, he's your cab.
00:11:18Oi, lobotony.
00:11:19Your cab.
00:11:20What?
00:11:21Camp.
00:11:22Taxi.
00:11:23Taxi.
00:11:24Camp.
00:11:25Camp.
00:11:26Camp.
00:11:27He looks a bit like Bob Dylan, doesn't he?
00:11:31Come on up in front.
00:11:32From the back, I mean.
00:11:33How do you reckon?
00:11:34Camp.
00:11:35Here he comes.
00:11:36Black.
00:11:37Black.
00:11:38Ah, you cheesy bastard.
00:11:41Where to, love?
00:11:43Labbrook Grove, please.
00:11:44Labbrook Grove.
00:11:45Excuse me.
00:11:46Excuse me.
00:11:47Are you going to Labbrook Grove?
00:11:48Yes.
00:11:49Can I share the cab?
00:11:50No, why not?
00:11:51That's a lot.
00:11:52He's got some fun in the old biggles.
00:11:53Get the old lentil soup on, then.
00:11:56Not bad, is it, eh, first time going?
00:11:58Excellent.
00:11:59Me moaning about buses.
00:12:00That's all right, isn't it, eh?
00:12:01That's a minas a trois.
00:12:02Do it at home by any time.
00:12:03No, forget it.
00:12:04Cab.
00:12:05Cab.
00:12:06Cab.
00:12:07Can.
00:12:08You're tight.
00:12:09Cab, is that any other thing you're doing?
00:12:10Is it all right?
00:12:11Oh, well, there's a lot of people out there.
00:12:12Ah, you're all right.
00:12:13Come on,ηΈez.
00:12:14I have to take a bicycle car.
00:12:15Get the old lentil soup on, then.
00:12:16It's not bad, is it, eh?
00:12:17First time going.
00:12:18It's excellent.
00:12:19Maybe.
00:12:20Me moaning about buses.
00:12:21It's all right, isn't it, eh?
00:12:22That's a minas a trois, doing it at home by any time.
00:12:24Ah, forget it!
00:12:25Cab!
00:12:26Cab!
00:12:27Cab!
00:12:31It turned out that Neil lived very close to Kim.
00:12:39As they talked in the taxi they were sharing,
00:12:41they discovered they had both played the gong in their infant school percussion band,
00:12:45and, as a gruelling sequence of coincidences would have it,
00:12:48both been brought up for a time in Ipswich,
00:12:51both suffered from occasional attacks of asthma, and so on.
00:12:55Neil felt a gathering together in Kim of a series of loose strands from his own life.
00:12:59Yet she was also quite different, quite other.
00:13:02Neil sensed a clarity in Kim,
00:13:04a grasp of immediate realities which he himself was denied.
00:13:08Kim didn't accumulate fantasies.
00:13:10She found a place to live, plant-sitting, and a place to practice.
00:13:14And as the plants grew greener and taller,
00:13:16she planned to entertain her public as best she could.
00:13:20She had made up her mind to persist with a musical career,
00:13:23even if it meant wrapping herself in back copies of NME
00:13:25and huddling over a hot air grating.
00:13:27It was the reason she'd come to London in the first place,
00:13:31after the local band she'd formed broke up on her.
00:13:33Now, through galling delay after galling delay,
00:13:36she waited for her first real and genuine gig.
00:13:39Ha!
00:13:40Ha!
00:13:41Ha!
00:13:42Ha!
00:13:42Ha!
00:13:43Ha!
00:13:43Ha!
00:13:44Ha!
00:13:44Ha!
00:13:44Yeah!
00:13:49Ha!
00:13:49SheatedοΏ½-
00:13:50Mary!
00:13:51Mama,
00:13:51Yeah!
00:13:53Absolutely queh!
00:13:56Oh!
00:13:56Hey!
00:13:59On my seat wife to K dancers to the other one possible,
00:14:03and I didn't automatically have to present together.
00:14:05Oh, my God.
00:14:35Oh, my God.
00:15:05Oh, my God.
00:15:35Oh, my God.
00:16:05Oh, my God.
00:16:35Oh, my God.
00:17:05Oh, my God.
00:17:35Oh, my God.
00:18:05Oh, my God.
00:18:07Oh, my God.
00:18:09Oh, my God.
00:18:11Oh, my God.
00:18:13Oh, my God.
00:18:23Oh, my God.
00:18:33Oh, my God.
00:18:43Oh, my God.
00:18:53Oh, my God.
00:18:55Oh, my God.
00:19:05Oh, my God.
00:19:07Oh, my God.
00:19:09Oh, my God.
00:19:19Oh, my God.
00:19:21Oh, my God.
00:19:22Oh, my God.
00:19:31Oh, my God.
00:19:33Oh, my God.
00:19:35Oh, my God.
00:19:36Oh, my God.
00:19:37Oh, my God.
00:19:45Oh, my God.
00:19:47Oh, my God.
00:19:49Oh, my God.
00:19:51Oh, my God.
00:19:53Oh, my God.
00:19:55Oh, my God.
00:19:57Andi, Andi, Andi, Andi
00:20:25Whatever Happened To The Dirt And The Poverish Shires
00:20:30The Armaged Trees Where We Would Gather Them
00:20:33And The Dozers, Dozers, Dozers, Dozers, Dozers
00:20:38Where Are They Gun To? Where Are They B?
00:20:41And The Hunt Class B
00:20:43Of Your Little Grottoa
00:20:46Of Your Little Grottoa
00:20:50And The Threatly In My Mind
00:20:56And The Threatly Wants My Mind
00:21:06And The Threatly In My Mind
00:21:36And The Threatly In My Mind
00:22:06Champagne's the best pick-me-up when you've just been fired
00:22:11It surprised Neil at first that the cities of Alpha should fall victim to the Thatcher recession
00:22:17To him they had existed in a world exempt from cash limits and control of the money supply
00:22:22They were pure specimens of the realm of abundance in which the play instinct ruled supreme
00:22:27And the forms of economic exchange were in perfect harmony with the needs of labour
00:22:32Each city was a commune
00:22:35A polyp rather than a clock
00:22:36Naturally united rather than artificially divided
00:22:40Neil was tempted to forget the real conditions of life here among the pitiable Terrans
00:22:45Terran civilisation didn't seem to offer much scope for his penmanship
00:22:50Nevertheless he wasn't all that sorry to leave
00:22:53Neil had never wanted to work in the way he thought capitalist society required
00:22:58In the way most people were compelled to work
00:23:00He'd always tried to avoid it and had found it quite odd and even disturbing
00:23:05That the cities of Alpha should have provided him with a regular income
00:23:08And even at one heady moment the offer of a partnership in the small publishing firm
00:23:13Which was now dispensing with his services
00:23:16And concentrating all its efforts on some marginally more lucrative line
00:23:20In the hope of staving off the inevitable bankruptcy
00:23:24There was a sense in which he had always thought himself lucky to be paid for developing his reveries at all
00:23:31Neil's main worry now was the fear that he had grown to rely on money
00:23:36And would find he could no longer do without it
00:23:39He would have to give up some pleasures
00:23:41Even though unlike the cities of Alpha he wouldn't simply be consigned to pulp
00:23:54He would have to give up some reductions in this message
00:24:09And in the hope of staving off the table
00:24:12Thank you
00:24:13Thank you
00:24:15Thank you
00:24:15Thank you
00:24:16Thank you
00:24:18Thank you
00:24:19Thank you
00:26:50Why have you stopped?
00:27:00What's the matter?
00:27:02French cuisine.
00:27:03What's the matter with you?
00:27:04Nothing's the matter, right? I just don't feel like going in there.
00:27:06I just don't feel like it.
00:27:07What's wrong? What's wrong? You've eaten in there before.
00:27:14Yeah, but I wasn't hungry then.
00:27:21That's stupid.
00:27:22What's the matter with you?
00:27:26I'm hungry. I'm going in now.
00:27:33Hungry?
00:27:34Yeah.
00:27:35What do you mean, you're hungry?
00:27:39Make your mind up. I'm going.
00:27:42I'm hungry.
00:27:43That's sweet.
00:27:44I'm hungry, Sam.
00:27:46I'm hungry.
00:28:04A love, a love, no more love, yeah
00:28:19A love, a love, no more love
00:28:26Some hope is vibration, it's inflated soul
00:28:34And a contamination is a new red soul
00:28:41A love, a love, no more love
00:28:50A love, a love, no more love
00:28:56A love, a love, no more love
00:29:01Vibration, it's inflated soul
00:29:07It's a contamination, it's a new red soul
00:29:18A love, a love, no more love
00:29:21A love, a love, no more love
00:29:23A love, a love, no more love
00:29:28Without my desire
00:29:29I cannot smile
00:29:41Without my desire
00:29:44Oh, yeah.
00:30:14Oh, yeah.
00:30:44Oh, yeah.
00:31:14Oh, yeah.
00:31:44Oh, yeah.
00:32:14Oh, yeah.
00:32:44Oh, yeah.
00:32:46Oh, yeah.
00:32:48Oh, yeah.
00:32:50Oh, yeah.
00:32:52Oh, yeah.
00:32:54Oh, yeah.
00:32:56Oh, yeah.
00:32:58Oh, yeah.
00:33:00Oh, yeah.
00:33:02Oh, yeah.
00:33:04Oh, yeah.
00:33:06Oh, yeah.
00:33:08Oh, yeah.
00:33:10Oh, yeah.
00:33:12Oh, yeah.
00:33:14Oh, yeah.
00:33:16Oh, yeah.
00:33:18Oh, yeah.
00:33:20Oh, yeah.
00:33:22Oh, yeah.
00:33:24Oh, yeah.
00:33:26Oh, yeah.
00:33:28Oh, yeah.
00:33:30Oh, yeah.
00:33:32Oh, yeah.
00:33:34Oh, yeah.
00:33:36Oh, yeah.
00:33:38Oh, yeah.
00:33:40Oh, yeah.
00:33:42Oh, yeah.
00:33:44Oh, yeah.
00:33:46Oh, yeah.
00:33:48Oh, yeah.
00:33:50Oh, yeah.
00:33:52Oh, yeah.
00:33:54Oh, yeah.
00:33:56Oh, yeah.
00:33:58Oh, yeah.
00:34:00Oh, yeah.
00:34:02Oh, yeah.
00:34:04Oh, yeah.
00:34:06Oh, yeah.
00:34:08is to follow my instructions and your fortune is made. Just go and bathe down there by the
00:34:15river and leave the rest to me. Exit Pussy's master, the miller's son. Enter the king's
00:34:27carriage with the princess and her entourage of servants. Help! Help! My lord, the Marquess
00:34:39of Calibas is drowning. Enter the king, followed by the princess
00:34:50and her entourage of servants. This is the cat who has brought me many presents of
00:35:02gain from his master. Go with him quickly and give him all the help he needs. Exit
00:35:07servants towards the river. Your majesty, thieves came while my lord was bathing and made off
00:35:16with his clothes. I shouted, stop, thief, at the top of my voice, but there was nothing
00:35:21more I could do. Re-enter servants with Pussy's boots master, naked. Fetch one of my finest
00:35:39suits for my lord, the Marquess of Calibas. Servants go off again with Pussy's master, who re-enters
00:35:45in fine clothing.
00:36:01My lord, get into the carriage with me and accompany us on our drive, while Pussy's master and the
00:36:08king and the princess get into the carriage. Pussy runs on ahead. Then exeunt all. Curtain.
00:36:29I have one or two comments I've noted down, so if it's all right with you, I'll run through them in the order I have them here.
00:36:31I have one or two comments I've noted down, so if it's all right with you, I'll run through them in the order I have them here.
00:36:57First, page 66. You say something there to the effect that the cat in Pussy's boots represents the phallus.
00:37:16Now, it seems to me that this is presented as a simple asserting, and I wondered whether you had any ways you felt you could plausibly justify your assertions further, because if not, we're just left with your word for it, I think.
00:37:40And, er, that would not be sufficient at such a central point in your argument.
00:37:49Yes, I can see that that was a bit of a hostage to fortune, but I do think you've misunderstood my point completely.
00:37:58The cat doesn't represent the phallus, but the relation between phallus and language, which we can symbolise as Phi RL.
00:38:07The cat isn't a term, but a two-term predicate relating phallus to language.
00:38:13At the beginning of the tale, the hero is represented as castrated.
00:38:19Fails to inherit the share of the paternal phallus he expects on the death of his father.
00:38:25At the end, he acquires a new phallus, a new father, the king, which is sealed by his marriage to the princess.
00:38:33But this is an effect of language, and it's the cat that understands that the phallus is a pure sign, which can be produced by other signs.
00:38:44But, er, isn't it anachronistic to introduce psychoanalysis?
00:38:51A way of using the cat in Puss in Boots as a pretext for expounding your own theories?
00:39:00Not at all. The tale is a comic pendant to the port royal logic, just as Malin has demonstrated.
00:39:08And where we find the comic, there is hidden the repressed, as contrary to logic.
00:39:12Because otherwise, the phallus would be understood for what it is.
00:39:19A sign given by language, not inherited from the father.
00:39:24It would be the beck and call of the dispossessed.
00:39:30That's why Puss in Boots appears at that point in history.
00:39:33Don't forget that Perrault was also one of the main protagonists of the project for a definitive dictionary in the French Academy to fix the meanings of words.
00:39:42That's why Puss in Boots is presented as a trickster, a master of illusion and paradox.
00:39:47But what is this paradox but Malin's paradox?
00:39:51There are objects of which it is true that there are no such objects.
00:39:56Es gibt Gegenstander von denen gilt, dass es doch gleichen Gegenstander nicht gibt.
00:40:02The cat can science the phallus to the realm of being so rather than being.
00:40:08But this is the very ontological commitment or lack of commitment which Russell was forced to reject at the outset on the grounds that it breeds contradiction.
00:40:16But of course it does.
00:40:18And that's what I go on to celebrate in the last section of my thesis.
00:40:22The closest anyone came to understanding this was Andre Breton.
00:40:25But he didn't have the logic.
00:40:29He had to fall back on Hegel.
00:40:55Will he have to leave?
00:40:56Because he doesn't have no way of being so exited.
00:40:59The last one I don't know about parents with her.
00:41:00Theseteenth people are like, I'm sorry.
00:41:01I'm sorry.
00:41:03Oh
00:41:16I'm sorry.
00:41:18I'm sorry.
00:41:20He's a little too old.
00:41:55Excuse me, have you paid for that book?
00:42:25Can I have a pack, please?
00:42:27In your bag, that's where you take it.
00:43:57All that means is there's only one language and it's ours.
00:44:00The problem is, how do you bring desire and power together?
00:44:07What's the language for that?
00:44:09Well, you can put it into fiction, can't you?
00:44:12That's why Puss in Boots is a story.
00:44:14You can't say that.
00:44:15Why not?
00:44:16You can't say that Puss in Boots can only just exist in a story, otherwise you can never change anything.
00:44:21All the meanings will be fixed forever by the House of Lords or whoever was in charge of the logic of non-contradiction.
00:44:28That's what the Surrealists wanted, to turn Puss in Boots into a reality, or to put it more precisely, to find a way of filling the symbolic place of Puss in Boots in reality in the real.
00:44:41Well, I do understand something of what you're saying, Julian, but I am your friend, and I'm making an effort.
00:44:50You can't just wander down to County Hall and expect the Greater London Labour Group to understand it.
00:44:57You could put it in a story, then they may understand it, but they wouldn't understand it as practical politics.
00:45:03Well, would they?
00:45:06Look, I've got to go.
00:45:08I can't stay here any longer.
00:45:10I am freezing to bloody death.
00:45:12I'm sorry, I didn't notice.
00:45:15You haven't got your coat.
00:45:16I know.
00:45:17What happened to it?
00:45:17I lost it.
00:45:20Probably in a pub.
00:45:21Certainly more likely than a taxi, knowing the way things are going nowadays.
00:45:28I'll walk back with you.
00:45:34I can see that radical semi-artic theory doesn't sound the slightest bit like...
00:45:38Julian!
00:45:38It's not really the point!
00:45:39Well, what is the point?
00:45:41The point is that the ruling class doesn't just rule by practical politics.
00:45:46It rules by defining the language as well.
00:45:50Look at the Social Democratic Party.
00:45:53The signified of politics hasn't changed at all.
00:45:55Only the signifier.
00:45:56It hasn't broken the mould of British politics.
00:45:59It's just broken the mould of the way in which politics is named.
00:46:03It's like the theory of colour terminology.
00:46:06Colour names are defined in relation to each other.
00:46:08They haven't changed the wavelengths of the colours in the spectrum.
00:46:11They've just introduced a new term to define the range in the middle of the spectrum.
00:46:16That means it changes the meaning of the other two terms by redefining them.
00:46:21It's a smoke screen.
00:46:22No.
00:46:22Yes.
00:46:23It stops people saying that nothing has actually changed at all.
00:46:25No, it isn't just a smoke screen.
00:46:26Well, that's the logic.
00:46:27It's language, and language isn't just a smoke screen.
00:46:31You can't say the colours are a smoke screen for the spectrum.
00:46:34You know, there's something else that struck me about Pussy Boots.
00:46:47And what is that?
00:46:49Well, look at the beginning of the story when the miller's son is separated from the means
00:46:53of production.
00:46:55His first problem is food because he has to eat.
00:46:58He's unemployed.
00:46:58Right, right.
00:47:00He's unemployed.
00:47:01But he's not just separated from the means of production, he's separated from his own
00:47:05labour power, too, because it is incarnated in the cat.
00:47:09He's cold, too.
00:47:10He'd like to turn the cat into mittens.
00:47:12Oh, I'm sorry.
00:47:13I keep forgetting.
00:47:16What's it like being unemployed?
00:47:19Eh?
00:47:20For you, I mean.
00:47:25Well, it means I haven't got a job, so, consequently,
00:47:28I don't have very much money.
00:47:47There was a small copper identity disc fastened to a peg, inscribed,
00:47:53the celestial Baltimore and Durband Papier-MachΓ© Railway.
00:47:59And his brow was furrowed with sombre rage.
00:48:03Only the dead could hope to save him now.
00:48:06His disordered thoughts circled and recircled as though in search of some clue to the reason
00:48:11for their own imminent leave-taking.
00:48:13With one cruel movement, they wrenched themselves free from their groove and sent each other
00:48:18spinning off into the immense farrago of the void.
00:48:21They were light years away by now, but he felt he might still find some reference to them
00:48:26in the glossary.
00:48:28Each cordial glass he saw was empty save for two, one of which contained a single piece of
00:48:34crystal.
00:48:35If only he could put his ring finger on it, he could find the right nebula.
00:48:41But the crystal filled him with dread and menace.
00:48:45They had damaged the map to Dreamland, and there was no way home for the blindfolded.
00:48:50Gentlemen, the race of prophets is extinct.
00:49:17Europe is becoming set in its ways, embalming itself beneath the wrappings of its borders,
00:49:27its factories, its law courts, and its universities.
00:49:34The frozen mind cracks between the mineral staves which close upon it.
00:49:39The fault lies with your mouldy systems, your logic of two plus two makes four.
00:49:50The fault lies with you, chancellors, caught in the net of your syllogisms.
00:49:57You manufacture engineers, magistrates, doctors, who know nothing of the true mysteries of
00:50:07the body or the laws of existence.
00:50:09By what right do you claim to channel human intelligence and award certificates of mental merit?
00:50:18You are unaware of its most secret and essential ramifications.
00:50:30Those fossil imprints so close to our own origins.
00:50:35Those tracks, which we are occasionally able to discover, deep, in the most unexplored deposits of our minds.
00:50:47In the name of your own logic we say to you, life stinks, gentlemen.
00:51:17Two 25 targets withillas.
00:51:18Guys, if you dreams, make a mistake.
00:51:20I want to describe everything you look the same and avalanche.
00:51:21On the other hand, let me emphasize blasphemy.
00:51:26It doesn't seem to say anything you think.
00:51:26Then let mepse probe my hand.
00:51:28It has torain you in the structure of structured text.
00:51:30There is not a
00:51:32a person who is determined to meet the Π±ΡΠ»ΠΎ ofkaya to controller and target to view.
00:51:35I want to believe it.
00:51:36Believe me, even though, we are notΧΧ μμηΎ½ and the result.
00:51:39presa Jehovah is at the taller where have to be trapped.
00:51:42Ky Pinotter is an sos February 18 degree.
00:51:44What the horse means before coming to be placed on top
00:54:15I really need to talk to somebody.
00:54:37Go on, please. I don't like to sit and drink on my own.
00:54:43What's the bad news, then?
00:54:50Did I ever tell you about Julian?
00:54:53No, I don't think so.
00:54:54Well, he's committed suicide. I must have mentioned him to you. I was going to take you to meet him. Do you remember that day?
00:55:07Oh, who's my best friend?
00:55:37He was the cleverest person I've ever met. Brilliant. Brilliant ideas, all the time. Nobody ever really appreciated what he was saying.
00:55:52He was working for years and years on this theory of his.
00:56:09I wouldn't even give him a serious interview.
00:56:14England.
00:56:19You know what he said to me last week? Oh, God.
00:56:28Hello? Hi. Yeah. I've been in all day. Yeah. How did you know it was out?
00:56:46Oh. Yeah, my manager must have put an advert in there. Come on, come on, come on. Please.
00:56:55Yeah. Aww, you're so sweet.
00:57:07Should we go out of London? Just for a day?
00:57:11I'd love to.
00:57:13All right, then. Well, give me a ring next week.
00:57:17Yeah, I'll have more time then as well.
00:57:20All right, then. See you, doll. Bye.
00:57:25Why did he do it?
00:57:30Why did he do it?
00:57:35I think he...
00:57:40Perhaps he wants to be heroic.
00:57:49How did he do it?
00:57:51Does it matter how he did it?
00:57:55I wrote a song once about committing suicide.
00:58:02Maybe I should put it on my new album.
00:58:08Trouble is, it needs a double bass.
00:58:10But I could get Mickey to do that.
00:58:12Do you think I should get Mickey?
00:58:14Do you think I should get Mickey?
00:58:15I think he just...
00:58:16I think he just committed suicide because he couldn't think of another line of action.
00:58:32Have you got someone to design this album of yours?
00:58:47Yeah.
00:58:48Oh.
00:58:49I'm not in charge of those kind of things any more. I've got someone else to do it.
00:59:06Thank goodness.
00:59:08I'll do it.
00:59:10Yes.
00:59:11Oh.
00:59:12Yes.
00:59:13Karen, hi.
00:59:14I came here to talk to you.
00:59:16Yeah.
00:59:19It's only been out a week.
00:59:20Not to listen to your fucking telephone conversations.
00:59:22It's not even in the shops yet.
00:59:24Just a minute, Karen.
00:59:25Will you shut up just for one minute, please?
00:59:28Yeah.
00:59:30I don't see why I should shut up.
00:59:32No, I know, I know.
00:59:34I came here to talk to you.
00:59:35No. No, it's all right.
00:59:37Are you listening?
00:59:38Do you understand what I'm saying?
00:59:40No, you're not disturbing me, Karen.
00:59:41Oh, for God's sake.
00:59:43Just loving you, Karen.
00:59:44You're not disturbing, eh?
00:59:45I love you, Karen.
00:59:46Wait!
00:59:47What?
00:59:48I'll ring you back later.
00:59:49Wait for what?
00:59:50I'll ring you.
00:59:51See ya.
00:59:52Something special?
00:59:55This is yours.
00:59:57Oh, keep it.
00:59:58Take it. It's yours!
00:59:59You know, I was thinking of a scheme for teaching computers to do book illustrations.
01:00:04Just a very simple graphic vocabulary.
01:00:08Well, don't worry. It won't put you out of work.
01:00:10Oh, don't worry. I'm out of work already.
01:00:12The company went bankrupt. Nothing to do with technology, just the recession.
01:00:15Why are you looking for a job, then?
01:00:16To tell you the honest truth, I just want to get away at this minute.
01:00:17But I'm broke.
01:00:18Pennyless.
01:00:19On the dole.
01:00:20On the bread line.
01:00:21I sold my Pentax yesterday.
01:00:22Neil, this just may be your lucky day. I might be able to help. But...
01:00:25Hmm.
01:00:26It was a big but last time, wasn't it?
01:00:27Same one. The thing is...
01:00:28Not another husband returned from the grave.
01:00:29No, not another husband. The same one. Returned from Hamburg. Oh, don't worry.
01:00:32No cause for alarm. No need to panic. Just a chance to get away and get paid for it.
01:00:37Okay, tell me the story.
01:00:38By my late husband. Oh, let's go. Here comes the magician. I'm not in the levitating mood tonight.
01:00:41You don't have to. I rather like the magician.
01:00:42Brings back fond memories. Come on, let's go.
01:00:43Now, this may be the last time, wasn't it?
01:00:44The last time, wasn't it?
01:00:45Uh, same one. The thing is...
01:00:46Not another husband returned from the grave.
01:00:47No, not another husband. The same one. Returned from Hamburg. Oh, don't worry.
01:00:52No cause for alarm.
01:00:53No need to panic. Just a chance to get away and get paid for it.
01:00:58Okay, tell me the story.
01:00:59By my late husband. Oh, let's go. Here comes the magician. I'm not in the levitating mood tonight.
01:01:04You don't have to. I rather like the magician.
01:01:07Brings back fond memories. Come on, let's go.
01:01:10Now, this minute. Three million unemployed and fate has chosen me.
01:01:40It happens I need someone capable and trustworthy to deliver a small but very valuable item in Mexico City.
01:01:53When?
01:01:54Tomorrow. The day after it would be much too late. All expenses paid. First class hotel. Second class air ticket.
01:02:10You've got to go stand by now anyway.
01:02:12No stopover in Miami.
01:02:17What is it?
01:02:22What will I be carrying?
01:02:26Will I have any problems with the customs?
01:02:33Not to worry. It's just a point ticket. It has to be returned to the legal owner of the property pledged.
01:02:43Why?
01:02:44Why?
01:02:45What's the exact nature of this transaction?
01:02:50The property concerned is now in the National Pawn Shop in Mexico City.
01:03:00It's a large building, a little like Harrods, equally full of expensive curios.
01:03:12It was deposited as a security against large outstanding debt. The debt has now been cleared, so the ticket must be returned.
01:03:25Can't you just put it in the post?
01:03:28No.
01:03:31There speaks the voice of practical reason.
01:03:37In ignorance of the hazards of our postal system.
01:03:43What other hazards may I be in ignorance of?
01:03:46I wouldn't have suggested it to you if there were any hazards.
01:03:50Well, there must be some hazards.
01:03:55Nor one.
01:03:58Just a little one.
01:04:01Come, it's all perfectly straightforward.
01:04:04I'm not going to get arrested?
01:04:06Absolutely not.
01:04:10You go to a lawyer's office in Mexico City,
01:04:13deliver the ticket, obtain the receipt, call me collect.
01:04:18The ancient Aztec city of Tenochtitlan, Vermillion told Neil,
01:04:23was built on huge floating rafts in the middle of the lake whose dried up dusty floor is now the site of Mexico City.
01:04:30There Montezuma, in his cloak of feathers, sadly welcomed the cruel conquistadors,
01:04:35and there his son Quachtimoc carried out his doomed resistance against the mounted fire-armed Spaniards.
01:04:43Already in Neil's mind, the cry of the spider monkey and the cockatoo echoed through a landscape of cactus and liana amid cyclopic pyramids.
01:04:52A cynic might say that the gap between the job shop and the cities of Alpha had grown too wide to close,
01:04:59prized open beyond the grasp of practical reason.
01:05:02But for Neil, the exotic had always held a powerful allure.
01:05:06He set about learning phrases of Spanish, bought himself a tropical suit and sloughed off his English identity like the skin of a snake.
01:05:14As they drove to the airport, Neil was exultant.
01:05:17The more chimeric the mission, the more pungent its charm.
01:05:21Yahsh...
01:05:31Are you in English?
01:05:39Matthias, eh?
01:05:42Norte.
01:05:45Let him believe his strength of plusieurs laces.
01:05:47El diablo es blanco, eh? El diablo es rapido, massa rapido, massa rapido, eh, eh, boy?
01:05:54Look, we're in England. Come on, be sane.
01:05:58Cingara tu merdre. Cingara tu merdre.
01:06:01All right, we're back.
01:06:03Here, hold the cingara. Arriba.
01:06:06I'm going back, all right?
01:06:08Yes, I know. I'm going back.
01:06:10I'm going back, all right?
01:06:40You've had a statistic to tell me Russian man is really dead.
01:06:50You've never had a statistic to tell me Russian man is only love.
01:06:58I think you're funny at the night you promised me the blue sky.
01:07:05You're supposed to be telling me that you were true and absolute.
01:07:14No, no fiction. No, no fiction. No, no fiction. No, no fiction. No, no fiction. No, no fiction. No, no fiction. No, no fiction.
01:07:31No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction. No fiction
01:08:01No more fiction, no more fiction, no more fiction.
01:08:31Pouring over her false colour maps, Vermillion could register the distribution of crops or the outcome of harvests.
01:08:37She could see her normal sight was dull and blind.
01:08:41She could see even the difference between life and death in the patterns made in the infrared wave band,
01:08:46as plants reflected or absorbed energy.
01:08:49Those that were healthy absorbed blue and red light, while those that were dying absorbed the infrared.
01:08:55Oblivious of night and day, hazel mist, the sky was meshed with tracking eyes,
01:09:00film, vidicon, radar, multispectral scanner, each an untiring recorder of the impoverished earth beneath.
01:09:08In every patchwork of colour, its tones and textures, she could see into the future,
01:09:14forecasting the yield, and with the yield, the expectation of profit.
01:09:18Magenta could mean healthy growth, while a tinge of blue could signal failure and loss.
01:09:24Yet this insight into the future, bought at such great price, would benefit only a few.
01:09:30As neutrally as the technology itself, Vermillion serviced those to whom, through the paradoxes of the commodity market,
01:09:38the prediction of failure could bring good fortune and money in the bank.
01:09:42Her set square, stereoscope and ruler were the mundane instruments of this economic miracle.
01:09:48Come on, get in focus. Focus. Focus. Focus.
01:09:58Hello?
01:10:10Hello?
01:10:12Hello?
01:10:14Hello? Hello?
01:10:16Neil? Vermillion?
01:10:18Where are you?
01:10:20I can't get any flights.
01:10:22Oh, no. What happened?
01:10:24Lake has collapsed.
01:10:25It's chaos here.
01:10:26Oh, no. I'm sorry.
01:10:28Everything's booked.
01:10:29Oh, hang on just a minute. I think we've got a cross line.
01:10:33Hang on.
01:10:34Hello?
01:10:35Hello?
01:10:36You've got a cross line.
01:10:39Hello? Hang on, Neil.
01:10:41Hello?
01:10:42Can you hang up? You've got a cross line.
01:10:47Oh, look.
01:10:49You've got a cross line.
01:10:54Hello?
01:10:55Neil?
01:10:56Don't hang up. Just hang on.
01:10:58Hello?
01:10:59You've got a cross line. Monsieur?
01:11:02Hello?
01:11:03You've got a cross line. Monsieur?
01:11:06Monsieur?
01:11:07Hello?
01:11:08You've got a cross line. Monsieur?
01:11:10Monsieur?
01:11:11Hello?
01:11:12Hello?
01:11:13Hello?
01:11:14Hang on.
01:11:15Put the phone down.
01:11:16Put the phone down.
01:11:17You've got a cross line.
01:11:18Just put the phone down. Just hang up. You've got a cross line.
01:11:22No, Neil.
01:11:23Neil, not...
01:11:24Look, I've got a deadline here. I'm trying to do something.
01:11:27Do you mind?
01:11:28Look, that's really not my problem. Just put the phone down. You've got a cross line.
01:11:30Please, do you mind? Try your number again.
01:11:31It won't do any good my ringing again. You've got to ring again.
01:11:32Look, for Christ's sake, I'm dictating an article to a typist in France.
01:11:36Listen, I don't care whether you've got your head in a polythene bag. Nobody is living.
01:11:37Nobody is listening to you. Just hang up, okay?
01:11:41Oh, she's a victim.
01:11:42No, Neil, don't you...
01:11:43Listen, ΠΊthom, hamillian.
01:11:45Hello?
01:11:46Oh, yeah?
01:11:47Look, Neil, don't you...
01:11:48Listen, I'm...
01:11:49Yeah?
01:11:50I'm trying to do some work. Do you mind?
01:11:51I'm trying to do some work. Do you mind?
01:11:53Look, that's really not my problem. Just put the phone down. You've got a cross line.
01:11:55Please, do you mind? Try your number again.
01:11:57It won't do any good my ringing again. You've got to ring again.
01:11:59Look, for Christ's sake, I'm dictating an article to a typist in France.
01:12:01Listen, I don't care whether you've got your head in a polythene bag.
01:12:04Nobody is listening to you. Just hang up, okay?
01:12:06Look, Neil, go and have a drink. Go and have a Bloody Mary.
01:12:09The bar is closed. You have a Bloody Mary.
01:12:12I'm going to try and get an early-morning flight to Madrid.
01:12:15Look, it won't do any good.
01:12:17Just hang on, just hang on until this idiot gets off the line.
01:12:20Okay, okay. Collect me.
01:12:21Neil.
01:12:36God!
01:12:41Go, go!
01:12:43Go, go!
01:12:48Go!
01:12:57Go, go!
01:13:02Go, go!
01:13:04The shock troops of capitalism travel in holiday coaches.
01:13:18After his setback at the airport, Vermillion is driving Neil back home,
01:13:22while elsewhere parties of his fellow unemployed are assembling to be picked up by a convoy of coaches
01:13:27and ferried from staging area to front line as scabs and strike breakers
01:13:33at the small clock and watch factory, whose picket lines Neil has often given a warm, if somewhat self-conscious, smile.
01:13:40He certainly doesn't foresee that in a short while, Vermillion will take her usual backstreet route
01:13:45past the same factory at the precise moment that the coaches will arrive.
01:13:50He has absolutely no concept that in a spontaneous burst of manic energy,
01:13:55the last residue of exhilaration at his ruined Mexican journey,
01:13:58he will insist on Vermillion stopping the car so he can get out to see what's happening,
01:14:03and whether there is anything he can do.
01:14:05He can't foretell the next sequence of the story, in which necessity and contingency collide,
01:14:11the pursuit of surplus value with the quirks and impulses of character and fate.
01:14:16He can't read the news on the not-yet-printed page.
01:14:19Stop press. No expectations.
01:14:22Have a dip and get some sun.
01:14:34Cover yourself up.
01:14:36What's with your milk?
01:14:37I am on holiday.
01:14:38You're no spring chicken anymore.
01:14:40Oh, yeah?
01:14:41Planting's would like to introduce you to your true holiday self,
01:15:06the fun-loving person we somehow managed to bring out in everyone.
01:15:09I am on holiday.
01:15:10I am on holiday.
01:15:12I am on holiday.
01:15:14Mum, we're going to lunch now.
01:15:17Meet your true holiday self this year.
01:15:20Ring this number for your free contents brochure.
01:15:22Workers at the Aurora Watch Factory in North Kensington are on strike against redundancy policies,
01:15:29which they claim are unfair to women employees.
01:15:33Earlier today, there was a tragic new development when Neil Holt,
01:15:37a local man not directly engaged in the dispute,
01:15:41was accidentally knocked down and killed by a coach taking non-union labor into the factory.
01:15:47Union officials are demanding a public inquiry into the incident.
01:15:53Our reporter, Derek Binham, was on the scene.
01:15:56And so a minor industrial dispute here in North Kensington has become a human tragedy.
01:16:01Well, somebody who saw the accident happen is with me now.
01:16:04Can you tell me exactly what happened?
01:16:05The police were moving the pickets back to let the coaches through.
01:16:11And they were mainly women, and one of them had a child with her,
01:16:15and it ran across the road right in front of the coach.
01:16:19And Neil just dashed out and just managed to push this little girl out of the way.
01:16:26And it ran right over him.
01:16:29He fell down, and it went right over him.
01:16:32And it was terrible.
01:16:34But he did manage to save the child.
01:16:38The plane should have been taking off just at that minute.
01:16:41Can I ask you how you both happened to be here?
01:16:44Are you part of this dispute?
01:16:45No, no.
01:16:46We were just passing by on our way back from the airport.
01:16:49He was meant to be going to Mexico today,
01:16:52and the flight was cancelled.
01:16:54And we just saw what was going on,
01:16:58and he wanted to show his support.
01:17:02And so this small factory,
01:17:05which has now been picketed by its workforce for 51 days,
01:17:08has today seen a man killed.
01:17:11Just where the blame lies for that
01:17:12is a question still to be answered.
01:17:15Derek Benham in North Kensington.
01:17:17I'd like to dedicate this song for Neil,
01:17:26who'll never hear it.
01:17:28The story from the splinter,
01:17:47is the first place to be heard.
01:17:49The mountain meets the blood.
01:17:52The mountain meets the blood.
01:17:53The British French is the fastest way.
01:17:58The rain meets the blood.
01:18:02I fear the bells I speak.
01:18:05I go up the gracious sky.
01:18:09Yes, I did the tune, somebody upsets him at food, food, food, sensational fears that we are still here.
01:18:36And who has so loved, we have our own spirit, I will the hills I see, I can't hear you, I can't hear you, I can't hear you.
01:19:06I can't hear you, my dear, the hills we are still here.
01:19:16We are still here, but we are still here, and through the solar, we have our own sphere.
01:19:32Volcanoes, I hear the hills I see.
01:19:42Volcanoes, I hear the hills I see.
01:19:51Volcanoes, I hear the hills I see.
01:20:21Volcanoes, I hear the hills I see.
01:20:51Volcanoes, I hear the hills I see.
01:21:17What could I tell from looking at Neil?
01:21:47Dreams. Redundancy.
01:22:17What could I tell from you?
01:22:32I don't know.
01:23:02Rain is falling down
01:23:24We no longer see
01:23:31Rain has fallen down
01:23:37We no longer see
01:23:44Crystals gazing
01:23:46Rain has fallen down
01:23:51Crystals blazing
01:24:00Rain is falling down
01:24:06Crystals blazing
01:24:20Crystals blazing
01:24:26Crystals blazing
01:24:28Crystals blazing
01:24:33Crystal gazing
01:24:37Rain is falling down
01:24:42Frost is calling
01:24:50Frost is calling
01:24:53Now
01:24:54Frost is falling down
01:25:01Π½ΠΈΠΉ
01:25:03Van
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