35 3 7 39 BEDROOM. oxo. SCNT not crown up, Iie: eeake tn bed #ith Bis VIFE, whe is aiteep.” Me gingerly gets cut of bed trying mot ie Gisturb her we takes a cigarette from the bedesae feble and Lights vp. He touches ber bare arm, She Gseinterested. DINE gets up ard site by the window Elinsuerted wy the sefloe Iopne cf the street lamp Ho picks up his iach stratocaster presting st against Bie terple. “He places at the ursiectrified strings. Bissatistieg he holds the gulter up, like a rifle, snd Rooks slong the fretboard ExT. _Av210._ay. Ke sntereur to Pini'S FATHER eho does « eimilar action wich hie eu’ TAGE CORRIDOR, NIGHT In £.c.U. we se 2 @ Glals the Gperater. he pan ep to see: phone. PINK face ane cut ier. _prbgoow. iesvox._xrarr ‘Mother vit) ahe teer your Little boy apart? worber Enc bth" gy peared n C.U of NIFE'S face, acioep. F.%. telephone ringie. tables” A Ban's tusd picks up the telephone. ¥e £0 ith the handset to reverl the LOVES. He routhe Shelie?", and looks quiceically acroos at the WT ‘She shaker Her bess. He hangs up. He offers her & Cigarette. As thoy Light up the telephene ringe once more: He anovers it agein, and bangs Up. vgther as it need to be ‘bo hign Ext Yo istercut PINI'S FATHER, The Bloody band and tezept frop Seene (12).INT, _pACK STA comnnoR, _sIGeT Ye sce C.U. of handset dangling from the payphone. FIX. telephone ringieg yes ~ a collect esi fron kr.’ Floyd to urs. Floyd, will you accept the charges Tron the Unites Sraves London bangs up. OPERATOR "Wo ~ he bung up. Ts thts your residence? I wonder why he URE up? Te there supposed te be Sonetody rls: there beeiges your size” operstor aisle agsie Loven vuelto?" This 4s the United stares calling, are we reaching ‘The 1OVER hangs up again. OPERATOR See ~ he keeps banging up, and it's 8 min answeriag.” Dialling tove. During this dielogue the cancers has pulled out to shor PINK Slunped oa stone steps. Hic band still elisgs tc the handset. “As ve bear the intro of "Eapty Spaces we slowly track slong © grey stoue corridor, tsolatinr The patnetic elusped figure of PINK.EMPTY SPACES What sball we use to f111 the Spaces where we used to talk? How shall we fill the final places? How shall we complete the all? Shall we buy a new guitar? Shall we drive a more powerful car? Shall we work straight through the night? Shall we get into fights? Leave the lights on? Drop bombs? Do tours of the East? Contract diseases? Bury bones? Break up homes? Send flowers by ‘phone? Take to drink? Go to shrinks? Give up meat? Rarely sleep? Keep people as pets? Train dogs? Race rats? Fill the attic with cash? Bury treasure? Store up leisure? But never relax at all. With our backs to the wall. ty‘The intro of *Eepty Spaces" continues. & rose and 2 Tily roy tna blossom. They are attracted fo each their passion turas to violence. ‘They fight. Finally the ferale flceer consumes th sae flower. “She th sscty] whieh fice sway Spall ve crive a more poverful Shalt we work etraight through th > sese Bhatl we get ante £4 ‘The wall of post war reind Tt oversnadors the weight of walle of their h YOUNG LUST I am Just a new boy, A stranger in this town, Where are all the good tines? Who's gonna’ show this stranger around? Qoooocdh T need a dirty woman Qoooocoh I need a dirty girl. Will some cold woman in this desert lend Make me feel like a real man? Take this rock and roll refugee. Oooh babe, set me free. Oooooooh I need a dirty woman. Oooccech I need a dirty girl.42 43 EXT. ARENA. NIGHT At the bottom of a ranp leading down into the back of the building, two teenage girls, in heavy make-up, stamp their feet in the cold, outside steel rolier shutters A cadillac sways down the rexp flashing its lights The girls srile into the glare. They try to see who is 45 the car, It seceps on into the lit backstage area. There is a security guard in a booth, Just inside the doors, he beckons the girls up to his booth, and starts to chat then up. One of then goes into the booth, and the other one Jeans on the wall outside. The first girl disappears below the sill of the guard's booth, to give bin head. When she has finished he picks up a telephone and grins into it, winking at the girls. A roadie arrives. He peels two back stage passes off a sad he carried, done up with an elastic band. He gives them to the girls, who follow hin into the backstage area. INT, _TRACTOR/TRAILER BACKSTAGE. NIGHT “Qoooooch I need a dirty woran Ooooooct I need a dirty girl” ‘The groupie strips for the rosdies. A naked 1ight bulb SWings, throwing deep sradows across the walls. At the end of her strip she cur-seye ironically and gathering up her clothes flounces out with her friend, slamming the trailer door behind her. CUT to black“4 SUITE cut We see a crack of light as the door opens. Silhouette against the glare of light from the corridor is the GROUPIE from backstage. GROUPIE "Ob my God .. what a fabulous Foon, Are’ali these your guitars’ PINK has entered behind her, unseen. He switches on the 7.V. and slumps into a chair. GROUPIE "God, this place is bigger than our apartment. Er .. can I get a drink of water? You want sore? Buh? Ob wow, look at this tub! You wanna’ take a bath?. ‘The GROUPIE returns to the living room and confronts PINK. GROUPIE what are you watching? Hello? Are you feeling okay?"ONE OF MY TURNS Day after day love turns grey, Like the skin of a dying man. Night after night, we pretend it's all right But I have grown older and You have grown colder and Nothin' 1s very much tun anymore. And I can feel one of my turns coming on. I'feel cold as a razor blade, Tight as a tourniquet, Dry as a funeral drum. Rup to the bedroom, in the suitcase on the left You'll find my favourite axe. Don't look so frightened This is just a passing phase, Just one of my bad days. Would you like to watch T.V.? Or get between the sheets? Or contemplate the silent freeway? Would you like something to eat? Would you like to leara to tly? Would you like to see ne try? Would you like to call the cops? Do you think it's time I stopped? Why are you running away?