BTEU Foo Phas Pane45 PINK does not respond. The camera moves slowly roung bis face. "Day after day, love turns grey, Like the chin'of # dying an Night after nignt, we pretend it's all right ... = Run to the bedroom, in the Suitcase on the left You'll find my favourite axe Fron this point on be goes berserk. We see bis violence expressed in her fear and her reactions He s systemstically teking the living room apart. “Or contexplate the silent freensy The camera manicelly folloxs bim around the suite ag he easbes thicgs us. Furniture is broker, the entire living room destroyed. She is terrified We see PINK'S face hideously distorted by rage. Flasb cut to Scarfisn screaming mask. The bedroom ds also taken apart. she ducks as bottles and debris fron the room are throun at the window. Figally = T.V. set smashes throvcn the window, and in slow notion falls tovards tae pavement. would you like to learn to fly? Would you like to see me try? PINK leans dangerously out of the window, cutting nis hand as be grips the eullion. The blood seeps through bis fingers. CUT to T.V. set shattering as it bits the ground. INT. CONCERT. NIGHT We cut back to our NARRATORS on the guitar solo, and bear, wRould you ike to call the cops? Do you think it's tine I stopped? Why gre you running away?” Am tight C.U, NARRATOR'S FACE.DON'T LEAVE 3 NOW Qooo0h_ babe Don't leave me now Don't say it's the end of the road. Remenber the flowers I sent? I need you babe, To put through the shredder In front of my friends. Qoooch babe, Don't leave me now, How could you go? When you know how I need you To beat to a pulp on a Saturday night. Qoovoh babe ‘Don't leave me now. How can you treat me this way? Running away. I need you babe. ‘Why are you running away? Qoooc0h babe.re. srcer 46 ast, wore su The camera mover slowly, tracks sround the floor of the frecked hotel room. Fix. bresthiog. Re're not quite Eure whether werre golag to cone across the battered Bouy Of the GROUPIE or tote 47 aw. __BEDROO. _tospox We see the FIFE and her LOVER eaking love, Tne camera over elosly over their bodies’ ooooch bat 48 ENT. _woree suite. sasmwine poow, PINK ig floating, oace more, ts the pool. The blood fron Rix cut Rand clouds the water 4° Nt, wore suste Fe track slong Bloody footsteps unt!) we fine PINE Baked, stunped in bis Gs chairs Ae te move around Pink's face ang elowty pull out ve see PINE, with th TiV. set, the etandara lanp asd the chair ag his only now isolates {ror the real world, and Gvarfee ges depicting the painfel areas of Bis past experience, particularly the pain of his relationship Seb bis bine, (OTHER BRICK IN, WALL Part 111 I don't need no arms around xe. [don't need no drug to calm ne. I have seen the writing on the wall. Don't think I need anything at all. No don't chink I'll need anything at all. Albin all it was all just bricks in the wall. All in all you were all just bricks in the wall.50 51 INT. _HOTEL Root Tv. SCREEN ‘The previous images now flicker on a T.V. screen. PINK kicks the screen with Lis boot. We repeat this image over and over again, irom different angles as we hear the F.X. on the intro to ‘Another Brick in the Wall ~ Part 111", MONTAGE CAP “I don't need no ares around me, I don't need no drugs to ceim ne. I have seen the writing on the wall We recap on images that have gone before GOODBYE CRUEL #ORLD Goodbye cruel world I'm leaving you today. Goodbye. Goodbye. Goodbye. Goodbye all you people, There's nothing you can say To make me change My mind. Goodbye.52 Ber. THE WALL, ‘An enormous wall 111s the frane, top, bottom, left and right. In the centre a sraii hoe, the last Brick bas yet to be placed, Pink is silhouetted within this hole, strongly back 1it by powerful white light. We clowly, Glosiy track 12. “Goodbye cruel world Tip leaving you today As the song finishes the final brick 1s placed in the wall and we cut to black. The barrier is conplete. F-X. human bresthicg. The buzzing of hovering fies. Abone drill, We hold the black frame of the unlit wall.