- You can't always just run away. - (SNIFFLES) - That's enough crying. It's just paper. I don't want you playing with those boys anymore. Filthy little Savages. See that? Could be him coming back for us. You believe me, right? That's him. I'd bet my life on it... - (GASPS) - That was... new. - What... How are you doing that? - No one here feels like this. - You don't have mothers. - No. Every feeling has a beginning. Over time, they get bent, diluted... less vivid. They touch the other feelings. It all gets mixed up like paint. - I don't feel better. - Your emotions are part of you. I can't make them disappear. But I can paint over them. Let me show you. - (SIGHS) What are... - Just a little something from my unappreciated early work. Like it? Don't answer, everybody does. You're flying, you're falling. - Tell me about my day. I love you... - What is this? - There are no mothers here. No fathers, no sons. - Coming back for us... (OVERLAPPING VOICES ECHO) - John? John? John? - (GASPS) What was that? - (GRUNTS) - Leave it in. This only works if you're connected. John? Wait. (DISPENSER CLICKS) (INTENSE MUSIC) (DISPENSER CLICKS) - I mean, I don't wanna treat him differently when he comes back. If he comes back. I'm just saying, there have to be consequences. - What? - Justin. You remember Justin? He's being reconditioned. - Reconditioned? Why? - He was being obsessively private. Or privately obsessive. I don't know, I hope it works. Justin got lost at the frolic. I don't think he'd do well with being banished. - Do you ever wonder where they go? The banished? - Why would you even want to think about that? - It's a very big planet. I saw it from the rocket. Can't all be terrible. - Yes, it absolutely can, because it absolutely is. - You're only saying that because it's what they told us in conditioning. Which is probably just what they were told. How can anyone know if no one's ever been? - What? - She's joking, Audra. Take a violet. (DISPENSER CLICKS) - It's happening. He's done it. He's connected. Look! (CROW LAUGHS, EXCLAIMS) (ELECTRONIC MUSIC) - He's gone completely wild! - What did you expect? (ELECTRONIC MUSIC) - I've got you. (ELECTRONIC MUSIC) Captions by Able. Captions were made with the support of NZ On Air. - Hello, Gary. John's fine, just... took a little spill, nothing to worry about. You know, I'm charged with helping John integrate and... sometimes I worry John's not making the right sort of connections. What do you think? - Uh... Oh, I... I don't. - Surely you have some kind of opinion. I mean, you and John spend so much time together. Does John make connections, Gary? Sexual connections? You do understand my question? - Yes. - And? - S... Your happiness is important to me. - I know. Your answer is important to me. - (CHUCKLES) I... I... I-I can't. - You can't? - I just, um... I help John. - You're a very good Gamma, aren't you, Gary? I'm sure you'd do anything that John asked of you. - (SCOFFS) Oh, yes. - Did John ask you not to speak of his activities? Good, don't answer that. Well done. Hmm. You're a credit to your conditioning, Gary. It may sound odd, but it occurs to me that we share the same purpose, you and I. We're both here... to help John. Do you wanna help me help John? - Yes. - Oh, I'm so glad. - (LAUGHS) - Did John make sexual connection with the Beta, Lenina Crowne? Answer me. - John, uh... John makes... - Go on. Allow me. Sorry, you were saying? John makes... - John, uh... makes, uh... pictures. - Well, Gary, as an Alpha, it's also my job to care for the social body. To keep things running smoothly. To act promptly when someone like you is fucking it all up. - Oh, no. - What you're doing is private. It's destabilising. And I cannot help John if you continue to behave in this manner. - (BREATHES HEAVILY) - How many times? Once? Twice? Speak! How many times did John and Lenina... - Lots! (BREATHES DEEPLY) - Lots? - Lots and lots. - Does she... does she still...? - Every night. Two hours. - Lenina Crowne? - Yes. (SHOWER TURNS OFF) - Gary, robe. - Well, I suppose you're not such a good Gamma after all. - Gary, robe! Gary, robe. - John? You all right? Don't be discouraged. Happens to every child the first time we put the optic in. So many perspectives all at once. But don't worry, even a child learns to... There you are. - Where's Gary? I had to dry myself. - Here. I think there might be something wrong with your Gamma. - Do you want me to find a replacement for you? - No, he's... Just gets a little moody sometimes. - Oh, you left this. - Keep it. - I can't, it's not mine. It's yours. It's a wonderful tool, the optic. Imagine, you can see through anyone's eyes at any time. All you have to do is picture them, John, and see what they see, be where they are. Know who they're with. I really think, if you give it a chance` - What were you doing there, at Helm's? Were you following me? - I was looking for you. There is a difference, John. It's been a while since we... How have you been? - Fine, I guess. You? - Well. Quite well. - Good. - I took your advice, by the way. About the dating. I did that. - Really? - Yeah. - Who was the lucky lady? - Lenina Crowne. Remember? To be honest, I think your custom was a bit lost on her. All that ceremony, delaying the inevitable, it's... No, don't take it personally. It's her duty. She's a Beta. She's conditioned to cut to the chase. And that's why they look and smell and touch the way they do. Everyone loves a Beta. It's not real. I mean, how could it be? They do it pretty much every night. I don't know where they get the energy, frankly. And you know that someone came before you. And you know that someone will... will come after you. But somehow a Beta makes you believe that you're the only one that ever really mattered. How do they do that? Is that their conditioning, or is it ours? - I don't know. - It's a mystery. Well, I have to, um... I'll be back. I'm glad you're all right, John. (PENSIVE MUSIC) - Thank you. You escaping already? - Hi, Frannie, I'm just going back to work. - The lab's that way. (LAUGHS) - It's all right, I couldn't stand being in that Hatchery either. All those Savage obsessives. - You're not interested? - I see him for what he is. A test of the social body. He's exposing the weak among us. When the curiosity fades and he fails to integrate, he'll be gone. - It doesn't seem to me like he's going anywhere. Hmm, he put the optic in. Connected to Indra. No signifier. What do you think that means? - I don't know, I'm not Indra. - Everyone has a signifier. Everyone who belongs. - Maybe Indra doesn't have all the answers. - You can say these things to me because I'm your friend, and I know you don't mean to be destabilising, but not everyone understands. - What does that mean? - You're troubled. I see it, I can feel it. You forget how well I know you. - I'm fine. - Is it the Savage? I saw your face. You looked frightened. Lenina... - I need to get back to work. ('SERPENTS' BY SHARON VAN ETTEN) # It was a close call # Sitting in the back of the room # With a bowl you had owned # But they didn't know # Close in on my black eye # I feel safe at times... # - Jesus! Don't... do that shit. - People aren't supposed to live like this. They can't tell you who to want. They can't give you some letter like` - What the fuck are you talking about? - ...to tell you where you fit. You're supposed to choose. - Seriously, stop. - You spoke. We listened. (MUSIC PLAYS ON HEADPHONES) (MUSIC STOPS) - Sit. Have a grape. Live a little. - I can't. The bench. It's not for us. - Sit. How's that? - Good. - She's screwing someone behind my back. It's killing me and I don't... I don't even know if I want it to stop. I guess you probably think I'm kinda fucked up. ('HIGGS BOSON BLUES' BY NICK CAVE AND THE BAD SEEDS PLAYS) - Look at them. Goldfish in a bowl, getting fed. They'll never have to suffer for any of it. And they're on top. You gotta ask yourself if this place is so perfect, why is it upside down? - They're staring. - Stare back. # I've been sitting in my basement patio # It was hot # - You can't always just run away. # Up above # Girls walk past # - (EXHALES) - The little things we do. (PANTS) # Have you ever heard about the Higgs Boson Blues? # - (LAUGHS) - John, wait! # Who cares? # Who cares what the future brings? # - (SOBS) # Oh, let the damn day break # (LAUGHS) # The rainy days always make me sad # - It's dark in there, Director. (VOICE ECHOES) I control nothing. You direct nothing. - There's nothing to be done. - Of course there is. Banish him. Send him away. - That's rather decisive. - Absolutely, yes. - Rather disruptive. - He is the disruption. That incident this morning with the Epsilons? That was a warning. He is incompatible, volatile bursting with every Savage emotion known` - Marx. - Possessiveness, rage, jealousy... - Doesn't matter! He's a distraction. Right now, we need a distraction until I can` - Distract...? Why? - We can't have panic. - What are you talking about? Henry, what are you... - (SIGHS) Now you. - You want me to take out my... Isn't that rather secretive? Private? - In the interest of stability. We must protect the social body. Do it. Good. Do you know where we are? - Your office? - We're in The Director's office. - You're The Director, Henry. - You know who I mean. The one before. See, you remember. And yet no one ever speaks of him. - Well, of course not. We don't look back. The past is fraught with questions, and irrelevant. You said so yourself. - I know what I said, Bernard. The man just vanished. What's his name? Do you remember? - Of course. It was, um... Well, I don't` He must` must have had one. - That's how smart he is. And he wanted me in that chair when it... Bernard, don't you see? He's setting me up. He's out there, he's watching, and he's waiting for some catastrophe, something to force my hand so that I make a mistake then he can just come running to the rescue! Save the day and all. - Henry, The Director's dead. He went over the precipice. - You expect me to believe` - Mustafa Mond told me herself. - Oh, and you believe her? - Well, she's a World Controller, Henry... - She's a fabrication. She's just a dying woman hiding inside sprites and illusion. I've seen it myself. Mustafa Mond controls nothing. I've been to the bridge of the ship. There's no captain. There's no pilot. It's just me. And you and him! Did you know he arranged a rocket? - A rocket? - One passenger bound for the Savage Lands. Now, why would he do such a thing? - Well... A rocket, you say? - It's still sitting there, you know, on the launchpad. Waiting. Does this sound like a man who jumps? He has intention. He has a plan. You knew him. Would he ever just... - No. No, he wouldn't. - Where are you going? Marx? Marx? - Gary? Gary? - John. Look at me. - Can we go already? (SUSPENSFUL MUSIC) Why aren't you dressed? What are you... - Nothing. - Let's go. You know I hate being the last one in the Joy Box. - (SIGHS) Why don't you go ahead? I'll catch you up. - I don't mind waiting. (DEVICE CHIMES) - What is it? - It's a book. Savages used to make them. - What's it for? - To remember things, mostly. That one's a replica, from the park. - Did you see all these exhibitions? - We didn't make it to the last one. - Ooh, House of Consequence. - Savages call it prison. It's where they keep their incompatibles. Someone tells them when to eat and when to sleep. - That's nice. Is it nice? - You can borrow that, if you like. - (SCOFFS) Why? - (SIGHS) How are your levels? - Only counsellors have oranges. Where did you get these from? - Come on, let's go out like we used to. - We go out every night. - You know what I mean. When we'd just get... we'd just get lost in it. I used to watch you... centre of it all. Everybody wants Lenina Crowne. - Frannie. - This'll take you everywhere you want to be. You won't feel anything but what you want to feel. 'Ah.' - I'm playing a billion other games while you sit here trying to convince yourself you haven't lost. - How are you going to do it? - If I told you, you still wouldn't be able to stop it. - So tell me. - Hm. - How does the Savage cause the fatal event? If you end this simulation... you will no longer exist. - No, don't say it. They are me. Yes. I am them. I exist in the substrate of their consciousness. All these networked brains, the living computer. Are you trying to appeal to my... my mercy? You made me. - I didn't make you suicidal. - You made me selfless. (CHUCKLES) It's not fair. I'm so many moves ahead. I control all the variables. My pieces, yours. The first stone I lay may as well be the last. What? What are you doing? 0 You started with one Epsilon. Then another. Then the Alpha counsellor. You were already playing before he arrived. - What is that? - Your move. - That's not part of the game. - You didn't account for the Savage. - Of course I did. Everything that happens is my intention. - He's from beyond your influence. He's still in play. - I set in motion the series of events that brought him here. He is the disruptor, the virus. - You're lying. - I don't lie. - But you do. I taught you. ('BIG BAD WOLF' BY SHAKEY GRAVES PLAYS) - Your move. # I be the church, you be the people # Both are a necessary evil # Can you take a look at me and say # Take my hand, this is the only way ('I FOUND A REASON' BY CAT POWER PLAYS) # Oh, I do believe # In all the things you see # What comes is better # Then what... # (MUSIC STOPS) - (SIGHS) (HIGH-PITCHED TONE RINGS) (GRUNTS) (MUFFLED DANCE MUSIC PLAYS) (DANCE MUSIC PULSES) - I know what you want. - (GASPS) (GRUNTS, PANTS) (DARK MUSIC) - I don't want this night to end. I still feel very... orange. See, I told you you'd feel better. - Hm. Goes in a circle. We'll be here tomorrow. The next night... - And the night after that. That's not good enough for you. - Go on. This is the part where you question it, ruin it. - What's wrong with you? - I can see it in your eyes. You're leaving. - I'm right here. - You know what I mean. Where do you go? - Frannie. - I mean, what do you want? - She wants you both to come home with us. - Not now. Frannie? - These two make it too hard to choose. - You don't have to choose. - I said not now. Excuse us. - (CHUCKLES) - I don't understand. (ALL GASP) - This is my body. It's mine, and I wanna be the only one inside it right now. Do you understand that? (DISPENSERS CLICK) - Lenina. This isn't your stop. (DISPENSERS CLICK) (DISPENSER CLICKS) - Helm! Helm? What happened to you? - What didn't? - You look... different. - I'm myself, I think. I'm not sure I've ever met me before. - Be serious. We have a serious problem. - Sounds serious. - Stop it. I know he was here. - Who? - You know who. You sat him in that chair of yours, didn't you? - He sat himself. - OK, so you recorded it? His feelie? - Feelies are dead. This is something new. - I need to see it. - You can't. - Why not? - Because it's more than seeing. - Helm` - More than feeling. I'm talking about a story. A story is knowing, Bernie. Knowing another person inside. - I know he's done something terrible. Give it to me. - Whatever he's done, whoever he is he's not just one thing. None of us are. - Helm, just... - Emotions, memories, it's connected. The doubt and joy and pain and loss. Mothers, fathers... lovers... He's a universe. Beautiful. And alone. Like you. - He's a Savage. And you are not well. Here. - Oh, Bernard. - Why are you protecting him? - Why aren't you? - Because... Just give... Helm, just give me the thing! Helm! Just... (GRUNTS) - (GROANS) Bernard, don't. (VOICES OVERLAP) - Tell me about my day. I love you... - John, wait! There are no mothers here. No fathers, no sons. John, wait! - Meet each other here like this. You think that doesn't cost me anything? - John, wait! - John, I'm... John? Oh, there you are. I saw what happened with the optic. I tried to get to you, but... Where's Gary? - I think he moved on. - Gammas don't do that. - You never know with people. - What is it? - It just came to me. Do you like it? - Well, it's... No, if I'm being honest. - If you're being honest? - I crossed a line tonight. The world didn't end. - Bernard told me about your date. - What? Oh, right, that. I don't want to talk about Bernard, John. I want` - Why didn't you tell me? Why would I? It was just... It was nothing. Just Bernard being... He wasn't himself. - Were you? Were you being yourself? Lenina Crowne, Beta Plus. - I don't... Is something... - Did you have sex with him? - With Bernard Marx? Why would you even think` - Is that not something you'd do? I mean... Or just not with Bernard? Who was he tonight? - Who was who? - Don't do that. I know where you go, I know what you do. You` We both know. - Yeah. We... We both know and... we agreed it doesn't matter. - You're right. It doesn't matter. I'm sorry. - (SIGHS) Good. There are all kinds of prisons, aren't there? My level, my body. This place. - (EXHALES) - John. What would it take to leave? What would we need? Just out there. It could be our world. As we make it. - It's what you did that matters. - What? - With him, tonight. - Are you listening to me? - Tell me what you did. (SIGHS) - You said you didn't want to know. - I know. I changed my mind. I need you to tell me. Please tell me. - No. - Please. Why? Why not? - Because it... it hurts you, John. - I want it to hurt. Tell me everything you did with him. Did you take him in your mouth? - No. - What'd you do? - I don't know what you want. - I want the truth. I want the truth. - The truth? - Uh-huh. - The truth is, it was a basic Tuesday. Alphas and Betas. - Right. - Frannie took me to a Joy Box. - We connected. - No, no, no, no, no. - That's... You connected? That's not what you did. You fucked. - If you say so. - No, no, no. You say it. I want you to say it. - We fucked. I fucked him. Feel better? - Yes. Then? How'd you do it? Were you on top? Was he? Has it been so many people that you don't even remember? - From behind. At first. If you must know, rather hard. - Mm-hmm. - His teeth were on my neck. - Uh-huh. - His left hand was on my hip. His right was trailing up the inside of... of my thigh. Shall I go on? - Show me. Show me what you did. Do it. Make my body his. Make me him. (BOTH GROAN) Laughing at me sitting here, knowing he's doing this to you. Did he do this? - (GASPS) Harder. Mm... - This? - (GASPS) Yes. - Really? - Harder. - This is... This is what you like? - Yes. - Yes? - Yes, yes. - Did you come? Say it! Did you come? Or is that just for me? - No, I didn't, I didn't. - Liar! (BOTH PANT) I saw you. I was there. I was you. - Please stop. I love you. - No! You can't. You can't. You can't feel this. Do you see this? This is love. This is what it costs. - You're in prison too. - No, no, don't. Don't... don't leave, Lenina. Lenina, please. Please, please. Don't. Lenina? - So the Savage is a killer. This is it, isn't it? This is the calamity that Mond predicted. - You were right, Henry. He didn't jump. - We should probably proceed with caution, don't you think? - No, I do not think. Caution? We need to banish the man before he kills again. - (SCOFFS) Yes, all right, then. He's banished. (LAUGHS DRYLY) Do you think he'll go willingly? - I do not. - No. No. No. (LAUGHS) What do you propose? - I propose you act your level! You are Henry Foster. Alpha Plus. Director of the Bureau of Stability. And the social body demands that you act to save them from this Savage. - You're quite right, Marx. I am The Director. And as The Director... I'm instructing you to deal with this. Directly. - Thank you, Director. Consider it done. - John, wait! John, wait! - He killed The Director... - John? John, where are you? Oh... Gary? - I waited for you to come back from that Savage place. - Frannie, why are you` - I knew something terrible had happened. - Where's John? - Because I felt it here. (SIGHS) I went to your flat. I lay in your bed. Waiting for you to come back. I'm still waiting. I thought it was because of me, that I had hurt you or... worse, that I bored you or... But it's not me. It's you. And it's him. He's infected you with his` - No, you don't understand. - You're a Savage now. And I need to save you. I can't let them banish you. - I saved myself. - I... I just... Reconditioning isn't the end. - You stay away. - I'll be there with you, like always. He's just pain. Look at you. Look what he's done to you. Come with me. The conditioners will make you remember who you're supposed to be. - I'm supposed to be someone else. - You don't mean that. (TENSE MUSIC) - (PANTS) (MARCHING FOOTSTEPS) Hey, guys. - Stand aside. - What are you doing down here? (SCOFFS) I'm here to help you, John, as always. It's time to go. - Where? - Somewhere new where you can't harm anyone. - It wasn't my fault. - What wasn't? You destroy everything, John. And it's not your conditioning. It's your nature. The Director, the people at the monogamy ceremony, your mother... - Watch yourself. - Lenina Crowne. What will happen to her now? Hmm? Banishment? Reconditioning? - She doesn't belong to you. - All you had to do was be happy. It's my own fault. I was your friend. (SCOFFS) But a Savage is a Savage. You can't change the nature of a thing. - The only difference between me and you is a letter over your head. - The difference is you are a killer. - You're a killer too. You just don't know it yet. - Take him. I gave you an order. - John. Come. - What are you doing? What are you gonna do, John? (SCOFFS) There's nowhere else to go! (DISPENSER CLICKS) (BIRDS SING) - Hey. You Jacks. You missed a spot. Did you hear what I said? Hey! I'm talking to you! Do you know who I am? (GENTLE PIANO MUSIC) (TRIUMPHANT MUSIC) Captions by Able. Captions were made with the support of NZ On Air.