A CLOCKWORK ORANGE

Screenplay

by

Stanley Kubrick

Based on the novel by

Anthony Burgess

FADE IN:

INT. KOROVA MILKBAR – NIGHT

Tables, chairs made of nude fibreglass figures.

Hypnotic atmosphere.

Alex, Pete, Georgie and Dim, teenagers stoned on their milk-plus,thier feet resting on faces, crotches, lips of the sculpturedfurniture.

ALEX (V.O.)There was me, that is Alex, and my threedroogs, that is Pete, Georgie and Dim andwe sat in the Korova milkbar trying tomake up our rassoodocks what to do withthe evening. The Korova Milk Bar soldmilkplus, milk plus vellocet or synthemescor drencrom which is what we weredrinking. This would sharpen you up andmake you ready for a bit of the old ultra-violence. Our pockets were full of moneyso there was no need on that score, but,as they say, money isn't everything.

INT. PEDESTRIAN UNDERPASS TUNNEL – NIGHT

A Tramp lying in tunnel, singing.

TRAMPIn Dublin's fair cityWhere the girls are so prettyI first set my eyes on sweet Molly MaloneAs she wheeled her wheelbarrowThrough streets wide and narrow...

Shadows of the boys approaching fall across Tramp.

TRAMPCrying cockless and mussels alive,Alive O...Alive, alive O... Alive, alive O...Crying cockless and mussels alive,Alive O...

ALEX (V.O.)One thing I could never stand is to see afilthy, dirty old drunkie, howling away atthe filthy songs of his fathers and goingblerp, blerp in between as it might be afilthy old orchestra in his stinkingrotten guts. I could never stand to seeanyone like that, whatever his age mightbe, but more especially when he was realold like this one was.

The boys stop and applaud him.

TRAMPCan you... can you spare some cutter, mebrothers?

Alex rams his stick into the Tramp's stomach. The boys laugh.

TRAMPOh-hhh!!! Go on, do me in you bastardcowards. I don't want to live anyway, notin a stinking world like this.

ALEXOh – and what's so stinking about it?

TRAMPIt's a stinking world because there's nolaw and order any more. It's a stinkingworld because it lets the young get ontothe old like you done. It's no world foran old man any more. What sort of a worldis it at all? Men on the moon and menspinning around the earth and there's notno attention paid to earthly law and orderno more.

The Tramp starts singing again.

TRAMPOh dear land, I fought for thee andbrought you peace and victory.

Alex and gang move in and start beating up on old Tramp.

INT. DERELICT CASINO – NIGHT

Billyboy gang on stage tearing clothes off a screaming Girl.

ALEX (V.O.)It was around by the derelict casino thatwe came across Billyboy and his fourdroogs. They were getting ready to performa little of the old in-out, in-out on aweepy young devotchka they had there.

Alex and gang step out of the shadows.

ALEXHo, Ho, Ho... Well, if it isn't stinkingBillygoat Billyboy in poison. How arethou, thou globby bottle of cheap stinkingchip oil? Come and get one in the yarbles,if you have any yarbles, you eunuch jellythou.

Billyboy snaps open a switchblade knife.

BILLY BOYLet's get 'em boys.

The fight begins, chains, knives, kicking boots. Police siren.

ALEXThe Police... come on, let's go... comeon.

Alex and the boys rush out of casino.

EXT. / INT. CAR – NIGHT – FAST DRIVING SHOTS

Swerving car, forcing other cars off the road, trying to hitpedestrians, etc.

ALEX (V.O.)The Durango-95 purred away real horrorshow– a nice, warm vibraty feeling all throughyour guttiwuts. Soon it was trees anddark, my brothers, with real country dark.We fillied around for a while with othertravelers of the night, playing hogs ofthe road. Then we headed west, what wewere after now was the old surprise visit,that was a real kick and good for laughsand lashing of the ultra-violent.

EXT. "HOME" – NIGHT

A cottage on its own, on outskirts of a village.

Bright moonlight. Cheery light inside.

Car pulls to stop.

Alex shushes his giggling boys and gets out of the car.

INT. "HOME" – NIGHT

Mr. Alexander typing. Bell rings.

MR. ALEXANDERWho on earth could that be?

MRS. ALEXANDERI'll see.

Mrs. Alexander, a good-looking red head in a red jumper suit.

MRS. ALEXANDERYes? Who is it?

ALEXExcuse me, Mrs... will you please help,there's been a terrible accident.

She opens the door on the chain and peeps out.

ALEXMy friend's lying in the middle of theroad bleeding to death. Could I please useyour telephone for an ambulance?

MRS. ALEXANDERI'm sorry, but we don't have a telephone.You'll have to go somewhere else.

ALEXBut Mrs... it's a matter of life anddeath.

From inside the sound of clack clacky clack clack clackityclackclack of Alexander typing stops.

MR. ALEXANDERWho is it, dear?

MRS. ALEXANDERThere's a young man here. He says there'sbeen an accident. He wants to use thetelephone.

MR. ALEXANDERThen you'd better let him in.

MRS. ALEXANDERWait a minute.

ALEXThank you, Mrs.

Mrs. Alexander opens door, saying...

MRS. ALEXANDERI'm sorry, we don't usually let people inin the middle of the night.

Alex and boys have put on their masks and rush into house,carrying and dragging Mrs. Alexander along with them.

INT. HOME – NIGHT

They go roaring in.

Mr. Alexander is kicked in the face and goes down. Georgie leapson him. Pete jumps up and down and the settee. Dim grabs hold ofMrs. Alexander. Alex whistles piercingly.

ALEXRight, Pete. Check the rest of the house.

Alex turns to Dim who holds the struggling Mrs. Alexander.

ALEXDim...

Dim sets her down but holds her firmly. Alex starts to sing –"Singin' in the Rain", accompanying it with a kind of tap dance.

ALEX(singing)

I'm singing in the rain...

He kicks Mr. Alexander accenting the lyrics.

ALEX(singing)

Just singing in the rain...

He clubs Mr. Alexander with stick, in the time to the music.

ALEX(singing)

What a glorious feeling, I'm happy again.

He pushes a rubber ball into Mrs. Alexander's mouth and binds itwith sellotape.

ALEX(singing)

I'm laughing at clouds so dark up above.The sun's in my heart and I'm ready forlove.Let the stormy clouds chase...

He kicks Mr. Alexander again.

ALEX(singing)

... everyone from the place.Come on with the rain...

He puts ball in Mr. Alexander's mouth and sellotapes it.

ALEX(singing)

... I've a smile on my face.I'll walk down the lane... to a happyrefrain.I'm singing... just singin' in the rain.

He knocks down the book cases and moves to Mrs. Alexander beingheld by Dim. Starts to repeat on song as he cuts slowly up eachleg of her cat suit, until she is naked. This coincidences withthe song finishing.

He turns to Mr. Alexander.

ALEXViddy well, my little Brother. Viddy well.

INT. KOROVA MILKBAR – NIGHT

The boys enter yawning..

ALEX (V.O.)We were all feeling a bit shagged andfagged and fashed, it having been anevening of some small energy expenditure,O my brothers, so we got rid of the autoand stopped off at the Korova for anightcap.

Dim moves over to milk machine and speaks to the statue of thenude girl.

DIMHello Lucy, had a busy night?

Puts money in machine.

DIMWe've been working hard too.

Takes glass.

DIMPardon me. Luce.

He raises glass to breast, pulls red handle between her legs. Milkspurts into glass.

Dim joins the others. Alex looks at a party of tourists.

ALEX (V.O.)There was some sophistos from the TVstudios around the corner, laughing angovoreeting. The Devotchka was smeckingaway, and not caring about the wickedworld one bit. Then the disc on the stereotwanged off and out, and in the shortsilence before the next one came on, shesuddenly came with a burst of singing, andit was like for a moment, O my brothers,some great bird had flown into the milkbarand I felt all the malenky little hairs onmy plott standing endwise, and the shiverscrawling up like slow malenky lizards andthen down again. Because I knew what shesang. It was a bit from the glorious 9th,by Ludwig van.

Dim makes a lip-trump followed by a dog howl, followed by twofingers pronging twice in the air, followed by a clowny guffaw.

Alex brings his stick down smartly on Dim's legs.

DIMWhat did you do that for?

ALEXFor being a bastard with no manners andnot a dook of an idea how to comportyourself publicwise, O my Brother.

DIMI don't like you should do what you done.And I'm not your brother no more andwouldn't want to be.

ALEXWatch that... Do watch that, O Dim, if tocontinue to be on live thou dost wish.

DIMYarbles, great bolshy yarblockos to youI'll meet you with chain, or nozh orbritva, any time, not having you aimingtolchocks at me reasonless. It stands toreason, I won't have it.

ALEXA nozh scrap any time you say.

Dim weakens.

DIMDoobidoob... a bit tired maybe, everybodyis. A long night for growing malchicks...best not to say more. Bedways is rigthwaysnow, so best we go homeways and get a bitof spatchka. Right, right.

INT. ALEX'S FLATBLOCK – MAIN LOBBY ENTRANCE – NIGHT

Alex passes a mural in the hall. Nude men and women. Their massivestylized bodies embellished and decorated by handy pencil andballpoint.

The elevator door is buckled.

INT. ALEX'S FLAT – NIGHT

Alex pees in toilet.

Alex goes into his room. Tosses his loot into a drawer, full ofmoney, wristwatches, cameras, etc.

Fifty small loudspeakers cover one wall.

He puts his pet boa constrictor on tree branch mounted on thewall, above four Christ figures who have their arms intertwinedlike a chorus line.

He puts a cassette into the tape player.

A heavy shockwave of sound – Beethoven's 9th.

ALEX (V.O.)It had been a wonderful evening and what Ineeded now to give it the perfect endingwas a bit of the old Ludwig van.

Music starts.

ALEX (V.O.)Then, brothers, it came. O bliss, blissand heaven, oh it was gorgeousness andgeorgeosity made flesh. The trombonescrunched redgold under my bed, and behindmy gulliver the trumpets three-wise,silver-flamed and there by the door thetimps rolling through my guts and outagain, crunched like candy thunder. It waslike a bird of rarest spun heaven metal orlike silvery wine flowing in a space ship,gravity all nonsense now. As I slooshied,I knew such lovely pictures. There wereveeks and ptitsas laying on the groundscreaming for mercy and I was smecking allover my rot and grinding my boot intotheir tortured litsos and there were nakeddevotchkas ripped and creeching againstwalls and I plunging like a shlaga intothem.

INT. ALEX'S FLAT – DAY

He is asleep. The boa curled up at his feet. There is a knock onthe door.

ALEXWhat d'you want?

EMIt's past eight, Alex, you don't want tobe late for school, son.

ALEXBit of pain in the gulliver, Mum. Leave usbe and I'll try to sleep it off... thenI'll be as right as dodgers for thisafter.

EMYou've not been to school all week, son.

ALEXI've got to rest, Mum... got to get fit,otherwise I'm liable to miss a lot moreschool.

EMEeee... I'll put your breakfast in theoven. I've got to be off myself now.

ALEXAlright, Mum... have a nice day at thefactory.

INT. KITCHEN – DAY

Pee sitting at breakfast table.

Em enters.

EMHe's not feeling too good again thismorning, Dad.

PEEYes, I heard. D'you know what time he gotin last night?

EMNo I don't know, luv, I'd taken mysleepers.

PEEI wonder where exactly is it he goes towork of evenings.

EMWell, like he says, it's mostly odd thingshe does, helping like... here and there,as it might be.

INT. EM'S BEDROOM – DAY

Alex comes out of his room and finds P.R. Deltoid sitting on bedin parent's room.

ALEXHi, hi, hi there, Mr. Deltoid, funnysurprise to see you here.

DELTOIDAh, Alex boy, awake at last, yes? I metyour mother on the way to work, yes? Shegave me the key. She said something abouta pain somewhere... hence not at school ,yes?

ALEXA rather intolerable pain in the head,brother, sir. I think it should be clearby this afterlunch.

DELTOIDOh, or certainly by this evening, yes? Theevening's a great time, isn't it, Alexboy?

ALEXA cup of the old chai, sir?

DELTOIDNo time, no time, yes. Sit, sit, sit.

Alex sits next to him.

ALEXTo what do I owe this extreme pleasure,sir? Anything wrong, sir?

Deltoid "playfully" grabs Alex's hair.

DELTOIDWrong? Why should you think of anythingbeing wrong, have you been doing somethingyou shouldn't. Yes?

He shakes Alex's hair.

ALEXJust a manner of speech, sir.

DELTOIDWell, yes, it's just a manner of speechfrom your Post Corrective Advisor to youthat you watch out, little Alex.

He puts his arm round Alex's shoulder.

DELTOIDBecause next time it's going to be thebarry place and all my work ruined. Ifyou've no respect for your horrible self,you at least might have some for me who'sesweated over you.

He slaps Alex on the knee.

DELTOIDA big black mark I tell you for every onewe don't reclaim. A confession of failurefor every one of you who ends up in thestripy hole.

ALEXI've been doing nothing I shouldn't, sir.The millicents have nothing on me,brother, sir, I mean.

Deltiod pulls Alex down on the bed.

DELTOIDCut out all this clever talk aboutmilicents. Just because the Police haven'tpicked you up lately doesn't, as you verywell know, mean that you've not been up tosome nastiness. There was a bit of anastiness last night, yes. Some veryextreme nastiness, yes. A few of a certainBillyboy's friends were ambluenced offlate last night, yes. Your name wasmentioned, the word's got thru to me bythe usual channels. Certain friends ofyours were named also. Oh, nobody canprove anything about anybody as usual, butI'm warning you, little Alex, being a goodfriend to you as always, the one man inthis sore and sick community who wants tosave you from yourself.

Deltoid makes a grab for Alex's joint but finds his hand instead.Alex laughs. Derisively and rises. Deltoid distractedly reachesfor a glass of water on the night table, and fails to notice a setof false teeth soaking in them. He drinks from the glass. Theclink of the teeth sounding like ice-cubes.

DELTOIDWhat gets into you all? We study theproblem. We've been studying it for damnwell near a century, yes, but we get nofurther with our studies. You've got agood home here, good loving parents,you've got not too bad of a brain. Is itsome devil that crawls inside of you?

ALEXNobody's got anything on me, brother, sir.I've been out of the rookers of themilicents for a long time now.

DELTOIDThat's just worries me. A bit too long tolong to be reasonable. You're about duenow by my reckoning, that's why I'mwarning you, little Alex, to keep yourhandsome young proboscis out of the dirt.Do I make myself clear?

ALEXAs an unmuddied lake, sir. Clear as anazure sky of deepest summer. You can relyon me, sir.

Deltoid drinks again but this time sees the teeth in the glass. Hegroans and retches.

INT. MUSIC BOOTICK – DAY

Alex enters. Two pretty micro-boppers, Marty and Sonietta, suckingphallic ice sticks.

ALEXPardon me, brother. I ordered this twoweeks ago. Could you see if it's arrived.

CLERKOK. I'll see if it's in.

Clerk exits. Alex turns to the girls.

ALEXPardon me, ladies

He steps in between them and goes through the motions, lookingthrough.

ALEXEnjoying it then, my darling?... A bitcold and pointless isn't it, my lovely...What's happened to yours, my littlesister?

Marty giggles.

MARTYWho you getten bratty, Goggly Gogol?Johnny Zhivago? The Heaven Seventeen?

ALEXWhat you got back home, little sister, toplay your fuzzy warbles on? I bet you gotlittle save pitiful portable picnicplayers. Come with Uncle and hear allproper. Hear angel trumpets and deviltrombones. You are invited.

INT. ALEX'S BEDROOM – DAY

The two girls, naked, jumping up and down on Alex's still unmadebed zonked by the booming, all engulfing sound of Alex'sincredible Hi-Fi.

INT. ALEX'S FLATBLOCK – LOBBY HALL – DAY

Alex finds the gang waiting for him.

ALEXHi, hi, hi, there

ALL THREEWell, hello.

DIMHe are here! He have arrived! Hooray!

ALEXWelly, welly, welly, welly, welly, welly,well. To what do I owe the extremepleasure of this surprising visit?

Georgie rises.

GEORGIEWe got worried. There we were waiting anddrinking away at the old knify Moloko andyou had not turned up and we thought youmight have been like offended by somethingor other, so around we come to your abode.

ALEXAppy polly loggies. I had something of apain in the guliver so had to sleep. I wasnot awakened when I gave orders forawakening.

DIMSorry about the pain. Using the guliver tomuch like, eh? Giving orders anddisciplining and that perhaps, eh? Yousure the pain's gone? You sure you'll notbe happier back up in bed.

ALEXLets get things nice and sparkling clear.This sarcasm, if I may call it such, doesnot become you, O my brothers. As I amyour droog and leader, I am entitled toknow what goes on, eh? Now then, Dim, whatdoes that great big horsy gape of a grinportend?

GEORGIEAll right, no more picking on Dim,brother. That's part of the new way.

ALEXNew way? What's this about a new way?There's been some very large talk behindmy sleeping back, and no error. Let mehear more.

GEORGIEWell, we go round shop crasting and thelike, coming out with a pitiful rookerfulof money each.

DIMPitiful rookerful...

GEORGIEAnd there's Will the English in theMuscleman coffee mesto saying he can fenceanything that anything that any malchicktries to crast.

DIMYeah... Pete the English.

GEORGIEThe shiny stuff. The Ice. The big, big,big money is available's what Will theEnglish says.

DIMBig, big money.

ALEXAnd what will you do with the big, big,money? Have you not everything you need?If you need a motor-car, you pluck it fromthe trees. If you need pretty polly, youtake it.

GEORGIEBrother, you think and talk sometimes likea little child. Tonight we pull a mansizecrast.

ALEXGood. Real horrorshow. Initiative comes tothem as waits. I've taught you much, mylittle droogies. Now tell me what you havein mind, Georgie Boy.

GEORGIEOh, the old moloko-plus first, would younot say

DIMMoloko-plus.

GEORGIESomething to sharpen us up, youespecially. We have the start.

EXT. FLATBLOCK MARINE – DAY

The gang come out of the flatblock and walk along the marina.

ALEX (V.O.)As we walked along the flatblock marina, Iwas calm on the outside but thinking allthe time, so now it was to be Georgie theGeneral, saying what we should do and whatnot to do, and Dim as his mindless,grinning bulldog. But, suddenly, I viddiedthat thinking was for the gloopy ones andthat the oomny ones use like inspirationand what Bog sends, for now it was lovelymusic that came to my aid and I viddied atonce what to do. There was a window openwith the stereo on.

IN SLOW MOTION

Alex clubs Georgie into water with his stick. Dim swings chain.Alex ducks. Dim goes into water.

Alex kneels, hands behind back, takes knife from sword stick,offers hand to help Dim, and slashes Dim when he gets it.

Dim falls back into the water.

Alex laughs.

INT. DUKE OF NEW YORK PUB

The four boys sit round table.

ALEX (V.O.)I had not put into any of Dim's maincables and so, with the help of a cleantashtook, the red, red kroovy stopped, andit did not take long to quieten the twowounded soldiers, down in the snug in theDuke of New York. Now they knew who wasMaster and Leader. Sheep, thought I, but areal leader knows always when like to giveand show generous to his unders.

ALEXWell, now we're back to where we were.Yes? Just like before and all forgotten?Right, right, right.

ALL BOYSRight. Right. Right.

ALEXWell, Georgie Boy. This idea you've gotfor tonight. Well, tell us all about itthen.

GEORGIENot tonight – not this nochy.

ALEXCome, come, come, Georgie Boy. You're abig strong chelloveck like us all. We'renot little children, are we, Georgie Boy?What, then, didst thou in thy mind have?

Confrontation. Georgie backs down.

GEORGIEIt's this Health Farm. A bit out of thetown. Isolated. It's owned by this likevery rich ptitsa who lives there with hercats. The place is shut down for a weekand she's completely on her own, and it'sfull up with like gold and silver and likejewels.

ALEXTell me more, Georgie Boy.

INT. CATLADY'S HOUSE

Catlady doing yoga exercises.

Room is full of cats. Doorbell rings.

CATLADY(softly to herself)

Oh shit.

She goes to the door.

EXT. CATLADY'S HOUSE

CATLADYWho's there?

ALEXExcuse me, missus, can you please help?There's been a terrible accident. Can Iplease use your telephone for anambulance?

CATLADYI'm frightfully sorry. There is atelephone in the Public House about a miledown the road. I suggest you use that.

ALEXBut, missus, this is an emergency. It's amatter of life and death. Me friend'slying in the middle of the road bleedingto death.

CATLADYI... I'm very sorry, but I never open. I'mvery sorry but I never open the door tostrangers after dark.

ALEXVery well, madam. I suppose you can't beblamed for being suspicious with so manyscoundrels and rouges of the night about.

Alex walks away from door, then ducks into the bushes where theothers are hiding. They put on their maskies and follow Alex roundto the rear of the house.

ALEXDim, bend down.

(Alex points to anupstairs window)

I'm gonna get in that window and open thefront door.

He climbs up drain-pipe to the bathroom window.

INT. CADLADY'S HOUSE

The Catlady enters and dials a number.

CATLADYHullo, Radlett Police Station. Goodevening. It's Miss Weathers at WoodmereHealth Farm. Look, I'm frightfully sorryto bother you but something rather odd hasjust happened... Well, it's probablynothing at all, but you never know...Well, a young man rang the bell asking touse the telephone... He said there hadbeen some kind of accident. The thing thatcaught my attention was what he said – thewords he used, sounded exactly like whatwas quoted in the papers this morning inconnection with the writer and his wifewho were assaulted last night... Well,just a few minutes ago... Well, if youthink that's necessary, but, well, I'mquite sure he's gone away now. Oh...alright. Fine. Thank you very much. Thankyou.

She puts phone down, turns and nearly jumps out of her leotardwhen she sees Alex in the doorway.

ALEXHi, hi, hi there, at last we meet.

CATLADYWhat the bloody hell d'you think you'redoing?

ALEXOur brief govereet thru the letter holewas not, shall we say, satisfactory, yes?

CATLADYNow listen here, you little bastard, justyou turn around and walk out of here thesame way as you came in.

Alex eyes a giant white, fibreglass phallic sculpture on the tablebeside him.

ALEXNaughty, naughty, naughty, you filthy oldsoomaka.

CATLADYNo! No! Don't touch it. That's a veryimportant work of art. What the bloodyhell do you want?

ALEXYou see, madam, I am part of aninternational student's contest to see whocan get the most points for sellingmagazines.

CATLADYCut the shit, sonny, and get out of herebefore you get yourself in some veryserious trouble.

He rocks the giant phallus which has a special weight swinginginside causing it to swing up and down an eccentric motion.

CATLADYI told you to leave it alone. Now get outof here before I throw you out, wretchedslummy bedbug. I'll teach you breakinginto real people's houses. Get out!

She grabs up a bust of Beethoven and rushes at Alex. He grabs thegiant phallic sculpture.

Circling, Alex fends off her mad rushes with skilful jabs of thegiant phallus.

She ducks under and clobbers him with the heavy bust of Beethoven.

He goes down, pulling her off balance and they both wind up thefloor.

In the struggle, Alex bashes her with the phallus.

Distant Police sirens.

He exits.

EXT. CATLDAY'S HOUSE – NIGHT

Alex rushes out. Dim and the others are waiting.

ALEXCome on. Let's go, the police are coming.

DIMOne minoota, droogie.

Dim smashes Alex in the face with a full milk bottle. He goesdown. The others run away, laughing.

ALEX(screaming)

You bastards... bastards.

INT. POLICE HQ – NIGHT

Inspector takes out cigarette and lights up.

INSPECTORRight. Right , Tom, we'll have to ourlittle friend, Alex, here that we know thelaw, too, but that knowing the law isn'teverything.

He nods to Fatneck.

FATNECKThat's a nasty cut you've got there,little Alex. Spoils... all your beauty.Who gave you that then... eh... eh...

He presses Alex's nose, inflicting great pain. Alex sinks to hisknees.

ALEXOw... what's that for, you bastard?

FATNECKThat was for your lady victim. You ghastlywretched scoundrel.

Alex grabs his balls.

Alex is beaten by the other Cop.

Inspector exits to outside office where Sergeant sits, sipping acup of tea.

Deltoid has just entered.

INSPECTORSergeant.

SERGEANTSir.

INSPECTORAh, good evening, Mr. Deltoid.

DELTOIDEvening, Inspector.

SERGEANTWould you like your tea now, sir?

INSPECTORNo, thank you, Sergeant. We'll have itlater. May I have some paper towels,please.

SERGEANTYes, sir.

INSPECTORWe're interrogating the prisoner now.Perhaps you'd care to come inside.

DELTOIDThank you very much

They move into Interrogation Room.

Alex is on the floor in the corner covered with blood.

DELTOIDEvening, Sergeant. Evening, all. Dear,dear, this boy does look a mess, doesn'the? Just look at the state of him.

FATNECKLove's young nightmare like.

INSPECTORViolence makes violence. He resisted hislawful arrestors.

DELTOIDWell, it's happened, Alex boy, yes. Justas I thought it would, yes. Dear, dear,dear. Well, this is the end of the linefor me... the end of the line, yes.

ALEXIt wasn't me, brother, sir. Speak up forme, sir, for I'm not so bad. I was led onby the treachery of others, sir.

INSPECTORSings the roof off lovely, he does that.

ALEXAnd where are my stinking traitorousdroogs. Get them before the get away. Itwas all their idea, brothers. They forcedme to do it. I'm innocent.

DELTOIDYou are now a murderer, little Alex. Amurderer, yes.

ALEXNot true, sir. It was only a slighttolchock. She was breathing, I swear it.

DELTOIDI've just come back from the hospital.Your victim has died.

ALEXYou try to frighten me, sir, admit so,sir. This is some new form of torture. Sayit, brother, sir.

DELTOIDIt will be your own torture. I hope to Godit will torture you to madness.

FATNECKIf you'd care to give him a bash in thechops, sir. Don't mind us. We'll hold himdown. He must be a great disappointment toyou, sir.

Deltoid spits in Alex's face.

HELICOPTER VIEWS OF PRISON

ALEX (V.O.)This is the real weepy and like tragicpart of the story beginning, O my brothersand only friends. After a trial withjudges and a jury, and some very hardwords spoken against your friend andhumble narrator, he was sentenced to 14years in Staja No. 84F among smellyperverts and hardened prestoopnicks, theshock sending my dadda beating his bruisedand kroovy rookas against unfair Bog inhis Heaven, and my mom, boohoohooing inher mother's grief as her only child andson of her bosom, like letting everybodydown real horrorshow.

INT. PRISON CHECK-IN ROOM – DAY

A bell rings and a Warder goes and unlocks first a wooden door andthen a barred door.

GUARDMorning. One up from Thames, Mister.

WARDEROne in from Thames, sir.

CHIEF GUARDRight. Open up, Mister.

WARDERYes, sir.

He opens door and steps back. Alex and another Warden move toReception desk.

WARDERGood morning, sir. Committal sheet.

CHIEF GUARD(who shouts everything)

Thank you, Mister.

He signs sheet.

GUARDName?

ALEXAlexander de Large.

CHIEF GUARDYou are now in H.M. Prison Parkmoor andfrom this moment you will address allprison officers as sir! Name?

ALEXAlexander de Large, sir.

CHIEF GUARDCrime?

ALEXMurder, sir.

CHIEF GUARDRight. Take the cuffs off him, Mister.

The cuffs are removed.

CHIEF GUARDYou are now 655321 and it is your duty tomemorise that number.

He hands clipboard back to Warder.

CHIEF GUARDThank you Mister. Well done.

WARDERThank you, chief.

CHIEF GUARDLet the officer out.

Officer exits.

CHIEF GUARDRight. Empty your pockets!

Alex moves to desk and leans forward.

CHIEF GUARDAre you able to see that white linepainted on the floor directly behind you,655321?

ALEXYes, sir.

CHIEF GUARDThen your toes belong on the other side ofit!!!

ALEXYes sir.

CHIEF GUARDRight carry on.

Alex tosses a bar of chocolate on the desk.

CHIEF GUARDPick that up and put it down properly.

Alex does so, and continues to empty his pockets.

CHIEF GUARDOne half bar of chocolate. One bunch ofkeys on white metal ring. One packet ofcigarettes. Two plastic ball pens – oneblack, one red. One pocket comb – blackplastic. One address book – imitation redleather. One ten penny piece. One whitemetal wristlet watch, "Timawrist" on awhite metal expanding bracelet. Anythingelse in your pockets?

ALEXNo, sir.

CHIEF GUARDRight. Sign here for your valuableproperty.

Alex signs.

CHIEF GUARDThe chocolate and cigarettes you broughtin – you lose that as you are nowconvicted. Now go over to the table andget undressed.

Alex walks to table and undresses. Chief Guard moves to table withhis clipboard.

CHIEF GUARDNow then, were you in Police custody thismorning?

ALEXNo, sir.

CHECK-INOne jacket – blue pinstripe.

CHIEF GUARDPrison custody?

ALEXYes, sir On remnd, sir.

CHECK-INOne neck tie – blue.

CHIEF GUARDReligion?

ALEXC of E, sir.

CHIEF GUARDDo you mean Church of England?

ALEXYes, sir, Church of England, sir.

CHIEF GUARDBrown hair, is it?

ALEXFair hair, sir.

CHIEF GUARDBlue eyes?

ALEXBlue eyes, yes, sir.

CHIEF GUARDDo you wear eye glasses or contact lenses?

ALEXNo, sir.

CHECK-INOne shirt – blue, collar attached.

CHIEF GUARDHave you been receiving medical treatmentfor any serious illness?

ALEXNo, sir.

CHECK-INOne pair of boots – black leather,zippered, worn.

CHIEF GUARDHave you ever had any mental illness?

ALEXNo, sir.

CHIEF GUARDDo you wear any false teeth or falselimbs?

ALEXNo, sir.

CHECK-INOne pair of trousers – blue pinstriped.

CHIEF GUARDHave you ever had any attacks of faintingor dizziness?

ALEXNo, sir.

CHECK-INOne pair of socks – black.

CHIEF GUARDAre you an Epileptic?

ALEXNo, sir.

CHECK-INOne pair of underpants – white with bluewaistband.

CHIEF GUARDAre you now, or ever have been, ahomosexual?

ALEXNo, sir.

CHIEF GUARDRight. The mothballs, Mister.

CHECK-INMothballs, sir.

CHIEF GUARDNow then. Face the wall. Bend over andtouch your toes.

Chief Guard inspects Alex's anus with a penlight.

CHIEF GUARDMmmmmmm... any venereal disease?

ALEXNo, sir.

CHIEF GUARDCrabs?

ALEXNo, sir.

CHIEF GUARDLice?

ALEXNo, sir.

CHIEF GUARDThrough there for a bath.

ALEXYes, sir.

INT. PRISON CHAPEL – DAY

Priest in pulpit big rough state-proper type.

Convict audience.

Alex sits apart tending an overhead projector.

PRIESTI ask you friends. What's it going to bethen? Is it going to be in and out ofinstitutions like this?Or more in then outfor most of you? Or are you going toattend the divine word and realise thepunishment that awaits unrepentant sinnersin the next world as well as this. A lotof Idiots you are, selling your birthrightfor a saucer of cold porridge. The urge tolive easy. I ask you friends, is it worthit? When we have undeniable proof – yes,my friends, incontrovertible evidence thatHell exists. I know, I know, my friends. Ihave been informed in visions that thereis a place darker than any prison, hotterthan any human flame of fire, whereunrepentant criminals, sinners likeyourselves...

A convict burps.

All laugh.

PRIESTDon't you laugh, damn you, don't youlaugh. I say like yourselves – scream inendless and unendurable agony. Theirnostrils choked with the smell of filth,their mouths crammed with burning ordure.Their skins rotting and peeling. Afireball spinning in their screaming guts.I know... oh yes, I know.

A convict lets rip some lip music – prrrrrrrp. There is laughter.Chief Guard moves forward – points.

CHIEF GUARDI saw you, 920537. I saw you.

CONVICTUp yours, mate.

CHIEF GUARDJust you wait, 744678. One on the turnipcoming up for you.

PRIESTQuiet, my friends. Quiet. Quiet, I say. Wewill now sing Hymn 258 in the Prisoner'sHymnal.

Piano starts up and Alex starts up overhead projector whichdisplays the words of the hymn.

CHIEF GUARDShow a little reverence, you bastards.Quiet!

Convicts and all start to sing.

SINGINGI was a wandering sheep.I did not love...

CHIEF GUARDSing up damn you. Louder, sing up.

SINGING... the foldI did not love my shepherd's voice.I would not be controlled.

CHIEF GUARDCome on, sing up, damn you.

SINGINGI was a wayward childI did not love my homeI did not love my father's voiceI loved afar to roam.

ALEX (V.O.)It had not been edifying, indeed not,being in this hell hole and human zoo fortwo years now, being kicked and tolchockedby brutal warders, and meeting leeringcriminals and perverts ready to dribbleall over a lucious young malchick likeyour story-teller.

INT. PRIEST'S LIBRARY – DAY

Alex reading the Bible.

ALEX (V.O.)It was my rabbit to help the prisoncharlie with the Sunday service. He was abolshy great burly bastard, but he wasvery fond of myself, me being very young,and also now very interested in the bigbook.

Priest walks by and nods pleasantly.

ALEX (V.O.)It had been arranged by the prisoncharlie, as part of my further educationto read him the Bible. I didn't so muchlike the latter part of the book which ismore like all preachy talking, thanfighting and the old in-out. I liked theparts where these old yahoodies tolchockeach other and then drink their Hebrewvino and, then getting on to the bed withtheir wives' handmaidens. That kept megoing.

BIBLE FANTASY – FIGHTING – DAY

Biblical fighting shot. Alex slashing away. Blood spurting.

HANDMAIDEN FANTASY IN TENT – DAY

Alex lying with three semi-nude handmaidens.

EXT. BIBLICAL STREET

Christ being whipped on by Alex, dressed as a Legionary.

ALEXMove on there. Move on.

ALEX (V.O.)I read all about the scourging and thecrowning with thorns and all that, and Icould viddy myself helping in and eventaking charge of the tolchocking and thenailing in, being dressed in the height ofRoman fashion.

BACK TO THE LIBRARY

Alex sits with his eyes closed.

Priest comes over and squeezes his shoulder.

Alex looks up at him and smiles.

PRIEST(reading from Alex'sBible)

Seek not to be like evil men, neitherdesire to be with them, because theirminds studieth robberies and their lipsspeak deceits.

ALEXIf thou lose hope being weary in the daysof distress, thy strength shall bediminished.

PRIESTFine, my boy, fine, fine.

ALEXFather, I have tried, have I not?

PRIESTYou have, my son.

ALEXI've done my best, have I not?

PRIESTIndeed.

ALEXAnd, Father, I've never been guilty of anyinstitutional infractions, have I?

PRIESTYou certainly have not, 655321. You'vebeen very helpful, and you've shown agenuine desire to reform.

ALEXFather – may I ask you a question inprivate?

PRIESTCertainly, my son, certainly. Is theresomething troubling you, my son? Don't beshy to speak up. Remember, I know all theurges that can trouble young men deprivedof the society of women.

ALEXNo Father. It's nothing like that, Father.It's about this new thing they're alltalking about. About this new treatmentthat you out of prison in no time at alland makes sure you never get back inagain.

PRIESTWhere did you hear about this? Whose beentalking about these things?

ALEXThese things get around, Father. TwoWarders talk as it might be, and somebodycan't help overhearing what they say. Thensomebody picks up a scrap of newspaper inthe workshops and the newspaper tells allabout it. How about putting me in for thisnew treatment, Father?

PRIESTI take it you are referring to theLudovico Technique?

ALEXI don't know what it's called, Father, allI know is that it gets you out quickly andmakes sure that you never get in again.

PRIESTThat's not proven, 655321. In fact, it isonly in the experimental stage at thismoment.

ALEXBut it is being used, isn't it, Father?

PRIESTIt has not been used yet in this prison.The Governor has grave doubts about it andI have heard that there are very seriousdangers involved.

ALEXI don't care about the danger, Father. Ijust want to be good. I want for the restof my life to be one act of goodness.

PRIESTThe question is weather or not thistechnique really makes a man good.Goodness comes from within. Goodness ischosen. When a man cannot chose, he ceasesto be a man.

ALEXI don't understand about the whys andwherefores, Father. I only know I want tobe good.

PRIESTBe patient, my son, and put your trust inthe Lord.

ALEXInstruct thy son and he shall refresh theeand shall give delight to thy soul.

PRIESTAmen.

They cross themselves.

EXT. PRISON YARD – DAY

Prisoners walking in circles.

INT. PRISON CORRIDOR

Guards stand either side of cell doors.

Chief Guard with Governor, Minister and entourage.

CHIEF GUARDMister.

GUARDAll present and correct, sir.

CHIEF GUARDRight. All present and correct, sir.

GOVERNORVery good, Chief.

They inspect cells.

CHIEF GUARDLeave to carry on, sir, please?

GOVERNORCarry on, Chief.

CHIEF GUARDSir.

EXT. PRISON YARD

Chief Guard comes out of door.

CHIEF GUARDRight, pay attention. I want you in twolines. Up against that wall facing thisway. Go on move! Hurry up about it andstop talking.

The men line up. Chief Guard moves back to door and comes toattention.

CHIEF GUARDReady for inspection, sir.

He stands back and salutes as Governor, Minister and entourageenter and walk along line of men.

MINISTERHow many to a cell?

GOVERNORFour in this block, sir.

MINISTERCram criminals together and what do youget – concentrated criminality... crime inthe midst of punishment.

GOVERNORI agree, sir. What we need are largerprisons. More money.

MINISTERNot a chance, my dear fellow. TheGgovernment can't be concerned any longerwith outmoded penological theories. Soonwe may be needing all of out prison spacefor political offenders. Common criminalslike these are best dealt with on a purelycurative basis. Kill the criminal reflexthat's all. Full implementation in ayear's time. Punishment means nothing tothem, you can see that... they enjoy theirso-called punishment.

Alex seizes his chance as they pass by.

ALEXYou're absolutely right, sir.

CHIEF GUARDShut your bleedin' hole!!!

MINISTERWho said that?

ALEXI did, sir.

MINISTERWhat crime did you commit.

ALEXThe accidental killing of a person, sir.

CHIEF GUARDHe brutally murdered a woman, sir, infurtherence of theft. 14 years... sir!

MINISTERExcellent. He's enterprising, aggressive,outgoing. Young. Bold. Viscous. He'll do.

GOVERNORWell, fine... we could still look at C-Block.

MINISTERNo, no, no. That's enough. He's perfect. Iwant his records sent to me. This viciousyoung hoodlum will be transformed out ofall recognition.

ALEXThank you very much for this chance, sir.

MINISTERLet's hope you make the most of it, myboy.

GOVERNORShall we go to my office?

MINISTERThank you.

INT. GOVERNOR'S OFFICE – DAY

Governor seated at his desk. There is a knock on the door.

GOVERNORCome in.

Door opens. Chief Guard enters with Alex.

CHIEF GUARDSir, 655321, sir.

GOVERNORVery good, Chief.

Chief Guard turns to Alex.

CHIEF GUARDForward to the white line, toes behind it.Full name and number to the Governor.

Chief Guard closes door.

ALEXAlexander de Large, sir. 655321, sir.

The Governor takes off his glasses.

GOVERNORI don't suppose you know who that was thismorning, do you? That was no less apersonage than the Minister of theInterior and what they call a very newbroom. Well, these new ridiculous ideashave come at last, and orders are orders,though I may say to you in confidence thatI do not approve. An eye for an eye, Isay, if someone hits you, you hit back, doyou not? Why then should not the Statevery severely hit by you brutal offendersnot hit back also? But the new view is tosay no. The new view is that we turn thebad into good. All of which seems to begrossly unjust. Hmmmmmm.

ALEXSir...

CHIEF GUARDShut your filthy hole, you scum!!!

GOVERNORYou are to be reformed. Tomorrow you go tothis man, Brodsky. You will be leavinghere. You will be transferred to theLudovico Medical Facility. It is believedthat you will be able to leave Statecustody in a little over a fortnight. Isuppose that prospect pleases you?

CHIEF GUARDAnswer when the Governor asks you aquestion you filthy young swine!

ALEXOh yes, sir. Thank you very much, sir.I've done my best here I really have, sir.I'm very grateful to all concerned.

GOVERNORSign this – where it's marked.

Alex turns the paper to read it.

CHIEF GUARDDon't read it – sign it!

GOVERNORIt says that you are willing to have theresidue of your sentence commuted to theLudovico treatment.

Alex signs. Governor gathers up papers.

Alex dots the last "i" and smiles.

INT. LUDOVICO CENTRE RECEPTION DESK – DAY

ALEX (V.O.)The next morning I was taken to theLudovico Medical Facility, outside thetown centre, and I felt a malenky bit sadhaving to say goodbye to the old Staja, asyou always will when you leave a placeyou've like gotten used to.

Chief Guard briskly leads the way for Alex and escort. They moveinto reception hall where the Doctor stands.

CHIEF GUARD(shouting like an RSM)

Right. Halt the prisoner. Good morning,sir, I'm Chief Officer Barnes. I've got655321 on a transfer from Parkmoor to theLudovico Centre, sir!

DOCTORGood morning, we've been expecting you.I'm Dr. Alcott.

Chief Guard checks the name from his clipboard.

CHIEF GUARDYes, Dr. Alcott. Are you prepared toaccept the prisoner, sir?

DOCTORYes, of course.

CHIEF GUARDWell, I wonder if you'd mind signing thesetransfer documents, sir.

Doctor signs.

CHIEF GUARDThank you, sir. There, sir... there, andthere, sir... and there. Thank you, sir.Prison escort move forward. Halt. Excuseme, sir. Is that the officer that is totake charge of the prisoner, sir?

Doctor nods. Officer steps forward.

CHIEF GUARDIf I might offer a word of advice, Doc.You'll have to watch this one. A rightbrutal bastard he has been, and will beagain. In spite all his sucking up to theprison Chaplain and reading the Bible.

DOCTOROh, I think we can manage things. Charlie,will you show the young man to his roomnow.

CHARLIERight, sir. Come this way, please.

Alex exits with Officer.

INT. ALEX'S ROOM – LUDOVICO CENTRE – DAY

Alex finishing breakfast tray in bed.

Room bright and cheery.

Dr. Branom, a tall woman in her fifties, enters with nursecarrying a sterile tray.

DR. BRANOM(very briskly)

Good morning, Alex, my name is Dr. Branom.I'm Doctor Brodsky's assistant.

ALEXGood Morning, Missus. Lovely day, isn'tit?

DR. BRANOMIndeed it is. May I take this

She removes his tray.

DR. BRANOMHow're you feeling this morning?

ALEXFine... fine.

DR. BRANOMGood. In a few minutes, you'll meeting Dr.Brodsky and we'll begin your treatment.You're a very lucky boy to have beenchosen.

ALEXI realise all that, Missus, and I'm verygrateful to all concerned.

DR. BRANOMWe're going to friends now, sir.

ALEXI hope so, Missus.

She inserts a needle into the medicine vial.

ALEX (CONT'D)What's the hypo for then? Going to send meto sleep?

DR. BRANOMOh no, nothing of the sort.

ALEXVitamins will it be then?

DR. BRANOMSomething like that. You are a littleundernourished, so after each meal weregoing to give you a shot. Roll over onyour right side please, loosen your pajamapants and pull them half-way down.

He does, somewhat reluctanly. She gives him a shot in the bum.

ALEXWhat exactly is the treatment here goingto be then?

DR. BRANOMIt's quite simple really. Were just goingto show you some films.

ALEXYou mean like going to the pictures?

DR. BRANOMSomething like that.

ALEXWell, that's good. I like to viddy the oldfilms now and again.

INT. AUDIO VISUAL LUDOVICO CENTRE – DAY

Auditorium setting. Alex is bound in a examination chair in frontof a large video screen. A white-coated Technician is strappingAlex's head to a medical device.

He then carefully attaches the eyelid locking to Alex's eyes.

ALEX (V.O.)And viddy films I would. Where I was takento, brothers, was like no cine I'd been inbefore. I was bound up in a straight-jacket and my guliver was strapped to aheadrest with like wires running away fromit. Then they clamped like lidlocks on myeyes so I could not shut them no matterhow hard I tried. It seemed a bit crazy tome, but I let them get on with what theywanted to get on with. If I was to be afree young malchick in a fortnight's time,I would put up with much in the meantime,my brothers.

At the back of the auditorium are ten or fifteen solemn medicalProfessionals in white coats watching the proceedings andoccasionally taking notes. A film begins showing on the screen.

The Technician drops eyedrops into Alex's eyes.

VIOLENCE FILM

Man being beaten by four toughs wearing white.

Punches, kicks, grunts, blood.

ALEX (V.O.)So far the first film was a very goodprofessional piece of cine, looked like itwas done in Hollywood.

Screams, moans, kicks, punches.

ALEX (V.O.)The sounds were real horroshow. You couldslooshy the screams and moans veryrealistic and you could even get the heavybreathing and panting of the tolchockingmalchicks at the same time. And then, whatdo you know, soon our dear old friend, thered, red vino on tap. The same in allplaces like it's put out by the same bigfirm, began to flow. It was beautiful.It's funny how the colors of the realworld only seem really real when you viddythem on a screen.

More kicks, punches, groans, thumps.

Girl being beaten, raped by six toughs.

Screams, music, laughing, grunts, heavy breathing.

ALEX (V.O.)Now all the time I was watching this, Iwas beginning to get very aware of likenot feeling all that well, but I tried toforget this, concentrating on the nextfilm, which jumped right away on a youngdevotchka, who was being given the old in-out, in-out, first by one malchick, thenanother, then another. This seemed real,very real, though if you thought about itproperly you couldn't imagine lewdiesactually agreeing to having all this doneto them in a film, and if these films weremade by the good, or the State, youcouldn't imagine them being allowed totake these films, without like interferingwith what was going on.

Girl being raped.

ALEX (V.O.)When it came to the sixth or seventhmalchick, leering and smecking and thengoing into it, I began to feel reallysick. But I could not shut my glazzies andeven if I tried to move my glazballs aboutI still not get out of the line of fire ofthis picture.

Alex squirming and retching.

Dr. Brodsky clears his throat and quietly addresses his colleguesseated in the back of the room.

DR. BRODSKYVery soon now the drug will cause thesubject to experience a death-likeparalysis together with deep feelings ofterror and helplessness. One of ourearlier test subjects described it asbeing like death, a sense of stifling anddrowning, and it is during this period wehave found the subject will make his mostrewarding associations between hiscatastrophic experience and environmentand the violence he sees.

Alex retching violently and struggling against his strait jacket.

ALEXLet me be sick... I want to get up. Get mesomething to be sick in... Stop thefilm... Please stop it... I can't stand itany more. Stop it please... please.

INT. ALEX'S ROOM – LUDOVICO – DAY

DR. BRANOMWell, that was a very promising start. Bymy calculations, you should be starting tofeel alright again. Yes? Dr. Brodsky'spleased with you. Now tomorrow there'll betwo sessions, of course, morning andafternoon.

ALEXYou mean, I have to viddy two sessions inone day?

DR. BRANOMI imagine you'll be feeling a little bitlimp by the end of the day. But we have tobe hard on you. You have to be cured.

ALEXBut it was horrible.

DR. BRANOMWell, of course, it was horrible. Violenceis a very horrible thing. That's whatyou're learning now. Your body is learningit.

ALEXI just don't understand about feeling sickthe way I did. I never used to feel sickbefore. I used to feel like the veryopposite. I mean, doing it or watching it,I used to feel real horrorshow. I justdon't understand why, how or what.

DR. BRANOMYou felt ill this afternoon because you'regetting better. You see, when we'rehealthy we respond to the presence of thehateful with fear and nausea. You'rebecoming healthy that's all. By this timetomorrow you'll be healthier still.

INT. AUDIO VISUAL LUDOVICO CENTRE – DAY

Alex retching and screaming – restrained again by a straight-jacket.

ALEX (V.O.)It was the next day, brothers, and I hadtruly done my best, morning and afternoon,to play it their way and sit like ahorrorshow co-operative malchick in thechair of torture, while they flashed nastybits of ultra-violence on the screen.;though not on the soundtrack, my brothers.The only sound being music. Then I noticedin all my pain and sickness what music itwas that like cracked and boomed. It wasLudwig van – 9th symphony, 4th movement.

ALEXStop it... stop it, please!!! I beg ofyou!!! It's a sin!!! It's a sin!!! It's asin, please!!!

Brodsky leans forward and turns down the sound.

DR. BRODSKYWhat's all this about sin?

ALEXThat!... Using Ludwig van like that! Hedid no harm to anyone. Beethoven justwrote music.

DR. BRANOMAre you referring to the background score?

ALEXYes!!!

DR. BRANOMYou've heard Beethoven before?

ALEXYes!!!

DR. BRODSKYYou're keen on music?

ALEXYes!!!

DR. BRANOM(quietly)

What do you think about that, Dr. Brodsky?

DR. BRODSKY(softly)

It can't be helped. Here's your punishmentelement perhaps. The Governor ought to bepleased... I'm sorry, Alex, this is foryour own good, you'll have to bear with usfor a while.

ALEXYou needn't take it any further, sir.You've proved to me that all this ultra-violence and killing is wrong and terriblywrong. I've learned my lesson, sir. I seenow what I've never seen before I'm cured,praise Bog!

DR. BRODSKYYou're not cured yet, my boy.

DR. BRODSKYYou must take your chance boy. The choicehas been all yours.

ALEXBut, Sir... Missus... I see that it'swrong! It's wrong because it's likeagainst like society. It's wrong becauseeverybody has the right to live and behappy without being tolchocked and knifed.

DR. BRODSKYNo, no, boy. You really must leave it tous, but be cheerful about it. In less thana fortnight now, you'll be a free man.

INT. AUDITORIUM – DAY

VIP audience including Minister, Junior Minister, Prison Governor,Priest, Dr. Branom, Dr. Brodsky.

Dressed in street clothes Alex enters led by a white-coatedTechnician.

He is led onto stage and left standing there, blinking intolights.

The Minister rises and walks to the front of the auditorium.

MINISTERLadies and Gentlemen, at this point, weintroduce the subject himself. He is, asyou will perceive, fit and well nourished.He comes straight from as night's sleepand a good breakfast, undrugged,unhypnotized. Tomorrow, we send him withconfidence out into the world again, asdecent a lad as you would meet on a Maymorning. What a change is here, Ladies andGentlemen, from the wretched hoodlum thestate committed to unprofitable punishmentsome two years ago, unchanged after twoyears. Unchanged, do I say - not quite.Prison taught him a false smile, therubbed hands of hypocrisy, the fawning,greased, obsequious leer. Other vicesprison taught him as well as confirminghim in those he had long practiced before.Our party promised to restore law andorder and to make the streets safe for theordinary peace loving citizen. This pledgeis now about to become a reality. Ladiesand Gentlemen, this is an historic moment.The problem of criminal violence is soonto be a thing of the past. But enough ofwords – actions speak louder than. Actionnow. Observe all.

He returns to his seat and leans close to his Junior Minister.

JUNIOR MINISTEROur necks are out a long way on this,Minister.

MINISTERI have complete faith in Brodsky. If thepolls are right, we have nothing to lose.

Lights are dimmed. Enter Lardface, an elegantly dressed fag.

LARDFACEHello, heap of dirt. Pooh, you don't washmuch do you, judging by the horriblesmell.

ALEXWhy do you say that, brother? I had ashower this morning.

LARDFACEOh, he had a shower this morning. Youtrying to call me a liar?

ALEXNo, brother. What d'you want?

LARDFACEWhat do I want?

ALEXSorry, brother. I didn't mean any offence.

LARDFACEOh. Oh, you're sorry are you, well youmust think I'm awfully stupid.

He slaps Alex in the face.

ALEXWhy did you do that, brither? I've neverdone wrong to you.

LARDFACEYou want to know why I did that, well yousee – I do that...

He stamps on Alex's foot.

LARDFACE... and this...

He pulls Alex's nose.

LARDFACE... and that...

He pulls Alex's ear, pushes him off balance and plants his foot onhis chest.

LARDFACE... because I don't like you horribletype, do I, and if you want to startsomething... if you want to start... goon... well, you just start. Please do.

Alex retching.

ALEXI'm gonna be sick.

LARDFACEYou're gonna be sick are you?

ALEXI wanna be sick.

LARDFACEYou wanna be sick?

ALEXLet me get up.

LARDFACEYou wanna get up? Well, you've gotta yousee... well I want you to lick it. Goon... Lick it.

Alex, gagging and coughing, licks the sole of his shoe.

LARDFACE... And again... Go on!!! Again! There's agood boy.

ALEX (V.O.)And, O my brothers, would you believe yourfaithful friend and long sufferingnarrator pushed out his red yahzik a mileand a half to lick the grahzny, vonnyboots. The horrible killing sickness hadwooshed up and turned the like joy ofbattle into a feeling I was going to snuffit.

Minister rises.

MINISTEREnough! That will do very well. Thank you.

Lardface does leading-man-bows. A smattering of applause.

LARDFACEThank you very much, Ladies andGentlemen... Thank you.

Alex on floor – still retching.

A beautiful nude Girl enters.

Alex looks up slowly.

ALEX (V.O.)She came towards me with the light like itwas the like light of heavenly grace, andthe first thing that flashed into mygulliver was that I would like to have herright down there on the floor with the oldin-out, real savage. But quick as a shotcame the sickness, like a detective thathad been watching around the corner andnow followed to make his arrest.

Alex retching. Minister rises.

MINISTERThank you very much. Thank you my dear.

Girl bows and exits to loud applause.

MINISTERNot feeling too bad now are you?

ALEX(pullimg himselftogether)

No, sir, I feel really great.

MINISTERGood.

ALEXWas I alright, sir? Did I do well, sir?

MINISTERFine. Absolutely fine. You see, Ladies andGentlemen our subject is, you see,impelled towards good by paradoxicallybeing impelled toward evil. The intentionto act violently is accompanied by strongfeelings of physical distress. To counterthese, the subject has to switch to adiametrically opposed attitude. Anyquestions?

Priest rises and moves to Alex.

PRIESTChoice! The boy has no real choice, hashe? Self interest, fear of physical paindrove him to that grotesque act of selfabasement. Its insincerity was clearly tobe seen. He ceases also to be a creaturecapable of moral choice.

MINISTERPadre, these are subtleties. We are notconcerned with motive, with the higherethics; we are concerned only with cuttingdown crime. And with relieving the ghastlycongestion in our prisons... He will beyour true Christian, ready to turn theother cheek. Ready to be crucified ratherthan crucify, sick to the very heart atthe thought even of killing a fly.Reclamation, joy before the angels of God.The point is that it works!

Applause.

EXT. FLATBLOCK

Alex walking carrying his prison parcel wrapped in brown paper.

INT. ALEX'S FLAT

Ma, Pa and Joe the Lodger reading newspapers. Headlines – allAlex.

Alex enters quietly. Loud radio music from sitting room preventsanyone from hearing him. He enters his won room which is the firstoff the hall.

ALEXHi. Hi. Hi, there my Pee and Em.

All three look up startled.

EMAlex.

ALEX(to his mother)

Hullo love, how are you?(kisses her)

Nice to see you, Dad.

PEEHullo lad. What a surprise, good to seeyou.

ALEXKeeping fit then?

PEE(very ill at ease)

Fine, fine.

ALEXWell, how are you then?

PEEOh fine, fine. Keeping out of trouble, youknow.

ALEXWell – I'm back.

PEE(with feignedenthusiasm)

Aye. Glad to see you back, lad.

EMWhy didn't you let us know what washappening, son?

ALEXSorry, Em, I wanted it to be like... a bigsurprise for you and pee.

PEEWell, it's a surprise all right, a bitbewildering too.

EMWe've only just read about it in themorning papers.

PEEAye. You should have let us know, lad, notthat we're not very pleased to see youagain. All cured too, eh?

ALEXThat's right, Dad they did a great job onmy gulliver, I'm completely reformed.

PEEAye.

ALEX(looks in the kitchen)

Well, still the same old place then, eh?

PEEOh, aye, aye.

ALEX(fake whisper)

Hey, Dad, there's a strange fella sittingon the sofa there munchy-wunching lomticksof toast.

PEEAye, that's Joe. He... ummmm, lives herenow. The lodger. That's what he is...he... he rents your room.

Alex confronts Joe.

ALEXHow do you do, Joe? Find the roomcomfortable, do you? No complaints?

JOEI've heard about you. I know what you'vedone. Breaking the hearts of your poorgrieving parents. So you're back? You'reback to make a life of misery for yourlovely parents, is that it? Well, over mydead corpse you will, because you see,they've let me be more like a son to themthan like a lodger.

Alex cocks his fist and starts to retch violently, almost at thesame moment Joe drops back on the couch next to Em.

EMJoe! Joe! Don't fight here boys!

Alex burps and retches.

JOEOh, please. Do put your hand over yourmouth, it's bloody revolting.

Alex violently ill.

PEEWell, what's the matter lad, are youfeeling alright?

EMDad... It's the treatment.

More retching.

JOEWell, it's disgusting. It puts you offyour food.

EMLeave him be, Joe. It's the treatment.

PEED'you think we should do something?

EMWould you like me to make you a nice cupof tea, son?

ALEXNo thanks, Mum. It'll pass in a minute...

(after a pause)... What have you done with all my ownpersonal things?

PEEWell. That was all took away, son, by thePolice. New regulation about compensationfor the victim.

ALEXWhat about Basil? Where's my snake?

PEEOh well, he met with like an accident. Hepassed away.

Alex becomes a bit weepy.

ALEXWhat's gonna happen to me then? I meanthat's my room he's in – there's nodenying that. This is my home also. Whatsuggestions have you, my Pee and Em, tomake?

PEEWell, all this needs thinking about, son.I mean we can't very well just kick Joeout... Not just like that, can we? I meanJoe is here doing a job. A contract it is,two years. Well, we made like anarrangement, didn't we Joe? You see, son,Joe's paid next month's rent already so,well, whatever we do in the future, wecant just say to Joe to get out, now canwe?

JOENo, there's much more than that, though. Imean I've got you two to think of. I meanyou're more like a mother and father tome. Well, it wouldn't be fair now, wouldit, for me to go off and leave you two tothe tender mercies of this young monsterwho's been like no real son at all. Look,let him go off and find a room somewhere.Let him learn the errors of his way, andthat a bad boy like he's been don'tdeserve such a good mum and dad as he'shad.

ALEXAlright. I see how things are now. I'vesuffered and I've suffered, and I'vesuffered and everybody wants me to go onsuffering.

JOEYou've made others suffer. It's only fairthat you should suffer proper. You knowI've been told everything you've done,sitting here at night round the familytable, pretty shocking it was to listento. It made me real sick, a lot of it did.Now look what you've gone and done to yourmother.

Em bursts into tears.

ALEXSo that's the way it is then, eh? That'sthe way it is. Right, I'm leaving now, youwon't ever viddy me no more. I'll make myown way. Thank you very much. Let it lieheavy on your consciences.

Alex exits.

PEE(shouting after him)

Now don't take it like that son.

Em boohoohoos, Joe comforts her.

EXT. AMBANKMENT – DAY

Alex walks along the Thames embankment still holding his paperparcel.

Tramp enters. The same man beaten by Alex and his gang earlier inthe film.

TRAMPCan you spare me some cutter, me brother?Can you spare some cutter, me brother?

Alex, without looking at him, reaches in his pocket and gives himsome money.

TRAMPOh, thankyou, your honour.

The Tramp takes a second look at Alex.

TRAMPJamey Mack! Be the hokey fly! Holy Motherof God! All the Holy Angels and blessedsaints in Heaven preserve us.

Alex breaks away but the Tramp toddles alongside him.

TRAMPI never forget a face! I never forget anyface, be God!

ALEXLeave me alone, brother. I've never seenyou before.

Tramp shouts to other Meths drinkers and Tramps.

TRAMPThis is the poisonous young swine thatnear done me in. Him and his friends beatme and kicked me and thumped me.

Alex breaks away again.

TRAMPStop him! Stop him!

A leg is stuck out and Alex goes down. The tramp swarm all overhim.

TRAMPThey laughed at me blood and me moans.This murderous young pig is a prizespecimen of the cowardly brutal young. Heis in our midst and at our mercy. Give itto him. That's it.

Old Tramps begin to beat at Alex.

ALEX (V.O.)Then there was like a sea of dirty, smellyold men trying to get at your humbleNarrator, with their feeble rookers andhorny old claws. It was Old Age having ago at Youth and I daren't do a singlesolitary thing, O my brothers, it beingbetter to be hit at like that, than wantto be sick and feel that horrible pain.

The Tramp crowd round Alex, shouting.

TRAMPSYoung hooligan... Vagabound... Kill him...Villain... Toad... Bastard... Kick histeeth in... Near killed poor old Jack, hedid.

Police move in and push off crowd.

FIRST POLICEMANAlright, stop it now.

SECOND POLICEMANAlright, stop it now. Alright! Come on.Stop breaking the State peace. You naughtyboys. Alright, that's enough.

Alex looks up.

ALEXOh, no.

DIMWell, well, well, well, well, well, well,if it isn't little Alex. Long time noviddy, droog. How goes? Surprised are you?

ALEXImpossible... I don't believe it.

GEORGIEEvidence of the old glazzies. Nothing upour sleeves. No magic, little Alex? A jobfor two, who are now of job age. Thepolice.

EXT. COUNTRY ROAD – DAY

Police Landrover drives up.

Alex is pulled out by Georgie and Dim and hustled up a desertedlane.

DIMCome on, Alex. Come for walkies.Hahahahaha.

ALEXCome, come, my little droogies. I justdon't get this at all. The old days aredead and gone. For what I did in the pastI've been punished.

DIMBeen punished, yeah?

ALEXI've been cured.

DIMBeen cured, yeah, that was read out to us.The Inspector read all that out to us. Hesaid it was a very good way.

ALEXI just don't get this all. It was themthat went for me, brothers. You're not ontheir side and can't be. You can't be Dim.It was someone we fillied with back in theold days... Trying to get his own malenkybit of revenge after all this time. Youremember, Dim?

DIMLong time, is right. I don't remember themdays too horrorshow. Don't call me Dim nomore, either. Officer, call me.

GEORGIEEnough is remembered though, little Alex.

Dim and Georgie laugh.

They drag Alex to a low water through.

DIMThis is to make sure you stay cured.

Georgie hits Alex in the stomach with his blackjack. Then, theypush his head under the water and methodically start to beat himwith their blackjacks.

After a full minute of this, they drag him out, halt-drowned,

DIM(laughing)

Be viddying you some more, some time Alex.

EXT. "HOME" – NIGHT – HEAVY RAIN

Alex stumbles up the road to the entrance gate.

ALEX (V.O.)Where was I to go, who had no home and nomoney. I cried for meself, Home, Home,Home. It was Home I was wanting and it wasHome I came to, brothers, not realising inthe state I was in, where I was and hadbeen before.

Alex stumbles and crawls to the door.

INT. "HOME" – NIGHT

Mr. Alexander at his typewriter.

Julian a 6'4" – heavyweight weight-lifter lies across an exercisebench working with bar-bells.

The door bell rings.

MR. ALEXANDERWho on earth could that be?

JULIANI'll see who it is.

He goes to the door.

JULIANYes, what is it?

No reply. He opens the door. Alex falls into the hall.

ALEX(barely audible)

Help. Help me... Help me... Police.

Julian picks him up like a child and carries him into the livingroom.

INT. "HOME" – LIVING ROOM – NIGHT

ALEX (V.O.)And would you believe it, O my brothersand only friends, there was your faithfulNarrator being held helpless, like a babein arms, and suddenly realising where Iwas and why HOME on the gate had looked sofamiliar. But I knew I was safe. I knew hewould not rememeber me for, in thosecarefree days, I and my so-called droogswore our maskies which were like realhorrorshow disguises.

JULIANFrank, I think this young man needs help.

MR. ALEXANDERDear, dear, dear. Whatever happened toyou, my boy?

Mr. Alexander, now confined to a wheelchair, pushes himself awayfrom his desk, and rolls up to Julian. The water drips off Alex'sclothes. They look at each other.

ALEXThe police... The horrible ghastly Police.They beat me up, sir. The Police beat meup, sir.

Mr. Alexander stares at him. It becomes aparent he is insane.

MR. ALEXANDERI know who you are! Isn't it your picturein the newspapers? Didn't I see you thismorning on the video? Are you not the poorvictim of this horrible new technique?

ALEXYes, sir, that's exactly who I am, sir...and what I am... a victim, sir.

Mr. Alexander becomes frenzied as the speech progresses.

MR. ALEXANDERThen, by God, you have been sent here byprovidence. Tortured in prison, thenthrown out to be tortured by the Police.My heart goes out to you, poor, poor boy.Oh, you are not the first to come here indistress. The Police are fond of bringingtheir victims to the outskirts of thisvillage. But it is providential that you,who are also another kind of victim,should come here. But you're cold andshivering. Julian, draw a bath for thisyoung man.

JULIANCertainly, Frank.

He carries Alex off.

ALEXThank you very much, sir. God bless you,sir.

Alexander bites his hand.

INT. "HOME" – BATHROOM

Alex soaks, eyes closed, in a hot tub.

After a while he begins softly singing to himself: "Singin' in theRain".

INT. "HOME" – LIVING ROOM – DAY

Mr. Alexander is hunched over the phone, talking in hoarsewhipsers. The door to the bathroom is right behind him. While hespeaks Mr. Alexander throws nervous glances over his shoulder.

MR. ALEXANDERI tell you, sir, they have turned thisyoung man into something other than ahuman being. He has no power of choice anymore. He's committed to sociallyacceptable acts, a little machine capableonly of good... He can be the most potentweapon imaginable to ensure that theGovernment is not returned at the nextelection. The Government's great boast, asyou know sir, is the way they have dealtwith crime in the last few months.Recruiting brutal young roughs into thepolice, proposing debilitation and will-sapping techniques of conditioning. Oh,we've seen it all before in othercountries The thin end of the wedge.Before we know where we are we shall havethe full apparatus of totalitarianism.This young boy is a living witness tothese diabolical proposals. The people –the common people – must know... must see!There are rare traditions of liberty todefend. The tradition of liberty meansall. The common people will let it go! Oh,yes – they will sell liberty for a quieterlife. That is why they must be led, sir,driven... pushed!!! Thank you very much,sir. He'll be here.

Trembling with excitement and madness, Mr. Alexander hangs up thephone. His eyes, shiny with anticipation. Then, suddenly, hebecomes aware of Alex's voice coming from the other side of thedoor.

INT. "HOME" – BATHROOM

Alex in bath, singing.

ALEXI'm singing in the rain,Just singing in the rain...

MR. ALEXANDER

His face horribly distorted in a Homeric rage.

INT. "HOME" – NIGHT

Alex, alone, in complete silence. Eating a large plate ofspaghetti. The giant, Julian, appears, carrying Mr. Alexander inhis wheelchair. He deposits him at the table.

ALEXGood evening, sir.

MR. ALEXANDER(very weird)

Good evening.

ALEXIt was very kind of you to leave this outfor me, sir. There was no-one around whenI finished my bath, so I started. I hopethat's alright, sir.

MR. ALEXANDER(too loud – voice outof control)

Of course. Food alright?

ALEXGreat, sir. Great.

MR. ALEXANDERTry the wine!

ALEXThank you very much, sir. Cheers

Suddenly the thought occurs to Alex that the wine may be druggedor poisoned.

ALEXWon't you join me, sir?

MR. ALEXANDERNo, my health doesn't allow it.

ALEX(to Julian)

And you, sir?

JULIANNo thank you.

Alex, stalling for time, reaches for bottle and reads the label.

ALEX1960, Chateau, Saint Estephe, Medoc, verygood brand, sir.

He doesn't get a penny's change for his remarks from Alexander andJulian.

He holds the glass up to the light.

ALEXVery good colour, sir. Smells mice,too.Very good number, sir. Very good.Here's to it.

He downs the glass.

ALEXVery refreshing, sir, very refreshing.

MR. ALEXANDER(very arch)

I'm so pleased you appreciate good wine.Have another glass!

ALEXThank you, sir.

MR. ALEXANDERMy wife...

Alex freezes.

MR. ALEXANDER... used to do everything for me and leaveme to my writing.

ALEXYour wife, sir? Has she gone away?

MR. ALEXANDERNo. She's dead!

ALEXI'm sorry to hear about that, sir.

His face contorted in rage.

MR. ALEXANDERShe was very badly raped, you see. We wereassaulted by a gang of vicious younghooligans in this house, in this very roomyou're sitting in now. I was left ahelpless cripple. The doctors said it wasPneumonia, because it happened some monthslater during the 'flu epidemic. Thedoctors told me it was Pneumonia, but Iknew what it was. A victim of the modernage, poor, poor girl.

Suddenly his mood changes. He wheels right up to Alex.

MR. ALEXANDERAnd now you, another victim of the modernage. But you can be helped. I phoned somefriends while you were having a bath.

ALEXPhoned some friends, sir?

MR. ALEXANDERYes. They want to help.

ALEXHelp me, sir?

MR. ALEXANDERHelp you.

ALEXWho are they, sir?

MR. ALEXANDERThey're very, very important people andthey're interested in you.

Bell rings. Julian rises,

MR. ALEXANDERJulian. This will be these people now.

Alex gets up.

ALEXLook, sir. I'm sorry to have troubled you.I think I ought to be going, sir.

Julian bars the way.

MR. ALEXANDERNo, no my boy. No trouble at all.

Alex slowly sits.

MR. ALEXANDERHave another glass of wine.

He pours. Alex picks up glass and takes a drink.

INT. "HOME" – NIGHT

Dolin and Rubinstein enter with Julian.

DOLIN(genial)

Hullo, Frank.

MR. ALEXANDERGood evening, sir.

RUBINSTEINFrank.

DOLINSo this is the young man?

ALEXHow do you do, sir?

DOLINHullo.

ALEXMissus. Very pleased to meet you.

RUBINSTEINHullo.

DOLINI hope you forgive us for coming over atthis ungodly hour, but we heard from Frankthat you were in some trouble so we cameover to see if we could be of any help.

ALEXVery kind of you, sir. Thank you verymuch.

DOLINI understand that you had a ratherunfortunate encounter with the Policetonight.

ALEXYes, sir. I suppose you might call itthat, sir.

DOLINHahaha, and how are you feeling now?

ALEXMuch better, thank you, sir.

DOLINFeel like talking to us. Answering a fewquestions?

ALEXFine, sir, fine.

DOLINWell, as I've said, we've heard about you.We are interested in your case. We want tohelp you.

ALEXThank you very much, sir.

DOLINBut first we'd like to find out a fewthings about you.

ALEXWhat would you like to know, sir?

DOLINWell, shall we get down to it?

ALEXYes, sir.

Rubinstein takes out a notebook.

RUBINSTEINThe newspapers mentioned that in additionto your being conditioned against acts ofsex and violence, you've inadvertentlybeen conditioned against music.

ALEXWell, er, I think that was something thatthey hadn't planned for, you see, Missus,I'm very fond of music and always havebeen, especially Beethoven, Ludwig van...Beethoven. B... E... E...

He leans over and looks at her writing in notebook.

RUBINSTEINIt's alright, thank you.

ALEXAnd it just so happened that while theywere showing me a particularly bad film,of like a concentration camp, thebackground music was playing Beethoven.

RUBINSTEINSo now you have the same reaction to musicas you do to sex and violence?

ALEXOh well, it's... it's not all music yousee, Missus. It's just the 9th.

RUBINSTEINYou mean Beethoven's 9th Symphony?

ALEXThat's right. Er... I can't listen to the9th any more at all. When I hear the 9th,I get like this funny feeling.

RUBINSTEINWhen you say this funny feeling, you meanthe state of mind brought on by thetreatment they gave you?

ALEXThat is correct, sir. And then all I canthink about is like trying to snuff it.

RUBINSTEINI beg your pardon?

ALEXSnuff it, sir... um... death, I mean,missus... Er... I just want to diepeacefully like with no... pain.

RUBINSTEINDo you feel that way now?

ALEXUm... oh no, sir, not exactly, I stillfeel very miserable, very much down inspirits.

RUBINSTEINDo you still feel suicidal?

ALEXUm... well, put it this way... I feel verylow in myself. I can't see much in thefuture, and I feel that any secondsomething terrible is going to happen tome.

He pitches forward, face into the plate of spaghetti.

RUBINSTEINWell done, Frank. Julian, get the car,will you please?

INT. HI-FI ROOM – DAWN

Alexander sits looking up. Rubinstein, Julian and Dolin alsolistening to Beethoven played loudly on tape recorder.

INT. DOLIN'S HOUSE – PRISONER BEDROOM – DAY

The 9th Symphony booming up through the floor.

Alex slowly regains consciousness.

ALEX (V.O.)I woke up. The pain and sickness all overme like an animal. Then I realised what itwas. The music coming up from the floorwas our old friend, Ludwig van and thedreaded 9th Symphony.

He staggers to the door. It is locked. He kicks and tugs the door.

ALEXOpen the door... turn it off... turn itoff.

CUT TO:

THE BILLIARD ROOM BELOW

Hi-Fi gear laid out on the table. Large speakers facing upwards.Mr. Alexander trembles and twitches. He is now completely mad. Theothers merely wait, coolly.

INT. DOLIN'S HOUSE – PRISONER BEDROOM – DAY

Alex on his knees. His hands cupped over his ears, banging hishead on the floor.

Then he stops and slowly straightens up, staring at the window.

ALEX (V.O.)Suddenly I viddied what I had to do, andwhat I had wanted to do – and that was todo myself in, to snuff it, to blast offforever out of this wicked cruel world.One moment of pain perhaps and then sleep– forever and ever and ever.

EXT. WINDOW – DAWC

Alex leaps out of the window.

INT. HOSPITAL WARD

Alex in bed. Camera slowly tracks along length of his body.Everything is bandages and plaster splints, wire cages, blooddrips.

ALEX (V.O.)I jumped, O my brothers, and I fell hardbut I did not snuff it, oh no. if I hadsnuffed it, I would not be here to tellwhat I have told. I came back to life,after a long, black, black gap of whatmight have been a million years.

We hear Alex moan, and then another moan. Alex and the other – afew times.

Suddenly, some curtains which have been drawn around another bedin the ward are parted, and a nurse hurries to Alex, hastilybuttoning up her uniform. She is trailed by a young Internfumbling with his trousers.

NURSEOh, he's recovered conscienceness, Doctor.

INT. HOSPITAL – DAY

Em and Pee sitting around the bed.

PEEHullo, lad.

EMHullo, son, how are you?

PEEAre you feeling better?

ALEXWhat gives, O myee P and Em, what makesyou think you are welcome?

Em sobs. Pee comforts her.

PEEThere, there mother, it's alright. Hedoesn't mean it. You were in the papersagain, son. It said they had done greatwrong to you. It said how the Governmentdrove you to try and do yourself in... andwhen you think about it, son... maybe itwas our fault too in a way... your home'syour home when it's all said and done,son.

Em sobs.

INT. HOSPITAL

Psychiatrist wheels trolley to Alex's bed. He is sitting up.

ALEXGood morning, Missus.

DR. TAYLORHow are you feeling today?

ALEXFine. Fine.

DR. TAYLORGood. I'm doctor Taylor.

ALEXI haven't seen you before.

DR. TAYLORI'm your Psychiatrist.

ALEXPsychiatrist? Huh, do I need one?

DR. TAYLORJust part of hospital routine.

ALEXWhat are we going to do? Talk about me sexlife?

DR. TAYLORNo... I'm going to show you some slidesand you are going to tell me what youthink about them Alright?

ALEXOhhh... jolly good. Perhaps you canexplain me something to me first.

DR. TAYLORYes?

ALEXWell, when I was all like ashamed up andhalf awake and unconscious like, I kepthaving this dream like all these doctorswere playing around with me gulliver. Youknow... like the inside of me brain. Iseemed to have this dream over and overagain. D'you think it means anything?

DR. TAYLORPatients who've sustained the kind ofinjuries you have often have dreams ofthis sort. It's all part of the recoveryprocess.

ALEXOh.

DR. TAYLORNow then, each of these slides needs areply from one of the people in thepicture. You'll tell me what you think theperson would say. Alright?

ALEXRighty, right.

The doctor reads aloud the dialogue printed in the cartoon balloon– a peacock.

DR. TAYLORIsn't the plumage beautiful?

ALEXI just say what the other person wouldsay?

DR. TAYLORYes. Yes, well don't think about it toolong, just say the first thing that popsinto your mind.

ALEXRight... Knickers... Cabbages... Itdoesn't have a beak.

Alex laughs. Slide of woman speaking to boy.

DR. TAYLORGood. The boy you alway quarrelled with isseriously ill.

ALEXThat's right and I'll smash your face foryou, yarblockos.

Slide of watch shop.

DR. TAYLORGood. It wa your fault... you sold me acrummy watch. I want my money back.

ALEXBollocks. You know what you can do withthat watch? You can stick it up your arse.

Slide of nude woman in bed, a man at the window.

DR. TAYLORGood. What do you want?

ALEXExcuse me, missus. No time for the old in-out, I've just come to read the meter.

Slide of bird's nest with eggs.

DR. TAYLORGood. You can do whatever you like withthese.

ALEXEggiwegs. I would like to smash 'em. Pickup th elot and f... owww...

He slams his hand down and cries out with pain.

ALEXFucking hell...

DR. TAYLORFine. Well, that's all there is to it. Areyou alright?

ALEXI hope so. Is that the end then?

DR. TAYLORYes.

ALEXI was quite enjoying that.

DR. TAYLORGood. I'm glad

ALEXHow many did I get right?

DR. TAYLORIt's not that kind of a test. But you seemwell on the way to a complete recovery.

ALEXAnd when do I get out of here then?

DR. TAYLORI'm sure it won't be long now.

INT. HOSPITAL – DAY

Alex sitting up, being fed by Nurse.

ALEX (V.O.)So I waited and, O my brothers, I got alot better munching away at eggiwegs, andlomticks of toast and lovely steakiweaksand then, one day, they said I was goingto have a very special visitor.

Doctor enters followed by Minister and Matron.

MINISTERGood evening, my boy.

ALEXHi, hi, hi there, my little droogies.

DOCTORWell, how are you getting on today, youngman?

ALEXGreat, sir. Great.

DOCTORCan I do anything more for you , Minister?

MINISTERI don't think so, Sir Leslie. Thank youvery much.

DR. TAYLORThen I'll leave you to it. Nurse.

They exit. Minister moves to Alex.

MINISTERYou seem to have a whole ward to yourself,my boy.

ALEXYes, sir, and a very lovely place it istoo, sir, when I wake up in the middle ofthe night with my pain.

MINISTERYes... well good to see you on the mend.I've kept in constant touch with thehospital, of course, and now I've come tosee you personally to see how you'regetting along.

ALEXI've suffered the tortures of the damned.The tortures of the damned, sir.

MINISTERYes I can... Oh look, let me do that foryou, shall I?

ALEXThank you, sir.

MINISTERI can tell you that I... and theGovernment of which I am a member aredeeply sorry about this, my boy. Deeplysorry. We tried to help you. We followedrecommendations had been made to us thatturned out to be wrong. An enquiry willplace the responsibility where it belongs.We want you to regard us as friends. We'veput you right, you're getting the best oftreatments. We never wished you harm, butthere are some that did and do, and Ithink you know who those are. There arecertain people who wanted to use you forpolitical ends. People who would have beenglad to have you dead because then theywould have been able to blame it all onthe Governement. I think you know whothose are. There is also a certain man – awriter of subversive literature – who hasbeen howling for your blood. He's been madwith desire to stick a knife into you, butyou're safe from him now, we've put himaway. He found out that you had done wrongto him – at least he believed you had donewrong. He had formed this idea in his headthat you had been responsible for thedeath of someone near and dear to him. Weput him away for his own protection... I'msorry, I thought you were ready.

ALEXWhere is he now, sir?

MINISTERWe put him away where he can do you noharm. You see we are looking after yourinterests. We are interested in you, andwhen you leave here you will have nofurther worries. We shall see toeverything... a good job on a good salary.

ALEXWhat job and how much?

MINISTERYou must have an interesting job at asalary which you would regard as adequate.Not only for the job which you are goingto do and in compensation for what youbelieve you have suffered, but alsobecause you are helping us.

ALEXHelping you, sir?

MINISTERWe always help our friends, don't we?

(smiles)It is no secret that the Government haslost a lot of popularity because of you,my boy. There are some that think that atthe next election we shall be out. Thepress has chosen to take a veryunfavorable viewof what we tried to do.

ALEXWell, who can bame them, sir?

MINISTERMmmm, possibly. Yes. But public opinionhas a way of changing and you, Alex, if Imay call you, Alex?

ALEXCertainly, sir. What do they call you athome?

MINISTERMy name is Frederick. As I was saying,Alex, you can be instrumental in changingthe public verdict. Do you understand,Alex? Have I made myself clear?

ALEXAs an unmuddied lake, Fred. As clear as anazurw sky of deepest summer. You can relyon me, Fred.

MINISTERGood... good boy. Oh yes, I understandyou're fond of music. I have arranged alittle surprise for you.

ALEXSurprise?

MINISTEROne I think you will like... as a, howshall I put it, as a symbol of our newunderstanding. An understanding betweentwo friends.

ALEXThank you, Fred. Thank you.

Minister turns and signals.

Door opens and a crowd of cameramen and reporters rush in.

Aides push two 6-foot loudspeakers and a Hi-Fi on a trolley.

ALEX (V.O.)And what do you know, my brothers and onlyfriends, it was the 9th, the glorious 9thof Ludwig van. Oh, it was gorgeosity andyummy yum yum. I was cured.

CLOSE SHOT ALEX

ALEX (V.O.)As the music came to ist climax, I couldviddy myself very clear, running andrunning on like very light and mysteriousfeet, carving the whole face of thecreeching world with my cut throat britva.I was cured all right.

THE END