what's his name?
cameron?
really?
what?
good. well, you've seen the flat?
and you like it?
yes. it is, isn't it? we alllike it. and the room's nice too, don't you think?
spacious, quiet, bright, well appointed, all that sort of stuff, all that crap.
so tell me, cameron, what on earth -- just tell me, because i want to know -- what on earth could make you think that we would want to share a flat like this with someone like you?
i'd like to ask you about your hobbies.
when you slaughter a goat and wrench its heart out with your bare hands, do you then summon hellfire?
or maybe just phone out for a pizza?
when you get up in the morning, how do you decide what shade of black to wear?
with which of the following figures do you most closely identify: joan of arc, eva braun or marilyn monroe?
and when did anyone last say to you these exact words: you are the sunshine of my life'?
squash is often used as a metaphor to represent a struggle for personal domination.
i was trying to educate you.
in the same fashion as chess.
chess. chess is often used as well.
you're a bad loser.
defeat, defeat, defeat-- sporting,personal, financial, professional, sexual, everything. next.
did you know --
i wasn't trying to win.
you learn that in your psychotherapy group?
yeah, he had one too many of thise urges. you of all people should know that.
for my life? at a discussion group? i think not.
no. be someone else like him. one is enough. and what happened to that girl, that friend of yours, the one that came round. i liked her. i really felt we had something. she could have moved in. we had chemistry.
well, she had problems --
-- i'd be the first topoint that out. in all kindness i would. but, like they say, you know, she's got to want to change, hasn't she?
has he tried down the back of the fridge? i mean, that's where i normally find things.
i'm not saying he didn't seem like a nice guy. all i'm saying is, it's a bit strange, and this search for the self, and what he's on about, you know.
interesting. interesting.
hello. no, she's not in. no. no. no. no ideas.
i don't know. he sounded swedish. do you know any swedish men? maybe it was just the emotion.
about this guy, this hugo person.
i'm only asking what you think.
this is for you. it's your mother's handwriting, so i didn't open it. i don't like reading about your father's constipation.
what? oh, yeah, sure, if you want. i tell you, every letter this guy writes to you is the same: they all begin like pure love and descend into open pornography. i dream of your thighs, the soft touch of your white skin leading me in desire, while i, aroused and inflamed --'
he even signs them, in his own name, can you believe it? i'd sign someone else's name. i'd sign his name. if i wrote them, that is. which i don't.
interesting.
yeah, well, that's what she said. interesting. that's why you're here, you see.
so, uh.
what?
what was i trying to say? oh, yes, i think, we think, or at least i suppose we think -- am i right?
we think it's fine.
well, that's what i said, isn't it?
why, thank you, david.
i'm not usually drunk.
it's true. a newspaper is paying for all this. a newspaper.
it was you, juliet, it was you --
what i am.
-- which is a hack.
a miserable, burnt-out, empty shell of a -- alex pauses, looks at his drink, then at juliet.
i think you're lying.
you see, they don't really know me.
can you afford this place?
certainly smells like the real thing.
no. any idea which channel he's on?
no, she's not in. without waiting for any more, he replaces the reciever and walks to the door, where he picks up the mail. on his way back from the door, david emerges, ready to go to work.
yes or no, yes or no, yes or --
david hasn't seen him either.
maybe he didn't like us.
hugo.
he's got a car?
what sort of car?
i will ask you once more, what sort of car --
hugo. hugo. sorry about this, but can you open the door? it's us, hugo, your flatmates and companions. your new-found friends. he's not in. he's left and we'll probably never see him again.
so?
you want me to kick it open?
now?
all right. no problem.
i wonder how he did it?
i wonder how he killed himself. i presume that that's what happened. what do you think?
what? what's wrong?
i'm just looking.
don't look?
why not? what's wrong, juliet? aren't you curious? don't you wonder what he died from?
it's not every day i find a story in my own flat.
old newspaper proverb says dead human being is living story. be rational, please, and failing that be quiet.
can i show you something?
think about it.
come on, david.
juliet?
what?
is that all?
i'm only asking you both to think about it.
but don't tell me that you're not tempted by it. don't tell me that you're not interested. i know you well enough.
now, was there a pet in the house? yes, a pet, like a dog or a budgie or a gerbil. you see, what i need is pc plod rescues harry the hamster from house of horror'. all right.  well, that's a pity, you see, no pets, no human angle.
he couldn't get his car started.
you call them if you want.
a spade, we need a spade -- i wish you would concentrate -- we need a spade if we're going to dig a pit.
dig the pit, i don't know.
then what? who's going to do what?
do i? what? what? what are you talking about?
we all are, david, we're all going to do it. each of us, you, me and juliet, will do his or her bit. is that fair enough?
i don't hear this.
you're telling me you want out? already? you're telling me you don't want the money? hugo is going off. he smells. the flat smells. we can't wait any longer.
i thought we all were.
but you're a doctor. you kill people every day.
and now you tell me.
family? family? friends? drugged-up wandering suicidal search of the self fuck-ups don't have families, david.
take his legs.
why don't we just draw lots for it?
david?
look, if i draw the short straw, then i'll do it, but i'm not going to do it just because you won't.
all right, then, here we are and this is it. do you want to play or not?
but not quite.
don't you worry about that.
yes. now come on, all or nothing.
yeah, we don't want another stiff on our hands. don't fall through the ceiling. ok? is he listening to me?
i don't know why we couldn't stuff it in a mattress or put it under the floor like any normal human being. we could have hid it in the fridge.
you didn't tell me that this was for children. i hate children. i'd raise money to have the little fuckers put down.
i want my money back. excuse me.
i see, so if they want to talk to you, we say you're not in.
well, it's physical contact, isn't it?
that was good.
not now. i have an idea.
just stop worrying.
what's the problem?
after you drink to love and happiness forever.
after.
it's not for me. it's for love and happiness forever.
cameron. you remember cameron.
what's he doing here?
yes, it is. it's him. cameron, cameron, come on over.yo!
nothing. we thought you were someone else.
yeah, but you were good, you were really good. fucking bin-bag', i liked that. you were good. you explored your maleness to the full there.
you were magnificent.
cameron! what a surprise.
who was it?
rendered speechless with desire. i recall that feeling, from the days when i had such a thing.
no.
hello. it's been a struggle, but now the days of worry are over, the light at the end of the tunnel has expanded into a golden sunrise and at last, at long last, nothing will ever be the same again.
will you calm down.
i don't know.
i don't know.
i don't know.
what is this? what is going on? david!
what is this?
downstairs, i know. pensioner's terror ordeal: page six.
no, it doesn't. i tried to let it worry me but it won't. i've worked on that paper for three years. there is a pensioner's terror ordeal on page six every day. every day. maybe when i'm a pensioner it'll worry me.
oh, that'll come in useful.
no, no, it's different.
it tastes different.
you're sure? there's lots more.
what's wrong?
you're not eating.
not eating like you used to, that's what.
now swallow.
once it's spent you won't have to worry about it.
you know we're right.
secure it? what do you mean -- you're gong to take it to a bank? you're not going to take it to a bank? you're not going to take it to a bank or what, you want to bury it? is that it?
because that's no good. remember, we did what we did, we took the money. it was a material calculation. but what's the use if it's underground, or in some funny bank in some funny place? if you can't spend it, if you can't have it, what use is it? none. it's nothing, all for nothing, if you do that. i didn't get into this for nothing, so that i could have nothing --
david, david, what are you doing up there?
will you come down now. it's not safe up there. are you listening to me. security and insanity are not the same thing.
shit.
he can't stay up there.
yeah, he's got to go to work, hasn't he? you think he'll come down for that?
looking after it -- he's probably fucking well eating it.
boy, am i glad to see you.
we have to talk.
later. but first -- him.
exactly. now i've been thinking --
he won't do anything for me, but for you --
he isn't safe up there. if you really cared about him, you'd use your influence to get him down, then he'd be safe.
we could put it somewhere.
now you thought of that, not me.
expecting anyone?
oh.
well, i'm not expecting anyone either.
it's in the loft.
no, definitely not. and that's that. i refuse to discuss it further.
i refuse.
no, i'm not frightened. a little terrified maybe. did you see what happened to the last two who tried that? they went up alive and they came down dead -- the difference, i mean, alive dead dead alive, that sort of thing. it wasn't difficult to spot. he killed them both: he cut them up.
you'll wait in the hall?
and if it sounds like i'm being killed, you'll phone the police, you'll tell them everything?
everything. except maybe that it was his idea and not mine in the first place. ok? that's important to me. i need to die misunderstood.
what?
all right, david, what i'm going to do is, i'm going to open this lock and i'm going to come up, and what's important is that you remain calm.
he isn't up here.
don't worry, that's what i'm doing.
well, it's not up here.
juliet, i have --
looking for you? yes.
we just wanted to speak to you.
who?
i don't know what you're talking about.
i don't know anything about it.
cover it?
but there's no --
i don't know.
well, i've got this story, it's really good, i'm working on, that is good, i feel it could be big, it this, eh, and it's, you know, it's incredible. am i right, did you say beyond recognition'?