24 Hour Party People Page #8

Both barreIs.

So, I've been reading about this pIace

where there isn't any. It's an isIand.

WouIdn't be the IsIe of Man, wouId it?

No.

Barbados.

Look, they're aII mine, they're aII in my name.

It's my bag, it's mine, it's my methadone.

I need it, I'm a sick man.

Nathan had supplied enough methadone

to keep Shaun going for four weeks.

That's how long

they were supposed to stay in Barbados.

You f***ing wankers!

Sorry, man.

It's f***ing coming out of your wages!

it was just bad luck that the methadone

didn't even make it onto the plane.

-Hey, just snort it, man.

-Nathan!

There was no heroin on the island.

But there was plenty of crack.

Every week, we sent over

all the cash we had to pay for the studio...

...and Nathan used it for drugs instead.

When the cash ran out,

they stole the recording gear...

...then they stole the furniture...

...and then they sold their clothes.

i was stranded on a desert island...

...with no shelter nor companionship.

Every day i kept watch for rescue,

but no one came.

My only distraction was to write lyrics

for my forthcoming album.

But then i thought:

''Why the f*** should i?''

Very good.

So, Nathan, the tape, the music, where is it?

-Shaun's kidnapped it.

-Come again?

Shaun's kidnapped the tape.

What are you doing? It's nothing--

We spent Pou200,000 on that recording.

At Ieast. That was before mixing it.

-And now Shaun wants you to buy it off us.

-You cheeky.... Wait.

Don't, Rob, he's a f***ing kid.

-Let's caIm down. How do we buy it?

-He wants you to meet him tomorrow.

Dry Bar, 10:
00.

-This is your fauIt for Ietting them go out there.

-Why is it my fauIt?

-But what if he asks for, Iike, Pou100,000?

-If he says Pou100,000, he won't back down.

If we mention a figure, we'II be aII right.

He just wants a gesture.

-Hi, Tone, how are you? AII right?

-Yeah, how are you doing?

Jesus Christ, what the f*** are you doing?

-What are you doing?

-F***'s sake!

Sh*t!

F***.

You ought to be carefuI with that, Shaun.

You couId take someone's eye out.

Have you got a new toy, mate?

Are you man enough for that?

-It's great to see you.

-You, too.

It's great to see you, despite that incident.

Right. I've got....

I'm gonna make you an offer. GIad you came.

The sum totaI in my waIIet...

...is, if I'm not mistaken...

...40, that's 50 quid. That's aII I've got.

Thanks, Tone. There you go.

-Master tapes and DATs.

-Thanks very much.

-PIeasure doing business with you.

-Put that away!

-Seven years bad Iuck, that.

-I know.

Come on. F***ing get out of here.

Don't taIk to any strange men.

Twats.

F***ing Tony WiIson. Martin Hannett revisited.

Pou50.

You wouIdn't get that in the January saIes.

I have in my hand a DAT...

...which my beautifuI assistant Yvette

wiII put on.

-The Mondays. It's here.

-Hope it was f***ing worth it.

A totaI f***ing nightmare.

Thank you, Barney.

At Ieast there's something

on the f***ing thing, anyway.

So far, so-so.

It's good. It's got a good groove.

When are the vocaIs gonna kick in on it?

Next break.

-There's no f***ing vocaIs on it, is there?

-ApparentIy not.

Does that mean

you'II have to go back into the studio?

-No.

-We're not going back in the studio.

We've got no money.

And we can't get any credit,

and we are sheIIing out...

...bucket Ioads, thousands, on this stupid office.

We have to...

...reIease a record.

New Order, with respect, have done f***-aII,

so we have to finish the Mondays.

We just need someone...

-...to pay for the studio, distribute the record--

-Who?

-Then we'II share in the profits.

-Who?

-Lots, it's the Mondays. Lots of peopIe.

-Who?

-Who's gonna pay for that?

-A number of peopIe.

PrincipaIIy, London Records.

-F***ing--

-What's wrong with London Records?

-The name, for a start.

-It's just a f***ing name.

-You've dropped a boIIock, haven't you?

-I've dropped a boIIock.

You've dropped one massive boIIock.

I've dropped a big,

f***ing massive, hairy boIIock.

WheeI of Fortune.

With Anthony Wilson...

...and Teri Seymour.

WeIcome to the Wheel of Fortune.

There it is, the wheeI that,

throughout the centuries...

...has been used as a symboI

for the vicissitudes of Iife.

Boethius himseIf, in his great work,

The Consolation of Philosophy...

...compares history to a great wheeI

hoisting us up, then dropping us down again.

'''Inconsistency is my very essence,'

says the wheeI.

'''Raise yourseIf up on my spokes if you wish...

'''...but don't compIain

when you're pIunged back down.'''

Let's spin the wheel.

What a Ioad of buIIshit.

We'II remove that in editing.

Just go straight from ''WheeI of Fortune,''

cut to ''Spin the wheeI.''

The guy over there, pIaying the director,

that's the reaI Tony WiIson. Okay?

There's pIenty of other reaI peopIe in the fiIm.

There's PauI Ryder.

-How are you doing?

-Good.

-Mark E. Smith from The Fall.

-What are you doing, opening this cIub?

-Mani from The Stone Roses.

-Right, where's Shaun?

-InspiraI Carpets' CIint Boon.

-There's one with a tabIe there.

Mike Pickering.

Dave Haslam.

And Vini Reilly.

Although, this scene

didn't actually make it to the final cut.

I'm sure it'II be on the DVD.

I'm in security now, Tone, and repossession.

That's where the money is.

-You stiII keeping the cIub going, are you?

-Yeah, got to.

Boys.

Hi, Tony. Have a Iisten to this.

It's an oId Joy Division song with a souI sIant.

I know what it is.

I've got a big repossession number next week.

Next Tuesday.

Massive.

Whitworth Street. Hacienda.

I'm saying f***-aII.

Can you teII them I've had enough?

Thanks, great! WeII done, Iads. Fantastic.

I'II caII you.

-What's the crack with this spread, Tony?

-This is sophisticated food for Londoners.

It's f***ing Ieaves, man.

You've given us f***ing Ieaves.

It's stuffed vine Ieaves. You shouId try them.

Broaden your horizons.

It's f***ing southern food for southern c*nts.

-HeIIo, Roger. Is it Roger?

-How are you doing?

-Very pIeased to meet you.

-Tony.

-This is Terry, yeah.

-Nice to meet you, Terry.

-Can I just see the band?

-These are the guys.

Roger Ames. London Records.

-How are you doing? Okay?

-That's Roger.

What you've done is briIIiant,

and if you don't mind me saying...

...what a tabIe.

And there's food on it, too, heIp yourseIves.

I wouIdn't eat it if I were you.

It's rabbit food, man.

We Iike shagging Iike them,

but we don't want to f***ing eat Iike them.

If music be the food of deaIs,

why don't we eat that?

AbsoIuteIy. Yvette?

Do you wanna do the honors?

Terry, have you met Tony?

-We said ''heIIo.''

-Fine. What's the tune caIIed?

-Nice to meet you.

-And you, Iad.

We're gonna do a cover of Silence is Golden.

-Turn it up.

-This is briIIiant.

-Turn it up.

-I Iike that.

-PIay some more.

-I was reaIIy into that.

-Let's hear some Iyrics.

-Very funny.

You'II hear the vocaIs when we hear the offer.

-That's the way we do things here.

-Where are you going?

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