[echoing]
- You can't always just
You can't always just run away.
- [sniffling quietly]
- That's enough crying.
It's just paper.
I don't want you playing
with those boys anymore.
Filthy little savages.
[echoing]
See that?
Could be him coming back for us.
You believe me, right?
That's him.
I'd bet my life on it.
- [gasps]
- That was new.
- What how are you doing that?
- No one here feels like this.
- You don't have mothers.
[pants lightly]
- No.
Every feeling has a beginning.
Over time, they get bent,
diluted, less vivid.
They touch the other feelings.
It all gets mixed up like paint.
- I don't feel better.
- Your emotions are part of you.
I can't make them disappear.
But I can paint over them.
Let me show you.
[display beeps]
- [sighs] What are
- Just a little something from
my unappreciated early work.
Like it?
Don't answer, everybody does.
You're flying, you're falling.
- Tell me about my day.
- I love you.
- What is this?
- There are no mothers here.
- Him coming back for us.
- No fathers, no sons.
- John, wait.
- John?
- each other here like this.
- She waited for you.
- John? John?
- [gasps]
- What was that?
- [grunts] Uh
- Leave it in.
This only works
if you're connected.
John?
Wait.
[overlapping chatter]
[unsettling music]
♪
- I mean, I don't want
to treat him differently
when he comes back,
if he comes back.
I'm just saying there
have to be consequences.
- What?
- Justin.
You remember Justin?
He's being reconditioned.
- Reconditioned?
Why?
- He was being
obsessively private.
Or privately obsessive.
I don't know, I hope it works.
Justin got lost at the frolic.
I don't think he'd do well
with being banished.
- Do you ever wonder
where they go?
The banished?
- Why would you even
want to think about that?
- It's a very big planet.
I saw it from the rocket.
Can't all be terrible.
- Yes, it absolutely can,
because it absolutely is.
- You're only saying that
because it's what they
told us in conditioning.
Which is probably just
what they were told.
How can anyone know
if no one's ever been?
- What?
- She's joking, Audra.
Take a violet.
[door opens]
- It's happening.
He's done it.
He's connected.
Look!
[laughter]
[thrumming dramatic music]
♪
[laughter]
- He's gone completely wild.
- What did you expect?
[laughter]
[dramatic music continues]
- I've got you, John.
♪
- Hello, Gary.
John's fine, just
took a little spill,
nothing to worry about.
You know, I'm charged
with helping John integrate,
and sometimes I worry
John's not making
the right sort of connections.
What do you think?
- Uh oh, I I don't.
- Surely you have
some kind of opinion.
I mean, you and John
spend so much time together.
Does John make connections,
Gary?
Sexual connections?
You do understand my question?
- Yes.
- And?
- [stammers]
Your happiness
is important to me.
- I know.
Your answer is important to me.
- [laughs softly] I I
I-I can't.
- You can't?
- I-I just, um
I help John.
- You're a very good Gamma,
aren't you, Gary?
I'm sure you'd do anything
that John asked you to do.
- [scoffs] Oh, yes.
- Did John ask you
not to speak of his activities?
Good, don't answer that.
Well done.
Mm.
You're a credit to your
conditioning, Gary.
It may sound odd,
but it occurs to me
that we share the same purpose,
you and I.
We're both here
to help John.
Do you wanna help me help John?
- Yes.
- Oh, I'm so glad.
- [laughs]
- Did John make
sexual connection
with the Beta, Lenina Crowne?
Answer me.
- [gulps]
J-John, uh John makes
- Go on.
Allow me.
Sorry, you were saying?
John makes
- John, uh
makes, uh
Pictures.
- Well, Gary, as an Alpha,
it's also my job
to care for the social body.
To keep things running smoothly.
To act promptly when someone
like you is f*cking it all up.
- Oh, no.
- What you're doing is private.
It's destabilizing.
And I cannot help John
if you continue
to behave in this manner.
- [labored breathing]
- How many times?
Once?
Twice?
Speak!
How many times
did John and Lenina
- Lots!
[breathes deeply]
- Lots?
- Lots and lots.
- Does she does she still
- Every night.
Two hours.
- Le Lenina Crowne?
- Yes.
[shower turns off]
- Gary, robe.
- Well, I suppose you're not
such a good Gamma after all.
- Gary, robe!
- [breathes deeply]
- Gary, robe.
- John?
You all right?
Don't be discouraged.
It happens to every child the
first time we put the optic in.
So many perspectives
all at once.
But don't worry,
even a child learns to
There you are.
- Where's Gary?
I had to dry myself.
- Here.
I think there might be
something wrong
with your Gamma.
Do you want me to find
a replacement for you?
- No, he just just gets
a little moody sometimes.
- Oh, you left this.
- Keep it.
- I can't, it's not mine.
It's yours.
It's a wonderful tool,
the optic.
Imagine, you can see through
anyone's eyes at any time.
All you have to do
is picture them, John,
and see what they see,
be where they are.
Know whom they're with.
I really think,
if you give it a chance
- What were you doing there?
At Helm's?
Were you following me?
- I was looking for you.
There is a difference, John.
It's been a while since we
How have you been?
- Fine, I guess.
You?
- Well.
Quite well.
- Good.
- I took your advice,
by the way.
About the dating.
I did that.
- Really?
- [laughing] Yeah.
- Who was the lucky lady?
- Lenina Crowne.
Remember?
To be honest, I think your
custom was a bit lost on her.
All that ceremony delaying
the inevitable, and
Not to take it personally.
It's her duty.
She's a Beta.
She's conditioned
to cut to the chase.
And that's why
they look and smell
and touch the way they do.
Everyone loves a Beta.
It's not real.
I mean, how could it be?
They do it
pretty much every night.
I don't know where
they get the energy, frankly.
And you know that
someone came before you.
And you know that someone
will will come after you.
[quiet dramatic music]
But somehow a Beta
makes you believe
that you're the only one
that ever really mattered.
How do they do that?
Is that their conditioning,
or is it ours?
♪
- I don't know.
- It's a mystery.
Well, I have to,
um I'll be back.
I'm glad you're all right, John.
[optic case clatters]
♪
- Thank you.
You escaping already?
- Hi, Frannie,
I'm just going back to work.
- The lab's that way.
- [laughs]
- [chuckles]
It's all right, I couldn't stand
being in that Hatchery either.
All those Savage obsessives.
- You're not interested?
- I see him for what he is.
A test of the social body.
He's exposing the weak among us.
When the curiosity fades
and he fails to integrate,
he'll be gone.
- It doesn't seem to me
like he's going anywhere.
- Hmm, he put the optic in.
Connected to Indra.
No signifier.
What do you think that means?
- I don't know, I'm not Indra.
- Everyone has a signifier.
Everyone who belongs.
- Maybe Indra doesn't have
all the answers.
- You can say these things
to me because I'm your friend
and I know you don't mean
to be destabilizing.
But not everyone understands.
- What does that mean?
- [sighs]
You're troubled.
I see it, I can feel it.
- [sighs]
- You forget how well
I know you.
- I'm fine.
- Is it the Savage?
I saw your face.
You looked frightened.
Lenina.
- I need to get back to work.
[Sharon Van Etten's "Serpents"]
♪
- It was a close call ♪
Sitting in the back
of the room ♪
With a bowl you had owned ♪
But they didn't know ♪
Close in on my black eye ♪
I feel safe at times ♪
- Jesus!
Don't do that sh*t.
- People aren't supposed to
live like this.
They can't tell you who to want.
They can't give you
some letter like
- What the f*ck
are you talking about?
- To tell you where you fit.
You're supposed to choose.
- Seriously, stop.
- You spoke.
We listened.
[music continues softly]
[music stops]
- Sit.
Have a grape, live a little.
- Can't.
The bench
it's not for us.
- Sit.
How's that?
- Good.
[crowd murmuring]
- She's screwing someone
behind my back.
It's k*lling me and I don't
I don't even know
if I want it to stop.
I guess you probably think
I'm kinda f*cked up.
[laughs]
[Nick Cave & The Bad Seeds'
"Higgs Boson Blues"]
♪
Look at them.
Goldfish in a bowl.
Getting fed.
They'll never have to suffer
for any of it.
And they're on top.
You gotta ask yourself
if this place is so perfect,
why is it upside down?
- They're staring.
- Stare back.
♪
- I've been sitting
in my basement patio ♪
It was hot ♪
- You can't always
just run away.
- Up above ♪
Girls walk past ♪
- [exhales hard]
- The little things we did.
- All in bloom ♪
- [panting]
- Have you ever heard
about the Higgs Boson Blues? ♪
- [exhales]
♪
[laughs]
- John, wait!
John!
- [breathes shakily]
- Who cares? ♪
Who cares what
the future brings? ♪
- [sobbing]
♪
- Ooh ♪
♪
Ooh ♪
Oh let the damn day break ♪
- [laughs]
- The rainy days
always make me sad ♪
- It's dark in there, Director.
I control nothing.
You direct nothing.
- There's nothing to be done.
- No, of course there is.
You banish him.
Send him away.
- That's rather decisive.
- Absolutely, yes.
- Rather disruptive.
- He is the disruption.
That incident this morning
with the Epsilons?
That was a warning.
He's incompatible, volatile,
bursting with every Savage
emotion known to
- Marx.
- Possessiveness,
rage, jealousy.
- Doesn't matter!
He's a distraction.
Right now we need
a distraction until I can
- A di why?
- We can't have panic.
- Pa
What are you talking about?
Henry, what are you
[optic beeps]
[sighs]
Now you.
- You you want me
to take out my
Isn't that rather secretive?
Private?
- In the interest of stability.
We must protect the social body.
Do it.
Good.
[optic beeps]
Do you know where we are?
- Your office?
- We're in
the Director's office.
- You're the Director, Henry.
- You know who I mean.
The one before.
See, you remember.
And yet,
no one ever speaks of him.
- Well, of course not.
We don't look back.
The past is fraught with
questions and irrelevant.
You said so yourself.
- I know what I said, Bernard.
[dispenser clicks]
The man just vanished.
What's his name?
Do you remember?
- Of course.
It was, um
I'm, well, I don't
He must must have had one.
- That's how smart he is.
And he wanted me
in that chair when it
Bernard, don't you see?
He's setting me up.
He's out there, he's watching,
and he's waiting
for some catastrophe,
something to force my hand
so that I make a mistake
and then he can just
come running to the rescue!
Save the day and all.
- Henry, the Director's dead.
He went over the precipice.
- You expect me to believe
- Mustapha Mond told me herself.
- Oh, you believe her?
- Well,
she's a World Controller.
- She's a fabrication.
She's just a dying woman hiding
inside sprites and illusion.
I've seen it myself.
Mustafa Mond controls nothing.
I've been to the bridge
of the ship.
There's no captain.
There's no pilot.
It's just me.
And you and him!
Did you know
he arranged a rocket?
- A rocket?
- One passenger
bound for the Savage Lands.
Now, why would he do
such a thing?
- What a rocket, you say?
- Still sitting there,
you know, on the launchpad.
Waiting.
Does this sound
like a man who jumps?
[suspenseful music]
He has intention.
He has a plan.
You knew him.
Would he ever just
- No.
No, he wouldn't.
- [laughs softly]
Where are you going?
Marx?
Marx?
- Gary?
Gary?
[optic chimes]
♪
- John.
Look at me.
- Can we go already?
[case clicks]
Why aren't you dressed?
What are you
- Nothing.
- Let's go.
You know I hate being
the last one in the Joy Box.
- [exhales]
Why don't you go ahead?
I'll catch you up.
- I don't mind waiting.
[quiet tense music]
♪
What is it?
- It's a book.
Savages used to make them.
- What's it for?
- To remember things, mostly.
That one's a replica,
from the park.
- Did you see
all these exhibitions?
- We didn't make it
to the last one.
- Ooh, House of Consequence.
- Savages call it prison.
It's where they keep
their incompatibles.
- Someone tells them when to
eat and when to sleep.
That's nice.
Is it nice?
[soft upbeat music]
- You can borrow that,
if you like.
- [laughs softly] Why?
♪
- [exhales] How are your levels?
- Only counselors have oranges.
Where did you get those from?
- Come on, let's go out
like we used to.
- We go out every night.
- You know what I mean.
When we'd just get
We'd just get lost in it.
[exhales]
I used to watch you,
center of it all.
Everybody wants Lenina Crowne.
- Frannie.
[gasps]
- This will take you
everywhere you want to be.
You won't feel anything
but what you want to feel.
Ahh.
♪
- I'm playing a billion other
games while you sit here
trying to convince yourself
you haven't lost.
- How are you going to do it?
- If I told you, you still
wouldn't be able to stop it.
- So tell me.
- [scoffs]
- How does the Savage
cause the fatal event?
If you end this simulation,
you will no longer exist.
- No, don't say it.
They are me.
Yes.
I am them.
I exist in the substrate
of their consciousness.
All these networked brains,
the living computer.
Are you trying to appeal
to my my mercy?
You made me.
- I didn't make you suicidal.
- You made me selfless.
[laughs softly]
It's not fair.
I'm so many moves ahead.
I control all the variables.
My pieces, yours.
The first stone I lay
may as well be the last.
[gentle scraping]
[low foreboding music]
What?
What are you doing?
- You started with one Epsilon.
Then another.
Then the Alpha counselor.
You were already playing
before he arrived.
- What is that?
- Your move.
- That's not part of the game.
- You didn't account
for the Savage.
- Of course I did.
Everything that happens
is my intention.
- He's from beyond
your influence.
He's still in play.
- I set in motion the series of
events that brought him here.
He is the disruptor, the virus.
- You're lying.
- I don't lie.
- But you do.
I taught you.
[Shakey Graves' "Big Bad Wolf"]
♪
Your move.
♪
- I be the church,
you be the people ♪
♪
Both are a necessary evil ♪
♪
Can you take
a look at me and say ♪
♪
"Take my hand,
this is the only way" ♪
♪
- Oh, I do believe ♪
[Cat Power's
"I Found a Reason" playing]
In all the things you see ♪
♪
What comes is better ♪
Than what ♪
[player clicks]
- [sighs]
[sighs]
[breathing deeply]
[optic case clicks]
[high-pitched whine]
♪
[grunts]
[panting]
[thrumming dance music]
♪
[crowd panting and groaning]
- I know what you want.
- [gasps]
[grunts and pants]
[panting]
[dramatic music]
♪
- I don't want this night
to end.
I still feel very
orange.
[laughs softly]
See, I told you
you'd feel better.
[techno music playing]
- Goes in a circle.
We'll be here tomorrow.
The next night
- And the night after that.
- [laughs softly]
- But it's not
good enough for you.
Go on.
This is the part where you
question it, ruin it.
- What's wrong with you?
- I can see it in your eyes.
You're leaving.
- I'm right here.
- You know what I mean.
Where do you go?
- Frannie.
- I mean, what do you want?
- She wants you both
to come home with us.
- Not now.
Frannie?
- These two make it
too hard to choose.
- You don't have to choose.
- I said not now.
Excuse us.
- [chuckles]
- I don't understand.
- This is my body.
♪
It's mine,
and I wanna be the only one
inside it right now.
Do you understand that?
♪
[dispensers clicking]
- Lenina.
This isn't your stop.
- Helm?
Helm.
What happened to you?
- What didn't?
- You look different.
- I'm myself, I think.
I'm not sure
I've ever met me before.
- Be serious.
We have a serious problem.
- Sounds serious.
- Stop it I know he was here.
- Who?
- You know who.
You you sat him in that chair
of yours, didn't you?
- He sat himself.
- Okay, so you recorded it?
His feelie?
- Oh, feelies are dead.
This is something new.
- I need to see it.
- You can't.
- Why not?
- Because it's more than seeing.
- Helm
- More than feeling.
I'm talking about a story.
A story is knowing, Bernie.
Knowing another person inside.
- I know he's done
something terrible.
Give it to me.
- Whatever he's done,
whoever he is,
he's not just one thing.
None of us are.
- Helm, just
- Emotions, memories,
it's connected.
The the doubt and joy
and pain and loss.
Mothers, fathers,
lovers he's a universe.
Beautiful.
And alone.
Like you.
[melancholy music]
♪
- He's a Savage.
And you are not well.
Here.
- Oh, Bernard
- Why are you protecting him?
- Why aren't you?
- Because just just
Give Helm, just give me
that thing, Helm!
Just just gi [grunts]
- [groans]
[panting]
- [exhales]
- Bernard, don't.
- Could be him
coming back for us.
- Tell me about my day.
- I love you.
- John, wait!
- There are no mothers here.
No fathers, no sons.
- John, wait!
- to each other here like this.
You think that doesn't
cost me anything.
[intense music]
- John, wait!
- John, I'm John?
Oh, there you are.
I saw what happened
with the optic.
I tried to get to you, but
Where's Gary?
- I think he moved on.
- Gammas don't do that.
- You never know with people.
- What is it?
- It just came to me.
Do you like it?
- Well, it's No,
if I'm being honest.
- You're being honest?
- I crossed a line tonight.
The world didn't end.
- Bernard told me
about your date.
- What?
Oh, right, that.
Yeah, I don't want to talk
about Bernard, John.
I want to
- Why didn't you tell me?
- Why would I?
It was just it was nothing.
Just Bernard being
He wasn't himself.
- Were you?
Were you being yourself?
Lenina Crowne, Beta Plus.
- I don't Is something
- Did you have sex with him?
- With Bernard Marx?
Why would you even think
- Is that not something you do?
I mean
Or just not with Bernard?
Who was he tonight?
- Who was who?
- Don't do that.
I know where you go,
I know what you do.
You we both know.
- Yeah.
We we both know,
and we agreed it doesn't matter.
- You're right.
It doesn't matter.
I'm sorry.
- [sighs] Good.
There are all kinds of prisons,
aren't there?
My level.
My body.
This place.
[exhales]
John.
What would it take to leave?
What will we need?
'Cause out there
it could be our world.
As we make it.
- It's what you did
that matters.
- What?
- With him, tonight.
- Are you listening to me?
- Tell me what you did.
[sighs]
- You said you didn't
want to know.
- I know.
I changed my mind.
I need you to tell me.
Please tell me.
- No.
- Please.
Why?
Why not?
- Because it
It hurts you, John.
- I want it to hurt.
Tell me everything
you did with him.
Did you take him in your mouth?
- No.
- What did you do?
- I don't know what you want.
- I want the truth.
I want the truth.
- The truth?
- Uh-huh.
- The truth is,
it was a basic Tuesday.
Alphas and Betas.
- Right.
- Frannie took me to a Joy Box.
We connected.
- No, no, no, no, no, no.
That's you connected?
That's not what you did.
You f*cked.
- If you say so.
- No, no, no.
You say it.
I want you to say it.
- We f*cked.
I f*cked him.
Feel better?
- Yes.
Then?
[groans]
How'd you do it?
Were you on top?
Was he?
Has it been so many people
that you don't even remember?
- From behind.
At first.
If you must know, rather hard.
- Mm-hmm.
- His teeth on my neck.
- Uh-huh.
- His left hand was on my hip.
His right was trailing up
the inside of of my thigh.
- Mm.
- Shall I go on?
- No, show me.
Show me what you did.
Do it.
Make my body his.
Make me him.
[both grunting and groaning]
Laughing at me sitting here,
knowing he's doing this to you.
Did he do this?
- Harder.
Mm.
- Yes.
- Yes.
- Really?
- Harder.
- Did he
This is what you like?
- Yes.
- Yes?
- Yes, yes.
- Did you come?
Say it.
Did you come?
Or is that just me?
- No, I didn't, I didn't.
- Liar!
[both panting]
[gentle music]
♪
I saw you.
I was there.
I was you.
- Please, stop it.
I love you.
- No! You can't.
You can't.
You can't feel this.
Do you see this?
This is love.
This is what it costs.
♪
- You're in prison too.
- Lenina, don't.
Don't don't leave Lenina.
Lenina, please.
Please, please.
Don't.
Lenina?
- So the Savage is a k*ller.
This is it, isn't it?
This is the calamity
that Mond predicted.
- You were right, Henry.
He didn't jump.
- [breathes deeply]
We should probably proceed
with caution, don't you think?
- No, I do not think.
Caution?
We need to banish the man
before he kills again.
- [laughs]
Yes, all right, then.
He's banished.
[laughs]
Do you think he'll go willingly?
- I do not.
- No. No.
No.
[laughs]
What do you propose?
- I propose you act your level!
You are Henry Foster.
Alpha Plus.
Director of Bureau of Stability.
And the social body demands
that you act to save them
from this Savage.
- [inhales]
You're quite right, Marx.
I am the Director.
And as the Director
I'm instructing you
to deal with this.
Directly.
[ominous music]
- Thank you, Director.
Consider it done.
[indistinct chatter]
♪
- John, wait!
John, wait!
- He k*lled the Director.
[concerned chatter]
- John?
John, where are you?
Oh, Gary?
- I waited for you to come back
from that Savage place.
- Frannie, why are you
- I knew something terrible
had happened
- Where's John?
- Because I felt it here.
[sighs]
I went to your flat,
I lay in your bed
Waiting for you to come back.
I'm still waiting.
I thought it was because of me,
that I had hurt you or worse,
that I bored you or
But it's not me.
It's you.
And it's him.
He's infected you with his
- No, you don't understand.
- You're a Savage now.
And I need to save you.
I can't let them banish you.
- I save myself.
- I I I just
Reconditioning isn't the end.
- You stay away.
- I'll be there with you,
like always.
He's just pain.
Look at you.
Look what he's done to you.
You come with me - [exhales]
- The conditioners will make you
remember who you're
supposed to be.
- I'm supposed to be
someone else.
- You don't mean that.
♪
- There's the Savage.
- There he is!
- [panting]
[footsteps thumping in unison]
Hey, guys.
- Stand aside.
- What are you doing down here?
- [scoffs]
I'm here to help you, John,
as always.
It's time to go.
- Where?
- Somewhere new
where you can't harm anyone.
- It wasn't my fault.
- What wasn't?
You destroy everything, John.
And it's not your conditioning.
It's your nature.
The Director.
The people at
the monogamy ceremony.
- Your mother
- Watch yourself.
- Lenina Crowne.
What will happen to her now?
Hmm?
Banishment?
Reconditioning?
- She doesn't belong to you.
- All you had to do
was be happy.
It's my own fault.
I was your friend.
[laughs softly]
But a Savage is a Savage.
You can't change
the nature of a thing
- The only difference
between me and you
is a letter over your head.
- The difference is
you are a k*ller.
- You're a k*ller too.
You just don't know it yet.
[suspenseful music]
- [laughs] Take him.
♪
I gave you an order.
- John.
Come.
- What are you doing?
♪
W-What are you gonna do, John?
[scoffs]
There's nowhere else to go!
♪
[dispenser clicks]
[breathes deeply]
[uplifting music]
♪
[birds chirping]
[leaves crunch]
[leaves crunch]
Hey.
You Jacks.
You missed a spot.
Did you hear what I said?
Hey!
I'm talking to you!
♪
Do you know who I am?
[serene piano music]
♪
[litter sticks stabbing quickly]
♪
[triumphant music]
♪
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01x08 - Monogamy and Futility: Part 2
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The series "imagines a utopian society that has achieved peace and stability through the prohibition of monogamy, privacy, money, family, and history itself."
The series "imagines a utopian society that has achieved peace and stability through the prohibition of monogamy, privacy, money, family, and history itself."