A fight breaks out in the middle of the room, with a member of the audience trying to maul Sue Catwoman, and the Catwoman coming back hard with a boot in the crotch. The guy's friends come off their chairs after the punk rockers, and Johnny Rotten is thrown offstage into a brawl with all sorts of people, including a few punkers who manage to peel off with the aid of the other brawlers.
On stage, Paul Cook, ever insistent on keeping the show together, keeps the beat during the brawl. Steve darts around backwards and forwards behind the sound system, which is only partly the Pistols and mostly belongs to the featured band. Johnny Rotten is hurled, shoved or thrown back on stage where, backed by the continuing beat, he somehow picks up the threads of the number and finishes it.
Backstage, the Club Manager pulls electric switches, shutting off the sound and light systems. In the darkness, the brawl seems to escalate until we:. Sid Vicious moves along the road past trendy boutiques, totally turned off by the attitudes of the well-off people frequenting them. They in turn shrink from him -- his clothes held together by safety pins -- especially when he spits at them.
Gobbing the trendies. Johnny Rotten and Sue Catwoman stop at a particular store, and look at an expensive guitar in the window. They exchange an underplayed nod. Paul Cook is sandwiched above the door of the Gents', his feet and back braced against opposite walls, as a Security Guard looks in, sees no one, and closes the door. Paul stealthily lets himself down. Sid Vicious enters one of the boutiques and tries on a large floppy feathered woman's hat.
As the Sales Clerk approaches, he studies the price tag in disbelief. Johnny Rotten creates a disturbance. Standing in front of a huge juke box, he grabs a nearby microphone stand and violently mimes the song behind played "Pretty vacant" , supplying terrific amounts of kinetic energy.
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Sue Catwoman moves off into the background. Steve Jones, rummaging under the bed, finds what he's looking for.
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As the Hooker continues her oral ministrations, he comes up with a big sack from Wimpy's, takes out a hamburger and begins to eat it, looking dreamily at the ceiling, all his needs met. Paul Cook moves very quietly down into the auditorium and up to the stage, where roadies are supposed to be guarding the instruments of a rock band. The only Roadie in view is stoned and asleep. Paul lifts a piece of amplifying equipment and steals away. As the store's staff move in on Johnny Rotten, we see Sue Catwoman, quick as her namesake, lift the guitar and melt out onto Shaftsbury Avenue with it.
Johnny Rotten looks quite properly angered at the interruption of his performance. The door opens without a knock and Paul Cook enters with the stolen piece of amplifying equipment. Hardly seeming to notice the other activities going on, he hands the piece of equipment to Steve, who takes it and gives it an appraising eye, turning it over, still getting head - and then Steve reaches down and offers a hamburger from the Wimpy sack to Paul. Paul accepts.
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Steve begins to offer a hamburger to the Hooker giving head, but pauses, thinking better of it. The El Paradise is one of the sleazoid strip clubs infecting the back streets of Soho.
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The Sex Pistols are playing on the tiny stage. The auditorium room begins with a small bar and a DISC JOCKEY's booth which doubles for lighting and then leads down into a landscape of cavernous black chipped walls, and a few rows of decaying, smashed-up cinema seats, some of them with the springs coming through.
And, later, Sue Catwoman and Debbie Juvenile. As the Sex Pistols play, we recognize what will become familiar as their basic style: The anger, the noise, the energy, the brutally direct lyrics. The noise is filled with aggression. Out front, framed in garish red borders, are the portraits of the girls allegedly to be found inside - but a large banner has been pasted across them, proclaiming:.
He stands implacably, barring the door. This is a venue the Sex Pistols have rented for themselves. The Owner shifts on his feet and looks up and down the street, looking for tourists and other suckers.
The Glaswegian takes a fiver out of his pocket. She is beautiful, very busty, statuesque, red-haired, green-eyed, an Irish carnal delight. Out of breath. Very good. Rented the club out themselves. Not today. No act today. I didn't come all this way for nothing! Unlike the Horny Tourists, the Punk Rockers in the audience respond by standing up and doing the Pogo-dance in the cramped space between the aisles. Tremendous energy is unleashed in the tiny space, as Johnny Rotten leans far over the crowd, playing them, playing with them, as the band attacks the song.
He wears the sort of leather mask associated with the Cambridge Rapist. Johnny Rotten wears a T-shirt on which is daubed: "Too many Critics! From his POV, distracting him, we see the Stripper, furious, shouting at him. Her words cannot quite be made out, but we can read her lips. Johnny Rotten looks at her, looks away. He is totally indifferent to the girl and her crisis, and concerned only with the music. Now Steve Jones and Sid Vicious look over, curious, before looking back toward the audience. Paul Cook, behind his drums, cannot see the Stripper and continues to lay down the beat, although curious about what's attracting the attention of the others.
I paid 65p to come all the way from Edgeware and I'm going to do my act! In the audience, as before, the Punk Rockers are getting it on with the music.
The Tourists are not. The Stripper, pushed beyond the powers of endurance, can no longer remain backstage. She marches out into the spotlight, furious, attracting everyone's attention. The Sex Pistols play on. She approaches the lead singer, Johnny Rotten, deep into his song. She's about to say something when he looks over, sees an invader on his stage, and roughly pushes her away. She reels back a few feet. The Stripper, no pushover, recovers herself and marches back on the stage, still in her street clothes.
The sight of the woman on stage inspires the Horny Tourists, who cheer. The Sex Pistols continue to play. Steering wide of the dangerous Johnny Rotten this time, the Stripper heads straight for a mangy couch at the side of the stage.
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Sits on it, and begins to play to the crowd. The song continues. She takes off her shoes and tosses them over her shoulder. In the midst of the growing chaos, the Disc Jockey pushes a large red button labeled "Curtain" and the curtains close. The Sex Pistols song collapses into disorganized pieces. On his way past her to backstage, Johnny Rotten feints at her, as if about to give her another shove, and she recoils. But it was a false alarm. He continues on his way, betraying little emotion except for a small, private amount of satisfaction.
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He is followed backstage by Paul Cook and Sid Vicious. The Stripper ignores him. The Disc Jockey, working fast behind his Cambridge Rapist mask, throws on an appropriate record, and pushes the button marked "Curtain" again. The curtains open. In the audience, there is great cheering and applause for the resolution of the crisis - from the Horny Tourists. There are whistles, applause. But the Punk Rockers are displeased. So there are also boos and catcalls.
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From out of view backstage, Steve Jones appears again and grabs a mike. They settle down, disgusted.
Johnny Rotten opens a beer and pours it out into a glass. Steve appears in the Green Room after his announcement to the crowd. They look up as someone else enters the room.