| POLICEMAN 1: |
| Calling every unit, every unit respond |
| Don’t let him out of your sight |
| He won’t be running too long |
| POLICEMAN 2: |
| I can see him up ahead, a gray sweater on |
| And if he doesn’t respond |
| What sort of force should we don? |
| POLICEMAN 1: |
| Only as a last resort should force be applied |
| And don’t allow him to hide |
| They want him taken alive |
| POLICEMAN 1 AND POLICEMAN 2: |
| Only as a last resort should force be applied |
| And don’t allow him to hide |
| They want him taken alive |
| INGMAR BERGMAN: |
| More and more police cars after me and I don’t even know |
| where I’m running. It’s not as if I’ll see a sign saying |
| 'Sweden — ThisWay.' |
| POLICEMAN 1: |
| Mr. Bergman, give it up, you’ll never escape |
| You have no hope and no prayer |
| You sure ain’t going nowhere |
| INGMAR BERGMAN: |
| I can’t let them catch me. This place is death to me. This place is |
| death to me. This place is death to me. |
| POLICEMAN 1: |
| Calling every helicopter, follow that man |
| And if he don’t understand |
| Bring in a translator, man. |
| And ain from shooting just as long as you can |
| But if it needs to be done |
| Well, you all carry a gun. |
| INGMAR BERGMAN: |
| Helicopters! What next! I am now an actor in a bad big budget |
| Hollywood action film. |
| POLICEMAN 2: |
| Captain we’ve lost sight of him, no there he is now |
| He’s stopped, he’s wiping his brow |
| Wait, he’s now running I vow |
| We won’t let him get away, he’s heading due west |
| And who would ever have guessed |
| He’d be this big of a pest |
| INGMAR BERGMAN: |
| I’ve got to run! I’ve got to run! I’ve got to run! I’ve got to run! |
| POLICEMAN 1: |
| Copters, fire rockets, we are losing his trail |
| We cannot let this plan fail |
| The dogs are hot on his trail |
| Copters, fire rockets, we are losing his trail |
| We cannot let this plan fail |
| The dogs are hot on his trail |
| INGMAR BERGMAN: |
| I’ve got to run, I’ve got to run! |
| POLICEMAN 1: |
| Helicopter Number One, we see him, I’m sure |
| The visibility’s poor |
| But he just can’t run much more. |
| Fire rockets, he won’t know what hit him, I’m sure |
| Before he reaches the shore |
| A little afternoon gore. |
| Captain fire rockets we are losing his trail |
| We cannot let this plan fail |
| The dogs are hot on his trail |
| THE STUDIO CHIEF: |
| This is Mr. Weiss, yes, yes, the studio chief |
| I sit in stunned disbelief |
| That Bergman’s causing you grief. |
| Hollywood’s in dire need of what he can bring |
| But it will not mean a thing |
| If he is dead, that’s the thing. |
| Still, we can’t allow him to go back where he came |
| And though we’d relish his name |
| He can’t go back where he came. |
| Summing up, alive is best, but if there’s no choice |
| Though we can’t gloat and rejoice |
| Well there just might be no choice. |
| Summing up, alive is best, but if there’s no choice |
| Though we can’t gloat and rejoice |
| Well there just might be no choice. |
| INGMAR BERGMAN: |
| This is insane. I sense, though, that I’m close to the shore. |
| Why should that feel like a relief? |