Second lesson: it is difficult to be really violent, to perform an act that violently disturbs the basic parameters of social life. [...] Towards the end of Andrew Davis’s The Fugitive, the innocent persecuted doctor (Harrison Ford) confronts his colleague (Jeroen Krabbé) at a medical convention and accuses him of falsifying medical data on behalf of a large pharmaceutical company. At this precise point, when one would expect a focus on Big Pharma – corporate capital – as the true culprit, Krabbé interrupts and invites Ford to step outside, and then, outside the convention hall, engages Ford in a passionate, violent fight: they beat each other till their faces are red with blood. The scene is telltale in its openly ridiculous character, as if, in order to get out of the ideological mess of playing with anti-capitalism, one has to make a move which renders directly palpable the cracks in the narrative. The bad guy is transformed into a vicious, sneering, pathological character, as if psychological depravity (which accompanies the dazzling spectacle of the fight) somehow replaces and displaces the anonymous, utterly non-psychological drive of capital.