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[MACHINERY WHIRRING]
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[INDISTINCT CHATTER]
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[SHIP HORN BLARES]
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[REPORTER]
Their industry is in crisis,
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- its survival uncertain...
- [STATIC FEEDBACK]
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[INTERVIEWER] So, Julie,
welcome to Sunderland.
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It's great that you want
to make a film in the town.
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Um, maybe you could tell us
a little bit about it, please.
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[JULIE] Yes, it's about
a 16-year-old boy called Tony,
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and he's very insecure and he's shy,
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and he's lived in Sunderland
his whole life,
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and he has this overwhelming
affection and love for his mother.
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He absolutely adores her,
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he almost has an obsession with her,
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and has a constant dream of her dying.
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This fear inside him,
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he just can't bear
the idea of losing her,
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and, of course, in the end, she dies.
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[PLAYS HARMONICA]
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♪ Right now, I'm in Knightsbridge ♪
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♪ In a really nice flat ♪
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♪ I'm gonna get me one of these places ♪
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[TRACY, LAUGHING] Are you?
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- ♪ With five of my wives ♪
- [FRANKIE] But you ain't got no cash.
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Hey, hey, hey, hey, there's
no need for that, Frankie.
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There's no need for that, all right?
I was going, I was...
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- [INDISTINCT CHATTER]
- [LAUGHTER]
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- Sorry.
- [JACK] Hello, sausage.
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- Hi.
- Here she is.
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[INDISTINCT CHATTER]
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[INTERCOM BUZZING]
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[BUZZING CONTINUES]
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- [JANET] Hey.
- Hi.
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Oh, this is Anthony. He's my lodger.
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- [ANTHONY] Hello.
- [RAY] Ray.
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Hi.
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[UPBEAT MUSIC PLAYING]
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gets up and walks out
the room with another fella,
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in front of all my mates,
everyone sees it.
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What's that about? That's not nice, is it?
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I don't know where
you're getting that from.
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[INDISTINCT CONVERSATION]
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[ANTHONY]...steady income,
and I've known him for a while. Um...
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He's often away, uh, in the provinces,
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um, so that's why we felt
this would work out,
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because I'm often away,
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- and between us we could...
- Just split it.
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Share that room and split the cost.
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- Okay.
- Yeah.
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Well, as long as he's all right with it.
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He's fine with it,
and he's very keen to meet you.
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- I've told him all about you.
- What have you said?
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- I've said you're a wild...
- Because you can be very cheeky.
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Exotic, social creature.
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[CAMERA SHUTTER CLICKS]
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He has this fear of losing her.
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- Hmm.
- And this overwhelming...
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he has this overwhelming attachment
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to her always being with him
and always being present,
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and I found that really interesting,
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because I kind of linked that
with his mother city of Sunderland,
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um, being, you know, dying
and decaying and rotting,
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and then at the end of the film,
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there would ultimately be
the death of his mother,
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and I found that really...
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Yeah, really interesting for me,
that metaphor.
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- And you've been up there?
- Yes. Yes, I have.
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I was taking pictures of, um,
some installations by some artists I know,
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um, which I found
really, really interesting.
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- Um, yeah.
- Then you got fascinated in the rot?
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[LAUGHS] Yes, yes. In the streets.
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- [PHIL] She's got the dosh, so why not?
- [JACK] Exactly, exactly.
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I think if you can get hold of a camera
like that, fair enough. Do your thing...
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[TRACY] I think you're doing
all right, aren't you?
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[FRANKIE] Yeah, she's having a go,
ain't she? Just like the rest of us, so...
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[JACK] Yeah, she's having a go,
but there's other people having a go
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who can't get that camera,
you know what I mean, so...
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[FRANKIE] Yeah, but, listen, you can't...
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[JACK] I think you should probably, um...
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[FRANKIE] You gotta play
to your advantages.
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[JACK] Yeah, absolutely, fair play.
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[PHIL] Mate, if you was in the same
position, you'd do the same thing.
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[JACK] Don't get me wrong,
fair play to her,
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but you gotta... when you're in, you know,
a position of privilege, dare I say,
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then you've gotta accept it.
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[PHIL] If you was successful
and you had your kids, yeah, all right,
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you want 'em to make the most
out of every situation.
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Exactly, but I'd want 'em
to be aware of it. Be aware of it.
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- Good girl. Come on. Come on.
- [BARKING]
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Can I take something?
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- [ROSALIND] I'm all right.
- [DOG WHINING]
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- I'm laden.
- Hello!
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- Oh, my Lord.
- Rosie! Rosie!
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Daddy was going to put this in the hunt
jumble, and I thought, you know,
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you never have enough lights in here,
and I thought this might be quite good.
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What do you think?
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Where do you think this could go?
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- It's a little too tall.
- Could go down...
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Well, I don't... what, there?
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Or what do you think about over here?
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Yeah, it could go on my desk.
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[ROSIE WHINES]
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- Are you all right?
- [GRUNTS]
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- Are you all right?
- Yeah. Shopping headache.
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Don't you think they'd be nice?
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- Yeah.
- You could hang them up and around.
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Hang them on the... hang them on those,
up there. Would look Christmassy.
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- What do you think, Dora?
- [GIGGLING]
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Just come and... - Stay. - Stay.
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But I'd need to get a real job.
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[BOTH LAUGH]
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- Don't want to do that.
- You don't need to.
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- I do. Need to pay rent.
- You kind of do, actually, yeah.
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To you. You'd be a terrible landlord.
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- I am a terrible landlord.
- [BOTH LAUGH]
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'Cause he's so lovely, Frankie,
but he's... he smokes a lot.
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- Does his girlfriend pay rent?
- No. No.
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She hasn't even, like, suggested it.
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- Doesn't put anything towards it?
- I'm not gonna ask him. No.
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- No, you have to.
- 'Cause it's not like she's here...
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You're too nice. You need
to properly sit them down
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and be, like, "There's three people
living in this flat. Pay me rent."
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Get aggressive, get a baseball bat.
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- [FRANKIE] Morning.
- Morning, Frank.
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- All right?
- Did you sleep well?
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Yeah, it was all right.
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- Nothing for you, sorry.
- No?
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Are you expecting anything important?
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- No.
- No?
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- D'you want a cup of tea?
- Yeah, please. Thank you.
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- All right.
- No sugar, please.
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All right, mate.
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[TRACY] Can you make me
a cup of tea in a minute?
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[FRANKIE] So lazy.
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[ANTHONY] We don't know what the inner
machinations of their mind are,
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or their heart. We don't know.
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But that's what we want to know
when we go and see a film.
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We don't wanna just see
life played out as is.
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We wanna see life as it is experienced,
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within this soft machine, within this...
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[CHUCKLES SOFTLY]
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But the life of Tony and his mother,
they're the lives of real people.
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I'm not... I'm not making that up.
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- Why are they more real than me?
- They're not more real than you.
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Am I more real than you?
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No.
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[ANTHONY SIGHS]
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I think we're all equal in that.
I think we're all as real as each other.
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There's no competition.
150
00:09:51,842 --> 00:09:56,555
It doesn't matter that they're
not real people.
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I mean, I'm not trying
to make a documentary.
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- I'm making a feature film.
- Now, are you sure?
153
00:10:01,978 --> 00:10:03,271
Yes, I am.
154
00:10:06,607 --> 00:10:09,068
I'm making a feature film.
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00:10:09,151 --> 00:10:11,112
You're not trying to document
156
00:10:11,195 --> 00:10:17,952
some received idea of... life up there,
157
00:10:18,035 --> 00:10:21,497
on the docks, the daily grind...
158
00:10:25,376 --> 00:10:27,753
huddled listening to the wireless?
159
00:10:27,837 --> 00:10:32,675
Well, I am, but I'm creating
something new with it.
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00:10:32,758 --> 00:10:33,843
Well, good.
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00:10:33,926 --> 00:10:38,848
So the material is real,
those people exist,
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00:10:38,931 --> 00:10:41,183
but I am designing new ones...
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to fit what I want to make.
164
00:10:45,938 --> 00:10:48,566
Well, good. That sounds great.
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00:10:48,649 --> 00:10:52,278
- I'm a big fan of Powell and Pressburger.
- Hmm.
166
00:10:52,361 --> 00:10:53,779
I think they...
167
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I think they're very truthful
168
00:10:59,285 --> 00:11:01,245
without necessarily being real.
169
00:11:03,497 --> 00:11:04,999
So what do you do?
170
00:11:05,082 --> 00:11:07,001
I work for the Foreign Office.
171
00:11:09,712 --> 00:11:12,465
- Is it very boring?
- Incredibly.
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00:11:12,548 --> 00:11:13,632
[CHUCKLES SOFTLY]
173
00:11:56,050 --> 00:11:58,552
["TOTALLY WIRED" BY THE FALL PLAYING]
174
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[FRANKIE]
The many misadventures.
175
00:12:00,304 --> 00:12:02,431
- What'll be the name?
- [TRACY] Yeah, the name.
176
00:12:03,599 --> 00:12:05,786
- [JULIE] The word on the street.
- [PHIL] The word on the street.
177
00:12:05,810 --> 00:12:08,622
What'll be my name? What'll be my name?
Let me think of something special.
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00:12:08,646 --> 00:12:10,397
- Wear one of these.
- [TRACY] Roger.
179
00:12:10,481 --> 00:12:11,565
- Roger?
- Yeah.
180
00:12:11,649 --> 00:12:13,484
Roger? No, Roger sounds too rugged.
181
00:12:13,567 --> 00:12:14,568
[TRACY CHUCKLES]
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00:12:15,986 --> 00:12:19,323
- [FRANKIE] All right, you got it?
- [JULIE] You're not gonna get it.
183
00:12:19,406 --> 00:12:22,302
- [PHIL] Oh, that was a terrible shot.
- [TRACY] That was always gonna happen.
184
00:12:22,326 --> 00:12:23,494
[JACK] Get raided.
185
00:12:23,577 --> 00:12:26,389
- [PHIL] You sure you want another one?
- [TRACY] Take one of us. Come here.
186
00:12:26,413 --> 00:12:28,999
[JACK] Yeah, I can drive.
Haven't got a license, though.
187
00:12:29,083 --> 00:12:30,084
[JULIE, CHUCKLING] Stop.
188
00:12:33,212 --> 00:12:34,338
[CAMERA SHUTTER CLICKS]
189
00:12:34,421 --> 00:12:35,965
[LAUGHS] That ruined it.
190
00:12:36,048 --> 00:12:37,800
- Would you like another one?
- [JULIE] No.
191
00:12:37,883 --> 00:12:39,844
- No? You sure?
- Yeah, I'm sure, thank you.
192
00:12:39,927 --> 00:12:41,971
- Would you like another one?
- I've just had one.
193
00:12:42,054 --> 00:12:44,140
- Bloody hell.
- [LAUGHING]
194
00:12:44,223 --> 00:12:46,725
["SHIPBUILDING" BY ROBERT WYATT PLAYING]
195
00:13:23,596 --> 00:13:26,098
[MUSIC CONTINUES]
196
00:14:11,226 --> 00:14:14,355
- Do you like her?
- I love her.
197
00:14:18,108 --> 00:14:20,611
[ANTHONY] She's just received
word from her lover,
198
00:14:20,694 --> 00:14:24,657
and she's carving his initial
into the tree.
199
00:14:24,740 --> 00:14:26,533
[JULIE] She looks sad.
200
00:14:27,826 --> 00:14:29,620
[ANTHONY] I think she looks determined.
201
00:14:31,622 --> 00:14:32,706
Mm-hmm.
202
00:14:34,541 --> 00:14:38,003
- And very much in love.
- Very much in love.
203
00:14:47,429 --> 00:14:51,266
- Do you like horses?
- Yes. But not to ride.
204
00:14:51,350 --> 00:14:55,396
Ah. Well, Ray's rather fond of them,
205
00:14:55,479 --> 00:15:00,067
and Janet said we could take her
to my parents for the weekend.
206
00:15:00,150 --> 00:15:03,529
- Mm-hmm. Yeah, I'd love that.
- Good.
207
00:15:04,780 --> 00:15:07,199
[ANTHONY] Made it. Ray.
208
00:15:07,282 --> 00:15:09,368
- [RAY] Hi.
- Hi, hello. I'm Barbara.
209
00:15:09,451 --> 00:15:11,537
- Hello, Barbara. I'm Ray.
- Ray.
210
00:15:11,620 --> 00:15:13,580
- Hello, Ray. I'm James.
- Hello, James.
211
00:15:13,664 --> 00:15:15,165
- Hello, darling.
- [ANTHONY] Hello.
212
00:15:15,249 --> 00:15:17,543
[CAR DOOR OPENS AND CLOSES]
213
00:15:17,626 --> 00:15:19,044
- Julie.
- [BARBARA] Julie.
214
00:15:19,128 --> 00:15:21,463
- Hello, Julie. I'm Barbara.
- Lovely to meet you.
215
00:15:21,547 --> 00:15:23,227
- You're welcome. Welcome.
- Hi. I'm Julie.
216
00:15:23,298 --> 00:15:25,718
Lovely to meet you.
If you'd like to follow me...
217
00:15:25,801 --> 00:15:27,928
- Come on in.
- [JULIE] Thank you.
218
00:15:30,764 --> 00:15:33,142
[JAMES] What are you working on
at the moment?
219
00:15:33,225 --> 00:15:38,063
I, um... uh, my next project
is a feature film,
220
00:15:38,147 --> 00:15:39,732
uh, set in Sunderland.
221
00:15:39,815 --> 00:15:41,567
- [BARBARA] Oh.
- Great part of the world.
222
00:15:41,650 --> 00:15:42,651
[JULIE] Mm.
223
00:15:42,735 --> 00:15:48,407
Um, Barbara comes from Newcastle,
so she's got some family up that way.
224
00:15:48,490 --> 00:15:50,951
Might be able to put you up,
maybe, if you were up there.
225
00:15:51,035 --> 00:15:52,161
Mm. Thank you.
226
00:15:52,244 --> 00:15:53,662
Um... Oh, great subject matter.
227
00:15:53,746 --> 00:15:57,207
Are you involved... wanting to film
in the shipyards, or...
228
00:15:57,291 --> 00:15:59,376
- Mm. Yeah.
- Wonderful.
229
00:15:59,460 --> 00:16:02,880
They really need somebody
to do a documentary on them,
230
00:16:02,963 --> 00:16:05,466
because they're under threat
at the moment.
231
00:16:05,549 --> 00:16:10,137
Uh, I worked in a shipyard when I was
a boy, before I went off to art school.
232
00:16:10,220 --> 00:16:11,388
- Hmm.
- And, uh...
233
00:16:11,472 --> 00:16:13,974
not in that part of the world,
but, uh... um...
234
00:16:14,975 --> 00:16:18,604
It's been my subject matter
and inspiration, really,
235
00:16:18,687 --> 00:16:21,190
you know, the beautiful shapes
of the boats and...
236
00:16:35,162 --> 00:16:36,639
[ANTHONY] Did I hear Frankie say something
237
00:16:36,663 --> 00:16:40,709
about staying with his girlfriend
for a few days?
238
00:16:40,793 --> 00:16:42,544
Yeah, he's always with her.
239
00:16:44,088 --> 00:16:46,757
Beginning of next week or...
240
00:16:48,175 --> 00:16:52,429
Yeah. I'm not sure,
I'd have to check, but...
241
00:16:52,513 --> 00:16:54,556
I was wondering
if I could stay a few days.
242
00:16:56,058 --> 00:16:57,059
Why?
243
00:16:58,060 --> 00:17:01,063
It's to do with my work.
It's rather complicated to explain.
244
00:17:01,146 --> 00:17:05,109
In fact... I can't really
explain it at all.
245
00:17:05,192 --> 00:17:10,239
I completely understand
if there's an issue with that.
246
00:17:10,322 --> 00:17:13,117
- I can always find somewhere else.
- No, it's okay.
247
00:17:14,535 --> 00:17:16,495
- Are you sure?
- Hmm.
248
00:17:20,165 --> 00:17:23,836
- That's very kind.
- It's all right.
249
00:17:27,631 --> 00:17:29,174
You're very special, Julie.
250
00:17:30,801 --> 00:17:32,469
I don't think I am.
251
00:17:32,553 --> 00:17:34,930
Oh, no, you don't think you are.
252
00:17:35,013 --> 00:17:38,392
- Very normal, really.
- Yeah, normal.
253
00:17:38,475 --> 00:17:41,687
You're not normal at all.
You're a freak.
254
00:17:42,688 --> 00:17:44,064
Thank you.
255
00:17:48,235 --> 00:17:50,487
- How am I a freak?
- Your fragility.
256
00:17:53,699 --> 00:17:56,869
- Is that a good thing?
- I think you know.
257
00:17:58,162 --> 00:17:59,663
I think I'm quite average.
258
00:18:01,665 --> 00:18:03,000
You're not average.
259
00:18:07,713 --> 00:18:09,131
You're lost.
260
00:18:10,549 --> 00:18:12,551
And you'll always be lost.
261
00:18:24,563 --> 00:18:27,065
[OPERA MUSIC PLAYING]
262
00:18:35,032 --> 00:18:37,576
- Are you hungry?
- [ANTHONY] Famished.
263
00:18:38,660 --> 00:18:41,580
- How did you get on?
- Really well, thank you.
264
00:18:41,663 --> 00:18:44,249
- Good old Harrods?
- Yeah.
265
00:18:44,333 --> 00:18:46,960
- A nice bit of fillet steak.
- Hmm.
266
00:18:48,754 --> 00:18:51,798
- I've had a very nice time here.
- Good.
267
00:18:52,799 --> 00:18:55,302
- Very relaxing.
- Good.
268
00:18:57,262 --> 00:19:00,933
Checked in on Janet.
Everything's fine there.
269
00:19:01,016 --> 00:19:02,142
Good.
270
00:19:04,561 --> 00:19:09,524
I mean, I dare say they've had
the odd person, uh...
271
00:19:11,401 --> 00:19:15,447
watching over, but I don't think
there's been any disturbance.
272
00:19:15,530 --> 00:19:17,991
Hmm. I'm glad.
273
00:19:18,075 --> 00:19:21,245
That's partly why I wanted to get Ray
out of there for the weekend.
274
00:19:21,328 --> 00:19:23,973
[REPORTER OVER RADIO] There were fears
that the Russians might try to come in
275
00:19:23,997 --> 00:19:26,416
and slew the submarine off the rocks,
276
00:19:26,500 --> 00:19:27,918
and those fears were reinforced
277
00:19:28,001 --> 00:19:31,838
when a second foreign submarine
was detected earlier this morning.
278
00:19:31,922 --> 00:19:36,218
Today, the government revealed that
they're considering a charge of espionage.
279
00:19:36,301 --> 00:19:39,137
The case is seen as very similar
to that of Gary Powers,
280
00:19:39,221 --> 00:19:44,434
the American pilot of a U-2 spy plane
shot down over Russia in 1960.
281
00:19:44,518 --> 00:19:46,770
The Russians tried him as a spy.
282
00:19:46,853 --> 00:19:49,356
["GIMMIX! PLAY LOUD" BY JOHN C. CLARK
PLAYING ON RADIO]
283
00:20:20,095 --> 00:20:22,597
[BELL TOLLING]
284
00:20:26,560 --> 00:20:29,062
[JULIE] "You've got to see Venice,"
he began.
285
00:20:29,146 --> 00:20:32,816
"You've got to see a city
of slender towers and white domes,
286
00:20:32,899 --> 00:20:37,029
sleeping in the water
like a mass of water lilies.
287
00:20:37,112 --> 00:20:39,072
You've got to see dark waterways,
288
00:20:39,156 --> 00:20:41,199
mysterious threads of shadow,
289
00:20:41,283 --> 00:20:43,785
binding all these flowers
of stone together."
290
00:21:18,987 --> 00:21:21,490
I like this.
291
00:21:28,747 --> 00:21:29,956
And where was this taken?
292
00:21:30,040 --> 00:21:33,251
- Afghanistan. '73.
- Oh.
293
00:21:41,843 --> 00:21:44,346
I'm going to wash the lettuce.
294
00:21:52,729 --> 00:21:56,691
[JULIE] "I don't feel that I fully
understand the qualities of entertainment,
295
00:21:56,775 --> 00:21:59,152
but I realize the importance
of entertaining people
296
00:21:59,236 --> 00:22:01,029
to get a message across.
297
00:22:01,113 --> 00:22:04,241
I hope to learn to entertain
as well as communicate."
298
00:22:04,324 --> 00:22:06,368
- That's good.
- Yeah.
299
00:22:06,451 --> 00:22:10,122
That's the bit I like, at the end.
300
00:22:10,205 --> 00:22:12,833
What's all that about therapy?
301
00:22:12,916 --> 00:22:16,461
Well, it's my version of therapy, really.
302
00:22:16,545 --> 00:22:19,422
- Okay.
- My self-expression.
303
00:22:20,882 --> 00:22:24,261
Through art, through film,
you know, that's my...
304
00:22:24,344 --> 00:22:27,264
Do you think
that makes you special?
305
00:22:27,347 --> 00:22:30,767
Well, it's not, you know,
it's not about me being special.
306
00:22:30,851 --> 00:22:33,353
It's about, you know, them, you know...
307
00:22:38,150 --> 00:22:41,278
it's just, I want them to know that...
308
00:22:41,361 --> 00:22:44,406
I want them to kind of know
that about me, you know?
309
00:22:44,489 --> 00:22:46,032
- Okay. Okay.
- Is that...
310
00:22:46,116 --> 00:22:48,118
- Do you think it's too...
- No.
311
00:22:48,201 --> 00:22:51,496
I'm not sure, uh,
sincerity is always enough.
312
00:22:51,580 --> 00:22:53,707
But go on.
Let's hear the next bit.
313
00:22:53,790 --> 00:22:58,879
Okay. You mean... you mean you don't think
I should be this honest?
314
00:22:58,962 --> 00:23:04,092
Um, well, no, I just think it's,
um, you know...
315
00:23:04,176 --> 00:23:07,846
People use that word
as if it's an end in itself,
316
00:23:07,929 --> 00:23:12,517
and, uh, I mean, you know,
we can all be sincere,
317
00:23:12,601 --> 00:23:16,021
we can all be authentic,
318
00:23:16,104 --> 00:23:18,607
but, um, what's it all for?
319
00:23:23,403 --> 00:23:25,488
I mean, it just slightly reads
320
00:23:25,572 --> 00:23:30,952
like you've been sort of backed
into a corner by life,
321
00:23:31,036 --> 00:23:35,332
and it's like, "Oh, well, I'd better be
a film director."
322
00:23:35,415 --> 00:23:37,417
As opposed to, "I want to be
a film director."
323
00:23:37,500 --> 00:23:39,002
Is that what it sounds like?
324
00:23:39,085 --> 00:23:41,379
What happened last night
325
00:23:41,463 --> 00:23:46,176
is every time you rolled over
and then rolled back again...
326
00:23:47,844 --> 00:23:53,558
you came closer to me
and took up more of the bed.
327
00:23:55,435 --> 00:24:00,065
And you're already, I would say,
further over than I am.
328
00:24:02,484 --> 00:24:03,902
That's not true.
329
00:24:03,985 --> 00:24:05,737
- It is true.
- No, it's not.
330
00:24:05,820 --> 00:24:09,199
- I haven't got that much...
- You have bed dysmorphia.
331
00:24:09,282 --> 00:24:10,992
[LAUGHS]
332
00:24:11,076 --> 00:24:13,245
And you... then you accuse me of...
333
00:24:13,328 --> 00:24:17,249
I wasn't trying to cross
any sort of threshold.
334
00:24:19,709 --> 00:24:21,586
[CHUCKLES]
335
00:24:21,670 --> 00:24:23,338
I have not got that much room.
336
00:24:23,421 --> 00:24:27,676
- You've got a foot on that side.
- That's not a foot.
337
00:24:27,759 --> 00:24:30,011
And I literally am on a ledge.
338
00:24:32,264 --> 00:24:34,599
- I've got nowhere left to go.
- [LAUGHING]
339
00:24:38,812 --> 00:24:41,690
Well, where's the...
Where's the halfway line?
340
00:24:41,773 --> 00:24:44,526
Well, I think it's where your arm is,
but, like, under your arm.
341
00:24:44,609 --> 00:24:46,027
No, I think it's there.
342
00:24:46,111 --> 00:24:49,030
No, I think it's, like, there.
343
00:24:49,114 --> 00:24:51,908
No. That doesn't give me enough room.
344
00:24:51,992 --> 00:24:54,244
- There.
- All right, there.
345
00:24:54,327 --> 00:24:58,081
But I can barely lie flat like that.
346
00:24:58,164 --> 00:24:59,749
We're saying there, okay.
347
00:24:59,833 --> 00:25:05,297
I'm going to do
a Claudette Colbert-Clark Gable
348
00:25:05,380 --> 00:25:10,385
wall of Jericho with your friends here.
349
00:25:10,468 --> 00:25:11,636
[LAUGHING]
350
00:25:12,637 --> 00:25:14,639
I haven't got much room.
351
00:25:14,723 --> 00:25:16,850
- You've got a foot!
- [LAUGHING]
352
00:25:16,933 --> 00:25:19,311
You've got a foot. I have nothing.
353
00:25:21,271 --> 00:25:23,315
I've nothing. There's nothing here.
354
00:25:31,531 --> 00:25:32,991
[ELEVATOR DOOR OPENS]
355
00:25:49,257 --> 00:25:51,634
I'm going to be in Paris for a while.
356
00:25:54,345 --> 00:25:55,430
Okay.
357
00:25:58,016 --> 00:25:59,601
See you soon.
358
00:26:07,400 --> 00:26:08,610
[ELEVATOR DOOR CLOSES]
359
00:26:14,657 --> 00:26:16,659
[JULIE] "My dear Julie.
360
00:26:16,743 --> 00:26:19,329
Just a letter of thanks.
361
00:26:19,412 --> 00:26:22,332
You see, I've almost forgotten
what happened in December.
362
00:26:23,917 --> 00:26:26,586
I may have been born in 1980,
363
00:26:26,669 --> 00:26:28,880
and that was the year
I first fell in love.
364
00:26:30,048 --> 00:26:32,133
And I have wondered
if that were possible.
365
00:26:33,968 --> 00:26:36,679
I have gained so much
to thank you for.
366
00:26:36,763 --> 00:26:40,308
Inexpressible, though,
this thing of delight and trust.
367
00:26:42,018 --> 00:26:44,854
Most importantly and at the center
368
00:26:44,938 --> 00:26:48,942
is that I am mainly thanking you
for my love for you.
369
00:26:50,026 --> 00:26:52,112
Ergo sum.
370
00:26:52,195 --> 00:26:55,448
A grateful and loving Anthony."
371
00:26:55,532 --> 00:26:58,034
["IS SHE REALLY GOING OUT WITH HIM?"
BY JOE JACKSON PLAYING]
372
00:27:27,897 --> 00:27:29,524
Is this my book?
373
00:27:29,607 --> 00:27:32,610
- Oh, yeah. Sorry.
- You... you keep it.
374
00:27:35,989 --> 00:27:38,658
All right. Cheers.
375
00:27:40,201 --> 00:27:42,370
- All right.
- Do you want a hand?
376
00:27:42,453 --> 00:27:44,914
Yeah, I'd better get downstairs.
Jack's got the van, ain't he?
377
00:27:47,208 --> 00:27:49,794
- I might torch this.
- [JULIE LAUGHS]
378
00:27:49,878 --> 00:27:52,380
- You give my love to Tracy.
- Yeah, I will.
379
00:27:52,463 --> 00:27:53,464
Yeah.
380
00:27:54,924 --> 00:27:57,260
- Love you, Frank.
- All right, mate. Love you, too.
381
00:27:57,343 --> 00:28:00,096
- Have fun.
- I will.
382
00:28:00,180 --> 00:28:02,265
- See you on the flip side.
- [CHUCKLES]
383
00:28:04,851 --> 00:28:06,019
[ELEVATOR DOOR OPENS]
384
00:28:06,102 --> 00:28:07,770
- [FRANKIE] Ta-ta.
- Bye.
385
00:28:07,854 --> 00:28:09,564
[ELEVATOR DOOR CLOSES]
386
00:28:11,649 --> 00:28:17,614
The, uh... the thing that struck me about
the main character, Tony, in my story,
387
00:28:17,697 --> 00:28:23,578
is that he is being forced to rate,
to be raised, and to come to terms
388
00:28:23,661 --> 00:28:29,209
with the incredible struggles that
his family is going through at that time,
389
00:28:29,292 --> 00:28:32,837
and all his peers at school as well.
390
00:28:32,921 --> 00:28:37,175
And this very cruel,
391
00:28:37,258 --> 00:28:42,180
very raw, you know... um...
392
00:28:42,263 --> 00:28:45,308
Sorry, I'm not expressing
myself very well. Um...
393
00:28:46,309 --> 00:28:48,311
You know, being forced to come to terms
394
00:28:48,394 --> 00:28:51,564
with something so harsh
for someone that's so young.
395
00:28:52,565 --> 00:28:53,983
- Very vulnerable.
- Right.
396
00:28:54,067 --> 00:28:56,819
And yet, you're wanting to make a film
397
00:28:56,903 --> 00:29:00,782
about an experience
that's very different from yours.
398
00:29:00,865 --> 00:29:04,994
I mean, you could argue that really
it would be much better for you
399
00:29:05,078 --> 00:29:09,165
to work from your own experience,
particularly at an early stage.
400
00:29:09,249 --> 00:29:14,796
I mean, what makes you want to leave
your own experience so radically
401
00:29:14,879 --> 00:29:16,798
and enter into this very different world?
402
00:29:16,881 --> 00:29:18,967
I mean, it's suggested
that you almost have
403
00:29:19,050 --> 00:29:21,928
a kind of moral, sort of political aim?
404
00:29:22,011 --> 00:29:24,222
- I mean, can you just...
- [JULIE] Very moral, to me.
405
00:29:24,305 --> 00:29:25,985
Talk about that, perhaps, for a moment?
406
00:29:26,015 --> 00:29:27,225
Yes, uh...
407
00:29:27,308 --> 00:29:32,230
I feel as though I want
to not live my whole life
408
00:29:32,313 --> 00:29:37,402
in this very privileged part of the world
I come from,
409
00:29:37,485 --> 00:29:39,362
uh, part of the country.
410
00:29:39,445 --> 00:29:45,451
And I want to be really aware
about what's going on around me,
411
00:29:45,535 --> 00:29:51,207
with people, and community,
and politically as well.
412
00:29:51,291 --> 00:29:54,919
Um, I don't want to be
in that bubble my entire life.
413
00:30:03,678 --> 00:30:07,515
- Where's the wall?
- The wall is...
414
00:30:07,598 --> 00:30:10,935
The wall was. It is no more.
415
00:30:11,019 --> 00:30:13,771
- We dismantled it.
- Ah.
416
00:30:13,855 --> 00:30:15,940
There was a whole ceremony.
You missed it.
417
00:30:16,024 --> 00:30:19,944
- I'm sorry I missed that.
- We all felt very snubbed.
418
00:30:20,945 --> 00:30:23,990
- Is this for me?
- Mm-hmm.
419
00:30:24,073 --> 00:30:26,325
- Thank you.
- From Paris.
420
00:30:29,871 --> 00:30:31,205
Put it on.
421
00:30:32,582 --> 00:30:35,084
[OPERA MUSIC PLAYING]
422
00:30:41,424 --> 00:30:43,926
[MUSIC CONTINUES]
423
00:31:49,742 --> 00:31:51,494
[ANTHONY MOANING]
424
00:31:55,873 --> 00:31:58,334
You're a dark horse, Julie.
425
00:32:00,253 --> 00:32:01,462
[MOANS]
426
00:32:05,508 --> 00:32:08,010
I love pale skin.
427
00:32:09,846 --> 00:32:11,931
Why? Why?
428
00:32:12,014 --> 00:32:15,643
'Cause everyone's getting a tan nowadays.
429
00:32:15,726 --> 00:32:18,229
- But I burn.
- Good.
430
00:32:18,312 --> 00:32:20,606
[CHUCKLES]
431
00:32:20,690 --> 00:32:22,567
We'll keep you out the sun.
432
00:32:25,444 --> 00:32:27,113
I like freckles.
433
00:32:47,049 --> 00:32:50,970
- Did you hurt yourself?
- No, I don't know what that is.
434
00:32:52,680 --> 00:32:55,766
- It looks really sore.
- It is a bit sore.
435
00:32:57,518 --> 00:32:59,770
- Okay.
- What do you think I should do?
436
00:33:01,480 --> 00:33:02,857
I think you should...
437
00:33:04,942 --> 00:33:10,072
just leave it...
and let it go away.
438
00:33:10,156 --> 00:33:12,658
[OPERA MUSIC PLAYING]
439
00:34:07,713 --> 00:34:10,758
- [ANTHONY] I'm going out.
- Okay.
440
00:34:10,841 --> 00:34:12,593
I'll be back later.
441
00:34:12,677 --> 00:34:14,262
- See you later.
- What?
442
00:34:14,345 --> 00:34:15,846
See you later.
443
00:34:24,772 --> 00:34:27,275
Can you lend me a couple of quid?
444
00:34:27,358 --> 00:34:29,944
- Yeah, sure.
- Thank you.
445
00:34:32,571 --> 00:34:34,865
- How much?
- Uh...
446
00:34:36,909 --> 00:34:38,244
Six.
447
00:34:38,327 --> 00:34:40,329
Have you got ten?
Give me ten.
448
00:34:40,413 --> 00:34:44,917
Won't need ten, but, uh, just in case.
449
00:34:53,634 --> 00:34:55,928
- Bye.
- Bye.
450
00:35:09,608 --> 00:35:11,027
[CAR HORN HONKING]
451
00:35:21,579 --> 00:35:25,249
I thought we'd put Anthony down the end.
Be more comfortable.
452
00:35:26,250 --> 00:35:28,419
It's not that kind
of relationship anyway, is it?
453
00:35:29,837 --> 00:35:31,714
[DOG BARKS]
454
00:35:31,797 --> 00:35:33,841
He's got his own bathroom, and...
455
00:35:36,093 --> 00:35:39,305
he'd be quite comfy there.
456
00:35:41,182 --> 00:35:43,434
Yes. That feels good.
457
00:35:45,728 --> 00:35:48,189
- Rosie.
- [BARKING]
458
00:35:48,272 --> 00:35:52,818
Mummy, can I borrow
some money, please?
459
00:35:52,902 --> 00:35:55,696
- More money? Oh.
- Yes.
460
00:35:55,780 --> 00:35:57,780
[STAMMERS] It's just...
It's for college, you know.
461
00:35:57,823 --> 00:36:00,493
- It's for cameras and...
- It's not long since the last.
462
00:36:00,576 --> 00:36:02,370
- I know.
- Hmm.
463
00:36:02,453 --> 00:36:04,013
And I know I haven't
paid that back yet.
464
00:36:04,038 --> 00:36:08,209
- How much this time?
- Two hundred pounds.
465
00:36:08,292 --> 00:36:09,919
Oh, another one.
466
00:36:11,796 --> 00:36:14,590
- All right.
- It's just for equipment.
467
00:36:14,673 --> 00:36:17,301
- For film school, you know.
- Ah. Ah.
468
00:36:17,385 --> 00:36:20,179
- Are you keeping a tally?
- Yeah, of course.
469
00:36:20,262 --> 00:36:23,599
All right. All right, well, yeah.
470
00:36:23,682 --> 00:36:26,143
- I will pay you back.
- All right. All right.
471
00:36:28,396 --> 00:36:29,397
[DOG WHINING]
472
00:36:32,608 --> 00:36:35,444
- [BARKING]
- [ROSALIND] Rosie! Rose!
473
00:36:35,528 --> 00:36:38,656
Well, we didn't really mix
with King's much, but...
474
00:36:38,739 --> 00:36:41,659
I think all the colleges
kept themselves to themselves.
475
00:36:41,742 --> 00:36:43,011
In my day. They probably don't...
476
00:36:43,035 --> 00:36:45,475
- Didn't when you were there.
- Yeah, no, no. Absolutely, yes.
477
00:36:46,414 --> 00:36:49,708
I studied history of art
and then continued at the Courtauld.
478
00:36:49,792 --> 00:36:51,353
It was a funny time then,
'cause it was just
479
00:36:51,377 --> 00:36:53,462
- after the war, so...
- Uh-huh.
480
00:36:53,546 --> 00:36:56,382
I suppose it was
rather different in your day.
481
00:36:56,465 --> 00:36:57,633
Hmm... well, I don't know.
482
00:36:57,716 --> 00:36:59,069
[ROSALIND] I think we're off.
I think we're off.
483
00:36:59,093 --> 00:37:00,570
We're ready for lunch.
Come on through.
484
00:37:00,594 --> 00:37:02,847
- Hmm. Jolly good.
- Do come through.
485
00:37:02,930 --> 00:37:04,098
Julie, darling, can you just
486
00:37:04,181 --> 00:37:05,808
- come and help me?
- Yes.
487
00:37:07,268 --> 00:37:09,728
Starting on the wine, I suppose.
488
00:37:09,812 --> 00:37:13,524
[WILLIAM] Hopefully. Yep, I think we've
got a nice bottle of something there.
489
00:37:15,109 --> 00:37:17,319
- Through here?
- No, straight on. Straight ahead.
490
00:37:17,403 --> 00:37:19,196
Got to get over the barrier, though.
491
00:37:19,280 --> 00:37:21,907
It's a rather curious tradition
we have in this house.
492
00:37:21,991 --> 00:37:24,952
It's meant to keep the dogs out,
but actually it keeps people out.
493
00:37:32,334 --> 00:37:34,879
I think a lot of them are young men
494
00:37:34,962 --> 00:37:38,674
who were dragged from their beds
at the crack of dawn,
495
00:37:38,757 --> 00:37:43,554
with little or no hard evidence
to say that they were...
496
00:37:45,181 --> 00:37:50,144
what we would consider criminals.
497
00:37:51,854 --> 00:37:58,277
I don't think granting these men
political status is such a big deal.
498
00:37:58,360 --> 00:38:03,824
We don't know that
they're necessarily affiliated
499
00:38:03,908 --> 00:38:08,621
with the exact same organization
who put bombs under cars
500
00:38:08,704 --> 00:38:14,460
and shoot prison wardens while they're
going about their everyday lives.
501
00:38:14,543 --> 00:38:17,254
It's terribly complicated.
502
00:38:17,338 --> 00:38:21,091
[WILLIAM] Complicated? But we've got
to protect society, haven't we?
503
00:38:21,175 --> 00:38:24,595
But they're just as much part
of society as anybody else,
504
00:38:24,678 --> 00:38:26,263
that's what they would say.
505
00:38:26,347 --> 00:38:27,848
And, uh, do you...
506
00:38:27,932 --> 00:38:30,476
Well, I haven't set
any bombs recently. Have you?
507
00:38:30,559 --> 00:38:32,853
No, but you haven't
necessarily felt the need to,
508
00:38:32,937 --> 00:38:36,148
'cause you've felt that
you have a political voice.
509
00:38:36,232 --> 00:38:38,692
[ANTHONY] Mm-hmm.
510
00:38:38,776 --> 00:38:41,320
Or-or am I wrong about that?
511
00:38:42,905 --> 00:38:45,741
I think you're wrong, really,
if you don't mind my saying so.
512
00:38:45,824 --> 00:38:49,912
I think... I'm amazed to hear
you say this, but, um...
513
00:38:49,995 --> 00:38:52,248
- It's refreshing to hear this.
- I'm quite sure
514
00:38:52,331 --> 00:38:55,459
they're not all guilty as charged.
515
00:38:55,543 --> 00:38:59,088
But I'm sure the majority of them are.
516
00:38:59,171 --> 00:39:02,758
Some of them are proven guilty,
some are not. Um...
517
00:39:04,760 --> 00:39:08,097
But can we risk having bombs,
pipe bombs,
518
00:39:08,180 --> 00:39:12,351
all sorts of foul things that are going on
all over Northern Ireland?
519
00:39:12,434 --> 00:39:13,602
Can we allow that?
520
00:39:13,686 --> 00:39:15,563
- [ANTHONY] I'm not an apologist.
- Darling.
521
00:39:15,646 --> 00:39:17,457
[WILLIAM] And if we lock up a few
innocents in the process,
522
00:39:17,481 --> 00:39:19,942
well, that's part of it.
523
00:39:20,025 --> 00:39:22,236
- I'm not an apologist...
- No, thank you, darling.
524
00:39:23,612 --> 00:39:26,532
For violence on either side.
525
00:39:29,410 --> 00:39:30,911
And it is on both.
526
00:39:32,371 --> 00:39:36,125
[WILLIAM] And what, is that a foreign
office view, or is that your view?
527
00:39:36,208 --> 00:39:38,335
Probably not, no.
That's my view.
528
00:39:38,419 --> 00:39:40,522
[WILLIAM] That looks rather
like my cap you're wearing.
529
00:39:40,546 --> 00:39:42,673
- [JULIE] It is your cap.
- I thought it was.
530
00:39:42,756 --> 00:39:44,466
It looks better on me, I think.
531
00:39:44,550 --> 00:39:46,870
- Yeah. I want that back.
- [ROSALIND] You might lose that.
532
00:39:47,553 --> 00:39:48,721
[BARKING]
533
00:39:52,266 --> 00:39:53,601
[WILLIAM] Dogs all right.
534
00:39:56,687 --> 00:39:58,689
[INDISTINCT CONVERSATION]
535
00:40:30,179 --> 00:40:32,431
[ROSALIND, IN A HIGH-PITCHED VOICE]
Rosie! Come!
536
00:40:33,682 --> 00:40:36,310
- Dora!
- [JULIE] Dora!
537
00:40:36,393 --> 00:40:38,395
[ROSALIND] Rosie! Come on!
538
00:40:44,902 --> 00:40:47,462
- [JULIE] My godfather gave it to me.
- [ANTHONY] Little swallow.
539
00:40:47,529 --> 00:40:49,031
- Yeah.
- It's charming.
540
00:40:49,114 --> 00:40:51,659
Thank you. I never... I never wear it.
541
00:40:52,785 --> 00:40:58,332
But it's time for it to...
Its first flight.
542
00:40:58,415 --> 00:40:59,458
[CHUCKLES]
543
00:41:05,422 --> 00:41:08,842
- Yeah, it looks good there.
- Hmm? Okay.
544
00:41:15,933 --> 00:41:19,937
It's the ultimate form,
because it's maximum cinema.
545
00:41:20,020 --> 00:41:23,982
It's movement, music, energy, color.
546
00:41:25,150 --> 00:41:27,945
Everything that film should be.
547
00:41:28,028 --> 00:41:32,241
And there's never been a good
musical made in Britain, I don't think.
548
00:41:32,324 --> 00:41:34,952
I mean, there's been some Cliff Richard.
549
00:41:35,035 --> 00:41:36,245
- Mm-hmm.
- You know,
550
00:41:36,328 --> 00:41:39,081
"Knees Up Mother Brown,"
whatever, but, you know,
551
00:41:39,164 --> 00:41:43,001
for a country that has The Stones,
The Kinks, Small Faces,
552
00:41:43,085 --> 00:41:47,548
for there not to be
a good musical here is just...
553
00:41:47,631 --> 00:41:49,216
- It's almost impressive.
- Mm. I'd say.
554
00:41:50,217 --> 00:41:53,721
[ANTHONY] Julie met a load of
your old Raynham lot the other day.
555
00:41:53,804 --> 00:41:55,389
- [LYDIA] Mm?
- [PATRICK] Mm.
556
00:41:55,472 --> 00:41:58,308
[ANTHONY] Sounded rather
a humorless bunch.
557
00:41:58,392 --> 00:42:00,894
I don't know if you'd have
known any of them.
558
00:42:00,978 --> 00:42:04,022
Do you remember their names?
559
00:42:04,106 --> 00:42:06,150
No, I can't, I'm afraid.
I was so nervous.
560
00:42:06,233 --> 00:42:12,239
Well, it's only confidence
because the whole thing is a con.
561
00:42:12,322 --> 00:42:13,824
[JULIE] Hmm.
562
00:42:13,907 --> 00:42:17,161
And they're the biggest con artists
out there who are in film school.
563
00:42:17,244 --> 00:42:22,207
I just used it as a kind
of supply center, really.
564
00:42:22,291 --> 00:42:24,126
[ANTHONY] Are you glad you went at all?
565
00:42:24,209 --> 00:42:28,714
It's the cheapest
camera-hire place in the world.
566
00:42:28,797 --> 00:42:30,549
I mean, they don't lock
the store cupboard.
567
00:42:30,632 --> 00:42:34,470
You go in there, get the camera,
568
00:42:34,553 --> 00:42:37,723
and, you know, I made two features
569
00:42:37,806 --> 00:42:42,227
while I was there for, I mean, no money.
570
00:42:42,311 --> 00:42:43,979
They don't check the stock, really.
571
00:42:45,564 --> 00:42:47,691
Couple of trims. I mean, it's great.
572
00:42:47,775 --> 00:42:52,362
You have to listen to a lot of people
who think they know about film
573
00:42:52,446 --> 00:42:53,739
telling you how to make a film.
574
00:42:53,822 --> 00:42:58,076
It's like telling someone
how to breathe or how to think or...
575
00:42:59,077 --> 00:43:00,829
- [ANTHONY] Yeah.
- It's ridiculous.
576
00:43:00,913 --> 00:43:02,998
And there are no rules.
577
00:43:03,081 --> 00:43:05,167
I mean, you know
the Tolstoy definition of art?
578
00:43:05,250 --> 00:43:06,293
Mm.
579
00:43:08,879 --> 00:43:11,131
Well, you just have a feeling,
580
00:43:11,215 --> 00:43:13,926
and by means of external signs
you communicate it to someone else.
581
00:43:16,136 --> 00:43:18,013
That's it.
582
00:43:18,096 --> 00:43:20,891
[ANTHONY] So, no reason
to feel intimidated.
583
00:43:20,974 --> 00:43:24,770
I mean, unless you don't have feelings,
which doesn't seem to be the case.
584
00:43:24,853 --> 00:43:28,941
I don't see why
you would be intimidated.
585
00:43:29,024 --> 00:43:32,361
Well, people can feel intimidated.
I don't think that's...
586
00:43:32,444 --> 00:43:33,737
Yeah, I mean, they can, but...
587
00:43:33,821 --> 00:43:37,199
- Perfectly normal. [MUMBLES INDISTINCTLY]
- not of people who teach.
588
00:43:37,282 --> 00:43:39,722
[ANTHONY] This has got rather warm.
I'm gonna switch it round.
589
00:43:39,785 --> 00:43:41,328
"Those who can't."
590
00:43:41,411 --> 00:43:44,331
Can you swap the warm wine's
heat into this?
591
00:43:44,414 --> 00:43:47,209
- [ANTHONY] Shush.
- Thank you.
592
00:43:47,292 --> 00:43:49,753
Thank you for your advice.
It's really...
593
00:43:49,837 --> 00:43:51,713
- it's really helpful.
- [LYDIA] Mm.
594
00:43:51,797 --> 00:43:54,967
- You don't seem druggie to me.
- No, I'm not. No, I'm not.
595
00:43:55,050 --> 00:43:56,468
- Interesting.
- [LYDIA] Mm.
596
00:43:56,552 --> 00:44:00,055
So, I'm trying to work out...
597
00:44:01,890 --> 00:44:05,435
where you two tessellate here.
598
00:44:09,857 --> 00:44:14,486
- I'm not good with euphemism, so...
- Sorry, I don't understand.
599
00:44:15,696 --> 00:44:19,867
Okay, so habitual heroin user,
600
00:44:19,950 --> 00:44:22,286
- trainee Rotarian...
- [LYDIA CHUCKLES]
601
00:44:23,662 --> 00:44:26,790
Which is a good look.
I mean it nicely.
602
00:44:28,542 --> 00:44:31,920
How? What? Why? When?
603
00:44:38,886 --> 00:44:40,429
Sorry, I don't...
604
00:44:42,389 --> 00:44:44,474
- You don't even dabble?
- No.
605
00:44:44,558 --> 00:44:47,477
Okay. I mean, I don't.
606
00:44:47,561 --> 00:44:50,522
I feel it's very mainstream behavior.
I've said to him...
607
00:44:53,358 --> 00:44:55,068
- It's mainstream.
- [SCOFFS]
608
00:44:56,737 --> 00:44:58,280
I actually think, you know...
609
00:44:59,448 --> 00:45:01,700
I mean, it was fine in the '40s, but...
610
00:45:02,701 --> 00:45:05,162
- [ANTHONY] All okay?
- [LYDIA] Great.
611
00:45:05,245 --> 00:45:08,373
We are having a charming time.
612
00:45:08,457 --> 00:45:11,126
- Good.
- I say.
613
00:45:12,461 --> 00:45:14,004
If only you could top up these olives,
614
00:45:14,087 --> 00:45:17,591
I think we might be able to
get through the rest of the meal.
615
00:45:51,541 --> 00:45:55,545
This is a scene... a rehearsal scene.
616
00:45:55,629 --> 00:46:00,092
This is the first rehearsal he had
with this bunch of young musicians
617
00:46:00,175 --> 00:46:04,846
that he was going to create
a new band with.
618
00:46:07,057 --> 00:46:10,852
And there he is. He's quite old.
619
00:46:10,936 --> 00:46:13,814
You can see that they look a bit nervous,
a bit like you, I think.
620
00:46:16,525 --> 00:46:21,238
Listening to the master
tell them the facts of life.
621
00:46:21,321 --> 00:46:24,157
And also saying...
622
00:46:25,617 --> 00:46:29,287
how much it mattered to him,
playing this music.
623
00:46:30,288 --> 00:46:36,878
So it's very parallel, in my mind, to what
you are beginning to go through now.
624
00:46:37,879 --> 00:46:39,881
["STOP THE CAVALRY"
BY JONA LEWIE PLAYING]
625
00:47:05,323 --> 00:47:07,576
Their son's getting married,
626
00:47:08,702 --> 00:47:12,664
and they can't decide whether
they like the girl or not.
627
00:47:13,665 --> 00:47:15,167
Mm.
628
00:47:15,250 --> 00:47:19,004
- And he's a doctor.
- Mm-hmm.
629
00:47:19,087 --> 00:47:20,547
'Cause he's got good hands.
630
00:47:26,887 --> 00:47:29,347
And she's a schoolteacher.
631
00:47:32,976 --> 00:47:35,270
Does she have secrets?
632
00:47:35,353 --> 00:47:38,023
- Of course she does.
- Of course.
633
00:47:39,483 --> 00:47:40,484
Does he?
634
00:47:42,194 --> 00:47:43,195
No.
635
00:47:44,488 --> 00:47:45,655
Oh.
636
00:47:54,915 --> 00:47:56,708
How would you feel
about going to Venice?
637
00:47:57,709 --> 00:48:00,378
- Venice?
- Mm-hmm.
638
00:48:00,462 --> 00:48:01,922
I'd love to go.
639
00:48:02,005 --> 00:48:04,007
- I would love that.
- Good.
640
00:48:04,091 --> 00:48:06,301
- Thank you.
- Thank you.
641
00:48:09,679 --> 00:48:11,389
Have you been before?
642
00:48:11,473 --> 00:48:13,433
Yes. Three times.
643
00:48:13,517 --> 00:48:15,435
- Three times?
- Once in summer.
644
00:48:15,519 --> 00:48:18,563
- Twice in winter.
- Mm-hmm.
645
00:48:18,647 --> 00:48:21,650
Why did you go?
Did you go by yourself?
646
00:48:21,733 --> 00:48:25,737
Uh, no, I went with, uh, Desiree.
647
00:48:28,240 --> 00:48:30,992
She went mad with jealousy
and jumped in a canal.
648
00:48:33,870 --> 00:48:35,080
Never saw her again.
649
00:48:36,081 --> 00:48:39,793
At least, that was
what her suicide note implied.
650
00:48:39,876 --> 00:48:42,045
I think she ran off with a gondolier.
651
00:48:43,130 --> 00:48:44,923
No wonder.
652
00:48:49,928 --> 00:48:51,721
So, three girlfriends.
653
00:48:52,806 --> 00:48:55,559
- Yes, all called Desiree.
- Mm-hmm.
654
00:48:55,642 --> 00:48:57,018
Strange, that.
655
00:48:59,938 --> 00:49:01,982
What were their names?
656
00:49:02,065 --> 00:49:03,233
Miriam.
657
00:49:05,318 --> 00:49:06,444
Caroline.
658
00:49:07,779 --> 00:49:09,156
And Angela.
659
00:49:09,239 --> 00:49:11,366
- Angela.
- Mm.
660
00:49:12,534 --> 00:49:15,996
- Angela sang jazz.
- They sound unbearable.
661
00:49:18,331 --> 00:49:19,332
[TEARS CHECK]
662
00:49:20,333 --> 00:49:26,089
I suppose they were frightfully beautiful,
and lots of fun and rode horses.
663
00:49:26,173 --> 00:49:28,550
If you don't want to know...
664
00:49:28,633 --> 00:49:32,304
- I do want to know. I do want to know.
- Then don't ask.
665
00:49:32,387 --> 00:49:34,055
Did Miriam play the cello?
666
00:49:35,557 --> 00:49:36,766
No.
667
00:49:37,767 --> 00:49:41,438
- The violin.
- No, she wasn't at all musical.
668
00:49:44,274 --> 00:49:46,651
She wasn't even pretty, actually.
669
00:49:46,735 --> 00:49:48,612
That's not true.
670
00:49:48,695 --> 00:49:50,280
Well, she had other qualities.
671
00:49:53,575 --> 00:49:54,910
Like what?
672
00:49:56,161 --> 00:49:57,746
Darling, I can't tell you in here.
673
00:49:57,829 --> 00:50:01,499
Thank you. Excuse me?
674
00:50:03,001 --> 00:50:05,128
I'm just playing, Julie.
675
00:50:06,713 --> 00:50:08,340
Stop torturing yourself.
676
00:50:08,423 --> 00:50:11,092
- I'm not tort...
- Stop inviting me to torture you.
677
00:50:13,595 --> 00:50:14,596
Ugh!
678
00:50:15,597 --> 00:50:17,098
- Ugh!
- Ugh!
679
00:50:17,182 --> 00:50:20,227
That's exactly how you make me feel
when you're being like this.
680
00:50:22,312 --> 00:50:24,564
- [PLATES CLINKING]
- Thank you.
681
00:50:29,986 --> 00:50:32,530
["SOUVENIR OF LOVE"
BY JESSIE MATTHEWS PLAYING]
682
00:51:05,188 --> 00:51:07,774
[JULIE] That is so beautiful.
683
00:51:17,158 --> 00:51:19,703
[CHURCH BELLS TOLLING]
684
00:51:37,220 --> 00:51:38,555
[CHUCKLING] I'm not trying that.
685
00:51:38,638 --> 00:51:41,850
No, it's way too... it's too adventurous.
686
00:51:43,226 --> 00:51:44,686
[CHUCKLING SOFTLY]
687
00:51:49,691 --> 00:51:50,942
Are you packed?
688
00:51:52,694 --> 00:51:54,112
'Course.
689
00:51:58,825 --> 00:52:01,995
Liver? I'm not eating... I'm not...
690
00:52:03,371 --> 00:52:05,457
No, I'm not interested.
691
00:52:09,127 --> 00:52:12,839
[GROANS] No. No, no.
I'm gonna stick with pasta.
692
00:52:12,922 --> 00:52:15,300
Nice, normal pasta.
693
00:52:16,384 --> 00:52:17,719
Mm, 'course.
694
00:52:18,720 --> 00:52:22,640
Okay, well, um...
Yeah, I'll see you later.
695
00:52:23,767 --> 00:52:25,560
I... yeah, I can't wait.
696
00:52:25,727 --> 00:52:28,480
Hitchcock knew this.
I mean, he would change tack.
697
00:52:28,563 --> 00:52:32,817
I mean, if Psycho, you know,
the scene in-in Psycho, the shower scene,
698
00:52:32,901 --> 00:52:34,128
- is very much fragments...
- Yeah.
699
00:52:34,152 --> 00:52:38,239
Very much withholding. But then
elsewhere, he's quite conventional.
700
00:52:38,323 --> 00:52:41,242
So he knows when
to make those adjustments.
701
00:52:41,326 --> 00:52:43,745
Uh, because it is
a process, a growth,
702
00:52:43,828 --> 00:52:48,291
a building of our sensibilities
and our perceptions,
703
00:52:48,375 --> 00:52:50,210
and we've got to realize
that sometimes
704
00:52:50,293 --> 00:52:54,255
we have to change our approach
as the journey unfolds.
705
00:52:54,339 --> 00:52:57,926
This scene could be related
to that scene in-in Psycho.
706
00:52:58,009 --> 00:53:00,845
So you don't see the stab wounds.
So you don't see the pain.
707
00:53:00,929 --> 00:53:03,098
- [STUDENT] Mm.
- You just hear it.
708
00:53:03,181 --> 00:53:04,742
You know, you hear
the scream of the woman.
709
00:53:04,766 --> 00:53:05,951
- Yeah.
- You hear the conflict.
710
00:53:05,975 --> 00:53:08,144
- [MAN] Yeah.
- So it's... could be quite like that.
711
00:53:08,228 --> 00:53:10,915
[MAN] Yes, of course. And, of course,
as, I think, you know, the books tell us,
712
00:53:10,939 --> 00:53:12,208
- we never do see anything...
- Mm.
713
00:53:12,232 --> 00:53:13,876
- In that shower scene.
- No, you don't see.
714
00:53:13,900 --> 00:53:15,610
Although we have all the...
715
00:53:15,693 --> 00:53:18,655
What appear to be all the bits and pieces
that we need for the murder,
716
00:53:18,738 --> 00:53:20,990
but then nothing ever happens,
all we see is the knife.
717
00:53:21,074 --> 00:53:24,452
- You just see the knife.
- The knife and the showerhead.
718
00:53:24,536 --> 00:53:29,082
And in this case, possibly, the conflict,
the noise of the argument, is the weapon.
719
00:53:29,165 --> 00:53:31,501
- Yes.
- You see the end result,
720
00:53:31,584 --> 00:53:34,963
which could be, in Psycho,
her dead body,
721
00:53:35,046 --> 00:53:39,717
and then, in this case,
the two broken siblings at the end.
722
00:53:50,603 --> 00:53:52,105
[JULIE GASPS]
723
00:54:00,822 --> 00:54:02,490
[ANTHONY] They've taken everything.
724
00:54:18,715 --> 00:54:20,216
[OBJECTS CLATTERING]
725
00:54:53,291 --> 00:54:55,835
I'm gonna call the police.
726
00:55:03,259 --> 00:55:05,803
[ROTARY PHONE DIAL WHIRRING]
727
00:55:14,270 --> 00:55:16,314
[PHONE RECEIVER SLAMS]
728
00:55:16,397 --> 00:55:19,275
- Argh! God.
- [SLAMS WALL]
729
00:55:21,402 --> 00:55:22,403
Fuck!
730
00:55:23,404 --> 00:55:24,697
[ANTHONY GRUNTS]
731
00:55:28,952 --> 00:55:31,454
I shouldn't have fucking done that.
732
00:55:37,502 --> 00:55:40,004
[SOBBING]
733
00:55:51,891 --> 00:55:53,893
♪♪
734
00:56:05,613 --> 00:56:09,659
♪ How sad Venice can be ♪
735
00:56:09,742 --> 00:56:13,913
♪ When you're on your own ♪
736
00:56:13,997 --> 00:56:18,251
♪ How sad Venice can be ♪
737
00:56:18,334 --> 00:56:20,837
♪ When you're alone. ♪
738
00:56:44,694 --> 00:56:47,030
[BELL TOLLING]
739
00:56:58,916 --> 00:57:01,419
- [ANTHONY] Thank you.
- [BELLBOY] You're welcome.
740
00:57:17,143 --> 00:57:18,561
[BELLBOY SPEAKING ITALIAN]
741
00:57:19,979 --> 00:57:22,440
[JULIE] Thank you.
742
00:57:22,523 --> 00:57:24,567
[DOOR OPENS AND CLOSES]
743
00:57:29,113 --> 00:57:31,115
♪♪
744
00:57:53,388 --> 00:57:55,890
[ANTHONY CLEARING THROAT]
745
00:58:02,814 --> 00:58:04,691
[SOBBING QUIETLY]
746
00:58:26,421 --> 00:58:28,923
[ANTHONY] Please tell me
what I've done.
747
00:58:32,552 --> 00:58:34,137
Please, because...
748
00:58:37,473 --> 00:58:39,976
This is punishing...
749
00:58:41,561 --> 00:58:44,439
seeing you like this
and then not knowing why.
750
00:58:46,107 --> 00:58:48,609
[ORCHESTRA TUNING INSTRUMENTS]
751
00:59:09,714 --> 00:59:11,591
- [MUSIC STOPS]
- [BATON TAPPING]
752
00:59:17,805 --> 00:59:20,308
[OPERATIC MUSIC PLAYING]
753
00:59:23,227 --> 00:59:25,730
[MAN SINGING OPERA]
754
01:00:26,833 --> 01:00:30,294
I can't go into all this.
It was an emergency.
755
01:00:35,007 --> 01:00:37,927
- What fucking emergency?
- If I hadn't done that on that day,
756
01:00:38,010 --> 01:00:39,971
I wouldn't be here now. I...
757
01:00:40,054 --> 01:00:44,141
- That's all I can tell you.
- What's that supposed to mean?
758
01:00:44,225 --> 01:00:46,394
You can't say stuff like that
and then not...
759
01:00:46,477 --> 01:00:49,272
I appreciate that there are
some things you can't tell me.
760
01:00:49,355 --> 01:00:51,941
Well, you know, I appreciate
there's things about me
761
01:00:52,024 --> 01:00:53,442
that you find unacceptable.
762
01:00:53,526 --> 01:00:55,570
There's things about you
I find unacceptable.
763
01:00:55,653 --> 01:00:58,573
There's things about this conversation
I find unacceptable.
764
01:00:58,656 --> 01:01:00,801
- The fact that you're a thief.
- We're gonna have to meet somewhere.
765
01:01:00,825 --> 01:01:05,121
Anthony, you stole my stuff.
You stole my things.
766
01:01:05,204 --> 01:01:07,498
Do you understand?
Do you understand that?
767
01:01:08,499 --> 01:01:10,185
Do you understand
how that would make me feel?
768
01:01:10,209 --> 01:01:11,961
I didn't think you'd...
769
01:01:12,044 --> 01:01:15,423
You wouldn't think I...
You didn't think I would mind?
770
01:01:15,506 --> 01:01:17,925
- Is that what you're saying?
- No. No.
771
01:01:20,636 --> 01:01:23,472
I knew you'd mind.
That's why I didn't tell you.
772
01:01:25,057 --> 01:01:29,353
I do what I do so that you can have
the life you're having
773
01:01:29,437 --> 01:01:31,147
and sleep safe at night,
774
01:01:31,230 --> 01:01:36,068
and there's not a fucking
car bomb on King's Road.
775
01:01:38,279 --> 01:01:40,281
- Let's laugh about it. Why not?
- [JULIE SCOFFS]
776
01:01:42,033 --> 01:01:45,328
I can't... I can't believe you.
777
01:01:47,663 --> 01:01:49,874
Well, if you can't believe me,
778
01:01:49,957 --> 01:01:53,753
why don't you take some time
to get your head around it?
779
01:01:53,836 --> 01:01:57,965
Because I've got nothing more to tell you,
I've got nothing more to explain,
780
01:01:58,049 --> 01:02:00,551
and I've got nothing more
to offer to this.
781
01:02:14,190 --> 01:02:15,483
I'm sorry. I...
782
01:02:17,735 --> 01:02:20,404
I understand. I get why you didn't...
783
01:02:21,489 --> 01:02:24,659
There are some things
784
01:02:24,742 --> 01:02:29,580
you need to... you need to not tell me,
and I understand that.
785
01:02:30,665 --> 01:02:32,792
- Thank you.
- So I'm sorry.
786
01:02:32,875 --> 01:02:36,170
I don't wanna give you a hard time.
I'm sorry. I'm sorry.
787
01:02:41,759 --> 01:02:44,029
[REPORTER ON RADIO] At the siege
of the Libyan People's Bureau
788
01:02:44,053 --> 01:02:45,596
in the West End of London,
789
01:02:45,680 --> 01:02:48,140
hundreds of armed police have
been on the alert all night,
790
01:02:48,224 --> 01:02:51,310
with marksmen surrounding the building
in St James's Square.
791
01:02:51,394 --> 01:02:53,646
Other police officers
have installed equipment
792
01:02:53,729 --> 01:02:55,815
to monitor movements inside the bureau
793
01:02:55,898 --> 01:02:58,859
and contact has been
established with those inside.
794
01:02:58,943 --> 01:03:02,446
The whole area around the square
has been sealed off.
795
01:03:02,530 --> 01:03:04,758
[REPORTER 2] From here they looked
like plans of the layout
796
01:03:04,782 --> 01:03:06,492
of the embassy building.
797
01:03:06,575 --> 01:03:08,619
In this, the dreaded
first hour of the siege,
798
01:03:08,703 --> 01:03:10,871
the talks are going on to try to end it.
799
01:03:10,955 --> 01:03:13,457
And on the rooftops
of the buildings above me,
800
01:03:13,541 --> 01:03:15,793
police marksmen are trained
on the embassy.
801
01:03:19,130 --> 01:03:21,465
I understand one option
open to them though
802
01:03:21,549 --> 01:03:24,051
is to offer the Libyans
safe passage to Heathrow...
803
01:03:35,146 --> 01:03:38,774
- [JULIE] This is for work?
- [ANTHONY] This is for the work, yes.
804
01:03:45,823 --> 01:03:50,411
Have you read the notice that I put up
yesterday about the musicians' union,
805
01:03:50,494 --> 01:03:51,722
the agreement we've just reached?
806
01:03:51,746 --> 01:03:53,789
- No, no, I haven't.
- No. You should read it.
807
01:03:53,873 --> 01:03:55,791
- Mm-hmm.
- It's important.
808
01:03:55,875 --> 01:03:57,877
I mean, it's good for us
to reach an agreement.
809
01:03:57,960 --> 01:04:00,838
They're a tricky bunch.
But, you know, here we are,
810
01:04:00,921 --> 01:04:04,050
- twenty-five pounds per musician...
- Mm-hmm.
811
01:04:04,133 --> 01:04:06,594
For a three-hour session.
812
01:04:06,677 --> 01:04:07,928
If you're using an orchestra,
813
01:04:08,012 --> 01:04:10,639
you're gonna run through your budget
very quickly indeed.
814
01:04:10,723 --> 01:04:12,224
We'll need to talk about the budget.
815
01:04:12,308 --> 01:04:15,186
We need to think about budgets
at this school.
816
01:04:15,269 --> 01:04:18,272
We're not just loaning equipment out
817
01:04:18,355 --> 01:04:20,858
- on the willy-nilly. Um...
- Mm-hmm.
818
01:04:23,778 --> 01:04:27,007
It's quite irregular, really, to be coming
and talking about a project and equipment
819
01:04:27,031 --> 01:04:28,592
when you haven't even
thought about the budget,
820
01:04:28,616 --> 01:04:30,701
but then I don't suppose
you really have to think
821
01:04:30,785 --> 01:04:32,703
about budget
in Knightsbridge, do you?
822
01:04:34,038 --> 01:04:35,748
How are you getting on?
823
01:04:38,125 --> 01:04:39,561
[ANTHONY] I'm going out
for an hour or two.
824
01:04:39,585 --> 01:04:42,129
- Can you lend me a tenner?
- [JULIE] Yeah.
825
01:04:49,178 --> 01:04:51,055
- You staying here?
- Mm-hmm.
826
01:04:51,138 --> 01:04:52,306
See you later.
827
01:04:57,853 --> 01:04:59,105
[DOOR CLOSES]
828
01:05:00,898 --> 01:05:02,525
[HORN HONKING]
829
01:05:06,028 --> 01:05:08,531
[ROMANTIC MUSIC PLAYING]
830
01:05:21,585 --> 01:05:23,587
Does all this make sense?
831
01:05:23,671 --> 01:05:26,549
Mm-hmm. Yeah.
832
01:05:27,550 --> 01:05:31,137
- Nothing looks unclear?
- Don't think so.
833
01:05:41,063 --> 01:05:43,232
I think get her to do that for real.
834
01:05:43,315 --> 01:05:45,943
I mean, tangle her up if necessary.
835
01:05:46,944 --> 01:05:48,487
Okay.
836
01:05:48,571 --> 01:05:51,115
- You don't want it to look stagey...
- Mm-hmm.
837
01:05:51,198 --> 01:05:54,285
Because the whole thing is,
838
01:05:54,368 --> 01:05:57,955
you know, stagey in intention.
839
01:06:02,918 --> 01:06:07,339
- Did you score today?
- No. Don't ask me that.
840
01:06:09,133 --> 01:06:10,301
No.
841
01:06:12,052 --> 01:06:14,805
'Cause I feel like
you're on something right now.
842
01:06:14,889 --> 01:06:15,931
Well...
843
01:06:18,475 --> 01:06:20,311
I'm not.
844
01:06:20,394 --> 01:06:22,229
- Well, I think you are.
- Well, I'm not.
845
01:06:22,313 --> 01:06:23,689
Because you're not yourself.
846
01:06:28,027 --> 01:06:29,403
[ANTHONY SCOFFS]
847
01:06:31,030 --> 01:06:33,199
What?
848
01:06:33,282 --> 01:06:35,868
- Well, I mean...
- Don't...
849
01:06:35,951 --> 01:06:38,412
Don't lie, Anthony.
I know that you're...
850
01:06:38,495 --> 01:06:44,793
I know you have a received version of who
I am supposed to be at any one time.
851
01:06:44,877 --> 01:06:47,671
- I don't... that's not...
- But nobody has...
852
01:06:47,755 --> 01:06:49,882
You know? I have... [SCOFFS]
853
01:06:50,883 --> 01:06:52,468
You more than anyone should understand
854
01:06:52,551 --> 01:06:56,931
that people go through different emotions
at different times of the day,
855
01:06:57,014 --> 01:07:00,059
and feel different things
and behave in different ways.
856
01:07:00,142 --> 01:07:01,769
I know that, but I know you,
857
01:07:01,852 --> 01:07:06,065
and I know this is not
what you're like sometimes.
858
01:07:06,148 --> 01:07:08,909
I think you're nervous, and I think you're
trying to distract yourself
859
01:07:08,943 --> 01:07:13,447
from your fear of the task ahead,
860
01:07:13,530 --> 01:07:18,369
and I think you just need to relax
and make sure you're prepared...
861
01:07:18,452 --> 01:07:22,539
I am prepared. I am.
This is... this is preparing.
862
01:07:22,873 --> 01:07:24,291
Julie, what am I doing with this?
863
01:07:24,375 --> 01:07:29,588
Um, just kind of...
do a little, um...
864
01:07:29,672 --> 01:07:31,924
- You okay?
- Yep, yep. Um...
865
01:07:33,092 --> 01:07:34,736
[CAMERAMAN] Well, I mean,
it's not in shot.
866
01:07:34,760 --> 01:07:36,512
Why's she doing anything with it?
867
01:07:36,595 --> 01:07:39,890
- We're filming the hair.
- Oh, yeah, okay. Um...
868
01:07:39,974 --> 01:07:43,227
Yeah, let's just put it on the table
so you don't have to hold it.
869
01:07:43,310 --> 01:07:44,311
True.
870
01:07:46,772 --> 01:07:49,191
[CAMERAMAN] Okay, let's bring
this round a bit
871
01:07:49,275 --> 01:07:51,068
so it's a bit more profile-y. Sorry?
872
01:07:51,151 --> 01:07:53,338
- [GRIP] Can't pull it any further round.
- No, no, the other way.
873
01:07:53,362 --> 01:07:54,697
To the left. Lamp left.
874
01:07:57,199 --> 01:07:59,219
[HAIRDRESSER] I've just put
these clips in, just to hold.
875
01:07:59,243 --> 01:08:00,828
Perfect. Perfect, yep, yep.
876
01:08:00,911 --> 01:08:03,998
Hopefully when we're ready to go here,
I can hopefully...
877
01:08:04,081 --> 01:08:07,501
- Mm-hmm. Yeah.
- And have a tighter curl.
878
01:08:07,584 --> 01:08:10,087
- [JULIE] Okay.
- [CAMERAMAN] Hold on.
879
01:08:14,633 --> 01:08:17,845
[GRIP] This is sort of all right.
880
01:08:17,928 --> 01:08:19,221
[CAMERAMAN] No, it's great.
881
01:08:21,432 --> 01:08:22,850
- Ooh, sorry.
- For fuck's sake.
882
01:08:22,933 --> 01:08:24,226
Sorry, sorry.
883
01:08:26,228 --> 01:08:28,105
Just be careful.
884
01:08:28,188 --> 01:08:31,025
It's okay for a few more takes.
885
01:08:31,108 --> 01:08:35,321
[JULIE] Yeah, yeah, we only need another,
I mean, another one or two takes.
886
01:08:35,404 --> 01:08:39,742
Do you think? How many takes
do you think we'll do?
887
01:08:39,825 --> 01:08:41,386
[CAMERAMAN] Well,
how long is a piece of string?
888
01:08:41,410 --> 01:08:43,996
- We shoot till we've got it, right?
- Okay, yeah.
889
01:08:44,079 --> 01:08:46,123
But we will need to reset
if that's the case.
890
01:08:46,206 --> 01:08:49,126
Yeah, okay, we'll make sure
that it's... it will stay.
891
01:08:49,209 --> 01:08:50,544
- Yeah.
- You know.
892
01:08:52,254 --> 01:08:53,672
Are you all right?
893
01:08:56,091 --> 01:08:58,844
No, I just, I just, um...
894
01:08:58,927 --> 01:09:00,679
I'm just longing to be home.
895
01:09:02,139 --> 01:09:03,515
Mm.
896
01:09:12,149 --> 01:09:14,651
Do you want me to come back?
897
01:09:22,701 --> 01:09:25,329
Okay. Well, I'll see you later.
898
01:09:26,997 --> 01:09:28,499
Okay, bye-bye.
899
01:09:37,966 --> 01:09:40,469
[OPERATIC MUSIC PLAYING ON STEREO]
900
01:10:38,485 --> 01:10:39,486
[JULIE] My dear Julie.
901
01:10:39,570 --> 01:10:42,698
The vile beast knows itself,
and miserable he is with it.
902
01:10:42,781 --> 01:10:43,866
[THUNDER RUMBLING]
903
01:10:43,949 --> 01:10:46,743
It is you who has power over the beast.
904
01:10:46,827 --> 01:10:51,999
To cheer, to encourage,
to reprimand, to forgive.
905
01:10:53,500 --> 01:10:57,171
He loves you so, and you are
invested with great power.
906
01:10:57,254 --> 01:10:59,798
Use it wisely, and with mercy.
907
01:11:01,216 --> 01:11:05,762
Your words means much to him, and that
shall gradually become clear to you.
908
01:11:07,389 --> 01:11:12,102
He has never laid open himself before,
and he could love you for that alone.
909
01:11:14,146 --> 01:11:18,775
Trust in yourself
and try and see clearly,
910
01:11:18,859 --> 01:11:21,987
and a small passing cloud
will not appear to another's lie.
911
01:11:23,280 --> 01:11:26,408
There wasn't really anything
that I didn't do.
912
01:11:26,492 --> 01:11:28,368
Um, I ended up in a coma,
913
01:11:28,452 --> 01:11:31,205
I had seizures, I had overdoses.
914
01:11:32,414 --> 01:11:34,458
I'm an only child, and my parents,
915
01:11:34,541 --> 01:11:36,084
what that was like for them...
916
01:11:37,252 --> 01:11:40,797
and yet they never
gave up on me, you know.
917
01:11:40,881 --> 01:11:45,427
Um, in fact,
my father blackmailed me.
918
01:11:45,511 --> 01:11:48,764
He said to me one time, he said,
919
01:11:48,847 --> 01:11:52,351
"I'll give you this Physeptone
if you just call this number."
920
01:11:52,434 --> 01:11:54,770
And that was the helpline.
921
01:11:54,853 --> 01:11:58,398
And, of course, I made the call.
[CHUCKLES]
922
01:11:58,482 --> 01:12:01,652
And I came to meetings,
went out again, as I said...
923
01:12:04,613 --> 01:12:07,366
Until finally, I'd just had it,
924
01:12:07,449 --> 01:12:09,326
I'd just absolutely had it.
925
01:12:09,409 --> 01:12:11,245
My body wouldn't take it anymore.
926
01:12:12,246 --> 01:12:15,749
And I've ended up in police stations,
927
01:12:15,832 --> 01:12:19,628
in cells, in mental hospitals,
928
01:12:19,711 --> 01:12:23,549
straitjacketed,
screaming, psychosis.
929
01:12:25,092 --> 01:12:29,680
None of it good, you know,
all for that feeling of the drug,
930
01:12:29,763 --> 01:12:32,891
which sometimes, even in recovery,
you know, I get feelings and things,
931
01:12:32,975 --> 01:12:35,227
and I think, "Oh, Jesus,
I just need a hit."
932
01:12:36,687 --> 01:12:40,357
Uh... but not today. Just for today.
933
01:12:40,440 --> 01:12:42,859
["2000 MILES" BY THE PRETENDERS PLAYING]
934
01:12:52,244 --> 01:12:54,746
["POISON IVY" BY WILLIE MABON
PLAYING ON RECORD]
935
01:13:37,789 --> 01:13:39,625
[JULIE BREATHING HEAVILY]
936
01:13:48,133 --> 01:13:50,302
[CONTINUES BREATHING HEAVILY]
937
01:13:57,643 --> 01:13:58,977
[ANTHONY MURMURING INDISTINCTLY]
938
01:14:03,315 --> 01:14:04,358
[LAUGHING]
939
01:14:32,928 --> 01:14:35,430
[EXPLOSION IN DISTANCE]
940
01:14:49,027 --> 01:14:51,154
[PEOPLE SHOUTING IN DISTANCE]
941
01:15:02,624 --> 01:15:03,935
[REPORTER ON RADIO] Police spent the night
942
01:15:03,959 --> 01:15:07,087
carrying out a painstaking search
of the scene of the explosion,
943
01:15:07,170 --> 01:15:09,381
fearing there could be other devices.
944
01:15:09,464 --> 01:15:12,092
This morning,
the area is still sealed off.
945
01:15:12,175 --> 01:15:17,139
Ten to 15 pounds of explosives had been
planted in a car outside the store.
946
01:15:17,347 --> 01:15:19,558
["ALMOST ANYTHING" BY ALTON ELLIS
PLAYING ON SPEAKERS]
947
01:15:21,727 --> 01:15:23,228
[INDISTINCT CHATTER]
948
01:15:31,236 --> 01:15:32,529
[CHATTER CONTINUES]
949
01:15:36,700 --> 01:15:38,702
♪♪
950
01:16:04,436 --> 01:16:06,316
[DIRECTOR] Okay,
I'm just gonna check the frame.
951
01:16:06,396 --> 01:16:07,439
Yeah, of course.
952
01:16:09,900 --> 01:16:10,901
[MARLAND] Mate.
953
01:16:12,486 --> 01:16:15,781
Are you all right? Do you want a...
Do you want a jacket?
954
01:16:15,864 --> 01:16:17,365
I'm okay. Thank you.
955
01:16:17,449 --> 01:16:22,287
- What's going on?
- I don't know. I think I've got flu.
956
01:16:22,370 --> 01:16:24,122
- Are you hungover?
- [LAUGHING] Oh.
957
01:16:24,206 --> 01:16:25,665
- No.
- You look it.
958
01:16:25,749 --> 01:16:29,377
You look like you've been,
like, out smashing it.
959
01:16:29,461 --> 01:16:31,880
I don't know what... what's going on.
960
01:16:31,963 --> 01:16:33,924
- But I'm fine. I'm okay.
- No, you're not.
961
01:16:34,007 --> 01:16:35,651
I was literally watching you
through that whole take.
962
01:16:35,675 --> 01:16:36,819
You looked like
you were about to pass out.
963
01:16:36,843 --> 01:16:39,971
No, I'm okay. I'm fine. I'm just...
I'm just doing that.
964
01:16:40,055 --> 01:16:43,600
Don't be polite about it. If you're
unwell, just go home.
965
01:16:43,683 --> 01:16:46,478
- D'you know what I mean?
- I'm... I'm fine. I'm okay.
966
01:16:48,688 --> 01:16:49,689
Anthony?
967
01:16:50,899 --> 01:16:52,609
- Hello?
- [MAN] Hello?
968
01:16:52,692 --> 01:16:54,694
- [STAMMERS] I'm sorry, love.
- Who are you?
969
01:16:54,778 --> 01:16:57,364
- You must be Anthony's...
- Sorry, you need to leave.
970
01:16:57,447 --> 01:16:59,324
Sorry, you need to leave. Please go.
971
01:16:59,407 --> 01:17:00,718
- [MAN STAMMERING]
- No, please...
972
01:17:00,742 --> 01:17:02,502
No, I'm not gonna hurt you.
Just Anthony's...
973
01:17:02,577 --> 01:17:04,830
Please, please leave.
No, no, you need to go.
974
01:17:04,913 --> 01:17:06,182
- You need to leave right now.
- I'm sorry, yeah?
975
01:17:06,206 --> 01:17:08,959
No. You need to leave.
I'm sorry. I'm sorry, I'm sorry.
976
01:17:09,042 --> 01:17:10,877
- Okay.
- It's okay. I'm sorry.
977
01:17:14,256 --> 01:17:17,384
- [SIGHS]
- [KNOCKING AT DOOR]
978
01:17:17,467 --> 01:17:19,052
[MAN] Forgot my coat.
979
01:17:22,097 --> 01:17:23,390
Hello?
980
01:17:27,018 --> 01:17:28,436
Sorry.
981
01:17:32,691 --> 01:17:34,317
How do I know when I...
982
01:17:34,401 --> 01:17:36,736
When I get the money,
I'll pay you back.
983
01:17:36,820 --> 01:17:39,155
But I...
984
01:17:39,239 --> 01:17:43,577
Well, you know, I wouldn't ask
unless I really needed it, you know.
985
01:17:43,660 --> 01:17:45,287
[INDISTINCT CHATTER ON PHONE]
986
01:17:50,166 --> 01:17:52,794
No, I'm not being extravagant.
I'm using...
987
01:17:52,878 --> 01:17:54,963
you know, I need
this equipment for school.
988
01:17:57,257 --> 01:18:00,844
It's cameras and film and...
Hmm.
989
01:18:04,973 --> 01:18:06,892
I will pay you back.
990
01:18:06,975 --> 01:18:08,977
♪♪
991
01:18:14,816 --> 01:18:17,903
[DOCTOR] I mean, definitely you can catch
infections from other people.
992
01:18:17,986 --> 01:18:22,282
Um, when people breathe, they can transmit
particles of an infection,
993
01:18:22,365 --> 01:18:25,076
uh, but sometimes, you can also get
infections from other means,
994
01:18:25,160 --> 01:18:29,497
by, for example,
um, personal contacts.
995
01:18:30,916 --> 01:18:32,685
Anything you wanna tell me
that you haven't told me
996
01:18:32,709 --> 01:18:34,502
about what's happening so far?
997
01:18:37,881 --> 01:18:41,259
Um...
No, I think... I think I'm...
998
01:18:41,343 --> 01:18:44,262
[STAMMERS] I think I feel
better now I've seen you.
999
01:18:45,472 --> 01:18:48,558
- [DOCTOR] Okay, nice to see you again.
- Thank you. Nice to see you.
1000
01:18:48,642 --> 01:18:52,646
Okay, I'd better run. And, um, I hope
you get better soon.
1001
01:18:52,729 --> 01:18:54,230
- Okay. Bye-bye.
- Thank you.
1002
01:18:54,314 --> 01:18:55,315
[DOOR OPENS]
1003
01:18:57,692 --> 01:18:59,027
[DOOR CLOSES]
1004
01:19:02,822 --> 01:19:04,824
♪♪
1005
01:19:27,472 --> 01:19:28,890
[CLATTERING IN DISTANCE]
1006
01:19:28,974 --> 01:19:30,684
[MUFFLED CHATTER]
1007
01:19:34,980 --> 01:19:37,065
[KEYS JINGLING IN DISTANCE]
1008
01:19:37,148 --> 01:19:40,944
[DOOR OPENS IN DISTANCE]
1009
01:19:41,027 --> 01:19:43,154
- [DOOR CLOSES]
- [CHATTER STOPS]
1010
01:19:44,864 --> 01:19:46,491
[RAIN PATTERING]
1011
01:19:53,957 --> 01:19:56,459
[PHONE RINGING]
1012
01:19:59,170 --> 01:20:00,755
[RINGING CONTINUES]
1013
01:20:02,048 --> 01:20:04,884
- Hello?
- [INDISTINCT CHATTER ON PHONE]
1014
01:20:04,968 --> 01:20:06,803
Hi, Barbara. How are you?
1015
01:20:10,140 --> 01:20:13,601
I'm fine, thank you.
Are you all right?
1016
01:20:13,685 --> 01:20:16,187
[BARBARA TALKING INDISTINCTLY]
1017
01:20:27,741 --> 01:20:31,036
No, no, it's fine. Thank you
for phoning. I, um...
1018
01:20:32,037 --> 01:20:34,539
Why-why was he arrested?
1019
01:21:15,705 --> 01:21:17,707
♪♪
1020
01:21:29,594 --> 01:21:31,679
[SOBBING] Please go away.
1021
01:21:34,432 --> 01:21:35,600
[SNIFFLES]
1022
01:21:57,122 --> 01:22:00,750
I guess I just haven't found,
like, a specific voice.
1023
01:22:00,834 --> 01:22:02,836
D'you know what I mean?
I don't know how to...
1024
01:22:02,919 --> 01:22:04,838
- Hmm.
- I don't know how to articulate
1025
01:22:04,921 --> 01:22:08,049
what I'm... what I want
to create yet, I think.
1026
01:22:09,425 --> 01:22:11,511
- Can I ask you a question?
- Mm-hmm.
1027
01:22:13,388 --> 01:22:15,849
Okay, it's a bit of a weird one.
1028
01:22:15,932 --> 01:22:20,186
But this past six months and a bit,
1029
01:22:20,270 --> 01:22:24,399
like, I haven't seen you
around in school very much.
1030
01:22:26,317 --> 01:22:29,779
Um... can I ask why?
1031
01:22:33,908 --> 01:22:35,034
I...
1032
01:22:38,746 --> 01:22:43,668
I was in a really difficult
relationship with somebody...
1033
01:22:43,751 --> 01:22:46,588
- Mm-hmm.
- And I found it difficult
1034
01:22:46,671 --> 01:22:50,049
to juggle that and film school.
1035
01:22:51,050 --> 01:22:53,636
And it just didn't...
1036
01:22:53,720 --> 01:22:56,848
it didn't leave me much time
for myself and my interests,
1037
01:22:56,931 --> 01:23:00,393
so I just didn't really...
1038
01:23:00,476 --> 01:23:03,062
- Okay.
- Have time. But...
1039
01:23:03,146 --> 01:23:05,190
I'm-I'm... I'm better now, so...
1040
01:23:05,273 --> 01:23:06,733
- Yeah?
- A big yeah.
1041
01:23:06,900 --> 01:23:08,919
[HEAD OF FILM SCHOOL] I mean,
you've changed quite a lot
1042
01:23:08,943 --> 01:23:11,905
since you came, haven't you,
in your intentions?
1043
01:23:11,988 --> 01:23:14,240
- Mm. Mm.
- And, uh, that's okay.
1044
01:23:14,324 --> 01:23:18,912
I mean, people are supposed
to grow in this process.
1045
01:23:18,995 --> 01:23:21,080
But how is that working out for you?
1046
01:23:23,625 --> 01:23:27,337
It's very, very...
1047
01:23:28,880 --> 01:23:31,132
complicated and, um,
1048
01:23:31,216 --> 01:23:33,718
difficult sometimes, but it's...
1049
01:23:35,011 --> 01:23:37,847
you know, it has its ups and downs.
1050
01:23:38,932 --> 01:23:40,808
- But it's working?
- Mm, yeah.
1051
01:23:40,892 --> 01:23:42,810
- It is?
- Mm-hmm. Mm.
1052
01:23:42,894 --> 01:23:44,562
Good, because, I mean, the big...
1053
01:23:45,813 --> 01:23:50,109
I think I said this when
you arrived at some point,
1054
01:23:50,193 --> 01:23:53,404
and I'm sure other people have said
the same kind of thing,
1055
01:23:53,488 --> 01:23:57,784
that, uh, the most important thing,
1056
01:23:57,867 --> 01:24:01,579
uh, about learning in this situation
1057
01:24:02,789 --> 01:24:07,502
is that you somehow make a connection
between your experience
1058
01:24:07,585 --> 01:24:10,004
and the experience you're trying to film.
1059
01:24:10,088 --> 01:24:12,590
[TYPEWRITER KEYS CLACKING]
1060
01:24:30,900 --> 01:24:32,735
[FOOTSTEPS APPROACHING]
1061
01:25:13,860 --> 01:25:15,028
[BIRDS CHIRPING]
1062
01:25:20,950 --> 01:25:22,720
- ["SMALL TOWN BOY" PLAYING]
- This is not real cashmere.
1063
01:25:22,744 --> 01:25:24,638
Come on, Jules. I got it from Harrods.
What are you talking about?
1064
01:25:24,662 --> 01:25:26,932
- It's nice, but it's not cashmere.
- [FRANKIE] He got it from Harold.
1065
01:25:26,956 --> 01:25:27,999
- Harrods.
- [JULIE LAUGHS]
1066
01:25:28,082 --> 01:25:29,162
Sells them down the market.
1067
01:25:29,208 --> 01:25:30,960
- [PHIL] The green shop, yeah?
- Yeah.
1068
01:25:31,044 --> 01:25:32,187
- [LAUGHTER]
- [PHIL] Where the classy
1069
01:25:32,211 --> 01:25:33,439
and people
with decorum and class go.
1070
01:25:33,463 --> 01:25:35,816
[JACK] Looks good on you, lad,
but you need to shut up about it.
1071
01:25:35,840 --> 01:25:37,480
- [PHIL] Listen, bro, listen.
- [LAUGHING]
1072
01:25:37,550 --> 01:25:38,944
Haters are gonna hate.
D'you know what I mean?
1073
01:25:38,968 --> 01:25:40,529
People don't wanna see me win.
It's all right.
1074
01:25:40,553 --> 01:25:43,097
- This is nice.
- It's fine, it's fine, you know.
1075
01:25:43,181 --> 01:25:45,099
I get a bit of dough,
move up in the world
1076
01:25:45,183 --> 01:25:47,103
and everyone's dissing
my clothes and my clobber.
1077
01:25:47,185 --> 01:25:48,662
- You know, that's all right.
- [LAUGHING]
1078
01:25:48,686 --> 01:25:49,687
That's all right.
1079
01:25:51,314 --> 01:25:54,275
[BARBARA ON PHONE]...and I wondered
if you've seen Anthony at all?
1080
01:25:54,359 --> 01:25:56,194
No, I haven't seen him for a while.
1081
01:25:56,277 --> 01:25:59,405
We've been so worried about him.
1082
01:25:59,489 --> 01:26:02,992
- Well, I'm so sorry.
- Oh, I'm sorry to disturb you...
1083
01:26:05,161 --> 01:26:09,540
No, no, it's fine.
You have to call... you call me any time.
1084
01:26:09,624 --> 01:26:13,544
But we have no other way
of knowing where he is.
1085
01:26:13,628 --> 01:26:16,130
You're the only person we can call.
1086
01:26:16,214 --> 01:26:18,049
If you see him,
would you let us know?
1087
01:26:18,132 --> 01:26:19,425
Yeah, of course.
1088
01:26:19,509 --> 01:26:22,345
And you have to call me if...
When you see him, okay?
1089
01:26:22,428 --> 01:26:24,847
Of course. Thanks...
1090
01:26:24,931 --> 01:26:27,975
Thank you for... thank you
for calling, Barbara.
1091
01:26:28,059 --> 01:26:29,894
I'm so sorry I can't help.
1092
01:26:29,977 --> 01:26:31,938
Lots of love...
[CONTINUES SPEAKING INDISTINCTLY]
1093
01:26:32,939 --> 01:26:35,108
- Night, night.
- Night, night.
1094
01:26:43,825 --> 01:26:45,368
[SIGHING]
1095
01:27:10,476 --> 01:27:11,978
Does he like the groom?
1096
01:27:14,564 --> 01:27:15,731
Yes.
1097
01:27:18,901 --> 01:27:21,946
- Maybe he introduced them.
- Hmm.
1098
01:27:29,829 --> 01:27:31,831
Talking to them about money.
1099
01:27:33,207 --> 01:27:34,208
[JULIE CHUCKLES]
1100
01:27:34,292 --> 01:27:36,169
About planning ahead.
1101
01:27:36,252 --> 01:27:40,006
- Mm. Investments.
- Yes.
1102
01:27:41,340 --> 01:27:42,925
And frugality.
1103
01:28:02,570 --> 01:28:07,617
I always use the wrong fork
on purpose... for salad.
1104
01:28:07,700 --> 01:28:09,702
Both of mine are the same size.
1105
01:28:10,703 --> 01:28:11,829
[JULIE] Mm.
1106
01:28:46,113 --> 01:28:47,740
[LAUGHS]
1107
01:28:47,823 --> 01:28:50,326
[SOBS SOFTLY]
1108
01:29:06,384 --> 01:29:08,219
[CONTINUES SOBBING]
1109
01:29:24,443 --> 01:29:25,945
[JULIE] Do you still love me?
1110
01:29:29,407 --> 01:29:30,491
[ANTHONY] Yes.
1111
01:29:32,577 --> 01:29:35,079
- Yes?
- Yes.
1112
01:29:42,336 --> 01:29:44,380
What makes you think I don't?
1113
01:29:45,715 --> 01:29:48,467
I'm not very nice to you sometimes.
1114
01:29:52,305 --> 01:29:55,099
- I'm a beast to you.
- You're not a beast. I'm the beast.
1115
01:29:55,182 --> 01:29:58,227
- No, I'm the beast.
- I'm the beast.
1116
01:29:58,311 --> 01:30:02,231
- We'll share the beast.
- That would be nice, actually.
1117
01:30:05,943 --> 01:30:08,988
There was a lot going on before this.
1118
01:30:09,071 --> 01:30:10,323
[SIREN BLARING IN DISTANCE]
1119
01:30:11,490 --> 01:30:13,409
The Libyan hostages.
1120
01:30:15,870 --> 01:30:17,121
Still going on now.
1121
01:30:18,122 --> 01:30:21,459
Did you have to deal
with that at work?
1122
01:30:21,542 --> 01:30:24,503
- Yeah.
- I didn't realize.
1123
01:30:31,969 --> 01:30:33,929
[WIND CHIMES TINKLING]
1124
01:30:48,986 --> 01:30:51,489
- [ANTHONY WAILING]
- [RATTLING]
1125
01:30:56,410 --> 01:30:57,870
[CRASHING]
1126
01:30:58,871 --> 01:31:00,498
[CHANDELIER TINKLING]
1127
01:31:04,752 --> 01:31:06,587
[SOBBING]
1128
01:31:09,090 --> 01:31:10,383
[WAILING]
1129
01:31:21,852 --> 01:31:23,062
[WHIMPERS]
1130
01:31:23,145 --> 01:31:24,772
[BREATHING SHAKILY]
1131
01:31:25,981 --> 01:31:27,733
[GRUNTING]
1132
01:31:28,776 --> 01:31:30,611
[SHIVERING]
1133
01:31:36,951 --> 01:31:38,077
[GRUNTS]
1134
01:31:39,578 --> 01:31:41,205
[BREATHING HEAVILY]
1135
01:31:44,709 --> 01:31:47,211
- [CLATTERING]
- [ANTHONY ROARING]
1136
01:31:50,089 --> 01:31:52,258
[BREATHING HEAVILY]
1137
01:32:12,820 --> 01:32:15,823
[JULIE] Days fading into nights,
fading into day.
1138
01:32:17,533 --> 01:32:22,371
Day and night creeping together
to a gray nothingness, and no thought.
1139
01:32:23,581 --> 01:32:25,833
Only each minute's fear of the next.
1140
01:32:27,585 --> 01:32:31,338
So tired after six days
without a moment's rest.
1141
01:32:31,422 --> 01:32:34,383
And so restless,
through the slow hours of night.
1142
01:32:36,135 --> 01:32:39,597
I lost any consciousness of will,
and then nothing at all.
1143
01:32:40,598 --> 01:32:42,349
A gray nothingness.
1144
01:32:43,559 --> 01:32:46,896
I didn't even have a second
to measure pain by,
1145
01:32:46,979 --> 01:32:51,525
there being now no time without pain,
thus pain ceased to exist.
1146
01:32:53,402 --> 01:32:57,031
There was nothing at all, and I was
walking in the ways of the dead.
1147
01:32:59,116 --> 01:33:02,745
But then the autumn bled,
like my cufflinks,
1148
01:33:02,828 --> 01:33:04,663
a searing pain,
1149
01:33:04,747 --> 01:33:06,457
and I could see like second sight,
1150
01:33:08,209 --> 01:33:09,877
and I am born again.
1151
01:33:12,004 --> 01:33:14,215
Janet's to die in the next 12 hours.
1152
01:33:15,216 --> 01:33:17,718
Both of us couldn't
keep going, I suppose.
1153
01:33:26,060 --> 01:33:28,270
[ALARM RINGING IN DISTANCE]
1154
01:33:28,354 --> 01:33:30,022
One of them's got out.
1155
01:33:31,315 --> 01:33:33,818
- Probably Mr. Staffasack.
- [ALARM STOPS]
1156
01:33:33,901 --> 01:33:36,487
- Mister who?
- Staffasack.
1157
01:33:36,570 --> 01:33:39,198
Keeps escaping from the Brendan ward.
1158
01:33:39,281 --> 01:33:41,534
It's highly patrolled.
1159
01:33:41,617 --> 01:33:44,203
Dangerous to themselves
and other people.
1160
01:33:45,204 --> 01:33:46,844
They found him the other day with an axe.
1161
01:33:49,917 --> 01:33:51,168
I'm joking.
1162
01:33:52,920 --> 01:33:54,463
[MUFFLED CHATTER]
1163
01:33:56,924 --> 01:34:01,136
But then, some people started to get
very competitive about it.
1164
01:34:03,347 --> 01:34:06,308
A couple of stair races
ended quite badly,
1165
01:34:06,392 --> 01:34:09,019
so they had to level it off.
1166
01:34:10,354 --> 01:34:12,231
She said she had three images.
1167
01:34:14,650 --> 01:34:17,695
A large empty pair of big boots,
1168
01:34:18,988 --> 01:34:23,951
a hummingbird and storm clouds
over a seascape.
1169
01:34:24,034 --> 01:34:26,537
You can listen to it all if you want.
1170
01:34:44,263 --> 01:34:45,723
I'm fine.
1171
01:34:48,601 --> 01:34:51,896
[JULIE] Good. I am as well.
1172
01:34:53,105 --> 01:34:55,566
I don't want to keep feeling
I need to, um...
1173
01:34:58,736 --> 01:35:01,280
illustrate that I'm fine.
1174
01:35:05,159 --> 01:35:06,744
You don't have to.
1175
01:35:08,996 --> 01:35:14,710
You don't have to put up
a front or anything, ever, with me.
1176
01:35:16,128 --> 01:35:19,131
Good, 'cause I am fine.
1177
01:35:19,214 --> 01:35:21,508
I might not look fine, but I am fine.
1178
01:35:24,386 --> 01:35:27,556
- Are you worried about me now?
- No. [SOFT CHUCKLE]
1179
01:35:29,892 --> 01:35:32,144
No, I'm not, for once.
1180
01:35:40,319 --> 01:35:44,698
[ALL] ♪ Happy birthday to you ♪
1181
01:35:45,699 --> 01:35:50,162
♪ Happy birthday to you ♪
1182
01:35:51,163 --> 01:35:57,044
♪ Happy birthday, dear Julie ♪
1183
01:35:58,253 --> 01:36:03,384
- ♪ Happy birthday to you ♪
- [ROSALIND] It's a dirge.
1184
01:36:03,467 --> 01:36:05,135
Thank you very much.
1185
01:36:05,219 --> 01:36:07,238
[WILLIAM] Sounded rather
as though someone had died.
1186
01:36:07,262 --> 01:36:08,389
[LAUGHING]
1187
01:36:08,472 --> 01:36:11,058
- [ROSALIND] Go on, go on, go on.
- Go on, keep going.
1188
01:36:11,141 --> 01:36:14,520
- Hooray!
- Hooray. Well done. Happy birthday.
1189
01:36:14,603 --> 01:36:16,289
I think we're allowed to clink
glasses on your birthday.
1190
01:36:16,313 --> 01:36:17,856
- [ROSALIND] Twenty-five.
- [JULIE] Mm.
1191
01:36:19,274 --> 01:36:21,443
- Amazing.
- Twenty-five.
1192
01:36:24,279 --> 01:36:26,365
- Halfway to 50.
- Am I allowed a fork?
1193
01:36:26,448 --> 01:36:28,701
Halfway to 50. What a thought.
I'm so sorry.
1194
01:36:28,784 --> 01:36:30,202
[JULIE] That's so enormous.
1195
01:36:30,285 --> 01:36:32,514
- [ROSALIND] No, you keep that for you.
- [JULIE] That's like half the cake.
1196
01:36:32,538 --> 01:36:34,015
- [ROSALIND] Keep that for you.
- [ANTHONY] That'll be your bit.
1197
01:36:34,039 --> 01:36:36,375
[JULIE] It's ridiculous.
That'll be mine. [LAUGHS]
1198
01:36:36,458 --> 01:36:39,878
[ROSALIND] I want to ask
your advice about something.
1199
01:36:39,962 --> 01:36:43,173
Um, and you're not to tease me about this.
1200
01:36:43,257 --> 01:36:44,985
You're going to pretend you
don't know anything about it.
1201
01:36:45,009 --> 01:36:47,511
- [WILLIAM] I never tease you.
- [ROSALIND] Um...
1202
01:36:47,594 --> 01:36:52,057
Anyway, I'm thinking of doing
some sort of practical degree course
1203
01:36:52,141 --> 01:36:55,644
in some fine art, maybe ceramics,
1204
01:36:55,728 --> 01:36:58,981
and I wondered if, uh,
with your Courtauld connections,
1205
01:36:59,064 --> 01:37:02,693
you might either know a course
that would be an interesting thing
1206
01:37:02,776 --> 01:37:05,779
or somebody who might be able
to put me in the right direction.
1207
01:37:05,863 --> 01:37:08,323
[ANTHONY] I don't, but I know
people you could talk to.
1208
01:37:08,407 --> 01:37:10,051
- Well, that's wonderful...
- There's a chap called Bruce
1209
01:37:10,075 --> 01:37:11,785
who's practically made out of clay.
1210
01:37:11,869 --> 01:37:13,662
That's exactly
what I'd hoped you'd say.
1211
01:37:13,746 --> 01:37:15,330
I'll connect you two up and, um...
1212
01:37:15,414 --> 01:37:17,600
- [ROSALIND] Would you? [LAUGHS]
- Back to my eggs, then.
1213
01:37:17,624 --> 01:37:21,003
Well, you're gonna have to do
a catering course, clearly.
1214
01:37:21,086 --> 01:37:24,506
I know. We'll have
two members of the family
1215
01:37:24,590 --> 01:37:27,760
both at college at the same time.
1216
01:37:27,843 --> 01:37:31,263
- What are you going to do?
- I may as well go back to university.
1217
01:37:31,346 --> 01:37:32,473
Maybe.
1218
01:37:32,556 --> 01:37:33,992
What, and just give up farming altogether?
1219
01:37:34,016 --> 01:37:35,893
[ROSALIND] Get an education.
1220
01:37:35,976 --> 01:37:38,455
- [ANTHONY] What would you study?
- Well, how long... what would I study?
1221
01:37:38,479 --> 01:37:40,199
- [ANTHONY] Mm.
- Yes, what would you study?
1222
01:37:41,648 --> 01:37:43,368
- Very good question.
- [WILLIAM] What, now?
1223
01:37:46,445 --> 01:37:47,738
Well, I did land management,
1224
01:37:47,821 --> 01:37:51,075
so I suppose now I would do
something rather more interesting.
1225
01:37:51,158 --> 01:37:55,662
I think I would do, uh...
[STAMMERS] I'd read history.
1226
01:37:55,746 --> 01:37:57,664
- [ALL] Mm.
- [WILLIAM] Yeah.
1227
01:37:57,748 --> 01:38:00,709
But, um, anyhow, it isn't about me.
1228
01:38:00,793 --> 01:38:03,796
It's about these budding
students that we've got.
1229
01:38:03,879 --> 01:38:06,423
Well, we're talking, as you say,
about pipe dreams and...
1230
01:38:06,507 --> 01:38:08,801
[ANTHONY] I think that's very exciting.
1231
01:38:08,884 --> 01:38:13,430
[ROSALIND] Please, please, please,
darling, let the poor man go to sleep.
1232
01:38:13,514 --> 01:38:16,975
And go to sleep yourself. Mm?
1233
01:38:17,059 --> 01:38:19,853
These dull wits, they need
a little bit of shut-eye.
1234
01:38:19,937 --> 01:38:22,064
[JULIE, CHUCKLING] These dull wits?
1235
01:38:22,147 --> 01:38:24,566
- How dare you?
- [ROSALIND] Dull wits.
1236
01:38:24,650 --> 01:38:26,026
- Go on.
- No.
1237
01:38:26,110 --> 01:38:28,529
- Go on.
- No. I need to...
1238
01:38:28,612 --> 01:38:30,447
- Listen to Anthony.
- Finish this.
1239
01:38:30,531 --> 01:38:32,908
Thank you very much
for that lovely dinner.
1240
01:38:32,991 --> 01:38:35,285
- Good night.
- Sleep tight.
1241
01:38:36,703 --> 01:38:40,999
Don't be worthy. Be arrogant.
It's much more sexy.
1242
01:38:42,376 --> 01:38:45,212
- Do you like arrogance?
- I think it'll get you further.
1243
01:38:45,295 --> 01:38:48,006
- Because you are arrogant.
- I know I'm arrogant.
1244
01:38:48,090 --> 01:38:52,010
- Do you find yourself sexy?
- Yes, all the time.
1245
01:38:52,094 --> 01:38:53,655
It's hard for me to get
through the day without...
1246
01:38:53,679 --> 01:38:57,141
- I bet.
- Taking a couple of moments out and...
1247
01:38:59,393 --> 01:39:02,354
[CHUCKLING] I'm trying
to concentrate on this.
1248
01:39:02,437 --> 01:39:05,482
Don't distract me with your arrogance
1249
01:39:05,566 --> 01:39:06,900
and sexiness and...
1250
01:39:06,984 --> 01:39:08,110
I'll give it three minutes.
1251
01:39:08,193 --> 01:39:11,196
Talking about your... God knows what.
1252
01:39:11,280 --> 01:39:12,882
- You know what I'm saying.
- I totally...
1253
01:39:12,906 --> 01:39:14,908
You've got some preconceived idea
1254
01:39:14,992 --> 01:39:18,704
about some Oxbridge version
of a film director
1255
01:39:18,787 --> 01:39:19,997
and it's all bollocks.
1256
01:39:20,080 --> 01:39:23,208
You just need to get out there
and start filming. It's like Patrick said.
1257
01:39:25,502 --> 01:39:27,004
Well...
1258
01:39:27,087 --> 01:39:29,673
I know he's a cunt,
but he's got a point.
1259
01:39:31,341 --> 01:39:33,677
- I liked him.
- No, you didn't.
1260
01:39:33,760 --> 01:39:36,889
I didn't, actually. No, I didn't.
1261
01:39:36,972 --> 01:39:39,600
- Um, I liked his wife.
- Did you?
1262
01:39:39,683 --> 01:39:42,102
- Mm. Very much.
- Mm.
1263
01:39:42,186 --> 01:39:43,770
Um...
1264
01:39:43,854 --> 01:39:48,901
I feel like I haven't got
this enough, so I need to...
1265
01:39:48,984 --> 01:39:51,304
I need to stay up and do this,
but you need to go to sleep.
1266
01:39:51,361 --> 01:39:53,631
I'm waiting for two minutes
for your mother to go to sleep
1267
01:39:53,655 --> 01:39:54,948
and then I'm going to go down.
1268
01:39:58,243 --> 01:40:02,039
Do you think she suspects
that you creep down to my bed?
1269
01:40:02,122 --> 01:40:03,123
No.
1270
01:40:04,541 --> 01:40:07,669
- Do you think she does?
- I don't know.
1271
01:40:07,753 --> 01:40:10,255
If she does, that was
an amazing performance.
1272
01:40:12,382 --> 01:40:14,218
I don't think she has any idea.
1273
01:40:15,886 --> 01:40:16,970
I don't know.
1274
01:40:17,971 --> 01:40:19,681
I think she's asleep.
1275
01:40:20,682 --> 01:40:23,185
I'm gonna take my shoes off,
so I don't wake her.
1276
01:40:30,525 --> 01:40:32,277
Here.
1277
01:40:32,361 --> 01:40:33,362
[KISSING]
1278
01:40:36,698 --> 01:40:38,283
- Please come to bed.
- Go to bed.
1279
01:40:38,367 --> 01:40:41,370
- Please come to bed.
- No. No, I need to do this.
1280
01:40:45,582 --> 01:40:47,459
Are you gonna drink all that brandy?
1281
01:40:47,542 --> 01:40:50,254
Well, I'm not gonna
just leave it there. Probably.
1282
01:40:51,838 --> 01:40:53,215
Come to bed.
1283
01:41:31,795 --> 01:41:35,966
Then, Isabel, live chaste,
1284
01:41:38,093 --> 01:41:39,386
and, brother, die.
1285
01:41:42,973 --> 01:41:45,100
More than our brother
is our chastity.
1286
01:41:49,229 --> 01:41:51,189
I'll tell him yet
of Angelo's request,
1287
01:41:53,358 --> 01:41:57,404
and fit his mind to death,
for his soul's rest.
1288
01:42:01,783 --> 01:42:03,368
Wonderful.
1289
01:42:03,452 --> 01:42:05,346
- No, I totally fucked that up.
- No, you... no, you didn't.
1290
01:42:05,370 --> 01:42:06,723
- No, I did.
- No, you really didn't.
1291
01:42:06,747 --> 01:42:07,914
[LAUGHS] You really didn't.
1292
01:42:07,998 --> 01:42:10,042
Do you wanna go from...
1293
01:42:10,125 --> 01:42:12,419
[RECORDIST WHISPERING INDISTINCTLY]
1294
01:42:12,502 --> 01:42:13,712
Where's easiest?
1295
01:42:13,795 --> 01:42:15,756
"That he had 20 heads
to tender down..."
1296
01:42:15,839 --> 01:42:16,983
- No, wait.
- [ACTRESS] Mm-hmm.
1297
01:42:17,007 --> 01:42:18,592
From there, 'cause it's a full stop.
1298
01:42:18,675 --> 01:42:21,970
"Though he hath fallen
by prompture..."
1299
01:42:22,054 --> 01:42:23,805
[ACTRESS] I'm gonna go from...
1300
01:42:23,889 --> 01:42:26,433
And you were completely right. [LAUGHS]
1301
01:42:28,226 --> 01:42:29,770
Of course you were.
1302
01:42:29,853 --> 01:42:32,647
Uh, we're having a break,
but I should get back.
1303
01:42:32,731 --> 01:42:37,611
But I just wanted to call to just say
that I shouldn't have worried so much.
1304
01:42:38,945 --> 01:42:40,405
Okay.
1305
01:42:40,489 --> 01:42:42,908
Okay, I'll see you later.
1306
01:42:42,991 --> 01:42:44,201
Bye-bye.
1307
01:43:01,676 --> 01:43:02,928
[BELL RINGS]
1308
01:43:03,011 --> 01:43:04,489
- [HORN HONKING]
- [SUSAN] It does stink.
1309
01:43:04,513 --> 01:43:06,640
[MARLAND] Yeah. It does, though, it does.
1310
01:43:06,723 --> 01:43:08,242
[CAMERAMAN] It's gonna stink
even more soon.
1311
01:43:08,266 --> 01:43:09,786
- [MARLAND] Mm. Yeah.
- [GARANCE] Yeah.
1312
01:43:09,851 --> 01:43:11,061
- He's here.
- [MARLAND] Yay!
1313
01:43:11,144 --> 01:43:12,687
[SUSAN] Hey, Pedro.
1314
01:43:12,771 --> 01:43:14,207
- [MARLAND] Come on.
- [JULIE] Take your time.
1315
01:43:14,231 --> 01:43:16,501
- [MARLAND] Yeah, just take your time.
- [JULIE] There's no rush.
1316
01:43:16,525 --> 01:43:17,925
[MARLAND, LAUGHING] No rush at all.
1317
01:43:20,946 --> 01:43:22,697
[GARANCE] Right. Merci.
1318
01:43:26,660 --> 01:43:27,911
[INDISTINCT CHATTER]
1319
01:43:32,916 --> 01:43:34,977
[GARANCE] After the fucking
Nouvelle Vague and everything,
1320
01:43:35,001 --> 01:43:39,047
we kind of actually now realize
that we can use all the techniques
1321
01:43:39,131 --> 01:43:42,426
and the new look of, you know,
pure contemporary type of image.
1322
01:43:42,509 --> 01:43:44,946
[CAMERAMAN] That's the thing. It's just
look. It's a style over substance.
1323
01:43:44,970 --> 01:43:46,513
No, no, I disagree totally with that,
1324
01:43:46,596 --> 01:43:49,224
because it has this very
formal kind of structure
1325
01:43:49,307 --> 01:43:51,643
and it's very, very, contemporary,
1326
01:43:51,726 --> 01:43:53,937
and it opens... I think it opens doors
1327
01:43:54,020 --> 01:43:56,606
and it touches people
in a much more deep way
1328
01:43:56,690 --> 01:43:59,651
than just choosing like, you know,
chitchat in a cafe,
1329
01:43:59,734 --> 01:44:01,153
like in Godard's film or something.
1330
01:44:01,236 --> 01:44:05,157
It's much more...
Somehow it's more sensual.
1331
01:44:05,240 --> 01:44:07,051
[CAMERAMAN] I don't know,
but it feels like they just transposed
1332
01:44:07,075 --> 01:44:09,619
the commercial aesthetic over to cinema,
and that's not cinema.
1333
01:44:09,703 --> 01:44:11,556
That's, that's, so...
like a critic is saying that.
1334
01:44:11,580 --> 01:44:15,000
It's so stupid because it's
all about using these tools
1335
01:44:15,083 --> 01:44:18,003
and what the people
in commercial actually created
1336
01:44:18,086 --> 01:44:20,881
and use it
in a very powerful art form.
1337
01:44:20,964 --> 01:44:23,341
[CAMERAMAN] Think about
what Rivette did in '74, '75,
1338
01:44:23,425 --> 01:44:26,261
compared to what Besson's doing now.
That says it all.
1339
01:44:26,344 --> 01:44:29,097
[INDISTINCT CONVERSATION]
1340
01:44:29,181 --> 01:44:32,934
[STAMMERS] There is some meaning
to be gathered.
1341
01:44:33,018 --> 01:44:34,978
I want it to become, like, beautiful,
1342
01:44:35,061 --> 01:44:37,081
all this blood and all this dirt
and all this shit...
1343
01:44:37,105 --> 01:44:40,108
[CAMERAMAN] Mate, it's gonna be beautiful
if you let me shoot it, like,
1344
01:44:40,192 --> 01:44:41,294
- that way, I'm telling you.
- [LAUGHS]
1345
01:44:41,318 --> 01:44:44,863
- It's gonna look amazing.
- [GARANCE] Yeah, if you think about this,
1346
01:44:44,946 --> 01:44:48,033
I got black and white, that's Diva.
1347
01:44:48,116 --> 01:44:49,552
- You haven't seen that?
- [MARLAND] Who's it by?
1348
01:44:49,576 --> 01:44:52,037
[GARANCE] It's a great film.
It's Jean-Jacques Beineix.
1349
01:44:52,120 --> 01:44:53,973
- [MARLAND] I don't know him.
- He's an amazing director.
1350
01:44:53,997 --> 01:44:56,875
- One of my favorites, I think.
- [MARLAND] Is it his new one?
1351
01:44:56,958 --> 01:44:59,145
[GARANCE] No, it was, like,
four years ago or something.
1352
01:44:59,169 --> 01:45:00,855
[CAMERAMAN] I thought
you loved French films.
1353
01:45:00,879 --> 01:45:03,006
[MARLAND] Yeah,
but not this new stuff.
1354
01:45:03,089 --> 01:45:06,009
Like, I saw that one,
uh, Subway, by Besson.
1355
01:45:06,176 --> 01:45:08,887
["MOONLIGHT SERENADE" PLAYING ON SPEAKERS]
1356
01:45:08,970 --> 01:45:10,764
[ROSALIND HUMMING ALONG]
1357
01:45:11,806 --> 01:45:14,309
I love that bit.
[CHUCKLES]
1358
01:45:18,647 --> 01:45:20,649
[CONTINUES HUMMING]
1359
01:46:07,696 --> 01:46:09,364
I think we should go to bed.
1360
01:46:11,491 --> 01:46:12,659
Don't you?
1361
01:46:20,000 --> 01:46:21,459
I think so. [GRUNTS]
1362
01:46:25,130 --> 01:46:26,131
Come on.
1363
01:46:28,675 --> 01:46:29,759
Come on.
1364
01:46:33,096 --> 01:46:36,349
Come on.
Put your pajamas on at least.
1365
01:46:38,602 --> 01:46:39,811
Where are you off to?
1366
01:46:39,894 --> 01:46:41,896
I'm putting a note downstairs for Anthony.
1367
01:46:41,980 --> 01:46:44,441
- What, in the street?
- No, just on the front door.
1368
01:46:44,524 --> 01:46:46,043
Oh, well, darling,
I'll come with you, then.
1369
01:46:46,067 --> 01:46:48,236
No. I'll be one minute.
I'll be one minute.
1370
01:46:48,320 --> 01:46:51,781
- Well, down and straight up.
- I will.
1371
01:46:51,865 --> 01:46:53,575
Leave the door.
1372
01:47:28,568 --> 01:47:31,071
[ELEVATOR DOOR OPENS]
1373
01:47:32,489 --> 01:47:34,407
[DOOR CLOSES]
1374
01:47:38,036 --> 01:47:40,538
Right, now, bedtime.
1375
01:47:47,921 --> 01:47:49,381
Snuggle in.
1376
01:47:52,258 --> 01:47:54,219
There we go.
1377
01:47:54,302 --> 01:47:57,972
Sausage and Croc and Piggy.
1378
01:48:00,642 --> 01:48:02,686
- Shall I close your blinds?
- No, I like them open.
1379
01:48:02,769 --> 01:48:04,354
- Really?
- Yeah.
1380
01:48:12,195 --> 01:48:13,196
Now, then.
1381
01:48:14,239 --> 01:48:17,450
- [JULIE YAWNS]
- Mm, very sleepy.
1382
01:48:17,534 --> 01:48:18,868
Good night, my darling.
1383
01:48:20,495 --> 01:48:24,457
- [JULIE] I'm really happy you're here.
- Mm, I'm very happy I'm here, too.
1384
01:48:24,541 --> 01:48:27,043
- [JULIE] Thank you.
- Well done for today.
1385
01:48:28,420 --> 01:48:30,714
So proud of you.
1386
01:48:30,797 --> 01:48:32,966
See you in the morning.
Sleep well. Sleep tight.
1387
01:49:06,249 --> 01:49:08,334
[PHONE RINGING]
1388
01:49:11,796 --> 01:49:13,506
[CONTINUES RINGING]
1389
01:49:23,558 --> 01:49:25,143
[ROSALIND] She's here.
1390
01:49:28,772 --> 01:49:30,315
Are you all right?
1391
01:49:39,699 --> 01:49:43,912
Barbara, don't think about it.
Don't think about it.
1392
01:49:43,995 --> 01:49:47,707
We'll talk soon.
Thank you so much for ringing.
1393
01:49:47,791 --> 01:49:49,000
Bye-bye.
1394
01:50:17,320 --> 01:50:19,823
The worst.
1395
01:50:21,366 --> 01:50:22,951
[JULIE SOBBING QUIETLY]
1396
01:51:27,974 --> 01:51:33,563
Anthony had been found in the lavatories
of the Wallace Collection
1397
01:51:33,646 --> 01:51:36,649
where he had, uh, taken an overdose.
1398
01:51:38,776 --> 01:51:42,030
And, uh, an ambulance was called,
1399
01:51:42,113 --> 01:51:45,700
um, and there was an attempt
to resuscitate him there.
1400
01:51:46,743 --> 01:51:51,247
And he was then taken to the Middlesex
Hospital in Mortimer Street...
1401
01:51:52,665 --> 01:51:54,167
where he died.
1402
01:52:00,590 --> 01:52:01,716
And, um...
1403
01:52:05,970 --> 01:52:07,305
Yeah.
1404
01:52:19,025 --> 01:52:21,277
[ROSALIND SOBBING QUIETLY]
1405
01:53:02,360 --> 01:53:04,862
When I am dead, my darling,
1406
01:53:08,574 --> 01:53:11,077
sing no sad songs for me.
1407
01:53:13,705 --> 01:53:17,333
Plant thou no roses at my head,
1408
01:53:17,417 --> 01:53:19,919
nor shady cypress tree.
1409
01:53:24,757 --> 01:53:27,260
Be the grass green above me
1410
01:53:29,387 --> 01:53:32,682
with showers and dewdrops wet.
1411
01:53:36,519 --> 01:53:39,814
And if thou wilt, remember,
1412
01:53:44,902 --> 01:53:46,821
and if thou wilt, forget.
1413
01:55:15,243 --> 01:55:17,745
[BIRDS CHIRPING]
1414
01:55:35,179 --> 01:55:37,431
["JULIE" BY ANNA CALVI PLAYING]
1415
01:59:26,911 --> 01:59:28,913
[BELL RINGING]
1416
01:59:28,996 --> 01:59:33,209
[INDISTINCT CHATTER]
1417
01:59:33,292 --> 01:59:34,293
[CLAPPERBOARD CLAPS]
1418
01:59:36,128 --> 01:59:37,296
[WOMAN] Action!