1
00:00:09,742 --> 00:00:12,504
(MACHINERY WHIRRING)

2
00:00:38,504 --> 00:00:40,642
(INDISTINCT CHATTER)

3
00:00:43,642 --> 00:00:45,517
(SHIP HORN BLARES)

4
00:00:51,517 --> 00:00:53,319
REPORTER:<i>
 Their industry is in crisis,</i>

5
00:00:53,319 --> 00:00:55,121
<i> its survival uncertain...</i>

6
00:00:55,121 --> 00:00:56,795
(STATIC FEEDBACK)

7
00:01:02,795 --> 00:01:04,730
INTERVIEWER:<i> So, Julie,
 welcome to Sunderland.</i>

8
00:01:04,730 --> 00:01:06,632
<i> It's great that you want to
 make a film in the town.</i>

9
00:01:06,632 --> 00:01:09,435
<i>Um, maybe you could tell us
a little bit about it, please.</i>

10
00:01:09,435 --> 00:01:13,172
JULIE:<i> Yes, it's about
a 16-year-old boy called Tony,</i>

11
00:01:13,172 --> 00:01:16,441
<i> and he's very insecure
 and he's shy,</i>

12
00:01:16,441 --> 00:01:18,477
<i> and he's lived in Sunderland
 his whole life,</i>

13
00:01:18,477 --> 00:01:23,782
<i> and he has this overwhelming</i>

14
00:01:23,782 --> 00:01:26,552
<i> affection and love
 for his mother.</i>

15
00:01:26,552 --> 00:01:28,621
<i> He absolutely adores her,</i>

16
00:01:28,621 --> 00:01:31,223
<i> he almost has an obsession
 with her,</i>

17
00:01:31,223 --> 00:01:33,527
<i> and has a constant dream
 of her dying.</i>

18
00:01:34,527 --> 00:01:37,563
<i> This fear inside him,</i>

19
00:01:37,563 --> 00:01:39,831
<i> he just can't bear
 the idea of losing her,</i>

20
00:01:39,831 --> 00:01:42,801
<i> and, of course,
 in the end, she dies.</i>

21
00:01:42,801 --> 00:01:44,637
(PLAYS HARMONICA)

22
00:01:44,637 --> 00:01:46,574
♪♪<i> Right now,
 I'm in Knightsbridge</i>

23
00:01:48,574 --> 00:01:50,911
♪♪<i> In a really nice flat</i>

24
00:01:51,911 --> 00:01:54,413
♪♪<i> I'm gonna get me
 one of these places</i>

25
00:01:54,413 --> 00:01:55,714
TRACY: (LAUGHS) Are you?

26
00:01:55,714 --> 00:01:56,882
♪♪<i> With five of my wives♪♪</i>

27
00:01:56,882 --> 00:01:58,717
FRANKIE:
But you ain't got no cash.

28
00:01:58,717 --> 00:02:00,718
Hey, hey, hey, hey, there's
no need for that, Frankie.

29
00:02:00,718 --> 00:02:01,887
There's no need
for that, all right?

30
00:02:01,887 --> 00:02:03,522
I was going, I was...

31
00:02:03,522 --> 00:02:05,522
(INDISTINCT CHATTER)

32
00:02:03,522 --> 00:02:05,524
(LAUGHTER)

33
00:02:05,524 --> 00:02:06,524
Sorry.

34
00:02:05,524 --> 00:02:06,959
JACK: Hello, sausage.

35
00:02:06,959 --> 00:02:08,959
Hi.

36
00:02:06,959 --> 00:02:08,562
JACK: Here she is.

37
00:02:09,562 --> 00:02:11,864
(INDISTINCT CHATTER)

38
00:02:11,864 --> 00:02:13,434
(INTERCOM BUZZING)

39
00:02:15,434 --> 00:02:18,640
(BUZZING CONTINUES)

40
00:02:22,640 --> 00:02:23,640
JANET: Hey.

41
00:02:22,640 --> 00:02:23,976
Hi.

42
00:02:23,976 --> 00:02:25,944
JANET: Oh, this is Anthony.
He's my lodger.

43
00:02:25,944 --> 00:02:27,944
ANTHONY: Hello.

44
00:02:25,944 --> 00:02:27,680
RAY: Ray.

45
00:02:27,680 --> 00:02:28,317
Hi.

46
00:02:31,317 --> 00:02:33,253
(UPBEAT MUSIC PLAYING)

47
00:02:35,253 --> 00:02:37,523
...gets up and walks out
the room with another fella,

48
00:02:37,523 --> 00:02:39,625
in front of all my mates,
everyone sees it.

49
00:02:39,625 --> 00:02:41,259
What's that about?
That's not nice, is it?

50
00:02:41,259 --> 00:02:43,262
I don't know where
you're getting that from.

51
00:02:43,262 --> 00:02:44,732
(INDISTINCT CONVERSATION)

52
00:02:46,732 --> 00:02:48,467
ANTHONY: ...steady income,

53
00:02:48,467 --> 00:02:51,604
and I've known him
for a while. Um...

54
00:02:51,604 --> 00:02:55,008
He's often away, uh,
in the provinces,

55
00:02:56,008 --> 00:02:58,911
um, so that's why we felt
this would work out,

56
00:02:58,911 --> 00:03:01,780
because I'm often away,

57
00:03:01,780 --> 00:03:03,780
and between us we could...

58
00:03:01,780 --> 00:03:03,882
Just split it.

59
00:03:03,882 --> 00:03:06,252
ANTHONY: ...share that room
and split the cost.

60
00:03:06,252 --> 00:03:07,252
Okay.

61
00:03:06,252 --> 00:03:07,519
Yeah.

62
00:03:07,519 --> 00:03:09,288
Well, as long as
he's all right with it.

63
00:03:09,288 --> 00:03:12,524
He's fine with it, and he's
very keen to meet you.

64
00:03:12,524 --> 00:03:14,524
I've told him all about you.

65
00:03:12,524 --> 00:03:14,793
JANET: What have you said?

66
00:03:14,793 --> 00:03:16,262
ANTHONY: I've said
you're a wild...

67
00:03:16,262 --> 00:03:17,596
JANET: Because you
can be very cheeky.

68
00:03:17,596 --> 00:03:19,899
ANTHONY: ...exotic,
social creature.

69
00:03:20,899 --> 00:03:22,367
(CAMERA SHUTTER CLICKS)

70
00:03:22,367 --> 00:03:24,470
He has this fear
of losing her.

71
00:03:24,470 --> 00:03:27,470
Hmm.

72
00:03:24,470 --> 00:03:27,673
And this overwhelming...

73
00:03:27,673 --> 00:03:29,974
He has this
overwhelming attachment

74
00:03:29,974 --> 00:03:34,513
to her always being with him
and always being present,

75
00:03:34,513 --> 00:03:36,015
and I found that
really interesting,

76
00:03:37,015 --> 00:03:38,851
because I kind of
linked that

77
00:03:38,851 --> 00:03:42,288
with his mother city
of Sunderland,

78
00:03:42,288 --> 00:03:47,526
um, being, you know, dying
and decaying and rotting,

79
00:03:47,526 --> 00:03:50,729
and then at the end
of the film,

80
00:03:50,729 --> 00:03:54,699
there would ultimately be
the death of his mother,

81
00:03:54,699 --> 00:03:57,402
and I found that really...

82
00:03:57,402 --> 00:03:59,604
Yeah, really
interesting for me,

83
00:03:59,604 --> 00:04:00,006
that metaphor.

84
00:04:01,006 --> 00:04:03,006
And you've been up there?

85
00:04:01,006 --> 00:04:03,642
Yes. Yes, I have.

86
00:04:03,642 --> 00:04:05,443
I was taking
pictures of, um,

87
00:04:05,443 --> 00:04:08,313
some installations
by some artists I know,

88
00:04:08,313 --> 00:04:11,550
um, which I found
really, really interesting.

89
00:04:11,550 --> 00:04:12,884
Um, yeah.

90
00:04:12,884 --> 00:04:14,787
Then you got fascinated
in the rot?

91
00:04:14,787 --> 00:04:17,997
(LAUGHS) Yes, yes.
In the streets.

92
00:04:24,997 --> 00:04:26,632
PHIL: She's got the dosh,
so why not?

93
00:04:26,632 --> 00:04:27,932
JACK: Exactly, exactly.

94
00:04:27,932 --> 00:04:29,702
I think if you can get hold of

95
00:04:29,702 --> 00:04:31,937
a camera like that,
fair enough. Do your thing...

96
00:04:31,937 --> 00:04:33,605
TRACY: I think you're doing
all right, aren't you?

97
00:04:33,605 --> 00:04:34,839
FRANKIE: Yeah,
she's having a go, ain't she?

98
00:04:34,839 --> 00:04:36,040
Just like the rest
of us, so...

99
00:04:36,040 --> 00:04:37,442
JACK: Yeah, she's having a go,

100
00:04:37,442 --> 00:04:39,077
but there's other people
having a go

101
00:04:39,077 --> 00:04:41,380
who can't get that camera,
you know what I mean, so...

102
00:04:41,380 --> 00:04:42,781
FRANKIE: Yeah, but, listen,
you can't...

103
00:04:42,781 --> 00:04:44,449
JACK: I think
you should probably, um...

104
00:04:44,449 --> 00:04:45,750
FRANKIE: You gotta play
to your advantages.

105
00:04:45,750 --> 00:04:47,418
JACK: Yeah, absolutely,
fair play.

106
00:04:47,418 --> 00:04:48,687
PHIL: Mate, if you was
in the same position,

107
00:04:48,687 --> 00:04:50,656
you'd do the same thing.

108
00:04:50,656 --> 00:04:52,391
JACK: Don't get me wrong,
fair play to her,

109
00:04:52,391 --> 00:04:53,625
but you gotta...

110
00:04:53,625 --> 00:04:54,959
When you're in a, you know,

111
00:04:54,959 --> 00:04:58,430
a position of privilege,
dare I say,

112
00:04:58,430 --> 00:05:00,733
then you've gotta accept it.

113
00:05:00,733 --> 00:05:02,367
PHIL: If you was successful

114
00:05:02,367 --> 00:05:03,002
and you had your kids,
yeah, all right,

115
00:05:04,002 --> 00:05:06,105
you want 'em to make the most
out of every situation.

116
00:05:06,105 --> 00:05:07,605
Exactly, but I'd want 'em

117
00:05:07,605 --> 00:05:09,675
to be aware of it.
Be aware of it.

118
00:05:09,675 --> 00:05:12,819
Good girl.
Come in. Come on.

119
00:05:12,843 --> 00:05:21,643
Sub By Black Hawk

120
00:05:21,819 --> 00:05:23,122
Can I take something?

121
00:05:23,122 --> 00:05:24,122
ROSALIND: I'm all right.

122
00:05:23,122 --> 00:05:24,156
(DOG WHINING)

123
00:05:24,156 --> 00:05:25,156
I'm laden.

124
00:05:24,156 --> 00:05:25,891
Hello!

125
00:05:25,891 --> 00:05:28,891
Oh, my Lord.

126
00:05:25,891 --> 00:05:28,060
Rosie! Rosie!

127
00:05:28,060 --> 00:05:30,495
Daddy was going to put this
in the hunt jumble,

128
00:05:30,495 --> 00:05:31,930
and I thought, you know,

129
00:05:31,930 --> 00:05:33,565
you never have
enough lights in here,

130
00:05:33,565 --> 00:05:35,733
and I thought
this might be quite good.

131
00:05:35,733 --> 00:05:37,702
What do you think?

132
00:05:37,702 --> 00:05:39,637
Where do you think
this could go?

133
00:05:39,637 --> 00:05:41,637
It's a little too tall.

134
00:05:39,637 --> 00:05:41,774
JULIE: Could go down...

135
00:05:41,774 --> 00:05:43,841
Well, I don't...
What, there?

136
00:05:43,841 --> 00:05:47,012
Or what do you think
about over here?

137
00:05:48,012 --> 00:05:49,723
Yeah, it could
go on my desk.

138
00:05:58,723 --> 00:05:59,836
(DOG WHINES)

139
00:06:11,836 --> 00:06:13,836
Are you all right?

140
00:06:11,836 --> 00:06:13,973
(ROSALIND GRUNTS)

141
00:06:15,973 --> 00:06:18,973
Are you all right?

142
00:06:15,973 --> 00:06:18,886
Yeah. Shopping headache.

143
00:06:27,886 --> 00:06:30,456
Don't you think
they'd be nice?

144
00:06:30,456 --> 00:06:31,456
Yeah.

145
00:06:30,456 --> 00:06:31,723
You could hang them

146
00:06:31,723 --> 00:06:32,992
up and around.

147
00:06:34,992 --> 00:06:38,764
Hang them on the...
Hang them on those,
up there.

148
00:06:39,764 --> 00:06:40,473
Would look Christmassy.

149
00:06:47,473 --> 00:06:49,473
What do you think, Dora?

150
00:06:47,473 --> 00:06:49,233
(GIGGLING)

151
00:07:15,233 --> 00:07:16,935
Just come and...

152
00:07:16,935 --> 00:07:18,935
Stay.

153
00:07:16,935 --> 00:07:18,202
Stay.

154
00:07:18,202 --> 00:07:19,704
But I'd need to get
a real job.

155
00:07:19,704 --> 00:07:21,973
(BOTH LAUGH)

156
00:07:21,973 --> 00:07:24,973
Don't want to do that.

157
00:07:21,973 --> 00:07:24,509
You don't need to.

158
00:07:24,509 --> 00:07:25,776
I do. Need to pay rent.

159
00:07:25,776 --> 00:07:27,079
You kind of do,
actually, yeah.

160
00:07:27,079 --> 00:07:30,916
To you. You'd be
a terrible landlord.

161
00:07:30,916 --> 00:07:33,916
I am a terrible landlord.

162
00:07:30,916 --> 00:07:33,718
(BOTH LAUGH)

163
00:07:33,718 --> 00:07:35,553
'Cause he's
so lovely, Frankie,

164
00:07:35,553 --> 00:07:37,656
but he's...
He smokes a lot.

165
00:07:37,656 --> 00:07:41,656
Does his girlfriend
pay rent?

166
00:07:37,656 --> 00:07:41,726
No. No.

167
00:07:41,726 --> 00:07:44,062
She hasn't even, like,
suggested it.

168
00:07:44,062 --> 00:07:45,197
Doesn't put anything
towards it?

169
00:07:45,197 --> 00:07:46,565
I'm not gonna ask him. No.

170
00:07:46,565 --> 00:07:47,000
No, you have to.

171
00:07:48,000 --> 00:07:49,901
'Cause it's not like
she's here...

172
00:07:49,901 --> 00:07:53,906
You're too nice.
You need to
properly sit them down

173
00:07:53,906 --> 00:07:56,807
and be, like,
"There's three people
living in this flat.

174
00:07:56,807 --> 00:07:58,142
"Pay me rent."

175
00:07:58,142 --> 00:07:59,019
Get aggressive,
get a baseball bat.

176
00:08:07,019 --> 00:08:08,019
FRANKIE: Morning.

177
00:08:07,019 --> 00:08:08,620
Morning, Frank.

178
00:08:08,620 --> 00:08:09,620
FRANKIE: All right?

179
00:08:08,620 --> 00:08:09,021
Did you sleep well?

180
00:08:10,021 --> 00:08:11,223
Yeah, it was all right.

181
00:08:11,223 --> 00:08:12,223
Nothing for you, sorry.

182
00:08:11,223 --> 00:08:12,791
No?

183
00:08:12,791 --> 00:08:14,692
Are you expecting
anything important?

184
00:08:14,692 --> 00:08:16,692
No.

185
00:08:14,692 --> 00:08:16,228
No?

186
00:08:16,228 --> 00:08:19,228
D'you want a cup of tea?

187
00:08:16,228 --> 00:08:19,064
Yeah, please. Thank you.

188
00:08:19,064 --> 00:08:21,064
All right.

189
00:08:19,064 --> 00:08:21,199
No sugar, please.

190
00:08:21,199 --> 00:08:22,336
FRANKIE: All right, mate.

191
00:08:24,336 --> 00:08:26,071
TRACY: Can you make me
a cup of tea in a minute?

192
00:08:26,071 --> 00:08:27,028
FRANKIE: So lazy.

193
00:08:50,028 --> 00:08:51,630
ANTHONY: We don't know what

194
00:08:51,630 --> 00:08:53,365
the inner machinations
of their mind are,

195
00:08:53,365 --> 00:08:55,167
or their heart.

196
00:08:55,167 --> 00:08:56,904
We don't know.

197
00:08:58,904 --> 00:09:00,605
But that's what
we want to know

198
00:09:00,605 --> 00:09:02,142
when we go and see a film.

199
00:09:04,142 --> 00:09:08,913
We don't wanna just see
life played out as is.

200
00:09:08,913 --> 00:09:12,086
We wanna see life
as it is experienced,

201
00:09:14,086 --> 00:09:17,292
within this soft machine,
within this...

202
00:09:20,292 --> 00:09:21,663
(CHUCKLES SOFTLY)

203
00:09:25,663 --> 00:09:27,666
But the life of Tony
and his mother,

204
00:09:27,666 --> 00:09:30,235
they're the lives
of real people.

205
00:09:30,235 --> 00:09:31,004
I'm not...
I'm not making that up.

206
00:09:32,004 --> 00:09:34,172
Why are they
more real than me?

207
00:09:34,172 --> 00:09:35,907
They're not
more real than you.

208
00:09:35,907 --> 00:09:37,677
Am I more real
than you?

209
00:09:38,677 --> 00:09:39,645
No.

210
00:09:40,645 --> 00:09:41,916
(ANTHONY SIGHS)

211
00:09:44,916 --> 00:09:47,985
I think we're
all equal in that.

212
00:09:47,985 --> 00:09:49,022
I think we're all
as real as each other.

213
00:09:50,022 --> 00:09:51,856
There's no competition.

214
00:09:51,856 --> 00:09:56,428
It doesn't matter
that they're
not real people.

215
00:09:56,428 --> 00:09:59,264
I mean, I'm not trying
to make a documentary.

216
00:09:59,264 --> 00:10:01,264
I'm making a feature film.

217
00:09:59,264 --> 00:10:01,899
Now, are you sure?

218
00:10:01,899 --> 00:10:03,404
Yes, I am.

219
00:10:06,404 --> 00:10:09,041
I'm making
a feature film.

220
00:10:09,041 --> 00:10:14,347
You're not trying to document
some received idea of

221
00:10:16,347 --> 00:10:19,052
life up there,
on the docks,

222
00:10:20,052 --> 00:10:21,222
the daily grind,

223
00:10:25,222 --> 00:10:27,793
huddled listening
to the wireless?

224
00:10:27,793 --> 00:10:32,730
Well, I am, but I'm creating
something new with it.

225
00:10:32,730 --> 00:10:34,066
Well, good.

226
00:10:34,066 --> 00:10:37,870
So the material is real,
those people exist,

227
00:10:38,870 --> 00:10:41,807
but I am
designing new ones

228
00:10:42,807 --> 00:10:44,876
to fit what I want
to make.

229
00:10:45,876 --> 00:10:48,447
Well, good.
That sounds great.

230
00:10:48,447 --> 00:10:50,981
I'm a big fan
of Powell and Pressburger.

231
00:10:50,981 --> 00:10:52,216
JULIE: Hmm.

232
00:10:52,216 --> 00:10:53,120
I think they...

233
00:10:56,120 --> 00:10:58,157
I think they're
very truthful

234
00:10:59,157 --> 00:11:01,327
without necessarily
being real.

235
00:11:03,327 --> 00:11:04,995
So what do you do?

236
00:11:04,995 --> 00:11:06,500
I work for
the Foreign Office.

237
00:11:09,500 --> 00:11:12,500
Is it very boring?

238
00:11:09,500 --> 00:11:12,370
Incredibly.

239
00:11:12,370 --> 00:11:13,980
(CHUCKLES SOFTLY)

240
00:11:55,980 --> 00:11:57,450
(UPBEAT POP MUSIC PLAYING)

241
00:11:58,450 --> 00:12:00,184
FRANKIE:
The many misadventures.

242
00:12:00,184 --> 00:12:02,184
What'll be the name?

243
00:12:00,184 --> 00:12:02,421
TRACY: Yeah, the name.

244
00:12:03,421 --> 00:12:04,523
JULIE: The word on the street.

245
00:12:04,523 --> 00:12:05,990
PHIL: The word on the street.

246
00:12:05,990 --> 00:12:07,158
What'll be my name?
What'll be my name?

247
00:12:07,158 --> 00:12:08,460
Let me think
of something special.

248
00:12:08,460 --> 00:12:10,460
Wear one of these.

249
00:12:08,460 --> 00:12:10,327
TRACY: Roger.

250
00:12:10,327 --> 00:12:11,327
Roger?

251
00:12:10,327 --> 00:12:11,495
TRACY: Yeah.

252
00:12:11,495 --> 00:12:13,398
Roger? No, Roger
sounds too rugged.

253
00:12:13,398 --> 00:12:14,933
(TRACY CHUCKLES)

254
00:12:15,933 --> 00:12:17,501
FRANKIE:
All right, you got it?

255
00:12:17,501 --> 00:12:19,270
JULIE: You're not
gonna get it.

256
00:12:19,270 --> 00:12:20,905
PHIL: Oh, that was
a terrible shot.

257
00:12:20,905 --> 00:12:22,206
TRACY: That was always
gonna happen.

258
00:12:22,206 --> 00:12:23,408
JACK: Get raided.

259
00:12:23,408 --> 00:12:24,909
PHIL: You sure you want
another one?

260
00:12:24,909 --> 00:12:26,544
TRACY: Take one of us.
Come here.

261
00:12:26,544 --> 00:12:28,014
JACK: Yeah, I can drive.
Haven't got a license, though.

262
00:12:29,014 --> 00:12:30,118
JULIE: (CHUCKLES) Stop.

263
00:12:33,118 --> 00:12:34,285
(CAMERA SHUTTER CLICKS)

264
00:12:34,285 --> 00:12:35,986
(LAUGHS) That ruined it.

265
00:12:35,986 --> 00:12:37,986
Would you like another one?

266
00:12:35,986 --> 00:12:37,855
JULIE: No.

267
00:12:37,855 --> 00:12:39,855
No? You sure?

268
00:12:37,855 --> 00:12:39,890
Yeah, I'm sure, thank you.

269
00:12:39,890 --> 00:12:41,890
Would you like another one?

270
00:12:39,890 --> 00:12:41,993
I've just had one.

271
00:12:41,993 --> 00:12:44,993
Bloody hell.

272
00:12:41,993 --> 00:12:44,129
(LAUGHING)

273
00:12:44,129 --> 00:12:45,434
(NEW WAVE MUSIC PLAYING)

274
00:13:23,434 --> 00:13:25,149
(MUSIC CONTINUES)

275
00:14:11,149 --> 00:14:12,183
Do you like her?

276
00:14:13,183 --> 00:14:14,056
I love her.

277
00:14:18,056 --> 00:14:20,524
ANTHONY: She's just received
word from her lover,

278
00:14:20,524 --> 00:14:23,562
and she's carving his initial
into the tree.

279
00:14:24,562 --> 00:14:26,631
JULIE: She looks sad.

280
00:14:27,631 --> 00:14:29,469
ANTHONY: I think
she looks determined.

281
00:14:31,469 --> 00:14:32,405
Mmm-hmm.

282
00:14:34,405 --> 00:14:36,541
And very much in love.

283
00:14:36,541 --> 00:14:38,318
Very much in love.

284
00:14:47,318 --> 00:14:51,318
Do you like horses?

285
00:14:47,318 --> 00:14:51,255
Yes. But not to ride.

286
00:14:51,255 --> 00:14:52,957
ANTHONY: Ah.

287
00:14:52,957 --> 00:14:55,360
Well, Ray's rather
fond of them,

288
00:14:55,360 --> 00:14:57,461
and Janet said
we could take her

289
00:14:57,461 --> 00:15:00,097
to my parents
for the weekend.

290
00:15:00,097 --> 00:15:01,432
JULIE: Mmm-hmm.

291
00:15:01,432 --> 00:15:03,432
Yeah, I'd love that.

292
00:15:01,432 --> 00:15:03,601
Good.

293
00:15:04,601 --> 00:15:07,205
ANTHONY: Made it. Ray.

294
00:15:07,205 --> 00:15:09,205
RAY: Hi.

295
00:15:07,205 --> 00:15:09,341
Hi, hello. I'm Barbara.

296
00:15:09,341 --> 00:15:11,341
Hello, Barbara. I'm Ray.

297
00:15:09,341 --> 00:15:11,476
Ray.

298
00:15:11,476 --> 00:15:13,476
Hello, Ray. I'm James.

299
00:15:11,476 --> 00:15:13,510
RAY: Hello, James.

300
00:15:13,510 --> 00:15:15,510
Hello, darling.

301
00:15:13,510 --> 00:15:15,179
ANTHONY: Hello.

302
00:15:15,179 --> 00:15:16,380
(CAR DOOR OPENS)

303
00:15:16,380 --> 00:15:17,481
(DOOR CLOSES)

304
00:15:17,481 --> 00:15:19,481
Julie.

305
00:15:17,481 --> 00:15:19,283
BARBARA: Julie.

306
00:15:19,283 --> 00:15:21,283
Hello, Julie. I'm Barbara.

307
00:15:19,283 --> 00:15:21,418
JULIE: Lovely to meet you.

308
00:15:21,418 --> 00:15:23,418
You're welcome. Welcome.

309
00:15:21,418 --> 00:15:23,221
Hi. I'm Julie.

310
00:15:23,221 --> 00:15:25,623
Lovely to meet you.
If you'd like to follow me...

311
00:15:25,623 --> 00:15:27,623
Come on in.

312
00:15:25,623 --> 00:15:27,595
JULIE: Thank you.

313
00:15:30,595 --> 00:15:32,163
JAMES: What are you working on
at the moment?

314
00:15:33,163 --> 00:15:34,732
I, um...

315
00:15:34,732 --> 00:15:38,102
Uh, my next project
is a feature film,

316
00:15:38,102 --> 00:15:39,636
uh, set in Sunderland.

317
00:15:39,636 --> 00:15:41,636
BARBARA: Oh.

318
00:15:39,636 --> 00:15:41,505
Great part of the world.

319
00:15:41,505 --> 00:15:42,008
JULIE: Mmm.

320
00:15:43,008 --> 00:15:45,509
Um, Barbara comes
from Newcastle,

321
00:15:45,509 --> 00:15:48,380
so she's got some family
up that way.

322
00:15:48,380 --> 00:15:50,015
Might be able to put you up,
maybe, if you were up there.

323
00:15:51,015 --> 00:15:52,250
JULIE: Mmm. Thank you.

324
00:15:52,250 --> 00:15:53,585
JAMES: Um...
Oh, great subject matter.

325
00:15:53,585 --> 00:15:55,220
Are you involved...

326
00:15:55,220 --> 00:15:57,221
Wanting to film
in the shipyards, or...

327
00:15:57,221 --> 00:15:59,221
Mmm. Yeah.

328
00:15:57,221 --> 00:15:59,356
Wonderful.

329
00:15:59,356 --> 00:16:02,760
They really need somebody
to do a documentary on them,

330
00:16:02,760 --> 00:16:05,630
because they're under threat
at the moment.

331
00:16:05,630 --> 00:16:08,500
Uh, I worked in a shipyard
when I was a boy,

332
00:16:08,500 --> 00:16:10,168
before I went off
to art school.

333
00:16:10,168 --> 00:16:11,168
JULIE: Hmm.

334
00:16:10,168 --> 00:16:11,436
And, uh...

335
00:16:11,436 --> 00:16:13,505
Not in that part
of the world, but, uh...

336
00:16:13,505 --> 00:16:15,173
Um...

337
00:16:15,173 --> 00:16:18,543
It's been my subject matter
and inspiration, really,

338
00:16:18,543 --> 00:16:21,125
you know, the beautiful shapes
of the boats and...

339
00:16:35,125 --> 00:16:36,528
ANTHONY: Did I hear
Frankie say something

340
00:16:36,528 --> 00:16:39,163
about staying
with his girlfriend

341
00:16:39,163 --> 00:16:40,631
for a few days?

342
00:16:40,631 --> 00:16:42,068
JULIE: Yeah,
he's always with her.

343
00:16:44,068 --> 00:16:46,139
Beginning of
next week or...

344
00:16:48,139 --> 00:16:52,409
Yeah. I'm not sure,
I'd have to check, but...

345
00:16:52,409 --> 00:16:54,114
I was wondering
if I could stay a few days.

346
00:16:56,114 --> 00:16:57,849
Why?

347
00:16:57,849 --> 00:16:59,551
It's to do
with my work.

348
00:16:59,551 --> 00:17:01,187
It's rather complicated
to explain. In fact...

349
00:17:03,187 --> 00:17:05,155
I can't really
explain it at all.

350
00:17:05,155 --> 00:17:10,260
I completely understand
if there's an issue with that.

351
00:17:10,260 --> 00:17:11,729
I can always find
somewhere else.

352
00:17:11,729 --> 00:17:13,432
No, it's okay.

353
00:17:14,432 --> 00:17:16,432
Are you sure?

354
00:17:14,432 --> 00:17:16,137
Hmm.

355
00:17:20,137 --> 00:17:21,373
That's very kind.

356
00:17:22,373 --> 00:17:23,511
It's all right.

357
00:17:27,511 --> 00:17:29,647
You're very special, Julie.

358
00:17:30,647 --> 00:17:32,450
I don't think I am.

359
00:17:32,450 --> 00:17:34,818
Oh, no, you don't
think you are.

360
00:17:34,818 --> 00:17:38,818
Very normal, really.

361
00:17:34,818 --> 00:17:38,388
Yeah, normal.

362
00:17:38,388 --> 00:17:41,559
You're not normal at all.
You're a freak.

363
00:17:42,559 --> 00:17:44,199
Thank you.

364
00:17:48,199 --> 00:17:50,199
How am I a freak?

365
00:17:48,199 --> 00:17:50,570
Your fragility.

366
00:17:53,570 --> 00:17:55,640
Is that a good thing?

367
00:17:55,640 --> 00:17:57,143
I think you know.

368
00:17:58,143 --> 00:17:59,546
I think I'm quite average.

369
00:18:01,546 --> 00:18:03,585
You're not average.

370
00:18:07,585 --> 00:18:09,454
You're lost.

371
00:18:10,454 --> 00:18:12,469
And you'll
always be lost.

372
00:18:24,469 --> 00:18:26,846
(OPERA MUSIC PLAYING)

373
00:18:34,846 --> 00:18:37,846
Are you hungry?

374
00:18:34,846 --> 00:18:37,549
ANTHONY: Famished.

375
00:18:38,549 --> 00:18:39,750
How did you get on?

376
00:18:39,750 --> 00:18:41,553
Really well,
thank you.

377
00:18:41,553 --> 00:18:44,553
Good old Harrods?

378
00:18:41,553 --> 00:18:44,288
Yeah.

379
00:18:44,288 --> 00:18:46,288
A nice bit of fillet steak.

380
00:18:44,288 --> 00:18:46,625
ANTHONY: Hmm.

381
00:18:48,625 --> 00:18:50,761
I've had
a very nice time here.

382
00:18:50,761 --> 00:18:52,663
Good.

383
00:18:52,663 --> 00:18:54,365
Very relaxing.

384
00:18:54,365 --> 00:18:55,234
Good.

385
00:18:57,234 --> 00:18:59,837
Checked in on Janet.
Everything's fine there.

386
00:19:00,837 --> 00:19:02,474
Good.

387
00:19:04,474 --> 00:19:07,711
I mean, I dare say
they've had

388
00:19:07,711 --> 00:19:12,217
the odd person,
uh, watching over,

389
00:19:12,217 --> 00:19:15,452
but I don't think
there's been any disturbance.

390
00:19:15,452 --> 00:19:17,888
Hmm. I'm glad.

391
00:19:17,888 --> 00:19:19,624
That's partly
why I wanted to get Ray

392
00:19:19,624 --> 00:19:21,291
out of there
for the weekend.

393
00:19:21,291 --> 00:19:22,794
REPORTER: (OVER RADIO)<i>
 There were fears</i>

394
00:19:22,794 --> 00:19:24,328
<i> that the Russians
 might try to come in</i>

395
00:19:24,328 --> 00:19:26,431
<i> and slew the submarine
 off the rocks,</i>

396
00:19:26,431 --> 00:19:27,832
<i> and those fears
 were reinforced</i>

397
00:19:27,832 --> 00:19:29,767
<i> when a second
 foreign submarine</i>

398
00:19:29,767 --> 00:19:31,769
<i> was detected
 earlier this morning.</i>

399
00:19:31,769 --> 00:19:33,871
<i>Today, the government revealed
that they're considering</i>

400
00:19:33,871 --> 00:19:36,273
<i> a charge of espionage.</i>

401
00:19:36,273 --> 00:19:37,608
<i> The case is seen
 as very similar</i>

402
00:19:37,608 --> 00:19:39,277
<i> to that of Gary Powers,</i>

403
00:19:39,277 --> 00:19:41,613
<i> the American pilot
 of a U-2 spy plane</i>

404
00:19:41,613 --> 00:19:44,449
<i>shot down over Russia in 1960.</i>

405
00:19:44,449 --> 00:19:46,718
<i> The Russians
 tried him as a spy.</i>

406
00:19:46,718 --> 00:19:48,916
(ROCK MUSIC PLAYING ON RADIO)

407
00:20:19,916 --> 00:20:21,490
(BELL TOLLING)

408
00:20:26,490 --> 00:20:28,960
JULIE:<i> "You've got to
 see Venice," he began.</i>

409
00:20:28,960 --> 00:20:31,296
"You've got to see
a city of slender towers

410
00:20:31,296 --> 00:20:32,864
"and white domes,

411
00:20:32,864 --> 00:20:35,933
"sleeping in the water
like a mass of water lilies.

412
00:20:36,933 --> 00:20:38,970
"You've got to see
dark waterways,

413
00:20:38,970 --> 00:20:41,071
"mysterious threads of shadow,

414
00:20:41,071 --> 00:20:43,843
"binding all these flowers
of stone together."

415
00:21:18,843 --> 00:21:20,452
JULIE: I like this.

416
00:21:28,452 --> 00:21:29,886
And where was
this taken?

417
00:21:29,886 --> 00:21:32,886
Afghanistan. '73.

418
00:21:29,886 --> 00:21:32,732
Oh.

419
00:21:41,732 --> 00:21:43,643
I'm going to
wash the lettuce.

420
00:21:52,643 --> 00:21:54,746
JULIE: "I don't feel
that I fully understand

421
00:21:54,746 --> 00:21:56,681
"the qualities
of entertainment,

422
00:21:56,681 --> 00:21:59,049
"but I realize the importance
of entertaining people

423
00:21:59,049 --> 00:22:00,952
"to get a message across.

424
00:22:00,952 --> 00:22:04,122
"I hope to learn to entertain
as well as communicate."

425
00:22:04,122 --> 00:22:06,122
That's good.

426
00:22:04,122 --> 00:22:06,423
Yeah.

427
00:22:06,423 --> 00:22:08,027
That's the bit I like,
at the end.

428
00:22:10,027 --> 00:22:12,797
What's all that
about therapy?

429
00:22:12,797 --> 00:22:15,500
Well, it's my version
of therapy, really.

430
00:22:16,500 --> 00:22:19,500
Okay.

431
00:22:16,500 --> 00:22:19,771
My self-expression.

432
00:22:20,771 --> 00:22:24,142
Through art, through film,
you know, that's my...

433
00:22:24,142 --> 00:22:26,144
Do you think
that makes you special?

434
00:22:27,144 --> 00:22:28,712
Well, it's not,
you know...

435
00:22:28,712 --> 00:22:30,748
It's not about me
being special.

436
00:22:30,748 --> 00:22:33,989
It's about, you know,
them, you know...

437
00:22:37,989 --> 00:22:41,159
It's just, I want them
to know that...

438
00:22:41,159 --> 00:22:44,461
I want them to kind of know
that about me, you know?

439
00:22:44,461 --> 00:22:45,461
Okay. Okay.

440
00:22:44,461 --> 00:22:45,962
Is that...

441
00:22:45,962 --> 00:22:47,962
Do you think it's too...

442
00:22:45,962 --> 00:22:47,031
No.

443
00:22:48,031 --> 00:22:51,536
I'm not sure, uh,
sincerity is always enough.

444
00:22:51,536 --> 00:22:53,703
But go on.
Let's hear the next bit.

445
00:22:53,703 --> 00:22:56,473
Okay. You mean...

446
00:22:56,473 --> 00:22:59,076
You mean you don't think
I should be this honest?

447
00:22:59,076 --> 00:23:03,015
Um, well, no,
I just think it's,
um, you know...

448
00:23:04,015 --> 00:23:07,818
People use that word
as if it's an end in itself,

449
00:23:07,818 --> 00:23:12,557
and, uh, I mean, you know,
we can all be sincere,

450
00:23:12,557 --> 00:23:15,960
we can all
be authentic,

451
00:23:15,960 --> 00:23:18,201
but, um,
what's it all for?

452
00:23:23,201 --> 00:23:25,536
I mean, it just
slightly reads

453
00:23:25,536 --> 00:23:30,907
like you've been sort of
backed into a corner by life,

454
00:23:30,907 --> 00:23:32,210
and it's like,

455
00:23:32,210 --> 00:23:35,212
"Oh, well, I'd better be
a film director."

456
00:23:35,212 --> 00:23:37,481
As opposed to,
"I want to be
a film director."

457
00:23:37,481 --> 00:23:39,115
Is that what
it sounds like?

458
00:23:39,115 --> 00:23:41,251
What happened last night

459
00:23:41,251 --> 00:23:46,758
is every time you rolled over
and then rolled back again,

460
00:23:47,758 --> 00:23:53,232
you came closer to me
and took up more of the bed.

461
00:23:55,232 --> 00:23:58,236
And you're already,
I would say,

462
00:23:58,236 --> 00:23:59,272
further over than I am.

463
00:24:02,272 --> 00:24:03,875
That's not true.

464
00:24:03,875 --> 00:24:05,875
It is true.

465
00:24:03,875 --> 00:24:05,742
No, it's not.

466
00:24:05,742 --> 00:24:09,742
I haven't got that much...

467
00:24:05,742 --> 00:24:09,113
You have bed dysmorphia.

468
00:24:09,113 --> 00:24:10,948
(LAUGHS)

469
00:24:10,948 --> 00:24:13,150
And you...
Then you accuse me of...

470
00:24:13,150 --> 00:24:16,656
I wasn't trying to cross
any sort of threshold.

471
00:24:19,656 --> 00:24:21,625
(CHUCKLES)

472
00:24:21,625 --> 00:24:23,227
I have not got
that much room.

473
00:24:23,227 --> 00:24:26,998
You've got a foot
on that side.

474
00:24:26,998 --> 00:24:28,231
That's not a foot.

475
00:24:28,231 --> 00:24:29,103
And I literally
am on a ledge.

476
00:24:32,103 --> 00:24:35,103
I've got nowhere left to go.

477
00:24:32,103 --> 00:24:35,742
(LAUGHING)

478
00:24:38,742 --> 00:24:41,711
Well, where's the...
Where's the halfway line?

479
00:24:41,711 --> 00:24:43,047
Well, I think
it's where your arm is,

480
00:24:43,047 --> 00:24:44,582
but, like, under your arm.

481
00:24:44,582 --> 00:24:45,982
No, I think it's there.

482
00:24:45,982 --> 00:24:48,986
No, I think it's,
like, there.

483
00:24:48,986 --> 00:24:51,888
No. That doesn't
give me enough room.

484
00:24:51,888 --> 00:24:54,888
There.

485
00:24:51,888 --> 00:24:54,157
All right, there.

486
00:24:54,157 --> 00:24:57,028
But I can barely
lie flat like that.

487
00:24:58,028 --> 00:24:59,763
We're saying there, okay.

488
00:24:59,763 --> 00:25:03,334
I'm going to do
a Claudette Colbert,

489
00:25:03,334 --> 00:25:07,306
Clark Gable, wall of Jericho

490
00:25:08,306 --> 00:25:09,273
with your friends here.

491
00:25:10,273 --> 00:25:12,609
(LAUGHING)

492
00:25:12,609 --> 00:25:14,679
I haven't got much room.

493
00:25:14,679 --> 00:25:16,679
You've got a foot!

494
00:25:14,679 --> 00:25:16,846
(LAUGHING)

495
00:25:16,846 --> 00:25:18,117
You've got a foot.
I have nothing.

496
00:25:21,117 --> 00:25:23,328
I've nothing.
There's nothing here.

497
00:25:31,328 --> 00:25:33,113
(ELEVATOR DOOR OPENS)

498
00:25:49,113 --> 00:25:51,184
I'm going to be in Paris
for a while.

499
00:25:54,184 --> 00:25:55,922
Okay.

500
00:25:57,922 --> 00:25:59,230
See you soon.

501
00:26:07,230 --> 00:26:08,638
(ELEVATOR DOOR CLOSES)

502
00:26:14,638 --> 00:26:16,707
JULIE:<i> "My dear Julie.</i>

503
00:26:16,707 --> 00:26:18,242
<i> "Just a letter of thanks.</i>

504
00:26:19,242 --> 00:26:20,411
<i> "You see,
 I've almost forgotten</i>

505
00:26:20,411 --> 00:26:22,847
<i> "what happened in December.</i>

506
00:26:23,847 --> 00:26:26,651
<i>"I may have been born in 1980,</i>

507
00:26:26,651 --> 00:26:29,953
<i> "and that was the year
 I first fell in love.</i>

508
00:26:29,953 --> 00:26:32,891
<i> "And I have wondered
 if that were possible.</i>

509
00:26:33,891 --> 00:26:35,727
<i> "I have gained so much
 to thank you for.</i>

510
00:26:36,727 --> 00:26:38,162
<i> "Inexpressible, though,</i>

511
00:26:38,162 --> 00:26:40,932
<i> "this thing
 of delight and trust.</i>

512
00:26:41,932 --> 00:26:44,868
<i> "Most importantly
 and at the center</i>

513
00:26:44,868 --> 00:26:47,137
<i> "is that I am mainly
 thanking you</i>

514
00:26:47,137 --> 00:26:48,940
<i> "for my love for you.</i>

515
00:26:49,940 --> 00:26:52,076
<i> "Ergo sum.</i>

516
00:26:52,076 --> 00:26:54,346
<i> "A grateful
 and loving Anthony."</i>

517
00:26:55,346 --> 00:26:57,478
(ALTERNATIVE MUSIC PLAYING)

518
00:27:27,478 --> 00:27:29,413
Is this my book?

519
00:27:29,413 --> 00:27:32,413
Oh, yeah. Sorry.

520
00:27:29,413 --> 00:27:32,920
You... You keep it.

521
00:27:35,920 --> 00:27:38,090
All right. Cheers.

522
00:27:40,090 --> 00:27:42,090
All right.

523
00:27:40,090 --> 00:27:42,292
Do you want a hand?

524
00:27:42,292 --> 00:27:43,760
FRANKIE: Yeah,
I'd better get downstairs.

525
00:27:43,760 --> 00:27:45,097
Jack's got
the van, ain't he?

526
00:27:47,097 --> 00:27:49,097
I might torch this.

527
00:27:47,097 --> 00:27:49,834
(JULIE LAUGHS)

528
00:27:49,834 --> 00:27:52,834
You give my love to Tracy.

529
00:27:49,834 --> 00:27:52,303
Yeah, I will.

530
00:27:52,303 --> 00:27:53,872
Yeah.

531
00:27:54,872 --> 00:27:56,872
Love you, Frank.

532
00:27:54,872 --> 00:27:56,208
Love you, too.

533
00:27:57,208 --> 00:27:59,208
Have fun.

534
00:27:57,208 --> 00:27:59,076
I will.

535
00:28:00,076 --> 00:28:01,076
See you on the flip side.

536
00:28:00,076 --> 00:28:01,815
(CHUCKLES)

537
00:28:04,815 --> 00:28:05,016
(ELEVATOR DOOR OPENS)

538
00:28:06,016 --> 00:28:07,016
FRANKIE: Ta-ta.

539
00:28:06,016 --> 00:28:07,817
Bye.

540
00:28:07,817 --> 00:28:09,454
(ELEVATOR DOOR CLOSES)

541
00:28:11,454 --> 00:28:14,491
The, uh...
The thing that struck me

542
00:28:14,491 --> 00:28:17,494
about the main character,
Tony, in my story,

543
00:28:17,494 --> 00:28:20,897
is that he is being forced
to rate, to be raised,

544
00:28:20,897 --> 00:28:26,871
and to come to terms
with the incredible struggles

545
00:28:26,871 --> 00:28:29,173
that his family is
going through at that time,

546
00:28:29,173 --> 00:28:32,876
and all his peers
at school as well.

547
00:28:32,876 --> 00:28:37,147
And this very cruel,

548
00:28:37,147 --> 00:28:42,153
very raw, you know... Um...

549
00:28:42,153 --> 00:28:46,190
Sorry, I'm not expressing
myself very well. Um...

550
00:28:46,190 --> 00:28:48,259
You know, being forced
to come to terms

551
00:28:48,259 --> 00:28:50,227
with something so harsh

552
00:28:50,227 --> 00:28:52,395
for someone that's so young.

553
00:28:52,395 --> 00:28:53,395
Very vulnerable.

554
00:28:52,395 --> 00:28:53,998
Right.

555
00:28:53,998 --> 00:28:56,866
And yet, you're wanting
to make a film

556
00:28:56,866 --> 00:29:00,837
about an experience that's
very different from yours.

557
00:29:00,837 --> 00:29:03,374
I mean, you could argue
that really

558
00:29:03,374 --> 00:29:04,009
it would be
much better for you

559
00:29:05,009 --> 00:29:06,876
to work
from your own experience,

560
00:29:06,876 --> 00:29:09,145
particularly
at an early stage.

561
00:29:09,145 --> 00:29:12,316
I mean, what makes you
want to leave

562
00:29:12,316 --> 00:29:14,852
your own experience
so radically

563
00:29:14,852 --> 00:29:16,854
and enter into this
very different world?

564
00:29:16,854 --> 00:29:18,989
I mean, it's suggested
that you almost have

565
00:29:18,989 --> 00:29:21,959
a kind of moral,
sort of political aim?

566
00:29:21,959 --> 00:29:24,959
I mean, can you just...

567
00:29:21,959 --> 00:29:24,194
JULIE: Very moral, to me.

568
00:29:24,194 --> 00:29:25,962
...talk about that,
perhaps, for a moment?

569
00:29:25,962 --> 00:29:27,498
Yes, uh...

570
00:29:27,498 --> 00:29:31,001
I feel as though I want to
not live my whole life

571
00:29:32,001 --> 00:29:37,340
in this very privileged
part of the world I come from,

572
00:29:37,340 --> 00:29:39,309
uh, part of the country.

573
00:29:39,309 --> 00:29:43,213
And I want to be really aware

574
00:29:43,213 --> 00:29:45,382
about what's going on
around me,

575
00:29:45,382 --> 00:29:51,188
with people, and community,
and politically as well.

576
00:29:51,188 --> 00:29:55,500
Um, I don't want to be
in that bubble my entire life.

577
00:30:03,500 --> 00:30:06,500
Where's the wall?

578
00:30:03,500 --> 00:30:06,438
The wall is...

579
00:30:07,438 --> 00:30:09,974
The wall was.
It is no more.

580
00:30:10,974 --> 00:30:13,974
We dismantled it.

581
00:30:10,974 --> 00:30:13,644
Ah.

582
00:30:13,644 --> 00:30:15,980
There was a whole ceremony.
You missed it.

583
00:30:15,980 --> 00:30:18,980
I'm sorry I missed that.

584
00:30:15,980 --> 00:30:18,917
We all felt very snubbed.

585
00:30:20,917 --> 00:30:22,917
Is this for me?

586
00:30:20,917 --> 00:30:22,020
Mmm-hmm.

587
00:30:24,020 --> 00:30:26,020
Thank you.

588
00:30:24,020 --> 00:30:26,660
From Paris.

589
00:30:29,660 --> 00:30:31,429
Put it on.

590
00:30:32,429 --> 00:30:34,305
(OPERA MUSIC PLAYING)

591
00:30:41,305 --> 00:30:43,573
(MUSIC CONTINUES)

592
00:31:49,573 --> 00:31:51,679
(ANTHONY MOANING)

593
00:31:55,679 --> 00:31:57,183
ANTHONY:
You're a dark horse, Julie.

594
00:32:00,183 --> 00:32:01,388
(MOANS)

595
00:32:05,388 --> 00:32:07,660
I love pale skin.

596
00:32:09,660 --> 00:32:11,996
Why? Why?

597
00:32:11,996 --> 00:32:14,566
'Cause everyone's
getting a tan nowadays.

598
00:32:15,566 --> 00:32:18,566
But I burn.

599
00:32:15,566 --> 00:32:18,234
Good.

600
00:32:18,234 --> 00:32:19,570
(CHUCKLES)

601
00:32:20,570 --> 00:32:22,342
We'll keep you
out the sun.

602
00:32:25,342 --> 00:32:26,030
I like freckles.

603
00:32:47,030 --> 00:32:48,798
Did you hurt yourself?

604
00:32:48,798 --> 00:32:50,536
No, I don't know
what that is.

605
00:32:52,536 --> 00:32:54,203
It looks really sore.

606
00:32:54,203 --> 00:32:55,407
It is a bit sore.

607
00:32:57,407 --> 00:32:58,642
Okay.

608
00:32:58,642 --> 00:32:59,377
What do you think
I should do?

609
00:33:01,377 --> 00:33:02,748
I think you should

610
00:33:04,748 --> 00:33:07,384
just leave it

611
00:33:08,384 --> 00:33:10,119
and let it go away.

612
00:33:10,119 --> 00:33:11,577
(OPERA MUSIC PLAYING)

613
00:34:07,577 --> 00:34:09,577
ANTHONY: I'm going out.

614
00:34:07,577 --> 00:34:09,681
Okay.

615
00:34:10,681 --> 00:34:12,548
ANTHONY: I'll be back later.

616
00:34:12,548 --> 00:34:14,548
See you later.

617
00:34:12,548 --> 00:34:14,284
ANTHONY: What?

618
00:34:14,284 --> 00:34:15,628
See you later.

619
00:34:24,628 --> 00:34:27,297
Can you lend me
a couple of quid?

620
00:34:27,297 --> 00:34:29,297
Yeah, sure.

621
00:34:27,297 --> 00:34:29,469
Thank you.

622
00:34:32,469 --> 00:34:35,469
How much?

623
00:34:32,469 --> 00:34:35,739
Uh...

624
00:34:36,739 --> 00:34:38,275
Six.

625
00:34:38,275 --> 00:34:40,344
Have you got ten?
Give me ten.

626
00:34:40,344 --> 00:34:41,547
Won't need ten,
but, uh,

627
00:34:43,547 --> 00:34:45,523
just in case.

628
00:34:53,523 --> 00:34:55,523
Bye.

629
00:34:53,523 --> 00:34:55,505
Bye.

630
00:35:09,505 --> 00:35:11,485
(CAR HORN HONKING)

631
00:35:21,485 --> 00:35:23,253
I thought we'd put
Anthony down the end.

632
00:35:24,253 --> 00:35:26,222
Be more comfortable.

633
00:35:26,222 --> 00:35:28,693
It's not that kind of
relationship anyway, is it?

634
00:35:29,693 --> 00:35:31,661
(DOG BARKS)

635
00:35:31,661 --> 00:35:33,898
He's got
his own bathroom, and...

636
00:35:35,898 --> 00:35:39,971
He'd be
quite comfy there.

637
00:35:40,971 --> 00:35:43,608
Yes. That feels good.

638
00:35:45,608 --> 00:35:47,608
Rosie.

639
00:35:45,608 --> 00:35:47,244
(DOG BARKS)

640
00:35:48,244 --> 00:35:52,748
Mummy, can I borrow
some money, please?

641
00:35:52,748 --> 00:35:54,748
More money?

642
00:35:52,748 --> 00:35:54,550
Yes.

643
00:35:54,550 --> 00:35:55,918
Oh.

644
00:35:55,918 --> 00:35:57,688
(STAMMERS)
It's for college, you know.

645
00:35:57,688 --> 00:36:00,688
It's for cameras and...

646
00:35:57,688 --> 00:36:00,489
It's not long since the last.

647
00:36:00,489 --> 00:36:02,489
I know.

648
00:36:00,489 --> 00:36:02,391
Hmm.

649
00:36:02,391 --> 00:36:03,860
And I know I haven't
paid that back yet.

650
00:36:03,860 --> 00:36:06,860
How much this time?

651
00:36:03,860 --> 00:36:06,264
£200.

652
00:36:08,264 --> 00:36:09,668
Oh, another one.

653
00:36:11,668 --> 00:36:14,668
All right.

654
00:36:11,668 --> 00:36:14,570
It's just for equipment.

655
00:36:14,570 --> 00:36:17,570
For film school, you know.

656
00:36:14,570 --> 00:36:17,340
Ah. Ah.

657
00:36:17,340 --> 00:36:18,742
Are you
keeping a tally?

658
00:36:18,742 --> 00:36:20,344
Yeah, of course.

659
00:36:20,344 --> 00:36:23,579
All right.
All right,
well, yeah.

660
00:36:23,579 --> 00:36:25,579
I will pay you back.

661
00:36:23,579 --> 00:36:25,351
All right. All right.

662
00:36:28,351 --> 00:36:29,521
(DOG WHINING)

663
00:36:32,521 --> 00:36:35,521
(DOG BARKING)

664
00:36:32,521 --> 00:36:35,324
ROSALIND: Rosie! Rose!

665
00:36:35,324 --> 00:36:38,628
Well, we didn't really mix
with King's much, but...

666
00:36:38,628 --> 00:36:41,632
I think all the colleges
kept themselves to themselves.

667
00:36:41,632 --> 00:36:42,000
In my day.
They probably don't...

668
00:36:43,000 --> 00:36:44,000
Didn't when you were there.

669
00:36:43,000 --> 00:36:44,367
Yeah, no, no.

670
00:36:44,367 --> 00:36:45,369
Absolutely, yes.

671
00:36:46,369 --> 00:36:48,271
I studied history of art

672
00:36:48,271 --> 00:36:49,739
and then continued
at the Courtauld.

673
00:36:49,739 --> 00:36:51,340
It was a funny time then,
'cause it was just

674
00:36:51,340 --> 00:36:53,340
after the war, so...

675
00:36:51,340 --> 00:36:53,476
Uh-huh.

676
00:36:53,476 --> 00:36:56,413
I suppose it was
rather different in your day.

677
00:36:56,413 --> 00:36:57,780
Hmm... Well,
I don't know.

678
00:36:57,780 --> 00:36:58,016
ROSALIND: I think we're off.
I think we're off.

679
00:36:59,016 --> 00:37:00,583
We're ready for lunch.
Come on through.

680
00:37:00,583 --> 00:37:02,583
Hmm. Jolly good.

681
00:37:00,583 --> 00:37:02,786
ROSALIND: Do come through.

682
00:37:02,786 --> 00:37:03,987
Julie, darling, can you just

683
00:37:03,987 --> 00:37:05,987
come and help me?

684
00:37:03,987 --> 00:37:05,056
Yes.

685
00:37:07,056 --> 00:37:09,693
Starting on the wine,
I suppose.

686
00:37:09,693 --> 00:37:11,762
WILLIAM: Hopefully.
Yep, I think we've got

687
00:37:11,762 --> 00:37:13,931
a nice bottle
of something there.

688
00:37:14,931 --> 00:37:16,931
ANTHONY: Through here?

689
00:37:14,931 --> 00:37:16,032
No, straight on.

690
00:37:16,032 --> 00:37:17,567
Straight ahead.

691
00:37:17,567 --> 00:37:19,068
Got to get over
the barrier, though.

692
00:37:19,068 --> 00:37:20,536
It's a rather
curious tradition

693
00:37:20,536 --> 00:37:21,838
we have in this house.

694
00:37:21,838 --> 00:37:23,539
It's meant
to keep the dogs out,

695
00:37:23,539 --> 00:37:25,315
but actually it keeps
people out.

696
00:37:32,315 --> 00:37:34,818
I think a lot of them
are young men

697
00:37:34,818 --> 00:37:37,387
who were dragged
from their beds

698
00:37:37,387 --> 00:37:38,655
at the crack of dawn,

699
00:37:38,655 --> 00:37:42,358
with little
or no hard evidence

700
00:37:42,358 --> 00:37:43,994
to say that they were

701
00:37:44,994 --> 00:37:47,365
what we would consider

702
00:37:49,365 --> 00:37:50,768
criminals.

703
00:37:51,768 --> 00:37:54,371
I don't think
granting these men

704
00:37:54,371 --> 00:37:58,342
political status
is such a big deal.

705
00:37:58,342 --> 00:38:03,780
We don't know that
they're necessarily affiliated

706
00:38:03,780 --> 00:38:06,682
with the exact
same organization

707
00:38:06,682 --> 00:38:10,920
who put bombs under cars
and shoot prison wardens

708
00:38:10,920 --> 00:38:14,490
while they're going about
their everyday lives.

709
00:38:14,490 --> 00:38:16,126
It's terribly complicated.

710
00:38:17,126 --> 00:38:18,661
WILLIAM: Complicated?

711
00:38:18,661 --> 00:38:20,996
But we've got to
protect society, haven't we?

712
00:38:20,996 --> 00:38:24,601
But they're just as much part
of society as anybody else,

713
00:38:24,601 --> 00:38:26,135
that's what they would say.

714
00:38:26,135 --> 00:38:27,904
And, uh, do you...

715
00:38:27,904 --> 00:38:30,507
WILLIAM: Well, I haven't set
any bombs recently. Have you?

716
00:38:30,507 --> 00:38:32,809
No, but you haven't
necessarily felt the need to,

717
00:38:32,809 --> 00:38:36,413
'cause you've felt that
you have a political voice.

718
00:38:36,413 --> 00:38:37,681
ANTHONY: Mmm-hmm.

719
00:38:38,681 --> 00:38:41,786
Or, or am I wrong
about that?

720
00:38:42,786 --> 00:38:44,420
I think you're
wrong, really,

721
00:38:44,420 --> 00:38:45,956
if you don't mind
my saying so.

722
00:38:45,956 --> 00:38:48,893
I think...
I'm amazed to hear
you say this, but, um...

723
00:38:49,893 --> 00:38:51,728
It's refreshing
to hear this.

724
00:38:51,728 --> 00:38:52,996
WILLIAM: I'm quite sure

725
00:38:52,996 --> 00:38:55,565
they're not
all guilty as charged.

726
00:38:55,565 --> 00:38:58,001
But I'm sure
the majority of them are.

727
00:38:59,001 --> 00:39:00,536
Some of them
are proven guilty,

728
00:39:00,536 --> 00:39:02,541
some are not. Um...

729
00:39:04,541 --> 00:39:07,010
But can we risk
having bombs,
pipe bombs,

730
00:39:08,010 --> 00:39:09,679
all sorts of foul things

731
00:39:09,679 --> 00:39:12,416
that are going on
all over Northern Ireland?

732
00:39:12,416 --> 00:39:14,416
Can we allow that?

733
00:39:12,416 --> 00:39:14,117
ANTHONY: I'm not
an apologist.

734
00:39:14,117 --> 00:39:15,619
Darling.

735
00:39:15,619 --> 00:39:16,887
WILLIAM: And if we lock up
a few innocents

736
00:39:16,887 --> 00:39:19,889
in the process,
well, that's part of it.

737
00:39:19,889 --> 00:39:21,889
I'm not an apologist...

738
00:39:19,889 --> 00:39:21,559
No, thank you, darling.

739
00:39:23,559 --> 00:39:26,199
...for violence
on either side.

740
00:39:29,199 --> 00:39:30,202
And it is on both.

741
00:39:32,202 --> 00:39:34,637
WILLIAM: And what, is that
a Foreign Office view,

742
00:39:34,637 --> 00:39:36,039
or is that your view?

743
00:39:36,039 --> 00:39:38,208
Probably not, no.
That's my view.

744
00:39:38,208 --> 00:39:40,510
WILLIAM: That looks rather
like my cap you're wearing.

745
00:39:40,510 --> 00:39:42,510
JULIE: It is your cap.

746
00:39:40,510 --> 00:39:42,679
I thought it was.

747
00:39:42,679 --> 00:39:44,514
It looks better
on me, I think.

748
00:39:44,514 --> 00:39:45,748
Yeah. I want that back.

749
00:39:45,748 --> 00:39:46,516
ROSALIND: You might lose that.

750
00:39:47,516 --> 00:39:49,088
(DOG BARKING)

751
00:39:52,088 --> 00:39:53,626
WILLIAM: Dog's all right.

752
00:39:56,626 --> 00:39:58,025
(INDISTINCT CONVERSATION)

753
00:40:30,025 --> 00:40:31,630
ROSALIND: (HIGH-PITCHED VOICE)
Rosie! Come!

754
00:40:33,630 --> 00:40:34,630
Dora!

755
00:40:33,630 --> 00:40:34,199
JULIE: Dora!

756
00:40:36,199 --> 00:40:38,807
ROSALIND: Rosie! Come on!

757
00:40:44,807 --> 00:40:46,141
JULIE: My godfather
gave it to me.

758
00:40:46,141 --> 00:40:47,510
ANTHONY: Little swallow.

759
00:40:47,510 --> 00:40:48,510
JULIE: Yeah.

760
00:40:47,510 --> 00:40:48,978
It's charming.

761
00:40:48,978 --> 00:40:51,715
JULIE: Thank you. I never...
I never wear it.

762
00:40:52,715 --> 00:40:55,186
But it's time for it to...

763
00:40:56,186 --> 00:40:57,221
Its first flight.

764
00:40:58,221 --> 00:40:59,228
(CHUCKLES)

765
00:41:05,228 --> 00:41:06,795
ANTHONY: Yeah,
it looks good there.

766
00:41:06,795 --> 00:41:08,838
JULIE: Hmm? Okay.

767
00:41:15,838 --> 00:41:19,909
It's the ultimate form,
because it's maximum cinema.

768
00:41:19,909 --> 00:41:23,014
It's movement, music,
energy, color.

769
00:41:25,014 --> 00:41:27,918
Everything
that film should be.

770
00:41:27,918 --> 00:41:31,054
And there's never been a good
musical made in Britain,

771
00:41:31,054 --> 00:41:32,322
I don't think.

772
00:41:32,322 --> 00:41:34,925
I mean, there's been
some Cliff Richard.

773
00:41:34,925 --> 00:41:36,925
Mmm-hmm.

774
00:41:34,925 --> 00:41:36,559
PATRICK: You know,

775
00:41:36,559 --> 00:41:38,028
<i> Knees Up Mother Brown,</i>
whatever, but, you know,

776
00:41:39,028 --> 00:41:41,097
for a country
that has the Stones,

777
00:41:41,097 --> 00:41:42,965
The Kinks, Small Faces,

778
00:41:42,965 --> 00:41:47,603
for there not to be
a good musical here is just...

779
00:41:47,603 --> 00:41:49,603
It's almost impressive.

780
00:41:47,603 --> 00:41:49,106
Mmm. I'd say.

781
00:41:50,106 --> 00:41:51,273
ANTHONY: Julie met a load of

782
00:41:51,273 --> 00:41:53,742
your old Raynham lot
the other day.

783
00:41:53,742 --> 00:41:55,742
LYDIA: Mmm?

784
00:41:53,742 --> 00:41:55,277
PATRICK: Mmm.

785
00:41:55,277 --> 00:41:58,213
ANTHONY: Sounded rather
a humorless bunch.

786
00:41:58,213 --> 00:42:00,884
I don't know if you'd have
known any of them.

787
00:42:00,884 --> 00:42:02,987
Do you remember their names?

788
00:42:03,987 --> 00:42:06,222
No, I can't, I'm afraid.
I was so nervous.

789
00:42:06,222 --> 00:42:09,358
Well, it's only confidence

790
00:42:09,358 --> 00:42:12,161
because the whole thing
is a con.

791
00:42:12,161 --> 00:42:13,829
JULIE: Hmm.

792
00:42:13,829 --> 00:42:15,831
And they're the biggest
con artists out there

793
00:42:15,831 --> 00:42:17,601
who are in film school.

794
00:42:17,601 --> 00:42:22,137
I just used it as a kind of
supply center, really.

795
00:42:22,137 --> 00:42:24,074
ANTHONY: Are you glad
you went at all?

796
00:42:24,074 --> 00:42:25,809
PATRICK: It's the cheapest

797
00:42:25,809 --> 00:42:28,744
camera-hire place
in the world.

798
00:42:28,744 --> 00:42:30,614
I mean, they don't lock
the store cupboard.

799
00:42:30,614 --> 00:42:33,351
You go in there,
get the camera,

800
00:42:34,351 --> 00:42:38,355
and, you know,
I made two features

801
00:42:38,355 --> 00:42:42,157
while I was there
for, I mean, no money.

802
00:42:42,157 --> 00:42:44,362
They don't check
the stock, really.

803
00:42:45,362 --> 00:42:47,731
Couple of trims.
I mean, it's great.

804
00:42:47,731 --> 00:42:49,231
You have to listen
to a lot of people

805
00:42:49,231 --> 00:42:51,268
who think they
know about film

806
00:42:52,268 --> 00:42:53,769
telling you
how to make a film.

807
00:42:53,769 --> 00:42:55,371
It's like telling someone

808
00:42:55,371 --> 00:42:58,974
how to breathe
or how to think or...

809
00:42:58,974 --> 00:43:00,974
ANTHONY: Yeah.

810
00:42:58,974 --> 00:43:00,844
It's ridiculous.

811
00:43:00,844 --> 00:43:02,978
And there are no rules.

812
00:43:02,978 --> 00:43:05,114
I mean, you know
the Tolstoy definition of art?

813
00:43:05,114 --> 00:43:06,818
Mmm.

814
00:43:08,818 --> 00:43:11,086
Well, you just have a feeling,

815
00:43:11,086 --> 00:43:12,422
and by means of external signs

816
00:43:12,422 --> 00:43:14,025
you communicate it
to someone else.

817
00:43:16,025 --> 00:43:17,994
That's it.

818
00:43:17,994 --> 00:43:20,896
ANTHONY: So, no reason
to feel intimidated.

819
00:43:20,896 --> 00:43:22,798
I mean, unless you don't
have feelings,

820
00:43:22,798 --> 00:43:24,800
which doesn't seem
to be the case.

821
00:43:24,800 --> 00:43:28,938
I don't see why
you would be intimidated.

822
00:43:28,938 --> 00:43:31,173
Well, people can feel
intimidated.

823
00:43:31,173 --> 00:43:32,275
I don't think that's...

824
00:43:32,275 --> 00:43:33,876
Yeah, I mean,
they can, but...

825
00:43:33,876 --> 00:43:34,911
Perfectly normal.
(MUMBLES INDISTINCTLY)

826
00:43:34,911 --> 00:43:37,146
Not of people who teach.

827
00:43:37,146 --> 00:43:38,347
ANTHONY:
This has got rather warm.

828
00:43:38,347 --> 00:43:39,748
I'm gonna switch it round.

829
00:43:39,748 --> 00:43:41,150
"Those who can't."

830
00:43:41,150 --> 00:43:44,253
Can you swap the warm wine's
heat into this?

831
00:43:44,253 --> 00:43:47,253
ANTHONY: Shush.

832
00:43:44,253 --> 00:43:47,157
PATRICK: Thank you.

833
00:43:47,157 --> 00:43:49,793
Thank you for your advice.
It's really...

834
00:43:49,793 --> 00:43:51,793
It's really helpful.

835
00:43:49,793 --> 00:43:51,760
LYDIA: Mmm.

836
00:43:51,760 --> 00:43:53,262
You don't seem druggy to me.

837
00:43:53,262 --> 00:43:54,963
No, I'm not.
No, I'm not.

838
00:43:54,963 --> 00:43:56,963
Interesting.

839
00:43:54,963 --> 00:43:56,231
LYDIA: Mmm.

840
00:43:56,231 --> 00:44:00,838
So, I'm trying
to work out

841
00:44:01,838 --> 00:44:05,813
where you two
tessellate here.

842
00:44:09,813 --> 00:44:12,016
I'm not good
with euphemism, so...

843
00:44:13,016 --> 00:44:14,719
Sorry, I don't understand.

844
00:44:15,719 --> 00:44:19,889
Okay, so habitual heroin user,

845
00:44:19,889 --> 00:44:22,889
trainee Rotarian...

846
00:44:19,889 --> 00:44:22,460
(LYDIA CHUCKLES)

847
00:44:23,460 --> 00:44:26,364
Which is a good look.
I mean it nicely.

848
00:44:28,364 --> 00:44:32,842
How? What? Why? When?

849
00:44:38,842 --> 00:44:40,244
Sorry, I don't...

850
00:44:42,244 --> 00:44:44,244
You don't even dabble?

851
00:44:42,244 --> 00:44:44,380
No.

852
00:44:44,380 --> 00:44:47,282
Okay. I mean, I don't.

853
00:44:47,282 --> 00:44:49,485
I feel it's very
mainstream behavior.

854
00:44:49,485 --> 00:44:51,222
I've said to him...

855
00:44:53,222 --> 00:44:54,222
It's mainstream.

856
00:44:53,222 --> 00:44:54,525
(SCOFFS)

857
00:44:56,525 --> 00:44:58,295
I actually think, you know...

858
00:44:59,295 --> 00:45:02,498
I mean, it was fine
in the '40s, but...

859
00:45:02,498 --> 00:45:05,498
ANTHONY: All okay?

860
00:45:02,498 --> 00:45:05,135
LYDIA: Great.

861
00:45:05,135 --> 00:45:08,304
We are having a charming time.

862
00:45:08,304 --> 00:45:10,304
ANTHONY: Good.

863
00:45:08,304 --> 00:45:10,307
PATRICK: I say.

864
00:45:12,307 --> 00:45:13,010
If only you could top up
these olives,

865
00:45:14,010 --> 00:45:15,945
I think we might be able to

866
00:45:15,945 --> 00:45:17,380
get through
the rest of the meal.

867
00:45:51,380 --> 00:45:55,451
This is a scene...
A rehearsal scene.

868
00:45:55,451 --> 00:45:57,452
This is the first
rehearsal he had

869
00:45:57,452 --> 00:46:00,088
with this bunch of
young musicians

870
00:46:00,088 --> 00:46:04,996
that he was going to create
a new band with.

871
00:46:06,996 --> 00:46:10,900
And there he is.
He's quite old.

872
00:46:10,900 --> 00:46:12,534
You can see that they
look a bit nervous,

873
00:46:12,534 --> 00:46:14,371
a bit like you, I think.

874
00:46:16,371 --> 00:46:22,077
Listening to the master
tell them the facts of life.

875
00:46:22,077 --> 00:46:27,184
And also saying
how much it mattered to him,

876
00:46:28,184 --> 00:46:30,186
playing this music.

877
00:46:30,186 --> 00:46:33,889
So it's very parallel,
in my mind,

878
00:46:33,889 --> 00:46:37,860
to what you are beginning
to go through now.

879
00:46:37,860 --> 00:46:39,221
(UPBEAT MUSIC PLAYING)

880
00:47:05,221 --> 00:47:07,523
Their son's getting married,

881
00:47:08,523 --> 00:47:12,496
and they can't decide whether
they like the girl or not.

882
00:47:13,496 --> 00:47:15,164
ANTHONY: Mmm.

883
00:47:15,164 --> 00:47:17,164
And he's a doctor.

884
00:47:15,164 --> 00:47:17,034
Mmm-hmm.

885
00:47:19,034 --> 00:47:20,675
'Cause he's got good hands.

886
00:47:26,675 --> 00:47:29,949
And she's a schoolteacher.

887
00:47:32,949 --> 00:47:35,251
Does she have secrets?

888
00:47:35,251 --> 00:47:37,251
Of course she does.

889
00:47:35,251 --> 00:47:37,355
Of course.

890
00:47:39,355 --> 00:47:40,125
Does he?

891
00:47:42,125 --> 00:47:43,360
No.

892
00:47:44,360 --> 00:47:45,704
ANTHONY: Oh.

893
00:47:54,704 --> 00:47:56,539
How would you feel
about going to Venice?

894
00:47:57,539 --> 00:47:59,539
Venice?

895
00:47:57,539 --> 00:47:59,342
Mmm-hmm.

896
00:48:00,342 --> 00:48:01,978
I'd love to go.

897
00:48:01,978 --> 00:48:04,978
I would love that.

898
00:48:01,978 --> 00:48:04,047
Good.

899
00:48:04,047 --> 00:48:05,047
Thank you.

900
00:48:04,047 --> 00:48:05,518
Thank you.

901
00:48:09,518 --> 00:48:11,353
Have you been before?

902
00:48:11,353 --> 00:48:13,389
Yes. Three times.

903
00:48:13,389 --> 00:48:15,389
Three times?

904
00:48:13,389 --> 00:48:15,391
Once in summer.

905
00:48:15,391 --> 00:48:17,391
Twice in winter.

906
00:48:15,391 --> 00:48:17,494
Mmm-hmm.

907
00:48:18,494 --> 00:48:21,563
Why did you go?
Did you go by yourself?

908
00:48:21,563 --> 00:48:25,170
Uh, no, I went with,
uh, Desiree.

909
00:48:28,170 --> 00:48:31,675
She went mad with jealousy
and jumped in a canal.

910
00:48:33,675 --> 00:48:36,045
Never saw her again.

911
00:48:36,045 --> 00:48:39,715
At least, that was what
her suicide note implied.

912
00:48:39,715 --> 00:48:41,085
I think she ran off
with a gondolier.

913
00:48:43,085 --> 00:48:44,726
No wonder.

914
00:48:49,726 --> 00:48:51,628
So, three girlfriends.

915
00:48:52,628 --> 00:48:54,628
Yes, all called Desiree.

916
00:48:52,628 --> 00:48:54,530
Mmm-hmm.

917
00:48:55,530 --> 00:48:57,735
Strange, that.

918
00:48:59,735 --> 00:49:02,038
JULIE: What were their names?

919
00:49:02,038 --> 00:49:03,240
ANTHONY: Miriam,

920
00:49:05,240 --> 00:49:06,610
Caroline

921
00:49:07,610 --> 00:49:09,144
and Angela.

922
00:49:09,144 --> 00:49:11,144
Angela.

923
00:49:09,144 --> 00:49:11,414
Mmm.

924
00:49:12,414 --> 00:49:14,282
Angela sang jazz.

925
00:49:14,282 --> 00:49:16,286
They sound unbearable.

926
00:49:18,286 --> 00:49:20,556
(TEARS CHECK)

927
00:49:20,556 --> 00:49:23,358
I suppose they were
frightfully beautiful,

928
00:49:23,358 --> 00:49:26,262
and lots of fun
and rode horses.

929
00:49:26,262 --> 00:49:28,498
If you don't want to know...

930
00:49:28,498 --> 00:49:30,498
I do want to know

931
00:49:28,498 --> 00:49:30,199
...then don't ask.

932
00:49:30,199 --> 00:49:31,300
I do want to know.

933
00:49:32,300 --> 00:49:34,438
Did Miriam
play the cello?

934
00:49:35,438 --> 00:49:36,606
No.

935
00:49:37,606 --> 00:49:39,108
The violin.

936
00:49:39,108 --> 00:49:41,213
No, she wasn't
at all musical.

937
00:49:44,213 --> 00:49:45,581
She wasn't even pretty,
actually.

938
00:49:46,581 --> 00:49:48,550
That's not true.

939
00:49:48,550 --> 00:49:50,456
Well, she had
other qualities.

940
00:49:53,456 --> 00:49:54,125
Like what?

941
00:49:56,125 --> 00:49:57,659
Darling, I can't
tell you in here.

942
00:49:57,659 --> 00:49:58,128
Thank you.

943
00:50:00,128 --> 00:50:01,798
Excuse me?

944
00:50:02,798 --> 00:50:04,568
I'm just playing, Julie.

945
00:50:06,568 --> 00:50:08,204
Stop torturing yourself.

946
00:50:08,204 --> 00:50:09,338
I'm not tort...

947
00:50:09,338 --> 00:50:10,476
Stop inviting me
to torture you.

948
00:50:13,476 --> 00:50:14,478
Ugh!

949
00:50:15,478 --> 00:50:17,478
Ugh!

950
00:50:15,478 --> 00:50:17,146
Ugh!

951
00:50:17,146 --> 00:50:18,581
That's exactly
how you make me feel

952
00:50:18,581 --> 00:50:20,251
when you're
being like this.

953
00:50:22,251 --> 00:50:23,485
(PLATES CLINKING)

954
00:50:23,485 --> 00:50:24,791
Thank you.

955
00:50:29,791 --> 00:50:31,161
(ROMANTIC MUSIC PLAYING)

956
00:51:05,161 --> 00:51:07,139
JULIE: That is so beautiful.

957
00:51:17,139 --> 00:51:19,858
(CHURCH BELLS TOLLING)

958
00:51:36,858 --> 00:51:38,527
(CHUCKLING)
I'm not trying that.

959
00:51:38,527 --> 00:51:40,295
No, it's way too...

960
00:51:40,295 --> 00:51:41,199
It's too adventurous.

961
00:51:43,199 --> 00:51:44,572
(CHUCKLING SOFTLY)

962
00:51:49,572 --> 00:51:50,574
Are you packed?

963
00:51:52,574 --> 00:51:53,681
'Course.

964
00:51:58,681 --> 00:52:02,318
Liver? I'm not eating...
I'm not...

965
00:52:03,318 --> 00:52:05,925
No, I'm not interested.

966
00:52:08,925 --> 00:52:11,762
(GROANS) No. No, no.
I'm gonna stick with pasta.

967
00:52:12,762 --> 00:52:14,331
Nice, normal pasta.

968
00:52:16,331 --> 00:52:17,601
Mmm, 'course.

969
00:52:18,601 --> 00:52:20,969
Okay, well, um...

970
00:52:20,969 --> 00:52:22,639
Yeah, I'll see you later.

971
00:52:23,639 --> 00:52:25,708
I... I can't wait.

972
00:52:25,708 --> 00:52:28,476
Hitchcock knew this.
I mean, he would change tack.

973
00:52:28,476 --> 00:52:30,346
I mean, if<i> Psycho,</i> you know,

974
00:52:30,346 --> 00:52:32,748
the scene in... In<i> Psycho,</i>
the shower scene,

975
00:52:32,748 --> 00:52:33,748
is very much fragments...

976
00:52:32,748 --> 00:52:33,949
Yeah.

977
00:52:33,949 --> 00:52:35,751
...very much withholding.

978
00:52:35,751 --> 00:52:38,286
But then elsewhere,
he's quite conventional.

979
00:52:38,286 --> 00:52:41,289
So he knows when
to make those adjustments.

980
00:52:41,289 --> 00:52:43,693
Uh, because it is
a process, a growth,

981
00:52:43,693 --> 00:52:46,695
a building
of our sensibilities

982
00:52:46,695 --> 00:52:48,597
and our perceptions,

983
00:52:48,597 --> 00:52:51,467
and we've got to realize that
sometimes we have to change

984
00:52:51,467 --> 00:52:54,302
our approach
as the journey unfolds.

985
00:52:54,302 --> 00:52:57,840
This scene could be related
to that scene in... In<i> Psycho.</i>

986
00:52:57,840 --> 00:52:59,541
So you don't see
the stab wounds.

987
00:52:59,541 --> 00:53:00,775
So you don't see the pain.

988
00:53:00,775 --> 00:53:03,775
STUDENT: Mmm.

989
00:53:00,775 --> 00:53:03,311
You just hear it.

990
00:53:03,311 --> 00:53:04,746
You know, you hear
the scream of the woman.

991
00:53:04,746 --> 00:53:05,746
Yeah.

992
00:53:04,746 --> 00:53:05,815
You hear the conflict.

993
00:53:05,815 --> 00:53:07,815
MAN: Yeah.

994
00:53:05,815 --> 00:53:07,449
So it's quite...

995
00:53:07,449 --> 00:53:08,449
Could be quite like that.

996
00:53:07,449 --> 00:53:08,985
MAN: Yes, of course.

997
00:53:08,985 --> 00:53:10,786
And, of course, as, I think,
you know, the books tell us,

998
00:53:10,786 --> 00:53:12,786
we never do see anything...

999
00:53:10,786 --> 00:53:12,355
Mmm.

1000
00:53:12,355 --> 00:53:13,355
...in that shower scene.

1001
00:53:12,355 --> 00:53:13,755
No, you don't see.

1002
00:53:13,755 --> 00:53:16,391
Although we have all the...
What appear to be

1003
00:53:16,391 --> 00:53:18,628
all the bits and pieces
that we need for the murder,

1004
00:53:18,628 --> 00:53:20,896
but then nothing ever happens,
all we see is the knife.

1005
00:53:20,896 --> 00:53:24,896
You just see the knife.

1006
00:53:20,896 --> 00:53:24,467
The knife and the showerhead.

1007
00:53:24,467 --> 00:53:27,302
And in this case,
possibly, the conflict,

1008
00:53:27,302 --> 00:53:28,971
the noise of the argument,
is the weapon.

1009
00:53:28,971 --> 00:53:31,971
Yes.

1010
00:53:28,971 --> 00:53:31,507
You see the end result,

1011
00:53:31,507 --> 00:53:34,876
which could be,
in<i> Psycho,</i>
her dead body,

1012
00:53:34,876 --> 00:53:36,612
and then,
in this case,

1013
00:53:36,612 --> 00:53:39,525
the two broken siblings
at the end.

1014
00:53:50,525 --> 00:53:51,702
(JULIE GASPS)

1015
00:54:00,702 --> 00:54:01,621
ANTHONY: They've
taken everything.

1016
00:54:18,621 --> 00:54:19,088
(OBJECTS CLATTERING)

1017
00:54:53,088 --> 00:54:54,065
I'm gonna
call the police.

1018
00:55:03,065 --> 00:55:04,076
(ROTARY PHONE DIAL WHIRRING)

1019
00:55:14,076 --> 00:55:16,378
(PHONE RECEIVER SLAMS)

1020
00:55:16,378 --> 00:55:19,378
ANTHONY: Argh! God.

1021
00:55:16,378 --> 00:55:19,384
(SLAMS WALL)

1022
00:55:21,384 --> 00:55:22,385
Fuck!

1023
00:55:23,385 --> 00:55:24,824
(ANTHONY GRUNTS)

1024
00:55:28,824 --> 00:55:30,465
I shouldn't have
fucking done that.

1025
00:55:37,465 --> 00:55:38,561
(SOBBING)

1026
00:56:05,561 --> 00:56:08,664
♪♪<i> How sad Venice can be</i>

1027
00:56:09,664 --> 00:56:12,869
♪♪<i> When you're on your own</i>

1028
00:56:13,869 --> 00:56:17,139
♪♪<i> How sad Venice can be</i>

1029
00:56:18,139 --> 00:56:20,500
♪♪<i> When you're alone♪♪</i>

1030
00:56:44,500 --> 00:56:46,813
(BELL TOLLING)

1031
00:56:58,813 --> 00:57:00,813
ANTHONY: Thank you.

1032
00:56:58,813 --> 00:57:00,998
BELL BOY: You're welcome.

1033
00:57:16,998 --> 00:57:19,869
(BELL BOY SPEAKING ITALIAN)

1034
00:57:19,869 --> 00:57:21,505
JULIE: (IN ENGLISH) Thank you.

1035
00:57:22,505 --> 00:57:24,202
(DOOR OPENS AND CLOSES)

1036
00:57:53,202 --> 00:57:55,744
(ANTHONY CLEARING THROAT)

1037
00:58:02,744 --> 00:58:05,235
(SOBBING QUIETLY)

1038
00:58:26,235 --> 00:58:27,340
ANTHONY: Please tell me
what I've done.

1039
00:58:32,340 --> 00:58:33,279
Please, because...

1040
00:58:37,279 --> 00:58:39,349
This is punishing,

1041
00:58:41,349 --> 00:58:43,987
seeing you like this
and then not knowing why.

1042
00:58:45,987 --> 00:58:47,677
(ORCHESTRAL MUSIC PLAYING)

1043
00:59:09,677 --> 00:59:11,677
(MUSIC STOPS)

1044
00:59:09,677 --> 00:59:11,753
(BATON TAPPING)

1045
00:59:17,753 --> 00:59:20,092
(OPERATIC MUSIC PLAYING)

1046
00:59:23,092 --> 00:59:25,722
(MAN SINGING OPERA)

1047
01:00:26,722 --> 01:00:30,929
I can't go into all this.
It was an emergency.

1048
01:00:34,929 --> 01:00:37,929
What fucking emergency?

1049
01:00:34,929 --> 01:00:37,099
If I hadn't done that

1050
01:00:37,099 --> 01:00:39,967
on that day, I wouldn't
be here now. I...

1051
01:00:39,967 --> 01:00:44,967
That's all I can tell you.

1052
01:00:39,967 --> 01:00:44,106
What's that supposed to mean?

1053
01:00:44,106 --> 01:00:46,307
You can't say stuff
like that and then not...

1054
01:00:46,307 --> 01:00:49,210
I appreciate that there are
some things you can't tell me.

1055
01:00:49,210 --> 01:00:51,947
Well, you know, I appreciate
there's things about me

1056
01:00:51,947 --> 01:00:53,347
that you find unacceptable.

1057
01:00:53,347 --> 01:00:55,451
There's things about you
I find unacceptable.

1058
01:00:55,451 --> 01:00:57,085
There's things
about this conversation

1059
01:00:57,085 --> 01:00:59,085
I find unacceptable.

1060
01:00:57,085 --> 01:00:59,288
The fact that you're a thief.

1061
01:00:59,288 --> 01:01:00,889
We're gonna have
to meet somewhere.

1062
01:01:00,889 --> 01:01:03,126
Anthony, you stole my stuff.
You stole my things.

1063
01:01:05,126 --> 01:01:08,329
Do you understand?
Do you understand that?

1064
01:01:08,329 --> 01:01:10,099
Do you understand
how that would make me feel?

1065
01:01:10,099 --> 01:01:11,967
I didn't think you'd...

1066
01:01:11,967 --> 01:01:15,336
You wouldn't think I...
You didn't think I would mind?

1067
01:01:15,336 --> 01:01:17,336
Is that what you're saying?

1068
01:01:15,336 --> 01:01:17,442
No. No.

1069
01:01:20,442 --> 01:01:23,012
I knew you'd mind.
That's why I didn't tell you.

1070
01:01:25,012 --> 01:01:29,284
I do what I do so that you can
have the life you're having

1071
01:01:29,284 --> 01:01:31,119
and sleep safe at night,

1072
01:01:31,119 --> 01:01:35,159
and there's not a fucking
car bomb on King's Road.

1073
01:01:38,159 --> 01:01:40,061
Let's laugh about it.
Why not?

1074
01:01:40,061 --> 01:01:41,963
(JULIE SCOFFS)

1075
01:01:41,963 --> 01:01:45,469
I can't...
I can't believe you.

1076
01:01:47,469 --> 01:01:49,905
Well, if you
can't believe me,

1077
01:01:49,905 --> 01:01:53,809
why don't you take some time
to get your head around it?

1078
01:01:53,809 --> 01:01:55,777
Because I've got
nothing more to tell you,

1079
01:01:55,777 --> 01:01:57,980
I've got nothing more
to explain,

1080
01:01:57,980 --> 01:02:00,961
and I've got nothing more
to offer to this.

1081
01:02:13,961 --> 01:02:15,532
I'm sorry. I...

1082
01:02:17,532 --> 01:02:20,335
I understand.
I get why you didn't...

1083
01:02:21,335 --> 01:02:23,539
There are some things

1084
01:02:24,539 --> 01:02:28,242
you need to...
you need to not tell me,

1085
01:02:28,242 --> 01:02:30,478
and I understand that.

1086
01:02:30,478 --> 01:02:32,478
Thank you.

1087
01:02:30,478 --> 01:02:32,847
So I'm sorry.

1088
01:02:32,847 --> 01:02:34,315
I don't wanna give you
a hard time.

1089
01:02:34,315 --> 01:02:36,255
I'm sorry. I'm sorry.

1090
01:02:41,255 --> 01:02:42,456
REPORTER: (ON RADIO)<i>
 At the siege</i>

1091
01:02:42,456 --> 01:02:43,992
<i> of the Libyan People's Bureau</i>

1092
01:02:43,992 --> 01:02:45,027
<i> in the West End of London,</i>

1093
01:02:46,027 --> 01:02:48,130
<i> hundreds of armed police have
 been on the alert all night,</i>

1094
01:02:48,130 --> 01:02:49,965
<i> with marksmen
 surrounding the building</i>

1095
01:02:49,965 --> 01:02:51,599
<i> in St James's Square.</i>

1096
01:02:51,599 --> 01:02:53,534
<i> Other police officers
 have installed equipment</i>

1097
01:02:53,534 --> 01:02:55,536
<i> to monitor movements
 inside the bureau</i>

1098
01:02:55,536 --> 01:02:58,907
<i>and contact has been
established with those inside.</i>

1099
01:02:58,907 --> 01:03:00,842
<i> The whole area
 around the square</i>

1100
01:03:00,842 --> 01:03:02,376
<i> has been sealed off.</i>

1101
01:03:02,376 --> 01:03:04,079
REPORTER 2:<i> From here
 they looked like plans</i>

1102
01:03:04,079 --> 01:03:06,414
<i> of the layout
 of the Embassy building.</i>

1103
01:03:06,414 --> 01:03:08,516
<i> In this, the dreaded
 first hour of the siege,</i>

1104
01:03:08,516 --> 01:03:10,918
<i> the talks are going on
 to try to end it.</i>

1105
01:03:10,918 --> 01:03:13,387
<i> And on the rooftops
 of the buildings above me,</i>

1106
01:03:13,387 --> 01:03:15,061
<i> police marksmen are trained
 on the embassy.</i>

1107
01:03:19,061 --> 01:03:21,396
<i> I understand one option
 open to them though</i>

1108
01:03:21,396 --> 01:03:24,077
<i> is to offer the Libyans
 free passage to Heathrow...</i>

1109
01:03:35,077 --> 01:03:36,378
JULIE: This is for work?

1110
01:03:36,378 --> 01:03:37,487
ANTHONY: This is
for the work, yes.

1111
01:03:45,487 --> 01:03:48,322
Have you read the notice
that I put up yesterday

1112
01:03:48,322 --> 01:03:50,358
about the musicians' union,

1113
01:03:50,358 --> 01:03:51,927
the agreement
we've just reached?

1114
01:03:51,927 --> 01:03:53,927
No, no, I haven't.

1115
01:03:51,927 --> 01:03:53,661
No. You should read it.

1116
01:03:53,661 --> 01:03:55,661
Mmm-hmm.

1117
01:03:53,661 --> 01:03:55,530
It's important.

1118
01:03:55,530 --> 01:03:57,932
I mean, it's good for us
to reach an agreement.

1119
01:03:57,932 --> 01:04:00,902
They're a tricky bunch.
But, you know, here we are,

1120
01:04:00,902 --> 01:04:04,902
£25 per musician...

1121
01:04:00,902 --> 01:04:04,072
Mmm-hmm.

1122
01:04:04,072 --> 01:04:06,507
...for a three-hour session.

1123
01:04:06,507 --> 01:04:08,443
If you're using an orchestra,
you're gonna run through

1124
01:04:08,443 --> 01:04:10,411
your budget
very quickly indeed.

1125
01:04:10,411 --> 01:04:12,213
We'll need to talk
about the budget.

1126
01:04:12,213 --> 01:04:15,182
We need to think about
budgets at this school.

1127
01:04:15,182 --> 01:04:18,253
We're not just
loaning equipment out

1128
01:04:18,253 --> 01:04:20,253
on the willy-nilly. Um...

1129
01:04:18,253 --> 01:04:20,592
Mmm-hmm.

1130
01:04:23,592 --> 01:04:25,226
It's quite irregular,
really, to be coming

1131
01:04:25,226 --> 01:04:26,994
and talking
about a project and equipment

1132
01:04:26,994 --> 01:04:28,463
when you haven't even
thought about the budget,

1133
01:04:28,463 --> 01:04:30,599
but then I don't suppose
you really have to think

1134
01:04:30,599 --> 01:04:32,001
about budget
in Knightsbridge, do you?

1135
01:04:34,001 --> 01:04:35,940
How are you getting on?

1136
01:04:37,940 --> 01:04:39,440
ANTHONY: I'm going out
for an hour or two.

1137
01:04:39,440 --> 01:04:41,076
Can you lend me a tenner?

1138
01:04:41,076 --> 01:04:42,117
JULIE: Yeah.

1139
01:04:49,117 --> 01:04:51,117
You staying here?

1140
01:04:49,117 --> 01:04:51,085
Mmm-hmm.

1141
01:04:51,085 --> 01:04:52,659
See you later.

1142
01:04:57,659 --> 01:04:59,001
(DOOR OPENS)

1143
01:05:06,001 --> 01:05:07,483
(ROMANTIC MUSIC PLAYING)

1144
01:05:21,483 --> 01:05:23,518
Does all this make sense?

1145
01:05:23,518 --> 01:05:26,422
Mmm-hmm. Yeah.

1146
01:05:27,422 --> 01:05:30,157
Nothing looks unclear?

1147
01:05:30,157 --> 01:05:31,036
Don't think so.

1148
01:05:41,036 --> 01:05:43,237
I think get her
to do that for real.

1149
01:05:43,237 --> 01:05:46,742
I mean, tangle her up
if necessary.

1150
01:05:46,742 --> 01:05:48,443
Okay.

1151
01:05:48,443 --> 01:05:50,378
You don't want it
to look stagey...

1152
01:05:50,378 --> 01:05:51,579
JULIE: Mmm-hmm.

1153
01:05:51,579 --> 01:05:54,282
...because the whole thing is,

1154
01:05:54,282 --> 01:05:57,724
you know, stagey in intention.

1155
01:06:02,724 --> 01:06:04,226
Did you score today?

1156
01:06:04,226 --> 01:06:07,097
No. Don't ask me that.

1157
01:06:09,097 --> 01:06:10,067
No.

1158
01:06:12,067 --> 01:06:14,702
'Cause I feel like
you're on something right now.

1159
01:06:14,702 --> 01:06:16,373
Well...

1160
01:06:18,373 --> 01:06:20,307
I'm not.

1161
01:06:20,307 --> 01:06:22,307
Well, I think you are.

1162
01:06:20,307 --> 01:06:22,244
Well, I'm not.

1163
01:06:22,244 --> 01:06:23,818
Because you're
not yourself.

1164
01:06:30,818 --> 01:06:32,221
What?

1165
01:06:33,221 --> 01:06:35,221
Well, I mean...

1166
01:06:33,221 --> 01:06:35,757
Don't...

1167
01:06:35,757 --> 01:06:38,393
Don't lie, Anthony.
I know that you're...

1168
01:06:38,393 --> 01:06:40,695
I know you have
a received version

1169
01:06:40,695 --> 01:06:44,699
of who I am supposed to be
at any one time.

1170
01:06:44,699 --> 01:06:46,699
I don't... That's not...

1171
01:06:44,699 --> 01:06:46,601
But nobody has...

1172
01:06:47,601 --> 01:06:49,704
You know?
I have... (SCOFFS)

1173
01:06:50,704 --> 01:06:52,440
You more than anyone
should understand

1174
01:06:52,440 --> 01:06:55,476
that people go through
different emotions

1175
01:06:55,476 --> 01:06:57,211
at different times
of the day,

1176
01:06:57,211 --> 01:07:00,114
and feel different things
and behave in different ways.

1177
01:07:00,114 --> 01:07:01,682
I know that,
but I know you,

1178
01:07:01,682 --> 01:07:06,121
and I know this is not
what you're like sometimes.

1179
01:07:06,121 --> 01:07:07,489
I think you're nervous,

1180
01:07:07,489 --> 01:07:08,757
and I think you're trying
to distract yourself

1181
01:07:08,757 --> 01:07:13,427
from your fear
of the task ahead,

1182
01:07:13,427 --> 01:07:15,764
and I think you
just need to relax

1183
01:07:15,764 --> 01:07:18,365
and make sure
you're prepared...

1184
01:07:18,365 --> 01:07:22,503
I am prepared. I am.
This is... This is preparing.

1185
01:07:22,503 --> 01:07:24,306
Julie, what am I
doing with this?

1186
01:07:24,306 --> 01:07:27,842
Um, just kind of...

1187
01:07:27,842 --> 01:07:29,543
Do a little, um...

1188
01:07:29,543 --> 01:07:31,543
You okay?

1189
01:07:29,543 --> 01:07:31,880
Yep, yep. Um...

1190
01:07:32,880 --> 01:07:34,615
CAMERAMAN: Well, I mean,
it's not in shot.

1191
01:07:34,615 --> 01:07:36,485
Why's she doing
anything with it?

1192
01:07:36,485 --> 01:07:39,485
We're filming the hair.

1193
01:07:36,485 --> 01:07:39,788
Oh, yeah, okay. Um...

1194
01:07:39,788 --> 01:07:41,255
Yeah, let's just
put it on the table

1195
01:07:41,255 --> 01:07:43,257
so you don't
have to hold it.

1196
01:07:43,257 --> 01:07:44,628
True.

1197
01:07:46,628 --> 01:07:49,231
CAMERAMAN: Okay,
let's bring this round a bit

1198
01:07:49,231 --> 01:07:51,132
so it's a bit more
profile-y. Sorry?

1199
01:07:51,132 --> 01:07:52,467
CREWMAN: Can't pull it
any further round.

1200
01:07:52,467 --> 01:07:53,568
CAMERAMAN: No, no,
the other way.

1201
01:07:53,568 --> 01:07:54,172
To the left.
Lamp left.

1202
01:07:57,172 --> 01:07:59,206
WOMAN: I've just put
these clips in, just to hold.

1203
01:07:59,206 --> 01:08:00,742
Perfect. Perfect, yep, yep.

1204
01:08:00,742 --> 01:08:02,210
WOMAN: Hopefully when
we're ready to go here,

1205
01:08:02,210 --> 01:08:03,878
I can hopefully...

1206
01:08:03,878 --> 01:08:05,514
Mmm-hmm. Yeah.

1207
01:08:05,514 --> 01:08:07,481
WOMAN: And have
a tighter curl.

1208
01:08:07,481 --> 01:08:09,481
JULIE: Okay.

1209
01:08:07,481 --> 01:08:09,523
CAMERAMAN: Hold on.

1210
01:08:14,523 --> 01:08:17,759
CREWMAN: This is
sort of all right.

1211
01:08:17,759 --> 01:08:19,363
CAMERAMAN:
No, it's great.

1212
01:08:21,363 --> 01:08:22,363
Ooh, sorry.

1213
01:08:21,363 --> 01:08:22,764
CAMERAMAN: For fuck's sake.

1214
01:08:22,764 --> 01:08:24,201
Sorry, sorry.

1215
01:08:26,201 --> 01:08:27,836
Just be careful.

1216
01:08:27,836 --> 01:08:30,905
WOMAN: It's okay
for a few more takes.

1217
01:08:30,905 --> 01:08:33,641
JULIE: Yeah, yeah,
we only need another,

1218
01:08:33,641 --> 01:08:35,277
I mean,
another one or two takes.

1219
01:08:35,277 --> 01:08:38,680
Do you think? How many takes
do you think we'll do?

1220
01:08:39,680 --> 01:08:41,349
CAMERAMAN: Well, how long
is a piece of string?

1221
01:08:41,349 --> 01:08:42,650
We shoot till
we've got it, right?

1222
01:08:42,650 --> 01:08:44,351
Okay, yeah.

1223
01:08:44,351 --> 01:08:46,188
But we will need to reset
if that's the case.

1224
01:08:46,188 --> 01:08:49,190
Yeah, okay, we'll make sure
that it's... It will stay.

1225
01:08:49,190 --> 01:08:50,190
Yeah.

1226
01:08:49,190 --> 01:08:50,226
You know.

1227
01:08:52,226 --> 01:08:53,896
Are you all right?

1228
01:08:55,896 --> 01:08:57,766
No, I just,
I just, um...

1229
01:08:58,766 --> 01:09:00,936
I'm just longing
to be home.

1230
01:09:01,936 --> 01:09:03,947
Mmm.

1231
01:09:11,947 --> 01:09:13,591
Do you want me
to come back?

1232
01:09:22,591 --> 01:09:25,828
Okay. Well,
I'll see you later.

1233
01:09:26,828 --> 01:09:28,805
Okay, bye-bye.

1234
01:09:37,805 --> 01:09:39,432
(OPERATIC MUSIC PLAYING
ON STEREO)

1235
01:10:38,432 --> 01:10:40,435
JULIE:<i> My dear Julie.</i>

1236
01:10:40,435 --> 01:10:42,671
<i> The vile beast knows itself,
 and miserable he is with it.</i>

1237
01:10:42,671 --> 01:10:44,072
(THUNDER RUMBLING)

1238
01:10:44,072 --> 01:10:46,707
<i> It is you who has power
 over the beast.</i>

1239
01:10:46,707 --> 01:10:51,448
<i> To cheer, to encourage,
 to reprimand, to forgive.</i>

1240
01:10:53,448 --> 01:10:57,051
<i> He loves you so, and you are
 invested with great power.</i>

1241
01:10:57,051 --> 01:10:59,021
<i>Use it wisely, and with mercy.</i>

1242
01:11:01,021 --> 01:11:03,658
<i> Your words means much to him,</i>

1243
01:11:03,658 --> 01:11:05,362
<i> and that shall gradually
 become clear to you.</i>

1244
01:11:07,362 --> 01:11:09,030
<i> He has never
 laid open himself before,</i>

1245
01:11:10,030 --> 01:11:12,967
<i> and he could love you
 for that alone.</i>

1246
01:11:13,967 --> 01:11:17,739
<i> Trust in yourself
 and try and see clearly,</i>

1247
01:11:18,739 --> 01:11:20,375
<i> and a small passing cloud</i>

1248
01:11:20,375 --> 01:11:21,078
<i> will not appear
 to another's lie.</i>

1249
01:11:23,078 --> 01:11:26,448
There wasn't really anything
that I didn't do.

1250
01:11:26,448 --> 01:11:28,416
Um, I ended up in a coma,

1251
01:11:28,416 --> 01:11:32,386
I had seizures,
I had overdoses.

1252
01:11:32,386 --> 01:11:34,488
I'm an only child,
and my parents,

1253
01:11:34,488 --> 01:11:37,057
what that was
like for them...

1254
01:11:37,057 --> 01:11:40,761
And yet they never
gave up on me, you know.

1255
01:11:40,761 --> 01:11:45,466
Um, in fact,
my father blackmailed me.

1256
01:11:45,466 --> 01:11:48,737
He said to me
one time, he said,

1257
01:11:48,737 --> 01:11:52,407
"I'll give you this Physeptone
if you just call this number."

1258
01:11:52,407 --> 01:11:54,743
And that was the helpline.

1259
01:11:54,743 --> 01:11:58,445
And, of course,
I made the call.
(CHUCKLES)

1260
01:11:58,445 --> 01:12:01,551
And I came to meetings,
went out again, as I said...

1261
01:12:04,551 --> 01:12:07,421
Until finally,
I'd just had it,

1262
01:12:07,421 --> 01:12:09,390
I'd just absolutely had it.

1263
01:12:09,390 --> 01:12:12,060
My body wouldn't
take it anymore.

1264
01:12:12,060 --> 01:12:15,729
And I've ended up
in police stations,

1265
01:12:15,729 --> 01:12:19,634
in cells,
in mental hospitals,

1266
01:12:19,634 --> 01:12:23,939
straitjacketed,
screaming, psychosis.

1267
01:12:24,939 --> 01:12:26,007
None of it good, you know,

1268
01:12:27,007 --> 01:12:29,676
all for that feeling
of the drug,

1269
01:12:29,676 --> 01:12:31,578
which sometimes,
even in recovery,

1270
01:12:31,578 --> 01:12:32,913
you know,
I get feelings and things,

1271
01:12:32,913 --> 01:12:35,618
and I think, "Oh, Jesus,
I just need a hit."

1272
01:12:36,618 --> 01:12:40,065
Uh... But not today.
Just for today.

1273
01:12:52,065 --> 01:12:54,712
(OLD-TIME SONG PLAYING
ON RECORD)

1274
01:13:37,712 --> 01:13:39,988
(JULIE BREATHING HEAVILY)

1275
01:13:47,988 --> 01:13:49,599
(CONTINUES BREATHING HEAVILY)

1276
01:13:57,599 --> 01:13:59,136
(ANTHONY MURMURING
INDISTINCTLY)

1277
01:14:03,136 --> 01:14:05,833
(LAUGHING)

1278
01:14:32,833 --> 01:14:34,917
(EXPLOSION IN DISTANCE)

1279
01:14:48,917 --> 01:14:50,596
(PEOPLE SHOUTING IN DISTANCE)

1280
01:15:02,596 --> 01:15:03,997
REPORTER: (ON RADIO)<i>
 Police spent the night</i>

1281
01:15:03,997 --> 01:15:05,567
<i> carrying out
 a painstaking search</i>

1282
01:15:05,567 --> 01:15:07,034
<i>of the scene of the explosion,</i>

1283
01:15:07,034 --> 01:15:09,270
<i> fearing there could be
 other devices.</i>

1284
01:15:09,270 --> 01:15:12,039
<i> This morning, the area
 is still sealed off.</i>

1285
01:15:12,039 --> 01:15:14,609
<i>Ten to 15 pounds of explosives</i>

1286
01:15:14,609 --> 01:15:17,078
<i> had been planted in a car
 outside the store.</i>

1287
01:15:17,078 --> 01:15:19,682
(HIP-HOP MUSIC PLAYING
ON SPEAKERS)

1288
01:15:21,682 --> 01:15:23,091
(INDISTINCT CHATTER)

1289
01:15:31,091 --> 01:15:32,257
(CHATTER CONTINUES)

1290
01:16:04,257 --> 01:16:06,226
DIRECTOR: Okay, I'm just
gonna check the frame.

1291
01:16:06,226 --> 01:16:07,831
Yeah, of course.

1292
01:16:09,831 --> 01:16:10,300
MARLAND: Mate.

1293
01:16:12,300 --> 01:16:14,002
Are you all right?
Do you want a...

1294
01:16:15,002 --> 01:16:16,002
Do you want a jacket?

1295
01:16:15,002 --> 01:16:16,904
I'm okay.

1296
01:16:16,904 --> 01:16:18,904
Thank you.

1297
01:16:16,904 --> 01:16:18,706
What's going on?

1298
01:16:18,706 --> 01:16:20,207
(STAMMERS)
I don't know.

1299
01:16:20,207 --> 01:16:22,210
I think
I've got flu.

1300
01:16:22,210 --> 01:16:24,210
Are you hungover?

1301
01:16:22,210 --> 01:16:24,078
(LAUGHING) Oh.

1302
01:16:24,078 --> 01:16:25,078
No.

1303
01:16:24,078 --> 01:16:25,813
You look it.

1304
01:16:25,813 --> 01:16:27,283
You look like you've been,
like, out smashing it.

1305
01:16:29,283 --> 01:16:31,886
I don't know what...
What's going on.

1306
01:16:31,886 --> 01:16:33,886
But I'm fine. I'm okay.

1307
01:16:31,886 --> 01:16:33,921
No, you're not.

1308
01:16:33,921 --> 01:16:35,657
I was literally watching you
through that whole take.

1309
01:16:35,657 --> 01:16:37,125
You looked like
you were about to pass out.

1310
01:16:37,125 --> 01:16:38,259
No, I'm okay.
I'm fine.
I'm just...

1311
01:16:38,259 --> 01:16:39,961
I'm just
doing that.

1312
01:16:39,961 --> 01:16:42,896
Don't be polite about it.
If you're unwell,

1313
01:16:42,896 --> 01:16:44,431
just go home.
Do you know
what I mean?

1314
01:16:44,431 --> 01:16:46,670
I'm... I'm fine.
I'm okay.

1315
01:16:48,670 --> 01:16:49,837
Anthony?

1316
01:16:50,837 --> 01:16:52,837
Hello?

1317
01:16:50,837 --> 01:16:52,673
MAN: Hello?

1318
01:16:52,673 --> 01:16:54,673
(STAMMERS) I'm sorry, love.

1319
01:16:52,673 --> 01:16:54,742
Who are you?

1320
01:16:54,742 --> 01:16:57,742
You must be Anthony's...

1321
01:16:54,742 --> 01:16:57,278
Sorry, you need to leave.

1322
01:16:57,278 --> 01:16:59,247
Sorry, you need to leave.
Please go.

1323
01:16:59,247 --> 01:17:00,247
(MAN STAMMERING)

1324
01:16:59,247 --> 01:17:00,948
No, please...

1325
01:17:00,948 --> 01:17:02,449
No, I'm not gonna hurt you.
Just Anthony's...

1326
01:17:02,449 --> 01:17:04,851
Please, please leave.
No, no, you need to go.

1327
01:17:04,851 --> 01:17:06,851
You need to leave right now.

1328
01:17:04,851 --> 01:17:06,087
I'm sorry, yeah?

1329
01:17:06,087 --> 01:17:07,354
No. You need to leave.

1330
01:17:07,354 --> 01:17:08,956
I'm sorry.
I'm sorry, I'm sorry.

1331
01:17:08,956 --> 01:17:10,956
Okay.

1332
01:17:08,956 --> 01:17:10,127
It's okay. I'm sorry.

1333
01:17:14,127 --> 01:17:16,127
(SIGHS)

1334
01:17:14,127 --> 01:17:16,297
(KNOCKING AT DOOR)

1335
01:17:17,297 --> 01:17:18,002
MAN: Forgot my coat.

1336
01:17:22,002 --> 01:17:23,940
Hello?

1337
01:17:26,940 --> 01:17:28,479
Sorry.

1338
01:17:32,479 --> 01:17:34,247
How do I know
when I...

1339
01:17:34,247 --> 01:17:36,783
When I get the money,
I'll pay you back.

1340
01:17:36,783 --> 01:17:38,119
But I...

1341
01:17:39,119 --> 01:17:41,389
Well, you know,
I wouldn't ask

1342
01:17:41,389 --> 01:17:43,457
unless I really
needed it, you know.

1343
01:17:43,457 --> 01:17:45,064
(INDISTINCT CHATTER ON PHONE)

1344
01:17:50,064 --> 01:17:52,833
No, I'm not being extravagant.
I'm using...

1345
01:17:52,833 --> 01:17:54,137
You know, I need
this equipment for school.

1346
01:17:57,137 --> 01:17:59,774
It's cameras
and film and...

1347
01:17:59,774 --> 01:18:00,912
Hmm.

1348
01:18:04,912 --> 01:18:06,788
I will pay you back.

1349
01:18:14,788 --> 01:18:16,356
DOCTOR: I mean, definitely
you can catch infections

1350
01:18:16,356 --> 01:18:17,925
from other people.

1351
01:18:17,925 --> 01:18:20,228
Um, when people breathe,
they can transmit

1352
01:18:20,228 --> 01:18:22,229
particles of an infection,

1353
01:18:22,229 --> 01:18:23,930
uh, but sometimes,

1354
01:18:23,930 --> 01:18:25,298
you can also get infections
from other means,

1355
01:18:25,298 --> 01:18:29,872
by, for example,
um, personal contacts.

1356
01:18:30,872 --> 01:18:32,506
Anything you wanna tell me
that you haven't told me

1357
01:18:32,506 --> 01:18:34,845
about what's
happening so far?

1358
01:18:37,845 --> 01:18:39,079
Um...

1359
01:18:39,079 --> 01:18:41,215
No, I think...
I think I'm...

1360
01:18:41,215 --> 01:18:43,319
(STAMMERS) I think I feel
better now I've seen you.

1361
01:18:45,319 --> 01:18:46,921
DOCTOR: Okay,
nice to see you again.

1362
01:18:46,921 --> 01:18:48,456
JULIE: Thank you.
Nice to see you.

1363
01:18:48,456 --> 01:18:49,856
Okay, I'd better run.

1364
01:18:49,856 --> 01:18:52,527
And, um, I hope
you get better soon.

1365
01:18:52,527 --> 01:18:54,527
Okay. Bye-bye.

1366
01:18:52,527 --> 01:18:54,261
JULIE: Thank you.

1367
01:18:54,261 --> 01:18:55,497
(DOOR OPENS)

1368
01:18:57,497 --> 01:18:58,328
(DOOR CLOSES)

1369
01:19:27,328 --> 01:19:28,930
(CLATTERING IN DISTANCE)

1370
01:19:28,930 --> 01:19:30,935
(MUFFLED CHATTER)

1371
01:19:34,935 --> 01:19:36,070
(KEYS JINGLING IN DISTANCE)

1372
01:19:37,070 --> 01:19:38,975
(DOOR OPENS IN DISTANCE)

1373
01:19:40,975 --> 01:19:42,975
(DOOR CLOSES)

1374
01:19:40,975 --> 01:19:42,921
(CHATTER STOPS)

1375
01:19:53,921 --> 01:19:55,092
(PHONE RINGING)

1376
01:19:59,092 --> 01:20:00,996
(RINGING CONTINUES)

1377
01:20:01,996 --> 01:20:03,163
Hello?

1378
01:20:03,163 --> 01:20:04,931
(INDISTINCT CHATTER ON PHONE)

1379
01:20:04,931 --> 01:20:06,070
Hi, Barbara.
How are you?

1380
01:20:10,070 --> 01:20:11,006
I'm fine,
thank you.

1381
01:20:12,006 --> 01:20:13,506
Are you all right?

1382
01:20:13,506 --> 01:20:15,555
(BARBARA TALKING INDISTINCTLY)

1383
01:20:27,555 --> 01:20:30,993
No, no, it's fine. Thank you
for phoning. I, um...

1384
01:20:31,993 --> 01:20:34,449
Why... Why was he arrested?

1385
01:21:29,449 --> 01:21:31,322
(SOBBING)
Please go away.

1386
01:21:34,322 --> 01:21:35,110
(SNIFFLES)

1387
01:21:57,110 --> 01:22:00,648
I guess I just haven't found,
like, a specific voice.

1388
01:22:00,648 --> 01:22:01,015
Do you know what I mean?

1389
01:22:02,015 --> 01:22:03,015
I don't know how to...

1390
01:22:02,015 --> 01:22:03,451
Hmm.

1391
01:22:03,451 --> 01:22:06,153
I don't know how to
articulate what I'm...

1392
01:22:06,153 --> 01:22:08,323
What I want to
create yet, I think.

1393
01:22:09,323 --> 01:22:11,323
Can I ask you a question?

1394
01:22:09,323 --> 01:22:11,293
Mmm-hmm.

1395
01:22:13,293 --> 01:22:15,729
Okay, it's a bit
of a weird one.

1396
01:22:15,729 --> 01:22:20,201
But this past
six months and a bit,

1397
01:22:20,201 --> 01:22:24,239
like, I haven't seen you
around in school very much.

1398
01:22:26,239 --> 01:22:29,713
Um... Can I ask why?

1399
01:22:33,713 --> 01:22:35,386
I...

1400
01:22:38,386 --> 01:22:43,591
I was in a really difficult
relationship with somebody...

1401
01:22:43,591 --> 01:22:46,591
Mmm-hmm.

1402
01:22:43,591 --> 01:22:46,527
And I found it difficult

1403
01:22:46,527 --> 01:22:50,064
to juggle that
and film school,

1404
01:22:51,064 --> 01:22:52,567
and it just didn't...

1405
01:22:53,567 --> 01:22:54,734
It didn't leave me much time

1406
01:22:54,734 --> 01:22:58,139
for myself and my interests,

1407
01:22:58,139 --> 01:23:00,373
so I just didn't really...

1408
01:23:00,373 --> 01:23:03,373
Okay.

1409
01:23:00,373 --> 01:23:03,109
...have time. But...

1410
01:23:03,109 --> 01:23:05,212
I'm... I'm better now, so...

1411
01:23:05,212 --> 01:23:07,212
Yeah?

1412
01:23:05,212 --> 01:23:07,280
A big yeah.

1413
01:23:07,280 --> 01:23:08,748
HEAD OF FILM SCHOOL: I mean,
you've changed quite a lot

1414
01:23:08,748 --> 01:23:11,786
since you came, haven't you,
in your intentions?

1415
01:23:11,786 --> 01:23:14,786
JULIE: Mmm. Mmm.

1416
01:23:11,786 --> 01:23:14,255
And, uh, that's okay.

1417
01:23:14,255 --> 01:23:18,792
I mean, people are supposed to
grow in this process.

1418
01:23:18,792 --> 01:23:20,497
But how is that
working out for you?

1419
01:23:23,497 --> 01:23:27,702
It's very, very...

1420
01:23:28,702 --> 01:23:31,171
Complicated and, um,

1421
01:23:31,171 --> 01:23:33,809
difficult sometimes,
but it's...

1422
01:23:34,809 --> 01:23:37,746
You know, it has
its ups and downs.

1423
01:23:38,746 --> 01:23:40,746
But it's working?

1424
01:23:38,746 --> 01:23:40,713
Mmm, yeah.

1425
01:23:40,713 --> 01:23:42,713
It is?

1426
01:23:40,713 --> 01:23:42,716
Mmm-hmm. Mmm.

1427
01:23:42,716 --> 01:23:44,653
Good, because,
I mean, the big...

1428
01:23:45,653 --> 01:23:50,157
I think I said this when
you arrived at some point,

1429
01:23:50,157 --> 01:23:51,458
and I'm sure other people

1430
01:23:51,458 --> 01:23:53,394
have said
the same kind of thing,

1431
01:23:53,394 --> 01:23:57,698
that, uh,
the most important thing,

1432
01:23:57,698 --> 01:24:01,636
uh, about learning
in this situation

1433
01:24:02,636 --> 01:24:05,605
is that you somehow
make a connection

1434
01:24:05,605 --> 01:24:07,475
between your experience

1435
01:24:07,475 --> 01:24:09,877
and the experience
you're trying to film.

1436
01:24:09,877 --> 01:24:16,730
(TYPEWRITER KEYS CLACKING)

1437
01:24:30,730 --> 01:24:32,707
(FOOTSTEPS APPROACHING)

1438
01:25:13,707 --> 01:25:15,780
(BIRDS CHIRPING)

1439
01:25:20,780 --> 01:25:22,780
(MUSIC PLAYING ON RECORD)

1440
01:25:20,780 --> 01:25:22,949
This is not real cashmere.

1441
01:25:22,949 --> 01:25:24,551
Come on, Jules.
I got it from Harrods.
What are you talking about?

1442
01:25:24,551 --> 01:25:25,786
It's nice,
but it's not cashmere.

1443
01:25:25,786 --> 01:25:26,886
FRANKIE:
He got it from Harold.

1444
01:25:26,886 --> 01:25:27,886
Harrods.

1445
01:25:26,886 --> 01:25:27,954
(JULIE LAUGHS)

1446
01:25:27,954 --> 01:25:29,390
Sells them down the market.

1447
01:25:29,390 --> 01:25:30,390
PHIL: The green shop, yeah?

1448
01:25:29,390 --> 01:25:30,858
Yeah.

1449
01:25:30,858 --> 01:25:32,858
(LAUGHTER)

1450
01:25:30,858 --> 01:25:32,259
PHIL: Where the classy

1451
01:25:32,259 --> 01:25:33,394
and people
with decorum and class go.

1452
01:25:33,394 --> 01:25:34,662
JACK: Looks good on you, lad,

1453
01:25:34,662 --> 01:25:36,197
but you need
to shut up about it.

1454
01:25:36,197 --> 01:25:37,197
PHIL: Listen, bro, listen.

1455
01:25:36,197 --> 01:25:37,564
(LAUGHING)

1456
01:25:37,564 --> 01:25:39,399
Haters are gonna hate.
Do you know what I mean?

1457
01:25:39,399 --> 01:25:40,466
People don't wanna
see me win.
It's all right.

1458
01:25:40,466 --> 01:25:41,702
This is nice.

1459
01:25:41,702 --> 01:25:43,337
It's fine,
it's fine, you know.

1460
01:25:43,337 --> 01:25:44,971
I get a bit of dough,
move up in the world

1461
01:25:44,971 --> 01:25:46,974
and everyone's dissing
my clothes and my clobber.

1462
01:25:46,974 --> 01:25:48,974
You know,
that's all right.

1463
01:25:46,974 --> 01:25:48,576
(LAUGHING)

1464
01:25:48,576 --> 01:25:49,278
That's all right.

1465
01:25:51,278 --> 01:25:52,345
BARBARA: (ON PHONE)<i>
 ...and I wondered</i>

1466
01:25:52,345 --> 01:25:54,314
<i>if you've seen Anthony at all?</i>

1467
01:25:54,314 --> 01:25:56,250
No, I haven't seen him
for a while.

1468
01:25:56,250 --> 01:25:58,453
<i> We've been so worried
 about him.</i>

1469
01:25:59,453 --> 01:26:00,887
Well, I'm so sorry.

1470
01:26:00,887 --> 01:26:02,958
<i> Oh, I'm sorry
 to disturb you...</i>

1471
01:26:04,958 --> 01:26:06,460
No, no, it's fine.

1472
01:26:06,460 --> 01:26:09,529
You have to call...
You call me any time.

1473
01:26:09,529 --> 01:26:12,533
<i> ...but we have no other way
 of knowing where he is.</i>

1474
01:26:13,533 --> 01:26:15,002
<i> You're the only person
 we can call.</i>

1475
01:26:16,002 --> 01:26:17,938
<i> If you see him,
 would you let us know?</i>

1476
01:26:17,938 --> 01:26:19,640
Yeah, of course.

1477
01:26:19,640 --> 01:26:22,376
And you have to call me if...
When you see him, okay?

1478
01:26:22,376 --> 01:26:24,778
<i> Of course. Thanks...</i>

1479
01:26:24,778 --> 01:26:27,881
Thank you for... Thank you
for calling, Barbara.

1480
01:26:27,881 --> 01:26:29,817
I'm so sorry
I can't help.

1481
01:26:29,817 --> 01:26:32,786
<i> Lots of love...</i> (CONTINUES
SPEAKING INDISTINCTLY)

1482
01:26:32,786 --> 01:26:34,786
Night, night.

1483
01:26:32,786 --> 01:26:34,697
<i> Night, night.</i>

1484
01:26:43,697 --> 01:26:45,423
(SIGHING)

1485
01:27:10,423 --> 01:27:11,494
Does he like the groom?

1486
01:27:14,494 --> 01:27:15,765
Yes.

1487
01:27:18,765 --> 01:27:20,368
Maybe he introduced them.

1488
01:27:21,368 --> 01:27:22,710
JULIE: Hmm.

1489
01:27:29,710 --> 01:27:31,012
Talking to them about money.

1490
01:27:33,012 --> 01:27:34,081
(JULIE CHUCKLES)

1491
01:27:34,081 --> 01:27:36,050
About planning ahead.

1492
01:27:36,050 --> 01:27:38,719
Mmm. Investments.

1493
01:27:38,719 --> 01:27:39,322
Yes.

1494
01:27:41,322 --> 01:27:42,509
And frugality.

1495
01:28:02,509 --> 01:28:04,380
I always use
the wrong fork
on purpose...

1496
01:28:06,380 --> 01:28:07,613
For salad.

1497
01:28:07,613 --> 01:28:09,617
Both of mine
are the same size.

1498
01:28:10,617 --> 01:28:11,953
JULIE: Mmm.

1499
01:28:45,953 --> 01:28:47,720
(LAUGHS)

1500
01:28:47,720 --> 01:28:49,172
(SOBS SOFTLY)

1501
01:29:06,172 --> 01:29:07,425
(CONTINUES SOBBING)

1502
01:29:24,425 --> 01:29:25,195
JULIE: Do you still love me?

1503
01:29:29,195 --> 01:29:30,533
ANTHONY: Yes.

1504
01:29:32,533 --> 01:29:34,533
Yes?

1505
01:29:32,533 --> 01:29:34,141
Yes.

1506
01:29:42,141 --> 01:29:44,679
What makes you think I don't?

1507
01:29:45,679 --> 01:29:48,118
I'm not very nice
to you sometimes.

1508
01:29:52,118 --> 01:29:53,520
I'm a beast to you.

1509
01:29:53,520 --> 01:29:54,021
You're not a beast.
I'm the beast.

1510
01:29:55,021 --> 01:29:56,021
No, I'm the beast.

1511
01:29:55,021 --> 01:29:56,125
I'm the beast.

1512
01:29:58,125 --> 01:30:00,194
We'll share the beast.

1513
01:30:00,194 --> 01:30:01,832
That would be nice, actually.

1514
01:30:05,832 --> 01:30:08,935
There was a lot going on
before this.

1515
01:30:08,935 --> 01:30:11,471
(SIREN BLARING IN DISTANCE)

1516
01:30:11,471 --> 01:30:13,775
The Libyan hostages.

1517
01:30:15,775 --> 01:30:17,978
Still going on now.

1518
01:30:17,978 --> 01:30:19,515
JULIE: Did you have to deal
with that at work?

1519
01:30:21,515 --> 01:30:23,115
ANTHONY: Yeah.

1520
01:30:23,115 --> 01:30:24,824
JULIE: I didn't realize.

1521
01:30:31,824 --> 01:30:33,876
(WIND CHIMES TINKLING)

1522
01:30:48,876 --> 01:30:51,876
(ANTHONY WAILING)

1523
01:30:48,876 --> 01:30:51,216
(RATTLING)

1524
01:30:56,216 --> 01:30:57,784
(CRASHING)

1525
01:30:58,784 --> 01:31:00,690
(CHANDELIER TINKLING)

1526
01:31:04,690 --> 01:31:05,962
(SOBBING)

1527
01:31:08,962 --> 01:31:10,774
(WAILING)

1528
01:31:21,774 --> 01:31:22,010
(WHIMPERS)

1529
01:31:23,010 --> 01:31:25,878
(BREATHING SHAKILY)

1530
01:31:25,878 --> 01:31:27,715
(GRUNTING)

1531
01:31:28,715 --> 01:31:30,856
(SHIVERING)

1532
01:31:36,856 --> 01:31:38,560
(GRUNTS)

1533
01:31:39,560 --> 01:31:40,664
(BREATHING HEAVILY)

1534
01:31:44,664 --> 01:31:46,664
(CLATTERING)

1535
01:31:44,664 --> 01:31:46,970
(ANTHONY ROARING)

1536
01:31:49,970 --> 01:31:51,759
(BREATHING HEAVILY)

1537
01:32:12,759 --> 01:32:14,694
JULIE:<i> Days
 fading into nights,</i>

1538
01:32:14,694 --> 01:32:15,331
<i> fading into day.</i>

1539
01:32:17,331 --> 01:32:19,099
<i> Day and night
 creeping together</i>

1540
01:32:19,099 --> 01:32:23,369
<i> to a gray nothingness,
 and no thought.</i>

1541
01:32:23,369 --> 01:32:25,373
<i> Only each minute's fear
 of the next.</i>

1542
01:32:27,373 --> 01:32:30,243
<i> So tired after six days
 without a moment's rest.</i>

1543
01:32:31,243 --> 01:32:32,712
<i> And so restless,</i>

1544
01:32:32,712 --> 01:32:34,015
<i> through the slow hours
 of night.</i>

1545
01:32:36,015 --> 01:32:38,351
<i> I lost
 any consciousness of will,</i>

1546
01:32:38,351 --> 01:32:40,386
<i> and then nothing at all.</i>

1547
01:32:40,386 --> 01:32:43,356
<i> A gray nothingness.</i>

1548
01:32:43,356 --> 01:32:46,893
<i> I didn't even have a second
 to measure pain by,</i>

1549
01:32:46,893 --> 01:32:49,296
<i> there being now
 no time without pain,</i>

1550
01:32:49,296 --> 01:32:51,233
<i> thus pain ceased to exist.</i>

1551
01:32:53,233 --> 01:32:54,002
<i> There was nothing at all,</i>

1552
01:32:55,002 --> 01:32:57,006
<i> and I was walking
 in the ways of the dead.</i>

1553
01:32:59,006 --> 01:33:01,775
<i> But then the autumn bled,
 like my cuff links,</i>

1554
01:33:02,775 --> 01:33:04,711
<i> a searing pain,</i>

1555
01:33:04,711 --> 01:33:06,081
<i> and I could see
 like second sight,</i>

1556
01:33:08,081 --> 01:33:09,917
<i> and I am born again.</i>

1557
01:33:11,917 --> 01:33:15,087
<i> Janet's to die
 in the next 12 hours.</i>

1558
01:33:15,087 --> 01:33:17,966
<i> Both of us couldn't
 keep going, I suppose.</i>

1559
01:33:25,966 --> 01:33:28,201
(ALARM RINGING IN DISTANCE)

1560
01:33:28,201 --> 01:33:29,171
One of them's got out.

1561
01:33:31,171 --> 01:33:33,171
Probably Mr. Staffasack.

1562
01:33:31,171 --> 01:33:33,840
(ALARM STOPS)

1563
01:33:33,840 --> 01:33:36,840
Mister who?

1564
01:33:33,840 --> 01:33:36,376
Staffasack.

1565
01:33:36,376 --> 01:33:39,145
Keeps escaping
from the Brendan Ward.

1566
01:33:39,145 --> 01:33:41,414
It's highly patrolled.

1567
01:33:41,414 --> 01:33:45,085
Dangerous to themselves
and other people.

1568
01:33:45,085 --> 01:33:47,855
They found him
the other day
with an axe.

1569
01:33:49,855 --> 01:33:51,859
I'm joking.

1570
01:33:52,859 --> 01:33:54,863
(MUFFLED CHATTER)

1571
01:33:56,863 --> 01:33:59,265
But then,
some people started to get

1572
01:33:59,265 --> 01:34:01,203
very competitive about it.

1573
01:34:03,203 --> 01:34:06,238
A couple of stair races
ended quite badly,

1574
01:34:06,238 --> 01:34:08,109
so they had to level it off.

1575
01:34:10,109 --> 01:34:12,448
She said she had three images.

1576
01:34:14,448 --> 01:34:17,918
A large empty pair
of big boots,

1577
01:34:18,918 --> 01:34:23,957
a hummingbird and storm clouds
over a seascape.

1578
01:34:23,957 --> 01:34:25,144
You can listen to it all
if you want.

1579
01:34:44,144 --> 01:34:45,414
I'm fine.

1580
01:34:48,414 --> 01:34:51,019
JULIE: Good. I am as well.

1581
01:34:53,019 --> 01:34:55,524
I don't want to keep feeling
I need to, um,

1582
01:34:58,524 --> 01:35:01,064
illustrate that I'm fine.

1583
01:35:05,064 --> 01:35:06,935
You don't have to.

1584
01:35:08,935 --> 01:35:12,372
You don't have to put up
a front or anything,

1585
01:35:13,372 --> 01:35:15,042
ever, with me.

1586
01:35:16,042 --> 01:35:19,112
Good, 'cause I am fine.

1587
01:35:19,112 --> 01:35:21,251
I might not look fine,
but I am fine.

1588
01:35:24,251 --> 01:35:25,185
Are you worried about me now?

1589
01:35:26,185 --> 01:35:27,855
No.

1590
01:35:29,855 --> 01:35:32,100
No, I'm not, for once.

1591
01:35:40,100 --> 01:35:45,505
ALL:
♪♪<i> Happy birthday to you♪♪</i>

1592
01:35:45,505 --> 01:35:51,077
♪♪<i> Happy birthday to you♪♪</i>

1593
01:35:51,077 --> 01:35:57,150
♪♪<i> Happy birthday, dear Julie♪♪</i>

1594
01:35:58,150 --> 01:35:59,418
♪♪♪<i> Happy birthday to you ♪♪</i>

1595
01:35:59,418 --> 01:36:03,323
ROSALIND: It's a dirge.

1596
01:36:03,323 --> 01:36:05,125
Thank you very much.

1597
01:36:05,125 --> 01:36:07,159
WILLIAM: Sounded rather
as though someone had died.

1598
01:36:07,159 --> 01:36:08,328
(LAUGHING)

1599
01:36:08,328 --> 01:36:09,462
ROSALIND: Go on, go on, go on.

1600
01:36:09,462 --> 01:36:11,064
Go on, keep blowing.

1601
01:36:11,064 --> 01:36:13,064
Hurray!

1602
01:36:11,064 --> 01:36:13,033
Hurray. Well done.

1603
01:36:13,033 --> 01:36:14,900
Happy birthday.

1604
01:36:14,900 --> 01:36:16,569
I think we're allowed to clink
glasses on your birthday.

1605
01:36:16,569 --> 01:36:18,569
ROSALIND: Twenty-five.

1606
01:36:16,569 --> 01:36:18,171
JULIE: Mmm.

1607
01:36:19,171 --> 01:36:21,171
Amazing.

1608
01:36:19,171 --> 01:36:21,176
Twenty-five.

1609
01:36:24,176 --> 01:36:26,176
Halfway to 50.

1610
01:36:24,176 --> 01:36:26,313
Am I allowed a fork?

1611
01:36:26,313 --> 01:36:29,082
Halfway to 50. What a thought.
I'm so sorry.

1612
01:36:29,082 --> 01:36:30,283
JULIE: That's so enormous.

1613
01:36:30,283 --> 01:36:31,417
ROSALIND: No,
you keep that for you.

1614
01:36:31,417 --> 01:36:32,418
JULIE: That's like
half the cake.

1615
01:36:32,418 --> 01:36:34,887
ROSALIND: Keep that for you.

1616
01:36:34,887 --> 01:36:36,887
ANTHONY: That'll be your bit.

1617
01:36:34,887 --> 01:36:36,355
JULIE: It's ridiculous.
That'll be mine. (LAUGHS)

1618
01:36:36,355 --> 01:36:39,926
ROSALIND: I want to ask
your advice about something.

1619
01:36:39,926 --> 01:36:43,162
Um, and you're not to tease me
about this.

1620
01:36:43,162 --> 01:36:44,965
You're going to pretend you
don't know anything about it.

1621
01:36:44,965 --> 01:36:46,965
WILLIAM: I never tease you.

1622
01:36:44,965 --> 01:36:46,867
ROSALIND: Um...

1623
01:36:46,867 --> 01:36:49,402
Anyway, I'm thinking of doing

1624
01:36:49,402 --> 01:36:52,072
some sort of
practical degree course

1625
01:36:52,072 --> 01:36:55,542
in some fine art,
maybe ceramics,

1626
01:36:55,542 --> 01:36:57,277
and I wondered if, uh,

1627
01:36:57,277 --> 01:36:58,011
with your
Courtauld connections,

1628
01:36:59,011 --> 01:37:00,613
you might either
know a course

1629
01:37:00,613 --> 01:37:02,582
that would be
an interesting thing

1630
01:37:02,582 --> 01:37:04,350
or somebody who might be able

1631
01:37:04,350 --> 01:37:06,051
to put me
in the right direction.

1632
01:37:06,051 --> 01:37:08,287
ANTHONY: I don't, but I know
people you could talk to.

1633
01:37:08,287 --> 01:37:09,287
Well, that's wonderful...

1634
01:37:08,287 --> 01:37:09,023
There's a chap called Bruce

1635
01:37:10,023 --> 01:37:11,658
who's practically
made out of clay.

1636
01:37:11,658 --> 01:37:13,560
That's exactly
what I'd hoped you'd say.

1637
01:37:13,560 --> 01:37:15,295
ANTHONY: I'll connect
you two up and, um...

1638
01:37:15,295 --> 01:37:17,295
ROSALIND: Would you? (LAUGHS)

1639
01:37:15,295 --> 01:37:17,463
Back to my eggs, then.

1640
01:37:17,463 --> 01:37:20,134
Well, you're gonna have to do
a catering course, clearly.

1641
01:37:21,134 --> 01:37:22,534
I know.

1642
01:37:22,534 --> 01:37:24,436
We'll have
two members of the family

1643
01:37:24,436 --> 01:37:26,640
both at college
at the same time.

1644
01:37:27,640 --> 01:37:29,175
What are you going to do?

1645
01:37:29,175 --> 01:37:31,243
I may as well
go back to university.

1646
01:37:31,243 --> 01:37:32,679
Maybe.

1647
01:37:32,679 --> 01:37:34,247
What, and just
give up farming altogether?

1648
01:37:34,247 --> 01:37:35,948
ROSALIND:
Get an education.

1649
01:37:35,948 --> 01:37:37,317
ANTHONY:
What would you study?

1650
01:37:37,317 --> 01:37:38,652
Well, how long...
What would I study?

1651
01:37:38,652 --> 01:37:39,652
ANTHONY: Mmm.

1652
01:37:38,652 --> 01:37:39,488
Yes, what would you study?

1653
01:37:41,488 --> 01:37:43,488
Very good question.

1654
01:37:41,488 --> 01:37:43,326
WILLIAM: What, now?

1655
01:37:46,326 --> 01:37:47,627
Well, I did
land management,

1656
01:37:47,627 --> 01:37:49,595
so I suppose
now I would do

1657
01:37:49,595 --> 01:37:51,297
something
rather more interesting.

1658
01:37:51,297 --> 01:37:55,568
I think I would do, uh...
(STAMMERS) I'd read history.

1659
01:37:55,568 --> 01:37:57,568
ALL: Mmm.

1660
01:37:55,568 --> 01:37:57,569
WILLIAM: Yeah.

1661
01:37:57,569 --> 01:38:00,606
But, um, anyhow,
it isn't about me.

1662
01:38:00,606 --> 01:38:03,676
It's about these budding
students that we've got.

1663
01:38:03,676 --> 01:38:05,244
Well, we're talking,
as you say,

1664
01:38:05,244 --> 01:38:06,479
about pipe dreams and...

1665
01:38:06,479 --> 01:38:08,681
ANTHONY: I think
that's very exciting.

1666
01:38:08,681 --> 01:38:11,117
ROSALIND: Please,
please, please, darling,

1667
01:38:11,117 --> 01:38:13,386
let the poor man
go to sleep.

1668
01:38:13,386 --> 01:38:16,023
And go to sleep
yourself. Mmm?

1669
01:38:17,023 --> 01:38:20,260
These dull wits, they need
a little bit of shut-eye.

1670
01:38:20,260 --> 01:38:22,095
JULIE: (CHUCKLING)
These dull wits?

1671
01:38:22,095 --> 01:38:23,095
How dare you?

1672
01:38:22,095 --> 01:38:23,497
ROSALIND: Dull wits.

1673
01:38:24,497 --> 01:38:26,497
ROSALIND: Go on.

1674
01:38:24,497 --> 01:38:26,065
No.

1675
01:38:26,065 --> 01:38:28,065
ROSALIND: Go on.

1676
01:38:26,065 --> 01:38:28,467
No. I need to...

1677
01:38:28,467 --> 01:38:30,467
ROSALIND: Listen to Anthony.

1678
01:38:28,467 --> 01:38:30,403
...finish this.

1679
01:38:30,403 --> 01:38:32,972
ROSALIND: Thank you very much
for that lovely dinner.

1680
01:38:32,972 --> 01:38:34,972
Good night.

1681
01:38:32,972 --> 01:38:34,542
Sleep tight.

1682
01:38:36,542 --> 01:38:40,282
Don't be worthy. Be arrogant.
It's much more sexy.

1683
01:38:42,282 --> 01:38:43,649
Do you like arrogance?

1684
01:38:43,649 --> 01:38:45,217
I think it'll
get you further.

1685
01:38:45,217 --> 01:38:46,386
Because you are arrogant.

1686
01:38:46,386 --> 01:38:48,054
I know I'm arrogant.

1687
01:38:48,054 --> 01:38:49,655
Do you find yourself sexy?

1688
01:38:49,655 --> 01:38:52,057
Yes, all the time.

1689
01:38:52,057 --> 01:38:53,525
It's hard for me to get
through the day without...

1690
01:38:53,525 --> 01:38:54,994
I bet.

1691
01:38:54,994 --> 01:38:57,298
...taking a couple of
moments out and...

1692
01:38:59,298 --> 01:39:02,335
(CHUCKLING) I'm trying
to concentrate on this.

1693
01:39:02,335 --> 01:39:05,438
Don't distract me
with your arrogance

1694
01:39:05,438 --> 01:39:06,773
and sexiness and...

1695
01:39:06,773 --> 01:39:08,240
I'll give it three minutes.

1696
01:39:08,240 --> 01:39:11,211
...talking about your...
God knows what.

1697
01:39:11,211 --> 01:39:12,211
You know what I'm saying.

1698
01:39:11,211 --> 01:39:12,712
I totally...

1699
01:39:12,712 --> 01:39:14,780
You've got some
preconceived idea

1700
01:39:14,780 --> 01:39:17,716
about some Oxbridge version

1701
01:39:17,716 --> 01:39:20,052
of a film director
and it's all bollocks.

1702
01:39:20,052 --> 01:39:21,787
You just need to get out there
and start filming.

1703
01:39:21,787 --> 01:39:23,391
It's like Patrick said.

1704
01:39:25,391 --> 01:39:27,060
Well...

1705
01:39:27,060 --> 01:39:29,264
I know he's a cunt,
but he's got a point.

1706
01:39:31,264 --> 01:39:33,264
I liked him.

1707
01:39:31,264 --> 01:39:33,600
No, you didn't.

1708
01:39:33,600 --> 01:39:36,770
I didn't, actually.
No, I didn't.

1709
01:39:36,770 --> 01:39:39,770
Um, I liked his wife.

1710
01:39:36,770 --> 01:39:39,538
Did you?

1711
01:39:39,538 --> 01:39:41,538
Mmm. Very much.

1712
01:39:39,538 --> 01:39:41,141
Mmm.

1713
01:39:42,141 --> 01:39:43,676
Um...

1714
01:39:43,676 --> 01:39:48,782
I feel like I haven't got
this enough, so I need to...

1715
01:39:48,782 --> 01:39:51,283
I need to stay up and do this,
but you need to go to sleep.

1716
01:39:51,283 --> 01:39:53,520
I'm waiting for two minutes
for your mother to go to sleep

1717
01:39:53,520 --> 01:39:54,190
and then I'm going to go down.

1718
01:39:58,190 --> 01:40:02,095
Do you think she suspects
that you creep down to my bed?

1719
01:40:02,095 --> 01:40:03,430
No.

1720
01:40:04,430 --> 01:40:06,365
Do you think she does?

1721
01:40:06,365 --> 01:40:07,734
I don't know.

1722
01:40:07,734 --> 01:40:10,305
If she does, that was
an amazing performance.

1723
01:40:12,305 --> 01:40:14,309
I don't think
she has any idea.

1724
01:40:16,309 --> 01:40:17,777
I don't know.

1725
01:40:17,777 --> 01:40:19,546
I think she's asleep.

1726
01:40:20,546 --> 01:40:23,422
I'm gonna take my shoes off,
so I don't wake her.

1727
01:40:30,422 --> 01:40:31,292
Here.

1728
01:40:32,292 --> 01:40:33,563
(KISSING)

1729
01:40:36,563 --> 01:40:38,563
ANTHONY: Please come to bed.

1730
01:40:36,563 --> 01:40:38,331
Go to bed.

1731
01:40:38,331 --> 01:40:41,331
ANTHONY: Please come to bed.

1732
01:40:38,331 --> 01:40:41,471
No. No, I need to do this.

1733
01:40:45,471 --> 01:40:47,439
Are you gonna drink
all that brandy?

1734
01:40:47,439 --> 01:40:49,442
Well, I'm not gonna
just leave it there.

1735
01:40:49,442 --> 01:40:50,677
Probably.

1736
01:40:51,677 --> 01:40:53,650
Come to bed.

1737
01:41:31,650 --> 01:41:32,587
Then, Isabel,

1738
01:41:34,587 --> 01:41:35,890
live chaste,

1739
01:41:37,890 --> 01:41:39,795
and, brother, die.

1740
01:41:42,795 --> 01:41:45,202
More than our brother
is our chastity.

1741
01:41:49,202 --> 01:41:51,305
I'll tell him yet
of Angelo's request,

1742
01:41:53,305 --> 01:41:57,648
and fit his mind to death,
for his soul's rest.

1743
01:42:01,648 --> 01:42:03,448
Wonderful.

1744
01:42:03,448 --> 01:42:05,448
No, I totally fucked that up.

1745
01:42:03,448 --> 01:42:05,318
No, you... No, you didn't.

1746
01:42:05,318 --> 01:42:06,318
No, I did.

1747
01:42:05,318 --> 01:42:06,618
No, you really didn't.

1748
01:42:06,618 --> 01:42:07,819
(LAUGHS) You really didn't.

1749
01:42:07,819 --> 01:42:09,922
Do you wanna go from...

1750
01:42:09,922 --> 01:42:12,425
(RECORDIST
WHISPERING INDISTINCTLY)

1751
01:42:12,425 --> 01:42:13,693
Where's easiest?

1752
01:42:13,693 --> 01:42:15,694
"That he had 20 heads
to tender down..."

1753
01:42:15,694 --> 01:42:16,694
No, wait.

1754
01:42:15,694 --> 01:42:16,895
ACTRESS: Mmm-hmm.

1755
01:42:16,895 --> 01:42:18,564
From there,
'cause it's a full stop.

1756
01:42:18,564 --> 01:42:21,868
"Though he hath fallen
by prompture..."

1757
01:42:21,868 --> 01:42:23,735
ACTRESS:
I'm gonna go from...

1758
01:42:23,735 --> 01:42:25,939
And you were completely right.

1759
01:42:25,939 --> 01:42:28,207
(LAUGHS)

1760
01:42:28,207 --> 01:42:29,742
Of course you were.

1761
01:42:29,742 --> 01:42:32,612
Uh, we're having a break,
but I should get back.

1762
01:42:32,612 --> 01:42:35,381
But I just wanted to call
to just say

1763
01:42:35,381 --> 01:42:37,784
that I shouldn't have
worried so much.

1764
01:42:38,784 --> 01:42:40,420
Oh.

1765
01:42:40,420 --> 01:42:42,822
Okay, I'll see you later.

1766
01:42:42,822 --> 01:42:44,573
Bye-bye.

1767
01:43:01,573 --> 01:43:02,908
(BELL RINGS)

1768
01:43:02,908 --> 01:43:04,908
(HORN HONKING)

1769
01:43:02,908 --> 01:43:04,510
SUSAN: It does stink.

1770
01:43:04,510 --> 01:43:06,613
MARLAND: Yeah.
It does, though, it does.

1771
01:43:06,613 --> 01:43:08,247
CAMERAMAN: It's gonna stink
even more soon.

1772
01:43:08,247 --> 01:43:09,247
MARLAND: Mmm. Yeah.

1773
01:43:08,247 --> 01:43:09,716
GARANCE: Yeah.

1774
01:43:09,716 --> 01:43:10,716
He's here.

1775
01:43:09,716 --> 01:43:10,949
MARLAND: Yay!

1776
01:43:10,949 --> 01:43:12,652
SUSAN: Hey, Pedro.

1777
01:43:12,652 --> 01:43:13,652
MARLAND: Come on.

1778
01:43:12,652 --> 01:43:13,020
JULIE: Take your time.

1779
01:43:14,020 --> 01:43:15,320
MARLAND: Yeah,
just take your time.

1780
01:43:15,320 --> 01:43:16,655
JULIE: There's no rush.

1781
01:43:16,655 --> 01:43:18,792
MARLAND: (LAUGHING)
No rush at all.

1782
01:43:20,792 --> 01:43:22,565
GARANCE: Right.<i> Merci.</i>

1783
01:43:26,565 --> 01:43:28,771
(INDISTINCT CHATTER)

1784
01:43:32,771 --> 01:43:34,841
GARANCE: After the fucking
Nouvelle Vague and everything,

1785
01:43:34,841 --> 01:43:36,908
we kind of
actually now realize

1786
01:43:36,908 --> 01:43:38,944
that we can use
all the techniques

1787
01:43:38,944 --> 01:43:40,979
and the new look of, you know,

1788
01:43:40,979 --> 01:43:42,649
pure contemporary
type of image.

1789
01:43:42,649 --> 01:43:43,716
CAMERAMAN: That's the thing.
It's just look.

1790
01:43:43,716 --> 01:43:44,917
It's a style over substance.

1791
01:43:44,917 --> 01:43:46,519
No, no, I disagree
totally with that,

1792
01:43:46,519 --> 01:43:49,288
because it has this very
formal kind of structure

1793
01:43:49,288 --> 01:43:51,623
and it's very,
very, contemporary,

1794
01:43:51,623 --> 01:43:53,859
and it opens...
I think it opens doors

1795
01:43:53,859 --> 01:43:56,595
and it touches people
in a much more deep way

1796
01:43:56,595 --> 01:43:59,631
than just choosing like,
you know, chitchat in a cafe,

1797
01:43:59,631 --> 01:44:01,033
like in Godard's film
or something.

1798
01:44:01,033 --> 01:44:05,037
It's much more...
Somehow it's more sensual.

1799
01:44:05,037 --> 01:44:06,572
CAMERAMAN: I don't know,
but it feels like

1800
01:44:06,572 --> 01:44:07,006
they just transposed
the commercial aesthetic

1801
01:44:08,006 --> 01:44:09,676
over to cinema,
and that's not cinema.

1802
01:44:09,676 --> 01:44:11,511
That's, that's, so...
Like a critic is saying that.

1803
01:44:11,511 --> 01:44:14,913
It's so stupid because it's
all about using these tools

1804
01:44:14,913 --> 01:44:17,917
and what the people
in commercial actually created

1805
01:44:17,917 --> 01:44:20,819
and use it
in a very powerful art form.

1806
01:44:20,819 --> 01:44:23,389
CAMERAMAN: Think about what
Rivette did in '74, '75,

1807
01:44:23,389 --> 01:44:24,957
compared to what
Besson's doing now.

1808
01:44:24,957 --> 01:44:26,326
That says it all.

1809
01:44:26,326 --> 01:44:28,994
(INDISTINCT CONVERSATION)

1810
01:44:28,994 --> 01:44:32,864
(STAMMERS) There is some
meaning to be gathered.

1811
01:44:32,864 --> 01:44:34,900
I want it to become,
like, beautiful,

1812
01:44:34,900 --> 01:44:36,935
all this blood and all this
dirt and all this shit...

1813
01:44:36,935 --> 01:44:38,470
CAMERAMAN: Mate,
it's gonna be beautiful

1814
01:44:38,470 --> 01:44:39,006
if you let me
shoot it, like,

1815
01:44:40,006 --> 01:44:41,006
that way,
I'm telling you.

1816
01:44:40,006 --> 01:44:41,106
(LAUGHS)

1817
01:44:41,106 --> 01:44:43,542
It's gonna look amazing.

1818
01:44:43,542 --> 01:44:44,911
GARANCE: Yeah,
if you think about this,

1819
01:44:44,911 --> 01:44:47,947
I got black and white,
that's<i> Diva.</i>

1820
01:44:47,947 --> 01:44:49,947
You haven't seen that?

1821
01:44:47,947 --> 01:44:49,782
MARLAND: Who's it by?

1822
01:44:49,782 --> 01:44:51,951
GARANCE: It's a great film.
It's Jean-Jacques Beineix.

1823
01:44:51,951 --> 01:44:53,951
MARLAND: I don't know him.

1824
01:44:51,951 --> 01:44:53,853
He's an amazing director.

1825
01:44:53,853 --> 01:44:56,853
One of my favorite, I think.

1826
01:44:53,853 --> 01:44:56,823
MARLAND: Is it his new one?

1827
01:44:56,823 --> 01:44:58,990
GARANCE: No, it was, like,
four years ago or something.

1828
01:44:58,990 --> 01:45:00,760
CAMERAMAN: I thought
you loved French films.

1829
01:45:00,760 --> 01:45:02,929
MARLAND: Yeah,
but not this new stuff.

1830
01:45:02,929 --> 01:45:05,931
Like, I saw that one,
uh,<i> Subway,</i> by Besson.

1831
01:45:05,931 --> 01:45:07,835
(JAZZ MUSIC PLAYING
ON SPEAKERS)

1832
01:45:08,835 --> 01:45:11,703
(ROSALIND HUMMING ALONG)

1833
01:45:11,703 --> 01:45:13,578
I love that bit.
(CHUCKLES)

1834
01:45:18,578 --> 01:45:20,627
(CONTINUES HUMMING)

1835
01:46:07,627 --> 01:46:09,463
I think we should go to bed.

1836
01:46:11,463 --> 01:46:12,872
Don't you?

1837
01:46:19,872 --> 01:46:21,976
I think so. (GRUNTS)

1838
01:46:24,976 --> 01:46:26,613
Come on.

1839
01:46:28,613 --> 01:46:29,952
Come on.

1840
01:46:32,952 --> 01:46:34,186
Come on.

1841
01:46:34,186 --> 01:46:36,557
Put your pajamas on at least.

1842
01:46:38,557 --> 01:46:39,992
Where are you off to?

1843
01:46:39,992 --> 01:46:41,860
I'm putting a note
downstairs for Anthony.

1844
01:46:41,860 --> 01:46:44,860
What, in the street?

1845
01:46:41,860 --> 01:46:44,497
No, just on the front door.

1846
01:46:44,497 --> 01:46:45,931
Oh, well, darling,
I'll come with you, then.

1847
01:46:45,931 --> 01:46:48,134
No. I'll be one minute.
I'll be one minute.

1848
01:46:48,134 --> 01:46:50,134
Well, down and straight up.

1849
01:46:48,134 --> 01:46:50,770
I will.

1850
01:46:51,770 --> 01:46:53,541
Leave the door.

1851
01:47:28,541 --> 01:47:29,278
(ELEVATOR DOOR OPENS)

1852
01:47:32,278 --> 01:47:33,917
(DOOR CLOSES)

1853
01:47:37,917 --> 01:47:40,827
Right, now, bedtime.

1854
01:47:47,827 --> 01:47:49,097
Snuggle in.

1855
01:47:52,097 --> 01:47:54,132
There we go.

1856
01:47:54,132 --> 01:47:58,605
Sausage and croc
and piggy.

1857
01:48:00,605 --> 01:48:02,605
Shall I close your blinds?

1858
01:48:00,605 --> 01:48:02,707
JULIE: No, I like them open.

1859
01:48:02,707 --> 01:48:04,707
Really?

1860
01:48:02,707 --> 01:48:04,051
Yeah.

1861
01:48:12,051 --> 01:48:14,086
Now, then.

1862
01:48:14,086 --> 01:48:17,086
(JULIE YAWNS)

1863
01:48:14,086 --> 01:48:17,323
Mmm, very sleepy.

1864
01:48:17,323 --> 01:48:19,292
Good night,
my darling.

1865
01:48:20,292 --> 01:48:22,060
JULIE: I'm really happy
you're here.

1866
01:48:22,060 --> 01:48:24,329
ROSALIND: Mmm,
I'm very happy
I'm here, too.

1867
01:48:24,329 --> 01:48:25,765
JULIE: Thank you.

1868
01:48:25,765 --> 01:48:27,234
ROSALIND: Well done for today.

1869
01:48:28,234 --> 01:48:30,735
So proud of you.

1870
01:48:30,735 --> 01:48:33,104
See you in the morning.
Sleep well. Sleep tight.

1871
01:49:06,104 --> 01:49:07,743
(PHONE RINGING)

1872
01:49:11,743 --> 01:49:13,355
(CONTINUES RINGING)

1873
01:49:23,355 --> 01:49:24,728
ROSALIND: She's here.

1874
01:49:28,728 --> 01:49:30,671
Are you all right?

1875
01:49:39,671 --> 01:49:43,908
Barbara, don't think about it.
Don't think about it.

1876
01:49:43,908 --> 01:49:46,747
We'll talk soon.
Thank you so much for ringing.

1877
01:49:47,747 --> 01:49:49,176
Bye-bye.

1878
01:50:17,176 --> 01:50:18,212
The worst.

1879
01:50:21,212 --> 01:50:23,912
(JULIE SOBBING QUIETLY)

1880
01:51:27,912 --> 01:51:30,115
Anthony had been found

1881
01:51:30,115 --> 01:51:33,452
in the lavatories
of the Wallace Collection

1882
01:51:33,452 --> 01:51:36,757
where he had, uh,
taken an overdose.

1883
01:51:38,757 --> 01:51:41,027
And, uh,
an ambulance was called,

1884
01:51:42,027 --> 01:51:45,532
um, and there was an attempt
to resuscitate him there.

1885
01:51:46,532 --> 01:51:48,199
And he was then taken

1886
01:51:48,199 --> 01:51:51,470
to the Middlesex Hospital
in Mortimer Street

1887
01:51:52,470 --> 01:51:54,412
where he died.

1888
01:52:00,412 --> 01:52:01,917
And, um...

1889
01:52:05,917 --> 01:52:07,240
Yeah.

1890
01:53:02,240 --> 01:53:04,413
When I am dead,
my darling,

1891
01:53:08,413 --> 01:53:10,519
sing no sad songs for me.

1892
01:53:13,519 --> 01:53:17,288
Plant thou no roses
at my head,

1893
01:53:17,288 --> 01:53:19,563
nor shady cypress tree.

1894
01:53:24,563 --> 01:53:27,268
Be the grass green above me

1895
01:53:29,268 --> 01:53:32,375
with showers and dewdrops wet.

1896
01:53:36,375 --> 01:53:39,884
And if thou wilt, remember,

1897
01:53:44,884 --> 01:53:46,173
and if thou wilt, forget.

1898
01:55:15,173 --> 01:55:16,757
(BIRDS CHIRPING)

1899
01:59:26,757 --> 01:59:28,827
(BELL RINGING)

1900
01:59:28,827 --> 01:59:30,265
(INDISTINCT CHATTER)

1901
01:59:33,265 --> 01:59:34,500
(CLAPPERBOARD CLAPS)

1902
01:59:35,500 --> 01:59:37,000
WOMAN: Action!

1903
01:59:37,024 --> 01:59:47,024
Sub By Black Hawk