[MACHINERY WHIRRING]
[INDISTINCT CHATTER]
[SHIP HORN BLARES]
[REPORTER] Their industry is in crisis,
- its survival uncertain... - [STATIC FEEDBACK]
[INTERVIEWER] So, Julie, welcome to Sunderland.
It's great that you want to make a film in the town.
Um, maybe you could tell us a little bit about it, please.
[JULIE] Yes, it's about a 16-year-old boy called Tony,
and he's very insecure and he's shy,
and he's lived in Sunderland his whole life,
and he has this overwhelming affection and love for his mother.
He absolutely adores her,
he almost has an obsession with her,
and has a constant dream of her dying.
This fear inside him,
he just can't bear the idea of losing her,
and, of course, in the end, she dies.
[PLAYS HARMONICA]
♪ Right now, I'm in Knightsbridge ♪
♪ In a really nice flat ♪
♪ I'm gonna get me one of these places ♪
[TRACY, LAUGHING] Are you?
- ♪ With five of my wives ♪ - [FRANKIE] But you ain't got no cash.
Hey, hey, hey, hey, there's no need for that, Frankie.
There's no need for that, all right? I was going, I was...
- [INDISTINCT CHATTER] - [LAUGHTER]
- Sorry. - [JACK] Hello, sausage.
- Hi. - Here she is.
[INDISTINCT CHATTER]
[INTERCOM BUZZING]
[BUZZING CONTINUES]
- [JANET] Hey. - Hi.
Oh, this is Anthony. He's my lodger.
- [ANTHONY] Hello. - [RAY] Ray.
Hi.
[UPBEAT MUSIC PLAYING]
gets up and walks out the room with another fella,
in front of all my mates, everyone sees it.
What's that about? That's not nice, is it?
I don't know where you're getting that from.
[INDISTINCT CONVERSATION]
[ANTHONY]...steady income, and I've known him for a while. Um...
He's often away, uh, in the provinces,
um, so that's why we felt this would work out,
because I'm often away,
- and between us we could... - Just split it.
Share that room and split the cost.
- Okay. - Yeah.
Well, as long as he's all right with it.
He's fine with it, and he's very keen to meet you.
- I've told him all about you. - What have you said?
- I've said you're a wild... - Because you can be very cheeky.
Exotic, social creature.
[CAMERA SHUTTER CLICKS]
He has this fear of losing her.
- Hmm. - And this overwhelming...
he has this overwhelming attachment
to her always being with him and always being present,
and I found that really interesting,
because I kind of linked that with his mother city of Sunderland,
um, being, you know, dying and decaying and rotting,
and then at the end of the film,
there would ultimately be the death of his mother,
and I found that really...
Yeah, really interesting for me, that metaphor.
- And you've been up there? - Yes. Yes, I have.
I was taking pictures of, um, some installations by some artists I know,
um, which I found really, really interesting.
- Um, yeah. - Then you got fascinated in the rot?
[LAUGHS] Yes, yes. In the streets.
- [PHIL] She's got the dosh, so why not? - [JACK] Exactly, exactly.
I think if you can get hold of a camera like that, fair enough. Do your thing...
[TRACY] I think you're doing all right, aren't you?
[FRANKIE] Yeah, she's having a go, ain't she? Just like the rest of us, so...
[JACK] Yeah, she's having a go, but there's other people having a go
who can't get that camera, you know what I mean, so...
[FRANKIE] Yeah, but, listen, you can't...
[JACK] I think you should probably, um...
[FRANKIE] You gotta play to your advantages.
[JACK] Yeah, absolutely, fair play.
[PHIL] Mate, if you was in the same position, you'd do the same thing.
[JACK] Don't get me wrong, fair play to her,
but you gotta... when you're in, you know, a position of privilege, dare I say,
then you've gotta accept it.
[PHIL] If you was successful and you had your kids, yeah, all right,
you want 'em to make the most out of every situation.
Exactly, but I'd want 'em to be aware of it. Be aware of it.
- Good girl. Come on. Come on. - [BARKING]
Can I take something?
- [ROSALIND] I'm all right. - [DOG WHINING]
- I'm laden. - Hello!
- Oh, my Lord. - Rosie! Rosie!
Daddy was going to put this in the hunt jumble, and I thought, you know,
you never have enough lights in here, and I thought this might be quite good.
What do you think?
Where do you think this could go?
- It's a little too tall. - Could go down...
Well, I don't... what, there?
Or what do you think about over here?
Yeah, it could go on my desk.
[ROSIE WHINES]
- Are you all right? - [GRUNTS]
- Are you all right? - Yeah. Shopping headache.
Don't you think they'd be nice?
- Yeah. - You could hang them up and around.
Hang them on the... hang them on those, up there. Would look Christmassy.
- What do you think, Dora? - [GIGGLING]
Just come and... - Stay. - Stay.
But I'd need to get a real job.
[BOTH LAUGH]
- Don't want to do that. - You don't need to.
- I do. Need to pay rent. - You kind of do, actually, yeah.
To you. You'd be a terrible landlord.
- I am a terrible landlord. - [BOTH LAUGH]
'Cause he's so lovely, Frankie, but he's... he smokes a lot.
- Does his girlfriend pay rent? - No. No.
She hasn't even, like, suggested it.
- Doesn't put anything towards it? - I'm not gonna ask him. No.
- No, you have to. - 'Cause it's not like she's here...
You're too nice. You need to properly sit them down
and be, like, "There's three people living in this flat. Pay me rent."
Get aggressive, get a baseball bat.
- [FRANKIE] Morning. - Morning, Frank.
- All right? - Did you sleep well?
Yeah, it was all right.
- Nothing for you, sorry. - No?
Are you expecting anything important?
- No. - No?
- D'you want a cup of tea? - Yeah, please. Thank you.
- All right. - No sugar, please.
All right, mate.
[TRACY] Can you make me a cup of tea in a minute?
[FRANKIE] So lazy.
[ANTHONY] We don't know what the inner machinations of their mind are,
or their heart. We don't know.
But that's what we want to know when we go and see a film.
We don't wanna just see life played out as is.
We wanna see life as it is experienced,
within this soft machine, within this...
[CHUCKLES SOFTLY]
But the life of Tony and his mother, they're the lives of real people.
I'm not... I'm not making that up.
- Why are they more real than me? - They're not more real than you.
Am I more real than you?
No.
[ANTHONY SIGHS]
I think we're all equal in that. I think we're all as real as each other.
There's no competition.
It doesn't matter that they're not real people.
I mean, I'm not trying to make a documentary.
- I'm making a feature film. - Now, are you sure?
Yes, I am.
I'm making a feature film.
You're not trying to document
some received idea of... life up there,
on the docks, the daily grind...
huddled listening to the wireless?
Well, I am, but I'm creating something new with it.
Well, good.
So the material is real, those people exist,
but I am designing new ones...
to fit what I want to make.
Well, good. That sounds great.
- I'm a big fan of Powell and Pressburger. - Hmm.
I think they...
I think they're very truthful
without necessarily being real.
So what do you do?
I work for the Foreign Office.
- Is it very boring? - Incredibly.
[CHUCKLES SOFTLY]
["TOTALLY WIRED" BY THE FALL PLAYING]
[FRANKIE] The many misadventures.
- What'll be the name? - [TRACY] Yeah, the name.
- [JULIE] The word on the street. - [PHIL] The word on the street.
What'll be my name? What'll be my name? Let me think of something special.
- Wear one of these. - [TRACY] Roger.
- Roger? - Yeah.
Roger? No, Roger sounds too rugged.
[TRACY CHUCKLES]
- [FRANKIE] All right, you got it? - [JULIE] You're not gonna get it.
- [PHIL] Oh, that was a terrible shot. - [TRACY] That was always gonna happen.
[JACK] Get raided.
- [PHIL] You sure you want another one? - [TRACY] Take one of us. Come here.
[JACK] Yeah, I can drive. Haven't got a license, though.
[JULIE, CHUCKLING] Stop.
[CAMERA SHUTTER CLICKS]
[LAUGHS] That ruined it.
- Would you like another one? - [JULIE] No.
- No? You sure? - Yeah, I'm sure, thank you.
- Would you like another one? - I've just had one.
- Bloody hell. - [LAUGHING]
["SHIPBUILDING" BY ROBERT WYATT PLAYING]
[MUSIC CONTINUES]
- Do you like her? - I love her.
[ANTHONY] She's just received word from her lover,
and she's carving his initial into the tree.
[JULIE] She looks sad.
[ANTHONY] I think she looks determined.
Mm-hmm.
- And very much in love. - Very much in love.
- Do you like horses? - Yes. But not to ride.
Ah. Well, Ray's rather fond of them,
and Janet said we could take her to my parents for the weekend.
- Mm-hmm. Yeah, I'd love that. - Good.
[ANTHONY] Made it. Ray.
- [RAY] Hi. - Hi, hello. I'm Barbara.
- Hello, Barbara. I'm Ray. - Ray.
- Hello, Ray. I'm James. - Hello, James.
- Hello, darling. - [ANTHONY] Hello.
[CAR DOOR OPENS AND CLOSES]
- Julie. - [BARBARA] Julie.
- Hello, Julie. I'm Barbara. - Lovely to meet you.
- You're welcome. Welcome. - Hi. I'm Julie.
Lovely to meet you. If you'd like to follow me...
- Come on in. - [JULIE] Thank you.
[JAMES] What are you working on at the moment?
I, um... uh, my next project is a feature film,
uh, set in Sunderland.
- [BARBARA] Oh. - Great part of the world.
[JULIE] Mm.
Um, Barbara comes from Newcastle, so she's got some family up that way.
Might be able to put you up, maybe, if you were up there.
Mm. Thank you.
Um... Oh, great subject matter.
Are you involved... wanting to film in the shipyards, or...
- Mm. Yeah. - Wonderful.
They really need somebody to do a documentary on them,
because they're under threat at the moment.
Uh, I worked in a shipyard when I was a boy, before I went off to art school.
- Hmm. - And, uh...
not in that part of the world, but, uh... um...
It's been my subject matter and inspiration, really,
you know, the beautiful shapes of the boats and...
[ANTHONY] Did I hear Frankie say something
about staying with his girlfriend for a few days?
Yeah, he's always with her.
Beginning of next week or...
Yeah. I'm not sure, I'd have to check, but...
I was wondering if I could stay a few days.
Why?
It's to do with my work. It's rather complicated to explain.
In fact... I can't really explain it at all.
I completely understand if there's an issue with that.
- I can always find somewhere else. - No, it's okay.
- Are you sure? - Hmm.
- That's very kind. - It's all right.
You're very special, Julie.
I don't think I am.
Oh, no, you don't think you are.
- Very normal, really. - Yeah, normal.
You're not normal at all. You're a freak.
Thank you.
- How am I a freak? - Your fragility.
- Is that a good thing? - I think you know.
I think I'm quite average.
You're not average.
You're lost.
And you'll always be lost.
[OPERA MUSIC PLAYING]
- Are you hungry? - [ANTHONY] Famished.
- How did you get on? - Really well, thank you.
- Good old Harrods? - Yeah.
- A nice bit of fillet steak. - Hmm.
- I've had a very nice time here. - Good.
- Very relaxing. - Good.
Checked in on Janet. Everything's fine there.
Good.
I mean, I dare say they've had the odd person, uh...
watching over, but I don't think there's been any disturbance.
Hmm. I'm glad.
That's partly why I wanted to get Ray out of there for the weekend.
[REPORTER OVER RADIO] There were fears that the Russians might try to come in
and slew the submarine off the rocks,
and those fears were reinforced
when a second foreign submarine was detected earlier this morning.
Today, the government revealed that they're considering a charge of espionage.
The case is seen as very similar to that of Gary Powers,
the American pilot of a U-2 spy plane shot down over Russia in 1960.
The Russians tried him as a spy.
["GIMMIX! PLAY LOUD" BY JOHN C. CLARK PLAYING ON RADIO]
[BELL TOLLING]
[JULIE] "You've got to see Venice," he began.
"You've got to see a city of slender towers and white domes,
sleeping in the water like a mass of water lilies.
You've got to see dark waterways,
mysterious threads of shadow,
binding all these flowers of stone together."
I like this.
And where was this taken?
- Afghanistan. '73. - Oh.
I'm going to wash the lettuce.
[JULIE] "I don't feel that I fully understand the qualities of entertainment,
but I realize the importance of entertaining people
to get a message across.
I hope to learn to entertain as well as communicate."
- That's good. - Yeah.
That's the bit I like, at the end.
What's all that about therapy?
Well, it's my version of therapy, really.
- Okay. - My self-expression.
Through art, through film, you know, that's my...
Do you think that makes you special?
Well, it's not, you know, it's not about me being special.
It's about, you know, them, you know...
it's just, I want them to know that...
I want them to kind of know that about me, you know?
- Okay. Okay. - Is that...
- Do you think it's too... - No.
I'm not sure, uh, sincerity is always enough.
But go on. Let's hear the next bit.
Okay. You mean... you mean you don't think I should be this honest?
Um, well, no, I just think it's, um, you know...
People use that word as if it's an end in itself,
and, uh, I mean, you know, we can all be sincere,
we can all be authentic,
but, um, what's it all for?
I mean, it just slightly reads
like you've been sort of backed into a corner by life,
and it's like, "Oh, well, I'd better be a film director."
As opposed to, "I want to be a film director."
Is that what it sounds like?
What happened last night
is every time you rolled over and then rolled back again...
you came closer to me and took up more of the bed.
And you're already, I would say, further over than I am.
That's not true.
- It is true. - No, it's not.
- I haven't got that much... - You have bed dysmorphia.
[LAUGHS]
And you... then you accuse me of...
I wasn't trying to cross any sort of threshold.
[CHUCKLES]
I have not got that much room.
- You've got a foot on that side. - That's not a foot.
And I literally am on a ledge.
- I've got nowhere left to go. - [LAUGHING]
Well, where's the... Where's the halfway line?
Well, I think it's where your arm is, but, like, under your arm.
No, I think it's there.
No, I think it's, like, there.
No. That doesn't give me enough room.
- There. - All right, there.
But I can barely lie flat like that.
We're saying there, okay.
I'm going to do a Claudette Colbert-Clark Gable
wall of Jericho with your friends here.
[LAUGHING]
I haven't got much room.
- You've got a foot! - [LAUGHING]
You've got a foot. I have nothing.
I've nothing. There's nothing here.
[ELEVATOR DOOR OPENS]
I'm going to be in Paris for a while.
Okay.
See you soon.
[ELEVATOR DOOR CLOSES]
[JULIE] "My dear Julie.
Just a letter of thanks.
You see, I've almost forgotten what happened in December.
I may have been born in 1980,
and that was the year I first fell in love.
And I have wondered if that were possible.
I have gained so much to thank you for.
Inexpressible, though, this thing of delight and trust.
Most importantly and at the center
is that I am mainly thanking you for my love for you.
Ergo sum.
A grateful and loving Anthony."
["IS SHE REALLY GOING OUT WITH HIM?" BY JOE JACKSON PLAYING]
Is this my book?
- Oh, yeah. Sorry. - You... you keep it.
All right. Cheers.
- All right. - Do you want a hand?
Yeah, I'd better get downstairs. Jack's got the van, ain't he?
- I might torch this. - [JULIE LAUGHS]
- You give my love to Tracy. - Yeah, I will.
Yeah.
- Love you, Frank. - All right, mate. Love you, too.
- Have fun. - I will.
- See you on the flip side. - [CHUCKLES]
[ELEVATOR DOOR OPENS]
- [FRANKIE] Ta-ta. - Bye.
[ELEVATOR DOOR CLOSES]
The, uh... the thing that struck me about the main character, Tony, in my story,
is that he is being forced to rate, to be raised, and to come to terms
with the incredible struggles that his family is going through at that time,
and all his peers at school as well.
And this very cruel,
very raw, you know... um...
Sorry, I'm not expressing myself very well. Um...
You know, being forced to come to terms
with something so harsh for someone that's so young.
- Very vulnerable. - Right.
And yet, you're wanting to make a film
about an experience that's very different from yours.
I mean, you could argue that really it would be much better for you
to work from your own experience, particularly at an early stage.
I mean, what makes you want to leave your own experience so radically
and enter into this very different world?
I mean, it's suggested that you almost have
a kind of moral, sort of political aim?
- I mean, can you just... - [JULIE] Very moral, to me.
Talk about that, perhaps, for a moment?
Yes, uh...
I feel as though I want to not live my whole life
in this very privileged part of the world I come from,
uh, part of the country.
And I want to be really aware about what's going on around me,
with people, and community, and politically as well.
Um, I don't want to be in that bubble my entire life.
- Where's the wall? - The wall is...
The wall was. It is no more.
- We dismantled it. - Ah.
There was a whole ceremony. You missed it.
- I'm sorry I missed that. - We all felt very snubbed.
- Is this for me? - Mm-hmm.
- Thank you. - From Paris.
Put it on.
[OPERA MUSIC PLAYING]
[MUSIC CONTINUES]
[ANTHONY MOANING]
You're a dark horse, Julie.
[MOANS]
I love pale skin.
Why? Why?
'Cause everyone's getting a tan nowadays.
- But I burn. - Good.
[CHUCKLES]
We'll keep you out the sun.
I like freckles.
- Did you hurt yourself? - No, I don't know what that is.
- It looks really sore. - It is a bit sore.
- Okay. - What do you think I should do?
I think you should...
just leave it... and let it go away.
[OPERA MUSIC PLAYING]
- [ANTHONY] I'm going out. - Okay.
I'll be back later.
- See you later. - What?
See you later.
Can you lend me a couple of quid?
- Yeah, sure. - Thank you.
- How much? - Uh...
Six.
Have you got ten? Give me ten.
Won't need ten, but, uh, just in case.
- Bye. - Bye.
[CAR HORN HONKING]
I thought we'd put Anthony down the end. Be more comfortable.
It's not that kind of relationship anyway, is it?
[DOG BARKS]
He's got his own bathroom, and...
he'd be quite comfy there.
Yes. That feels good.
- Rosie. - [BARKING]
Mummy, can I borrow some money, please?
- More money? Oh. - Yes.
[STAMMERS] It's just... It's for college, you know.
- It's for cameras and... - It's not long since the last.
- I know. - Hmm.
And I know I haven't paid that back yet.
- How much this time? - Two hundred pounds.
Oh, another one.
- All right. - It's just for equipment.
- For film school, you know. - Ah. Ah.
- Are you keeping a tally? - Yeah, of course.
All right. All right, well, yeah.
- I will pay you back. - All right. All right.
[DOG WHINING]
- [BARKING] - [ROSALIND] Rosie! Rose!
Well, we didn't really mix with King's much, but...
I think all the colleges kept themselves to themselves.
In my day. They probably don't...
- Didn't when you were there. - Yeah, no, no. Absolutely, yes.
I studied history of art and then continued at the Courtauld.
It was a funny time then, 'cause it was just
- after the war, so... - Uh-huh.
I suppose it was rather different in your day.
Hmm... well, I don't know.
[ROSALIND] I think we're off. I think we're off.
We're ready for lunch. Come on through.
- Hmm. Jolly good. - Do come through.
Julie, darling, can you just
- come and help me? - Yes.
Starting on the wine, I suppose.
[WILLIAM] Hopefully. Yep, I think we've got a nice bottle of something there.
- Through here? - No, straight on. Straight ahead.
Got to get over the barrier, though.
It's a rather curious tradition we have in this house.
It's meant to keep the dogs out, but actually it keeps people out.
I think a lot of them are young men
who were dragged from their beds at the crack of dawn,
with little or no hard evidence to say that they were...
what we would consider criminals.
I don't think granting these men political status is such a big deal.
We don't know that they're necessarily affiliated
with the exact same organization who put bombs under cars
and shoot prison wardens while they're going about their everyday lives.
It's terribly complicated.
[WILLIAM] Complicated? But we've got to protect society, haven't we?
But they're just as much part of society as anybody else,
that's what they would say.
And, uh, do you...
Well, I haven't set any bombs recently. Have you?
No, but you haven't necessarily felt the need to,
'cause you've felt that you have a political voice.
[ANTHONY] Mm-hmm.
Or-or am I wrong about that?
I think you're wrong, really, if you don't mind my saying so.
I think... I'm amazed to hear you say this, but, um...
- It's refreshing to hear this. - I'm quite sure
they're not all guilty as charged.
But I'm sure the majority of them are.
Some of them are proven guilty, some are not. Um...
But can we risk having bombs, pipe bombs,
all sorts of foul things that are going on all over Northern Ireland?
Can we allow that?
- [ANTHONY] I'm not an apologist. - Darling.
[WILLIAM] And if we lock up a few innocents in the process,
well, that's part of it.
- I'm not an apologist... - No, thank you, darling.
For violence on either side.
And it is on both.
[WILLIAM] And what, is that a foreign office view, or is that your view?
Probably not, no. That's my view.
[WILLIAM] That looks rather like my cap you're wearing.
- [JULIE] It is your cap. - I thought it was.
It looks better on me, I think.
- Yeah. I want that back. - [ROSALIND] You might lose that.
[BARKING]
[WILLIAM] Dogs all right.
[INDISTINCT CONVERSATION]
[ROSALIND, IN A HIGH-PITCHED VOICE] Rosie! Come!
- Dora! - [JULIE] Dora!
[ROSALIND] Rosie! Come on!
- [JULIE] My godfather gave it to me. - [ANTHONY] Little swallow.
- Yeah. - It's charming.
Thank you. I never... I never wear it.
But it's time for it to... Its first flight.
[CHUCKLES]
- Yeah, it looks good there. - Hmm? Okay.
It's the ultimate form, because it's maximum cinema.
It's movement, music, energy, color.
Everything that film should be.
And there's never been a good musical made in Britain, I don't think.
I mean, there's been some Cliff Richard.
- Mm-hmm. - You know,
"Knees Up Mother Brown," whatever, but, you know,
for a country that has The Stones, The Kinks, Small Faces,
for there not to be a good musical here is just...
- It's almost impressive. - Mm. I'd say.
[ANTHONY] Julie met a load of your old Raynham lot the other day.
- [LYDIA] Mm? - [PATRICK] Mm.
[ANTHONY] Sounded rather a humorless bunch.
I don't know if you'd have known any of them.
Do you remember their names?
No, I can't, I'm afraid. I was so nervous.
Well, it's only confidence because the whole thing is a con.
[JULIE] Hmm.
And they're the biggest con artists out there who are in film school.
I just used it as a kind of supply center, really.
[ANTHONY] Are you glad you went at all?
It's the cheapest camera-hire place in the world.
I mean, they don't lock the store cupboard.
You go in there, get the camera,
and, you know, I made two features
while I was there for, I mean, no money.
They don't check the stock, really.
Couple of trims. I mean, it's great.
You have to listen to a lot of people who think they know about film
telling you how to make a film.
It's like telling someone how to breathe or how to think or...
- [ANTHONY] Yeah. - It's ridiculous.
And there are no rules.
I mean, you know the Tolstoy definition of art?
Mm.
Well, you just have a feeling,
and by means of external signs you communicate it to someone else.
That's it.
[ANTHONY] So, no reason to feel intimidated.
I mean, unless you don't have feelings, which doesn't seem to be the case.
I don't see why you would be intimidated.
Well, people can feel intimidated. I don't think that's...
Yeah, I mean, they can, but...
- Perfectly normal. [MUMBLES INDISTINCTLY] - not of people who teach.
[ANTHONY] This has got rather warm. I'm gonna switch it round.
"Those who can't."
Can you swap the warm wine's heat into this?
- [ANTHONY] Shush. - Thank you.
Thank you for your advice. It's really...
- it's really helpful. - [LYDIA] Mm.
- You don't seem druggie to me. - No, I'm not. No, I'm not.
- Interesting. - [LYDIA] Mm.
So, I'm trying to work out...
where you two tessellate here.
- I'm not good with euphemism, so... - Sorry, I don't understand.
Okay, so habitual heroin user,
- trainee Rotarian... - [LYDIA CHUCKLES]
Which is a good look. I mean it nicely.
How? What? Why? When?
Sorry, I don't...
- You don't even dabble? - No.
Okay. I mean, I don't.
I feel it's very mainstream behavior. I've said to him...
- It's mainstream. - [SCOFFS]
I actually think, you know...
I mean, it was fine in the '40s, but...
- [ANTHONY] All okay? - [LYDIA] Great.
We are having a charming time.
- Good. - I say.
If only you could top up these olives,
I think we might be able to get through the rest of the meal.
This is a scene... a rehearsal scene.
This is the first rehearsal he had with this bunch of young musicians
that he was going to create a new band with.
And there he is. He's quite old.
You can see that they look a bit nervous, a bit like you, I think.
Listening to the master tell them the facts of life.
And also saying...
how much it mattered to him, playing this music.
So it's very parallel, in my mind, to what you are beginning to go through now.
["STOP THE CAVALRY" BY JONA LEWIE PLAYING]
Their son's getting married,
and they can't decide whether they like the girl or not.
Mm.
- And he's a doctor. - Mm-hmm.
'Cause he's got good hands.
And she's a schoolteacher.
Does she have secrets?
- Of course she does. - Of course.
Does he?
No.
Oh.
How would you feel about going to Venice?
- Venice? - Mm-hmm.
I'd love to go.
- I would love that. - Good.
- Thank you. - Thank you.
Have you been before?
Yes. Three times.
- Three times? - Once in summer.
- Twice in winter. - Mm-hmm.
Why did you go? Did you go by yourself?
Uh, no, I went with, uh, Desiree.
She went mad with jealousy and jumped in a canal.
Never saw her again.
At least, that was what her suicide note implied.
I think she ran off with a gondolier.
No wonder.
So, three girlfriends.
- Yes, all called Desiree. - Mm-hmm.
Strange, that.
What were their names?
Miriam.
Caroline.
And Angela.
- Angela. - Mm.
- Angela sang jazz. - They sound unbearable.
[TEARS CHECK]
I suppose they were frightfully beautiful, and lots of fun and rode horses.
If you don't want to know...
- I do want to know. I do want to know. - Then don't ask.
Did Miriam play the cello?
No.
- The violin. - No, she wasn't at all musical.
She wasn't even pretty, actually.
That's not true.
Well, she had other qualities.
Like what?
Darling, I can't tell you in here.
Thank you. Excuse me?
I'm just playing, Julie.
Stop torturing yourself.
- I'm not tort... - Stop inviting me to torture you.
Ugh!
- Ugh! - Ugh!
That's exactly how you make me feel when you're being like this.
- [PLATES CLINKING] - Thank you.
["SOUVENIR OF LOVE" BY JESSIE MATTHEWS PLAYING]
[JULIE] That is so beautiful.
[CHURCH BELLS TOLLING]
[CHUCKLING] I'm not trying that.
No, it's way too... it's too adventurous.
[CHUCKLING SOFTLY]
Are you packed?
'Course.
Liver? I'm not eating... I'm not...
No, I'm not interested.
[GROANS] No. No, no. I'm gonna stick with pasta.
Nice, normal pasta.
Mm, 'course.
Okay, well, um... Yeah, I'll see you later.
I... yeah, I can't wait.
Hitchcock knew this. I mean, he would change tack.
I mean, if Psycho, you know, the scene in-in Psycho, the shower scene,
- is very much fragments... - Yeah.
Very much withholding. But then elsewhere, he's quite conventional.
So he knows when to make those adjustments.
Uh, because it is a process, a growth,
a building of our sensibilities and our perceptions,
and we've got to realize that sometimes
we have to change our approach as the journey unfolds.
This scene could be related to that scene in-in Psycho.
So you don't see the stab wounds. So you don't see the pain.
- [STUDENT] Mm. - You just hear it.
You know, you hear the scream of the woman.
- Yeah. - You hear the conflict.
- [MAN] Yeah. - So it's... could be quite like that.
[MAN] Yes, of course. And, of course, as, I think, you know, the books tell us,
- we never do see anything... - Mm.
- In that shower scene. - No, you don't see.
Although we have all the...
What appear to be all the bits and pieces that we need for the murder,
but then nothing ever happens, all we see is the knife.
- You just see the knife. - The knife and the showerhead.
And in this case, possibly, the conflict, the noise of the argument, is the weapon.
- Yes. - You see the end result,
which could be, in Psycho, her dead body,
and then, in this case, the two broken siblings at the end.
[JULIE GASPS]
[ANTHONY] They've taken everything.
[OBJECTS CLATTERING]
I'm gonna call the police.
[ROTARY PHONE DIAL WHIRRING]
[PHONE RECEIVER SLAMS]
- Argh! God. - [SLAMS WALL]
Fuck!
[ANTHONY GRUNTS]
I shouldn't have fucking done that.
[SOBBING]
♪♪
♪ How sad Venice can be ♪
♪ When you're on your own ♪
♪ How sad Venice can be ♪
♪ When you're alone. ♪
[BELL TOLLING]
- [ANTHONY] Thank you. - [BELLBOY] You're welcome.
[BELLBOY SPEAKING ITALIAN]
[JULIE] Thank you.
[DOOR OPENS AND CLOSES]
♪♪
[ANTHONY CLEARING THROAT]
[SOBBING QUIETLY]
[ANTHONY] Please tell me what I've done.
Please, because...
This is punishing...
seeing you like this and then not knowing why.
[ORCHESTRA TUNING INSTRUMENTS]
- [MUSIC STOPS] - [BATON TAPPING]
[OPERATIC MUSIC PLAYING]
[MAN SINGING OPERA]
I can't go into all this. It was an emergency.
- What fucking emergency? - If I hadn't done that on that day,
I wouldn't be here now. I...
- That's all I can tell you. - What's that supposed to mean?
You can't say stuff like that and then not...
I appreciate that there are some things you can't tell me.
Well, you know, I appreciate there's things about me
that you find unacceptable.
There's things about you I find unacceptable.
There's things about this conversation I find unacceptable.
- The fact that you're a thief. - We're gonna have to meet somewhere.
Anthony, you stole my stuff. You stole my things.
Do you understand? Do you understand that?
Do you understand how that would make me feel?
I didn't think you'd...
You wouldn't think I... You didn't think I would mind?
- Is that what you're saying? - No. No.
I knew you'd mind. That's why I didn't tell you.
I do what I do so that you can have the life you're having
and sleep safe at night,
and there's not a fucking car bomb on King's Road.
- Let's laugh about it. Why not? - [JULIE SCOFFS]
I can't... I can't believe you.
Well, if you can't believe me,
why don't you take some time to get your head around it?
Because I've got nothing more to tell you, I've got nothing more to explain,
and I've got nothing more to offer to this.
I'm sorry. I...
I understand. I get why you didn't...
There are some things
you need to... you need to not tell me, and I understand that.
- Thank you. - So I'm sorry.
I don't wanna give you a hard time. I'm sorry. I'm sorry.
[REPORTER ON RADIO] At the siege of the Libyan People's Bureau
in the West End of London,
hundreds of armed police have been on the alert all night,
with marksmen surrounding the building in St James's Square.
Other police officers have installed equipment
to monitor movements inside the bureau
and contact has been established with those inside.
The whole area around the square has been sealed off.
[REPORTER 2] From here they looked like plans of the layout
of the embassy building.
In this, the dreaded first hour of the siege,
the talks are going on to try to end it.
And on the rooftops of the buildings above me,
police marksmen are trained on the embassy.
I understand one option open to them though
is to offer the Libyans safe passage to Heathrow...
- [JULIE] This is for work? - [ANTHONY] This is for the work, yes.
Have you read the notice that I put up yesterday about the musicians' union,
the agreement we've just reached?
- No, no, I haven't. - No. You should read it.
- Mm-hmm. - It's important.
I mean, it's good for us to reach an agreement.
They're a tricky bunch. But, you know, here we are,
- twenty-five pounds per musician... - Mm-hmm.
For a three-hour session.
If you're using an orchestra,
you're gonna run through your budget very quickly indeed.
We'll need to talk about the budget.
We need to think about budgets at this school.
We're not just loaning equipment out
- on the willy-nilly. Um... - Mm-hmm.
It's quite irregular, really, to be coming and talking about a project and equipment
when you haven't even thought about the budget,
but then I don't suppose you really have to think
about budget in Knightsbridge, do you?
How are you getting on?
[ANTHONY] I'm going out for an hour or two.
- Can you lend me a tenner? - [JULIE] Yeah.
- You staying here? - Mm-hmm.
See you later.
[DOOR CLOSES]
[HORN HONKING]
[ROMANTIC MUSIC PLAYING]
Does all this make sense?
Mm-hmm. Yeah.
- Nothing looks unclear? - Don't think so.
I think get her to do that for real.
I mean, tangle her up if necessary.
Okay.
- You don't want it to look stagey... - Mm-hmm.
Because the whole thing is,
you know, stagey in intention.
- Did you score today? - No. Don't ask me that.
No.
'Cause I feel like you're on something right now.
Well...
I'm not.
- Well, I think you are. - Well, I'm not.
Because you're not yourself.
[ANTHONY SCOFFS]
What?
- Well, I mean... - Don't...
Don't lie, Anthony. I know that you're...
I know you have a received version of who I am supposed to be at any one time.
- I don't... that's not... - But nobody has...
You know? I have... [SCOFFS]
You more than anyone should understand
that people go through different emotions at different times of the day,
and feel different things and behave in different ways.
I know that, but I know you,
and I know this is not what you're like sometimes.
I think you're nervous, and I think you're trying to distract yourself
from your fear of the task ahead,
and I think you just need to relax and make sure you're prepared...
I am prepared. I am. This is... this is preparing.
Julie, what am I doing with this?
Um, just kind of... do a little, um...
- You okay? - Yep, yep. Um...
[CAMERAMAN] Well, I mean, it's not in shot.
Why's she doing anything with it?
- We're filming the hair. - Oh, yeah, okay. Um...
Yeah, let's just put it on the table so you don't have to hold it.
True.
[CAMERAMAN] Okay, let's bring this round a bit
so it's a bit more profile-y. Sorry?
- [GRIP] Can't pull it any further round. - No, no, the other way.
To the left. Lamp left.
[HAIRDRESSER] I've just put these clips in, just to hold.
Perfect. Perfect, yep, yep.
Hopefully when we're ready to go here, I can hopefully...
- Mm-hmm. Yeah. - And have a tighter curl.
- [JULIE] Okay. - [CAMERAMAN] Hold on.
[GRIP] This is sort of all right.
[CAMERAMAN] No, it's great.
- Ooh, sorry. - For fuck's sake.
Sorry, sorry.
Just be careful.
It's okay for a few more takes.
[JULIE] Yeah, yeah, we only need another, I mean, another one or two takes.
Do you think? How many takes do you think we'll do?
[CAMERAMAN] Well, how long is a piece of string?
- We shoot till we've got it, right? - Okay, yeah.
But we will need to reset if that's the case.
Yeah, okay, we'll make sure that it's... it will stay.
- Yeah. - You know.
Are you all right?
No, I just, I just, um...
I'm just longing to be home.
Mm.
Do you want me to come back?
Okay. Well, I'll see you later.
Okay, bye-bye.
[OPERATIC MUSIC PLAYING ON STEREO]
[JULIE] My dear Julie.
The vile beast knows itself, and miserable he is with it.
[THUNDER RUMBLING]
It is you who has power over the beast.
To cheer, to encourage, to reprimand, to forgive.
He loves you so, and you are invested with great power.
Use it wisely, and with mercy.
Your words means much to him, and that shall gradually become clear to you.
He has never laid open himself before, and he could love you for that alone.
Trust in yourself and try and see clearly,
and a small passing cloud will not appear to another's lie.
There wasn't really anything that I didn't do.
Um, I ended up in a coma,
I had seizures, I had overdoses.
I'm an only child, and my parents,
what that was like for them...
and yet they never gave up on me, you know.
Um, in fact, my father blackmailed me.
He said to me one time, he said,
"I'll give you this Physeptone if you just call this number."
And that was the helpline.
And, of course, I made the call. [CHUCKLES]
And I came to meetings, went out again, as I said...
Until finally, I'd just had it,
I'd just absolutely had it.
My body wouldn't take it anymore.
And I've ended up in police stations,
in cells, in mental hospitals,
straitjacketed, screaming, psychosis.
None of it good, you know, all for that feeling of the drug,
which sometimes, even in recovery, you know, I get feelings and things,
and I think, "Oh, Jesus, I just need a hit."
Uh... but not today. Just for today.
["2000 MILES" BY THE PRETENDERS PLAYING]
["POISON IVY" BY WILLIE MABON PLAYING ON RECORD]
[JULIE BREATHING HEAVILY]
[CONTINUES BREATHING HEAVILY]
[ANTHONY MURMURING INDISTINCTLY]
[LAUGHING]
[EXPLOSION IN DISTANCE]
[PEOPLE SHOUTING IN DISTANCE]
[REPORTER ON RADIO] Police spent the night
carrying out a painstaking search of the scene of the explosion,
fearing there could be other devices.
This morning, the area is still sealed off.
Ten to 15 pounds of explosives had been planted in a car outside the store.
["ALMOST ANYTHING" BY ALTON ELLIS PLAYING ON SPEAKERS]
[INDISTINCT CHATTER]
[CHATTER CONTINUES]
♪♪
[DIRECTOR] Okay, I'm just gonna check the frame.
Yeah, of course.
[MARLAND] Mate.
Are you all right? Do you want a... Do you want a jacket?
I'm okay. Thank you.
- What's going on? - I don't know. I think I've got flu.
- Are you hungover? - [LAUGHING] Oh.
- No. - You look it.
You look like you've been, like, out smashing it.
I don't know what... what's going on.
- But I'm fine. I'm okay. - No, you're not.
I was literally watching you through that whole take.
You looked like you were about to pass out.
No, I'm okay. I'm fine. I'm just... I'm just doing that.
Don't be polite about it. If you're unwell, just go home.
- D'you know what I mean? - I'm... I'm fine. I'm okay.
Anthony?
- Hello? - [MAN] Hello?
- [STAMMERS] I'm sorry, love. - Who are you?
- You must be Anthony's... - Sorry, you need to leave.
Sorry, you need to leave. Please go.
- [MAN STAMMERING] - No, please...
No, I'm not gonna hurt you. Just Anthony's...
Please, please leave. No, no, you need to go.
- You need to leave right now. - I'm sorry, yeah?
No. You need to leave. I'm sorry. I'm sorry, I'm sorry.
- Okay. - It's okay. I'm sorry.
- [SIGHS] - [KNOCKING AT DOOR]
[MAN] Forgot my coat.
Hello?
Sorry.
How do I know when I...
When I get the money, I'll pay you back.
But I...
Well, you know, I wouldn't ask unless I really needed it, you know.
[INDISTINCT CHATTER ON PHONE]
No, I'm not being extravagant. I'm using...
you know, I need this equipment for school.
It's cameras and film and... Hmm.
I will pay you back.
♪♪
[DOCTOR] I mean, definitely you can catch infections from other people.
Um, when people breathe, they can transmit particles of an infection,
uh, but sometimes, you can also get infections from other means,
by, for example, um, personal contacts.
Anything you wanna tell me that you haven't told me
about what's happening so far?
Um... No, I think... I think I'm...
[STAMMERS] I think I feel better now I've seen you.
- [DOCTOR] Okay, nice to see you again. - Thank you. Nice to see you.
Okay, I'd better run. And, um, I hope you get better soon.
- Okay. Bye-bye. - Thank you.
[DOOR OPENS]
[DOOR CLOSES]
♪♪
[CLATTERING IN DISTANCE]
[MUFFLED CHATTER]
[KEYS JINGLING IN DISTANCE]
[DOOR OPENS IN DISTANCE]
- [DOOR CLOSES] - [CHATTER STOPS]
[RAIN PATTERING]
[PHONE RINGING]
[RINGING CONTINUES]
- Hello? - [INDISTINCT CHATTER ON PHONE]
Hi, Barbara. How are you?
I'm fine, thank you. Are you all right?
[BARBARA TALKING INDISTINCTLY]
No, no, it's fine. Thank you for phoning. I, um...
Why-why was he arrested?
♪♪
[SOBBING] Please go away.
[SNIFFLES]
I guess I just haven't found, like, a specific voice.
D'you know what I mean? I don't know how to...
- Hmm. - I don't know how to articulate
what I'm... what I want to create yet, I think.
- Can I ask you a question? - Mm-hmm.
Okay, it's a bit of a weird one.
But this past six months and a bit,
like, I haven't seen you around in school very much.
Um... can I ask why?
I...
I was in a really difficult relationship with somebody...
- Mm-hmm. - And I found it difficult
to juggle that and film school.
And it just didn't...
it didn't leave me much time for myself and my interests,
so I just didn't really...
- Okay. - Have time. But...
I'm-I'm... I'm better now, so...
- Yeah? - A big yeah.
[HEAD OF FILM SCHOOL] I mean, you've changed quite a lot
since you came, haven't you, in your intentions?
- Mm. Mm. - And, uh, that's okay.
I mean, people are supposed to grow in this process.
But how is that working out for you?
It's very, very...
complicated and, um,
difficult sometimes, but it's...
you know, it has its ups and downs.
- But it's working? - Mm, yeah.
- It is? - Mm-hmm. Mm.
Good, because, I mean, the big...
I think I said this when you arrived at some point,
and I'm sure other people have said the same kind of thing,
that, uh, the most important thing,
uh, about learning in this situation
is that you somehow make a connection between your experience
and the experience you're trying to film.
[TYPEWRITER KEYS CLACKING]
[FOOTSTEPS APPROACHING]
[BIRDS CHIRPING]
- ["SMALL TOWN BOY" PLAYING] - This is not real cashmere.
Come on, Jules. I got it from Harrods. What are you talking about?
- It's nice, but it's not cashmere. - [FRANKIE] He got it from Harold.
- Harrods. - [JULIE LAUGHS]
Sells them down the market.
- [PHIL] The green shop, yeah? - Yeah.
- [LAUGHTER] - [PHIL] Where the classy
and people with decorum and class go.
[JACK] Looks good on you, lad, but you need to shut up about it.
- [PHIL] Listen, bro, listen. - [LAUGHING]
Haters are gonna hate. D'you know what I mean?
People don't wanna see me win. It's all right.
- This is nice. - It's fine, it's fine, you know.
I get a bit of dough, move up in the world
and everyone's dissing my clothes and my clobber.
- You know, that's all right. - [LAUGHING]
That's all right.
[BARBARA ON PHONE]...and I wondered if you've seen Anthony at all?
No, I haven't seen him for a while.
We've been so worried about him.
- Well, I'm so sorry. - Oh, I'm sorry to disturb you...
No, no, it's fine. You have to call... you call me any time.
But we have no other way of knowing where he is.
You're the only person we can call.
If you see him, would you let us know?
Yeah, of course.
And you have to call me if... When you see him, okay?
Of course. Thanks...
Thank you for... thank you for calling, Barbara.
I'm so sorry I can't help.
Lots of love... [CONTINUES SPEAKING INDISTINCTLY]
- Night, night. - Night, night.
[SIGHING]
Does he like the groom?
Yes.
- Maybe he introduced them. - Hmm.
Talking to them about money.
[JULIE CHUCKLES]
About planning ahead.
- Mm. Investments. - Yes.
And frugality.
I always use the wrong fork on purpose... for salad.
Both of mine are the same size.
[JULIE] Mm.
[LAUGHS]
[SOBS SOFTLY]
[CONTINUES SOBBING]
[JULIE] Do you still love me?
[ANTHONY] Yes.
- Yes? - Yes.
What makes you think I don't?
I'm not very nice to you sometimes.
- I'm a beast to you. - You're not a beast. I'm the beast.
- No, I'm the beast. - I'm the beast.
- We'll share the beast. - That would be nice, actually.
There was a lot going on before this.
[SIREN BLARING IN DISTANCE]
The Libyan hostages.
Still going on now.
Did you have to deal with that at work?
- Yeah. - I didn't realize.
[WIND CHIMES TINKLING]
- [ANTHONY WAILING] - [RATTLING]
[CRASHING]
[CHANDELIER TINKLING]
[SOBBING]
[WAILING]
[WHIMPERS]
[BREATHING SHAKILY]
[GRUNTING]
[SHIVERING]
[GRUNTS]
[BREATHING HEAVILY]
- [CLATTERING] - [ANTHONY ROARING]
[BREATHING HEAVILY]
[JULIE] Days fading into nights, fading into day.
Day and night creeping together to a gray nothingness, and no thought.
Only each minute's fear of the next.
So tired after six days without a moment's rest.
And so restless, through the slow hours of night.
I lost any consciousness of will, and then nothing at all.
A gray nothingness.
I didn't even have a second to measure pain by,
there being now no time without pain, thus pain ceased to exist.
There was nothing at all, and I was walking in the ways of the dead.
But then the autumn bled, like my cufflinks,
a searing pain,
and I could see like second sight,
and I am born again.
Janet's to die in the next 12 hours.
Both of us couldn't keep going, I suppose.
[ALARM RINGING IN DISTANCE]
One of them's got out.
- Probably Mr. Staffasack. - [ALARM STOPS]
- Mister who? - Staffasack.
Keeps escaping from the Brendan ward.
It's highly patrolled.
Dangerous to themselves and other people.
They found him the other day with an axe.
I'm joking.
[MUFFLED CHATTER]
But then, some people started to get very competitive about it.
A couple of stair races ended quite badly,
so they had to level it off.
She said she had three images.
A large empty pair of big boots,
a hummingbird and storm clouds over a seascape.
You can listen to it all if you want.
I'm fine.
[JULIE] Good. I am as well.
I don't want to keep feeling I need to, um...
illustrate that I'm fine.
You don't have to.
You don't have to put up a front or anything, ever, with me.
Good, 'cause I am fine.
I might not look fine, but I am fine.
- Are you worried about me now? - No. [SOFT CHUCKLE]
No, I'm not, for once.
[ALL] ♪ Happy birthday to you ♪
♪ Happy birthday to you ♪
♪ Happy birthday, dear Julie ♪
- ♪ Happy birthday to you ♪ - [ROSALIND] It's a dirge.
Thank you very much.
[WILLIAM] Sounded rather as though someone had died.
[LAUGHING]
- [ROSALIND] Go on, go on, go on. - Go on, keep going.
- Hooray! - Hooray. Well done. Happy birthday.
I think we're allowed to clink glasses on your birthday.
- [ROSALIND] Twenty-five. - [JULIE] Mm.
- Amazing. - Twenty-five.
- Halfway to 50. - Am I allowed a fork?
Halfway to 50. What a thought. I'm so sorry.
[JULIE] That's so enormous.
- [ROSALIND] No, you keep that for you. - [JULIE] That's like half the cake.
- [ROSALIND] Keep that for you. - [ANTHONY] That'll be your bit.
[JULIE] It's ridiculous. That'll be mine. [LAUGHS]
[ROSALIND] I want to ask your advice about something.
Um, and you're not to tease me about this.
You're going to pretend you don't know anything about it.
- [WILLIAM] I never tease you. - [ROSALIND] Um...
Anyway, I'm thinking of doing some sort of practical degree course
in some fine art, maybe ceramics,
and I wondered if, uh, with your Courtauld connections,
you might either know a course that would be an interesting thing
or somebody who might be able to put me in the right direction.
[ANTHONY] I don't, but I know people you could talk to.
- Well, that's wonderful... - There's a chap called Bruce
who's practically made out of clay.
That's exactly what I'd hoped you'd say.
I'll connect you two up and, um...
- [ROSALIND] Would you? [LAUGHS] - Back to my eggs, then.
Well, you're gonna have to do a catering course, clearly.
I know. We'll have two members of the family
both at college at the same time.
- What are you going to do? - I may as well go back to university.
Maybe.
What, and just give up farming altogether?
[ROSALIND] Get an education.
- [ANTHONY] What would you study? - Well, how long... what would I study?
- [ANTHONY] Mm. - Yes, what would you study?
- Very good question. - [WILLIAM] What, now?
Well, I did land management,
so I suppose now I would do something rather more interesting.
I think I would do, uh... [STAMMERS] I'd read history.
- [ALL] Mm. - [WILLIAM] Yeah.
But, um, anyhow, it isn't about me.
It's about these budding students that we've got.
Well, we're talking, as you say, about pipe dreams and...
[ANTHONY] I think that's very exciting.
[ROSALIND] Please, please, please, darling, let the poor man go to sleep.
And go to sleep yourself. Mm?
These dull wits, they need a little bit of shut-eye.
[JULIE, CHUCKLING] These dull wits?
- How dare you? - [ROSALIND] Dull wits.
- Go on. - No.
- Go on. - No. I need to...
- Listen to Anthony. - Finish this.
Thank you very much for that lovely dinner.
- Good night. - Sleep tight.
Don't be worthy. Be arrogant. It's much more sexy.
- Do you like arrogance? - I think it'll get you further.
- Because you are arrogant. - I know I'm arrogant.
- Do you find yourself sexy? - Yes, all the time.
It's hard for me to get through the day without...
- I bet. - Taking a couple of moments out and...
[CHUCKLING] I'm trying to concentrate on this.
Don't distract me with your arrogance
and sexiness and...
I'll give it three minutes.
Talking about your... God knows what.
- You know what I'm saying. - I totally...
You've got some preconceived idea
about some Oxbridge version of a film director
and it's all bollocks.
You just need to get out there and start filming. It's like Patrick said.
Well...
I know he's a cunt, but he's got a point.
- I liked him. - No, you didn't.
I didn't, actually. No, I didn't.
- Um, I liked his wife. - Did you?
- Mm. Very much. - Mm.
Um...
I feel like I haven't got this enough, so I need to...
I need to stay up and do this, but you need to go to sleep.
I'm waiting for two minutes for your mother to go to sleep
and then I'm going to go down.
Do you think she suspects that you creep down to my bed?
No.
- Do you think she does? - I don't know.
If she does, that was an amazing performance.
I don't think she has any idea.
I don't know.
I think she's asleep.
I'm gonna take my shoes off, so I don't wake her.
Here.
[KISSING]
- Please come to bed. - Go to bed.
- Please come to bed. - No. No, I need to do this.
Are you gonna drink all that brandy?
Well, I'm not gonna just leave it there. Probably.
Come to bed.
Then, Isabel, live chaste,
and, brother, die.
More than our brother is our chastity.
I'll tell him yet of Angelo's request,
and fit his mind to death, for his soul's rest.
Wonderful.
- No, I totally fucked that up. - No, you... no, you didn't.
- No, I did. - No, you really didn't.
[LAUGHS] You really didn't.
Do you wanna go from...
[RECORDIST WHISPERING INDISTINCTLY]
Where's easiest?
"That he had 20 heads to tender down..."
- No, wait. - [ACTRESS] Mm-hmm.
From there, 'cause it's a full stop.
"Though he hath fallen by prompture..."
[ACTRESS] I'm gonna go from...
And you were completely right. [LAUGHS]
Of course you were.
Uh, we're having a break, but I should get back.
But I just wanted to call to just say that I shouldn't have worried so much.
Okay.
Okay, I'll see you later.
Bye-bye.
[BELL RINGS]
- [HORN HONKING] - [SUSAN] It does stink.
[MARLAND] Yeah. It does, though, it does.
[CAMERAMAN] It's gonna stink even more soon.
- [MARLAND] Mm. Yeah. - [GARANCE] Yeah.
- He's here. - [MARLAND] Yay!
[SUSAN] Hey, Pedro.
- [MARLAND] Come on. - [JULIE] Take your time.
- [MARLAND] Yeah, just take your time. - [JULIE] There's no rush.
[MARLAND, LAUGHING] No rush at all.
[GARANCE] Right. Merci.
[INDISTINCT CHATTER]
[GARANCE] After the fucking Nouvelle Vague and everything,
we kind of actually now realize that we can use all the techniques
and the new look of, you know, pure contemporary type of image.
[CAMERAMAN] That's the thing. It's just look. It's a style over substance.
No, no, I disagree totally with that,
because it has this very formal kind of structure
and it's very, very, contemporary,
and it opens... I think it opens doors
and it touches people in a much more deep way
than just choosing like, you know, chitchat in a cafe,
like in Godard's film or something.
It's much more... Somehow it's more sensual.
[CAMERAMAN] I don't know, but it feels like they just transposed
the commercial aesthetic over to cinema, and that's not cinema.
That's, that's, so... like a critic is saying that.
It's so stupid because it's all about using these tools
and what the people in commercial actually created
and use it in a very powerful art form.
[CAMERAMAN] Think about what Rivette did in '74, '75,
compared to what Besson's doing now. That says it all.
[INDISTINCT CONVERSATION]
[STAMMERS] There is some meaning to be gathered.
I want it to become, like, beautiful,
all this blood and all this dirt and all this shit...
[CAMERAMAN] Mate, it's gonna be beautiful if you let me shoot it, like,
- that way, I'm telling you. - [LAUGHS]
- It's gonna look amazing. - [GARANCE] Yeah, if you think about this,
I got black and white, that's Diva.
- You haven't seen that? - [MARLAND] Who's it by?
[GARANCE] It's a great film. It's Jean-Jacques Beineix.
- [MARLAND] I don't know him. - He's an amazing director.
- One of my favorites, I think. - [MARLAND] Is it his new one?
[GARANCE] No, it was, like, four years ago or something.
[CAMERAMAN] I thought you loved French films.
[MARLAND] Yeah, but not this new stuff.
Like, I saw that one, uh, Subway, by Besson.
["MOONLIGHT SERENADE" PLAYING ON SPEAKERS]
[ROSALIND HUMMING ALONG]
I love that bit. [CHUCKLES]
[CONTINUES HUMMING]
I think we should go to bed.
Don't you?
I think so. [GRUNTS]
Come on.
Put your pajamas on at least.
Where are you off to?
I'm putting a note downstairs for Anthony.
- What, in the street? - No, just on the front door.
Oh, well, darling, I'll come with you, then.
No. I'll be one minute. I'll be one minute.
- Well, down and straight up. - I will.
Leave the door.
[ELEVATOR DOOR OPENS]
[DOOR CLOSES]
Right, now, bedtime.
Snuggle in.
There we go.
Sausage and Croc and Piggy.
- Shall I close your blinds? - No, I like them open.
- Really? - Yeah.
Now, then.
- [JULIE YAWNS] - Mm, very sleepy.
Good night, my darling.
- [JULIE] I'm really happy you're here. - Mm, I'm very happy I'm here, too.
- [JULIE] Thank you. - Well done for today.
So proud of you.
See you in the morning. Sleep well. Sleep tight.
[PHONE RINGING]
[CONTINUES RINGING]
[ROSALIND] She's here.
Are you all right?
Barbara, don't think about it. Don't think about it.
We'll talk soon. Thank you so much for ringing.
Bye-bye.
The worst.
[JULIE SOBBING QUIETLY]
Anthony had been found in the lavatories of the Wallace Collection
where he had, uh, taken an overdose.
And, uh, an ambulance was called,
um, and there was an attempt to resuscitate him there.
And he was then taken to the Middlesex Hospital in Mortimer Street...
where he died.
And, um...
Yeah.
[ROSALIND SOBBING QUIETLY]
When I am dead, my darling,
sing no sad songs for me.
Plant thou no roses at my head,
nor shady cypress tree.
Be the grass green above me
with showers and dewdrops wet.
And if thou wilt, remember,
and if thou wilt, forget.
[BIRDS CHIRPING]
["JULIE" BY ANNA CALVI PLAYING]
[BELL RINGING]
[INDISTINCT CHATTER]
[CLAPPERBOARD CLAPS]
[WOMAN] Action!