All language subtitles for The.Souvenir.2019.1080p.WEB-DL.H264.AC3-EVO_track3_eng

(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: (LAUGHS) 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.
JACK: Here she is.

(INDISTINCT CHATTER)

(INTERCOM BUZZING)

(BUZZING CONTINUES)

JANET: Hey.
Hi.

JANET: 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.

ANTHONY: ...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.
JANET: What have you said?

ANTHONY: I've said
you're a wild...

JANET: Because you
can be very cheeky.

ANTHONY: ...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 a, 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 in. Come on.

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.
JULIE: Could go down...

Well, I don't...
What, there?

Or what do you think
about over here?

Yeah, it could
go on my desk.

(DOG WHINES)

Are you all right?
(ROSALIND 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.

FRANKIE: 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.

FRANKIE: 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.

JULIE: 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)

(UPBEAT POP MUSIC 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?
TRACY: 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: (CHUCKLES) 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)

(NEW WAVE MUSIC 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.

Mmm-hmm.

And very much in love.

Very much in love.

Do you like horses?
Yes. But not to ride.

ANTHONY: Ah.

Well, Ray's rather
fond of them,

and Janet said
we could take her

to my parents
for the weekend.

JULIE: Mmm-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.
RAY: Hello, James.

Hello, darling.
ANTHONY: Hello.

(CAR DOOR OPENS)

(DOOR CLOSES)

Julie.
BARBARA: Julie.

Hello, Julie. I'm Barbara.
JULIE: 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: Mmm.

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.

JULIE: Mmm. Thank you.

JAMES: Um...
Oh, great subject matter.

Are you involved...

Wanting to film
in the shipyards, or...

Mmm. 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.

JULIE: 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?

JULIE: 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.
ANTHONY: 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.

(ROCK MUSIC 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."

JULIE: 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."

(ALTERNATIVE MUSIC PLAYING)

Is this my book?

Oh, yeah. Sorry.
You... You keep it.

All right. Cheers.

All right.
Do you want a hand?

FRANKIE: 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.
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?
Mmm-hmm.

Thank you.
From Paris.

Put it on.

(OPERA MUSIC PLAYING)

(MUSIC CONTINUES)

(ANTHONY MOANING)

ANTHONY:
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.

ANTHONY: I'll be back later.

See you later.
ANTHONY: 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.
(DOG BARKS)

Mummy, can I borrow
some money, please?

More money?
Yes.

Oh.

(STAMMERS)
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?
£200.

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)

(DOG 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.
ROSALIND: 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.

ANTHONY: 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...

WILLIAM: 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: Mmm-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.

WILLIAM: 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.

(DOG BARKING)

WILLIAM: Dog's all right.

(INDISTINCT CONVERSATION)

ROSALIND: (HIGH-PITCHED VOICE)
Rosie! Come!

Dora!
JULIE: Dora!

ROSALIND: Rosie! Come on!

JULIE: My godfather
gave it to me.

ANTHONY: Little swallow.

JULIE: Yeah.
It's charming.

JULIE: Thank you. I never...
I never wear it.

But it's time for it to...

Its first flight.

(CHUCKLES)

ANTHONY: Yeah,
it looks good there.

JULIE: 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.

Mmm-hmm.
PATRICK: 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.
Mmm. I'd say.

ANTHONY: Julie met a load of

your old Raynham lot
the other day.

LYDIA: Mmm?
PATRICK: Mmm.

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?

PATRICK: 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?

Mmm.

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.
PATRICK: Thank you.

Thank you for your advice.
It's really...

It's really helpful.
LYDIA: Mmm.

You don't seem druggy to me.

No, I'm not.
No, I'm not.

Interesting.
LYDIA: Mmm.

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.

ANTHONY: Good.
PATRICK: 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.

(UPBEAT MUSIC PLAYING)

Their son's getting married,

and they can't decide whether
they like the girl or not.

ANTHONY: Mmm.

And he's a doctor.
Mmm-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.

ANTHONY: Oh.

How would you feel
about going to Venice?

Venice?
Mmm-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.
Mmm-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.
Mmm-hmm.

Strange, that.

JULIE: What were their names?

ANTHONY: Miriam,

Caroline

and Angela.

Angela.
Mmm.

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
...then don't ask.

I do want to know.

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.

(ROMANTIC MUSIC 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.

Mmm, 'course.

Okay, well, um...

Yeah, I'll see you later.

I... 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: Mmm.
You just hear it.

You know, you hear
the scream of the woman.

Yeah.
You hear the conflict.

MAN: Yeah.
So it's quite...

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...
Mmm.

...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)

ANTHONY: 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.
BELL BOY: You're welcome.

(BELL BOY SPEAKING ITALIAN)

JULIE: (IN ENGLISH) 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.

(ORCHESTRAL MUSIC PLAYING)

(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
free 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.

Mmm-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,

£25 per musician...
Mmm-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...
Mmm-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?
Mmm-hmm.

See you later.

(DOOR OPENS)

(ROMANTIC MUSIC PLAYING)

Does all this make sense?

Mmm-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...

JULIE: Mmm-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.

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?

CREWMAN: Can't pull it
any further round.

CAMERAMAN: No, no,
the other way.

To the left.
Lamp left.

WOMAN: I've just put
these clips in, just to hold.

Perfect. Perfect, yep, yep.

WOMAN: Hopefully when
we're ready to go here,

I can hopefully...

Mmm-hmm. Yeah.

WOMAN: And have
a tighter curl.

JULIE: Okay.
CAMERAMAN: Hold on.

CREWMAN: This is
sort of all right.

CAMERAMAN:
No, it's great.

Ooh, sorry.
CAMERAMAN: For fuck's sake.

Sorry, sorry.

Just be careful.

WOMAN: 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.

Mmm.

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.

(OLD-TIME SONG 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.

(HIP-HOP MUSIC 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?

(STAMMERS)
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.
Do 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.

JULIE: Thank you.
Nice to see you.

Okay, I'd better run.

And, um, I hope
you get better soon.

Okay. Bye-bye.
JULIE: Thank you.

(DOOR OPENS)

(DOOR CLOSES)

(CLATTERING IN DISTANCE)

(MUFFLED CHATTER)

(KEYS JINGLING IN DISTANCE)

(DOOR OPENS IN DISTANCE)

(DOOR CLOSES)
(CHATTER STOPS)

(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.

Do 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?
Mmm-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...

Mmm-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 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?

JULIE: Mmm. Mmm.
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?
Mmm, yeah.

It is?
Mmm-hmm. Mmm.

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)

(MUSIC PLAYING ON RECORD)
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.
Do 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.

JULIE: Hmm.

Talking to them about money.

(JULIE CHUCKLES)

About planning ahead.

Mmm. Investments.

Yes.

And frugality.

I always use
the wrong fork
on purpose...

For salad.

Both of mine
are the same size.

JULIE: Mmm.

(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.

JULIE: Did you have to deal
with that at work?

ANTHONY: Yeah.

JULIE: 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 cuff links,

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.

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 blowing.

Hurray!
Hurray. Well done.

Happy birthday.

I think we're allowed to clink
glasses on your birthday.

ROSALIND: Twenty-five.
JULIE: Mmm.

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.

ANTHONY: 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: Mmm.
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: Mmm.
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. Mmm?

These dull wits, they need
a little bit of shut-eye.

JULIE: (CHUCKLING)
These dull wits?

How dare you?
ROSALIND: Dull wits.

ROSALIND: Go on.
No.

ROSALIND: Go on.
No. I need to...

ROSALIND: Listen to Anthony.
...finish this.

ROSALIND: 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?

Mmm. Very much.
Mmm.

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)

ANTHONY: Please come to bed.
Go to bed.

ANTHONY: 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: Mmm-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.

Oh.

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: Mmm. 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 favorite, 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.

(JAZZ MUSIC 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.

Come on.

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?
JULIE: No, I like them open.

Really?
Yeah.

Now, then.

(JULIE YAWNS)
Mmm, very sleepy.

Good night,
my darling.

JULIE: I'm really happy
you're here.

ROSALIND: Mmm,
I'm very happy
I'm here, too.

JULIE: Thank you.

ROSALIND: 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.

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)

(BELL RINGING)

(INDISTINCT CHATTER)

(CLAPPERBOARD CLAPS)

WOMAN: Action!