All language subtitles for On.Chesil.Beach.2017.720p.BluRay.x264-DRONES-HI

(INSTRUMENTAL MUSIC PLAYING)

EDWARD: So, we're in E.

- FLORENCE: The tonic.
- EDWARD: No, E.

FLORENCE: All right, E.

EDWARD: So, four bars of that,
you know the sort of thing,

"Woke up this morning,
head felt so bad,"

then into A.

FLORENCE:
The sub-dominant.

EDWARD: "Woke up this morning,
head felt so bad."

Same thing,
different chord, see.

FLORENCE: Hmm. Tricky.

EDWARD:
Then back to E again...

FLORENCE: ♪ Woke up this morning,
head felt so... ♪

EDWARD: Then, this is the emotional punch,
it reaches right up to B.

FLORENCE:
Ah. The dominant.

EDWARD: And he says
something like,

"Gonna tell that two-timin' woman,"
back through A,

you know,
"she's driving me mad"

and then this lovely little thing,
the turnaround on B seventh...

FLORENCE: Minor seventh
might be better.

EDWARD: And that
brings you back to E.

- FLORENCE: And am I?
- EDWARD: What?

FLORENCE:
Driving you mad.

EDWARD:
Well, actually, yes.

MAN: (ON RADIO) The Prime Minister,
Sir Harold Macmillan,

has been holding talks
in Washington

with the United States
president, Mr. John Kennedy.

The principal subject of their discussion
was a proposed test ban treaty...

(RADIO SWITCHING CHANNELS)

(SLOW INSTRUMENTAL
MUSIC PLAYING)

(SIGHS)

Not tonight. Thank you.

(ROCK AND ROLL MUSIC PLAYING)

Perfect.

Now listen!

(RADIO STATIC)

(BAGPIPES PLAYING)

FLORENCE: Nice microtones...

A load of sick bloody cats.

- I'd rather have your lot.
- (SLOW INSTRUMENTAL MUSIC PLAYING)

(SIGHS)

(RADIO SWITCHES OFF)

I really don't mind,
if you want that Hank person.

Or is it Elvis?

Chuck Berry.

It's all right, he's gone,
he's had it.

Honestly, you can,
I think it's...

He's quite...

- Quite what?
- Well, sort of merry.

Chuck Berry?

What else?

And, you know, bouncy.

(SIGHS)

Do you know,

I think you must be the squarest
person in all of western civilization.

But you love me.

Therefore, I love you.

You know, Florence,
it was beautiful.

Nothing went wrong!

- Even my mother behaved herself.
- (CHUCKLES)

Do you think she knew
what was happening?

I don't know.
Perhaps she did.

Poor Edward...

(CLATTERING)

Steady.

Get it.

Bastard.

Now, give it here.

Listen, I've decided.

If we have a girl,
she'll be called Chloe.

Chloe.

Yes, it's beautiful.

(KNOCKING ON DOOR)

Damn. Ignore it.

(KNOCKING ON DOOR)

You ought to look.

Evening, sir.
Dinner what you ordered.

Not this early...

Ma'am.

- Careful.
- Sir.

Uh, no, perhaps...

- The windows closed a bit.
- WAITER 1: Sir.

- EDWARD: Not that much.
- WAITER 1: Oh, right you are.

A bit more.
Yeah, that's it. Thank you.

- And push the curtains back.
- Certainly, sir.

- Just push the curtain...
- (CHUCKLES)

- Facing each other.
- WAITER 2: Yes, sir.

- The chairs.
- Ah.

(SNIFFS)

(GULPS)

It's very good actually.

Thank you
very much, sir.

Are you...

Are you going to stand there
the whole time?

Uh, we do the silver service
on the beef, sir,

and then we all retire.

Oh.

I love you.

And I...

Thank you.

You ever feel the need
for anything, sir,

just, uh, pull
on the string. Hard.

WAITER 1: And have
a very nice one, sir.

(CHUCKLES)

Uh, yes.

Good night.

Oh. (CHUCKLES)

(CLEARS THROAT)

Yes.

Sorry.

Thank you.

(MEN LAUGHING)

(WOMAN LAUGHING)

(LAUGHING CONTINUES)

(WOMAN HOOTING)

(HOOTING LOUDLY)

LIONEL: Girls. Girls, can you come down?
I need your help.

Oh, God...

LIONEL:
In the garden, please.

- Marjorie.
- MARJORIE: She was up there.

- She could hear me.
- ANNE: Harriet.

- LIONEL: That's all right.
- ANNE: Come on, Harriet, Dad wants us.

In the garden, quickly.

MARJORIE: She could understand me.
She was listening to me.

LIONEL: I know, I know. But she would
also listen to you with your clothes on.

MARJORIE: No, but she needs
the connection.

(LIONEL SIGHS)

The nights are shorter now,
so she doesn't sleep so much.

But she won't
come down.

No. She'll never
come down.

We're quite safe.

Marjorie Mayhew.
You'll get me thrown in prison.

Girls, help Mum
get dressed.

Come on, Mum.

(SIGHS)

(CHUCKLES SOFTLY)

Do you know, as you walk
that way along the beach,

the stones get bigger.

Yes?

Well, over thousands of years storms
have sort of graded the pebbles.

So, when local fishermen
come ashore at night

they can tell exactly
where they are.

- (CHUCKLES)
- That's the story, anyway.

We could go back out there.

- You don't mean now.
- Why not?

Take the wine,
some fruit.

It won't get dark
for a long time.

Yes, but I'm not sure we
could just leave all this...

I'm not awfully hungry
after that lunch.

Yes, but Flo, they've gone to a
lot of trouble. We can't just...

I know, but it looks
so beautiful out there...

But we're here...

In here... (CHUCKLES)

And you're so beautiful.

I keep thinking
how beautiful you are, and...

I suppose you're right.
I mean, about...

Oh, God.

Look, sorry. I...
Am I being a bully?

Of course, you're not.

You know what,

I could get them to bring back
that plate warmer thingy.

And we could go out
for as long as you like.

No, I'm just being silly.

Honestly, Edward, I don't think I
could bear to have them back in here.

It won't take a minute.
It's no trouble at all...

Edward, please, no!

(SHUDDERING)

God...

We're having
our first row.

- Florence, we're not.
- We are. Because I'm being selfish.

Honestly, we're not.
You're not being selfish.

We are, we are.

And it's all
my stupid fault.

(SIGHS)

And what are they saying,
your Aldermaston lot,

about this wonderful wall
in Berlin last month?

Bit awkward for the lefties,
isn't it?

We hate it. Everyone hates it.

An entire country turned into a prison camp,
with the Soviet's blessing.

A proud day for socialism.

- How was school?
- A million Russian troops

- spread along the border.
- All right.

What do you think
prevents them

from sending their tanks
across the north German plain?

Common sense,
I should think.

Common sense? Nonsense!
It's the bomb, the one you want to ban.

Communism, as it proudly proclaims,
is an expansionist creed.

It's our nuclear bombs that deter them.
It's as simple as that, my dear.

We need a deterrent.

Do you remember a couple of months ago I
said I met this chap at a CND meeting?

I've asked him round
tomorrow for tea.

- Chap?
- Is he a beatnik?

No.

- GEOFFREY: Beard and sandals?
- No.

- What does he do?
- He's a beatnik.

Shut up. He's like me,
just finished his degree.

- What college?
- UCL.

But darling, that's London.

For the sons of tradesmen.
Florence!

They produce
some pretty decent engineers.

Well, exactly.

GEOFFREY:
What does his father do?

You mean, is he working class
or one of us?

Yes. I think that's
more or less what I mean.

His dad's headmaster of a
primary school in Henley.

And what does your young man
intend doing with himself?

FLORENCE: I haven't researched
his prospects.

I haven't worked out his
precise socioeconomic status.

I haven't arranged to marry him.
I've asked him for tea. For tea.

GEOFFREY: Jolly good.

Pass the new green...
What are we calling them?

Mangetout.

I would say it was the day I
bought my first railway ticket.

I must have been 13.

When I joined the queue
my heart was thumping.

I'd rehearsed my lines in the bedroom,
the night before,

like a big speech
in a Shakespeare play.

And then it was my turn and I
said in a tiny shaking voice,

"May I please have
a half single to London?"

Not a single mistake!

Then I was walking towards the
barrier with the ticket in my hand

and I thought, "This is it.

"I've done it, I've joined the big world,
I'm a grown-up!"

Well, mine...

It was the time when I learned
what really happened to my mum.

(TRAIN WHISTLE BLOWING)

MARJORIE: So now we have Holman
Hunt on loan to New York,

Burne Jones on loan
to Edinburgh,

so I decided not to move the
Titians or Rubens, as requested.

But to bring up from store
two glorious Uccellos...

- I don't know Uccello.
- Oh, darling! Glorious.

Uh, a fifteenth-century
pioneer of perspective,

- a mathematician in fact...
- Better stand back a bit.

And wonderful at animals.

Birds. Landscape.
Trees in their natural color.

You, Lionel, you especially
would love it... (GROANS)

(CROWD EXCLAIMING)

(CROWD MURMURING)

EDWARD: I'd grown up
with the way she was.

Taken her for granted.

We all did.

But when he used
this horrible phrase,

everything changed.

Brain-damaged.

Suddenly I saw her
the way other people did.

That must have been awful.

You're always
very kind to her.

My mother just pretends
to be brain-damaged.

(CHUCKLES)

Funny thing, it was
a sort of release.

I felt this...

This space opening up
around me.

She was brain-damaged,
and I wasn't.

I wasn't her,

I wasn't my family,
I was me.

I felt kind of excited,
like my life had just begun.

Ed! Second post.
Looks like the one!

Big moment, eh?

Uh, Terry,
I think I'll...

Tell me tomorrow.
And good luck.

I don't believe it.

Mum.

Mum, listen.

Are you listening?

This isn't how she looks now.
This is the future.

A new thing. A special camera that
tells you how she'll look one day.

This is important.

Put that down
for a moment.

Listen to me.

I got a first, Mum.

A first class degree.

That's right, son.
I saw you. I was watching.

Now you tell me.
Yellow, like this has two things.

A meaning and a number.

Now I know the number...

Seven, Mum.

Seven.

I can't remember
the meaning.

- Anne?
- ANNE: Up here.

- Harriet?
- HARRIET: What?

Anne, Harriet,
I got a first.

- Is that good?
- It's the best.

Dad'll be happy then.

- When's he back?
- 8:00.

- 9:00.
- 9:00.

You two should be outside.
It's beautiful.

- Too hot.
- Too boring.

EDWARD: Hello. Is Toby there?

Uh, when are you
expecting him?

Oh.

Mrs. Davenport?

Edward Mayhew,
a university friend of Henry's.

Is he there?

Finland?

(MUSIC PLAYING)

(GRUNTS)

TIMOTHY: Just consider it
for a moment, Florence.

If it fell on St. Giles,
the crater would be half a mile across,

a hundred feet deep,

and the city would be
uninhabitable for a thousand years

because the radioactivity...

Hello.

Hello.

Would you like one?

It's all about a hydrogen
bomb landing on Oxford.

Can't think
of anything better.

(CHUCKLES)

Do you mind
if I tell you something?

- I've got to tell someone. (CHUCKLES)
- Tell me.

(CLEARS THROAT)
I say, do we know you?

I just heard, I got a first

in history.

FLORENCE:
That's fantastic.

Let's get on with handing these out,
shall we?

All right.

EDWARD: So, it's a series
of history books,

not about the great men,

but about the minor
figures at their side,

the bit-part players
who fade away.

Like the man who rode non-stop
from London to Edinburgh

to tell the king of Scotland
that Elizabeth was dead

and he was now
the king of England.

FLORENCE:
I think that's a brilliant idea.

I thought everything would be clear
as soon as my result came through.

But it isn't.

I'm still just
hanging around.

Like me.

I could play in this awful dance
orchestra in a hotel near Slough.

But what I really want
is to work with my quartet.

What's that?

Two violins,
viola, cello.

We're called
the Ennismore Quartet.

Then Daddy would have to support me,
and he and I don't exactly...

What did you get?

What?

In your music degree.

Well, actually,
same as you.

To Miss Florence...

Uh...

Ponting.

To Miss Florence Ponting.

In acknowledgment
of your fine achievement.

Well done.

Thank you.

Florence, look...

I love you.

And you're so...

Uh...

I mean,
I need to kiss you.

I love you, too.

And I...

I...

What is it, darling?

Nothing.

Edward...

- What?
- Sorry.

What is it?

Well...

I just thought...

You know, it isn't awfully
comfortable here when we could...

Oh, you... you mean...

Yes, of course, let's...

Come on then.

If I just take
this off then...

Well, we could go
on the bed and...

Well...

Then, I think I'll...
My shoes.

I'll do it.

It'd be better.

RUTH: So, come on.
Why do you love him?

One. Aren't you going
to take notes?

(CHUCKLES)

One, he's not like
anyone else.

- No one is.
- Mmm. You'd be surprised.

Two,

he always has a history book in
his pocket and a pencil stub.

Three,

he knows the names of trees and
flowers and constellations.

And he wears plimsolls,
never shoes.

- And his socks never match.
- Exactly.

And he doesn't know the difference
between a croissant and a baguette.

(BOTH LAUGH)

- That's why I love him!
- And do you know what Mummy called him?

(SIGHS) God. What?

I heard her on the phone
to Iris Murdoch.

And she said he was
a bit of a country bumpkin!

- (CHUCKLES)
- (PHONE RINGS)

That's him.

EDWARD:
You set eyes on me for the first time...

And I saw a man who wasn't
wearing a jacket.

- What then?
- Loose shirt,

sleeves rolled up
to the elbows,

- tails hanging out.
- Pfft. Nonsense.

FLORENCE:
Trousers with a mend in the knee,

and long hair,
almost over your ears.

EDWARD: What else?

All right.

I liked the way you stopped
in the doorway

and looked around at everyone
as if you owned the place.

Proud.

No, I mean, bold.

I just needed
to tell someone,

anyone, that I'd got
a first.

Then you saw me
and decided to stare me out.

You glanced at me and decided
I wasn't worth a second look.

Did you think then
it was love at first sight?

(LAUGHTER IN DISTANCE)

Well?

Actually, I'm beginning
to think it was.

(QUARTET PLAYING)

It'll do for now.

What's this?

Quintet?

You said I should decide
on the next piece...

But it means getting in
another viola.

Another person. It's going
to change everything.

- It's too soon.
- Say hello to Elsbeth,

in her third year,
awfully good.

Hello.

- Hello.
- CHARLES: Hello.

(CLEARS THROAT)

Right then, we'll begin.
Charles, your big moment.

So I see.

Take it a little slower
than marked.

(PLAYING)

Again.

It's tender.
Like a question.

It's a series
of questions.

(PLAYING)

(VIOLINS PLAYING)

CHARLES:
People think you're shy,

- but the fact is you're rather tough, aren't you?
- (CHUCKLES)

Can I buy you that drink?

Oh, I'm late for work.

WOMAN: All artists
to the green room, please.

- (KNOCKING ON DOOR)
- One minute please, Florence.

(SLOW MUSIC PLAYING)

Use the wrist,
Florence.

Half a turn each time,
it's not that complicated.

(SLOW PIANO MUSIC
PLAYING ON RADIO)

(PLAYS SINGLE NOTE)

Do you want
to know a secret?

Yes.

Actually, I'm
a little bit scared.

I think I am, too.

- I could...
- Ugh. Just...

For God's sake,
Florence, just hold still.

(GRUNTING)

Turn around.

- Please don't tear it...
- Oh, bloody hell!

Such a clumsy idiot.
I can't even do the simplest thing. A zip!

There's something
wrong with me.

Look, let's sit
on the bed.

You get so cross
sometimes.

- You look like you want to hit someone.
- Do I?

Your face goes
quite frightening.

Tell me something.

- You have beautiful legs and...
- No, not that. Not about me.

"With my body
I thee worship..."

You used to get into fights,
didn't you? You told me.

Tell me about the last time
you got in a fight.

Ugh. It was terrible.
You don't want to hear about that.

I do.

I need to know
your worst side.

All right. (SIGHS)

(CLEARS THROAT)

Well, it was
in my final year.

Saturday night.
I went to the Hundred Club.

(JAZZ MUSIC PLAYING)

I was there with this chap,
cleverest person in our year,

I have no idea what he was doing there.
He hated loud music.

- JACK: Susie's tits are bigger.
- TED: Lucy's tits aren't so big.

If you want to go all the way with
a girl in the History department...

Or the English
department...

First you've got
to meet her parents.

- And then you've got to marry her.
- (LAUGHTER)

I think I'll head off.

Late night meeting
of the Philosophy Society.

Philosophy.
Uh, that's great. I... I'll come with you.

EDWARD: I really admired Harold and,
uh, wanted him to take me seriously.

HAROLD: And the point about
Gabriel Marcel is this.

As individuals, we're all seeking
harmony in our transient lives

and we find it through what he
called secondary reflection.

The key idea being that
philosophical inquiry

was based on wonder
and astonishment,

and being open to the
presence of others.

- Jewboy! (LAUGHING)
- (GLASSES CLATTER)

What did you just say?

- HAROLD: Edward, don't.
- (GROANS)

(WOMAN SCREAMING)

(GROANING)

WOMAN:
Someone call the police!

Oh, my God, look what
you've done to him!

You brute!
You mad or something? Really!

EDWARD:
He avoided me after that.

WOMAN: Call an ambulance!

EDWARD: He never
spoke to me again.

FLORENCE: My dad says things about Jews.
Drives me nuts.

Why do you think
he never spoke to you again?

EDWARD: I think
he was ashamed of me.

I'd always been in fights.

In playgrounds,
or outside pubs after kicking-out time.

FLORENCE: Edward!
So dangerous and stupid.

People said
I was good at it.

I was proud of myself.

And then?

And then I didn't want to be a
prize-fighting yokel anymore.

I wanted to be cool,
like Harold.

You are. (CHUCKLES)

And now you've got to promise your wife.
No more fights. Ever.

Promise.

Can I ask you
something?

I want to take
your stockings off.

Well, I think
I'd better do it.

So brown.

It was that day
I walked from Henley.

(SIGHS)

One mile.

Wicket will want rolling
again before tomorrow.

It'll be done,
Mr. Rammage.

Florence!

(CHUCKLING)

(MEN CHEERING AND LAUGHING)

How did you get here?
How long have you...

I took the train to Henley
and walked through the woods.

I had a map.
Didn't get lost once.

Seven miles.

And then I ate an orange
by the wall near the church,

looking down
across the valley

and checked the map
and I thought,

"He's only one mile away now,
and I've never been so happy in my life."

- EDWARD: Straight.
- FLORENCE: Sorry.

(LAUGHING)

Whoo!

(LAUGHING)

No!

(SIGHS)

- Was that good?
- It was good.

- Did I do a good job?
- Yes.

- You happy?
- Very.

Good.

Work to do. (GRUNTS)

(BIRD CHIRPS)

There! Did you see it?

Yellowhammer?

No! It was going fast
and low over there.

Greenfinch?

Sparrowhawk.

Honestly, Florence,
the only ones you ever get right are robins.

And blackbirds.

What am I
to do with you?

Come on. This way.

Almost home. (SIGHS)

Florence, she won't
remember you.

You say that every time.
She might one day.

But she can list every
painting in the Ashmolean.

Marjorie, hello,
it's Florence.

I've come to see you.

Me? Why me?
I've done nothing wrong.

I've brought you something interesting.
From the museum.

We talked about it before.

You told me things
I never knew.

Oh! Uccello.
The Hunt in the Forest.

It's his last.

Look at that perspective.

You told me that
when he was young

he painted his fields blue
in protest at the boring food.

Yes, Vasari says the Abbot gave him cheese
soup followed by cheese pie every day!

(LAUGHTER)

FLORENCE: I thought we could paint it,
make a copy together.

- A forgery!
- (LAUGHS)

I'll make some tea.

(MARJORIE AND FLORENCE
CONTINUE TALKING INDISTINCTLY)

(CRYING)

(SNIFFLING)

(CLEARS THROAT)

FLORENCE: There are
two more in here.

Sprouting, but they'll do.
Peel 'em and chuck 'em in.

Then we're going to do
something about this floor.

Is there a bucket or...

- ANNE: Florence! Florence!
- HARRIET: Florence! Florence!

ANNE: We've got something
to show you.

- HARRIET: Come in here.
- ANNE: Florence.

Florence!

(ANNE AND HARRIET GIGGLING)

It's beautiful.

It really is.

We helped.
I did some green.

So did I.
And brown.

- But it was Mum.
- It was truly Mum.

In Uccello the horses
know everything.

They were wild once, you see,
but they've swapped sides.

They're with the hunters now.

They feel guilty.
You can see it in their eyes.

(CHUCKLES)

LIONEL: Beautiful.

Good old Mum.

We love you,
Florence.

- Come on, Edward. Lots to do.
- Thank you.

(GIRLS LAUGHING
AND CHATTERING)

Isn't that Florence
a lovely girl?

Is she the one
who gives me a bath?

LIONEL: No, sweetheart.
Edward's friend.

FLORENCE: Anne,
can you put the spoons on the table, please?

ANNE: All right.

Harriet, right over there.
And the spoons go next to the knife.

Marjorie, do you want
to come and sit down?

Yes, dear.

ANNE: Um, Mum, you're sitting
over here. I'll sit here.

Marry that girl.

ANNE: And Florence can sit here,
and Edward can sit here.

LIONEL: Uh...

I'm so glad you're here, my dear.
I've been wanting to try this out.

Rabbit stewed in plums.
All day on a low heat.

You're a marvelous cook,
darling.

It smells delicious.

Do you know, I make all our own jam,
marmalade, chutney.

It never stops.

And you do
a wonderful job.

I do my best.

Do you have children
of your own, dear?

FLORENCE: No.

(BREATHING HEAVILY)

FLORENCE:
Sort of tickles.

It's all right.

I want to
ask you something.

EDWARD: Yes?

How many girls
have you, you know...

The truth is,
not many really.

How many then?

Just some.

Six?

Yes, about that, or...

I don't know.

Four? Do you think
it was four?

Um...

Flo, it's a... I think it's
a matter of definition.

And what were
their names?

"Their names"? Why are we
talking about...

Well, there are no names.

You're the first.

You are the first.

WOMAN: (ON SCREEN)
She used to play Cinderella,

but she took to drugs, narcotics,
and excessive alcohol.

Now, she couldn't even play
the wick in Aladdin's lamp.

And now I have a short scene
from the famous film Dracula.

That girl died.

That was the vampire strangling his,
I mean her victim.

And now we have
Fascination by van Gogh

which now hangs in
the Louvre gallery in Paris.

Fascination.

- (INDISTINCT CHATTER)
- (MUSIC PLAYING ON SCREEN)

(VIOLINS TUNING)

- CHARLES: Who's that fellow over there?
- FLORENCE: Just someone.

- CHARLES: Looks a bit rough.
- Let's start, shall we.

Charles.

(PLAYING VIOLIN)

(VIOLINS PLAYING)

Did you like it?
You looked like you'd fallen asleep.

- Asleep? No, honestly. I loved it.
- (BELL TOLLING)

I often listen
with my eyes closed.

Look, I can
even sing it.

(VOCALIZING)

(CHUCKLES)

All right. I take it back.

Come on. I want to show you
where I used to work.

This is where the performers
wait to go on stage.

And afterwards I'd
serve them drinks here.

I once made a cup of tea
for Benjamin Britten.

- Oh, yes, the famous...
- And this peephole.

I'd hear the applause
and watch like this,

and when the players
started to leave the stage,

I'd have to open it smoothly,
without being seen.

Can you imagine the terror and
the thrill of stepping out here

to play your first concert.

These are
discerning audiences.

Yes, it would be
something...

I just know the Ennismore
will play here one day.

And when we do,
I'll choose the Mozart Quintet,

the one you can sing.

(VOCALIZES)

(LAUGHS) Yes.

Yes.

We'll play it beautifully.

The critic from The Times
will be there.

We'll triumph.

And it will be yours,
it'll be specially for you.

It's my promise.

- And I'll be here.
- (CHUCKLES)

Dead center,
three rows back.

Ready to shout at the end.
What is it they shout?

Bravo.

Bravo! Bravo
the Ennismore Quartet!

(APPLAUDS)

This is where I'll be,
Florence, this very seat.

Number 9, row C.

And that is my promise.

(PANTING)

FLORENCE:
This was recorded in Berlin.

I've never heard
a stereophonic thingy before.

What's the point of it?

You hear the whole spread
of an orchestra.

Violins on the left,

double basses on the right,
and everything in between.

Stand here,
close your eyes...

You know
what an octave is.

Now you're going to hear the
greatest octave leap there ever was.

(SIGHS)

(ORCHESTRA PLAYING)

I love you!

(BOTH BREATHING HEAVILY)

EDWARD: Florence?

Flo?

Just...

Florence, don't move,
okay? Florence?

Mmm.

(BREATHING DEEPLY)

All right.
Let me... Let me put this another way.

You don't seem quite as happy
as you should.

In love, as you say,
getting married in the summer.

No, I am honestly.
I'm very happy.

Something's bothering you,
Flo.

(SIGHS)

It could be the quartet,
the cellist, Charles Morrell.

I think he's a bit taken with me,
keeps asking me out.

That's easy.
Now you've got a fiancé.

Oh, well, you see,
(SIGHS) I don't want the quartet to know.

They'll think I'm leaving,
they'll panic.

That's not it though,
is it?

I'm just being silly.

Could you not talk
to your mother?

(SCOFFS)

- I should go.
- Stay just a little longer.

There's something...
Sit down.

There's something
I want to say.

You can change your mind.

So your father's
ordered a marquee,

your mother's getting
measured for a dress,

the invitations are
at the printers.

Flo, these are minor details,
trifles compared to what's at stake.

It's not too late
to turn back.

I really have to go.
I'm giving a lesson.

(CLATTERING)

No. God! No, I mean, hell.
Sorry, I didn't mean to say that.

I'm sorry.

This is a mess.

FLORENCE: (READING)
"This pleasurable excitement

"causes the penis
to fill with blood

- "and become engorged..."
- FLORENCE: (GASPS) Oh, God.

(READING) "Secretes a clear substance
to lubricate the mucous membrane."

(GASPS)

"And now the foreplay
is concluded.

"He lies on top of her,

"and it is perfectly acceptable
for her to use a hand gently

"to guide her husband in.

"And at last he enters her."

Enters me.

"He enters her,
and this is known as penetration."

- (KNOCKING ON DOOR)
- RUTH: Flo?

Enter. You may enter me.

What?

Nothing.

Are you all right?

I'm feeling rather sick.

What are you reading?

A sex manual.

Flo! Because of Edward?

What does it say?

It says women are like doorways.
Men can enter through them.

That's so ridiculous!
That simply isn't true.

I'm afraid it is.

What else does it say?

You won't like this.

It says the penis...

Ugh.

- The penis fills with blood.
- Blood?

Ugh!

- No sign of Daddy?
- No.

(SIGHS) That's just typical.

I've got my Spinoza
supervision now, um,

so, Ruth, no running
in the hall,

and Florence, could you delay
your screeching until after tea?

Come on, Flo, it's easy.
Just point and choose.

But you're not meant
to see it.

EDWARD:
What about this one?

FLORENCE: No. Awful.
Too creamy and frilly.

I want something simple.
And white.

- White?
- Can I help you young people?

We're late for rehearsal.
Thank you.

(BREATHING HEAVILY)

(CONTINUES BREATHING HEAVILY)

(BREATHING SHAKILY)

- You all right?
- Yes.

(CHUCKLES NERVOUSLY)

- I love you.
- I love you.

Edward, tell me something.

Say something.

No, say something stupid
like you used to.

Miss Ponting, you have
a clavicle and a philtrum

that all men
wish to play on,

and a vibrato
that all men adore,

but you're entirely mine,
and I'm so very glad and proud.

In that case,
you may kiss my vibrato.

Such hard calluses
for so soft a woman.

(CHUCKLES)

And my philtrum...

There. Is that all right?
Am I squashing you?

No, not really.

(BED CREAKING)

(GRUNTS) Sorry.

It just...

I need to...
I can't quite...

- Just lie still.
- Sorry. If you could...

- I know, I'm trying.
- If you could just lift a little.

I know. I'm trying to.
I just... I can't quite...

FLORENCE:
"He lies on top of her.

"And it is perfectly acceptable
for her to use a hand gently

"to guide her husband in."

(SIGHS) Florence.

In here.

(BOTH PANTING)

It's too... Ah!

(SHOUTING)

What is it?

(SHOUTING)

What is it?

Oh, my God!

Oh! (GRUNTS)

(BOTH PANTING)

(PIANO MUSIC PLAYING ON RADIO)

(SHUDDERING)

(GASPING)

(GRUNTING)

(GASPING)

(SHOUTING)

Don't look at me!

Please don't look at me!
Stop looking at me!

(SOBBING)

(PANTING)

(EXHALES)

(GULPS)

Edward.

- Here at last.
- Sorry I'm late.

- No one would stop for me.
- Oh, they're idiots.

Perhaps I should get
a haircut.

- Or a new jacket or something.
- Come and see your room.

This time Mummy's put you
in the small room, right at the top.

- Hello.
- As far away from me as possible.

Very sensible.

It's enormous.

You're beautiful.

Put your arms
right round me.

I like that.

Daddy wants
to show you the factory.

The job. (CHUCKLES)

Let me kiss
your vibrato.

(CHUCKLES) Stupid.

Do you think you can be a
salesman and write history books?

Someone's got to try it.

FLORENCE: And the insurance came through.
You're allowed to drive the Humber.

And Ruth says you're
playing tennis with Daddy.

No. Florence. (SIGHS) I'm hopeless.
It's ridiculous. I can't even...

- That's not what you said at dinner.
- I know, but, I...

It's all right.
He'll simply want to thrash you.

Just let him.

But you're mine now.
I want to thrash him.

Don't you dare.

Did Florence tell you?
I'll be giving her a couple of grand.

Get you both started.

- That's awfully...
- You any good by the way?

- I'm pretty useless, actually.
- Everyone says that.

I expect you're thinking because you're
young you're going to slaughter me.

Well, my friend,
think again.

Anyway, here it is.

Old Ministry
of Defense place.

Bought it for a song.
Cost less than my boat.

Mostly specialist stuff
made to order for labs.

This oscilloscope is being adapted
for Oxford's engineering department.

A lot of our work is for universities.
But we could do more.

Perhaps spend a couple of months
here learning what we do,

get your mind round
some basic electronics.

Uh, then you'll go round to universities,
explain our services,

drum up business for us.

You'll even have
your own office.

Will I have a desk?

(GRUNTING)

Six love. Two sets to me.
One more?

I don't know.
I think I'd rather just go inside...

Your serve. Come on, man.
See if you can get a game.

Just one game.

- Out!
- In.

- Love fifteen.
- I know.

Thirty-forty.

(GASPS)

(GRUNTS AND SIGHS)

EDWARD: Whoops!

One-four.

For God's sakes, man.
Come on!

Match point.

That's it!

Six love, six love,
six one.

I have to say it. That return of serve,
the drop shot was a complete fluke.

Well, no, actually,
I've been working on that one.

My, God, Florence!
How long have you been there?

Not long at all.
I thought I'd just...

I asked you a question,
damn it. How long?

- About 5 minutes.
- About?

About?

What the hell do you think
you're up to?

(STUTTERS) Did I invite you
to spy on me?

Well?

Answer me!

(INDISTINCT CHATTER)

(ORCHESTRAL MUSIC PLAYING)

There you are. Did you really
need to come this far?

Yes.

It must be two miles
back to the hotel.

I needed to get out.

Look, this is ridiculous.
It was unfair of you to run out like that.

- Was it?
- Yes.

In fact, it was unpleasant.
Bloody unpleasant.

- Yes.
- What do you mean, "Yes"?

You know exactly
what I mean.

It was absolutely
revolting.

You don't have the faintest idea
how to be with a man, do you?

If you did, it would
never have happened.

In all this time,
you've never let me near you.

You've never let me...

You don't know a thing
about any of it, do you?

- Please don't bully me.
- I'm not bullying you.

Yes, you are.
Edward, you are!

- You're talking bloody nonsense.
- I'm trying to...

You're the one who stopped us
getting close.

When we hold hands you think
you're doing me a favor.

You're so stuck up!

- Is that what you think?
- Yes, it bloody well is what I think.

Then why are you here?

Why are you chasing me
down the beach?

Why can't you let me
just sit here by myself?

Edward, I want
to make you happy.

But I think I'm always
a disappointment.

You're always advancing,
I'm always backing away.

And we can't
talk about it.

We can never just
be happy. Or just be.

You're always demanding something more,
and I'm useless at...

And you go silent and unhappy
and it's all my fault.

And when I do...

I mean when I say yes to something
even if I don't really want to,

I know there'll be another
thing that I'm expected to do.

I'm no good
at these demands.

Demands?

Well, what I mean is...

You think I'm some sort
of debt collector.

I hope you're not
talking about money.

Of course, I'm not.

That's it, isn't it? Money?

- Honestly, I wasn't talking about...
- I don't care about money...

- I didn't mention money, Edward.
- ...yours or anyone's.

- I know you don't.
- So keep your money.

You think I demanded
that job from your father?

It was your idea. And do you know what?
I don't want to work for him.

- Tell him I've changed my mind!
- I know you don't mean that.

- It's just because you're feeling...
- I bloody well do!

But why did you run off like that?
You shouldn't have done that.

I've already...
I've already told you.

- You wanted to humiliate me.
- No, honestly.

It's something...

I can't explain it.

I don't know what it is,
why I ran away.

I got in such a state.

- I was ashamed...
- So you humiliated me.

All right, then. If that's what you want!
I was trying to humiliate you.

It's no less than you deserve when
you can't even control yourself.

You're a bitch
talking like that!

Edward, please go away.

We could be so free
with each other.

We could make each other
so happy.

Instead,
we're in this mess.

Yes.

Meaning what exactly?

It's a mess.

It's hopeless.

Is it?

(BIRD CHIRPING)

Is it a nightingale?

It's a blackbird.

As late as this?

- It must be a prime site he's on.
- (SNIFFLES)

He's doing overtime,
having to work hard.

- Like me.
- (CHUCKLES LIGHTLY)

Edward, no, please.

There's something
I want to say to you.

It's not...

What?

You know I love you.

Still.

I want to spend
my life with you.

And you feel the same.

We love each other,
and we can set each other free.

Edward, it must be obvious
to you by now that I'm...

- Florence, what is it?
- That I'm pretty hopeless.

No, I'm absolutely
hopeless at sex.

I'm no good at it.

I don't seem to need it like other people,
like you do.

I might change,
but I can't imagine it.

If I don't say this now we'll
always be struggling with it.

It's going to cause you a lot of unhappiness,
and me, too.

Florence, I don't understand
what you're...

Mummy knows two homosexuals.

They live in a flat together,
like man and wife.

Two men. In Oxford,
in Beaumont Street.

They both teach
at the University.

And we can live by our own rules too,
Edward.

I can say this because
I know you love me.

We don't have to be
like everyone else.

We could live together and...

And so...

And no one would know
what we did or didn't do.

We'd be together,
and if you wanted, really wanted,

that's to say, whenever it happened,
and, of course, it would happen,

I'd understand,
more than that, I'd want it.

Because I want you
to be happy and free.

I'd never be jealous,
as long as I knew that you loved me.

Oh, God.

Honestly, my darling,

I just want to be
with you all my life,

look after you,
be happy with you,

and work
with the quartet,

and one day at Wigmore Hall

play something glorious
and beautiful for you

like the Mozart.

Have I...

Have I got this right?

You want me to go with other women.
Is that it?

Not if you didn't want to.

Have you actually forgotten
that we were married today?

We're not two old queers living
in secret on Beaumont Street.

We're man and wife!

"With my body
I thee worship!"

That's what
you promised today.

In front of everybody!

Are you so innocent and stupid
that you don't realize

how disgusting and
ridiculous your idea is?

And what an insult it is?

An insult to me!

You tricked me.

You're a fraud.

And I know
what else you are.

Do you know what you are?

Frigid.

That's what.

Completely frigid.

(SNIFFLES)

You thought
you needed a husband,

and I was the first bloody
fool to come along.

(ORCHESTRAL MUSIC PLAYING)

(SHOUTING)

(BIRDS CHIRPING)

(JAZZ MUSIC PLAYING)

Edward? Edward?

Hello, Edward, love.
Have you been at work?

But where's Florence?

Oh, my God, son.

ANNE: And what about
all those presents?

They'll all be sent back.
Dad's writing to Mrs. Ponting.

- Why can't we see Florence?
- We love her.

- Why won't you tell us what's happened?
- (SIGHS) Look...

One day when you're grown up,
you'll understand.

But listen, I want you
to make me a promise,

a really solemn promise.

That you'll never ever mention
her name to me again,

or ask me any more questions
about her. Do you understand?

Hands on hearts.

- Edward. This is so stupid.
- I mean it.

(SNIFFLING)

And the job.

You'll have to write
to Mr. Ponting.

I already have.

I've had a letter back
from Florence's mother.

- Here, you'd better read it.
- I'd rather not.

Well...

Anyway, it's agreed.

Non consummation.

Come on, son.

Is there really nothing
you want to tell me?

Are you sure?

(ROCK MUSIC PLAYING)

(ROCK MUSIC CONTINUES PLAYING)

Eddy.

Look at this.

What?

Does that list not look
familiar to you?

- We have all these records already.
- What?

(MUMBLES)

I don't know what they've done here.
It's a mess.

Looks like they've sent
last month's order.

And this month's.

- Uh...
- (SCOFFS)

They got it totally mixed up.

Well, we'll just have
to separate them out,

and call,
what's his name?

- Bob.
- He could come by this afternoon.

Excuse me. Do you have
any Chuck Berry?

Sure.

Didn't we have
this problem before?

(SCOFFS) Reckon we did.

Let's see...

How about a "Best of"?

That's perfect.

You don't look the sort
to be into this kind of thing.

It's not for me.
It's for my mum's birthday.

She's pretty old.
She's going to be 36.

It's not so old really.

You see, she only listens
to classical music

but she does like Chuck Berry.

Me too.

She always says he's bouncy and merry.
(CHUCKLES)

She'll be so surprised.
But how much is it?

I've only got 75p.

Oh, it's...

It's okay.
You can have it.

I want you
to have it.

Are you really sure?

Yes.

Amazing. And thank you.
I'll put my money into your charity...

No, no.
There is no need...

Just... Just tell her,
you know...

Tell her "happy birthday."

But happy birthday from who?

Um...

Oh, from...
You know, from the shop.

Bye then. And thanks again.
You're really nice.

Wait.

You haven't told me
your name.

- Chloe. Chloe Morrell. Bye.
- (CHUCKLES SOFTLY)

- JANE: So she borrowed this bike...
- PHIL: Nah, she stole it.

JANE: Went shooting down the hill,
to his mother's house

and said, "Look,
here's your money back."

(JANE AND PHIL
LAUGHING)

It's not always
like that.

I knew this couple once.

Very straight.

Sort of innocent
and young.

And she was
very beautiful.

So they get married, you know,
the whole conventional thing.

Church and cake.

- Honeymoon in a hotel by the sea...
- Mmm.

And on the big night,

it doesn't quite work out,
you know, in bed.

And she gets
really upset.

And she tells him that
she's not really into sex.

That when they live together,
he can have it with anyone he likes.

- Anyone but her.
- What an offer.

Does she love him?

Yes.

She does.
She really does.

But that's the thing,
you see, he doesn't get it.

He shouldn't have listened.

He just should have
slipped her one on the beach.

- (ALL LAUGHING)
- Typical.

You're so sensitive.

He's too angry.

He doesn't see that...

Well, the thing is...

She really loves him.

And she doesn't want
to let him down.

But she wants to be with him,
and she wants him to be happy.

So, it all comes apart
that night on the beach.

They never...

They never see
each other again.

Married for six hours.
(SCOFFS)

What happened to her?

I don't know.

I guess she, um...

I don't know.

(ALL CHEERING)

MAN: All right. Here we go.

Didn't even see it.
Too damn slow.

(MUSIC PLAYING)

MAN: (ON RADIO)
Almost half a century ago,

four students at the
Royal College of Music

began to meet informally

to play some favorite pieces

and improve
their ensemble technique.

The result was the now
celebrated Ennismore Quartet.

This October at Wigmore
Hall in London,

they'll present a program of Mozart,
Beethoven and Britten

to celebrate 45 years
of great music making.

A performance given
even greater significance

by the recent announcement

that this will be the
Ennismore's farewell concert.

Yesterday, at their
Primrose Hill home,

I spoke to violinist Florence Morrell
and her husband Charles, the cellist,

asking them first

how hard it had been to reconcile
a successful domestic existence,

three children, five grandchildren,
with the demands of international...

(RADIO TURNS OFF)

Thank you, darling.

WOMAN: Bye, Mum.
Best of luck.

Bye, Dad.
Best of luck.

- MAN: There you go, Dad.
- CHARLES: Thanks, my boy.

MAN: Mom, we are so proud
of you both.

(INDISTINCT CHATTER)

(AUDIENCE APPLAUDING
AND CHEERING)

(PLAYING SLOW MUSIC)

(INAUDIBLE)

(MOUTHING) Bravo.

I am sorry, Edward.

I am most terribly sorry.

Let's go back now...

Together.

Edward?

(PIANO MUSIC PLAYING)

(ORCHESTRAL MUSIC PLAYING)