All language subtitles for A.Photograph.(Glenister.1977).576p.Bluray.AAC.1

(UPBEAT JAZZ MUSIC)

(MUSIC: "PIANO CONCERTO NO.3" BY BEETHOVEN)

(FLY BUZZES)

RADIO PRESENTER:
And that was the third movement

of Beethoven's Piano Concerto No. 3,

which means, of course,
Beethoven's second piano concerto,

owing to the fact
that his Piano Concerto No. 2

was really his first piano concerto,

but I don't think we've got time to go
into the complications of all that right now.

- WOMAN: What?
- MAN: I said thank God it's Saturday.

WOMAN: Every day is Saturday to you.
I'm the breadwinner.

MAN CHUCKLES
I should be so lucky.

(CLASSICAL MUSIC PLAYS ON RADIO)

Anyway, he had these two
wire-haired terriers.

Used to call them Local and Express.

Local used to cock her leg at every corner,
but Express only stopped between stations.

We don't have express trains nowadays.

You couldn't call a dog Inter-City.
He'd never answer to it.

- No, put them down. They're all for me.
- Selfish pig.

It's nothing interesting. Let me have a look.

Bill, bill...

anti-apartheid, company report.

I wish they wouldn't.

If one could only give money to good causes
without having to read the literature.

Who's this?

- From?
- Don't know.

- Leaming... Leamington. Is that Leamington?
- Let's see.

Warwick and Leamington Spa.

- Ah, Warwick.
- What about it?

I used to know a man called Warwick.
He lived in Chiswick.

And then there was this girl
I met at a party.

She was in sewage at Dulwich.
Or was it Greenwich?

Too early in the morning, love.
Save it for your column.

Take your coffee, then.
You don't want it to slop.

- Aren't you going to open it?
- Hm?

Oh, yes, it'll only be a fan, I suppose.

Hardly, since it's not been re-addressed
from anywhere.

Not from the paper or the BBC or anywhere.

It must be someone who knows you.

They could've looked me up in Who's Who.
I shan't answer.

- It's a picture.
- What?

- It's a picture. That's odd.
- Who is it?

I don't know.

WOMAN:
Are they fans?

- MAN: I told you, I don't know.
- You wouldn't know them if they were fans.

- There's nothing on the back.
- Let me see.

That's odd. They don't look like fans.

I mean, you can't imagine
these two reading the posher papers

or listening to Radio 3
or watching arts programmes on the telly.

Oh, don't be so conceited, Mike.

That's not conceit. They don't look as if...

How should everybody look?
As if they listen to...

- Don't be so tetchy, love.
- Well, it's so ridiculous.

You and your fans.

There was that woman from Hove.

- And anyway, why should even a fan send...
- I don't know.

There must be a letter with it.

See? There isn't.

Well, you'd better eat your muesli.
It's obviously a practical joke.

- It's a caravan.
- Hm?

Where they're sitting, it's a caravan.

- They're sitting in front of...
- I noticed.

Well, is that significant?
Do you recognise...

If I can't recognise the girls,
I don't see why I should recognise a caravan.

Well, you haven't looked. Not properly.

Alright. One caravan's very like another,
you know.

You haven't really looked
at the girls either, have you?

What's the matter with you?

You say you don't know who it's of,
you say you've never seen the...

but all you do, you just glance at it.
You don't seem very curious.

If someone had sent me a picture
of two perfect strangers

with no letter, nothing written on the back...

There was the nutcase from Dorset,
sent me a lavatory seat COD.

I wasn't very curious about that either.

Well, you knew who it was.

I don't know who these are.

Have you been up to something?

- Such as?
- Just up to anything.

Not with... No. Not my type.

Look, love, I've not been up to anything
in either Warwick or Leamington.

I've not been up to anything at all,
as a matter of fact. Not since...

And certainly not with Ruby and Grace.

And please don't ask how I know their names
because I do not know their names.

I have never seen either of them
before in my life.

Or the caravan.

- I'm getting up.
- You haven't finished your coffee.

- Please move the tray.
- It's Saturday. Just because some...

Gill, don't get into one of your states

just because some looney girl's
sent me a photograph.

Oh, Christ.

MAN ON RADIO:
Which brings me to the Morlocks,

those ugly, frightening creatures
in H. G. Wells' novel, The Time Machine

who do all the work
and live underground in darkness,

while up above live the beautiful people,

who compose music,
write poems, paint pictures.

It all seems to be a parable

about the way the cultivated upper-classes
exploit the brutish underprivileged workers,

until you discover that it's the Morlocks
who exploit the artistic people,

quite literally exploit them.

They eat them.

Well, it's easy to recognise the Morlocks
in the capitalist society of the period

when Wells wrote his novel

and when leisure for the few
rested on a basis

of a brutish and violent slum poverty.

Where are they now?

I think, inside ourselves.

Inside each modern man and woman,

the despised Morlocks live and breed
and grow more powerful.

We may pretend they don't exist.

But at the last, it is we

who will run screaming through the darkness
of our own minds

to be smashed and eaten
by the Morlocks who dwell there.

PRESENTER: "The Morlocks", the final talk
in our series Imagery and the Archetype,

was given by Michael Otway.

- Very good.
- Strong stuff, hey?

Very strong.

(MIKE CLEARS THROAT)

You shouldn't give children homework.
It's unfair on the teachers.

Anyway, I don't know
why you can't use the study.

Because it's not the study, it's your study.

If you want to see real Morlocks in action,

you've only got to look
at the school lavatories

or the phone boxes at the station,
or any tower block, of course.

Yes, well, there's that too.

I had a talk to the Post Office
at Leamington today.

- What?
- I rang them up at lunchtime.

Apparently, the Leamington area
isn't just the town.

It takes in a great circle all the way round.

You phoned Leamington Spa?

I used the credit card. It comes off tax.

The interesting thing is, if you post
a letter at a village Post Office,

it gets the postmark of the village,
but if the village hasn't got a Post Office

or you use an ordinary letterbox
by the roadside,

then the postmark's Leamington,

Warwick and Leamington Spa,
just as if you'd posted in the town.

The area goes north as far as Kingstanding,
south as far as Shipston and east as far...

You must be off your head.

I was sure it couldn't be in Leamington

because they'd never allow a caravan
inside the town.

It's Regency. They're very particular.

You've been brooding about that bloody
photograph the entire weekend.

The postal superintendent
didn't want to tell me at first.

He said it was confidential information
but after a while, he got quite chummy.

I don't know what's got into you.

If it had been posted in Warwick,
the postmark would just be Warwick.

So whatever it is, it's outside Leamington.

Alright, I agree with you.

It's a great mystery why anybody
from Leamington Spa...

I told you. Outside.

Or outside should send me a photograph
of two lumpy working-class teenage girls...

You've always had an itch
for the working classes.

I don't like mysteries any more than you do.

No.

But some mysteries are worth solving
and some are not.

If you didn't have an itch for the working
classes, why did you marry me?

I married you because you were pregnant

and then you lost the sodding child!

Well, why do you provoke me?

I wouldn't snap at you
if you didn't provoke me!

(MIKE SIGHS)

(FOOTSTEPS APPROACH)

Alright. I'm sorry.

I'm sorry, love. I'm sorry.

I know you're ill. I try to remember.

I've been through your appointments book
for the last five years.

I've never been to Warwick or Leamington.

I don't have occasion to go.

You've been to Stratford. It's in the area.

Where is that bloody photograph?
I'll tear it up.

GILL:
I took it to school.

Perhaps you'd like to let me have it back
when you've finished with it!

(GILL SIGHS)
Terrible panics.

I feel so vulnerable.

I've got no hold on him.
I mean, I haven't got a degree or anything.

(WATCH TICKS RAPIDLY)

He came to talk to the Literature Society
at college.

Visiting speakers,
they usually stay on afterwards

and have a few drinks with the committee.

I suppose I got a bit drunk.

But I really admired him.
He's a beautiful speaker.

He didn't want to drive back to London.

And so he stayed overnight in the guest room
in Latimer Brook.

And I...

I stayed with him.

You could hear everything through the walls.

They have to be thin to discourage immorality
among the students.

And afterwards, he just took up with me.

I suppose it amused him
to have a bit of skirt

tucked away at a teachers' training college.

And then I got pregnant.

I think sometimes the only emotion
that governs his life is guilt.

A teachers' training certificate.

That's no qualification for his kind of life.

When we have people in for dinner, there's
many occasions when I never say a word.

Or else I talk all the time, which is worse.

And mostly he does the cooking.

He thinks I'm an orphan.

Our GP says it's not clinical depression
or I'd be like it all the time.

It's so...

So unattractive.

It's only by...

By being helpless
that I can keep my hold on him.

(SHE SOBS)

(GILL SOBS)

(DOOR OPENS)

MIKE:
Hello?

- GILL: I'm in here!
- (DOOR SHUTS)

It's alright. I don't intend it to stay.
It's not a wall poster.

It could be if you like. It's original.

I thought if I got a blow-up, I...

We could study it in detail,
see if there's anything we'd missed.

- That's why I took the photo to school.
- What a persistent lady you are.

It didn't cost anything.
I got Fred to do it in the art room.

You won't believe me, will you?

I do believe you.
I don't like mysteries is all.

- How'd you get on with your man?
- Oh, I have to go back next week.

It may take months.

I asked about money.
He says it's ten pounds a visit.

We can manage.

Ten pounds, I suppose that's cheap.

GILL:
You haven't noticed it's the same girl.

It's a doctored photograph.

It's not two girls. It's the same girl twice.

I can't leave her. What would she do?

She has no family, no one to turn to.

Of course, there's her job.
Teaching keeps her busy, but...

It'd be the weekends
and the long holidays that...

Anyway, people get used
to a certain kind of lifestyle,

wine at meals, going abroad, cars,
that sorts of thing.

Of course, you can do without them.

Christ, we all did without them
when we were young.

I used to take the tube everywhere, buses...

Once you get used to them...

Anyway, she's ill.

Suppose if this man
ever gets her sorted out...

Ten pounds a week.

She gets herself sorted out.

God, no, she ought to leave me.
I'm not doing her any good.

He might tell her that.

I'm destroying her.

I do destroy people, I think.

I wouldn't take up with anybody else
if she...

It's like battery hens.

They couldn't live in the open
even if you released them. Nowhere to go.

Foxes get them.

There is the job though.
An occupation, something to occupy your mind.

I mean, Christ, she ought to leave.

She doesn't even like me anymore.

Anyway, I can't leave her. She's ill.

Oh dear, oh dear.

What is it?

"Another break-in and birds
destroyed by vandals"

"at the loft of Wilf Adams..."

"who found 25 of his stock birds
and squeakers dead"

"on going to the loft."

(WOMAN TUTS)

"Local fanciers are rallying around
with birds to help Wilf out."

- It's good to have friends.
- Ah, a friend in need's a friend indeed.

- Does it say that in the paper?
- No, I said that, Mother.

'Twas I and none other.

Friends and neighbours,
they're a price above rubies.

"It is thought to be just sheer vandalism
with no other motive..."

"as guinea pigs and a tortoise
in the next garden"

"were also killed at the same time."

I expect the demise of that tortoise
were particularly harrowing.

You're off, are ya?

- Are you off then?
- Ah! About my business.

Shall you bring us a rabbit tomorrow?

You shall have a rabbit,
you shall have an hare.

Some long-haired fellow darts in my snare.

Boy, you're a poet, and don't you know it.

MAN:
Don't I?

Don't I though.

(CLASSICAL MUSIC PLAYS)

I thought I'd take it down tomorrow.

- Why?
- Lost interest in it.

- Why?
- Gone off it.

I thought I'd take it into school,
show it to 4C,

put it up, get them to write a story
about these two people.

One person, according to you.

I thought I'd see
whether any of them noticed.

Leave it a bit, hey?

- If you like.
- You haven't told them...

No, no. I can leave it for a bit if you like.

Could be a boy in drag twice.

Any developments with your man?

What sort of developments?

Well, you know,
he hasn't told you the source...

Oh, no. He doesn't tell me anything.
They don't go in for that.

You have to discover it for yourself,
whatever it is.

Yes, that's right. You do.

He hasn't even asked me much, let alone tell.
I do most of the talking.

I mean, if people keep quiet,
you're bound to talk to fill the space.

He keeps quiet.

If you look carefully,
you can see a tattoo on the right arm.

You wouldn't find a girl like that.

Even a girl from Leamington or outside.
She wouldn't be tattooed.

Looks like a snake.

There's no tattoo there, Gill.
There's nothing there at all.

We'll leave it for a bit then.
You can study it.

(PHONE RINGS)

Hello, 248-0920.

I'm sorry, you must have the wrong number.

Chinacraft or the Persian Embassy?

Iranian. They don't call it Persia anymore.

Well, it wouldn't be Chinacraft
at this time of night.

(PHONE RINGS)

This is ridiculous.
I'll take it in the study.

It'll only be the same wrong number.

I'm sorry, it's not a good time to phone.

I think I told you, the evening's never...

Oh, that's alright then.

Obviously, it has to be
when you're in town, but...

Well anyway, I've been meaning...

I mean, well, money's a bit tight
at the moment as a matter of fact

and I may have to go away for a bit, but...

I mean, if there were any way
of getting in touch with you...

Yeah, alright.
But not in the evening, please.

I'll have to go back now.
Oh, no, wait. Uh, one thing...

That tattoo you have on your arm,
I was wondering...

No, no, it's not important.
I was just wondering...

who else knows?

Well, knows you have one.

Yes, right. Clients would notice,
they'd be bound to.

Silly question. Sorry.

I, uh... I suppose you don't know...

is it a popular thing in your line of work,
having a tattoo on?

Yeah. Yes, of course. Sorry.

Well, anyway,
I'm not sure how long I'll be away

but you better leave it for a bit.

It's Midlands, somewhere near Leamington.

It's all a bit vague at the moment,
but you get in touch in a couple of months.

Right. Not in the evening though.

See you.

It was Jeremy and Pamela
wanting us to dinner on Friday.

- What have you done?
- Inked it in.

MIKE:
What?

GILL: To make it clearer for you to see.
I inked it in.

- Made it clear.
- But...

- But you've covered it up.
- Only where it was.

If it wasn't there to begin with,
there's now no way of telling.

Gill, there's no way I'll ever be able to
tell whether there was a tattoo there or not.

Why should I say there was if there wasn't?

You don't think I invented it?

You said you couldn't see it.
All I've done is ink it in.

Anyway, what does it matter?
I wouldn't have mentioned it...

- It doesn't matter.
- Well, that's a relief.

- What did you say to Jeremy and Pamela?
- I said we couldn't make it.

Because of me
or because you're doing something else?

I didn't say because of you.

Anyway, you've still got the original photo.

It's too small to make out
that kind of detail.

- You could use a magnifying glass.
- I said it doesn't matter, love.

You didn't have to say no
to Jeremy and Pamela.

I should meet more people.

If I got one of my turns,
you could go on your own.

- I don't like leaving you.
- Don't you?

I don't like leaving you
when you're having one of your turns.

But you're often away
when I have one of my turns.

I just go to bed and cry.

It passes...

eventually.

Last time you looked at me like that,
I cried for three hours.

Don't threaten, love.

I can't always control my looks.

I often want you to control them less.

At least it's contact.

Anyway, it's two girls. I'm sure it is.

It's not one girl twice,
it's not a tattooed boy in drag twice.

It's just two country girls. Look at it.

Rather self-conscious after a bit of a lark,

thought they'd send a picture
to remind someone.

- Didn't want him to forget them.
- Someone?

Not me.

Got the name wrong.
Maybe they were given the wrong name

by somebody who didn't want them
to know his own name

- or somebody who wanted to impress.
- Oh, Mike.

Two country girls on a summer's evening,
hitchhiking probably.

There'd be a disco in Leamington
and he gives them a lift.

He's been listening to the car radio,
he's heard my name and he thinks...

Well, I don't believe
that's any more unlikely than...

Anyway, he gives them a lift.

They're a bit curious, provocative,
it's an expensive car.

What do they care?
It's only a lark. Nobody'll know.

I don't see your average
Radio 3 audience going in

for a bit of roadside slap and tickle
with a couple of teenage hitchhikers.

Anybody can go in for a bit of promiscuous
slap and tickle with anyone.

And you know bloody well they can!

Yes.

But I haven't.

- Why did you choose a snake?
- It was a snake.

It looked like a snake...
with something written in the coils.

I couldn't make the words out.

Snakes are very popular as a matter of fact
among the tattooed set.

Don't see how you can know.

Some of the older boys at school
go in for it.

They do it themselves
with a needle and coloured ink,

bleeding hearts, and "love" and "mother",

a death's head sometimes
or "kill" picked out on the knuckles.

It washes off after a bit
and sometimes it goes septic.

The West Indian kids don't do it
because it doesn't show on them.

- Do any of the girls do it that you know?
- Not that I know.

But I said it was a boy in drag.

- An answer to everything.
- Don't get at me.

I don't blame you for being promiscuous.

I don't get much chance actually, love,
to be promiscuous.

- I don't see why not. I'm out all day.
- What do you want me to do?

Keep an hour by hour diary
and let you read it?

I want you to love me.

You know I do.

- If I didn't, would I be so...
- Patient with me?

You wouldn't put up with me
if you didn't love me.

Hmm? Proof by deeds?

So it's unfair I should want more
than patience and putting up.

- It's unfair...
- I'll get the casserole.

I don't want any!
I'm depressed. I haven't any appetite.

- Please don't get into a state.
- Love!

Patience isn't love.
Putting up with people isn't love.

Making them feel guilty if they
stretch out a hand in bed isn't love...

Please.

I'm not supposed to make the advances.
I shouldn't have to make the advances!

You said you wanted me to love you.
Not just...

That is love! That's what love is!

MIKE:
I do love you.

And we do, if you'll bring it to your mind,
from time to time make love.

Not that that proves anything.

And it's not your fault
that when I'm under pressure...

You know this is true, love.
It's always been so.

It's not you being ill.
It's any sort of pressure.

Thank you.

It's when I'm under pressure, worried,
my mind darting about, that I can't always...

And it's no bloody good bringing home books
and pieces from Forum and new positions.

Gill, if I can't always get an erection,
it's not a criminal offence.

Christ, if you think of someone like Bobby.

Bobby?

Oh, it doesn't matter.

It's a man I know, a director,
has it off like a rabbit with whoever it is

while he's courting, protestation
of eternal love, can't live without them.

Then they move out of their digs
and in with him and wham!

Well, no, not "wham" exactly.

More whatever the words would be to describe
disastrous drooping.

Can't do it anymore.

Wants to, hates himself,
guilt makes it worse.

Then after three months
of tears and recriminations,

whoever it is moves back into their digs
and Bobby's onto the next.

You seem to know a lot
about other people's sex lives.

It's what they mostly talk about
in the BBC Club.

I never talk about mine, except once a week.

I pay for that.

Are you sure you wouldn't like to try
just a little of the casserole?

You have some.

I suppose I could go to Leamington,
look around a bit.

- Wasn't that what you wanted me to do?
- Look for what?

The caravan, the girls perhaps,
try to find out why they...

But you said... You said some man...

You didn't seem to believe me.

I mean, if it's bothering you,
and clearly it is bothering you...

- How... How would you...
- Get a map, an Ordnance Survey,

you put a thick black line
around the postal area,

explore the side roads, find the caravan.

It has to be parked by the roadside
because it's not the sort that's towed about.

- It's a fixture.
- You've been working it out.

I could go tomorrow,
come back at the weekend.

There's nothing in the appointments book.

I've got some novels to review.
I could take them with me.

- You've been thinking about it.
- I was bound to.

But when I thought about it, you...

What about the music programme?

Oh, didn't I tell you? It's been recorded.

Sally's going on holiday,
so we did three on the trot.

- I thought it was two you did on the trot.
- No, three. Don't you want me to go?

Is that why you told Jeremy and Pamela
we couldn't go to dinner?

- What?
- On Friday, that we couldn't go.

Oh, no, I didn't think you'd want to go.

- In case I had one of my spells?
- Yes.

What happens if I have one of my spells
whilst you're in Leamington?

If you don't want me to go, just say.

I thought you wanted to solve
our little mystery.

Why don't we both go, spend the weekend?

- There's no reason.
- We both go then.

I'll navigate. It's a large area.

Shipston, Stratford, Kingstanding,
there'll be a lot of minor roads.

I think I'd like something else.

Yes. I'll have some.

You could join me.

I mean, it is a large area.
We couldn't do it in a weekend.

I could go off tomorrow and you could meet me
in Leamington on the Friday night.

You don't want me to come with you?

I've just asked you to.

It's a large area.
We couldn't do it in a weekend.

There are lots of weekends
between now and Christmas.

Oh, for Christ's sake!

It doesn't matter, does it?

Go if you want to.

I may join you at the weekend.

Mm! Very good.

(CLASSICAL MUSIC PLAYS ON RADIO)

(MUSIC STOPS)

(HORN BEEPS)

(MUSIC: "DOUCE VIOLENCE"
BY JOHNNY HALLYDAY)

♪ Douce violence ♪

♪ De nos coeurs... ♪

(PHONE RINGS)

- (MUSIC STOPS)
- (PHONE RINGS)

FAINT VOICE:
Hello? Hello?

Hello?

Oh. Where are you going?

- Round and about. Where are you going?
- Leamington, eventually.

- That'll do.
- Right.

Bit risky, isn't it? Hitchhiking on your own.

- WOMAN: Boys do it.
- You're not a boy.

I don't hitch lorries or cars
with more than one man in it.

- There's no safety in numbers?
- No.

Sound as if you'd learned that.

I have.

- Are you a student?
- If you like.

Is there a youth hostel in Leamington?
Do you happen to know?

Afraid that's not
the sort of thing I ever do now.

I expect there is.

I did start off with a girlfriend
as a matter of fact.

She got on my tits, so I dumped her.

It's no good travelling with people
if you don't get on.

I'm afraid I'll be taking
rather a lot of minor roads.

I'm looking for a caravan.

You can always leave me if you get bored.

My brother's only 16,
and he's been all over Argentina.

(WATER POURS)

GILL: You are super, Fred.
It's ages since I've been to a movie.

Mike sometimes has to do films
for Critics' Forum,

but then he goes in the daytime.

- I thought you looked a bit low.
- I was.

I'd taken a pill,
but it didn't seem to be working.

I suppose if depression is an illness,

I should give up the job
and live on sick pay.

But then I really would go mad.

- I'll warm the pot.
- It's in the cupboard.

Don't be embarrassed.
Mad's a very old-fashioned word.

They don't use it anymore.

We depressed women, we don't go mad.
We just feel a bit low.

We think about it though.

The pot's warm already.

Anyway, it's gone now.

The prospect of being taken to the movies
has quite cheered me up

or else the pill's working.

- It's got hot tea it in, the pot.
- Has it?

- It hasn't now.
- I thought you said Mike was away.

He is. He's in Leamington,
outside Leamington,

Warwick and Leamington Spa.

It's the cleaner lady's day.
She might have stayed late.

Anyway, Mike wouldn't mind
you taking me to the movies.

I'm supposed to make new friends.

- Well, who would know?
- Well, I can ask in the public.

Oh, thanks.

He's asking in the public.

You're really great at making
other people do the work.

He wants me to commit suicide.

That's his aim.

- Has he said so?
- No, of course not.

Not Mike.

Mike never says what he's really thinking.

He knows it'll only lead to trouble.

He likes a quiet life.

Then, how...

If you want to know what Mike's really thinking,
you have to find out through his work,

like any other creative artist.

Hardly creative.

Oh, yes, love. Creative.

Mike's creation is Mike. He's a personality.

And don't put him down. It's not easy.
You have to work at it.

And it's not a salaried profession like ours.
You do it freelance. It's very insecure.

And Mike's not one of your
common-or-garden personalities.

He specialises.

He's artistic. There aren't many of those.

Anyway, I don't see how you can know
he wants you to commit suicide.

I'll show you.

Bring your tea.

Exhibit A.

- No, sorry.
- Oh. Thanks anyway.

- Good evening.
- Evening.

- Who's that?
- He don't mean no harm.

What's that?

Have you heard the good news
of the Word of God?

I have a pamphlet here.

It's very simply explained.

All the violence in the world today
is caused, you know, by greed.

- Yeah, no, thank you. No.
- I shall leave the pamphlet with you.

There's no charge.

Hello there, Mr Radley.
Very nice to see you again.

It's on tape.

Whenever Mike does a live broadcast,

I always have to tape it at home
so he can listen to it later.

We've got hundreds. This is it.

Listen.

MIKE ON TAPE:
An artist shouldn't get married.

He shouldn't have children,
because if he's to be true to himself,

he must live a life
of creative and financial insecurity,

since there's no knowing
when the creative spring may dry out

or he may go out of fashion,

or more often, never come into fashion
until after he's dead.

Mike always says "he"
when he's talking about creative artists.

It's not that he's a male chauvinist.

It's just that he's really talking
about himself.

MIKE: An additional hazard is that,
by the nature of his art,

he uses people.

It will be a sorry thing
for such a man to use up his own wife.

It might demand divorce, or even death,
to keep his artistic self alive.

GILL:
You see?

I'm used up.

He wants to get rid of me.

It's no wonder I feel low.

- WOMAN: What good will it do?
- MIKE: Hmm?

Even if you find the caravan,
even if you find the girls,

even if you find out
who sent the photograph and why,

- what good will it do?
- I'll know.

What good will that do?

What difference does it make
if it's two girls,

or one girl twice, or a boy in drag twice,
or if one of the girls is tattooed,

or the boy's tattooed?

You don't know them.
What difference does it make?

Well, I do know someone
with a tattoo actually.

- MAN: Have you heard the good news, sir?
- MAN 2: Sorry?

WOMAN:
Well, why don't you ask them?

Because I don't know there really is
a tattoo on the photograph.

You can't say to someone,

"Look, have you sent me, for whatever reason,
a joke or whatever reason,

a photograph of two girls,
one of whom may be you in disguise,

because she has a tattoo on her right arm?"

You can't say that unless you know
there really is a tattoo...

Why not?

Jesus. You people are so screwed up.

What are you afraid of?

Look, did you really come away for a week,
leave your home and your job?

- My job doesn't necessitate...
- Alright, whatever.

You're a great man.
You're on the television, whatever.

You come away.

You're not like us,
you don't just wander about.

You've got to have a car and a hotel.

It all comes off tax and whatever
and you drive about...

I mean, is it really because
you want to know who sent that photograph?

I've told you it is.

Or is it because you wanted
an excuse for an adventure?

- That's ridiculous.
- (IMPERSONATES HIM) Right. It's ridiculous.

- What sort of adventure?
- You don't know what sort.

Any sort will do. You're middle-aged.

Me, maybe.

Pick up a young girl on the side of the road,

make like you're famous
and take her to bed in Leamington Spa.

I don't think I said I was famous.

Only you should realise,
unknown adventures may not be so nice.

You could get hurt. You're lucky it was me.

- FRED: You could divorce him.
- I cling.

He could walk out, I suppose.
You don't have to be dead.

No, love, it's very complicated
if you're freelance

and you make the mistake of getting married.

- You think we live pretty high, don't you?
- Yes.

It all comes off Mike's tax.

And we're in debt, of course.

We have a high standard of living
but no security of income.

Mike only has to offend about three people,
well, maybe five,

and he'd hardly work at all.

As it is, he can just about manage
to support the two of us together

but if we broke up,

I'd have a right to maintenance
because we're legally married,

alimony or whatever.

But you've got a job.
You can support yourself. You've no kids.

- You wouldn't claim.
- I'm ill. I may not be able to work.

Besides, if Mike walked out on me,
I'd be vindictive, I would claim.

Shocked? Sorry.

Nobody's perfect.

Mike knows that.

From his point of view,
me dead would be better.

No need to pay alimony
and he gets the insurance.

The man made a great point of that
when he sold us the policies.

Even if you commit suicide,
they still pay up.

He had a harelip.

You're not trying to tell me
that he's driving you to...

No. More subtle.

Mike knows I'm suicidal
whilst I've got this depressive illness,

so he makes sure I've got the means to do it
and then he goes away.

Exhibit B.

Thank you.

(HUSHED CONVERSATION)

- (MIKE CLEARS THROAT)
- This is Chet.

- How do you do?
- Hi.

Well, here's your tomato juice.

You have it.

- MAN: Have you heard the good news, sir?
- MAN 2: Good news?

GILL: When I first became depressed,
Mike got very worried and he couldn't sleep.

So he went to Geoffrey. That's our GP.

And Mike got Geoff to prescribe these.

Barbs, Nembutal.

Very strong. Fatal with alcohol.

Geoff would never prescribe them for me,
of course, because he knows I'm suicidal.

Mike's not suicidal.

- That's a hell of a lot.
- Right.

Because Mike didn't actually take any.
He found he didn't need them after all.

Besides, he doesn't really approve
of taking drugs.

He thinks you should try
and fight things through.

Why didn't he throw them out?

Good question.

Why don't you throw them out?

I don't want to.

I like knowing they're there.

(TOILET FLUSHES)

Have you told your man about all this?
About Mike wanting... About the pills?

He thinks I fantasise.

You've taken on responsibility, Fred.

You shouldn't keep people alive
if they want to die.

You don't know what it might lead to.

If we're going to catch the early show,
we'd better be going.

Leamington.

Oh, you could have come with us,
but I'm afraid my car's only a two-seater.

It's no hassle.

Don't worry.

We'll find something.

Thanks for the lift. I really enjoyed it.

- Excuse me, sir, have you heard the good news?
- What?

The good news, sir, of God's Holy Word.

I have a pamphlet here.

All the violence and vandalism in the world
is caused by greed.

- Oh. No, thank you.
- There's no charge.

God's message comes free
to all who will receive it.

Since you have friends in the district, sir,

perhaps you'll be able to attend
one of our meetings.

- All are welcome.
- What friends?

You'll find us at the sign
of the Assembly of God.

Meetings are held every Sunday afternoon.

We have various centres.

I shall provide you with a list
for your convenience.

All the problems of today's world
are explained and analysed

- and God's Holy Word expounded...
- What friends?

Relations, maybe.

- Do you know those girls?
- May I?

The young ladies? Sisters, perhaps.

- Friends.
- Do you know them?

No, I cannot say I know the young ladies.

But of course I know the caravan.

I spread the Lord's Word
all about this district.

Please, sit down.

(PHONE RINGS)

(PHONE CONTINUES RINGING)

GILL:
Oh? It's the phone.

- I'll get it.
- FRED: I thought it was my bloody alarm.

GILL:
No, it'll be Mike.

He always phones up last thing at night
when he's away. I'd forgotten.

I'm usually watching the telly.

He phones for messages.

(PHONE CONTINUES RINGING)

(DIAL TONE BEEPS)

- GILL: Hello?
- Hello. What kept you?

I was in bed. What time is it?

MIKE:
It's only half past nine.

Well, there wasn't anything interesting
on the telly,

so I went to sleep.

Anyway, I'm supposed to get
as much sleep as I can.

What's it like in Leamington?

- Unimaginable.
- Is it? And the food?

Oh, one of those terrible
English provincial meals. Everything frozen.

The steak was grey.
It's like a boy's adventure story.

"His blood turned to water."

- Its blood, of course, in this case.
- What have you been doing?

Oh, just driving around.

I didn't get into Leamington
till the light was going.

Did you find anything?

No. Nothing. Nothing at all. Nothing.

It's terribly boring.

I may come home at the weekend.
Don't make any plans.

But I was going to join you.

Yes, I know you were, but if I come home,
you won't need to, will you?

But you haven't...

I mean, you've hardly...

Well, it's up to you, I suppose,
if you've changed your mind.

- You would tell me, wouldn't you?
- I don't know, love.

I haven't made my mind up.

I mean, if I've come on a wild goose chase,
I might as well give it up.

I mean, even if I found the caravan...

Even if I actually found it, I mean...

What does one say knocking on the door
of a complete stranger and saying...

Well, anyway, we'll talk about it again
tomorrow night, hm?

I'm certainly staying another day
and maybe...

Are you sure you're feeling alright?
I can ring again in the morning if you like.

Any messages?

Which of those questions
do you want answered?

Um... Messages?

No, nothing of any interest.

- On the machine?
- No, nothing on the machine. No.

Well, look, I'll ring you again
tomorrow morning.

There's no point in phoning tomorrow.

I shall be in a rush to get to school
but try and phone a little earlier.

You sound a bit upset.

No, I'm alright.
I get tired, that's all. Tired.

Oh. Well, alright. Have a good night's sleep.

- Goodnight, love.
- Goodnight.

Mike?

He sounded a bit discontented... lonely.

He spent the day driving about.
He's talking about coming back.

What did he expect?

I'd better go.

There's no need.
You can stay the night if you want to.

No, I'd better go.

- Fred.
- Yeah?

It's alright, you know.

- What is?
- You haven't taken anything on.

No responsibilities. It's alright.

Oh. Right.

- You feeling OK, are you?
- Yes, Fred. Much better, thank you.

We might as well have something to eat
before you go.

There's bound to be bacon and eggs.

Oh, right! I'll have a bit of a wash.

(CLASSICAL MUSIC PLAYS)

(ENGINE HUMS)

(ENGINE STOPS)

MIKE:
Oh. I'm sorry to bother you.

Can you tell me whether you know
either of these girls?

Am I to come in?

WOMAN:
As long as you keeps the door shut, mister.

No great desire the world and his brother
shall know my business.

Thank you.

WOMAN:
Ornament.

Is it yours?

Heart, that is. Love token.

Alabaster, valuable object.

- May I ask where you found it?
- It's not for sale.

Do you live here alone?

Not your business.

Oh. Sorry.

- Good likeness, this is. Snapshot.
- You know them then?

My caravan. It'd look better in colour.

Very few people in these parts nowadays
uses the black and white.

- I was asking about the girls.
- That's right.

- Do you know who they are?
- You made enquiries in the village?

- What village?
- Just down the road.

You got your car outside,
three mile down the road.

They got constabulary there,
rectory, sub-postmaster.

Uh, you think I should do that then,
enquire at the village?

Suit yourself.

- Would they know the girls there?
- Can't say.

- Do you mind if I look at it?
- Suit yourself.

There's a chip off it. It's been broken.

WOMAN:
That's right. Imperfect.

Broken heart.

Love token.

Did anyone give it to you, as a love token?
Anyone at all, recently?

I have one just like it.

Who'd give me a love token at my age?

You come back tomorrow, mister.

I'll make enquiries in the village
on your behalf.

- You come back tomorrow.
- When?

Tea time. I'll give you a good cup of tea.

I'll make enquiries and give you a good hand.

MIKE:
You'll find I'm grateful.

My home, this is. I shan't go away.

(ENGINE REVS)

Promised to make enquiries in the village.

(BAROQUE MUSIC ON RADIO)

GILL:
Mike?

MIKE:
I came home.

Oh, Mike!

Hey, welcome. What a welcome.

I'm glad you're home, is all.

- Oh. I got bored. I came back.
- Good.

Gill, it's excessive!
I've only been away 24 hours.

Never mind, it never was a good idea.

- Well...
- Yes?

Well, I might go back tomorrow, actually.

I just thought enough was enough
for the time being.

- Why?
- I got bored and lonely.

- Why go back?
- Well, it seems such a waste otherwise.

I mean, I've done quite a bit.

But if you're lonely and bored...

It's a waste, love,
of what I've done already.

I thought, take a break, go home,
then carry on for a bit.

It's easy to come and go.
It's only a couple of hours with the M40.

Why? Why go back?

Look, if being alone at night worries you,
I can go up tomorrow and be back by ten.

Why?

- I mean, it's you who...
- I took it down.

I'd never have gone in the first place.
It was your idea, love.

But you changed your mind and went.

- You changed it for me.
- Change it back. I have.

I don't want you to go. Change it back.

There's always bloody music in this place.

(MUSIC STOPS)

I was testing you. I don't want you to go.
It's finished.

Testing?

I was unsure. I'm an insecure lady.

I was testing you,
wanting to find something out.

Anyway, I'm allowed to be difficult
when I'm ill.

- You never believed I had anything to do with...
- No. Not exactly.

It wasn't you who sent the...

- No, because...
- Because?

If there really was a caravan or the girls,
I mean, you could hardly know.

Is there? Is there, Mike?

- A caravan and girls, really, is there?
- I don't know, do I!

There isn't.

I sent the photo just to make mischief.

There isn't any caravan.
There aren't any girls.

I don't believe you.

If you don't, you don't.

Look, I can go off tomorrow,
be back tomorrow night.

At the weekend, you can come with me,
looking.

We'll look together,
if I don't find anything tomorrow that is.

Alright, it's not important,
but once you've started something, anything,

you like to finish it. That's natural.

What do you mean testing?
When you know there isn't any reason.

- Testing what?
- I don't know.

- If I knew, I wouldn't be testing.
- You said...

I don't know what there is to test
and what there isn't!

I told you, I'm insecure, jealous, afraid.
I didn't know of what. I just know that I am.

If you'd just tell me the truth, always.

I don't mind what you get up to,
if you tell me the truth.

It's what's hidden, that's what frightens me.
That's why I get panics.

Everyone lies about some things.

- You don't have to.
- It's more civilised, oils the wheels.

Christ!

Anyway, I don't think that's really
the cause of your panics, is it?

If we were really certain
of what caused them,

we'd hardly be paying out a fortune
to your man in Harley Street.

Just tell me the truth.

I may know it.

Whatever it is. Whatever you...

you may do during the day.

I may know it.

I am not having an affair. I do love you.

I do intend to stay with you, ill or not.

If I lose my temper sometimes,
if I get impatient, I'm sorry.

That's my nature.

Not your depression.

They don't combine very well.

Anyway, but you're only just home
and so am I.

Tea? Drink?

I brought Fred home yesterday.

- Fred?
- From the school.

- Oh, Fred. Art.
- Yes.

He thought I was looking a bit low
and said did I want to go to the pictures.

Good. Good for Fred.

I brought him back here
for a cup of tea first

and then we went to bed.

Good. Good for Fred.

Well, you're supposed to make new friends.

Don't you care?

Not a great deal.

Give me time and I'll try to work up
a bit of jealous fury

if you think that's suitable, but...

we're both grown-up human beings and...

I haven't exactly been taking up
all your energy in that line recently.

You think Fred might take me off your hands.

- I didn't say that. I'd hate that.
- Would you?

I'm afraid he threw away your pills.

What pills?

Your collection, barbs,
the ones to help you sleep.

Fred didn't think they should be lying
around the flat while I'm feeling suicidal

so he flushed them down the loo.

Oh, those pills. Well, he's right.

Good for Fred. I'd forgotten about them.

- Won't you miss them?
- Shouldn't think so. I never took any.

If I need them, I could always get more.

Don't you really mind about Fred?

Don't you mind at all?

Gill, if it were really serious,
you wouldn't have told me.

I would, I would.
And if I tell you now, it's because...

It's because you want me to be jealous.
Do you think I don't know that?

Anyway, you know the alabaster heart?

The one I bought in Positano.

For me. You bought it for me.

Got broken, it was on the bedside table.

It got broken because I threw it at you.

It's gone, disappeared.

I just happened to notice.

You don't suppose Fred took it, do you?

No, it's not likely.

Oh, well.

We'll go out to dinner if you like, hm?
Do you want a bath?

If you just told me the truth.

It could be anything. I wouldn't mind.

That's a very neurotic symptom, love,
always wanting to be told the truth.

- Oh.
- Tea. I've given you a good spread.

MIKE:
I wasn't expecting anything quite so lavish.

It looks delicious.

Well, you've taken the trouble to drive out

for a cup of tea with an old age pensioner,
you're entitled to a spread.

I'm sure you're not as old as that.

Country wine. Home-made, that is.

Cake's bought.

I can't make the cakes now,
not them fruitcakes.

I'm lacking the facilities.

You put that inside you
and sit down to your tea.

Thank you.

Mm. Did anything come
of your enquiries about the girls?

- Strength in that.
- Yes.

Yes. They are strong, aren't they,
country wines?

- Have to be. One's enough.
- Right.

Drink it down. It'll do you good.

- You're not having any?
- Ooh, special. Kept for guests.

Well, it's... it's very nice.
What's in it exactly?

In that? Oh, everything in that, mister.
Country matters.

Herbs in that, roots.

Village folks says I puts bat's blood
in me medicine.

- Bat's blood?
- Lying buggers.

They'd say anything to my discountenance.

Sit down.

- Hot tea spurs the action.
- Well, not of alcohol, I think. It...

- Might dilute it.
- Drink it down.

And I'll wash the glass
and we'll have our tea.

(MIKE CLEARS THROAT)
You were saying about the two girls...

WOMAN:
Bad girls, evil girls.

- MIKE: In what way?
- WOMAN: I'll not speak ill of the dead.

- Them passed over.
- Dead? When?

Would you like to start
with ham or a sandwich?

No sugar, thanks. I don't take it. Uh, ham.

- When did the girls die?
- Recent.

MIKE ON VOICEMAIL:
Michael Otway is out.

If you leave your name and a message,
it will be answered.

The machine gives a whistle.
Please speak after that.

(VOICEMAIL BEEPS)

Gillian and Michael Otway are both out.

If you leave your name and a message,
it will be answered.

The machine gives a whistle.
Please speak after that.

- WOMAN: Do you make anything?
- Sorry?

- (MIKE SIGHS)
- Hot?

Yes. Um...

Make anything?
Well, in a sense, I suppose, yes.

WOMAN:
What do you make?

Well, I write articles
about books and plays, music sometimes.

I appear on radio and television.

I talk to clubs, societies, arts groups,
that sort of thing.

That's talk, not making.

Talk, air.

Seems to me, mister, you don't make nothing.

Well, I don't think helping people

to understand and appreciate the arts
is exactly nothing.

I mean, a lot of people lead a very dead
kind of life nowadays, you know?

Any occupation that gives it
meaning or interest will help them.

WOMAN:
Dead?

Oh, not here. Not in the country.

But in the city, the quality of life isn't...

It...

You helps folk in the cities?

- Yes.
- Kindly.

And you get paid for that? For giving help?

If people come to you asking for help
in the appreciation of the arts,

then they're bound to pay.

You ain't no good Samaritan.

You've got a living to earn. That's natural.

The media pay me, the newspapers, the BBC.

People don't come asking.
They may have to be told what they need.

You see, people don't always know...

what... helps...

Helps them...

Social security, I'm drawing.

Supplementary benefit.

My daughter's a teacher.

You can't rear a family, not in a caravan.
No facilities.

Take a sandwich.

Paste.

Eighty percent salmon.

(HE CROAKS)

Stretch out your hand. Take one.

(HE RASPS)

Valerian, that is.

Valerian wine. The roots, not the flowers.

Foxgloves and some other matters.

You ain't in no state now to move about
and do damage.

You rest there quiet, mister.

Until needed.

Good medicine that is, valerian.

Known for health.

- MAN: What's that? Paste?
- WOMAN: 80% salmon.

- Too good for him.
- He ain't ate none.

You pays a price for it, mind.

- Nothing but the best.
- You save some for our girl.

And you save the fruit salad
and the Ideal Milk.

(DISTANT THUD)

Ah. Coming.

(FOOTSTEPS APPROACH)

This him?

That's him.

I saved the fruit salad
cos I'm well-mannered.

Don't want none.

WOMAN:
He can hear what you say alright, girl.

He's capable of that.

No moving bodily parts concerned in that,

but he's no longer capable
to give you any reply.

Draught from Mam's bottle,
gone down his throttle.

Medicine.

I got nothing to say to him, Mother.
We said too much, I think.

It never helped.

You wish to deal with him, girl,
or you prefer our boy tend to it?

Our boy do it.

I shall get a rabbit, I shall get an hare...

(KNOCK AT DOOR)

(KNOCK AT DOOR)

See who it is then, girl.

MAN: Good evening.
Have you heard the good news?

All the crime and violence in the world
is caused by selfishness.

The chief instigator of violence,
Satan the Devil, must be eliminated.

Men cannot do it.

Only God can do it.

The bible promises "the one God
who gives peace will crush Satan

under his feet shortly," Romans, 16:20.

- Uh. Not today.
- MAN: I shall leave you a pamphlet if I may.

Uh, there's no charge.

The Word of the Lord comes free
to all who stand in need of it.

I'm so glad to see you've found
your friends at last!

Remember, friends, the Word of the true
God is a present help in trouble.

Our boy do it. Quick!

No pain. No pain associated.

Our boy, he's a skilled fellow with the wire.
Known for that.

Safe now, our girl.

- Yes.
- That's right.

The only way to hold a man,
be him given to wander.

Make him safe and sound.

Your man's at peace now.

No pain associated.

- I'm a skilled fella. Known for it.
- That's right, our boy.

You're the skilled fella in this family.

Be sure of that.
You're the protector of this family.

Tell you any bloody thing,
you'm act on it.

WOMAN: You take his sports car then,
out of our lane.

And our boy'll have yours.

He can stay here for tonight.
I'll come back to your place.

(RADIO TUNES)

(CLASSICAL MUSIC PLAYS)

Him fond of music.

TAPE RECORDING OF MIKE ON RADIO:
Where are they now?

I think, inside ourselves.

Inside each modern man and woman,

the despised Morlocks live and breed
and grow more powerful.

We may pretend they don't exist,

but at the last, it is we

who will run screaming
through the darkness of our own minds

to be smashed and eaten
by the Morlocks who dwell there.

PRESENTER: " The Morlocks", the final talk
in our series, Imagery and the Archetype,

was given by Michael Otway.

(CLICK ON TAPE AS RECORDING ENDS)

(SHE SINGS ALONG TO JOLLY MUSIC ON THE RADIO)

♪ With a hey, and a ho, and a hey no-ni-no ♪

♪ With a hey, no-ni-no-ni-no ♪

♪ That o'er the green cornfield did pass ♪

♪ In springtime, in springtime ♪

♪ In springtime, the only pretty ring time ♪

♪ When birds will sing ♪

♪ Ring, ding-a-ding-a-ding ♪

♪ Ring, ding-a-ding-a-ding ♪

♪ Ring, ding-a-ding-a-ding ♪

♪ Sweet lovers love the spring ♪

♪ Springtime ♪

♪ In springtime, the only pretty ring time ♪

♪ When birds do sing ♪

♪ Ring, ding-a-ding-a-ding ♪

♪ Ring, ding-a-ding-a-ding,
Ring, ding-a-ding-a-ding ♪

♪ Sweet lovers love the spring ♪