The Souvenir (2019) - full transcript

A young film student in the early '80s becomes romantically involved with a complicated and untrustworthy man.

(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.

Sub By Black Hawk

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!