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This film contains some strong language. | 0:00:08 | 0:00:12 | |
CAMERA CLICKS | 0:02:03 | 0:02:06 | |
PULSATING DANCE MUSIC | 0:02:30 | 0:02:34 | |
SHE GIGGLES | 0:03:05 | 0:03:07 | |
GENERAL CHATTER | 0:03:14 | 0:03:16 | |
-Congratulations. -Your shoes are really superb. | 0:03:18 | 0:03:20 | |
-Thank you so much. -My pleasure. | 0:03:20 | 0:03:23 | |
-I'm off, Dad. -Excuse me, thank you. | 0:03:23 | 0:03:25 | |
-Is it George? -It always is. | 0:03:25 | 0:03:28 | |
Oh, my! How are you? How lovely to see you. | 0:03:37 | 0:03:40 | |
-Are you happy with your mother? -Of course I am. | 0:03:40 | 0:03:43 | |
Thanks. | 0:03:43 | 0:03:45 | |
Tell George I'm sorry he couldn't make it. | 0:03:45 | 0:03:48 | |
I will, I will. | 0:03:48 | 0:03:50 | |
-How was it? -Shoes were lovely, of course. | 0:04:02 | 0:04:05 | |
Dresses like a handkerchiefs, girls like stick insects. | 0:04:05 | 0:04:09 | |
Not catching, is it? | 0:04:09 | 0:04:10 | |
-SHE LAUGHS -Come on. | 0:04:10 | 0:04:12 | |
I should get you a jacket like that. | 0:04:14 | 0:04:16 | |
INDISTINCT CHATTER | 0:04:16 | 0:04:19 | |
Hi, Vera. | 0:04:25 | 0:04:26 | |
Eleanor, how are you? | 0:04:28 | 0:04:29 | |
-You know Ralph? -Yes, I know Ralph. | 0:04:29 | 0:04:32 | |
-Can I have a shot of you... -I'll grab the table. | 0:04:33 | 0:04:36 | |
-There she is. -Hi. | 0:04:49 | 0:04:53 | |
-I'm starving. -Yeah. | 0:04:53 | 0:04:54 | |
-It was all right, wasn't it? -It was great. | 0:04:54 | 0:04:56 | |
Shut up. | 0:04:56 | 0:04:58 | |
All right, I will. | 0:04:58 | 0:05:00 | |
Abigail fled. | 0:05:01 | 0:05:03 | |
-Honestly, the two of you. -What? | 0:05:03 | 0:05:05 | |
I've got a daughter who flees, a husband who jeers... | 0:05:05 | 0:05:08 | |
Lisa, come on, I don't jeer. | 0:05:08 | 0:05:10 | |
I like your shoes, it's the people in them I can't stand. | 0:05:10 | 0:05:13 | |
Oh, well. | 0:05:15 | 0:05:17 | |
Fish cakes. You won't get them in Milan. | 0:05:17 | 0:05:20 | |
It is Milan, right? | 0:05:20 | 0:05:22 | |
Gianni and Gianni. | 0:05:22 | 0:05:24 | |
Which is the one still lives with his mum? | 0:05:24 | 0:05:27 | |
Gianni, of course. | 0:05:27 | 0:05:30 | |
Actually, they both do. | 0:05:30 | 0:05:33 | |
Very old lady in black who hovers. | 0:05:33 | 0:05:35 | |
They make wonderful shoes. | 0:05:38 | 0:05:39 | |
Hey. You make wonderful shoes. | 0:05:42 | 0:05:44 | |
Do you think two people can live together all their lives? | 0:05:46 | 0:05:50 | |
We've managed more than half our lives. | 0:05:50 | 0:05:53 | |
Do we have a problem? | 0:05:53 | 0:05:55 | |
Of course we don't have a problem. | 0:05:55 | 0:05:57 | |
Is that the problem? Eh? | 0:05:57 | 0:06:00 | |
Why do you ask? | 0:06:00 | 0:06:02 | |
Thinking. | 0:06:02 | 0:06:04 | |
-Abigail, George. -HE SIGHS | 0:06:07 | 0:06:10 | |
-Will she get married? -Abigail. | 0:06:10 | 0:06:13 | |
-What? -Well, you know. | 0:06:13 | 0:06:16 | |
Are you jealous? | 0:06:17 | 0:06:19 | |
Of George? | 0:06:19 | 0:06:20 | |
I think I like George. | 0:06:20 | 0:06:22 | |
Well, you have strange taste in men. | 0:06:22 | 0:06:24 | |
-We're not quite ready yet, thank you. -I'll come back. | 0:06:26 | 0:06:29 | |
Do you never wish you might be given the chance to sleep with someone else? | 0:06:29 | 0:06:33 | |
-Lisa, are you telling me something? -I'm asking. | 0:06:36 | 0:06:41 | |
Well..? | 0:06:45 | 0:06:46 | |
-Peter? -No. I mean, no. | 0:06:47 | 0:06:51 | |
I don't want to sleep with someone else. | 0:06:51 | 0:06:53 | |
Maybe I haven't found the right person yet. | 0:06:56 | 0:06:59 | |
-No, never, I promise. -It's a choice. | 0:07:00 | 0:07:04 | |
Not a promise. | 0:07:04 | 0:07:06 | |
You meet someone, you fall in love, you have the opportunity. | 0:07:06 | 0:07:10 | |
You make a choice. | 0:07:11 | 0:07:12 | |
I chose you. | 0:07:12 | 0:07:14 | |
I do love you, you know. | 0:07:17 | 0:07:20 | |
You do know that, don't you? | 0:07:21 | 0:07:23 | |
If I didn't, I'd go. | 0:07:25 | 0:07:28 | |
-Go? -Yes, just go. Taking nothing. | 0:07:28 | 0:07:32 | |
Bare, start again. | 0:07:32 | 0:07:34 | |
That's all right, then. | 0:07:34 | 0:07:36 | |
'I need to tell you something.' | 0:07:44 | 0:07:46 | |
Don't move, don't move. | 0:07:51 | 0:07:54 | |
I don't want to worry you. | 0:07:58 | 0:08:01 | |
HE CHUCKLES Why would you? | 0:08:01 | 0:08:03 | |
What is it, Lisa? | 0:08:10 | 0:08:12 | |
Nothing. Nothing, I'm fine. | 0:08:13 | 0:08:17 | |
-Are you sure? -Sure. I'm fine. | 0:08:17 | 0:08:20 | |
-Milan? -The Giannis, I told you. | 0:08:20 | 0:08:23 | |
Honestly, I'll ring. | 0:08:35 | 0:08:37 | |
DOOR OPENS | 0:09:34 | 0:09:37 | |
-Dad? -Upstairs. | 0:09:37 | 0:09:39 | |
-Here, have them. -Why? | 0:09:46 | 0:09:48 | |
I don't want them. | 0:09:48 | 0:09:50 | |
-I don't want her stuff. -You take them. | 0:09:50 | 0:09:52 | |
I know we're the same size, it's just... It would be weird. | 0:09:52 | 0:09:57 | |
I don't know. | 0:09:57 | 0:09:59 | |
I wouldn't be happy having her stuff. | 0:10:00 | 0:10:03 | |
PHONE RINGS | 0:10:03 | 0:10:06 | |
Mum's phone. | 0:10:16 | 0:10:18 | |
Not Mum? | 0:10:19 | 0:10:20 | |
Funny. | 0:10:20 | 0:10:22 | |
You've always been like this, even when I was little. | 0:10:22 | 0:10:27 | |
I remember I wrote you a story, it was about a bear. | 0:10:27 | 0:10:31 | |
I gave it to you and you took it | 0:10:31 | 0:10:33 | |
and then went back to what you were working on. | 0:10:33 | 0:10:36 | |
I'm talking and you're not even pretending to listen. | 0:10:37 | 0:10:40 | |
I'm only talking so I don't have to listen to your silence. | 0:10:40 | 0:10:43 | |
Not because I think you'll take any notice of what I have to say. | 0:10:43 | 0:10:46 | |
Mum asked me to put this here for you. | 0:10:56 | 0:10:59 | |
What was that about? | 0:11:03 | 0:11:05 | |
Earth to Dad? | 0:11:17 | 0:11:18 | |
Dad? | 0:11:24 | 0:11:25 | |
Is that where she's gone, into orbit? | 0:11:27 | 0:11:31 | |
REGULAR BEEPING | 0:11:54 | 0:11:57 | |
'You have one new message.' | 0:12:12 | 0:12:15 | |
-MAN: -'I just want to hear your voice, that's all. | 0:12:15 | 0:12:18 | |
'It's been so long. | 0:12:18 | 0:12:20 | |
'I know I am wrong to ring you but... I want to hear your voice.' | 0:12:20 | 0:12:25 | |
'I just want to hear your voice, that's all. | 0:12:31 | 0:12:33 | |
'It's been so long. | 0:12:33 | 0:12:36 | |
'I know I am wrong to ring you but... I want to hear your voice.' | 0:12:36 | 0:12:40 | |
ERROR BEEP | 0:14:41 | 0:14:43 | |
ERROR BEEP | 0:14:53 | 0:14:55 | |
EMAIL ALERT TONE | 0:15:33 | 0:15:36 | |
You know Ralph? | 0:16:38 | 0:16:40 | |
Hello, Mr Ryman. | 0:17:02 | 0:17:04 | |
-Peter. How are you, dear? You know Eleanor. -Hello, Peter. | 0:17:09 | 0:17:13 | |
-Did you know? -What? | 0:17:13 | 0:17:14 | |
-Did you know about them? -Peter? | 0:17:14 | 0:17:18 | |
-Ralph. How long has it been going on? -Peter, are you all right? | 0:17:18 | 0:17:22 | |
I should smash your fucking computer over your fucking head. | 0:17:22 | 0:17:25 | |
-Peter! -What? | 0:17:25 | 0:17:26 | |
-Lisa! Have you always been fond of her? -Of course. | 0:17:26 | 0:17:29 | |
-And was she fond of you? -I think so. | 0:17:29 | 0:17:32 | |
But not like that. | 0:17:34 | 0:17:37 | |
You can't believe we've been having an affair. | 0:17:37 | 0:17:40 | |
Peter...that's not on. | 0:17:40 | 0:17:43 | |
And if she... | 0:17:43 | 0:17:45 | |
-Who could blame her, eh? -Ralph! | 0:17:45 | 0:17:48 | |
I never could, for the life of me, understand what she saw in you. | 0:17:48 | 0:17:51 | |
I don't see why I should be insulted, I don't see why. | 0:17:51 | 0:17:54 | |
Peter... | 0:17:58 | 0:17:59 | |
There is somebody... | 0:18:02 | 0:18:03 | |
She did have a friend. | 0:18:03 | 0:18:05 | |
We know nothing more, really, Peter. | 0:18:06 | 0:18:09 | |
Who is he?! | 0:18:09 | 0:18:10 | |
Why does there have to be anyone else? | 0:18:16 | 0:18:18 | |
Because people always love her? | 0:18:18 | 0:18:20 | |
-Abi... -No. | 0:18:20 | 0:18:21 | |
You should be ashamed, asking things like that about Mum. | 0:18:21 | 0:18:25 | |
-Ashamed! -DOOR OPENS | 0:18:25 | 0:18:28 | |
Everything all right? | 0:18:31 | 0:18:33 | |
I'll see you in a minute. | 0:18:40 | 0:18:42 | |
OK. | 0:18:43 | 0:18:44 | |
It was just the two of us in Italy, Dad. | 0:18:54 | 0:18:58 | |
And we didn't go to Lake Como, we went to Venice. | 0:18:58 | 0:19:01 | |
Here. | 0:19:10 | 0:19:11 | |
When I've washed my face you can use the bathroom. | 0:19:11 | 0:19:14 | |
We get up at 6.30 cos George goes to work early and so do I. | 0:19:14 | 0:19:19 | |
I'll wake you for breakfast. | 0:19:19 | 0:19:20 | |
-Abi... -Night. | 0:19:20 | 0:19:22 | |
Dad? | 0:19:34 | 0:19:35 | |
-Morning, Peter. -Morning, Mr Ryman. | 0:20:13 | 0:20:15 | |
-Peter. -Thanks, Gail. | 0:20:23 | 0:20:25 | |
-KNOCKING -Peter? | 0:20:31 | 0:20:34 | |
-Peter? -Ralph. | 0:20:36 | 0:20:39 | |
It's Guy. | 0:20:39 | 0:20:40 | |
Ralph. | 0:20:41 | 0:20:43 | |
Me? | 0:20:43 | 0:20:44 | |
No, I wasn't thinking of you, Guy. | 0:20:46 | 0:20:48 | |
Well, it's good to see you back. | 0:20:48 | 0:20:50 | |
I don't need to bury myself, you know, or anything. | 0:20:50 | 0:20:53 | |
Who said you did? | 0:20:53 | 0:20:55 | |
If you'd rather be at home, Peter... | 0:20:57 | 0:21:00 | |
You're the boss, we can manage. | 0:21:00 | 0:21:01 | |
Do you have trouble with badgers on your lawn, Guy? I can't stand them. | 0:21:05 | 0:21:10 | |
I'm going to kill the bastards. Could you get me Joy, please? | 0:21:10 | 0:21:12 | |
We have two Joys. Security Joy and systems Joy. | 0:21:12 | 0:21:15 | |
Security. | 0:21:15 | 0:21:16 | |
-Peter. -I don't want to be rude, Guy, but... | 0:21:16 | 0:21:19 | |
-If you need me. -Thank you. | 0:21:19 | 0:21:21 | |
Sit down for a minute. | 0:21:31 | 0:21:33 | |
I'm sorry about the ID contract. | 0:21:35 | 0:21:37 | |
I was always anxious about it being rolled out... | 0:21:37 | 0:21:40 | |
I have an e-mail address and I want an identity, Joy. | 0:21:40 | 0:21:44 | |
-I'm sorry? -I want to know who he is, where he lives. | 0:21:44 | 0:21:47 | |
It's not legal, you know, Peter. | 0:21:47 | 0:21:50 | |
-Then don't do it. -I won't. | 0:21:52 | 0:21:55 | |
I've never done it. | 0:22:05 | 0:22:06 | |
No, but you know what we do. | 0:22:09 | 0:22:11 | |
Hope to catch a data package on one of its hops. | 0:22:11 | 0:22:14 | |
Get the IP fingerprints. | 0:22:14 | 0:22:15 | |
Try an SMTP connector to the server and request it takes a mail | 0:22:15 | 0:22:19 | |
for your guy's email address using VRFY and EXPN options. | 0:22:19 | 0:22:23 | |
Might get lucky. | 0:22:23 | 0:22:25 | |
It relies on the server being poorly configured, | 0:22:25 | 0:22:27 | |
but doesn't everything? | 0:22:27 | 0:22:28 | |
So, what do we know? | 0:22:31 | 0:22:33 | |
Calls himself Ralph. | 0:22:33 | 0:22:35 | |
Yes. | 0:22:37 | 0:22:39 | |
I want to meet him. | 0:22:39 | 0:22:41 | |
I want to kill him. | 0:22:45 | 0:22:46 | |
SHE LAUGHS NERVOUSLY | 0:22:51 | 0:22:53 | |
Who pays for the software? | 0:22:59 | 0:23:01 | |
I do, not the firm. | 0:23:01 | 0:23:03 | |
Well, that's fine. | 0:23:05 | 0:23:07 | |
He mustn't know you're looking for him. | 0:23:07 | 0:23:10 | |
I want it to be a big surprise. | 0:23:10 | 0:23:12 | |
EMAIL ALERT TONE | 0:23:37 | 0:23:40 | |
"What's this rubbish about our love having gone? | 0:23:54 | 0:23:59 | |
"It's easy to say but can't be done. | 0:23:59 | 0:24:03 | |
"The past is still very much alive for us. | 0:24:03 | 0:24:06 | |
"And your message has made me very happy. | 0:24:08 | 0:24:11 | |
"Ralph." | 0:24:12 | 0:24:13 | |
"..the past is still very much alive for us. | 0:24:47 | 0:24:50 | |
"Your message has made me very happy. Ralph." | 0:24:50 | 0:24:54 | |
"It's easy to say but can't be done. | 0:24:56 | 0:24:59 | |
"Very much alive. | 0:24:59 | 0:25:01 | |
-"Your message has made me..." -Are you all right, Peter? | 0:25:01 | 0:25:06 | |
You've been a cop, Eric. | 0:25:06 | 0:25:07 | |
Where do I get a gun? | 0:25:07 | 0:25:10 | |
-A gun? -Yeah. | 0:25:10 | 0:25:12 | |
Well, you don't. | 0:25:14 | 0:25:16 | |
You don't want to think like that. | 0:25:16 | 0:25:17 | |
(He wants me to get him a gun.) | 0:25:34 | 0:25:36 | |
Don't be silly, Eric. | 0:25:38 | 0:25:39 | |
EMAIL ALERT TONE | 0:27:26 | 0:27:29 | |
Gail. | 0:27:37 | 0:27:38 | |
Could you get me a flight to Milan tonight? | 0:27:42 | 0:27:44 | |
Lisa's hotel, I can't remember its name. | 0:27:44 | 0:27:46 | |
Peter, erm... | 0:27:46 | 0:27:47 | |
-Peter, Eric says... -Book it. | 0:27:49 | 0:27:52 | |
Please, Gail. | 0:27:54 | 0:27:56 | |
HORNS HONK | 0:28:32 | 0:28:34 | |
MAN SPEAKS ITALIAN | 0:28:42 | 0:28:44 | |
-Mama! -WOMAN SPEAKS ITALIAN | 0:29:03 | 0:29:06 | |
PHONE RINGS | 0:29:08 | 0:29:10 | |
PHONE RINGS | 0:29:17 | 0:29:21 | |
-LISA: -'If you want to leave a message for Peter or Lisa, | 0:29:27 | 0:29:30 | |
-'please speak after the beep.' -BEEP | 0:29:30 | 0:29:32 | |
Dad? Are you there? | 0:29:32 | 0:29:35 | |
'Dad? | 0:29:37 | 0:29:38 | |
'Call me.' | 0:29:39 | 0:29:41 | |
I don't know what you're up to. | 0:29:42 | 0:29:44 | |
THEY SPEAK ITALIAN | 0:29:57 | 0:29:59 | |
DOOR OPENS | 0:30:23 | 0:30:25 | |
ORDERS IN ITALIAN | 0:32:21 | 0:32:23 | |
THEY SPEAK ITALIAN | 0:32:56 | 0:32:58 | |
-Scusi, signore. -Excuse me. | 0:33:05 | 0:33:07 | |
I could never leave you. | 0:34:30 | 0:34:33 | |
Why would you? | 0:34:33 | 0:34:35 | |
THEY GREET EACH OTHER | 0:35:17 | 0:35:19 | |
SPEAKS BROKEN ITALIAN | 0:35:28 | 0:35:30 | |
English? | 0:35:31 | 0:35:32 | |
CHUCKLES | 0:35:32 | 0:35:34 | |
No, no, no, please. | 0:35:34 | 0:35:36 | |
Excuse me. | 0:35:38 | 0:35:41 | |
That is the Queen's Indian defence, right? | 0:35:42 | 0:35:45 | |
-Yes, it is. -Love it. | 0:35:45 | 0:35:48 | |
Black is going to have to sacrifice his Queen. | 0:35:49 | 0:35:53 | |
But that how it happens if you field the Queen's Indian Defence. | 0:35:53 | 0:35:57 | |
There she goes. | 0:35:57 | 0:35:59 | |
Peter. | 0:35:59 | 0:36:01 | |
-Er, Rafe. -Rafe? | 0:36:01 | 0:36:03 | |
Another chess nut. | 0:36:03 | 0:36:05 | |
-Shall we play the game out? -Please. | 0:36:08 | 0:36:11 | |
Thank you. All right. | 0:36:11 | 0:36:14 | |
Here we go. | 0:36:15 | 0:36:16 | |
-Rafe, that's R-A-L-P-H, right? -Of course, sir. | 0:36:42 | 0:36:49 | |
Father Spanish, mother English. | 0:36:49 | 0:36:52 | |
So it was not Rafe but Ralph. | 0:36:52 | 0:36:55 | |
Spelt R-A-L-P-H. | 0:36:55 | 0:36:58 | |
She liked things to be punctiliously correct, my mother. | 0:37:00 | 0:37:06 | |
She had her ups and downs. | 0:37:06 | 0:37:10 | |
Mostly...down. | 0:37:11 | 0:37:13 | |
HE CHUCKLES | 0:37:13 | 0:37:15 | |
Why Milan, of all places? | 0:37:19 | 0:37:21 | |
I am a cosmopolitan. | 0:37:24 | 0:37:26 | |
I am not one for the same place, same thing day after day. | 0:37:26 | 0:37:29 | |
Who is? You? | 0:37:29 | 0:37:31 | |
No. | 0:37:31 | 0:37:33 | |
I have travelled a fair bit, on and off. | 0:37:35 | 0:37:38 | |
-I enjoy London, New York. -PHONE VIBRATES | 0:37:38 | 0:37:42 | |
Never had much time to get to know Australia, | 0:37:42 | 0:37:45 | |
but I have, as it were, circulated everywhere civilised. | 0:37:45 | 0:37:49 | |
England? | 0:37:55 | 0:37:57 | |
Oxford, Cambridge? | 0:37:57 | 0:37:58 | |
Cambridge. | 0:38:01 | 0:38:04 | |
HE SIGHS | 0:38:04 | 0:38:06 | |
A girlfriend I met here lived in Cambridge, | 0:38:06 | 0:38:08 | |
when I dabbled in the fashion business. | 0:38:08 | 0:38:13 | |
She was in shoes. | 0:38:13 | 0:38:15 | |
-Shoes. -CHUCKLES | 0:38:15 | 0:38:17 | |
When I say shoes, it is as if I say Baryshnikov is a hoofer. | 0:38:17 | 0:38:23 | |
Yes... | 0:38:25 | 0:38:26 | |
It was here...in Milan. | 0:38:28 | 0:38:32 | |
I saw these...red high heels. | 0:38:34 | 0:38:39 | |
And I saw this woman. | 0:38:40 | 0:38:44 | |
She was walking towards me and for a while... | 0:38:45 | 0:38:48 | |
This seems incredible, but all I saw was the shoes. | 0:38:48 | 0:38:52 | |
-SHE GIGGLES -I make shoes. You? | 0:38:55 | 0:39:00 | |
I'm interested in poetry. | 0:39:00 | 0:39:02 | |
And therefore...feet. | 0:39:02 | 0:39:05 | |
THEY LAUGH | 0:39:05 | 0:39:06 | |
Was this a long time ago? | 0:39:06 | 0:39:08 | |
Oh, yes, 10...no, 12. 12 years. | 0:39:08 | 0:39:13 | |
And, er... | 0:39:20 | 0:39:22 | |
..when was the last time you saw her? | 0:39:24 | 0:39:26 | |
Actually, er...nine months. | 0:39:26 | 0:39:30 | |
But I have good reason for hoping to see her again soon. | 0:39:35 | 0:39:38 | |
Check. | 0:39:40 | 0:39:42 | |
Dad! | 0:39:44 | 0:39:45 | |
Peter? | 0:40:04 | 0:40:05 | |
Peter? | 0:40:17 | 0:40:19 | |
Hello? | 0:40:24 | 0:40:25 | |
'You have one new message.' | 0:40:44 | 0:40:48 | |
-RALPH: -'Lisa, please, let me hear your voice again. | 0:40:48 | 0:40:53 | |
'I know I swore I wouldn't ring you | 0:40:53 | 0:40:55 | |
'but...your emails make me desperate to hear your voice. | 0:40:55 | 0:40:59 | |
'Call me, please. Bye.' | 0:40:59 | 0:41:01 | |
What do you do in Milan with those Giannis? | 0:41:26 | 0:41:29 | |
-You made me jump. -Eh? | 0:41:29 | 0:41:32 | |
Trade fair. It's hell. | 0:41:32 | 0:41:36 | |
Expect me to feel sorry for you? | 0:41:36 | 0:41:38 | |
Mm-hmm. | 0:41:38 | 0:41:40 | |
HE SINGS QUIETLY | 0:42:01 | 0:42:06 | |
Do you desperately want to do that? | 0:42:22 | 0:42:25 | |
-Was she often in Milan, your friend? -Oh, yes. | 0:42:42 | 0:42:45 | |
'I will make things easy for you, | 0:42:45 | 0:42:48 | |
but don't doubt my love because of that.' | 0:42:48 | 0:42:50 | |
She would try to elude me. | 0:42:50 | 0:42:51 | |
-I'd like to... I'd like it to be that things were different. -I know. | 0:42:51 | 0:42:54 | |
I was very persistent. | 0:42:54 | 0:42:56 | |
Yes, you know. If we could be together, live for one another, | 0:42:56 | 0:43:00 | |
let nothing else matter. But our world isn't like that. | 0:43:00 | 0:43:04 | |
No, I know. | 0:43:04 | 0:43:05 | |
-No, don't. You keep saying, "I know." -I know. | 0:43:05 | 0:43:07 | |
-"I know. I know." -I know. | 0:43:07 | 0:43:09 | |
I know, I know... # I know, I know | 0:43:09 | 0:43:13 | |
-# I know, I know, I know... # -I know! | 0:43:13 | 0:43:17 | |
# I know, I know... # I know. | 0:43:17 | 0:43:20 | |
CHEERING AND APPLAUSE | 0:43:20 | 0:43:22 | |
Grazie. | 0:43:24 | 0:43:26 | |
BOTH GIGGLE | 0:43:26 | 0:43:28 | |
SHE SQUEALS | 0:43:28 | 0:43:30 | |
DOOR SLAMS | 0:43:45 | 0:43:47 | |
You gave me a shock. | 0:43:50 | 0:43:52 | |
I heard you coming. | 0:43:52 | 0:43:54 | |
How was Milan? | 0:43:55 | 0:43:57 | |
Lovely. Fun. | 0:43:57 | 0:43:59 | |
-Everything all right? -Of course. | 0:43:59 | 0:44:02 | |
I'm so happy to see you. | 0:44:02 | 0:44:04 | |
BOTH LAUGH | 0:44:08 | 0:44:10 | |
'You meet someone, you fall in love, you have the opportunity.' | 0:44:12 | 0:44:17 | |
You make a choice. | 0:44:17 | 0:44:19 | |
Lisa? | 0:44:23 | 0:44:25 | |
Ever, er, met a woman you'd like to live with? | 0:44:31 | 0:44:35 | |
Plenty of women desperate to live with me. | 0:44:35 | 0:44:38 | |
But I don't live with anyone. | 0:44:38 | 0:44:39 | |
See them, yeah, often for lengthy periods, | 0:44:39 | 0:44:42 | |
but not live. | 0:44:42 | 0:44:43 | |
-Are you married? -We have a daughter. | 0:44:43 | 0:44:45 | |
-I have a son. -Hmm. | 0:44:45 | 0:44:47 | |
-Married long? -Nearly 25 years. | 0:44:47 | 0:44:50 | |
We've both had separate careers, with all that that means. | 0:44:50 | 0:44:54 | |
We've had a good marriage, always trusted each other, never doubted. | 0:44:54 | 0:44:59 | |
Oh, well, that's fine, very good. | 0:44:59 | 0:45:01 | |
Grand. But not for me. | 0:45:02 | 0:45:04 | |
'There's always doubt, my friend. | 0:45:05 | 0:45:07 | |
'Marriage is hell, as I am sure you have found. | 0:45:07 | 0:45:10 | |
'I prefer hotels and heaven.' | 0:45:10 | 0:45:13 | |
Come and see. | 0:45:15 | 0:45:17 | |
I kept it for you. | 0:45:24 | 0:45:26 | |
'You have a bad bishop...' | 0:46:06 | 0:46:09 | |
and I have a good one. | 0:46:09 | 0:46:12 | |
"You swine, Ralph!" | 0:46:12 | 0:46:14 | |
Excuse me. Forgive me. | 0:46:15 | 0:46:17 | |
We Spanish are passionate people. | 0:46:17 | 0:46:20 | |
You do have a good one, but...check. | 0:46:20 | 0:46:24 | |
SPEAKS SPANISH | 0:46:25 | 0:46:27 | |
Unless you can swindle, cheat. | 0:46:27 | 0:46:31 | |
Not my game. I haven't got a spiteful bone in my body. | 0:46:31 | 0:46:35 | |
-PHONE RINGS -Excuse me. | 0:46:35 | 0:46:37 | |
Lisa? | 0:46:40 | 0:46:41 | |
Lisa? | 0:46:44 | 0:46:45 | |
I know you are... | 0:46:48 | 0:46:50 | |
I know you are there, Lisa. | 0:46:50 | 0:46:52 | |
Answer me. | 0:46:52 | 0:46:53 | |
Answer me. I know you are there. | 0:46:53 | 0:46:56 | |
Lisa. Your emails. | 0:47:00 | 0:47:02 | |
'Answer me. I know you are there, Lisa. | 0:47:03 | 0:47:07 | |
'Speak to me. | 0:47:07 | 0:47:08 | |
'Let me hear your voice. | 0:47:08 | 0:47:10 | |
'Darling, come on, speak to me.' | 0:47:10 | 0:47:13 | |
Lisa? | 0:47:14 | 0:47:15 | |
Answer me. | 0:47:16 | 0:47:18 | |
Answer me, I know you are there! | 0:47:18 | 0:47:22 | |
Lisa? | 0:47:23 | 0:47:24 | |
'Darling, speak to me. | 0:47:24 | 0:47:26 | |
'Lisa!' | 0:47:26 | 0:47:28 | |
'My love, the passion I give you, | 0:47:34 | 0:47:38 | |
'can't be without you any more than you can be without me. | 0:47:38 | 0:47:43 | |
'If you leave me, I'll crash.' | 0:47:43 | 0:47:46 | |
You frighten me. | 0:47:46 | 0:47:48 | |
'I will. | 0:47:49 | 0:47:51 | |
'Don't let it come to that.' | 0:47:52 | 0:47:53 | |
What else can I do? | 0:47:55 | 0:47:57 | |
Who are you happiest with? | 0:48:02 | 0:48:04 | |
-Now? -This moment. | 0:48:07 | 0:48:09 | |
You. | 0:48:11 | 0:48:12 | |
Soon I will be happy with another. | 0:48:22 | 0:48:24 | |
-Him. -Of course him. | 0:48:26 | 0:48:28 | |
Excuse me. What do you think you're doing? | 0:48:38 | 0:48:40 | |
I got a call yesterday. | 0:48:42 | 0:48:45 | |
It was a call from a shoe designer. | 0:48:46 | 0:48:50 | |
I can only describe her to you | 0:48:50 | 0:48:52 | |
as the most beautiful woman in the world. | 0:48:52 | 0:48:55 | |
I do now know she is the only woman I could ever love. | 0:48:58 | 0:49:03 | |
Check. | 0:49:08 | 0:49:09 | |
She's rung you, has she? | 0:49:16 | 0:49:18 | |
She has. | 0:49:19 | 0:49:21 | |
You spoke to her? | 0:49:22 | 0:49:23 | |
She has acknowledged my call. | 0:49:25 | 0:49:27 | |
BOTH LAUGH | 0:49:28 | 0:49:30 | |
Do you ride? | 0:49:36 | 0:49:38 | |
With horses as with women, and of course you know that, | 0:49:39 | 0:49:44 | |
to have good hands is essential. | 0:49:44 | 0:49:48 | |
Check. Mate. | 0:49:58 | 0:50:00 | |
You bastard, how dare you? | 0:50:02 | 0:50:04 | |
It is only a game of fucking chess, man! | 0:50:04 | 0:50:07 | |
Oh, lord, three o'clock, I must fly. | 0:50:07 | 0:50:10 | |
SHOUTS IN ITALIAN | 0:50:11 | 0:50:13 | |
THEY SPEAK ITALIAN | 0:50:13 | 0:50:16 | |
-Dad! -Abigail. | 0:50:38 | 0:50:40 | |
-We wondered where you were. -Is George here? | 0:50:40 | 0:50:43 | |
-No. No, he's not. -Come on. | 0:50:43 | 0:50:45 | |
-Where are we going? -How to tell you? | 0:50:45 | 0:50:46 | |
I've talked to him. | 0:50:46 | 0:50:48 | |
-What? -Her lover. -How? | 0:50:48 | 0:50:51 | |
Not really talked to him, I didn't say anything. | 0:50:51 | 0:50:54 | |
Mum's phone. I used ring back. | 0:50:54 | 0:50:55 | |
Did you? Of course you did. | 0:50:55 | 0:50:58 | |
I talk to him every day, we play chess together. | 0:50:58 | 0:51:01 | |
What? | 0:51:01 | 0:51:03 | |
He doesn't know who I am. He's monstrous. | 0:51:03 | 0:51:06 | |
His hands in particular revolt me. Pink hands! | 0:51:06 | 0:51:09 | |
-I really don't want to know. -It's not the same for you! | 0:51:09 | 0:51:12 | |
He doesn't have horrible hands. | 0:51:17 | 0:51:20 | |
Read his emails, here. | 0:51:20 | 0:51:22 | |
-SHE SNIGGERS -Dad... -Listen! | 0:51:29 | 0:51:32 | |
"I didn't touch you until you put your arms around my neck | 0:51:32 | 0:51:36 | |
"on our first night. | 0:51:36 | 0:51:37 | |
"Don't you remember?" | 0:51:37 | 0:51:39 | |
We never spent days and nights in bed together. | 0:51:39 | 0:51:42 | |
"It was cold, so cold you didn't want to come out | 0:51:42 | 0:51:46 | |
"and so I sat up and leaned across you | 0:51:46 | 0:51:49 | |
"and turned out the light on your side | 0:51:49 | 0:51:52 | |
"and then you finally took your arms from under the blanket | 0:51:52 | 0:51:55 | |
"and took me to you. | 0:51:55 | 0:51:56 | |
"I don't dare ask to see you again, | 0:51:56 | 0:51:59 | |
"but you should know I would like that very much, Ralph." | 0:51:59 | 0:52:02 | |
Calls himself Ralph. | 0:52:02 | 0:52:05 | |
Says things like, "The most beautiful woman in the world," | 0:52:05 | 0:52:07 | |
in his well-pressed jeans, yellow socks, sacred Gucci loafers. | 0:52:07 | 0:52:11 | |
Fucking prick! Gucci loafers! | 0:52:11 | 0:52:14 | |
-Have you been replying to him? -Mmm? | 0:52:21 | 0:52:24 | |
He thinks she is. | 0:52:24 | 0:52:25 | |
Oh, no. Dad, please... Just leave it, yeah? | 0:52:25 | 0:52:30 | |
Says things like, "Took me to you." | 0:52:30 | 0:52:33 | |
What was she thinking? Who believes that sort of crap? | 0:52:33 | 0:52:36 | |
How could she? Don't cry. | 0:52:36 | 0:52:37 | |
I'm not crying! | 0:52:37 | 0:52:40 | |
I wasn't enough for her. | 0:52:40 | 0:52:41 | |
I'm so bloody angry I could kill him. | 0:52:41 | 0:52:44 | |
I was always faithful to her. | 0:52:47 | 0:52:49 | |
I thought we were close, I thought we told each other everything. | 0:52:49 | 0:52:52 | |
She was a different person, she must have been. | 0:52:52 | 0:52:54 | |
Which is worse, the person you love is someone else with another man, or that they're the same? | 0:52:54 | 0:52:59 | |
-Please, Dad. Please, stop it. -It's so bloody insulting. | 0:52:59 | 0:53:03 | |
I can't take it anymore! | 0:53:03 | 0:53:05 | |
Just let it go! | 0:53:05 | 0:53:07 | |
'I sat up and leaned across you and turned out the light. | 0:53:08 | 0:53:13 | |
'Then you finally took your arms from under the blanket | 0:53:16 | 0:53:21 | |
'and took me to you.' | 0:53:21 | 0:53:23 | |
BUZZER SOUNDS | 0:53:28 | 0:53:30 | |
You... | 0:54:14 | 0:54:15 | |
-You scared me. -Yes, I'm sure. -Yes. | 0:54:15 | 0:54:17 | |
I... I wasn't, erm... | 0:54:17 | 0:54:20 | |
You'll love this. | 0:54:20 | 0:54:21 | |
This is just... | 0:54:21 | 0:54:23 | |
What I am doing down here is just taking care of the house, | 0:54:23 | 0:54:28 | |
er, tortoise... How do you say that in English? | 0:54:28 | 0:54:31 | |
-Tort...tort... -Tortoises? | 0:54:31 | 0:54:33 | |
Tortoises. Tortoises. Do you like tortoises? | 0:54:33 | 0:54:37 | |
Don't touch me, please. RALPH CHUCKLES | 0:54:37 | 0:54:39 | |
I don't blame you, messy business. | 0:54:39 | 0:54:43 | |
Come here. Come here. | 0:54:43 | 0:54:45 | |
You know, when the old girl started digging in the dirt... | 0:54:47 | 0:54:50 | |
watch this. | 0:54:50 | 0:54:52 | |
I thought of everything except she might be burying eggs. | 0:54:52 | 0:54:57 | |
But that's what she was doing, three eggs... | 0:54:57 | 0:54:59 | |
But she was, three. | 0:55:06 | 0:55:09 | |
So I moved it down here, and tiny little tortoises hatched from two. | 0:55:11 | 0:55:16 | |
Are you all right? | 0:55:32 | 0:55:35 | |
Tartaruga, the Italians call them. | 0:55:40 | 0:55:43 | |
Two of them hatched out. | 0:55:43 | 0:55:44 | |
But I lost one and I am sad to say she went down the pan. | 0:55:44 | 0:55:50 | |
Sentimental sod! | 0:55:57 | 0:55:58 | |
Bastard! CHILD CRIES | 0:56:00 | 0:56:02 | |
How dare he? | 0:56:02 | 0:56:04 | |
I'll pay. I'll pay. I'll pay you. | 0:56:10 | 0:56:13 | |
-I will pay you! -What are you doing? | 0:56:13 | 0:56:15 | |
I've got time to get my flight. | 0:56:15 | 0:56:17 | |
None of this you're doing is right, Dad. | 0:56:17 | 0:56:19 | |
It's making you ill and it's making you awful. | 0:56:19 | 0:56:21 | |
You're not stable, yeah? It's over! Just let it go, move on. | 0:56:21 | 0:56:26 | |
She's gone! | 0:56:26 | 0:56:27 | |
Aeroporto. | 0:56:32 | 0:56:33 | |
EMAIL ALERT TONE | 0:57:05 | 0:57:06 | |
PHONE RINGS | 0:57:22 | 0:57:25 | |
Hello? | 0:57:33 | 0:57:35 | |
'Peter, I have a little problem.' | 0:57:35 | 0:57:38 | |
Let me give you lunch tomorrow. | 0:57:38 | 0:57:41 | |
Shall we meet at my apartment? | 0:57:43 | 0:57:45 | |
Buon giorno? | 0:57:58 | 0:57:59 | |
Peter. Come on up. | 0:58:07 | 0:58:09 | |
To my apartment. | 0:58:09 | 0:58:12 | |
-Your apartment? -Come on. | 0:58:12 | 0:58:14 | |
-Is this...? -When I am in town, yes. | 0:58:19 | 0:58:22 | |
I've had some very exciting news. | 0:58:25 | 0:58:27 | |
Though it's rather hush-hush for the fear of publicity. | 0:58:27 | 0:58:31 | |
She wants me to go to spend the weekend with her in Lake Como. | 0:58:33 | 0:58:37 | |
Our usual hotel. | 0:58:37 | 0:58:39 | |
My friend, the celebrated shoe designer. | 0:58:39 | 0:58:44 | |
It's nice. | 0:58:45 | 0:58:47 | |
You know, I was thinking, you know me, | 0:58:47 | 0:58:51 | |
a second honeymoon in the Lake Como, sort of thing? | 0:58:51 | 0:58:56 | |
Then we both go to London. | 0:58:56 | 0:58:58 | |
To be honest, things are becoming a little hot for me here. | 0:58:58 | 0:59:03 | |
You know, the usual temporary cash-flow problems. | 0:59:03 | 0:59:07 | |
I was thinking about throwing her a surprise party. | 0:59:07 | 0:59:11 | |
You know, push the boat in, mark the beginning of our life together. | 0:59:11 | 0:59:14 | |
London? | 0:59:14 | 0:59:15 | |
-A celebration. But er... -No, no buts, do it properly. | 0:59:15 | 0:59:18 | |
-Push the boat in, well and truly. -Out, I mean! | 0:59:18 | 0:59:22 | |
-Do you think so? -Let me foot the bill. | 0:59:23 | 0:59:26 | |
The least I can do to help a friend who's temporarily on his uppers. | 0:59:26 | 0:59:30 | |
Uppers. | 0:59:30 | 0:59:32 | |
How much? | 0:59:32 | 0:59:34 | |
Oh, cash, of course. | 0:59:34 | 0:59:36 | |
I hope I'm going to get invited to this London party. | 0:59:38 | 0:59:40 | |
-Yeah. -Who do you have in mind? | 0:59:40 | 0:59:42 | |
Colleagues of hers, cosmopolitans like myself. | 0:59:42 | 0:59:45 | |
More? | 0:59:45 | 0:59:48 | |
-Fashionistas, you know. -More. | 0:59:48 | 0:59:50 | |
Why not? | 0:59:50 | 0:59:52 | |
BELL CHIMES | 1:00:40 | 1:00:43 | |
Good evening. Reservation in the name of Carentis. | 1:01:15 | 1:01:20 | |
Your guest is already here, sir. | 1:01:20 | 1:01:22 | |
I'm sorry to disappoint you. She won't be coming, Lisa. | 1:01:42 | 1:01:47 | |
Lisa? | 1:01:50 | 1:01:51 | |
She's dead. | 1:01:51 | 1:01:53 | |
Lisa. | 1:01:58 | 1:01:59 | |
My wife. | 1:02:01 | 1:02:03 | |
Dead. | 1:02:03 | 1:02:04 | |
Me. | 1:02:14 | 1:02:16 | |
It's been me, you see. | 1:02:16 | 1:02:18 | |
Aperitif, signore? | 1:02:23 | 1:02:25 | |
-What did she die of? -Cancer. | 1:02:32 | 1:02:35 | |
Bad? | 1:02:39 | 1:02:41 | |
Bad? | 1:02:41 | 1:02:42 | |
She got so thin I could carry her with one arm. | 1:02:45 | 1:02:49 | |
They say they know how to cope with pain nowadays. | 1:02:50 | 1:02:53 | |
They do and they did. | 1:02:53 | 1:02:55 | |
Peter. Come through. | 1:02:57 | 1:02:59 | |
'I wish she had screamed sometimes.' | 1:03:10 | 1:03:13 | |
It'll be fine. | 1:03:13 | 1:03:14 | |
'She didn't tell me she was ill until it was too late.' | 1:03:16 | 1:03:19 | |
I don't know why she did that, it was so...stupid. | 1:03:19 | 1:03:23 | |
Her doctors suggested vanity. | 1:03:23 | 1:03:25 | |
HE STUTTERS Shut up! Of course it wasn't vanity. | 1:03:25 | 1:03:29 | |
She knew I wouldn't have cared how she looked. | 1:03:29 | 1:03:31 | |
'You do know she refused surgery?' | 1:03:31 | 1:03:33 | |
I do now. | 1:03:40 | 1:03:43 | |
Is Lisa proud of her looks? | 1:03:47 | 1:03:49 | |
She...didn't talk about it. | 1:03:50 | 1:03:53 | |
I suppose she, er... | 1:03:56 | 1:03:57 | |
She didn't want to... | 1:03:59 | 1:04:02 | |
She never complained. | 1:04:12 | 1:04:14 | |
She... | 1:04:17 | 1:04:19 | |
She liked being beautiful. | 1:04:35 | 1:04:37 | |
'It isn't a crime.' | 1:04:39 | 1:04:41 | |
-What isn't? -If she cared how she looked. | 1:04:41 | 1:04:45 | |
-It wasn't vanity. -How dare you? | 1:04:45 | 1:04:47 | |
She would've been waiting for it to go away. | 1:04:47 | 1:04:49 | |
-Go away? -Yes, go away! | 1:04:49 | 1:04:51 | |
It was part of who she was. | 1:04:51 | 1:04:54 | |
Everything she did was perfection. | 1:04:54 | 1:04:56 | |
Don't be bloody silly, it was the opposite. | 1:04:56 | 1:04:58 | |
She lived in perfection of the moment. | 1:04:58 | 1:05:00 | |
It was blindness! What about the future? Did that not matter? | 1:05:00 | 1:05:04 | |
You know... I've been very happy with you, Peter. | 1:05:14 | 1:05:20 | |
Where? | 1:05:22 | 1:05:24 | |
Where were you happiest? | 1:05:25 | 1:05:27 | |
-Peter, I... -Write it down. | 1:05:32 | 1:05:34 | |
Go on, take a pencil. | 1:05:39 | 1:05:40 | |
Write it down. | 1:05:44 | 1:05:45 | |
I bet it'll be the same, right? | 1:05:49 | 1:05:53 | |
-Smug bugger. -HE CHUCKLES | 1:05:59 | 1:06:03 | |
I have a better idea. | 1:06:05 | 1:06:08 | |
Write down somewhere we've never been that I can take you to. | 1:06:08 | 1:06:11 | |
You could take me anywhere. | 1:06:15 | 1:06:17 | |
How did you find out about me? | 1:06:23 | 1:06:25 | |
You were on a file called "Love" on my wife's computer. | 1:06:29 | 1:06:35 | |
You read my emails? | 1:06:38 | 1:06:40 | |
All of them. | 1:06:41 | 1:06:42 | |
I...pretend that everything is better than it is. | 1:06:45 | 1:06:50 | |
That there is money, when there isn't. | 1:06:50 | 1:06:53 | |
Make things more beautiful than they are. | 1:06:53 | 1:06:56 | |
I can do that, I am good at that. | 1:06:56 | 1:06:59 | |
Losers are brilliant at making things pretty. | 1:07:00 | 1:07:05 | |
I try to make the world beautiful when I can. | 1:07:06 | 1:07:10 | |
Bring it out, reach the core. | 1:07:10 | 1:07:13 | |
The heart of things, sort of thing. | 1:07:13 | 1:07:15 | |
You...you only see the surface. | 1:07:16 | 1:07:21 | |
George isn't the man for him, but he is for me. | 1:07:21 | 1:07:25 | |
I know that. | 1:07:27 | 1:07:29 | |
It doesn't have to be either or, does it? | 1:07:29 | 1:07:32 | |
You can love two people at once, I think so anyway. | 1:07:32 | 1:07:37 | |
That's right. | 1:07:37 | 1:07:38 | |
Sweetheart, you know I've always loved your father. | 1:07:40 | 1:07:42 | |
Mum, I know. | 1:07:42 | 1:07:45 | |
It's simple, really. | 1:07:46 | 1:07:49 | |
It's not just me any more, it's me and George. | 1:07:49 | 1:07:52 | |
Dad thinks that's messy and he does so love everything in its place. | 1:07:52 | 1:07:57 | |
And he'll probably change all this, but he can't change me | 1:07:57 | 1:08:00 | |
and sometimes I want to say to him, "Get a fucking life." | 1:08:00 | 1:08:04 | |
Mum... | 1:08:07 | 1:08:09 | |
-Get your father. -No, I can do it. I can do it. -Get your father. | 1:08:11 | 1:08:14 | |
So, well, that's it. It's over. | 1:08:20 | 1:08:23 | |
You can still have your party for her. | 1:08:23 | 1:08:25 | |
I shan't be there, of course. | 1:08:25 | 1:08:27 | |
Of course. You've had your revenge already. | 1:08:27 | 1:08:31 | |
I am a bullshitter, who is a janitor. | 1:08:33 | 1:08:36 | |
Who would take any job, any. | 1:08:36 | 1:08:39 | |
Brags about the past as if it was a catalogue of glory. | 1:08:39 | 1:08:42 | |
Not unpaid bills and bankruptcy and prison. | 1:08:42 | 1:08:46 | |
Oh, I'm sure. | 1:08:46 | 1:08:47 | |
I should have noticed. | 1:08:47 | 1:08:50 | |
Those emails sounded as prickish as you are. | 1:08:50 | 1:08:54 | |
I saw them as beautiful, of course. | 1:08:57 | 1:08:59 | |
PAPER RIPPING | 1:09:17 | 1:09:20 | |
Do something for me. | 1:09:30 | 1:09:32 | |
Put this in one of the red shoes in my room. | 1:09:32 | 1:09:37 | |
It's for Dad. | 1:09:37 | 1:09:39 | |
How will he find it? | 1:09:39 | 1:09:42 | |
He'll find it. | 1:09:45 | 1:09:46 | |
You know what? | 1:10:02 | 1:10:04 | |
She knew everything about me and she paid my debts | 1:10:05 | 1:10:09 | |
and she loved me in spite of it. | 1:10:09 | 1:10:13 | |
SHE WHEEZES | 1:10:46 | 1:10:48 | |
MOBILE PHONE RINGS | 1:11:05 | 1:11:08 | |
Thanks for the suit and the room. | 1:11:12 | 1:11:15 | |
Can't offer to pay you back, but by God I wish I could. | 1:11:17 | 1:11:20 | |
Feel free to enjoy your meal. | 1:11:21 | 1:11:23 | |
ABIGAIL SOBS | 1:11:32 | 1:11:34 | |
It's all right. It's OK. | 1:11:34 | 1:11:36 | |
SOBBING | 1:11:38 | 1:11:40 | |
HE GROANS | 1:11:46 | 1:11:47 | |
-LISA: -'Let me go, Peter. -Can't.' | 1:12:58 | 1:13:01 | |
'You must.' | 1:13:03 | 1:13:05 | |
MOBILE PHONE RINGS | 1:13:20 | 1:13:22 | |
That's mine. | 1:13:24 | 1:13:26 | |
Excuse me. | 1:13:29 | 1:13:31 | |
RINGTONE: # You'll find a girl like you | 1:13:33 | 1:13:36 | |
# I'll find a guy like me... # | 1:13:36 | 1:13:37 | |
-Hello. -'Abi, are you at work?' | 1:13:39 | 1:13:42 | |
Dad? | 1:13:42 | 1:13:44 | |
-'OK.' -Listen, can I talk to you? | 1:13:49 | 1:13:52 | |
Yeah, just talk, Dad, it's what people do on phones. | 1:13:52 | 1:13:55 | |
Abi, could you come up to London? | 1:13:55 | 1:13:57 | |
'I know it's short notice, but if George can get away...' | 1:13:57 | 1:14:01 | |
Where? | 1:14:01 | 1:14:03 | |
So, I said to Berlusconi, | 1:14:03 | 1:14:05 | |
"Silvio, you can do more than just a soccer team. | 1:14:05 | 1:14:09 | |
"You can run the country." | 1:14:09 | 1:14:11 | |
He followed my advice. | 1:14:11 | 1:14:13 | |
Then he said to me, "Be my personal assistant." | 1:14:13 | 1:14:17 | |
I said, "I am attending a number of these now, | 1:14:17 | 1:14:19 | |
-"I don't know if I'll have time." -Ralph. You're looking well. | 1:14:19 | 1:14:23 | |
Good. Wonderful you could come. | 1:14:23 | 1:14:27 | |
Do you know Peter Ryman? | 1:14:27 | 1:14:29 | |
Software designer, a friend of Bill Gates. | 1:14:29 | 1:14:35 | |
Reverend Tim Brookes. | 1:14:35 | 1:14:37 | |
We met the other day, at the hospital. | 1:14:37 | 1:14:40 | |
Yes, I have a job there now. | 1:14:40 | 1:14:43 | |
Lisa was a happy woman. | 1:14:43 | 1:14:45 | |
As well as being a great shoe designer, and a great artist. | 1:14:47 | 1:14:52 | |
I can still see her now. | 1:14:54 | 1:14:57 | |
With her pencil at her thumb... | 1:14:57 | 1:15:00 | |
..never leaving the paper. | 1:15:03 | 1:15:05 | |
The line sweeping up the heel to the upper... | 1:15:06 | 1:15:10 | |
..along the top line across the throat. | 1:15:11 | 1:15:14 | |
Tracing the vamp. | 1:15:14 | 1:15:16 | |
Diving towards the toe. | 1:15:18 | 1:15:21 | |
Stroking the sole to rise | 1:15:22 | 1:15:25 | |
like a caress towards the breast of the heel and down to its tip. | 1:15:25 | 1:15:32 | |
Sort of thing. | 1:15:32 | 1:15:34 | |
Lisa. | 1:15:38 | 1:15:39 | |
ALL: To Lisa. | 1:15:39 | 1:15:42 | |
Bravo, Ralph. | 1:15:46 | 1:15:48 | |
Look at him. | 1:16:16 | 1:16:18 | |
There he is. | 1:16:20 | 1:16:23 | |
Ralph. | 1:16:23 | 1:16:25 | |
We have Ralph. | 1:16:34 | 1:16:36 | |
Dad? | 1:16:39 | 1:16:41 | |
Our host. | 1:17:00 | 1:17:02 | |
God bless him. | 1:17:04 | 1:17:06 | |
And now, my toast. | 1:17:09 | 1:17:12 | |
To Lisa. | 1:17:12 | 1:17:13 | |
My wife. | 1:17:13 | 1:17:15 | |
Your friend. | 1:17:16 | 1:17:18 | |
My...love. | 1:17:25 | 1:17:29 | |
To Lisa. | 1:17:32 | 1:17:34 | |
And to our daughter Abigail. | 1:17:34 | 1:17:37 | |
ALL: To Abigail. | 1:17:42 | 1:17:44 | |
APPLAUSE | 1:17:44 | 1:17:46 | |
All that stuff about shoes. | 1:18:02 | 1:18:05 | |
Ralph. | 1:18:06 | 1:18:08 | |
HE CHUCKLES Ralph. | 1:18:08 | 1:18:10 | |
Appalling, dreadful man. | 1:18:11 | 1:18:14 | |
But... | 1:18:16 | 1:18:18 | |
Well...? | 1:18:20 | 1:18:21 | |
He was also rather wonderful. | 1:18:22 | 1:18:24 | |
And so was she. | 1:18:26 | 1:18:28 | |
She really did know me, didn't she? | 1:18:39 | 1:18:42 | |
Us. | 1:18:45 | 1:18:47 | |
Him. | 1:18:50 | 1:18:51 | |
-TANNOY: -'The train now standing at platform seven | 1:19:35 | 1:19:37 | |
'is the 12:26 First Capital Connect service to Cambridge, | 1:19:37 | 1:19:42 | |
'calling at Letchworth Garden City, Royston, and Cambridge. | 1:19:42 | 1:19:47 | |
'Platform seven is the 12:26 | 1:19:47 | 1:19:50 | |
'First Capital Connect service to Cambridge.' | 1:19:50 | 1:19:53 | |
'For safety reasons | 1:20:15 | 1:20:17 | |
'please do not leave your baggage and other items unattended | 1:20:17 | 1:20:21 | |
'in any part of the terminal. | 1:20:21 | 1:20:23 | |
'Any unattended items will be removed by the police.' | 1:20:23 | 1:20:27 |