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This film contains strong language. | 0:00:02 | 0:00:10 | |
FOOTSTEPS APPROACHING | 0:00:39 | 0:00:42 | |
JOHN VOICEOVER: 'New York. Columbia. Cornell. Yale. | 0:00:51 | 0:00:54 | |
'Boston, Harvard. Mount Holyoke. | 0:00:54 | 0:00:56 | |
'Philadelphia. Washington. Chicago. | 0:00:56 | 0:00:57 | |
'Iowa. Hobart. Florida. | 0:00:57 | 0:00:59 | |
'Pomona. Santa Barbara. San Francisco.' | 0:00:59 | 0:01:02 | |
You won't lose me to a ball game. | 0:01:02 | 0:01:03 | |
-I'm here and committed. -Oh, please John, | 0:01:03 | 0:01:07 | |
we're in no doubt you're our man to captain this ship. | 0:01:07 | 0:01:09 | |
Jack has told us all about you. | 0:01:09 | 0:01:11 | |
I...I told them you were a boy scout after my job. | 0:01:11 | 0:01:15 | |
'Yale. Boston. Harvard. Mount Holyoke. | 0:01:15 | 0:01:17 | |
'Philadelphia. Washington. Chicago. | 0:01:17 | 0:01:19 | |
'Iowa. Hobart. Florida. Pomona. Santa Barbara. San Francisco.' | 0:01:19 | 0:01:23 | |
So, as incumbent of the Chair of Poetry, | 0:01:25 | 0:01:29 | |
how are you finding our students? | 0:01:29 | 0:01:31 | |
They have all the answers. | 0:01:31 | 0:01:32 | |
Read all the books and listened intently | 0:01:32 | 0:01:35 | |
but...sometimes it feels like I'm teaching the same student. | 0:01:35 | 0:01:38 | |
And that's a bad thing? | 0:01:38 | 0:01:40 | |
New York. Columbia. | 0:01:41 | 0:01:43 | |
Cornell. Yale. | 0:01:43 | 0:01:45 | |
This man is a good writer. | 0:01:46 | 0:01:48 | |
What he doesn't know about the written word... | 0:01:49 | 0:01:51 | |
Well, that's why I suggested him. | 0:01:51 | 0:01:53 | |
Look at you now, John. You have tenure. | 0:01:53 | 0:01:55 | |
It only took five years. | 0:01:55 | 0:01:58 | |
New York. Columbia. Cornell. Yale. | 0:01:58 | 0:02:00 | |
Boston. Harvard. Mount Holyoke. | 0:02:00 | 0:02:03 | |
Philadelphia, Washington, Chicago. | 0:02:03 | 0:02:06 | |
John and I met at Vassar. | 0:02:06 | 0:02:08 | |
I was Chair of the Editorial Board. | 0:02:08 | 0:02:10 | |
John ran a...a, kind of, writers' workshop. | 0:02:10 | 0:02:14 | |
I proofed his first poem in Helicon. | 0:02:14 | 0:02:17 | |
Boston. Harvard. | 0:02:18 | 0:02:19 | |
Mount Holyoke. Philadelphia. | 0:02:19 | 0:02:22 | |
Iowa. Hobart. Florida. | 0:02:24 | 0:02:27 | |
Pomona. Santa Barbara. | 0:02:29 | 0:02:31 | |
San Francisco. | 0:02:35 | 0:02:37 | |
Now, what of this visitor you're proposing? | 0:02:46 | 0:02:50 | |
Now, I understand it's a little cavalier | 0:02:50 | 0:02:53 | |
to undertake a tour of this scale in my first month, | 0:02:53 | 0:02:56 | |
but the idea isn't new to me. | 0:02:56 | 0:02:58 | |
I've wanted to show him off to America for an age. | 0:02:58 | 0:03:00 | |
Ah, so you're a fan. | 0:03:00 | 0:03:02 | |
I believe him to be the purest | 0:03:04 | 0:03:05 | |
lyrical poet in the English-speaking world. | 0:03:05 | 0:03:07 | |
We're all a fan of his work.... | 0:03:07 | 0:03:10 | |
But? | 0:03:12 | 0:03:13 | |
Jack here tells me your man has a reputation... | 0:03:13 | 0:03:18 | |
for "roaring behaviour". | 0:03:18 | 0:03:21 | |
Stories of pub-room escapades | 0:03:21 | 0:03:24 | |
that brought wives, mothers and the London police running. | 0:03:24 | 0:03:29 | |
It is true that friends and colleagues of my own in London | 0:03:29 | 0:03:32 | |
talk of this... | 0:03:32 | 0:03:33 | |
..man-child. | 0:03:35 | 0:03:36 | |
Terrorising events and functions with his mischief. | 0:03:36 | 0:03:40 | |
Sounds fun. | 0:03:40 | 0:03:41 | |
Not when your job is at stake. | 0:03:41 | 0:03:45 | |
I think what the Dean is trying to say is... | 0:03:48 | 0:03:51 | |
How do you propose to handle him? | 0:03:51 | 0:03:53 | |
I'll improvise. | 0:03:53 | 0:03:55 | |
Flippancy is the most hopeless form of intellectual vice, Mr Brinnin. | 0:03:55 | 0:04:01 | |
With all due respect, sir... | 0:04:02 | 0:04:04 | |
I am not naive to this. | 0:04:06 | 0:04:08 | |
Wasn't it Mark Twain who said, | 0:04:09 | 0:04:11 | |
"A lie can travel halfway around the world | 0:04:11 | 0:04:13 | |
"while the truth is still putting on its shoes." | 0:04:13 | 0:04:15 | |
Get to the point, Mr Brinnin. | 0:04:15 | 0:04:17 | |
It's just that the stories we hear about him | 0:04:17 | 0:04:19 | |
this side of the world must be inflated, | 0:04:19 | 0:04:23 | |
otherwise how could they travel so far? | 0:04:23 | 0:04:25 | |
Yes, I'm excited and, yes, I'm a fan, | 0:04:26 | 0:04:31 | |
but this is a great opportunity for us all. | 0:04:31 | 0:04:33 | |
How many venues are booked? | 0:04:35 | 0:04:36 | |
25, so far. | 0:04:36 | 0:04:38 | |
New York. Columbia, Cornell. | 0:04:38 | 0:04:40 | |
Yale, Boston, Harvard, Philadelphia, Washington, Chicago... | 0:04:40 | 0:04:43 | |
-OK, OK... -And more on the West Coast. | 0:04:43 | 0:04:46 | |
We get it, Mr Brinnin. | 0:04:46 | 0:04:48 | |
INDISTINCT CHATTER IN BACKGROUND | 0:05:08 | 0:05:10 | |
BELL RINGING | 0:05:31 | 0:05:33 | |
Well? | 0:05:33 | 0:05:34 | |
All hail, McBrinnin! Thou shalt be king hereafter! | 0:05:36 | 0:05:40 | |
-They said yes? -Yeah, no thanks to you. | 0:05:40 | 0:05:42 | |
"I'll improvise"? You son of a bitch. | 0:05:42 | 0:05:44 | |
I thought Loomis was going to have a heart attack. | 0:05:44 | 0:05:46 | |
Congratulations, champ. | 0:05:46 | 0:05:49 | |
This is your moment in the sun, go for it. | 0:05:49 | 0:05:52 | |
You know what the best part is? | 0:05:52 | 0:05:54 | |
We get to work together, after all. | 0:05:54 | 0:05:55 | |
Together? What do you mean? | 0:05:55 | 0:05:58 | |
Easy, Ahab, you still get to reel in the big fish. | 0:05:58 | 0:06:01 | |
I'll just be riding shotgun once in a while. | 0:06:01 | 0:06:03 | |
You know, a, kind of, part-time Confederate. | 0:06:03 | 0:06:06 | |
Lighten up. It was either that or have the old man | 0:06:07 | 0:06:10 | |
ride your ass like Seabiscuit | 0:06:10 | 0:06:12 | |
I'll calm any stormy weather and keep the old man off your back. | 0:06:14 | 0:06:17 | |
Stormy weather? | 0:06:17 | 0:06:18 | |
-You know what I'm talking about. -You make him sound like a monster. | 0:06:18 | 0:06:22 | |
No smoke without fire, that's all I'm saying... | 0:06:22 | 0:06:25 | |
Just be careful, and if I can dare to say, | 0:06:25 | 0:06:30 | |
"Tread softly because you tread on our dreams." | 0:06:30 | 0:06:34 | |
Thank you. | 0:06:34 | 0:06:35 | |
How much trouble can one poet be? | 0:06:35 | 0:06:37 | |
SCREAMING | 0:06:38 | 0:06:40 | |
SHRIEKING | 0:06:41 | 0:06:43 | |
John? What the fuck's that maniac doing? | 0:06:51 | 0:06:53 | |
-SCREAMING -Whoa! | 0:06:53 | 0:06:55 | |
TAPPING | 0:06:55 | 0:06:57 | |
SHRIEKING | 0:06:57 | 0:06:59 | |
SHATTERING | 0:06:59 | 0:07:00 | |
Get him off me. | 0:07:05 | 0:07:08 | |
MANIACAL LAUGHTER | 0:07:08 | 0:07:09 | |
Now you know exactly what you've brought to America. | 0:07:11 | 0:07:14 | |
It would seem that "the purest lyrical poet | 0:07:15 | 0:07:17 | |
"of the English-speaking world" is plastered. | 0:07:17 | 0:07:19 | |
-What's he doing here? -Come on, party's over. | 0:07:19 | 0:07:22 | |
I was just warming up. | 0:07:22 | 0:07:23 | |
No, I think you've had enough. | 0:07:23 | 0:07:25 | |
Let me take you back to your hotel. | 0:07:25 | 0:07:27 | |
Dylan, please. I believe it's time to go... | 0:07:27 | 0:07:30 | |
And I believe in naked women in wet mackintoshes. | 0:07:30 | 0:07:33 | |
I believe in the moon...the stars. | 0:07:33 | 0:07:37 | |
I believe in Third Avenue... | 0:07:37 | 0:07:40 | |
I don't believe in New York. | 0:07:40 | 0:07:42 | |
Jesus Christ, John. You invite this lunatic into my house... | 0:07:42 | 0:07:45 | |
He broke my crock pot, John. | 0:07:45 | 0:07:48 | |
My crock pot. It's a Double-Dipper. | 0:07:49 | 0:07:52 | |
We can't have Harvey's crock not working now, can we? | 0:07:52 | 0:07:58 | |
Goodnight, John. | 0:08:02 | 0:08:04 | |
Mr Thomas, the pleasure was all ours. | 0:08:05 | 0:08:08 | |
LAUGHTER | 0:08:08 | 0:08:10 | |
-You're mad at me. -No, I'm not. | 0:08:18 | 0:08:21 | |
Yes, you are, you're mad at me | 0:08:21 | 0:08:24 | |
and embarrassed for your friends. | 0:08:24 | 0:08:26 | |
-I'm a shit. -No, you're just drunk. | 0:08:28 | 0:08:31 | |
KNOCKING | 0:08:31 | 0:08:34 | |
Excuse me. | 0:08:34 | 0:08:35 | |
I miss you. | 0:08:43 | 0:08:45 | |
We, er... We need fresh towels. | 0:09:02 | 0:09:06 | |
COUGHS, WHEEZES | 0:09:06 | 0:09:09 | |
Are you OK? What's wrong? | 0:09:13 | 0:09:16 | |
Just my "froth corrupted lungs". | 0:09:17 | 0:09:20 | |
It doesn't sound good. | 0:09:20 | 0:09:22 | |
-Death isn't meant to. -CHUCKLES | 0:09:22 | 0:09:24 | |
Who was at the door? | 0:09:24 | 0:09:26 | |
The manager. | 0:09:27 | 0:09:29 | |
I didn't think this hotel suited you anyway. | 0:09:30 | 0:09:33 | |
Ah. | 0:09:33 | 0:09:34 | |
I'm hungry for something, John. | 0:09:36 | 0:09:38 | |
Would you be a pal? You are my pal, aren't you? | 0:09:40 | 0:09:43 | |
Would you fetch me one of those milkshakes? | 0:09:43 | 0:09:46 | |
Oh, I... It's very late. | 0:09:46 | 0:09:48 | |
A big fat Yankee-doodling milkshake and candy bars | 0:09:48 | 0:09:53 | |
and chocolates and a comic of some sorts. | 0:09:53 | 0:09:57 | |
Would you? | 0:09:58 | 0:09:59 | |
Give me ten minutes. | 0:10:01 | 0:10:04 | |
You can stay tonight and tomorrow then we have to change hotel. | 0:10:04 | 0:10:08 | |
It's very decent of them. | 0:10:11 | 0:10:13 | |
Dylan, I'm back! | 0:10:46 | 0:10:47 | |
I couldn't get you a milkshake, but I... | 0:10:47 | 0:10:49 | |
I got you some candy, | 0:10:49 | 0:10:50 | |
I took the liberty of getting you a Superman. | 0:10:50 | 0:10:52 | |
Dylan? | 0:10:52 | 0:10:55 | |
SIREN BLARING IN DISTANCE | 0:11:01 | 0:11:03 | |
INDISTINCT STREET CHATTER | 0:11:04 | 0:11:06 | |
Watch it! | 0:11:09 | 0:11:11 | |
CAR HORNS BLARING | 0:11:13 | 0:11:14 | |
BELL TOLLING | 0:11:19 | 0:11:21 | |
Don't be angry with me, John. Don't be mean. | 0:11:37 | 0:11:39 | |
I was lost without you. | 0:11:39 | 0:11:40 | |
-I have never been so... -Pleased to see me? | 0:11:40 | 0:11:42 | |
So angry and upset, actually. | 0:11:42 | 0:11:45 | |
Let me introduce you to Mickey. | 0:11:45 | 0:11:46 | |
Screw you, fairy. | 0:11:46 | 0:11:48 | |
Please, my fully developed friend. | 0:11:48 | 0:11:49 | |
Be nice. We just arm-wrestled for money. | 0:11:49 | 0:11:52 | |
Oh? How did you do? | 0:11:52 | 0:11:54 | |
I came second. | 0:11:54 | 0:11:56 | |
So...you're buying, then? | 0:11:56 | 0:11:58 | |
My goodness. You're very strong. | 0:11:58 | 0:12:00 | |
Two stouts for me and my new pal. | 0:12:00 | 0:12:02 | |
That's the black stuff, isn't it? | 0:12:02 | 0:12:04 | |
-Eggs? -You are going to love it. | 0:12:06 | 0:12:09 | |
But I don't need the... | 0:12:09 | 0:12:11 | |
To all the lights that guided us. | 0:12:11 | 0:12:14 | |
To all the women that guided our wrongs. | 0:12:14 | 0:12:16 | |
To the lost... | 0:12:16 | 0:12:18 | |
and the ones who still wait for them. | 0:12:18 | 0:12:20 | |
CROWD: Cheers! | 0:12:20 | 0:12:22 | |
Drink, drink! | 0:12:22 | 0:12:24 | |
-Drink, drink... -Come on, John! | 0:12:26 | 0:12:28 | |
I've always been strong. Like an ox! | 0:12:30 | 0:12:34 | |
We're pit men with dirty nails. | 0:12:34 | 0:12:36 | |
Chest thumping Neanderthals with songs in our hearts. | 0:12:36 | 0:12:40 | |
Oh, Christ, I've got to put you down. | 0:12:40 | 0:12:42 | |
LAUGHTER | 0:12:42 | 0:12:44 | |
It would be at this time in the evening | 0:12:44 | 0:12:45 | |
at Browns, my local, Dai Jenkins would shout | 0:12:45 | 0:12:49 | |
"Does anybody want a fight?" | 0:12:49 | 0:12:52 | |
Does anybody want a fight? | 0:12:52 | 0:12:53 | |
HIGH-PITCHED DRUNKEN LAUGHTER | 0:12:53 | 0:12:56 | |
-MAN: -Hey, buddy, keep it down! | 0:12:56 | 0:12:58 | |
Down, down? I have enough trouble getting it up! | 0:12:58 | 0:13:01 | |
What did you say, buddy? | 0:13:01 | 0:13:03 | |
Want me to come and break your head in? | 0:13:03 | 0:13:04 | |
-Well, that's rich. -That what you want? -Come and try it. | 0:13:04 | 0:13:07 | |
But I warn you, with me you're out of your depth! | 0:13:07 | 0:13:09 | |
-Isn't that right, John? -MAN CONTINUES SHOUTING | 0:13:09 | 0:13:12 | |
LAUGHTER | 0:13:12 | 0:13:14 | |
Where does it all come from? | 0:13:18 | 0:13:20 | |
The words. From which spring do they pour? | 0:13:20 | 0:13:22 | |
-Don't. -No-one is that mysterious. | 0:13:22 | 0:13:27 | |
We're having fun, John. | 0:13:27 | 0:13:28 | |
Don't take it away. | 0:13:30 | 0:13:31 | |
-I'm not taking it away. -Why do you have to ruin it? | 0:13:31 | 0:13:34 | |
Label it? | 0:13:34 | 0:13:36 | |
I'm sorry. | 0:13:38 | 0:13:40 | |
No, I'm sorry. | 0:13:42 | 0:13:44 | |
I'm a horrible little imp | 0:13:46 | 0:13:48 | |
who can't hold his friends or answer his liquor. | 0:13:48 | 0:13:51 | |
COUGHS | 0:13:51 | 0:13:53 | |
Forgive me. | 0:13:53 | 0:13:54 | |
COUGHING | 0:13:56 | 0:13:58 | |
How much money am I going to make? | 0:14:00 | 0:14:02 | |
Enough, I'm sure. | 0:14:02 | 0:14:05 | |
I can go over the books in the morning. | 0:14:05 | 0:14:06 | |
Can I get you to a doctor? | 0:14:08 | 0:14:10 | |
PHONE RINGING | 0:14:26 | 0:14:28 | |
RINGING CONTINUES | 0:14:36 | 0:14:37 | |
Hello. | 0:14:45 | 0:14:47 | |
'That was quite a scene at Harvey's last night. | 0:14:47 | 0:14:50 | |
'Can't say I was surprised.' | 0:14:50 | 0:14:51 | |
He was drunk, Jack. Over excited. | 0:14:51 | 0:14:54 | |
'Huh. I dare say he was. | 0:14:54 | 0:14:57 | |
'We should cancel tonight's reading.' | 0:14:57 | 0:14:59 | |
No, Jack. Please! | 0:14:59 | 0:15:01 | |
There's nothing to say he can't perform. | 0:15:01 | 0:15:04 | |
I didn't bring him here to go to parties. | 0:15:04 | 0:15:06 | |
'No. No, we didn't, did we? | 0:15:06 | 0:15:10 | |
'I hope you've got the stomach for this, John. | 0:15:10 | 0:15:13 | |
'I'll see you later.' | 0:15:14 | 0:15:16 | |
Thank you, Jack. | 0:15:16 | 0:15:18 | |
Oh, Dylan, the last time I saw you, | 0:15:31 | 0:15:34 | |
you were an angel. | 0:15:34 | 0:15:37 | |
Now look at you. | 0:15:37 | 0:15:40 | |
There you go. | 0:15:40 | 0:15:43 | |
Such tragedy, such loss. | 0:15:43 | 0:15:49 | |
The things I could do with you...for you. | 0:15:49 | 0:15:53 | |
Hopeless boy. | 0:15:53 | 0:15:55 | |
CHUCKLES | 0:15:57 | 0:15:58 | |
Be brilliant, boy. Try and be brilliant. | 0:15:59 | 0:16:04 | |
-OVER TANNOY: -'This is your five-minute call. Five minutes.' | 0:16:07 | 0:16:10 | |
Look after him. | 0:16:12 | 0:16:13 | |
'Ladies and gentlemen, please take your seats. | 0:16:14 | 0:16:17 | |
'Tonight's performance will begin shortly.' | 0:16:17 | 0:16:19 | |
Bye. | 0:16:20 | 0:16:22 | |
VOMITS | 0:16:25 | 0:16:27 | |
Are you going to make me do this? | 0:16:30 | 0:16:31 | |
-Everything OK, gentlemen? -Of course. | 0:16:31 | 0:16:34 | |
Your audience awaits you, Mr Thomas. | 0:16:35 | 0:16:38 | |
AUDIENCE APPLAUDING | 0:16:54 | 0:16:56 | |
DYLAN COUGHING | 0:17:09 | 0:17:10 | |
If I were tickled by the rub of love | 0:17:17 | 0:17:20 | |
A rooking girl who stole me for her side | 0:17:20 | 0:17:25 | |
Broke through her straws breaking my bandaged string | 0:17:25 | 0:17:29 | |
If the red tickle as the cattle calve | 0:17:29 | 0:17:32 | |
still set to scratch a laughter from my lung | 0:17:32 | 0:17:36 | |
I would not fear the apple nor the flood | 0:17:36 | 0:17:40 | |
Nor the bad blood of spring | 0:17:40 | 0:17:43 | |
Shall it be male or female? Say the cells | 0:17:44 | 0:17:49 | |
And drop the plum like fire from the flesh... | 0:17:49 | 0:17:52 | |
COUGHING | 0:18:11 | 0:18:14 | |
Rest is obviously needed along with a complete change of lifestyle, | 0:18:19 | 0:18:22 | |
starting from now, if he's to have a fighting chance. | 0:18:22 | 0:18:24 | |
I'm a drunk! | 0:18:24 | 0:18:26 | |
-He knows. -I know. | 0:18:26 | 0:18:28 | |
Have you contacted his family? | 0:18:28 | 0:18:29 | |
Leave her out of this! | 0:18:29 | 0:18:31 | |
You have to. | 0:18:31 | 0:18:33 | |
This isn't something you and I can fix. Believe me. | 0:18:33 | 0:18:35 | |
I sent a letter on his arrival, but nothing since. | 0:18:35 | 0:18:39 | |
-Perhaps I should call. -Yes, you should. | 0:18:39 | 0:18:42 | |
Doctor, we've major engagements that start in a few days. | 0:18:43 | 0:18:47 | |
Important engagements. | 0:18:47 | 0:18:49 | |
Important? | 0:18:49 | 0:18:50 | |
I can't stop him, I can only advise. | 0:18:50 | 0:18:53 | |
But for now and until then | 0:18:53 | 0:18:55 | |
don't let him out of your sight. | 0:18:55 | 0:18:57 | |
-DYLAN COUGHING -New York is killing him. | 0:19:00 | 0:19:01 | |
It was a pleasure, Mr Thomas. | 0:19:04 | 0:19:07 | |
I'm a great admirer of your work. | 0:19:07 | 0:19:09 | |
Goodnight. | 0:19:11 | 0:19:12 | |
SOBBING | 0:19:15 | 0:19:17 | |
DOOR CLOSES | 0:19:22 | 0:19:24 | |
Dylan, are you OK? | 0:19:34 | 0:19:37 | |
Please come out, we need to talk. | 0:19:37 | 0:19:40 | |
WATER RUNNING | 0:19:40 | 0:19:42 | |
KNOCKING | 0:19:42 | 0:19:43 | |
Thought I'd find you here. | 0:19:46 | 0:19:47 | |
I took the liberty of collecting your mail from your office. | 0:19:47 | 0:19:51 | |
I think that one's for Dylan. It's from...Caitlin Thomas. | 0:19:51 | 0:19:55 | |
Congratulations, on this evening. | 0:19:55 | 0:19:58 | |
It certainly was a triumph. Tickets have started to fly out. | 0:19:58 | 0:20:01 | |
Where's Dylan? | 0:20:01 | 0:20:03 | |
He's in the bathroom. He's a little under the weather. | 0:20:03 | 0:20:06 | |
Ah, you boys. | 0:20:06 | 0:20:08 | |
Look, I understand your next reading isn't for four days? | 0:20:09 | 0:20:12 | |
I'd have no bother setting up another venue before... | 0:20:12 | 0:20:14 | |
No, no, thank you. | 0:20:14 | 0:20:15 | |
It would be good to take the time to prepare and work up to it. | 0:20:15 | 0:20:19 | |
Fair enough. | 0:20:20 | 0:20:22 | |
We wouldn't want to kill the man now, would we? | 0:20:22 | 0:20:24 | |
-I'll see you in four days. -Sorry? | 0:20:29 | 0:20:32 | |
At Yale, John. Yale. | 0:20:32 | 0:20:35 | |
My old Alma Mater. | 0:20:35 | 0:20:37 | |
I promised them a private reading. | 0:20:37 | 0:20:39 | |
Right. | 0:20:39 | 0:20:41 | |
I really don't want to mess that one up. | 0:20:41 | 0:20:43 | |
Again, well done. | 0:20:44 | 0:20:46 | |
You really have caught the big fish. | 0:20:46 | 0:20:48 | |
Something for me? | 0:21:05 | 0:21:06 | |
From home. | 0:21:08 | 0:21:09 | |
Your wife. | 0:21:13 | 0:21:14 | |
Lavender scent. | 0:21:22 | 0:21:24 | |
It's how she gets a grip on you. | 0:21:26 | 0:21:28 | |
Will you not open it? | 0:21:28 | 0:21:30 | |
Yale is in a few days. It's very important... | 0:21:34 | 0:21:37 | |
New York City... | 0:21:39 | 0:21:41 | |
..you brave bitch. | 0:21:43 | 0:21:45 | |
You certainly haven't disappointed. | 0:21:48 | 0:21:50 | |
Dylan... Dylan? | 0:21:53 | 0:21:56 | |
Christ! Don't do this to me, Dylan. | 0:21:56 | 0:21:58 | |
Don't you bloody dare... | 0:22:02 | 0:22:04 | |
Please, John. | 0:22:06 | 0:22:08 | |
-OVER PHONE: -'Reception. Hello?' -Please... | 0:22:10 | 0:22:13 | |
'Hello?' | 0:22:13 | 0:22:14 | |
GROANS | 0:23:01 | 0:23:02 | |
CLEARS THROAT | 0:23:08 | 0:23:09 | |
Jesus, John! What have you done? | 0:24:36 | 0:24:39 | |
What happened to Third Avenue? | 0:24:42 | 0:24:44 | |
Did the Reds steal it in the night? | 0:24:46 | 0:24:48 | |
Morning. We're in Fairfield County. | 0:24:48 | 0:24:51 | |
47 miles up the coast. | 0:24:51 | 0:24:53 | |
This belonged to my parents. | 0:24:53 | 0:24:56 | |
We used to summer here. | 0:24:56 | 0:24:58 | |
These days, I don't really make it up here. | 0:24:58 | 0:25:00 | |
SPLUTTERING | 0:25:00 | 0:25:02 | |
Now it's a halfway house for a dollar-mad nightingale. | 0:25:05 | 0:25:08 | |
We only have three days until Yale. | 0:25:08 | 0:25:10 | |
I need to make sure you're ready. | 0:25:10 | 0:25:13 | |
You make me sound like a prize bull. | 0:25:13 | 0:25:15 | |
New York wasn't...compatible. | 0:25:16 | 0:25:19 | |
-With what? -With you. | 0:25:22 | 0:25:24 | |
I see... | 0:25:27 | 0:25:28 | |
Do I get a say in all this? | 0:25:29 | 0:25:31 | |
You heard what the doctor said. | 0:25:31 | 0:25:33 | |
Yes. | 0:25:36 | 0:25:38 | |
He liked my work. | 0:25:38 | 0:25:40 | |
You know, flippancy is the most hopeless form of intellectual vice. | 0:25:40 | 0:25:45 | |
Well, if that's a vice, | 0:25:45 | 0:25:48 | |
to hell with virtue. | 0:25:48 | 0:25:50 | |
What's for breakfast? | 0:25:53 | 0:25:54 | |
There's a store in town. | 0:25:54 | 0:25:56 | |
I'll get groceries. | 0:25:56 | 0:25:59 | |
Candy bars... | 0:25:59 | 0:26:00 | |
Tootsie Rolls, Baby Ruths... | 0:26:00 | 0:26:04 | |
..Milky Ways... | 0:26:05 | 0:26:07 | |
MUSIC PLAYS: Baby, It's Cold Outside | 0:26:12 | 0:26:14 | |
We could be in "Moiphy's" right now, | 0:26:14 | 0:26:16 | |
sharing a glass and a song with international spies | 0:26:16 | 0:26:19 | |
and girls with names like candy bars. | 0:26:19 | 0:26:22 | |
And I'd be peeling you off the floor and carrying you home. | 0:26:22 | 0:26:24 | |
As I seem to recall, it was me who carried you. | 0:26:24 | 0:26:27 | |
If you're looking for whisky, there isn't any. Or beer. | 0:26:30 | 0:26:33 | |
You must at least have a couple of showgirls stashed away somewhere. | 0:26:33 | 0:26:37 | |
Come out, lovelies! | 0:26:37 | 0:26:38 | |
Show us your milkshakes and I'll sing you a verse of Sosban Fach. | 0:26:38 | 0:26:42 | |
Dylan, sit down. | 0:26:42 | 0:26:43 | |
We need to go over your itinerary. | 0:26:43 | 0:26:45 | |
I have some ideas for changing the recitals | 0:26:45 | 0:26:47 | |
to include works of other poets, like you suggested. | 0:26:47 | 0:26:49 | |
I can't do this. I need distraction. | 0:26:49 | 0:26:51 | |
You brought me here and I'm looking to you | 0:26:53 | 0:26:54 | |
as a master of ceremonies. Keep me entertained. | 0:26:54 | 0:26:58 | |
Can't this wait? Please. | 0:26:59 | 0:27:02 | |
I should warn you, I was taught by my father | 0:27:03 | 0:27:06 | |
who was East Coast Amateur Champion five years running. | 0:27:06 | 0:27:10 | |
Ta-da. | 0:27:12 | 0:27:14 | |
You know something, if this is so awful for you | 0:27:17 | 0:27:20 | |
and you're looking for distraction... | 0:27:20 | 0:27:21 | |
Why don't you open this? | 0:27:22 | 0:27:24 | |
What do I do? | 0:27:28 | 0:27:29 | |
You can't play chess? | 0:27:32 | 0:27:34 | |
-Why didn't you say? -You never asked. | 0:27:35 | 0:27:37 | |
OK, OK. | 0:27:39 | 0:27:41 | |
These guys upfront are your pawns. | 0:27:41 | 0:27:43 | |
Think of them as your linemen. | 0:27:43 | 0:27:44 | |
The other pieces behind are like your quarterbacks and linebackers... | 0:27:44 | 0:27:47 | |
Talk rugby, boy. This is all Greek to me. | 0:27:47 | 0:27:50 | |
-What does this horse do? -It's a knight. | 0:27:50 | 0:27:52 | |
It looks like a horse. | 0:27:52 | 0:27:54 | |
Yes, I know, but it's called a knight. | 0:27:54 | 0:27:56 | |
When is a horse not a horse? | 0:27:56 | 0:27:58 | |
When it turns into a barn. | 0:27:58 | 0:27:59 | |
My eldest, Llewelyn, told me that. | 0:28:01 | 0:28:03 | |
He laughs every time. | 0:28:03 | 0:28:05 | |
It moves like this, in an L-shape. | 0:28:07 | 0:28:09 | |
What's your story, boyo? | 0:28:09 | 0:28:10 | |
You look like a spare prick at a wedding. | 0:28:12 | 0:28:15 | |
I lost the real chess piece. | 0:28:15 | 0:28:17 | |
This little guy was a freebie in a box of Raisin Bran. | 0:28:17 | 0:28:19 | |
He's been here ever since. | 0:28:19 | 0:28:21 | |
Fighting for king and queen. | 0:28:21 | 0:28:23 | |
And that's the king. | 0:28:24 | 0:28:26 | |
He must have some clout? | 0:28:26 | 0:28:28 | |
Not as much as the queen. | 0:28:28 | 0:28:30 | |
The most powerful piece on the board. | 0:28:30 | 0:28:31 | |
She has the goods to capture every opposing piece in play. | 0:28:31 | 0:28:34 | |
The female of the species. | 0:28:34 | 0:28:37 | |
You've never met my wife. | 0:28:40 | 0:28:41 | |
You know, you really should open that letter. | 0:28:43 | 0:28:45 | |
You should mind your own business. | 0:28:45 | 0:28:47 | |
The object of the game is to checkmate your opponent's King. | 0:28:50 | 0:28:55 | |
That is, place him in an untenable position from which he can't escape. | 0:28:55 | 0:28:58 | |
I know the feeling. | 0:28:58 | 0:29:00 | |
So, uh... | 0:29:03 | 0:29:04 | |
I can explain the finer details as we go along. | 0:29:04 | 0:29:08 | |
But those are the basic principles of the game... | 0:29:08 | 0:29:11 | |
Does that all seem clear to you? | 0:29:11 | 0:29:12 | |
Crystal. | 0:29:13 | 0:29:15 | |
No questions? | 0:29:15 | 0:29:16 | |
-Just one. -Shoot. | 0:29:16 | 0:29:18 | |
Where can I get a hot pastrami sandwich? | 0:29:18 | 0:29:20 | |
ROCK AND ROLL MUSIC PLAYS IN BACKGROUND | 0:29:25 | 0:29:27 | |
Paradise. | 0:29:33 | 0:29:34 | |
That's one word for it. | 0:29:35 | 0:29:37 | |
Two Chicks on a Raft, wreck 'em! | 0:29:37 | 0:29:39 | |
Shingle with a shimmy and a shake in the alley. | 0:29:39 | 0:29:42 | |
Zeppelins in a Fog, City juice, 86 the hail. | 0:29:42 | 0:29:45 | |
Drag one through Georgia, and a First Lady! | 0:29:45 | 0:29:49 | |
Hello. How are you? | 0:29:50 | 0:29:52 | |
-I'm a friend of John's. -John who? | 0:29:52 | 0:29:54 | |
John Malcolm Brinnin. | 0:29:54 | 0:29:56 | |
Him. | 0:29:57 | 0:29:59 | |
Do you want feeding? | 0:29:59 | 0:30:01 | |
-A hot pastrami... -No, thank you. | 0:30:01 | 0:30:03 | |
Ice cream, please. | 0:30:03 | 0:30:05 | |
-Two cherry cokes. -And a bourbon on the side. | 0:30:05 | 0:30:08 | |
Shoot twice from the South, Drag 'em Wild and a Houseboat. | 0:30:08 | 0:30:10 | |
A shot of red eye. | 0:30:10 | 0:30:12 | |
We'll be playing this. What is this marvel? | 0:30:12 | 0:30:14 | |
Pinball? | 0:30:14 | 0:30:16 | |
Pinball. | 0:30:17 | 0:30:19 | |
Do you like me? | 0:30:21 | 0:30:23 | |
Am I irresistible? | 0:30:23 | 0:30:25 | |
I must warn you, I might break your heart. | 0:30:25 | 0:30:27 | |
Strange little foreign man. | 0:30:29 | 0:30:31 | |
With one stroke of her paw, she was gone. | 0:30:32 | 0:30:34 | |
Don't mention it. | 0:30:34 | 0:30:36 | |
Jesus, is that you? | 0:30:44 | 0:30:46 | |
I've already outlived Jesus. | 0:30:46 | 0:30:48 | |
Why do you keep it? You look so... | 0:30:48 | 0:30:50 | |
Smaller. Half the size. | 0:30:50 | 0:30:52 | |
Yes...and prettier. | 0:30:52 | 0:30:54 | |
Yeah, prettier. | 0:30:54 | 0:30:55 | |
-It's a real shame. -Incredible. | 0:30:55 | 0:30:58 | |
-What happened? -Is every woman | 0:30:58 | 0:30:59 | |
in this pigsty of a town out to get me? | 0:30:59 | 0:31:01 | |
Hey, we were just saying, mister. | 0:31:01 | 0:31:05 | |
Yes, we were only saying. | 0:31:05 | 0:31:07 | |
John? | 0:31:08 | 0:31:09 | |
Hello, Jack? | 0:31:11 | 0:31:12 | |
-JACK: -'John? | 0:31:12 | 0:31:14 | |
'Christ, buddy, where the hell have you been? | 0:31:14 | 0:31:16 | |
'I've been looking all over Manhattan for you. | 0:31:16 | 0:31:17 | |
'The Beekman Tower said you'd checked out.' | 0:31:17 | 0:31:19 | |
Yeah. We were asked to leave. | 0:31:19 | 0:31:22 | |
'Why was that?' | 0:31:22 | 0:31:23 | |
There was a...misunderstanding. | 0:31:24 | 0:31:27 | |
You know how partisan these Midtown hotels can be. | 0:31:27 | 0:31:30 | |
Something got lost in translation. | 0:31:30 | 0:31:32 | |
'Between England and America.' | 0:31:32 | 0:31:35 | |
Who said it was Dylan? | 0:31:35 | 0:31:36 | |
And he's not from England. Actually. | 0:31:36 | 0:31:38 | |
'Come on, John. Come on. We had a deal. | 0:31:38 | 0:31:41 | |
'You keep me in the loop and I clean out your closet.' | 0:31:41 | 0:31:44 | |
It doesn't need cleaning. | 0:31:44 | 0:31:46 | |
'That's not what the Beekman Tower concierge told me. | 0:31:46 | 0:31:49 | |
'I understand the management asked you to find quarters elsewhere.' | 0:31:49 | 0:31:53 | |
-Which I have. -'Where?' | 0:31:53 | 0:31:55 | |
Look, you know how sensitive this is, Jack. | 0:31:56 | 0:31:59 | |
'Tell me about it. | 0:31:59 | 0:32:01 | |
'I've got Loomis and the faculty asking questions. | 0:32:01 | 0:32:03 | |
'You think that stunt Thomas pulled at Harvey's party went unnoticed? | 0:32:03 | 0:32:06 | |
'I'm trying to protect you, John.' | 0:32:06 | 0:32:08 | |
I'm on top of this. | 0:32:08 | 0:32:10 | |
LOUD LAUGHTER | 0:32:10 | 0:32:12 | |
'Sure doesn't sound that way.' | 0:32:12 | 0:32:14 | |
Just give me some more time. | 0:32:14 | 0:32:15 | |
'Yale is three days away. I'm not an alchemist.' | 0:32:15 | 0:32:19 | |
I can do this, Jack. | 0:32:19 | 0:32:21 | |
I can get him ready for America. | 0:32:21 | 0:32:22 | |
'You listen. | 0:32:22 | 0:32:24 | |
'Carefully. | 0:32:24 | 0:32:27 | |
'There is a line in the sand and you haven't stepped over it yet. | 0:32:27 | 0:32:31 | |
'But I'll ask you again. | 0:32:31 | 0:32:33 | |
-'Where are you?' -LINE BLEEPS | 0:32:34 | 0:32:36 | |
-AUTOMATED VOICE: -'Please deposit ten cents | 0:32:36 | 0:32:39 | |
-for the next four minutes. -John?' | 0:32:39 | 0:32:40 | |
-LINE BLEEPING -'John? | 0:32:40 | 0:32:43 | |
'John, are you there? | 0:32:43 | 0:32:45 | |
-'Answer me...' -LINE GOES DEAD | 0:32:46 | 0:32:48 | |
John! | 0:32:51 | 0:32:52 | |
John! | 0:32:54 | 0:32:55 | |
At last. A couple of sarsaparillas for the ladies. | 0:32:58 | 0:33:01 | |
And two shots of red eye for me and my luckless comrade here. | 0:33:01 | 0:33:05 | |
Two Fifty-Fives and a red eye. Twice. | 0:33:05 | 0:33:07 | |
Give it wings. | 0:33:07 | 0:33:09 | |
The name's Rosie. | 0:33:15 | 0:33:18 | |
Oh, right, yes. Well, hello, Rosie. | 0:33:18 | 0:33:22 | |
Whatever. What's your story? | 0:33:22 | 0:33:26 | |
If you have one. | 0:33:26 | 0:33:27 | |
I'm a poet... poetry professor. Manhattan. | 0:33:27 | 0:33:31 | |
This is my friend's first trip to America. | 0:33:31 | 0:33:33 | |
I'm his Boswell. His amanuensis. | 0:33:33 | 0:33:37 | |
You must be a poet. You talk funny. | 0:33:37 | 0:33:40 | |
So, who's your friend? | 0:33:42 | 0:33:44 | |
Dylan? Now he really is a poet. | 0:33:44 | 0:33:47 | |
A famous one, too. From Wales. | 0:33:47 | 0:33:50 | |
Huh? Like Moby Dick? | 0:33:50 | 0:33:52 | |
Not exactly. | 0:33:52 | 0:33:54 | |
He is touring America, reciting his work and the work of others. | 0:33:54 | 0:33:58 | |
Poetry, hey. | 0:33:58 | 0:34:01 | |
Aren't you both...men? | 0:34:02 | 0:34:07 | |
Yes, isn't that funny? | 0:34:07 | 0:34:10 | |
I get off in an hour. | 0:34:10 | 0:34:12 | |
Oh, we'll be long gone by then. | 0:34:12 | 0:34:15 | |
OK, Mr Poetry. Make sure you pay. | 0:34:15 | 0:34:18 | |
Settle up before you go. | 0:34:18 | 0:34:20 | |
You wake early... | 0:34:22 | 0:34:24 | |
and you go out to work and you get home and you go back out again, | 0:34:24 | 0:34:27 | |
because you need something for you. | 0:34:27 | 0:34:30 | |
And you repeat that... You repeat that until something | 0:34:31 | 0:34:36 | |
grabs your attention and forces you to listen. | 0:34:36 | 0:34:38 | |
"I'm leaving." | 0:34:43 | 0:34:45 | |
And then, you stop. | 0:34:47 | 0:34:48 | |
Everything loses it's worth. It's meaning. | 0:34:49 | 0:34:53 | |
So, you find a stool, and a glass... | 0:34:55 | 0:34:59 | |
..sometimes an ear. | 0:35:01 | 0:35:03 | |
-You're welcome. -And... | 0:35:03 | 0:35:05 | |
..and you wait, I guess, | 0:35:07 | 0:35:10 | |
for the next surprise. | 0:35:10 | 0:35:12 | |
"The beauty of the world and the paragon of animals, yet to me, | 0:35:15 | 0:35:17 | |
"what is this quintessence of dust?" | 0:35:17 | 0:35:20 | |
"Man delights not me, nor women neither." | 0:35:20 | 0:35:24 | |
CHUCKLING | 0:35:24 | 0:35:25 | |
PHONE RINGING | 0:35:25 | 0:35:26 | |
RINGING CONTINUES | 0:35:35 | 0:35:38 | |
FAINT METALLIC CLINKING | 0:35:46 | 0:35:49 | |
I have to get this done, I'm afraid. | 0:35:56 | 0:35:59 | |
It wouldn't be fair on the students if I kept them waiting. | 0:35:59 | 0:36:02 | |
Did they ask you to do that? | 0:36:04 | 0:36:06 | |
Ha. They expect me to. | 0:36:06 | 0:36:09 | |
I'm head of poetry and creative writing. | 0:36:09 | 0:36:11 | |
"You tried to break my father and I walked on. | 0:36:21 | 0:36:24 | |
"My dreams became the collateral of another boy's dawn. | 0:36:28 | 0:36:32 | |
"To a chorus of hopeless liars I still walked on | 0:36:33 | 0:36:37 | |
"Amongst the damned and the hungry, Who share the same song." | 0:36:38 | 0:36:42 | |
If only they knew their work was being read by you. | 0:36:44 | 0:36:47 | |
It's very moving. | 0:36:48 | 0:36:50 | |
Brave boy. | 0:36:52 | 0:36:54 | |
You don't just cough up parents and dreams, | 0:36:56 | 0:36:59 | |
hope and shame easily. | 0:36:59 | 0:37:01 | |
And you certainly don't scribble all over it. | 0:37:06 | 0:37:08 | |
I'm his teacher. | 0:37:08 | 0:37:10 | |
But please, tell me something that I could pass on to him. | 0:37:11 | 0:37:16 | |
That would mean a great deal. | 0:37:16 | 0:37:17 | |
You think I'm such a big deal. | 0:37:27 | 0:37:29 | |
There's no rhythm to it, just an idea that's unexplored. | 0:37:40 | 0:37:44 | |
The first part belongs to Robert Frost and the rest... | 0:37:44 | 0:37:46 | |
me, probably. | 0:37:46 | 0:37:48 | |
He's bullied by his own question and rhyme... | 0:37:49 | 0:37:52 | |
..but all this is easily solved by confidence. | 0:37:53 | 0:37:56 | |
So, if you want me to be helpful, | 0:37:58 | 0:38:01 | |
truly of use to this young mind... | 0:38:01 | 0:38:05 | |
..then tell him Dylan Thomas thinks he's great. | 0:38:07 | 0:38:10 | |
Don't do this to me, John. | 0:38:28 | 0:38:30 | |
I'm not ready for her. Not yet. | 0:38:32 | 0:38:35 | |
What if she needs you | 0:38:35 | 0:38:36 | |
-or the children... -They always need me. | 0:38:36 | 0:38:38 | |
That's why I'm here! | 0:38:41 | 0:38:43 | |
I've overstepped the mark. I'm sorry. | 0:38:43 | 0:38:45 | |
I really haven't slept. Sorry. | 0:38:45 | 0:38:48 | |
It would mean the end of us, John. | 0:38:50 | 0:38:52 | |
-Dylan, where are you going? -Walk. | 0:39:08 | 0:39:10 | |
Coming? | 0:39:10 | 0:39:12 | |
It's good that we're doing this. | 0:39:24 | 0:39:26 | |
Clear our heads before the next charge. | 0:39:26 | 0:39:28 | |
It's beautiful. | 0:39:28 | 0:39:30 | |
I've a few ideas about the Yale reading. | 0:39:30 | 0:39:32 | |
Apparently, the Provost is quite a stickler for... | 0:39:32 | 0:39:34 | |
-Wish I knew more. -Sorry? | 0:39:34 | 0:39:36 | |
The names of things... | 0:39:36 | 0:39:37 | |
plants, animals, clouds, | 0:39:37 | 0:39:40 | |
but the answers aren't there. They were never put there. | 0:39:40 | 0:39:43 | |
I can't describe the jealousy that bubbles up inside me when | 0:39:43 | 0:39:47 | |
people offer their knowledge on tap, without asking. | 0:39:47 | 0:39:49 | |
-Is that a warning? -Don't be so sensitive. | 0:39:49 | 0:39:53 | |
You're scared of your talent. | 0:39:54 | 0:39:55 | |
Oh, yes. Terrified. | 0:39:55 | 0:39:57 | |
I knew it. | 0:39:58 | 0:40:00 | |
All your behaviour is just deflection. | 0:40:00 | 0:40:03 | |
From having to admit it's real and precious and fragile. | 0:40:03 | 0:40:06 | |
No person could be so connected | 0:40:06 | 0:40:07 | |
to the earth and human spirit by chance. | 0:40:07 | 0:40:09 | |
It needs craft and you protect that craft | 0:40:09 | 0:40:12 | |
by investing in the trivial within strangers. | 0:40:12 | 0:40:14 | |
Am I right? | 0:40:14 | 0:40:16 | |
Dylan, what are you doing? | 0:40:16 | 0:40:18 | |
This is a pure way to travel. | 0:40:18 | 0:40:20 | |
That's not your boat. | 0:40:22 | 0:40:24 | |
-Are you getting in? -No. | 0:40:25 | 0:40:27 | |
-Suit yourself. -Dylan...no. | 0:40:27 | 0:40:31 | |
Dylan. | 0:40:31 | 0:40:32 | |
Jesus, Dylan. These are wool pants. | 0:40:40 | 0:40:43 | |
You have to keep your arms straight | 0:40:43 | 0:40:45 | |
and let the weight of the oars do the work. | 0:40:45 | 0:40:47 | |
-You're very deft at this. -Why wouldn't I be? | 0:40:48 | 0:40:51 | |
Sometimes, I don't understand you | 0:41:35 | 0:41:38 | |
and that's hard for me to admit. | 0:41:38 | 0:41:40 | |
You lose me in a haze of language and imagery that often | 0:41:42 | 0:41:48 | |
-don't belong togeth... -Kiss me. | 0:41:48 | 0:41:50 | |
-No. -Take me to bed. | 0:41:51 | 0:41:54 | |
SCOFFS Absolutely not. | 0:41:54 | 0:41:55 | |
Then, punch me in the nose. | 0:41:55 | 0:41:57 | |
Bloody my mind with your rage and forgive me nothing. | 0:41:57 | 0:42:01 | |
Hold me tenderly as your friend and keep my secrets. | 0:42:01 | 0:42:04 | |
-I don't understand. -Yes, you do. | 0:42:06 | 0:42:09 | |
It's about feeling something and allowing ourselves to feel it first, | 0:42:10 | 0:42:13 | |
before we tear it apart, for answers. | 0:42:13 | 0:42:16 | |
Clarity and understanding are last. | 0:42:17 | 0:42:19 | |
So, you write for yourself? | 0:42:21 | 0:42:24 | |
For everyone. | 0:42:25 | 0:42:26 | |
That's a big ask. | 0:42:28 | 0:42:29 | |
Nobody asked. | 0:42:32 | 0:42:34 | |
"Not for the proud man apart | 0:42:38 | 0:42:41 | |
"From the raging moon I write on these spindrift pages | 0:42:41 | 0:42:44 | |
"Nor for the towering dead | 0:42:45 | 0:42:49 | |
"With their nightingales and psalms | 0:42:49 | 0:42:51 | |
"But for the lovers, their arms | 0:42:52 | 0:42:55 | |
"Round the griefs of the ages | 0:42:55 | 0:42:58 | |
"Who pay no praise or wages, Nor heed my craft or art." | 0:42:58 | 0:43:03 | |
Exactly. | 0:43:07 | 0:43:09 | |
Exactly! | 0:43:10 | 0:43:12 | |
Stop it, you mad man! | 0:43:17 | 0:43:19 | |
-John! -John! | 0:43:21 | 0:43:23 | |
John, over here! Hello! | 0:43:23 | 0:43:27 | |
-Who are they? -Hello! | 0:43:27 | 0:43:29 | |
I think it's the Hymans. | 0:43:29 | 0:43:30 | |
-Over here. -Hello! | 0:43:30 | 0:43:31 | |
Oh, yes. It's definitely the Hymans. | 0:43:31 | 0:43:34 | |
-Hello! -She looks a hoot. | 0:43:34 | 0:43:37 | |
-Hello! -Hello! | 0:43:38 | 0:43:39 | |
I'm Dylan Thomas, I'm a friend of John's! | 0:43:39 | 0:43:42 | |
We know. Hello to you! | 0:43:42 | 0:43:45 | |
Come to dinner tonight? | 0:43:45 | 0:43:46 | |
No, no... wait! We've not got the time. | 0:43:46 | 0:43:48 | |
-It's our last day before Yale. -Please? | 0:43:48 | 0:43:50 | |
We'd love to! | 0:43:50 | 0:43:52 | |
-Eight o'clock? -Sure. | 0:43:52 | 0:43:53 | |
Perfect! Perfect! | 0:43:53 | 0:43:56 | |
Ciao! | 0:43:56 | 0:43:59 | |
-Goodbye! -Goodbye! | 0:43:59 | 0:44:01 | |
Wave, John. | 0:44:01 | 0:44:02 | |
Looking forward to you! | 0:44:05 | 0:44:06 | |
Oh, thank you, thank you. | 0:44:06 | 0:44:09 | |
-'Hello, John. -Hey, buddy.' | 0:44:15 | 0:44:17 | |
-I got it. I got it. -Sorry we're late. -Stanley. | 0:44:17 | 0:44:19 | |
-What's this for? -You kidding me? | 0:44:23 | 0:44:25 | |
It's the Marciano-La Starza fight. | 0:44:25 | 0:44:27 | |
I'm not missing that barn-burner. Not even for Dylan Thomas. | 0:44:27 | 0:44:30 | |
Shirley. | 0:44:35 | 0:44:36 | |
This is my husband, Stanley. | 0:44:37 | 0:44:40 | |
Enchante. | 0:44:40 | 0:44:42 | |
Shirley and Stanley are both writers. | 0:44:43 | 0:44:45 | |
Stanley wrote, The Armed Vision: A Study In The Methods Of... | 0:44:45 | 0:44:48 | |
John, John... Let's just say our main export is books and children. | 0:44:48 | 0:44:52 | |
We produce both in abundance. | 0:44:52 | 0:44:54 | |
Can I please get a drink, John? Thank you. | 0:44:54 | 0:44:56 | |
-Higher. -Lower. | 0:45:06 | 0:45:07 | |
Hold it. | 0:45:07 | 0:45:09 | |
Look at us. | 0:45:31 | 0:45:33 | |
Like two spinster aunts at a prom ball. | 0:45:33 | 0:45:35 | |
Why should they have all the fun? | 0:45:35 | 0:45:38 | |
You call this fun? | 0:45:38 | 0:45:40 | |
Shirley likes to cut loose, once in a while. | 0:45:41 | 0:45:43 | |
Like Mount Vesuvius. I indulge. | 0:45:43 | 0:45:46 | |
How very catholic of you. | 0:45:46 | 0:45:48 | |
Not really. We all have our vices. | 0:45:48 | 0:45:51 | |
Don't you? | 0:45:51 | 0:45:53 | |
I don't have time for vices. Dylan makes sure of that. | 0:45:55 | 0:45:59 | |
Up until four days ago, I thought I was | 0:45:59 | 0:46:01 | |
a professor of poetry in New York. Now? | 0:46:01 | 0:46:05 | |
I'm not so sure. | 0:46:06 | 0:46:08 | |
Benefactor, baby-sitter, nursemaid.... | 0:46:08 | 0:46:12 | |
Jesus, you make it sound like a marriage. | 0:46:12 | 0:46:14 | |
Like you and Shirley, huh? | 0:46:15 | 0:46:17 | |
Oh, I wouldn't go that far. | 0:46:17 | 0:46:19 | |
There is a crucial difference, my boy. | 0:46:19 | 0:46:21 | |
Oh? | 0:46:21 | 0:46:23 | |
Shirley needs me. | 0:46:24 | 0:46:25 | |
Come on, Boyo Rees. You're up. | 0:46:29 | 0:46:32 | |
-Your turn. -No, no... | 0:46:32 | 0:46:33 | |
No, Dylan! | 0:46:33 | 0:46:35 | |
Come on! | 0:46:36 | 0:46:38 | |
America versus Wales. Put 'em up. | 0:46:38 | 0:46:41 | |
-Come on. -Put 'em up. | 0:46:41 | 0:46:42 | |
Put your hands up, John. That's right. | 0:46:42 | 0:46:44 | |
Whoa! | 0:46:44 | 0:46:46 | |
Come on, try a bit harder. Put 'em up. | 0:46:46 | 0:46:50 | |
John, try harder. You first. | 0:46:50 | 0:46:53 | |
Come on! | 0:46:53 | 0:46:54 | |
Jesus, John. What the fuck? Are you crazy? | 0:46:56 | 0:47:02 | |
See what you did. | 0:47:02 | 0:47:04 | |
You can't make friends with that. | 0:47:04 | 0:47:06 | |
-I'm sorry. I didn't mean... -Everyone stabilise. | 0:47:06 | 0:47:08 | |
Let's not get our pantyhose knotted, gentlemen. | 0:47:08 | 0:47:11 | |
You OK, champ? | 0:47:12 | 0:47:14 | |
Sucker punch. He's bleeding. | 0:47:14 | 0:47:16 | |
It was an accident, Stan. | 0:47:16 | 0:47:19 | |
Blood seems to be my main export these days. | 0:47:19 | 0:47:21 | |
I must have some alcohol out back... | 0:47:21 | 0:47:23 | |
Sit down, Rocky. | 0:47:23 | 0:47:24 | |
No-one goes anywhere. It's still cocktail hour. | 0:47:24 | 0:47:27 | |
Well, I hope you've got a Chinese jump rope | 0:47:27 | 0:47:29 | |
or a stack of cards. Otherwise Stanley | 0:47:29 | 0:47:32 | |
will start talking jazz. | 0:47:32 | 0:47:34 | |
-A man needs a hobby, dear. -Like a cat needs a bicycle. | 0:47:34 | 0:47:37 | |
I've got a chess set that... | 0:47:37 | 0:47:39 | |
John tells me that you write horror stories. | 0:47:39 | 0:47:41 | |
A young boy, let's call him Jimmy, | 0:47:44 | 0:47:46 | |
is sitting in school one spring afternoon. | 0:47:46 | 0:47:49 | |
He's not really paying attention to the class. | 0:47:49 | 0:47:52 | |
Hell, it's double math. Algebra. Trigonometry. | 0:47:52 | 0:47:55 | |
-CHUCKLING -You can't make friends with that. | 0:47:55 | 0:47:56 | |
Shut up, Stan. | 0:47:56 | 0:47:58 | |
Like a lot of kids his age, Jimmy is daydreaming. | 0:47:58 | 0:48:00 | |
He's thinking of the World Series, and sophomore girls in bobby socks | 0:48:00 | 0:48:04 | |
who look like Deanna Durbin. | 0:48:04 | 0:48:08 | |
With these sweet distractions in his head | 0:48:08 | 0:48:10 | |
he absent-mindedly looks out the window. | 0:48:10 | 0:48:12 | |
He notices what appears to be a picture laying on the ground | 0:48:12 | 0:48:15 | |
in the schoolyard. He can't stop looking at it. | 0:48:15 | 0:48:18 | |
So much so, that after class, he goes and picks it up. | 0:48:18 | 0:48:21 | |
It's a photograph of a pretty young girl in stovepipe pants, | 0:48:24 | 0:48:28 | |
all peppercorn freckles and a smile as big as Texas. | 0:48:28 | 0:48:33 | |
She is holding up two fingers. Like this... | 0:48:33 | 0:48:36 | |
She is the most beautiful girl Jimmy has ever seen. | 0:48:39 | 0:48:43 | |
He is captivated. | 0:48:43 | 0:48:44 | |
He spends the entire evening asking around town | 0:48:44 | 0:48:46 | |
if anybody knows her or where he can find her. | 0:48:46 | 0:48:48 | |
But no-one knows. Jimmy returns home disappointed. | 0:48:48 | 0:48:51 | |
He lies in bed that night | 0:48:51 | 0:48:53 | |
staring at the picture of the girl until he falls asleep. | 0:48:53 | 0:48:57 | |
Later that night, he is suddenly awoken. | 0:49:01 | 0:49:03 | |
TAPPING | 0:49:07 | 0:49:09 | |
Tap-tap-tap. Something rapping on his window. | 0:49:09 | 0:49:12 | |
TAPPING | 0:49:12 | 0:49:13 | |
Tap-tap. There it is again. | 0:49:13 | 0:49:14 | |
Like someone throwing pebbles up at the windowpane. | 0:49:14 | 0:49:17 | |
Looking out, Jimmy sees a figure standing in the parking lot | 0:49:17 | 0:49:20 | |
opposite his house. | 0:49:20 | 0:49:22 | |
The figure steps into the streetlight. | 0:49:22 | 0:49:24 | |
It's the girl in the picture. | 0:49:24 | 0:49:28 | |
Jimmy's heart misses a beat. | 0:49:28 | 0:49:32 | |
He wastes no time and quickly rushes downstairs to see her. | 0:49:32 | 0:49:35 | |
He races out of the house and... | 0:49:35 | 0:49:36 | |
THUD | 0:49:36 | 0:49:38 | |
He's struck by a car while crossing the street. | 0:49:41 | 0:49:45 | |
Jimmy is killed instantly, dead before he hits the ground. | 0:49:45 | 0:49:48 | |
So, the police investigators arrive. | 0:49:50 | 0:49:52 | |
They find a picture lying next to the boy's body. | 0:49:52 | 0:49:55 | |
It is a photograph of a pretty young girl. | 0:49:55 | 0:49:57 | |
The kind of smile that can | 0:49:57 | 0:50:00 | |
break a boy's heart. | 0:50:00 | 0:50:01 | |
And that, gentlemen, concludes my story. | 0:50:05 | 0:50:08 | |
Oh, except to say that in this photo the girl is holding up her fingers. | 0:50:08 | 0:50:12 | |
Like this... | 0:50:15 | 0:50:17 | |
CHUCKLING | 0:50:19 | 0:50:20 | |
That's good! | 0:50:20 | 0:50:22 | |
That's bloody good, girl! | 0:50:22 | 0:50:24 | |
CHUCKLING | 0:50:24 | 0:50:26 | |
Oh, my boys would love that! | 0:50:26 | 0:50:28 | |
May I borrow your wife, Stanley? | 0:50:29 | 0:50:31 | |
She's lightning in a bottle. | 0:50:31 | 0:50:33 | |
Haven't you already got a wife? | 0:50:33 | 0:50:35 | |
STANLEY LIGHTLY CHUCKLES | 0:50:35 | 0:50:36 | |
Well, you know what they say, | 0:50:36 | 0:50:38 | |
one is company, two's a crowd and three's a party. | 0:50:38 | 0:50:41 | |
Dylan, dear, I do believe it is your turn | 0:50:42 | 0:50:44 | |
to entertain me with something that goes | 0:50:44 | 0:50:46 | |
-bump in the night. -Happy to oblige. | 0:50:46 | 0:50:48 | |
But I don't think Stanley would approve. | 0:50:48 | 0:50:51 | |
Are we sitting comfortably? | 0:50:56 | 0:50:57 | |
Like biscuits and butter. | 0:50:57 | 0:50:59 | |
Has anyone seen my Pouilly-Fuisse? | 0:51:01 | 0:51:03 | |
I had three bottles. | 0:51:03 | 0:51:05 | |
It's your turn. | 0:51:05 | 0:51:06 | |
No, I don't... I don't want to. | 0:51:08 | 0:51:10 | |
Come on. | 0:51:10 | 0:51:12 | |
Let's see what a Harvard education can bring to the party. | 0:51:12 | 0:51:16 | |
You must have a ghost story or two | 0:51:16 | 0:51:17 | |
rattling around in that loaf of yours. | 0:51:17 | 0:51:19 | |
Leave me alone, Dylan. | 0:51:19 | 0:51:20 | |
I can help you, if you like. | 0:51:20 | 0:51:23 | |
Once upon a time... | 0:51:23 | 0:51:25 | |
Once...upon... | 0:51:27 | 0:51:30 | |
What's wrong? Cat got your tongue? | 0:51:30 | 0:51:32 | |
Come on, John. I know it's in there. | 0:51:32 | 0:51:33 | |
A real horror to give us all the gooseflesh. | 0:51:33 | 0:51:36 | |
-Once...upon...a time... -Detroit! | 0:51:36 | 0:51:41 | |
Once upon a time in Detroit. | 0:51:48 | 0:51:50 | |
Michigan? You can't make friends with that. | 0:51:50 | 0:51:53 | |
Shut up, Stan. | 0:51:53 | 0:51:55 | |
Go on. You were saying, John? | 0:51:55 | 0:51:59 | |
Detroit. | 0:52:03 | 0:52:05 | |
1928. | 0:52:05 | 0:52:07 | |
It was the hottest summer the city had seen in over a decade. | 0:52:08 | 0:52:12 | |
They said you could fry a hamburger off the sidewalk on Woodward Avenue. | 0:52:13 | 0:52:17 | |
I was 11 years old. | 0:52:19 | 0:52:21 | |
There was a kid in the neighbourhood called Billy Levitt. | 0:52:33 | 0:52:36 | |
Had these two white mice he'd been given from the school biology lab. | 0:52:38 | 0:52:42 | |
Samson and Delilah. | 0:52:42 | 0:52:44 | |
He carried them in a shoebox. | 0:52:46 | 0:52:48 | |
Took them everywhere. | 0:52:48 | 0:52:50 | |
I used to hang out with Billy and his older brother Tommy. | 0:52:50 | 0:52:54 | |
We had the whole summer stretching out ahead of us, | 0:52:56 | 0:53:00 | |
but after two weeks, playing stoop ball and skinny dipping | 0:53:00 | 0:53:04 | |
started to lose its edge for Tommy. | 0:53:04 | 0:53:06 | |
What was called for was a new form of...entertainment. | 0:53:09 | 0:53:14 | |
Tommy did Samson first. | 0:53:23 | 0:53:26 | |
Cut off his tail with a bread knife. | 0:53:27 | 0:53:29 | |
We watched the poor thing roll around on the porch. | 0:53:31 | 0:53:36 | |
Helpless. | 0:53:36 | 0:53:38 | |
It must've been another ten minutes before the mouse was dead. | 0:53:39 | 0:53:42 | |
I can see Billy just standing there. | 0:53:46 | 0:53:48 | |
Fighting back tears. | 0:53:48 | 0:53:50 | |
The whole time watching. | 0:53:52 | 0:53:54 | |
I couldn't look at Billy. | 0:53:58 | 0:54:00 | |
We both knew what was coming. | 0:54:01 | 0:54:03 | |
Tommy said it was my turn next. | 0:54:07 | 0:54:09 | |
Delilah was all mine. | 0:54:10 | 0:54:12 | |
He snuck into his old man's room | 0:54:14 | 0:54:17 | |
and came back with a hypodermic. | 0:54:17 | 0:54:19 | |
Their father was diabetic. | 0:54:19 | 0:54:22 | |
He made Billy get some Drano from the garage | 0:54:24 | 0:54:27 | |
and together we filled the hypo. | 0:54:27 | 0:54:30 | |
He even made Billy hold the bottle steady. | 0:54:32 | 0:54:36 | |
Delilah could sense something was up before I tipped her out of the box. | 0:54:40 | 0:54:43 | |
Tommy wouldn't let up. | 0:54:48 | 0:54:50 | |
He just kept pushing... | 0:54:51 | 0:54:53 | |
I knew there was no going back. | 0:54:55 | 0:54:57 | |
I popped her with the needle. | 0:55:01 | 0:55:03 | |
Pushed it all the way. | 0:55:04 | 0:55:06 | |
This mouse, this... | 0:55:11 | 0:55:13 | |
..tiny little thing... | 0:55:14 | 0:55:16 | |
..balloons up in my hand. | 0:55:17 | 0:55:20 | |
Like bubble gum. | 0:55:20 | 0:55:22 | |
Tommy was pissing himself. | 0:55:26 | 0:55:28 | |
Laughing. | 0:55:28 | 0:55:29 | |
Billy wasn't watching. | 0:55:33 | 0:55:34 | |
Not any more. | 0:55:36 | 0:55:37 | |
This thing in my hand, it just... | 0:55:45 | 0:55:48 | |
..splits wide open. | 0:55:49 | 0:55:51 | |
I'm frozen. | 0:55:53 | 0:55:55 | |
I can hear Tommy still laughing. | 0:55:57 | 0:55:59 | |
My face is wet... | 0:56:02 | 0:56:04 | |
And I start to realise it's not just because I've been crying. | 0:56:05 | 0:56:08 | |
It really was hot that summer. | 0:56:17 | 0:56:19 | |
Well, bravo. | 0:56:26 | 0:56:28 | |
That's certainly a... memorable little story, John. | 0:56:28 | 0:56:32 | |
If not technically scary. | 0:56:32 | 0:56:35 | |
Tell that to the mice, Stan. | 0:56:35 | 0:56:37 | |
I'm so sorry. | 0:56:37 | 0:56:40 | |
Let him go. | 0:56:40 | 0:56:41 | |
Seems I was wrong about this pigsty. | 0:56:57 | 0:56:59 | |
Who needs New York when you've neighbours like that? | 0:57:01 | 0:57:03 | |
This place is hell on wheels. I like it. | 0:57:05 | 0:57:07 | |
How's your jaw? | 0:57:09 | 0:57:10 | |
I'll survive. | 0:57:12 | 0:57:13 | |
Though I may be reading at Yale with a lisp. | 0:57:15 | 0:57:17 | |
Might make myself sound better. | 0:57:19 | 0:57:21 | |
What happened to those boys? | 0:57:35 | 0:57:37 | |
They grew up. | 0:57:38 | 0:57:40 | |
Billy moved west. | 0:57:41 | 0:57:43 | |
Tommy? | 0:57:43 | 0:57:45 | |
I heard he died in the war. | 0:57:46 | 0:57:48 | |
Somewhere in the Pacific. | 0:57:48 | 0:57:50 | |
There are times I prefer the human race when it sleeps. | 0:57:53 | 0:57:56 | |
When we dream. | 0:57:58 | 0:57:59 | |
That's quite a romantic notion for a dollar-mad nightingale. | 0:58:02 | 0:58:05 | |
Perhaps you should write about it. | 0:58:08 | 0:58:10 | |
Perhaps I will. | 0:58:10 | 0:58:12 | |
John Malcolm Brinnin. | 0:58:13 | 0:58:15 | |
Perhaps I bloody will. | 0:58:16 | 0:58:18 | |
Don't leave me to Stanley. | 0:58:25 | 0:58:27 | |
He wants to talk Mantovani. | 0:58:27 | 0:58:29 | |
Just give me a moment. | 0:58:31 | 0:58:33 | |
LIGHT SNORING | 0:58:55 | 0:58:57 | |
Shit. Oh. | 0:59:25 | 0:59:27 | |
What time is it? | 0:59:27 | 0:59:29 | |
Did I miss anything? | 0:59:29 | 0:59:31 | |
Oh, sorry, honey. | 0:59:31 | 0:59:33 | |
Let's have a drink. | 0:59:35 | 0:59:37 | |
You know, I had another bottle... | 0:59:37 | 0:59:39 | |
Take me home, Stanley. | 0:59:39 | 0:59:41 | |
STATIC CRACKLING | 0:59:49 | 0:59:51 | |
-Hello boss-man. -How's Superman? | 1:01:23 | 1:01:26 | |
He's super. I'll pass him on, when I've finished. | 1:01:26 | 1:01:29 | |
-Goodnight, Dylan. -Goodnight...and John? | 1:01:31 | 1:01:34 | |
I'm ready. | 1:01:36 | 1:01:38 | |
Yale, John. | 1:01:38 | 1:01:39 | |
Sleep well, yes? | 1:01:41 | 1:01:42 | |
Dylan. Time to get up. | 1:02:04 | 1:02:06 | |
Dylan? | 1:02:07 | 1:02:08 | |
Dylan? | 1:02:14 | 1:02:15 | |
SIGHS | 1:02:27 | 1:02:29 | |
You bastard. | 1:02:31 | 1:02:33 | |
Get up! | 1:03:06 | 1:03:08 | |
John! | 1:03:10 | 1:03:11 | |
You're a hard man to get hold of, John. | 1:04:31 | 1:04:33 | |
You've had half the Upper East Side looking for you both. | 1:04:35 | 1:04:38 | |
We were getting worried that John here had shanghaied you off | 1:04:38 | 1:04:41 | |
to Venus, Jupiter, Mars... | 1:04:41 | 1:04:44 | |
No, just Connecticut. | 1:04:44 | 1:04:46 | |
Mr Torrance, isn't it? | 1:04:49 | 1:04:51 | |
Mr Thomas. | 1:04:51 | 1:04:52 | |
Once again, the pleasure is all yours. | 1:04:52 | 1:04:54 | |
Gentlemen? Shall we? | 1:04:57 | 1:04:59 | |
And death shall have no dominion | 1:05:51 | 1:05:55 | |
Dead men naked they shall be one | 1:06:00 | 1:06:04 | |
With the man in the wind and the west moon | 1:06:04 | 1:06:08 | |
When their bones are picked clean and the clean bones gone | 1:06:08 | 1:06:11 | |
They shall have stars at elbow and foot | 1:06:11 | 1:06:15 | |
Though they go mad they shall be sane | 1:06:16 | 1:06:19 | |
Though they sink through the sea they shall rise again | 1:06:19 | 1:06:23 | |
Though lovers be lost | 1:06:24 | 1:06:27 | |
Love shall not | 1:06:27 | 1:06:30 | |
And death shall have no dominion | 1:06:31 | 1:06:34 | |
Under the windings of the sea | 1:06:36 | 1:06:39 | |
They lying long shall not die windily | 1:06:39 | 1:06:43 | |
Twisting on racks when sinews give way | 1:06:43 | 1:06:47 | |
Strapped to a wheel yet they shall not break... | 1:06:47 | 1:06:51 | |
MUSIC DROWNS SPEECH | 1:06:51 | 1:06:52 | |
MUTED APPLAUSE | 1:07:07 | 1:07:10 | |
APPLAUSE | 1:07:16 | 1:07:18 | |
MURMURING | 1:07:31 | 1:07:34 | |
So, how are you finding America, Mr Thomas? | 1:07:34 | 1:07:37 | |
Very big. | 1:07:37 | 1:07:39 | |
Especially when you have no friends. | 1:07:39 | 1:07:42 | |
Well, hopefully, that will be rectified here in Connecticut. | 1:07:42 | 1:07:45 | |
I understand Mr Thomas's next port of call is Boston? | 1:07:45 | 1:07:47 | |
-Isn't that right, John? -Harvard. | 1:07:47 | 1:07:49 | |
It's an Ivy League thing. Friendly rivalry. | 1:07:54 | 1:07:58 | |
Some of us might debate the very definition of friendly. | 1:07:58 | 1:08:01 | |
Speaking as a son of Eli, | 1:08:01 | 1:08:02 | |
the 1935 Game left me in traction till Christmas. | 1:08:02 | 1:08:06 | |
-You were a Bulldog? -Hmm. | 1:08:06 | 1:08:09 | |
Tailback. | 1:08:09 | 1:08:11 | |
Last game I played. | 1:08:11 | 1:08:13 | |
Those Crimsons played rough house. | 1:08:13 | 1:08:15 | |
Two bust ribs and an open leg fracture. | 1:08:15 | 1:08:19 | |
But it was worth it. 14-7. | 1:08:19 | 1:08:21 | |
# Boola, boola, boola, boola | 1:08:21 | 1:08:25 | |
ALL: # Boola, boola Boola, boola... # | 1:08:25 | 1:08:29 | |
A fellow poet? | 1:08:29 | 1:08:30 | |
You might have some competition, Mr Thomas. | 1:08:30 | 1:08:34 | |
Wasn't Gerald Ford assistant varsity coach back in '35? | 1:08:34 | 1:08:38 | |
-He was indeed, sir. -Yeah. | 1:08:38 | 1:08:40 | |
The Congressman's Congressman. | 1:08:40 | 1:08:43 | |
We could use some of that Bulldog spirit in the House right now. | 1:08:43 | 1:08:48 | |
What do you think, Mr Brinnin? | 1:08:48 | 1:08:49 | |
John here is a Cantab. | 1:08:50 | 1:08:52 | |
His Eli sympathies may be... | 1:08:52 | 1:08:55 | |
a little spare. | 1:08:55 | 1:08:56 | |
Well, University of Michigan, actually. | 1:08:56 | 1:08:59 | |
I did graduate work at Harvard. | 1:08:59 | 1:09:01 | |
Don't be hard on John. | 1:09:03 | 1:09:05 | |
He's promised me the two things I seek most from America. | 1:09:06 | 1:09:10 | |
What might they be, Mr Thomas? | 1:09:10 | 1:09:13 | |
To meet Charlie Chaplain | 1:09:13 | 1:09:15 | |
and have a date with an ash blonde movie star. | 1:09:15 | 1:09:18 | |
I take it he doesn't mean Lassie. | 1:09:18 | 1:09:20 | |
LAUGHTER | 1:09:20 | 1:09:22 | |
GLASS CLINKING | 1:09:23 | 1:09:25 | |
Do you have something to say, Mr Thomas? | 1:09:31 | 1:09:33 | |
Gentlemen... | 1:09:33 | 1:09:35 | |
at times like this... | 1:09:35 | 1:09:37 | |
..I wish we were all hermaphrodites. | 1:09:39 | 1:09:42 | |
Why do you wish that? | 1:09:44 | 1:09:46 | |
Because... | 1:09:46 | 1:09:48 | |
..then we could all fuck ourselves! | 1:09:49 | 1:09:51 | |
There was a girl called Alice | 1:09:54 | 1:09:56 | |
Who used a dynamite stick as a phallus | 1:09:56 | 1:09:59 | |
They found her vagina in North Carolina | 1:09:59 | 1:10:01 | |
And bits of her tits in Dallas! | 1:10:01 | 1:10:03 | |
MURMURING | 1:10:03 | 1:10:04 | |
Oh, don't go... | 1:10:04 | 1:10:06 | |
I've got plenty more in the tank. | 1:10:06 | 1:10:08 | |
Perhaps another time. | 1:10:10 | 1:10:12 | |
I must excuse Mr Thomas's volubility in... | 1:10:12 | 1:10:14 | |
We're all grown-ups here, John. | 1:10:14 | 1:10:16 | |
That's debatable. | 1:10:16 | 1:10:17 | |
A whore from Timbuktu | 1:10:19 | 1:10:21 | |
Filled her vagina with glue | 1:10:21 | 1:10:23 | |
She said with a grin, "If they pay to get in, | 1:10:23 | 1:10:25 | |
"They can pay to get out again, too!" | 1:10:25 | 1:10:28 | |
There was a plumber from Leigh | 1:10:30 | 1:10:32 | |
Who was plumbing his girl by the sea | 1:10:32 | 1:10:34 | |
She said, "Stop your plumbing | 1:10:34 | 1:10:36 | |
"Somebody's coming." | 1:10:36 | 1:10:37 | |
And the plumber still plumbing said... | 1:10:37 | 1:10:40 | |
"It's me." | 1:10:42 | 1:10:43 | |
MUSIC PLAYS | 1:11:01 | 1:11:03 | |
This is better than Coney Island. | 1:11:45 | 1:11:47 | |
Who knew a poet could be so versatile? | 1:11:49 | 1:11:52 | |
Do you think Auden and Eliot do this sort of thing? | 1:11:52 | 1:11:55 | |
Maybe one hula hoops, while the other plays trumpet? | 1:11:55 | 1:11:58 | |
You want to see a versatile poet? | 1:11:58 | 1:12:00 | |
First, I'm going to drink this bottle of Scotch. | 1:12:00 | 1:12:03 | |
Then, I'm going to look for a bottle of vodka. | 1:12:03 | 1:12:05 | |
CHUCKLING | 1:12:07 | 1:12:09 | |
It's not that funny. | 1:12:09 | 1:12:10 | |
Yeah. Yeah, it is. | 1:12:10 | 1:12:13 | |
You want to know why? | 1:12:14 | 1:12:16 | |
You're not even a poet any more. | 1:12:18 | 1:12:20 | |
Hey, don't shoot the messenger. | 1:12:22 | 1:12:25 | |
You made your bed. New vocation. | 1:12:26 | 1:12:29 | |
You're a sideshow huckster now. | 1:12:29 | 1:12:31 | |
With your very own circus bear. | 1:12:31 | 1:12:34 | |
Well, I guess you would know about that sort of thing. | 1:12:34 | 1:12:37 | |
Is that how you danced for Loomis and the school committee? | 1:12:37 | 1:12:39 | |
Turning tricks for monkey nuts? | 1:12:39 | 1:12:41 | |
Slow down, mister. You forget who you're talking to. | 1:12:41 | 1:12:44 | |
Actually, I've been asking myself | 1:12:44 | 1:12:46 | |
that very question these past few days. | 1:12:46 | 1:12:48 | |
Who are you, Jack? | 1:12:49 | 1:12:51 | |
I don't know. | 1:12:51 | 1:12:52 | |
Just who the hell are you? | 1:12:52 | 1:12:54 | |
I'm the guy who could have saved your ass. | 1:12:54 | 1:12:56 | |
LAUGHTER IN BACKGROUND | 1:12:56 | 1:12:58 | |
But it is too late now, because your star act told the Provost of Yale | 1:12:58 | 1:13:02 | |
to go fuck himself. | 1:13:02 | 1:13:04 | |
No, strike that. | 1:13:04 | 1:13:06 | |
The Provost, the Vice-Chancellor, | 1:13:06 | 1:13:09 | |
the Associate Vice-Chancellor, Endowed Professors | 1:13:09 | 1:13:12 | |
and half the collegiate board of governors. Yale. | 1:13:12 | 1:13:15 | |
Fucking Yale. | 1:13:16 | 1:13:18 | |
LIGHT CHUCKLING | 1:13:19 | 1:13:21 | |
What? What's so funny? | 1:13:21 | 1:13:24 | |
To Jack. Good ol' Jack. | 1:13:24 | 1:13:27 | |
There is just one thing I want to know. | 1:13:28 | 1:13:30 | |
What was your angle? | 1:13:30 | 1:13:32 | |
It's been bugging me. | 1:13:32 | 1:13:33 | |
Professional jealousy? | 1:13:33 | 1:13:35 | |
Proving inadequacy on my part? | 1:13:35 | 1:13:38 | |
Did you want the sponsorship money for yourself? | 1:13:38 | 1:13:41 | |
What is it? | 1:13:41 | 1:13:42 | |
Or...or...another paternity suit? | 1:13:42 | 1:13:46 | |
Damn! Those cheerleaders... | 1:13:46 | 1:13:47 | |
You faggot. | 1:13:47 | 1:13:49 | |
Get over it. You're done. | 1:13:51 | 1:13:54 | |
Poor John. | 1:14:04 | 1:14:05 | |
I did warn you. | 1:14:07 | 1:14:08 | |
Hold on to the straps, kid. | 1:14:09 | 1:14:11 | |
When I'm done, you're going to be teaching | 1:14:12 | 1:14:15 | |
Mother Goose to Polak kids up in Greenpoint. | 1:14:15 | 1:14:18 | |
SOLO MALE VOICE SINGING IN THE BACKGROUND | 1:14:18 | 1:14:21 | |
# She was a fishmonger and it was no wonder | 1:14:35 | 1:14:40 | |
# As were her mother and father before | 1:14:40 | 1:14:45 | |
# They both wheeled their barrows through streets | 1:14:45 | 1:14:49 | |
# Broad and narrow, crying cockles and mussels | 1:14:49 | 1:14:53 | |
# Alive a-live-oh | 1:14:55 | 1:14:57 | |
# Alive a-live-oh alive a-live-oh | 1:14:57 | 1:15:02 | |
# Crying cockles and mussels alive a-live-oh | 1:15:02 | 1:15:07 | |
# She was... | 1:15:07 | 1:15:08 | |
# She died of a fever | 1:15:11 | 1:15:15 | |
# No-one could relieve her | 1:15:15 | 1:15:19 | |
# And that was the end of sweet... | 1:15:19 | 1:15:23 | |
# The ghost wheeled her barrow... | 1:15:28 | 1:15:31 | |
# Through streets... # | 1:15:31 | 1:15:33 | |
Let's go. | 1:15:35 | 1:15:36 | |
We're home. Casa Brinnin. | 1:16:39 | 1:16:42 | |
-Was I asleep long? -Enough. | 1:16:44 | 1:16:46 | |
You slept enough. | 1:16:48 | 1:16:50 | |
Good. | 1:16:51 | 1:16:52 | |
We made a holy show last night. | 1:16:58 | 1:17:01 | |
Did we? | 1:17:01 | 1:17:02 | |
It's probably spread like a bush fire across every East Coast campus. | 1:17:04 | 1:17:08 | |
Fuck them in the eye, John. | 1:17:09 | 1:17:11 | |
And the ear, we were drunk. | 1:17:11 | 1:17:15 | |
Any person with a beating heart could see and understand that. | 1:17:15 | 1:17:19 | |
If not, they don't matter. | 1:17:19 | 1:17:21 | |
Jack's probably at breakfast with Loomis now. | 1:17:23 | 1:17:27 | |
Sharing his political...take. | 1:17:27 | 1:17:29 | |
I can feel them laughing at me. | 1:17:31 | 1:17:33 | |
I'll pack my things on Monday. | 1:17:36 | 1:17:38 | |
Say fuck, John. | 1:17:39 | 1:17:41 | |
Say arse and shit | 1:17:42 | 1:17:45 | |
and kick those ghosts out of your bed. | 1:17:45 | 1:17:47 | |
I wouldn't worry. | 1:17:48 | 1:17:49 | |
No, you wouldn't, would you! | 1:17:50 | 1:17:53 | |
And you dropped this. | 1:17:56 | 1:17:58 | |
You dropped it three times last night. | 1:17:58 | 1:18:00 | |
And you accuse me of being scared. | 1:18:01 | 1:18:03 | |
No, you don't! | 1:18:11 | 1:18:13 | |
If you're ready? | 1:18:24 | 1:18:25 | |
Fuck. Ass. Shit. | 1:18:44 | 1:18:47 | |
-CAITLIN: -If only you took this long in the bedroom to open me up. | 1:19:35 | 1:19:39 | |
Little man. | 1:19:42 | 1:19:44 | |
Half man. | 1:19:45 | 1:19:48 | |
Crumpled boy. | 1:19:48 | 1:19:50 | |
What gives you courage now, my curious child? | 1:19:59 | 1:20:02 | |
What woman has left her scent on you, | 1:20:04 | 1:20:08 | |
her dirty stain, that's given you courage to come back to me? | 1:20:08 | 1:20:12 | |
-Huh? -There's only you... | 1:20:12 | 1:20:14 | |
Stop! | 1:20:14 | 1:20:17 | |
You've left holes. | 1:20:17 | 1:20:18 | |
Holes that need to be filled... | 1:20:20 | 1:20:23 | |
..my little cherub, | 1:20:24 | 1:20:27 | |
my angel-eyed demon. | 1:20:27 | 1:20:29 | |
Holes in our children's stomachs. | 1:20:31 | 1:20:33 | |
They're starving. | 1:20:33 | 1:20:36 | |
Starving in a way a child should never be made to starve. | 1:20:36 | 1:20:40 | |
They're starving! | 1:20:40 | 1:20:41 | |
Holes in our home which were once | 1:20:45 | 1:20:47 | |
stuffed full with your shapeless body. | 1:20:47 | 1:20:49 | |
And holes in me, | 1:20:50 | 1:20:52 | |
holes that I've tried to fill, | 1:20:52 | 1:20:55 | |
with drink... | 1:20:55 | 1:20:56 | |
..and words... | 1:20:59 | 1:21:00 | |
..and reason... | 1:21:01 | 1:21:03 | |
..little food... | 1:21:05 | 1:21:08 | |
and the odd land-craving sailor. | 1:21:08 | 1:21:11 | |
You know I'm spoiled. | 1:21:16 | 1:21:18 | |
Why do you need me so? | 1:21:21 | 1:21:23 | |
This is it... | 1:21:26 | 1:21:28 | |
This is how it has to be until we devour each other. | 1:21:29 | 1:21:32 | |
Until we are set free. | 1:21:32 | 1:21:34 | |
SOBBING | 1:21:38 | 1:21:40 | |
You had to come. | 1:21:44 | 1:21:47 | |
You had to come here, didn't you? | 1:21:47 | 1:21:49 | |
You're not finished yet. | 1:21:51 | 1:21:53 | |
You're not finished yet. | 1:21:54 | 1:21:57 | |
Dylan? | 1:22:21 | 1:22:23 | |
Dylan! Where are you? | 1:22:24 | 1:22:28 | |
Dylan? | 1:22:30 | 1:22:32 | |
Where did you go? | 1:22:32 | 1:22:33 | |
Can I get you anything? | 1:22:41 | 1:22:43 | |
What a woman! | 1:22:53 | 1:22:54 | |
What a ground shaking celestial furnace of a creature. | 1:22:54 | 1:22:59 | |
"Come back to us our angel of rhyme and life giver." Ha! | 1:23:00 | 1:23:04 | |
She's a better writer than me, always has been. | 1:23:04 | 1:23:06 | |
Look at that penmanship. | 1:23:06 | 1:23:08 | |
And those thighs! | 1:23:08 | 1:23:10 | |
I can't waste any more time. | 1:23:12 | 1:23:14 | |
-Waste? -The Boston train's tomorrow, | 1:23:14 | 1:23:16 | |
early, mustn't be late. | 1:23:16 | 1:23:19 | |
Prepared, be prepared. | 1:23:19 | 1:23:22 | |
I'll pack now. Come on, John. | 1:23:22 | 1:23:24 | |
Waste your time? | 1:23:24 | 1:23:26 | |
There is nothing left you can take from me, is there? | 1:23:26 | 1:23:29 | |
I'm empty. | 1:23:29 | 1:23:30 | |
You have gorged on my heart and mind and left me nothing. | 1:23:30 | 1:23:33 | |
-Take it easy, John. -You selfish vampire! | 1:23:33 | 1:23:36 | |
CHUCKLES | 1:23:37 | 1:23:39 | |
Vampire? | 1:23:39 | 1:23:41 | |
What did that woman say? | 1:23:48 | 1:23:50 | |
My wife, John! It's none of your business. | 1:23:50 | 1:23:53 | |
What did she say that awoke you from your dream? | 1:23:53 | 1:23:54 | |
I need to know. | 1:23:54 | 1:23:56 | |
What is it she can scribble down... | 1:23:56 | 1:23:57 | |
-Stop it, John. -..in her violent | 1:23:57 | 1:23:59 | |
cheap-hand that eclipses my entire being. | 1:23:59 | 1:24:01 | |
-Stop it! -That bitch! | 1:24:01 | 1:24:03 | |
GRUNTING | 1:24:03 | 1:24:06 | |
I'm sorry, I'm sorry! | 1:24:06 | 1:24:09 | |
PANTING | 1:24:13 | 1:24:14 | |
Sorry I wasn't enough for you. | 1:24:31 | 1:24:34 | |
You were never meant to be. | 1:24:35 | 1:24:36 | |
There is no secret, John. | 1:24:39 | 1:24:42 | |
No Holy Grail. | 1:24:42 | 1:24:44 | |
Just what's in front of all of us. | 1:24:45 | 1:24:47 | |
Don't open a book. | 1:24:49 | 1:24:51 | |
Open a window. | 1:24:52 | 1:24:54 | |
A stranger has come | 1:25:57 | 1:25:59 | |
To share my room in the house not right in the head | 1:26:00 | 1:26:05 | |
A girl mad as birds | 1:26:05 | 1:26:07 | |
Bolting the night of the door | 1:26:08 | 1:26:10 | |
with her arm her plume | 1:26:10 | 1:26:14 | |
Strait in the mazed bed | 1:26:14 | 1:26:17 | |
She deludes the heaven-proof house with entering clouds | 1:26:17 | 1:26:21 | |
Yet she deludes with walking the nightmarish room | 1:26:21 | 1:26:25 | |
At large as the dead | 1:26:25 | 1:26:28 | |
Or rides the imagined oceans of the male wards | 1:26:28 | 1:26:32 | |
She has come possessed | 1:26:32 | 1:26:34 | |
Who admits the delusive light | 1:26:34 | 1:26:37 | |
Through the bouncing wall | 1:26:37 | 1:26:40 | |
Possessed by the skies | 1:26:40 | 1:26:43 | |
She sleeps in the narrow trough yet she walks the dust | 1:26:43 | 1:26:47 | |
Yet raves at her will | 1:26:47 | 1:26:50 | |
On the madhouse boards worn thin by my walking tears | 1:26:50 | 1:26:55 | |
And taken by light in her arms at long and dear last | 1:26:55 | 1:27:00 | |
I may without fail | 1:27:00 | 1:27:03 | |
Suffer the first vision that set fire to the stars. | 1:27:03 | 1:27:08 | |
Once you get to Boston there will be a driver waiting. | 1:27:38 | 1:27:40 | |
Their Dean wants to introduce you | 1:27:40 | 1:27:42 | |
and you're committed to two 20-minute sets. | 1:27:42 | 1:27:44 | |
I'll let them know about your travel arrangements in the morning. | 1:27:44 | 1:27:48 | |
Thank you. | 1:27:48 | 1:27:49 | |
I have taken the liberty of advancing you money | 1:27:49 | 1:27:51 | |
for the next two weeks and have portioned some | 1:27:51 | 1:27:53 | |
into an envelope for home. | 1:27:53 | 1:27:55 | |
Perhaps you can wire it to Caitlin? | 1:27:57 | 1:27:59 | |
Thank you, John. | 1:28:01 | 1:28:02 | |
Dylan? | 1:28:06 | 1:28:07 | |
I now know what you mean when you say it is about feelings. | 1:28:07 | 1:28:11 | |
Something... | 1:28:12 | 1:28:13 | |
EXHALES Let's get you to the station. | 1:28:18 | 1:28:20 | |
So you can terrorise somebody else. | 1:28:20 | 1:28:22 | |
APPLAUSE | 1:29:08 | 1:29:10 | |
Now as I was young and easy under the apple boughs | 1:29:27 | 1:29:30 | |
About the lilting house and happy as the grass was green | 1:29:30 | 1:29:34 | |
The night above the dingle starry, time let me hail and climb | 1:29:35 | 1:29:40 | |
Golden in the heydays of his eyes | 1:29:41 | 1:29:45 | |
And honoured among wagons I was prince of the apple towns | 1:29:45 | 1:29:50 | |
And once below a time I lordly had the trees and leaves | 1:29:50 | 1:29:55 | |
Trail with daisies and barley | 1:29:55 | 1:29:58 | |
Down the rivers of the windfall light... | 1:29:59 | 1:30:02 | |
MUSIC: Set Fire To The Stars by Gruff Rhys | 1:30:51 | 1:30:54 | |
# Set fire to the stars | 1:31:08 | 1:31:11 | |
# The great, the good | 1:31:11 | 1:31:13 | |
# The kings, the czars | 1:31:13 | 1:31:16 | |
# Can't blink from them guitars | 1:31:16 | 1:31:20 | |
# Took the call | 1:31:20 | 1:31:21 | |
# And crashed the car | 1:31:21 | 1:31:23 | |
# Spinning to the ground | 1:31:23 | 1:31:25 | |
# Tumbling to the ground | 1:31:28 | 1:31:30 | |
# We could be fallen there | 1:31:33 | 1:31:37 | |
# Leaves and cobwebs from the head | 1:31:37 | 1:31:41 | |
# Skyscrapers running by | 1:31:41 | 1:31:46 | |
# Willing to this merry-go-round | 1:31:46 | 1:31:49 | |
# And round | 1:31:49 | 1:31:51 | |
# Spinning to the ground | 1:31:53 | 1:31:56 | |
# Have you set fire to the stars? | 1:32:00 | 1:32:07 | |
# Light the match | 1:32:07 | 1:32:09 | |
# That takes the bite | 1:32:09 | 1:32:15 | |
# We're setting fire to the stars | 1:32:15 | 1:32:23 | |
# Let's fill our drinks | 1:32:25 | 1:32:26 | |
# And crash the car | 1:32:26 | 1:32:31 | |
# Abandoned souls will carry on | 1:33:10 | 1:33:14 | |
# Without a care to sing their song | 1:33:14 | 1:33:18 | |
# Keeping up with hurricanes | 1:33:18 | 1:33:22 | |
# Spit out the week and start again | 1:33:22 | 1:33:26 | |
# Tumbling to the ground | 1:33:26 | 1:33:28 | |
# Spinning to the ground | 1:33:30 | 1:33:34 | |
# Did you set fire to the stars? | 1:33:36 | 1:33:44 | |
# Light the match | 1:33:45 | 1:33:46 | |
# That takes the bite | 1:33:46 | 1:33:52 | |
# We're setting fire to the stars | 1:33:54 | 1:34:01 | |
# Let's fill our drinks | 1:34:01 | 1:34:03 | |
# And crash the car. # | 1:34:03 | 1:34:08 |