0:00:02 > 0:00:07This film contains some strong language.
0:00:07 > 0:00:09Good afternoon, madam.
0:00:15 > 0:00:18Good afternoon, Lady Clare. Welcome aboard.
0:00:18 > 0:00:19Good afternoon, Elaine.
0:00:22 > 0:00:23Thank you.
0:00:46 > 0:00:49But what if she doesn't like me, Bailey?
0:00:49 > 0:00:51Yeah. And?
0:00:51 > 0:00:52So what if I muck it up?
0:00:52 > 0:00:55You'll hate me forever and never speak to me again.
0:00:55 > 0:00:57- I don't give a stuff what she thinks!- But Bailey..!
0:00:57 > 0:00:59What?
0:00:59 > 0:01:02I've never even been on an aeroplane before.
0:01:04 > 0:01:07It's like a 29 bus. With wings. Come on now.
0:01:12 > 0:01:14You're beautiful. It'll be fine.
0:01:20 > 0:01:25Dry white wine, love. And she'll have a medium sweet. Chop chop.
0:01:26 > 0:01:29Good afternoon, madam.
0:01:38 > 0:01:40All right, Lady C?
0:01:43 > 0:01:46They'll never let us land.
0:02:16 > 0:02:18And we were by the river,
0:02:18 > 0:02:22and Tony Armstrong Jones was posing me by a willow, and this man,
0:02:22 > 0:02:26this rude and rather dirty man who I suppose must work on boats
0:02:26 > 0:02:28or something, he came up,
0:02:28 > 0:02:32and this man said, "Can I be in your picture?" and I said "no".
0:02:32 > 0:02:33- Never!- Absolutely.
0:02:33 > 0:02:36A little higher with the arm, Your Grace,
0:02:36 > 0:02:37Not too wide on the lovely lips.
0:02:37 > 0:02:39And he said, "why not?"
0:02:39 > 0:02:43and I said, "They don't photograph just anybody, you know."
0:02:43 > 0:02:46If we said anybody was worth photographing, who knows where we'd be.
0:02:46 > 0:02:48There'd be a revolution. What did Tony say?
0:02:48 > 0:02:51He gave him half a crown and told him to bugger off.
0:02:51 > 0:02:52- My goodness!- I know.
0:02:52 > 0:02:54Where's Lavinia?
0:02:54 > 0:02:56She was here a moment ago.
0:02:57 > 0:03:01No, no, no! You utter beast!
0:03:01 > 0:03:03Go on, you love it.
0:03:03 > 0:03:04Oh, God, yes!
0:03:04 > 0:03:05Oi Bailey, we're on.
0:03:05 > 0:03:07Righto.
0:03:10 > 0:03:14So, same time next week, Your Highness?
0:03:14 > 0:03:16Listen, sonny.
0:03:16 > 0:03:20You can shtup me, but don't ever imagine you can afford me.
0:03:22 > 0:03:23Love you too, chief.
0:03:23 > 0:03:24HE WHISTLES
0:03:31 > 0:03:34And so are you going anywhere nice for the weekend?
0:03:34 > 0:03:35Well...
0:03:35 > 0:03:38Ah, David, good. And do we have..?
0:03:38 > 0:03:40Lavinia!
0:03:40 > 0:03:42Are you quite all right?
0:03:42 > 0:03:44You look a little flushed.
0:03:44 > 0:03:45I'm divine.
0:03:45 > 0:03:48Perfect. Thank you, ladies. And...!
0:03:53 > 0:03:55..Still!
0:04:10 > 0:04:12Lovely. Well done, all.
0:04:12 > 0:04:16Now for this next shot, I think a little more erect.
0:04:16 > 0:04:20If you orientate it this way. Can we have the key lights higher?
0:04:20 > 0:04:2220 points I think on that.
0:04:25 > 0:04:28And if we raise that up a little bit there.
0:04:30 > 0:04:33Mr French? I'm off.
0:04:33 > 0:04:34Good heavens. Tea already?
0:04:34 > 0:04:36No.
0:04:36 > 0:04:40I'm going to get my own studio. I'm leaving you.
0:04:41 > 0:04:43Really, David? But you're...
0:04:43 > 0:04:45What?
0:04:45 > 0:04:47Not quite the type, I suppose.
0:04:47 > 0:04:49So?
0:04:49 > 0:04:51I mean, who will you work with?
0:04:51 > 0:04:54I'll find someone.
0:04:54 > 0:04:56Easy.
0:05:00 > 0:05:01STIFLED GIGGLING
0:05:30 > 0:05:33Look, Jean. They've started already.
0:05:33 > 0:05:36- They're doing it.- The walking thing.
0:05:46 > 0:05:51Good day. I'm Miss Lucie Clayton, principal of the academy.
0:05:51 > 0:05:54And you must be...Joan?
0:05:54 > 0:05:56Jean.
0:05:56 > 0:05:58Jean. Jean, exactly.
0:05:58 > 0:05:59Do come this way.
0:06:05 > 0:06:08It all happened at a holiday camp, actually.
0:06:08 > 0:06:10- Last year.- How picturesque.
0:06:10 > 0:06:13Yes, it was one of those beauty contests, you know.
0:06:13 > 0:06:16We thought they were just trying to make up the numbers,
0:06:16 > 0:06:17but blow me!
0:06:17 > 0:06:19- Third.- Third place.
0:06:19 > 0:06:22Can you believe it? Our Jean, a beauty?
0:06:22 > 0:06:25Well, you know, in the eye of the beholder and so forth!
0:06:25 > 0:06:28It's only until she gets married of course.
0:06:28 > 0:06:29Yes, of course. Yes, yes.
0:06:29 > 0:06:31Walking out with a lovely chap called Richard.
0:06:31 > 0:06:33From Henley.
0:06:33 > 0:06:35Fascinating.
0:06:35 > 0:06:36Thank you.
0:06:37 > 0:06:39Mmm...
0:06:39 > 0:06:41I'm not sure.
0:06:41 > 0:06:45You see, it's a matter of being model material.
0:06:45 > 0:06:49The requirements are rather specific.
0:06:49 > 0:06:50I can do it.
0:06:50 > 0:06:52The book thing, I mean.
0:06:54 > 0:06:56See?
0:06:59 > 0:07:01Very well.
0:07:01 > 0:07:06- I've brought cash. Is that wrong? - We thought we should pay first.
0:07:06 > 0:07:09You may settle your account in any way you wish.
0:07:09 > 0:07:10Jolly good.
0:07:10 > 0:07:15Building trade, you know. And a small-holding. Lots of cash.
0:07:15 > 0:07:19Jean, why don't you join the other ladies?
0:07:31 > 0:07:33Yes, as well as...um...
0:07:34 > 0:07:36Deportment.
0:07:36 > 0:07:41Yes. As well as that, could you teach her a bit of..?
0:07:43 > 0:07:46She needs to fit in a bit more.
0:07:46 > 0:07:47CRASHING
0:07:50 > 0:07:51(Sorry.)
0:07:51 > 0:07:55That might require our extended course.
0:07:58 > 0:08:01That's beautiful, love. This hand here, just bring it up there a bit.
0:08:01 > 0:08:03There you go, that's lovely.
0:08:03 > 0:08:04PHONE RINGING
0:08:06 > 0:08:09Hang about, ladies, keep your knickers off.
0:08:10 > 0:08:12Hello, studio five?
0:08:12 > 0:08:14Hello, yes, would that be Mr David Bailey?
0:08:14 > 0:08:16This is Bailey, yeah.
0:08:16 > 0:08:18The Mr David Bailey who was responsible for the, uh...
0:08:18 > 0:08:23..interesting photograph of Pauline Stone in the Express involving a...
0:08:23 > 0:08:26A squirrel, yeah. It's stuffed, by the way. Who's this?
0:08:26 > 0:08:29Oh, sorry, yes, my name's Parsons. John Parsons,
0:08:29 > 0:08:32I'm telephoning you from Vogue Magazine.
0:08:32 > 0:08:34Yeah? And?
0:08:34 > 0:08:37Concerning whether you would care to take up a position.
0:08:37 > 0:08:40Here. On the staff.
0:08:40 > 0:08:41How much?
0:08:41 > 0:08:42I'm sorry?
0:08:42 > 0:08:44How much is it?
0:08:44 > 0:08:47Mary had a little lamb. Say it. Get your boat race moving.
0:08:47 > 0:08:49- 15 guineas.- A shot?
0:08:49 > 0:08:53Good heavens, no. Per week!
0:08:53 > 0:08:56Sorry, chief. I can't hear ya. Hang about, stay there.
0:08:56 > 0:09:00Come on darling, loosen up a bit! Christ's sake!
0:09:00 > 0:09:03Take a jump. I don't know. Skip! Something!
0:09:03 > 0:09:05Anything!
0:09:05 > 0:09:08Excuse me, mate, can you just keep it down a bit?
0:09:08 > 0:09:10Sorry, guv. Women, eh?
0:09:10 > 0:09:14If they didn't have a Morris, you'd have to shoot 'em.
0:09:14 > 0:09:16Say "Mary had a little lamb".
0:09:16 > 0:09:19Hello? Yeah. Sorry, I got to pass.
0:09:19 > 0:09:2315 guineas is less than what Woman's Own are giving me per photograph.
0:09:23 > 0:09:26You want to work for a proper magazine, what people really read.
0:09:26 > 0:09:28Well...
0:09:30 > 0:09:34All right, ladies! Who wants a lick of my raspberry mivvi, eh?
0:09:34 > 0:09:36Come on, get back in positions.
0:09:46 > 0:09:49Oi, mate. You sell a lot of these?
0:09:49 > 0:09:51Some. Nice little earner.
0:09:56 > 0:09:57PHONE RINGING
0:10:00 > 0:10:02Bailey.
0:10:02 > 0:10:08All right, Mr Bailey. A contract position. Per page. 15 guineas.
0:10:08 > 0:10:12Free to shoot for anyone except the enemy - Harper's, Vanity Fair, Queen.
0:10:17 > 0:10:19All right, cock. You're on.
0:10:19 > 0:10:21Oh, er... Jolly good.
0:10:23 > 0:10:26And... Is she your girl? The squirrel lady.
0:10:26 > 0:10:30It's just, I'm not wholly sure she's us...
0:10:30 > 0:10:32if you know what I mean.
0:10:32 > 0:10:35No. She's not my girl. No, I don't have a girl.
0:10:35 > 0:10:37Erm... Shall we say Monday?
0:10:37 > 0:10:39Done.
0:10:41 > 0:10:44Miss Shrimpton? Love?
0:10:44 > 0:10:46You forgot your shoes.
0:11:09 > 0:11:14Here Charlie, what happened to that bird from Pinner with the big Eartha Kitts?
0:11:14 > 0:11:17I feel like celebrating.
0:11:27 > 0:11:29PHONE RINGING
0:11:31 > 0:11:32Hello?
0:11:32 > 0:11:35You've got a booking, darling! Yes, Acrilan.
0:11:35 > 0:11:39Autumn skirts. The photographer is one David somebody,
0:11:39 > 0:11:41not long out of John French's, working at Vogue.
0:11:41 > 0:11:43Asked for you by name.
0:11:43 > 0:11:44Who?
0:11:44 > 0:11:46- David...- Christine, turn that down this instant!
0:11:46 > 0:11:51It's an ad, darling. 30 guineas. Smile. Pack your bag and try again.
0:11:51 > 0:11:53Do I have to?
0:11:53 > 0:11:54Yes, darling, you do.
0:11:56 > 0:11:59If we're ever going to pay for all those ten by eights.
0:11:59 > 0:12:03I can't do my bloody accounts surrounded by that bloody noise!
0:12:03 > 0:12:06- Come on Dad, she'll turn it down. - Too right she bloody will!
0:12:06 > 0:12:08What are you doing? Daddy...
0:12:08 > 0:12:11- GRAMOPHONE SMASHES - It was a birthday present!
0:12:11 > 0:12:14Why would you do that, Daddy? It wasn't that loud!
0:12:14 > 0:12:18Seriously, you never, ever let me do anything that I want, Daddy.
0:12:18 > 0:12:20Please, why would you do that?
0:12:20 > 0:12:24Daddy, I hate you. That was a birthday present.
0:12:24 > 0:12:28- If you think that gramophone is coming back here... - I'm sorry, Daddy!
0:12:28 > 0:12:30I said I was sorry. I am sorry, really I am!
0:12:30 > 0:12:32DOORBELL RINGS
0:12:35 > 0:12:38Richard's here.
0:12:38 > 0:12:41- Thanks. - He's so nice.
0:12:41 > 0:12:44He's not going to wait around forever, you know.
0:12:44 > 0:12:48- First the typing, now this modelling business... - Mum!
0:12:48 > 0:12:50Your dad keeps asking.
0:12:57 > 0:13:00- Have you still got that car of yours? - I do indeed, sir, yes.
0:13:00 > 0:13:03- What's it called again? - Sunbeam Alpine.
0:13:03 > 0:13:07- Sunbeam Alpine - that's a silly name for a car, isn't it? - Mm. It drives like a treat, though.
0:13:07 > 0:13:11- Oh, hello, Jean. - Hi, Richard.
0:13:48 > 0:13:52Can I help you?
0:13:52 > 0:13:55Yes... erm...
0:13:55 > 0:13:57Sorry.
0:13:57 > 0:13:59Eh, David Bailey?
0:14:01 > 0:14:03Up there.
0:14:03 > 0:14:06All right.
0:14:08 > 0:14:11Good God!
0:14:11 > 0:14:14Sorry. Sorry, erm...
0:14:14 > 0:14:17I was looking for erm...
0:14:17 > 0:14:21- ..for the photographer.- What? We have many fine photographers.
0:14:21 > 0:14:24- Erm...- Claude Vernier. Norman Parkinson.
0:14:24 > 0:14:27- Mr Cecil Beaton. - Morning.- Morning.
0:14:27 > 0:14:31Oh, those are photographers. This is a rather charming tea boy.
0:14:31 > 0:14:34Studio three. Top of the stairs.
0:14:34 > 0:14:37The small one.
0:14:39 > 0:14:41Thanks.
0:14:41 > 0:14:44What a drip.
0:14:51 > 0:14:53Bailey.
0:14:53 > 0:14:56Bailey what?
0:14:56 > 0:14:58I mean, what Bailey?
0:14:58 > 0:15:01Just Bailey.
0:15:01 > 0:15:04Gosh. OK.
0:15:05 > 0:15:08Yeah.
0:15:08 > 0:15:11Have we...?
0:15:13 > 0:15:19Yeah. You'd forgot your shoes.
0:15:19 > 0:15:21Oh, yes.
0:15:25 > 0:15:28All right, then. Acrilan.
0:15:49 > 0:15:57SULTRY JAZZ PLAYS
0:16:14 > 0:16:19Hang about, this is marvellous. Good girl.
0:16:19 > 0:16:21Open your mouth slightly.
0:16:21 > 0:16:24That left elbow, let it go out more slightly.
0:16:24 > 0:16:28That's your right... No problem, John.
0:16:28 > 0:16:32No! Who told you to move? Come on, Go back to where you were.
0:16:32 > 0:16:36- Sorry. Being very stiff. - Yeah, you are a bit.
0:16:36 > 0:16:39That's all right, though. Kinda looks good on you.
0:16:41 > 0:16:43Kinda.
0:16:44 > 0:16:49Lose the bag. Lose the hat. Lose your gloves. Lose the earrings.
0:16:49 > 0:16:51- Really?- Really.
0:16:52 > 0:16:55Sorry.
0:16:56 > 0:17:00I thought you were like John French. Silly studs.
0:17:10 > 0:17:11I dunno.
0:17:14 > 0:17:16You'd look good in a pearl necklace.
0:17:21 > 0:17:24Maybe I could help you out with that?
0:17:25 > 0:17:28THEY LAUGH
0:17:29 > 0:17:32So what part of town you live in, then?
0:17:32 > 0:17:35I don't. Bucks. I'm a country girl.
0:17:35 > 0:17:37Oh, right. Head up.
0:17:37 > 0:17:39On a sort of a farm.
0:17:39 > 0:17:42I see. That's it. More.
0:17:42 > 0:17:44What do you see?
0:17:44 > 0:17:45Higher.
0:17:45 > 0:17:48Do you have a boyfriend, then?
0:17:48 > 0:17:50As a matter of fact.
0:17:50 > 0:17:52What's he called?
0:17:52 > 0:17:54Yes. Again.
0:17:54 > 0:17:57He's called Richard du Soixante.
0:17:57 > 0:17:59Oh, right. I got it.
0:18:00 > 0:18:02Right, you got what?
0:18:02 > 0:18:06Well, you're MGs and Daddy and chinless wonders, ain't you?
0:18:06 > 0:18:08You don't know anything about me.
0:18:08 > 0:18:10I know you're posh.
0:18:10 > 0:18:12I'm not posh.
0:18:12 > 0:18:13I feed the pigs.
0:18:13 > 0:18:14Mm-hm.
0:18:14 > 0:18:17And I know
0:18:17 > 0:18:19you have very,
0:18:19 > 0:18:21very, very long legs.
0:18:24 > 0:18:26Spread 'em, would you?
0:18:35 > 0:18:37And you?
0:18:37 > 0:18:38What are you?
0:18:38 > 0:18:40Apart from happily married?
0:18:45 > 0:18:47Do you like dogs?
0:18:47 > 0:18:50Of course. We have five.
0:18:50 > 0:18:52What sort?
0:18:52 > 0:18:56Two sheepdogs, an Airedale, a Schnauzer and a German Shepherd.
0:18:56 > 0:18:58I just got an Afghan.
0:18:58 > 0:19:00KETTLE WHISTLES
0:19:00 > 0:19:01Fancy a cup of tea?
0:19:01 > 0:19:03See, what you want, doll,
0:19:03 > 0:19:06is to work with the best and then pick the best of them.
0:19:06 > 0:19:09In America, it would be Avedon, Penn, William Klein.
0:19:09 > 0:19:11In America, it would all be different.
0:19:11 > 0:19:14Who's your booker? You need a new booker.
0:19:14 > 0:19:17All right. What we'll do is get you a nice do, a nice outfit.
0:19:17 > 0:19:20You want your hair up, though. Want to see them eyes.
0:19:20 > 0:19:24We'll do you some nice pics, good pics, something they haven't seen before.
0:19:24 > 0:19:26We'll start next Monday and I'll pick you up.
0:19:26 > 0:19:29- Want milk in that or do you like it like an old sock?- Which are you?
0:19:29 > 0:19:31Which am I what?
0:19:31 > 0:19:32The best, or what?
0:19:34 > 0:19:35Oh, me?
0:19:35 > 0:19:37Well, I'm just Bailey.
0:19:37 > 0:19:39I don't get no complaints, though.
0:19:41 > 0:19:42HE LAUGHS
0:19:45 > 0:19:49ENGINE ROARS
0:19:49 > 0:19:51He said a Sunbeam doesn't go faster than 30!
0:19:51 > 0:19:53He wants to put his bloody foot down!
0:19:53 > 0:19:55THEY LAUGH
0:20:00 > 0:20:04Well, that's your pictures sorted. What do we do now, then?
0:20:06 > 0:20:09Right, well, if you drop me off at Wandsworth Town,
0:20:09 > 0:20:11then I can catch the Waterloo train to...
0:20:27 > 0:20:29- Bailey, no.- What?
0:20:31 > 0:20:32You don't look frigid.
0:20:32 > 0:20:35You don't look faithful.
0:20:37 > 0:20:38Well,
0:20:38 > 0:20:41if it's undying love you're after,
0:20:41 > 0:20:45maybe Mr Richard the Nice Boyfriend can supply?
0:20:45 > 0:20:46ENGINE STARTS
0:20:46 > 0:20:49As long as you're happy.
0:20:49 > 0:20:52ENGINE REVS
0:20:52 > 0:20:53Kiss me again.
0:21:02 > 0:21:03Just kissing.
0:21:03 > 0:21:06Till I know you better.
0:21:09 > 0:21:11All right, then.
0:21:11 > 0:21:12If you want.
0:21:25 > 0:21:28Done that, done that...
0:21:28 > 0:21:31Oh, Bailey, we need someone for Brides magazine.
0:21:31 > 0:21:32All right, chief.
0:21:40 > 0:21:43Here we go. Big smile. It's your wedding.
0:21:43 > 0:21:47Dad, on jump, I want you to fling your hand up when you're jumping.
0:21:47 > 0:21:50All right, give it a go. One, two,
0:21:50 > 0:21:51three,
0:21:51 > 0:21:53jump!
0:21:54 > 0:21:56There you go.
0:21:56 > 0:22:00That's it, that's it. Remember, lips open. That's it, lovely.
0:22:00 > 0:22:03That's it, that's it there. Great.
0:22:03 > 0:22:05Keep going. Again.
0:22:05 > 0:22:06Lovely.
0:22:21 > 0:22:23I guess I should take you home, then?
0:22:30 > 0:22:32Not...
0:22:32 > 0:22:33immediately.
0:22:49 > 0:22:51Can I trust you?
0:22:59 > 0:23:00Mainly.
0:23:34 > 0:23:37BIRDS TWEET
0:24:01 > 0:24:02Oh, hello, dear.
0:24:02 > 0:24:06- Where's Dad? - Up the hayfield, I think.
0:24:06 > 0:24:07Want a cup of tea?
0:24:07 > 0:24:09- Mum.- Mm?
0:24:09 > 0:24:11My friend's here.
0:24:11 > 0:24:12Bailey.
0:24:12 > 0:24:16In the barn. It was late and I said he could kip there.
0:24:16 > 0:24:18Your friend, the married one?
0:24:20 > 0:24:22Oh, dear...
0:24:28 > 0:24:30Shit!
0:24:30 > 0:24:32HORSE NEIGHS
0:24:32 > 0:24:35DOGS BARK
0:24:37 > 0:24:39Shiiiiit!
0:24:43 > 0:24:45Shit!
0:24:45 > 0:24:46Bailey!
0:24:55 > 0:24:57Lovely jam, Mrs Shrimpton.
0:24:57 > 0:24:58Thank you, uh...?
0:24:58 > 0:25:01- David.- David.
0:25:01 > 0:25:03Any more toast, "David?"
0:25:03 > 0:25:04Ha-ha.
0:25:04 > 0:25:06JEAN GIGGLES
0:25:10 > 0:25:11Daddy.
0:25:11 > 0:25:14Hi. Um, this is my friend. It was late and...
0:25:14 > 0:25:16this is Bailey.
0:25:18 > 0:25:19Get out.
0:25:22 > 0:25:24I said out.
0:25:24 > 0:25:27GET OUT, DAMN YOU! BEFORE I THROW YOU OUT!
0:25:30 > 0:25:32Sorry.
0:25:32 > 0:25:34I'm sorry. It's just, it's just the way he is.
0:25:34 > 0:25:37Big fucker, your dad, ain't he?
0:26:16 > 0:26:20You are not going to live here if you are seeing a married man.
0:26:20 > 0:26:22But it's my home.
0:26:22 > 0:26:25What do you think's going to happen to you?
0:26:25 > 0:26:27To us? To Chrissie now?
0:26:27 > 0:26:28I don't...
0:26:28 > 0:26:30I haven't worked as hard as this
0:26:30 > 0:26:32from nothing...
0:26:32 > 0:26:35nothing! I haven't worked all these years
0:26:35 > 0:26:37to raise a daughter who was a slut.
0:26:37 > 0:26:41Now either you never see him again, or you get out and stay out.
0:26:46 > 0:26:48Dad.
0:26:48 > 0:26:50I'm 18.
0:26:50 > 0:26:51I have a job.
0:26:51 > 0:26:53I can do what I like.
0:26:54 > 0:26:56I won't stop seeing him just cos you...
0:26:56 > 0:26:59You'd better go then, hadn't you?
0:27:05 > 0:27:06And we thought you were the good one.
0:27:17 > 0:27:18Right.
0:27:20 > 0:27:21Right.
0:27:50 > 0:27:52- Mum.- Take it!
0:28:43 > 0:28:44Oh, Bailey.
0:29:09 > 0:29:11Bailey, you said we were going for a walk!
0:29:11 > 0:29:14Come on, you look beautiful. That's it, lovely.
0:29:14 > 0:29:16I'm not dressed for it. Look at this trenchcoat!
0:29:16 > 0:29:19Don't worry about your coat.
0:29:19 > 0:29:22Beautiful. That's it, don't move, don't move.
0:29:23 > 0:29:25Just stay, that's it.
0:29:28 > 0:29:29Jean, you look beautiful.
0:29:33 > 0:29:35- Woo! There you are!- Woo!
0:29:35 > 0:29:37Lovely.
0:29:37 > 0:29:41Beautiful, gorgeous. That's it. Straight at me, look straight at me.
0:30:07 > 0:30:11David will be here hopefully any minute.
0:30:11 > 0:30:15So we have Shop Hound, the knitwear thing, the Hits and Misses spread...
0:30:15 > 0:30:17The cover with Enid Boulting.
0:30:17 > 0:30:21The portrait of Zeffirelli, and Paulene Stone and the squirrel in the Express.
0:30:21 > 0:30:22Innovation is our metier
0:30:22 > 0:30:26but I don't think we're really looking for the Tufty Club, are we?
0:30:26 > 0:30:28KNOCK ON THE DOOR
0:30:28 > 0:30:29Oh, David.
0:30:30 > 0:30:32Do sit down.
0:30:35 > 0:30:37David, you'll be aware
0:30:37 > 0:30:40that Lady Clare has been running the Young Idea section
0:30:40 > 0:30:43to showcase some of the more youthful styles
0:30:43 > 0:30:45and we have an upcoming lead
0:30:45 > 0:30:49we thought you might like to take a shot at.
0:30:49 > 0:30:51"Young Idea goes West".
0:30:51 > 0:30:52West?
0:30:52 > 0:30:55What? Reading? Basingstoke?
0:30:55 > 0:30:57No.
0:30:57 > 0:30:58New York.
0:31:03 > 0:31:05Who's wearing the frocks?
0:31:05 > 0:31:08- We're thinking of Nicole de Mesier. - Well, you've got to use Jean.
0:31:08 > 0:31:11Jean Shrimpton, she's terrific.
0:31:11 > 0:31:13She'd be great for New York.
0:31:13 > 0:31:15She did Brides last year...
0:31:15 > 0:31:17Got sort of a beatnik thing.
0:31:17 > 0:31:22Just because you're bonking her doesn't make her any good.
0:31:22 > 0:31:23That's not the point.
0:31:23 > 0:31:27The point is she is the most beautiful, captivating thing
0:31:27 > 0:31:28I've ever laid eyes on.
0:31:29 > 0:31:30In love, are we?
0:31:32 > 0:31:34It's in the pics.
0:31:34 > 0:31:35She's got it.
0:31:35 > 0:31:39I've never seen anything like it. She doesn't have a bad angle.
0:31:39 > 0:31:40You want new,
0:31:40 > 0:31:42you want young,
0:31:42 > 0:31:45you want anything remotely near the 20th century
0:31:45 > 0:31:49possessed of actual functioning sexual equipment,
0:31:49 > 0:31:51she's your girl.
0:31:51 > 0:31:54- I won't do it with anyone else. - Really?
0:31:54 > 0:31:55Really.
0:31:56 > 0:31:58It's her,
0:31:58 > 0:32:00or you can stuff it.
0:32:06 > 0:32:09You do realise this a lead feature?
0:32:09 > 0:32:11Absolutely.
0:32:11 > 0:32:12So we should get it right.
0:32:12 > 0:32:15Ah. So,
0:32:15 > 0:32:19Miss Shrimpton, perhaps, as the model...
0:32:19 > 0:32:22No. Come on, John. She doesn't look remotely like a Vogue model.
0:32:22 > 0:32:24I've never seen anyone so plain.
0:32:24 > 0:32:26Why not give it a little try?
0:32:30 > 0:32:32Well, only on the strict understanding
0:32:32 > 0:32:35that if we don't like it we'll...shoot it again.
0:32:40 > 0:32:41Not with you.
0:32:46 > 0:32:49She will not stand in that way on the street in New York.
0:32:49 > 0:32:52- What way?- That way. Legs akimbo.
0:32:52 > 0:32:54Why not?
0:32:54 > 0:32:57Because it's not the way a lady stands.
0:32:57 > 0:32:59On the street it will seem experienced, vulgar.
0:32:59 > 0:33:01Open for business.
0:33:01 > 0:33:02If you want innocent,
0:33:02 > 0:33:06maybe I should have her holding a bloody teddy bear in every shot?
0:33:06 > 0:33:07- Maybe you should.- Oh, Mr Bailey?
0:33:07 > 0:33:11Congratulations, enjoy your trip,
0:33:11 > 0:33:15and remember you are representing Vogue magazine.
0:33:15 > 0:33:17You will not wear your leather jacket in the St Regis Hotel.
0:33:17 > 0:33:19Understood? Oh, Clare,
0:33:19 > 0:33:23thank you, darling, for the gardenias. They are just perfect.
0:33:31 > 0:33:33PLANE TAKES OFF
0:33:33 > 0:33:36Mr Bailey?
0:33:36 > 0:33:39I just wanted to touch on a couple of items.
0:33:39 > 0:33:41You can touch what you like, Lady C.
0:33:43 > 0:33:46Did you receive your latest shoot itinerary?
0:33:46 > 0:33:47Yeah.
0:33:48 > 0:33:49Yeah?
0:33:49 > 0:33:51Yeah. Though frankly,
0:33:51 > 0:33:54I could have read any photo feature on New York in the past 20 years
0:33:54 > 0:33:57- and it would've been the same. - Indeed?
0:33:57 > 0:34:00Well, to shoot blah blah blah fashions
0:34:00 > 0:34:03against blah blah blah classic backdrops,
0:34:03 > 0:34:07the Empire State, New York Library, Brooklyn Bridge...
0:34:07 > 0:34:09Have you ever been to New York, Mr Bailey?
0:34:11 > 0:34:13Well, I have. Many times.
0:34:13 > 0:34:16And I can attest it's the most thrillingly modern city,
0:34:16 > 0:34:19largely unfamiliar with many of our readers.
0:34:19 > 0:34:23- Now, with these particular clothes...- Yeah, the shmutter.
0:34:24 > 0:34:27What about the clothes?
0:34:27 > 0:34:28Well...
0:34:28 > 0:34:30They wouldn't upset your mum, would they?
0:34:30 > 0:34:33Why on earth would I want to upset anyone's mum?
0:34:33 > 0:34:37I thought we were Vogue magazine's Young Idea? Where's the Young bit?
0:34:37 > 0:34:40I mean, that coat, that silly white dress...
0:34:40 > 0:34:43I suppose you would have it all leather and sunglasses?
0:34:43 > 0:34:45Yeah, shades might help.
0:34:45 > 0:34:47A lady does not wear "shades".
0:34:47 > 0:34:51So it ain't young, and it ain't got an idea.
0:34:51 > 0:34:52Mr Bailey.
0:34:52 > 0:34:54David.
0:34:54 > 0:34:57We should be friends this week.
0:34:57 > 0:35:01I should be your best friend, because I'm the nice one
0:35:01 > 0:35:04and one day I'll be editor-in-chief of this magazine
0:35:04 > 0:35:07and I'll be deciding whether you're hired or fired.
0:35:07 > 0:35:09Really?
0:35:09 > 0:35:10Yes, really.
0:35:10 > 0:35:13Because what do you know about fashion?
0:35:13 > 0:35:17You don't know anything about fashion.
0:35:17 > 0:35:21I heard your father was a tailor's man and your mother was, what?
0:35:21 > 0:35:24A machinist? A factory girl?
0:35:25 > 0:35:29You are working for Vogue magazine.
0:35:29 > 0:35:33You could learn something, IF you follow the instructions, Mr Bailey.
0:35:35 > 0:35:37Cut to the pattern.
0:35:39 > 0:35:41Oh, and just as soon as you can
0:35:41 > 0:35:43do ditch this ridiculous girl.
0:35:43 > 0:35:46I hear that's something you really are quite good at.
0:35:46 > 0:35:49- Could I have another blanket, please?- Yes, Your Ladyship.
0:35:49 > 0:35:50And a little more Sancerre.
0:35:50 > 0:35:53- Certainly, madam. - My ashtray is full.- I'll empty it.
0:35:55 > 0:35:57Is it true, then?
0:35:57 > 0:35:58What?
0:35:58 > 0:36:02That you're quite good at ditching girls?
0:36:05 > 0:36:07Only when I've completely used them up
0:36:07 > 0:36:10and spat them out like a dry husk.
0:36:22 > 0:36:23HE YAWNS
0:36:33 > 0:36:35Lady Clare?
0:36:35 > 0:36:37Lady Clare! Hi, I'm Larry Schwarz.
0:36:37 > 0:36:40Welcome, welcome. I've been assigned to you
0:36:40 > 0:36:43by the Conde Nast Logistics and Transportation Office.
0:36:43 > 0:36:47Mrs Vreeland sends compliments and invites you all to her Friday soiree.
0:36:47 > 0:36:49I am here to assist in your orientation around...
0:36:49 > 0:36:52- Mr Schwarz.- Yes?
0:36:52 > 0:36:53Larry.
0:36:53 > 0:36:56It may be happy hour here, but back in civilisation,
0:36:56 > 0:36:59it's 2am, I have a headache the size of Gloucestershire,
0:36:59 > 0:37:02and I have just had to wait in THE most ugly custom halls imaginable
0:37:02 > 0:37:05because of the thoughtlessness of an idiot girl.
0:37:05 > 0:37:07They were only dog-worming pills.
0:37:07 > 0:37:08Oh, that's terrible.
0:37:08 > 0:37:11- You know, for my dog. - I'm so sorry to hear that...
0:37:11 > 0:37:15If you speak a syllable again during the entire process of checking in,
0:37:15 > 0:37:17I will have you fired from Conde Nast so swiftly
0:37:17 > 0:37:20you will not draw breath in the Graybar building again.
0:37:20 > 0:37:22Now,
0:37:22 > 0:37:26carry my bags, find me some cigarettes,
0:37:26 > 0:37:28and shut up.
0:37:33 > 0:37:37Imbecilic, stupid girl...
0:37:39 > 0:37:40Follow me.
0:37:41 > 0:37:45MUSIC: "I Only Have Eyes For You" sung by Ella Fitzgerald
0:37:45 > 0:37:50# I only have eyes for you
0:37:50 > 0:37:52# Dear
0:37:52 > 0:37:55# The moon may be high
0:37:55 > 0:37:58# But I can't see a thing in the sky
0:37:58 > 0:38:02# Cos I only have eyes
0:38:02 > 0:38:06# For you
0:38:06 > 0:38:13# I don't know if we're in a garden
0:38:13 > 0:38:19# Or on a crowded avenue
0:38:19 > 0:38:23# You are here, so am I
0:38:23 > 0:38:26# Maybe millions of people go by
0:38:26 > 0:38:33# But they all disappear from view
0:38:33 > 0:38:37# And I only have eyes for you! #
0:38:53 > 0:38:55A whole week.
0:38:55 > 0:38:58No daddy. No wife.
0:38:58 > 0:39:00Do you think the springs'll last?
0:39:10 > 0:39:17# I don't know if we're in a garden
0:39:17 > 0:39:18# Or on a crowded avenue... #
0:39:18 > 0:39:22Jesus! There's a bleeding telly in a hotel room!
0:39:23 > 0:39:26Later.
0:39:26 > 0:39:29# Maybe millions of people go by
0:39:29 > 0:39:36# But they all disappear from view... #
0:39:36 > 0:39:40Oh, Bailey. It's so tall!
0:39:40 > 0:39:42Didn't I say? Didn't I?
0:39:44 > 0:39:47Look, darling! We're in New York!
0:39:47 > 0:39:49We are!
0:39:49 > 0:39:51God, we are!
0:40:02 > 0:40:05Yeah, that's right, tosh. Egg and chips.
0:40:05 > 0:40:07As in fish and chips.
0:40:07 > 0:40:10As in saveloy and chips. As in chips and chips.
0:40:10 > 0:40:14We're English. Sorry. We mean fries. Do you mind awfully?
0:40:16 > 0:40:18Right.
0:40:36 > 0:40:38What?
0:40:38 > 0:40:39What, Bailey?
0:40:44 > 0:40:46What on earth did I ever see in you?
0:40:56 > 0:40:58Excuse me!
0:40:58 > 0:41:01Mr Bailey! Mr Bailey.
0:41:01 > 0:41:02What?
0:41:02 > 0:41:05You know quite well what. You're pointing in the wrong direction.
0:41:05 > 0:41:07Really?
0:41:07 > 0:41:08Over there, model.
0:41:08 > 0:41:12Over here, no model. I think I'm pointing in the right direction.
0:41:12 > 0:41:15- I mean, the girl should be over here.- It's not about the girl.
0:41:17 > 0:41:19Well, on that we CAN agree.
0:41:19 > 0:41:21It's certainly not about the girl.
0:41:21 > 0:41:23It's about the fashions.
0:41:23 > 0:41:26It's about the mid-price spring season ladies' fashion
0:41:26 > 0:41:31the editors of Vogue have decided to showcase against the sophisticated backdrop of New York.
0:41:31 > 0:41:33Pace, morning one, item one:
0:41:33 > 0:41:35the famous stone sculptured lions
0:41:35 > 0:41:37in front of the famous New York Public Library
0:41:37 > 0:41:39in this precise direction here.
0:41:39 > 0:41:42And while you're about it, I would be obliged
0:41:42 > 0:41:45if you'd show off the exceptionally fine stitching on the lapel.
0:41:47 > 0:41:48No.
0:41:49 > 0:41:51Sorry?
0:41:51 > 0:41:53No. You're wrong.
0:41:53 > 0:41:55It's not about the poxy clothes.
0:41:55 > 0:41:58It's about the street, in actual fact.
0:41:58 > 0:42:02It's about... the noise. It's about that drunk guy over there.
0:42:02 > 0:42:03It's about the steam.
0:42:03 > 0:42:06It's about that big plastic sign that says Twist
0:42:06 > 0:42:09which will appear three to four inches above Jean's head
0:42:09 > 0:42:13in the magazine spread. It's about...the vibe!
0:42:20 > 0:42:22Jean!
0:42:22 > 0:42:23Head up!
0:42:24 > 0:42:26Bit more.
0:42:26 > 0:42:27Down with the bear.
0:42:27 > 0:42:29That's it.
0:42:29 > 0:42:31Give us a profile.
0:42:32 > 0:42:36Yeah. Up a bit. Too much.
0:42:36 > 0:42:38Into the light.
0:42:38 > 0:42:39Little smile.
0:42:39 > 0:42:43Come on. That's not the way you looked at me at 3am.
0:42:43 > 0:42:45- I've never heard anything so ridiculous.- That's it.
0:42:49 > 0:42:51Done.
0:42:52 > 0:42:53Done?
0:42:53 > 0:42:55We're done. What's next?
0:42:55 > 0:42:57Midtown?
0:42:57 > 0:43:00Or can we have a cup of bloody coffee? I'm freezing me tits off!
0:43:00 > 0:43:03He hasn't even brought out a tripod.
0:43:03 > 0:43:05We haven't done anything we wanted to do.
0:43:05 > 0:43:08So was that OK?
0:43:08 > 0:43:11- Yeah, yeah, of course. Taxi!- How can we be done?
0:43:11 > 0:43:16Look at her. She looks like a tramp with those circles under her eyes.
0:43:20 > 0:43:22What on earth is that you're using?
0:43:22 > 0:43:24It's a Pentax S3.
0:43:24 > 0:43:27- A tourist camera? - No.- An amateur camera?
0:43:27 > 0:43:30That depends who's holding it, doesn't it?
0:43:30 > 0:43:31Are you seriously telling me
0:43:31 > 0:43:34you intend to shoot the rest of the morning on that thing?
0:43:34 > 0:43:37- Rest of the week, if I can help it. - Mr Bailey, I'm not an idiot.
0:43:37 > 0:43:39What about the reduction in quality?
0:43:39 > 0:43:41There will be no reduction in quality.
0:43:41 > 0:43:43There will be a change in quality.
0:43:43 > 0:43:45The negative area produced by a medium format camera
0:43:45 > 0:43:49is several times the size of what can be produced on that thing.
0:43:49 > 0:43:51Our results are going to be grainy,
0:43:51 > 0:43:54- blurry...- Energetic...- Hurried... - Fresh, young...
0:43:54 > 0:43:57- Real...- Cheap...- Vibrant...
0:43:57 > 0:43:58- Grubby...- Instant...- Messy...
0:43:58 > 0:44:00..and alive.
0:44:00 > 0:44:05Does anyone remember alive? That's the one before dead.
0:44:05 > 0:44:07I'm sure we'll still end up with some snaps.
0:44:07 > 0:44:09Who asked you?
0:44:09 > 0:44:12Is this it? Is this the big idea?
0:44:12 > 0:44:13You and her?
0:44:14 > 0:44:17Oh. Sorry.
0:44:17 > 0:44:20I thought you were supposed to be special, not some snapper
0:44:20 > 0:44:24with a jumped-up convent girl in tow.
0:44:24 > 0:44:26Well, "Shrimp" is right.
0:44:26 > 0:44:28Wet, pink and needs dressing.
0:44:29 > 0:44:32Come on, Larry. Leave him to his bit on the side.
0:44:34 > 0:44:37Bailey! What have you got me into?
0:45:18 > 0:45:20I'll bloody take it off if you want.
0:45:22 > 0:45:26She's right, Bailey, I'm just your little bit on the side, aren't I?
0:45:26 > 0:45:29Will you give it a rest? What do you want from me? Confetti?
0:45:31 > 0:45:33KNOCK AT DOOR
0:45:33 > 0:45:37Good morning, Your Ladyship. We've got the first contacts...
0:45:37 > 0:45:41and the, uh, document you wanted was telefaxed through, so...
0:45:42 > 0:45:48Well, one or two teething problems, but...
0:45:51 > 0:45:54Was there anything else in particular...?
0:45:57 > 0:46:00What? No-one.
0:46:00 > 0:46:03Nothing I haven't handled a hundred times.
0:46:04 > 0:46:09And I think things are about to be straightened out.
0:46:09 > 0:46:11Oh, is that the little darlings?
0:46:11 > 0:46:14Oh, have they just come in from their walk?
0:46:14 > 0:46:16Oh, good.
0:46:16 > 0:46:18And the children?
0:46:27 > 0:46:29You feeling better?
0:46:29 > 0:46:30Mm-hm.
0:46:30 > 0:46:31Good.
0:46:31 > 0:46:33Cos you made your bags even bigger than ever
0:46:33 > 0:46:36with all that fuss and crying.
0:46:36 > 0:46:40We got shots to do. Big shots.
0:46:40 > 0:46:42Can't work with a bleeding panda.
0:46:42 > 0:46:46Well, you'd better look after your bleeding panda, then, hadn't you?
0:46:46 > 0:46:48Another egg and chips, Al.
0:46:55 > 0:46:57Good morning. Sleep well?
0:46:58 > 0:47:02You are required, under contract,
0:47:02 > 0:47:07to provide photographic services of a quality commensurate with
0:47:07 > 0:47:11Conde Nast publications in general, and Vogue magazine in particular,
0:47:11 > 0:47:14and to "provide these services
0:47:14 > 0:47:18"as directed by appropriate senior editorial staff."
0:47:18 > 0:47:20Commensurate means...
0:47:20 > 0:47:22I know what it means.
0:47:22 > 0:47:25And senior staff means me.
0:47:25 > 0:47:29Now, I'm going to assume that you don't quite yet wish
0:47:29 > 0:47:31to resign your contract...
0:47:32 > 0:47:34Very well.
0:47:34 > 0:47:37Today we are scheduled to shoot Miss Shrimpton
0:47:37 > 0:47:42in front of the United Nations Plaza in the suede battledress pullover.
0:47:42 > 0:47:45In keeping with the grandeur of the architecture,
0:47:45 > 0:47:47you will use a tripod, she will appear elegant...
0:47:47 > 0:47:50And you want it delivered on medium format.
0:47:50 > 0:47:51Yes, I do, Mr Bailey,
0:47:51 > 0:47:53just like every other photograph in Vogue magazine.
0:47:53 > 0:47:55All right, then.
0:47:57 > 0:47:59It is more than all right.
0:48:00 > 0:48:02It is correct.
0:48:04 > 0:48:06Just one thing.
0:48:06 > 0:48:07Yes?
0:48:07 > 0:48:11Is it possible that Jean could wear sunglasses?
0:48:11 > 0:48:12Just this once?
0:48:15 > 0:48:18I suppose she might, Bailey,
0:48:18 > 0:48:20in a limited amount of exposures.
0:48:20 > 0:48:22It is rather bright out and about today.
0:48:22 > 0:48:26Well, see you there.
0:48:32 > 0:48:33Door, Larry, door.
0:48:33 > 0:48:36One step ahead, Larry, one step ahead.
0:48:40 > 0:48:41Thank you.
0:48:43 > 0:48:45What are you up to?
0:48:47 > 0:48:49Nothing...
0:48:56 > 0:49:00Mrs Vreeland, congratulations on the new appointment!
0:49:00 > 0:49:02Oh, you know, new broom!
0:49:02 > 0:49:05And how are you enjoying your stay, Lady Rendlesham?
0:49:05 > 0:49:09Oh, well, photographer and model already... Pas de change.
0:49:09 > 0:49:13Nothing we haven't dealt with a thousand times.
0:49:13 > 0:49:14Be sure to see me Friday.
0:49:14 > 0:49:16Friday it is.
0:49:20 > 0:49:23The dress size is absolutely wonderful.
0:49:23 > 0:49:24Taxi, please.
0:49:27 > 0:49:31Now, the scarf, I think, is the absolute piece de resistance.
0:49:31 > 0:49:34Ah! Now, aren't they wonderful?
0:49:34 > 0:49:36I do love shopping in New York.
0:49:40 > 0:49:42Thank you very much.
0:49:43 > 0:49:45Here you go, keep the change.
0:49:47 > 0:49:49Lady Clare.
0:49:55 > 0:49:56Hello?
0:50:00 > 0:50:02What on earth are you doing?
0:50:02 > 0:50:06I'm shooting Jean in front of the UN building using a tripod.
0:50:06 > 0:50:10Yes, but this thing's in the way.
0:50:10 > 0:50:11Not really.
0:50:11 > 0:50:15Oh, no, yes, really. Yes, positively. It's in the way.
0:50:15 > 0:50:17Well, I can see through it. Can you, Jean?
0:50:17 > 0:50:19Uh, yes. I can see through it.
0:50:19 > 0:50:21I don't want to see through it.
0:50:21 > 0:50:23If I wanted to see though a filthy fence
0:50:23 > 0:50:25- I'd have gone to a filthy scrapyard. - Good idea.
0:50:25 > 0:50:29Larry, see if there are any scrapyards within a cab ride of here.
0:50:29 > 0:50:31- OK, sure. - Larry, do no such thing!
0:50:31 > 0:50:33OK, sure.
0:50:33 > 0:50:36Mr Bailey, I appeal to you, omit the fence.
0:50:36 > 0:50:38- Commit it?- Omit it.
0:50:39 > 0:50:41- O-mit it?- Yes, leave it out.
0:50:41 > 0:50:44- Oh, I couldn't do that. - Why not, pray tell?
0:50:45 > 0:50:48Because...
0:50:48 > 0:50:49..it's symbolic.
0:50:49 > 0:50:52Symbolic...of what?
0:50:52 > 0:50:54Old, rusty,
0:50:54 > 0:50:57been around a long time,
0:50:57 > 0:51:00no use any more, needs to be torn down.
0:51:00 > 0:51:02Do I have to draw you a picture?
0:51:10 > 0:51:11Erm...
0:51:13 > 0:51:16Right, if we've finished at this location, I think we can move on.
0:51:16 > 0:51:19We've got several more to complete...
0:51:19 > 0:51:21You're not even shooting on a proper camera.
0:51:21 > 0:51:25- Oh, don't worry, I'll get you your medium format.- Quite how?
0:51:25 > 0:51:27How?
0:51:27 > 0:51:30Because I'm a bloody magician. Abra-bloody-cadabra!
0:51:30 > 0:51:33- I'm going to telephone London about you.- Suit yourself.
0:51:33 > 0:51:36- I'm going to speak to the editor... - Old girls united!
0:51:36 > 0:51:41- ..about you and her. Don't think you'll be invited to Mrs Vreeland's soiree on Friday night...- Shame.
0:51:41 > 0:51:45..and I strongly suggest you complete your schedule.
0:51:45 > 0:51:48The Empire State and the park before lunch. Larry!
0:51:48 > 0:51:52- I got you your...- Never mind about the ruddy tea, just get me to the hotel, man!
0:51:54 > 0:51:55Taxi!
0:51:55 > 0:51:57Bye!
0:51:58 > 0:52:01She's not pleased, Bailey. She'll make a lot of trouble.
0:52:01 > 0:52:04Why are you doing this?
0:52:04 > 0:52:06Because it's important.
0:52:06 > 0:52:09Because I hate her. I hate all of them.
0:52:09 > 0:52:13Bailey, if you hate them so much, why do you want to be one of them?
0:52:14 > 0:52:15You what?
0:52:15 > 0:52:18You know what I mean. You don't have to do this.
0:52:18 > 0:52:20- You could do something else. - If you think...
0:52:20 > 0:52:26- If you think I want to be one of them, one of them stuck-up twats...- All I'm saying is...
0:52:26 > 0:52:29- Jesus Christ! I wonder why I even brung you here!- All I'm...
0:52:29 > 0:52:32Look, if you've got a problem, why don't you go home to daddy and cry about it?
0:52:33 > 0:52:35I can't.
0:52:35 > 0:52:36Remember?
0:52:36 > 0:52:40I'm the cheap tart who's having an affair with a married man.
0:52:40 > 0:52:42I can never go home ever again.
0:52:42 > 0:52:45And you drag me out here and put me on bloody trial.
0:52:45 > 0:52:49And if she hates me, which she does, and you hate me, which you obviously do too,
0:52:49 > 0:52:54then I have no bloody idea what will happen to me in my life at all!
0:52:56 > 0:52:57At all!
0:53:02 > 0:53:04You forgot your bloody teddy!
0:53:30 > 0:53:33- TELEPHONE RINGS - Hello?
0:53:33 > 0:53:38- 'Caller, we have your international collect call to London, England.' - Yes, yes.- 'Connecting you now.'
0:53:41 > 0:53:42'Hello?'
0:53:42 > 0:53:44Hello, is that Miss Garland's office?
0:53:44 > 0:53:47No, Clare, it's John Parsons,
0:53:47 > 0:53:49'It's past five. Ailsa's gone.
0:53:49 > 0:53:51'Oh, I saw your telex about Bailey.'
0:53:51 > 0:53:54He's frightful, John. He really is. Low. Rude.
0:53:54 > 0:53:58There is a right way to conduct things and he is not subscribing to it in the least,
0:53:58 > 0:54:02he, and the girl. He's not even shooting on proper...
0:54:04 > 0:54:06'He does have a certain raw talent.'
0:54:06 > 0:54:10- Sorry, how did he do this? - I don't know, your ladyship.
0:54:10 > 0:54:12How the hell is he turning them into proper film?
0:54:12 > 0:54:15As long as he's delivering in the appropriate way...
0:54:15 > 0:54:18You should see these shots. I'm having them expressed to you.
0:54:18 > 0:54:23Of course. Listen, Clare, I'll make some calls.
0:54:23 > 0:54:25Do try and work together in the meantime.
0:54:25 > 0:54:27But he's impossible.
0:54:27 > 0:54:28And this girl...
0:54:28 > 0:54:31Remember, Clare, we need this session.
0:54:31 > 0:54:33If you don't feel able to complete it...
0:54:33 > 0:54:36I warned you about her.
0:54:36 > 0:54:37Shall I speak to Ailsa?
0:54:37 > 0:54:40You dare, John! I'll handle this.
0:54:40 > 0:54:42Very well.
0:54:42 > 0:54:44Make sure Ailsa receives them.
0:54:44 > 0:54:46She will agree with me.
0:54:59 > 0:55:00Jean!
0:55:01 > 0:55:03What?
0:55:05 > 0:55:07You know I think you're beautiful?
0:55:07 > 0:55:09Hardly.
0:55:09 > 0:55:10No, I do.
0:55:21 > 0:55:24I think you're amazing.
0:55:25 > 0:55:28You're Jean Shrimpton.
0:55:28 > 0:55:30I can't take my eyes off you.
0:55:32 > 0:55:36You have the longest, most elegant neck...
0:55:38 > 0:55:39..the most intense eyes.
0:55:40 > 0:55:44You have a spine like a swan...
0:55:45 > 0:55:48..and the most gorgeous hands I've ever seen.
0:55:50 > 0:55:52You have the longest legs...
0:55:53 > 0:55:55..a fantastic bum.
0:55:57 > 0:56:00Every time I see your toes, I want to kiss them.
0:56:04 > 0:56:06I don't have any bosoms.
0:56:07 > 0:56:09You're perfect.
0:56:10 > 0:56:11You're Jean.
0:56:15 > 0:56:18I can't do this without you, girl.
0:56:23 > 0:56:25Bailey!
0:56:25 > 0:56:29- What?! You look great. Can't I take some snaps? This place is great. - But what if she finds out?
0:56:29 > 0:56:33- Won't she mind we're not at the Empire...- She can't say nothing.
0:56:33 > 0:56:35We're on lunch.
0:57:03 > 0:57:06There you are, Mr Bailey. All in medium format now.
0:57:06 > 0:57:08Thanks, Al.
0:57:10 > 0:57:12- You're welcome.- Nice job.
0:57:12 > 0:57:13No.
0:57:13 > 0:57:15Maybe.
0:57:15 > 0:57:16No!
0:57:16 > 0:57:18Never.
0:57:23 > 0:57:25No.
0:57:25 > 0:57:29No! Not good enough, no!
0:57:39 > 0:57:40Ah, Jean.
0:57:42 > 0:57:45Could us girls have a little chat?
0:57:52 > 0:57:56I feel neglectful. Here we are in one of the chic-est cities in the world,
0:57:56 > 0:57:59and I have spent no time at all showing you the best of the place,
0:57:59 > 0:58:05or my special access to everything it has to offer.
0:58:05 > 0:58:08This is...Lanvin.
0:58:08 > 0:58:11They gave it to me at Glamour yesterday.
0:58:11 > 0:58:14You should try it...
0:58:14 > 0:58:16It suits you!
0:58:16 > 0:58:18..when you feel like being a lady.
0:58:21 > 0:58:24All right, be difficult.
0:58:27 > 0:58:31- I expect that's what they taught you at secondary modern. - What do you want?
0:58:34 > 0:58:37I'm having a little man-trouble, sweetie.
0:58:37 > 0:58:40This, I suspect, we do have in common. Mmm?
0:58:43 > 0:58:46Not quite responding how you'd like either, is he?
0:58:46 > 0:58:51Thing is, we've wandered a little off-piste as far as the job's concerned. Do you ski?
0:58:51 > 0:58:55Of course not. But you should be very clear that if we stray this far off the path, one of us
0:58:55 > 0:58:58is going to get fired. Me?
0:58:58 > 0:59:00You?
0:59:00 > 0:59:02Him?
0:59:02 > 0:59:05Now, do you want it to happen to him? Do you?
0:59:05 > 0:59:08Just when he's doing so well?
0:59:08 > 0:59:12- Do you have any opinions about this? Do you? - SCREAMS
0:59:12 > 0:59:17Why can he not actually see, why can he not actually understand,
0:59:17 > 0:59:19that I am an innovator?!
0:59:19 > 0:59:22That I am the only one at that ruddy magazine who can see...
0:59:22 > 0:59:25who can actually see where things are going?
0:59:25 > 0:59:30And to be treated like I'm some super-annuated Edwardian battleship...
0:59:36 > 0:59:38I do apologise.
0:59:45 > 0:59:48We're all a long way from home and...
0:59:48 > 0:59:49Leave it with me.
0:59:56 > 0:59:58Give me ten minutes.
1:00:00 > 1:00:01Should I follow?
1:00:01 > 1:00:03Yes, Larry, yes, do.
1:00:15 > 1:00:17I come bearing a flag of truce.
1:00:22 > 1:00:23You mean her.
1:00:23 > 1:00:25I mean her.
1:00:25 > 1:00:26She means her.
1:00:28 > 1:00:30Like she can't talk for herself.
1:00:30 > 1:00:32Like you have to go helping her.
1:00:32 > 1:00:37What is this, posh girls stick together?
1:00:37 > 1:00:39- Miss Jean Shrimpton shows her true colours...- You know...
1:00:39 > 1:00:42at the bottom of it, I think she's hurt.
1:00:42 > 1:00:47- So?- So...fashion isn't just a job for her.
1:00:47 > 1:00:49It's her birthright.
1:00:49 > 1:00:52She's supposed to inherit the job of deciding what's beautiful,
1:00:52 > 1:00:56and what's not, from all the other pure-bred old ladies
1:00:56 > 1:01:00who went before her and maybe... we're the end.
1:01:00 > 1:01:05Bailey, me, you, us mongrels. We're just the end of all that.
1:01:06 > 1:01:09It wouldn't hurt to be a little nicer.
1:01:13 > 1:01:14What DOES she want?
1:01:14 > 1:01:20She wants a proper picture at the UN, just one, like in the plan.
1:01:20 > 1:01:21God, I need a coffee.
1:01:21 > 1:01:22What sort of picture?
1:01:22 > 1:01:27Non-specific, but without a chain-link fence. Please.
1:01:34 > 1:01:36Tell her all right.
1:01:36 > 1:01:39Bailey, I knew you were a softie.
1:01:39 > 1:01:41Yeah, that's me all right.
1:01:46 > 1:01:49Bailey? Bailey, are you sure about this?
1:01:49 > 1:01:51Absolutely!
1:01:51 > 1:01:52But...
1:01:52 > 1:01:56But nothing. I can't see an old chain-link fence anywhere.
1:01:56 > 1:01:58- Can you, Larry?- No, no, I don't see a chain-link fence...
1:01:58 > 1:02:02probably because of the great big sign about dog poop.
1:02:15 > 1:02:18After I'd personally appealed to you...
1:02:18 > 1:02:21Look, you can't blame her.
1:02:21 > 1:02:23It was me. It was my fault.
1:02:42 > 1:02:45We have to have a talk, don't we, David?
1:02:47 > 1:02:51Because whilst I might be able to overlook a small lapse or two,
1:02:51 > 1:02:57even perhaps find humorous your campaign of juvenile defiance...
1:02:57 > 1:03:00I think it's pretty obvious you've gone too far.
1:03:02 > 1:03:07Now, I don't suppose you and I are ever going to agree on the nature of beauty, or elegance,
1:03:07 > 1:03:10or anything important we're here to shoot,
1:03:10 > 1:03:12so let's agree on some changes instead.
1:03:13 > 1:03:15I'm not changing nothing.
1:03:16 > 1:03:21In which case, I'm not saying she has no redeeming features...
1:03:21 > 1:03:24and I've tried very hard to like her,
1:03:24 > 1:03:28but as one professional to another, we have to save this assignment
1:03:28 > 1:03:29and something has to give.
1:03:29 > 1:03:34Now, if you are going to insist on this grubby verite...
1:03:34 > 1:03:39I've already been recommended a number of professional girls all with...
1:03:39 > 1:03:41much more acceptable looks...
1:03:41 > 1:03:44several of which whom I'm sure will be available immediately.
1:03:44 > 1:03:46Is this a joke?
1:03:49 > 1:03:50Am I laughing, Mr Bailey?
1:03:53 > 1:03:55You still don't get it, do you?
1:03:55 > 1:03:57What Jean's got.
1:03:57 > 1:04:00What all those other bloody bints don't even come close to.
1:04:00 > 1:04:05Then perhaps you'd like to alter some other aspect of the shoot personnel?
1:04:06 > 1:04:10You don't want Jean. Up yours.
1:04:13 > 1:04:18Your ladyship, I want to apologise for my behaviour
1:04:18 > 1:04:23and I also want to reassure you that they'll never be an incident like that again.
1:04:24 > 1:04:25Good.
1:04:32 > 1:04:35She's a bloody good model.
1:04:35 > 1:04:37I ain't going to work with no-one else.
1:05:02 > 1:05:03Mr Bailey?
1:05:05 > 1:05:09Alexander Lieberman. I'm the senior creative director over here.
1:05:09 > 1:05:11Can we talk?
1:05:15 > 1:05:17Walked out on her, huh?
1:05:17 > 1:05:19Well, OK, fine.
1:05:20 > 1:05:22It doesn't matter, then.
1:05:22 > 1:05:25What? What don't matter?
1:05:25 > 1:05:28I gotta say it, Mr Bailey, your pictures need more direction.
1:05:28 > 1:05:30You're all over the place.
1:05:30 > 1:05:34Now, I've had Clare Rendlesham on the phone about your choice of model
1:05:34 > 1:05:39and I've been hearing some pretty hair-raising stories about the situation here...
1:05:39 > 1:05:43Who wants to see stiff birds standing in stiff poses that no-one's ever stood in in their lives?
1:05:43 > 1:05:46Well, no-one.
1:05:46 > 1:05:49But you want to be William Klein? You want to be Dick Avedon?
1:05:49 > 1:05:54You're going to have to do better than sticking two English fingers up to your fashion editor.
1:05:54 > 1:05:56I just want to make something alive!
1:05:56 > 1:06:01Then go farm chickens, son. This here is fashion.
1:06:01 > 1:06:04It's a serious business involving serious people.
1:06:04 > 1:06:07Frankly, I'd have fired you a while ago.
1:06:07 > 1:06:10- Now, look, mate. First her, now you! - Look at what?
1:06:10 > 1:06:12I don't get it with you.
1:06:14 > 1:06:15You're good.
1:06:15 > 1:06:17You could be really good...
1:06:17 > 1:06:20No! Boring, boring, boring.
1:06:20 > 1:06:23Who else doesn't want to work at Vogue any more?
1:06:23 > 1:06:26- DOOR SLAMS - ..but you got to pick your battles a bit better.
1:07:15 > 1:07:16Bailey?
1:07:18 > 1:07:20I blame Picasso.
1:07:20 > 1:07:23When I saw Picasso, I thought...
1:07:24 > 1:07:27..if you can do that, you can do anything.
1:07:29 > 1:07:31But maybe you can't.
1:07:32 > 1:07:33- Maybe- I- can't.
1:07:44 > 1:07:45What happened?
1:07:50 > 1:07:51Is it about her?
1:07:53 > 1:07:55What do you want to do?
1:07:57 > 1:08:00I don't know what I want to do.
1:08:00 > 1:08:02I have no idea. None.
1:08:02 > 1:08:05Why is it so important to beat Lady Clare?
1:08:05 > 1:08:08Cos I've been fighting her all my bleeding life.
1:08:08 > 1:08:11You're too posh to understand.
1:08:11 > 1:08:13I am not POSH!
1:08:19 > 1:08:22I am not posh any more than you are, David Royston Bailey.
1:08:22 > 1:08:26I am me and sometimes when you go head-to-head with that stupid woman,
1:08:26 > 1:08:28I wonder if you even know I'm there.
1:08:28 > 1:08:30Oh, I know you're there, all right.
1:08:30 > 1:08:32Christ, do I know you're bloody there!
1:08:32 > 1:08:34I can't exactly miss you, can I?
1:08:36 > 1:08:39What is it? What's the matter, Bailey?
1:08:45 > 1:08:47I sort of walked out.
1:08:49 > 1:08:50You what?
1:08:52 > 1:08:54She didn't like what...
1:08:54 > 1:08:56we were doing.
1:08:56 > 1:08:57We?
1:08:58 > 1:08:59You mean me.
1:09:01 > 1:09:03You stupid man!
1:09:03 > 1:09:06You absolute bloody idiot!
1:09:07 > 1:09:11You know I... I'd do anything for you.
1:09:13 > 1:09:16Anything! I don't care.
1:09:16 > 1:09:19I really don't care.
1:09:19 > 1:09:20But you do!
1:09:20 > 1:09:24Where is she?
1:09:24 > 1:09:27Is she here at the hotel?
1:09:27 > 1:09:28Jean...
1:09:34 > 1:09:36Thank you.
1:09:41 > 1:09:44Whatever you want, name it.
1:09:44 > 1:09:46I'll do anything. Be anything.
1:09:48 > 1:09:50Just let him do his job.
1:10:09 > 1:10:11Lovely!
1:10:13 > 1:10:16I think we'll do Fifth Avenue.
1:10:23 > 1:10:27Now that's it now. Now roll your shoulder a bit. That's it, a little lean.
1:10:27 > 1:10:30Now into the window.
1:10:30 > 1:10:32Yeah, we're not quite there.
1:10:32 > 1:10:35Stupid bloody hairdo!
1:10:41 > 1:10:45Very elegant, a little higher with the teddy bear.
1:10:48 > 1:10:50- Well, today is going well.- Yes.
1:10:50 > 1:10:53A little more lapel, please, Miss Shrimpton.
1:10:55 > 1:10:58Perfect, done. Right, now...
1:10:58 > 1:11:01Hold it there, darling.
1:11:01 > 1:11:04Mr Bailey!
1:11:14 > 1:11:17Come on, Bailey, we'll get through this, it's all right.
1:11:17 > 1:11:22I don't want to be all right. I didn't come all this way for it to be all right!
1:11:22 > 1:11:24Now let's do it again, and maybe this time
1:11:24 > 1:11:27the bags underneath your bloody eyes won't show up so bloody much.
1:11:27 > 1:11:32Right, well, one more little job left to do.
1:11:34 > 1:11:37The Brooklyn Bridge, Larry.
1:11:48 > 1:11:53I'm freezing. Stupid thing's stuck to my hand.
1:11:53 > 1:11:56- Where's the view, Mr Bailey? - What?- The view?
1:11:56 > 1:11:58What is the point in a bridge, Mr Bailey?
1:11:58 > 1:12:01What is the point in this vast expanse between these two islands,
1:12:01 > 1:12:04if not to look back at that wonderful vista?
1:12:04 > 1:12:07Like Norman Parkinson did in 1956?
1:12:07 > 1:12:09I'm not here to make postcards.
1:12:09 > 1:12:11Sorry, what?
1:12:11 > 1:12:14I said I'm not here to shoot bloody postcards.
1:12:14 > 1:12:17No, we're here to do exactly what I tell you to do.
1:12:17 > 1:12:19- Oh, really?- Yes, really.
1:12:19 > 1:12:21So kindly point it in that direction.
1:12:24 > 1:12:28- No. Larry, could you get me a cup of coffee, please?- OK, sure.
1:12:28 > 1:12:30Tea, Larry, China tea.
1:12:30 > 1:12:33The bilge they call coffee here is universally vile.
1:12:33 > 1:12:35- We'll have tea.- OK, yes, Ma'am.
1:12:35 > 1:12:38Coffee, Larry. American fucking coffee.
1:12:38 > 1:12:42- Mmm hmm. - All right then, Jean, here we go.
1:12:44 > 1:12:45I order you to turn around.
1:12:45 > 1:12:47Get off.
1:12:52 > 1:12:55- Do it, now.- Get the fuck off, you stupid, stuck-up bitch!
1:12:55 > 1:12:59That's it. That is it. You're fired.
1:12:59 > 1:13:02- I'll have your contract incinerated. - Jean, head up.
1:13:02 > 1:13:04You'll never work for Conde Nast EVER again.
1:13:04 > 1:13:08- I said higher. Are you bloody listening to me? Down with the bear. - I knew it!
1:13:08 > 1:13:11Bailey...
1:13:11 > 1:13:14Bailey...
1:13:17 > 1:13:18Bailey, please.
1:13:18 > 1:13:20 Conde Nast was...
1:13:20 > 1:13:22Bailey.
1:13:22 > 1:13:25And we are not in Hanover bloody Square any more.
1:13:27 > 1:13:30- Bailey, please.- You want to know who runs me and you?
1:13:30 > 1:13:33Mrs bloody Vreeland. That's who.
1:13:33 > 1:13:35Runs? Owns!
1:13:35 > 1:13:38There's a new world coming, with new rules,
1:13:38 > 1:13:41where people will be applauded and will be beautiful
1:13:41 > 1:13:44not because of who their daddy was, but because of who they are,
1:13:44 > 1:13:47here and now, in front of the camera!
1:13:47 > 1:13:52You're dead and gone, you and all your hoity-toity pals.
1:13:52 > 1:13:55You just don't bloody know it yet!
1:13:58 > 1:14:00Lady Clare,
1:14:00 > 1:14:04the concession was shut so no tea or coffee, I'm sorry.
1:14:04 > 1:14:07We are leaving, Larry.
1:14:07 > 1:14:10Thank Christ for that! Go polish your fucking tiara!
1:14:12 > 1:14:13Jean?
1:14:18 > 1:14:19Jean?
1:14:21 > 1:14:26Oh, shit. Jean, Jean, darling Jean.
1:14:35 > 1:14:37PHONE RINGS
1:14:37 > 1:14:39Hello, Ailsa Garland.
1:14:39 > 1:14:44Thank God. I've been ringing and ringing all week.
1:14:46 > 1:14:47Yes, it's about him.
1:14:49 > 1:14:55Ailsa, he is just impossible, he is an upstart of the worst, worst sort. His ego!
1:14:55 > 1:14:57He doesn't even know how to frame a shot.
1:14:57 > 1:14:59He has no culture, he has no restraint.
1:14:59 > 1:15:03He insists on using his girlfriend, some snub-nosed parvenu,
1:15:03 > 1:15:06who shudders and shakes through every shot, the decors...
1:15:06 > 1:15:09He just wants to rub us in the filth he finds on every street corner.
1:15:09 > 1:15:14And he seems to think being ridiculously young is some justification!
1:15:14 > 1:15:20I... I have to insist that he is removed... Oh, you have?
1:15:20 > 1:15:22Yes, they arrived yesterday.
1:15:22 > 1:15:29Oh! That's marvellous. That's wonderful. Well, now you have the proof.
1:15:29 > 1:15:33Now you can see. You can see for yourselves how appalling...
1:15:33 > 1:15:38Clare, darling... listen to me very carefully.
1:15:54 > 1:15:55Really?
1:16:01 > 1:16:03Of course.
1:16:06 > 1:16:08Consider it done.
1:16:13 > 1:16:14Thank you, Ailsa.
1:16:33 > 1:16:35You all right?
1:16:48 > 1:16:50Got a bit chilly up there.
1:16:57 > 1:16:58I'm sorry.
1:17:02 > 1:17:06Nice pics, though. My last for that magazine.
1:17:10 > 1:17:15Yeah, well. We gave her what for, didn't we?
1:17:15 > 1:17:17We showed the posh old tart.
1:17:20 > 1:17:22You hungry?
1:17:24 > 1:17:27You...something else?
1:17:31 > 1:17:32You...ticked off?
1:17:36 > 1:17:40Don't be like that, Jean.
1:17:42 > 1:17:45Let's go eat. See a movie.
1:17:45 > 1:17:48Have a giggle. I'll get you a nice towel.
1:17:50 > 1:17:51Take care of you.
1:17:53 > 1:17:55No, you won't.
1:17:56 > 1:17:58Yeah. Of course I will.
1:17:59 > 1:18:05No. Because it's always me that does the changing, isn't it?
1:18:07 > 1:18:11The clothes, the hair... They make me different somehow.
1:18:12 > 1:18:17Like a dressing-up doll. But you...
1:18:17 > 1:18:19You don't change, do you?
1:18:21 > 1:18:25I haven't changed you a bit. None of this has.
1:18:25 > 1:18:29I don't think you feel the same way about me as I do about you.
1:18:29 > 1:18:37You're too selfish and proud and... entirely yourself, to manage it.
1:18:40 > 1:18:44And I need you to, Bailey. I want...
1:18:46 > 1:18:52I deserve someone who feels the same way about me as I do about them.
1:18:54 > 1:18:59So if you don't, then...that's it.
1:18:59 > 1:19:00Isn't it?
1:19:10 > 1:19:12I'll take care of you, all right?
1:19:46 > 1:19:49Fuck 'em. Fuck 'em all.
1:19:51 > 1:19:54I love you, Jean. I always have.
1:19:56 > 1:19:58Oh, Bailey.
1:20:35 > 1:20:37Ready.
1:20:42 > 1:20:46Have you changed something?
1:20:48 > 1:20:51I suppose. It just felt... like me.
1:20:54 > 1:20:59Yeah. Yes, it is. It's just like you.
1:21:03 > 1:21:06Come on, let's say goodbye to Al before we go.
1:21:20 > 1:21:24Well, Good Housekeeping pays more.
1:21:24 > 1:21:27Pet Fancier's Gazette pays more.
1:21:27 > 1:21:30Ain't really about the money, though, is it?
1:21:30 > 1:21:32No. No, it's not.
1:21:44 > 1:21:48Nice day for it, your highness. Bit bright, maybe?
1:21:48 > 1:21:52Shut up, you little shit, and shoot whatever trashy nonsense you have in mind,
1:21:52 > 1:21:55so we can get out of this godforsaken latrine and back to civilisation.
1:21:55 > 1:21:58- What, we're staying? - We're not fired?
1:22:00 > 1:22:02You are to complete the assignment.
1:22:02 > 1:22:06There is, apparently a refreshing vitality and youthfulness
1:22:06 > 1:22:10in the material conducive to newer and younger readers of Vogue.
1:22:12 > 1:22:19And she... she apparently...she is beautiful.
1:22:19 > 1:22:23Sorry. I'm a bit Mutt and Jeff. She's...what?
1:22:26 > 1:22:27"Beautiful".
1:22:29 > 1:22:30Yeah, she bloody is!
1:22:33 > 1:22:36One little problem.
1:22:40 > 1:22:45I trashed the negs. We have nothing.
1:22:46 > 1:22:50Unless... you sent some copies home to Matron?
1:22:54 > 1:22:59Larry - egg and chips all round! Cola, pancakes, pumpkin pie.
1:22:59 > 1:23:04Egg and chips, four egg and chips. Cola, pumpkin pie.
1:23:04 > 1:23:08- And an English tea for Lady Clare. - And English Breakfast if you have that.
1:23:08 > 1:23:11- No, tea!- That is a tea.
1:23:22 > 1:23:24Lady Clare, come on love.
1:24:13 > 1:24:18The one building in the entire city of New bloody York
1:24:18 > 1:24:21without an elevator to the roof!
1:24:33 > 1:24:37Oh, great. Now he gets serious...
1:24:37 > 1:24:39Right here we go, Jean, head up.
1:24:42 > 1:24:43Lovely.
1:24:50 > 1:24:54Mrs Vreeland, I must apologise for the unkempt appearance of...
1:24:54 > 1:24:57But they are adorable!
1:24:57 > 1:25:01England...has...arrived!
1:25:01 > 1:25:06Now this is exactly what I have been telling all you people about.
1:25:06 > 1:25:08This is NOW!
1:25:08 > 1:25:11Are you two married? Don't you think they should be married?
1:25:11 > 1:25:13It would be so chic...
1:25:13 > 1:25:15I don't know about that.
1:25:15 > 1:25:19Maybe you picked the right battle after all. Call me.
1:25:22 > 1:25:24- Would you like me to introduce you? - Sure.
1:25:24 > 1:25:26I'm from the country. Bucks.
1:25:26 > 1:25:28- Bucks.- Bucks. - What is that - dollars?
1:25:28 > 1:25:33- Bailey, you want to know this woman, OK?- Hello, all right? So why do I wanna know you, then?
1:25:33 > 1:25:35- Where did you find it? - It was left over from the shoot.
1:25:35 > 1:25:38It's from Quant. Mary Quant.
1:25:38 > 1:25:39- Mary what?- Mary Quant.
1:25:39 > 1:25:42MUSIC: "Love Me Do" By The Beatles
1:25:53 > 1:25:55# Love, love me do... #
1:25:55 > 1:25:57What the hell is this rubbish?
1:25:57 > 1:26:02I don't know, some pop person. Cliff Richard, probably. Skiffle?
1:26:02 > 1:26:04I hate pop. And skiffle.
1:26:04 > 1:26:08If I never have to shoot a bloody pop star again, it'll be too soon.
1:26:08 > 1:26:13I tell ya, this is going to be the best jazz decade ever.
1:26:13 > 1:26:15Mr Bailey.
1:26:15 > 1:26:16Lady Clare?
1:26:16 > 1:26:19We should talk...
1:26:19 > 1:26:21Perhaps I could offer you some form of representation.
1:26:27 > 1:26:29# ..Love me do... #
1:26:31 > 1:26:33Jolly well done!
1:26:33 > 1:26:36APPLAUSE
1:26:36 > 1:26:39"LOVE ME DO" CONTINUES
1:27:26 > 1:27:30Subtitles by Red Bee Media Ltd
1:27:30 > 1:27:34E-mail subtitling@bbc.co.uk