0:00:16 > 0:00:17Never.
0:00:19 > 0:00:21Never. Never.
0:00:23 > 0:00:25Never, never, never.
0:00:29 > 0:00:32DISTANT CHATTERING
0:00:32 > 0:00:33CAMERA FLASH
0:00:37 > 0:00:39PEOPLE CLAMOUR
0:00:39 > 0:00:41Liz, Liz, Liz.
0:00:44 > 0:00:47OK. Ladies and gentlemen,
0:00:47 > 0:00:51we're here to announce our theatre company's next production.
0:00:51 > 0:00:54Noel Coward's comic masterpiece, Private Lives,
0:00:54 > 0:00:58starring none other than Miss Elizabeth Taylor
0:00:58 > 0:01:06and one of the greatest stage actors of all time, Mr Richard Burton.
0:01:06 > 0:01:08PRESS CLAMOUR
0:01:09 > 0:01:12Does this mean marriage number three for you and Richard?
0:01:12 > 0:01:14PRESS LAUGH
0:01:14 > 0:01:17No, I can assure you that Richard and I have entered into this
0:01:17 > 0:01:21venture for purely creative reasons. And, it seemed to me
0:01:21 > 0:01:26that since Richard had, not so very long ago, spectacularly re-conquered
0:01:26 > 0:01:31Broadway in Equus and Camelot, then I really ought to cash in on the
0:01:31 > 0:01:35fact that I was pretty certain I had his phone number somewhere at home.
0:01:35 > 0:01:37PRESS LAUGH
0:01:37 > 0:01:38Richard, can you confirm that?
0:01:38 > 0:01:40What, that she had my phone number?
0:01:40 > 0:01:41THEY LAUGH
0:01:41 > 0:01:44No, we, er, we want to showcase a great play.
0:01:44 > 0:01:47We, er, believe it's long overdue a revival.
0:01:47 > 0:01:50So absolutely no plans to get back together again?
0:01:50 > 0:01:54- None.- But you don't mind people thinking that?
0:01:54 > 0:01:55People can think what they like.
0:01:55 > 0:01:58We're, er, we're actors about to do a play together.
0:01:58 > 0:02:02But the ad in today's New York Times, which I gather, Miss Taylor,
0:02:02 > 0:02:05you designed yourself, that kind of begs the question.
0:02:05 > 0:02:07It's just an advert.
0:02:07 > 0:02:11A heart with an arrow through it and the words - "together again".
0:02:11 > 0:02:13PRESS LAUGH
0:02:13 > 0:02:15Well, erm, of course it says that.
0:02:15 > 0:02:18That's the...that's the whole basis for Private Lives.
0:02:18 > 0:02:20I mean, it's not like she's used a photo of us
0:02:20 > 0:02:22and the words, "twice spliced," is it?
0:02:22 > 0:02:23THEY LAUGH
0:02:23 > 0:02:26That would have made no sense in the context of the play.
0:02:26 > 0:02:28Liz! Liz!
0:02:30 > 0:02:32The car's this way.
0:02:35 > 0:02:37RICHARD: Elizabeth!
0:02:40 > 0:02:42- Richard?- Can I...?
0:02:43 > 0:02:46You OK? OK.
0:02:46 > 0:02:48Come on, let's wait in the lobby.
0:02:48 > 0:02:50God, it's a bloody circus.
0:02:52 > 0:02:53Why didn't you tell me
0:02:53 > 0:02:55you were going to put an ad in the paper?
0:02:55 > 0:02:58I felt like a bloody idiot. And the wording?
0:02:58 > 0:03:00It didn't occur to you it might cause a bit of a stir?
0:03:00 > 0:03:02It was last minute, Richard!
0:03:02 > 0:03:06I just suddenly thought, what a great idea! To get people talking.
0:03:06 > 0:03:09Which it has done. The pre-sales have gone through the roof!
0:03:09 > 0:03:11You know, plenty of people told me not to do this.
0:03:11 > 0:03:14Well, nobody's said a single bad word to me about it,
0:03:14 > 0:03:16so you must just have wussy advisors!
0:03:16 > 0:03:19I ignored them. I go my own way. You know that.
0:03:19 > 0:03:21Sure, I do.
0:03:21 > 0:03:23Well, don't let me regret it.
0:03:27 > 0:03:29SHE SIGHS
0:03:29 > 0:03:31I'm ready now, Chen.
0:03:31 > 0:03:33MUSIC: "Just An Illusion" by Imagination
0:03:33 > 0:03:35# Illusion
0:03:35 > 0:03:36Toodle-oo!
0:03:38 > 0:03:41# Illusion
0:03:41 > 0:03:43PRESS CLAMOUR
0:03:43 > 0:03:45# Illusion
0:03:47 > 0:03:55This programme contains very strong language
0:04:07 > 0:04:09MUSIC AND CHATTERING
0:04:15 > 0:04:17Daddy! Daddy!
0:04:17 > 0:04:20- Maria.- Hi.
0:04:21 > 0:04:22Liza, how are you, love?
0:04:22 > 0:04:25Thank God you made it. We were worried.
0:04:25 > 0:04:26What are you wearing?
0:04:26 > 0:04:28- It's a mink. - SHE LAUGHS
0:04:28 > 0:04:31- Is it too much?- (LAUGHING) No.
0:04:31 > 0:04:33I just...I didn't want to seem like an old codger.
0:04:33 > 0:04:35LIZ: Richard!
0:04:35 > 0:04:37Richard Burton!
0:04:37 > 0:04:41Mom's been celebrating a lot. See you later.
0:04:41 > 0:04:45# Illusion
0:04:45 > 0:04:47# Illusion
0:04:47 > 0:04:51# Follow your emotions anywhere... #
0:04:51 > 0:04:52Where were you?
0:04:52 > 0:04:56I'm sorry I'm late, I'm...technical stuff.
0:04:56 > 0:04:58What, for a poetry recital?
0:04:58 > 0:05:01Can't they just twiddle a few knobs on the night?
0:05:01 > 0:05:04We're charging quite a lot of money. Can't afford any cock ups.
0:05:05 > 0:05:08Thank you. Here we are.
0:05:08 > 0:05:12No, I, I don't. I told you on the phone.
0:05:12 > 0:05:14- Sure you did.- Very occasionally, I...
0:05:14 > 0:05:16That's what I imagined you'd be doing.
0:05:16 > 0:05:19All the same. I...I'll have a Tab if they've got one.
0:05:19 > 0:05:21MUSIC: "Love To Love You, Baby" by Donna Summer
0:05:21 > 0:05:23Oh, I love this one. Come on, let's dance, let's dance.
0:05:23 > 0:05:25I can't, I can't. I'm...
0:05:25 > 0:05:27Richard! It's my birthday. I get what I want!
0:05:27 > 0:05:28You get what you want anyway!
0:05:28 > 0:05:30SHE LAUGHS
0:05:30 > 0:05:32# I love to love you, baby
0:05:32 > 0:05:35Oh, kitten. Watch and learn.
0:05:35 > 0:05:38# I love to love you, baby
0:05:40 > 0:05:43# I love to love you, baby
0:05:44 > 0:05:47That's better.
0:05:47 > 0:05:50Whoa. Don't you just want to sit down for a bit?
0:05:50 > 0:05:55No, I don't! I, I am 50 years of age, Richard
0:05:55 > 0:05:57and I just announced it to the world.
0:05:57 > 0:06:00I want to get drunk and dance a lot!
0:06:03 > 0:06:06# I love to love you, baby
0:06:06 > 0:06:09# Do it to me again and again
0:06:09 > 0:06:12# You put me in such a awful spin
0:06:12 > 0:06:15# In a spin, in-uh... #
0:06:28 > 0:06:30MUSIC: "You Make Me Feel" by Sylvester
0:06:30 > 0:06:32Thank you.
0:06:48 > 0:06:51Now this one I do know.
0:06:51 > 0:06:54# You mean I've been dancin' on the floor, darlin'
0:06:54 > 0:06:57# And I feel like I need some more and I
0:06:57 > 0:07:00# Feel your body close to mine and I
0:07:00 > 0:07:04# Move on love, it's about that time
0:07:04 > 0:07:06# Make me feel
0:07:06 > 0:07:07# Mighty real
0:07:07 > 0:07:09# Make me feel
0:07:09 > 0:07:11# Mighty real
0:07:11 > 0:07:16# You make me feel mighty real... #
0:07:16 > 0:07:18THEY LAUGH
0:07:20 > 0:07:23Oh, for a glass of vintage that hath been
0:07:23 > 0:07:25Cool'd a long age in the deep-delved earth.
0:07:25 > 0:07:28That's a vodka, right?
0:07:28 > 0:07:30SHE LAUGHS
0:07:32 > 0:07:35No, no, no, I-I've had enough.
0:07:38 > 0:07:41I don't want to be half cut for the recital.
0:07:41 > 0:07:43I couldn't bear that.
0:07:50 > 0:07:52Hello, pockmark.
0:07:52 > 0:07:54Hello, lumpy.
0:07:54 > 0:07:58Been a good night. We played a blinder.
0:07:58 > 0:08:02Thank you for coming. I wasn't sure you would.
0:08:04 > 0:08:07How long has it been? I was trying to remember.
0:08:07 > 0:08:09- Five years.- God.
0:08:09 > 0:08:12Yes, thank heaven for the newspapers!
0:08:12 > 0:08:14HE CHUCKLES
0:08:14 > 0:08:17Oh, Christ, this bloody neck.
0:08:18 > 0:08:22I swear, Elizabeth, at times I'm like a cripple!
0:08:22 > 0:08:25I had to do these fight scenes in Camelot.
0:08:25 > 0:08:28Some nights I hardly had the strength to pull my sword
0:08:28 > 0:08:30out of it's sheathe and wave it around a bit.
0:08:30 > 0:08:32How very unlike you, Richard.
0:08:32 > 0:08:33Stop it!
0:08:33 > 0:08:35THEY LAUGH
0:08:35 > 0:08:37You've the mind of a collier!
0:08:37 > 0:08:38SHE CHUCKLES
0:08:42 > 0:08:46I'm going to do King Lear next.
0:08:46 > 0:08:49I spoke to a producer who says he'll back it.
0:08:49 > 0:08:50You'll be fantastic.
0:08:52 > 0:08:53Well, I'd better...
0:08:53 > 0:08:58Don't! Stay. Stay here! Just stay!
0:08:58 > 0:09:00It's not anything else.
0:09:00 > 0:09:04Just...how do you fuck, anyway? You can barely move.
0:09:04 > 0:09:06THEY LAUGH
0:09:06 > 0:09:08There are ways and means, my love.
0:09:08 > 0:09:11Do you remember that train we took to New York?
0:09:11 > 0:09:15We just lay there and let the rocking of the carriage do the job.
0:09:15 > 0:09:17THEY LAUGH
0:09:18 > 0:09:20You know, I really should go.
0:09:20 > 0:09:23No! No, no, I meant it, Richard! I meant it!
0:09:23 > 0:09:27I'll make some tea and you can read a book
0:09:27 > 0:09:31and then, erm, you can sleep.
0:09:38 > 0:09:40What's she like?
0:09:42 > 0:09:43Hmmm?
0:09:45 > 0:09:47Your new girlfriend. Sally?
0:09:51 > 0:09:53HE GROANS
0:09:56 > 0:09:59Do you really want to talk about that?
0:09:59 > 0:10:02Oh just...what sort of woman is she? I'm interested.
0:10:05 > 0:10:06She's lovely.
0:10:09 > 0:10:10Hmm. Good.
0:10:13 > 0:10:17Victor's a lawyer. He's Mexican and he's charming.
0:10:19 > 0:10:21Terrific.
0:10:23 > 0:10:26Somebody told me she was like Sybil.
0:10:29 > 0:10:31My wife Sybil?
0:10:31 > 0:10:33Yeah. Your ex wife.
0:10:33 > 0:10:38- Who told you that, anyway? She's... - What? What's she like?
0:10:39 > 0:10:41HE GROANS
0:10:41 > 0:10:43I'm sorry. I...
0:10:43 > 0:10:46Go to your room! It's three o'clock.
0:10:53 > 0:10:59Richard, I had an idea about doing another play, a Coward.
0:10:59 > 0:11:01Elizabeth! I swear to God, if you don't shut up,
0:11:01 > 0:11:04I'm going to climb out of this bed, get in my car and drive back
0:11:04 > 0:11:07to The Dorchester in my bloody underpants!
0:11:07 > 0:11:09SHE LAUGHS
0:11:41 > 0:11:43SIREN WAILS
0:11:50 > 0:11:51Oh, Christ.
0:12:01 > 0:12:03HE VOMITS
0:12:59 > 0:13:02I'm here. I'm here. I'm here. I'm here.
0:13:02 > 0:13:05I'm so sorry I'm late.
0:13:05 > 0:13:06Elizabeth.
0:13:09 > 0:13:11I'm so sorry I'm late.
0:13:11 > 0:13:13- It's quite all right. Was there a problem?- No.
0:13:13 > 0:13:14Hi. I'm Elizabeth.
0:13:14 > 0:13:16- I'm John, nice to meet you. - Hi, John.
0:13:16 > 0:13:19- Hi, I'm Kathryn. - Hi Kathryn! Hi. Hi, Jane.
0:13:19 > 0:13:21Hi.
0:13:24 > 0:13:26Hello, Richard.
0:13:26 > 0:13:28Hello, Elizabeth.
0:13:29 > 0:13:32OK. Let's make a start!
0:13:32 > 0:13:35If you want to pull up some chairs, we'll have a little read.
0:13:40 > 0:13:42I got you a present.
0:13:43 > 0:13:49It's tradition! The producer always buys the star a little welcome gift.
0:13:49 > 0:13:51Sorry, everyone.
0:13:51 > 0:13:54It's fine. We got ages. Chen, I need my Coke.
0:13:54 > 0:13:55Right here.
0:13:55 > 0:13:57Open it.
0:13:57 > 0:13:59- Oh, it's beautiful.- Isn't it?
0:13:59 > 0:14:01Gorgeous.
0:14:01 > 0:14:03It's Cartier.
0:14:03 > 0:14:06So. If we could get started. We break for lunch in 20.
0:14:06 > 0:14:07Of course.
0:14:13 > 0:14:14Thank you, darling.
0:14:14 > 0:14:16I have your bag up there.
0:14:16 > 0:14:20Thank you. Thank you. You can all go, babe.
0:14:22 > 0:14:25Come on, guys, let's leave them to it.
0:14:25 > 0:14:28Christ, if we have that many turn up on our first night,
0:14:28 > 0:14:31we'll consider ourselves blessed.
0:14:31 > 0:14:35Great. So...can I first welcome you all...
0:14:35 > 0:14:38I am so looking forward to this. Can I just say that?
0:14:38 > 0:14:40A great director,
0:14:40 > 0:14:44great fellow actors and a play which, I'm sure,
0:14:44 > 0:14:46will do none of us a disservice.
0:14:46 > 0:14:48Well, it seems to have passed muster so far in its life.
0:14:48 > 0:14:51I know. I can't wait to read it.
0:14:56 > 0:14:58Elizabeth.
0:14:58 > 0:14:59What?
0:14:59 > 0:15:03- Well I'd rather assumed you might... - What, read it? God, no. No.
0:15:03 > 0:15:06I always make it a rule never to look at anything
0:15:06 > 0:15:09until I'm starring in it. Keeps it fresh.
0:15:09 > 0:15:11What you've never read it?! Ever?
0:15:11 > 0:15:14I mean, you didn't think it might be a good idea just to take
0:15:14 > 0:15:16a glance before we got going?
0:15:16 > 0:15:19No, I told you, I like to keep things fresh.
0:15:19 > 0:15:21That's why rehearsals are called rehearsals.
0:15:21 > 0:15:24Don't lecture me on the bloody theatre.
0:15:24 > 0:15:26OK. I tell you what,
0:15:26 > 0:15:31let's take lunch now, come back at two prompt, and start over again.
0:15:31 > 0:15:33HE CHUCKLES
0:15:33 > 0:15:35How's that sound?
0:15:35 > 0:15:37ACTORS CHATTER
0:15:38 > 0:15:40I'll just get my bag.
0:15:43 > 0:15:46- See you later.- See you.
0:15:57 > 0:16:00Richard? He seem OK to you?
0:16:00 > 0:16:02What?
0:16:02 > 0:16:05Milton. Bailed kind of early.
0:16:05 > 0:16:11I think he'll be fine. He has an excellent reputation.
0:16:11 > 0:16:15Good, good. Cos I trust you so much on this.
0:16:15 > 0:16:20I mean, I, I would never fall out with you about the theatre.
0:16:20 > 0:16:23"The world's greatest stage actor." At the launch.
0:16:23 > 0:16:25That was me. I put that in.
0:16:25 > 0:16:28Right. Thank you.
0:16:28 > 0:16:30Don't thank me. It's true.
0:16:33 > 0:16:36So, I got us a table at Sardi's.
0:16:36 > 0:16:41The best table. And the linguini and clams are still to die for.
0:16:41 > 0:16:43What? You've got to eat lunch!
0:16:43 > 0:16:48I can't. I'm meeting Sally back at the apartment.
0:16:48 > 0:16:52I'm seeing Mike first to sort out some business but she's joining us.
0:16:52 > 0:16:56Oh, oh, I, er... Right.
0:16:58 > 0:17:04She staying around? Sally is? For all the rehearsals?
0:17:04 > 0:17:07Well, what did you and I do when the other was working?
0:17:07 > 0:17:09That was us, Richard.
0:17:10 > 0:17:16No, er, no, it's great. I mean, no, I just assumed that she'd,
0:17:16 > 0:17:19I don't know, have other stuff to get on with, back in Europe.
0:17:19 > 0:17:23But, er, no it'll be lovely for you to have the company.
0:17:23 > 0:17:25Yes. It will. Well, I'd better go.
0:17:27 > 0:17:29I'm only just around the corner.
0:17:31 > 0:17:32Thank you for the scarf.
0:18:11 > 0:18:13Any more news? On the Lear deal?
0:18:13 > 0:18:16No. I'll chase it up this afternoon.
0:18:16 > 0:18:18Good, if you could.
0:18:27 > 0:18:30Thou should'st not have been old till thou hadst been wise.
0:18:33 > 0:18:37Elizabeth. Of course she hasn't read it. I mean, that's our girl.
0:18:37 > 0:18:39That's what she does.
0:18:39 > 0:18:41Doesn't mean it isn't irritating.
0:18:41 > 0:18:45Well, so what, though? She just works differently to me, that's all.
0:18:47 > 0:18:50You know, when we did Cleopatra...
0:18:51 > 0:18:54I'd come straight from the Old Vic.
0:18:54 > 0:18:58I went over to Hollywood and she walked out onto the sound stage
0:18:58 > 0:19:01and she was just tits and make up.
0:19:03 > 0:19:08And then we had our first scene together and she did nothing.
0:19:08 > 0:19:13Nothing. No voice, no movement,
0:19:13 > 0:19:16no, no performance.
0:19:18 > 0:19:21I thought she'd had a bloody stroke or something.
0:19:22 > 0:19:28And, er, then I saw the rushes and I was acting Anthony.
0:19:30 > 0:19:33- But she- was- Cleopatra.
0:19:36 > 0:19:38She just sort of bleeds into a role...
0:19:40 > 0:19:42..like osmosis.
0:19:42 > 0:19:43Hard to rehearse around.
0:19:43 > 0:19:45Impossible at times.
0:19:46 > 0:19:50God, she's good, Mike. She's so bloody good.
0:19:52 > 0:19:56Anyway, this last scene's a bit of a worry.
0:19:56 > 0:19:59I'm afraid I won't be able to carry her on.
0:19:59 > 0:20:00What?
0:20:00 > 0:20:04Cordelia - Lear. Howl, howl, howl. How will I do that?
0:20:04 > 0:20:06My arms are bloody useless at times.
0:20:06 > 0:20:10Then don't take it on! Three hours on stage every night...
0:20:10 > 0:20:15No, no. No, I've made promises. To myself. I must do it.
0:20:18 > 0:20:21KATHRYN: What's the matter, darling? Are you hungry?
0:20:21 > 0:20:22Not a bit.
0:20:22 > 0:20:25You're very strange all of a sudden and rather cruel.
0:20:25 > 0:20:28Just because I'm feminine it doesn't mean I'm crafty and calculating.
0:20:28 > 0:20:31I never said you were either of those things.
0:20:31 > 0:20:32I hate these half mas...
0:20:32 > 0:20:35Sorry. Half masculine. Can I take the line again?
0:20:35 > 0:20:37Well, sure, go ahead.
0:20:37 > 0:20:40I hate these half masculine women who go banging about.
0:20:40 > 0:20:43I hate anyone who goes banging about.
0:20:43 > 0:20:46I should think you needed a little quiet womanliness after Amanda.
0:20:50 > 0:20:52Why do you keep on talking about her?
0:20:52 > 0:20:55That's good. That's a great idea, Rich,
0:20:55 > 0:20:57holding a lighter away from her.
0:20:57 > 0:20:59- THEY LAUGH - Works for me!
0:20:59 > 0:21:02Right. Let's go back to, er, Amanda's entrance.
0:21:02 > 0:21:04That's me.
0:21:06 > 0:21:08That was great.
0:21:08 > 0:21:11Oh! You OK? You were wonderful.
0:21:11 > 0:21:13- Thank you.- No, it was...
0:21:13 > 0:21:17No, it was...well, you were just funny.
0:21:18 > 0:21:20You all right, love?
0:21:20 > 0:21:22Of course I'm all right.
0:21:22 > 0:21:23You eat enough at lunch?
0:21:23 > 0:21:26Probably not as much as you did.
0:21:26 > 0:21:29Er, Chen, can I have my, erm, chair?
0:21:29 > 0:21:33OK, er...from the top? When everybody's ready.
0:21:35 > 0:21:38- Do you want these? - No, I'm fine. Thanks.
0:21:40 > 0:21:42And.
0:21:42 > 0:21:43Mandy!
0:21:43 > 0:21:46LIZ SIGHS
0:21:50 > 0:21:52Mandy!
0:21:58 > 0:22:02Elizabeth, that's your cue, from off stage.
0:22:02 > 0:22:04Off stage?
0:22:04 > 0:22:08Oh, well, if I'm off stage, can't somebody else do it?
0:22:08 > 0:22:12No. It has to be your voice and you are answering him. So...
0:22:12 > 0:22:17Oh, OK. OK, honey. Sorry. Hang on.
0:22:17 > 0:22:19Honey, what page are we on?
0:22:19 > 0:22:20Page five.
0:22:20 > 0:22:22Five. Hang on.
0:22:24 > 0:22:26OK. Here we are.
0:22:28 > 0:22:30Mandy!
0:22:30 > 0:22:32What?
0:22:32 > 0:22:35Come outside. The view is wonderful.
0:22:36 > 0:22:39I'm still damp from the bath. Bath.
0:22:39 > 0:22:41Wait a minute.
0:22:43 > 0:22:45I shall catch...
0:22:45 > 0:22:47What's that?
0:22:47 > 0:22:48Pneumonia.
0:22:53 > 0:22:56Er, can we just take a break?
0:22:57 > 0:22:58What?
0:22:58 > 0:23:00Yeah, I need to talk to costume,
0:23:00 > 0:23:02cos it says here I'm wearing a negligee.
0:23:02 > 0:23:05- And I don't want to look... - Can I have a word, love?
0:23:05 > 0:23:08What are you, what are you doing, Richard?
0:23:08 > 0:23:10You sound really smashed!
0:23:10 > 0:23:12I am not!
0:23:12 > 0:23:13What have you taken?
0:23:15 > 0:23:17Beyond the Coke. The always open Coke!
0:23:17 > 0:23:21Which given that you can drink me under the table, Elizabeth, I
0:23:21 > 0:23:25can't imagine is solely responsible for the way you're behaving.
0:23:25 > 0:23:29Some pills. I have to take certain pills for my tummy.
0:23:29 > 0:23:32You know the trouble I had in Puerto Vallarta.
0:23:32 > 0:23:36- It was after that, some years ago... - Just don't take any more of them!
0:23:36 > 0:23:38You're making a spectacle of yourself.
0:23:48 > 0:23:51Yeah, you might think about...
0:23:51 > 0:23:53No, I'm fine.
0:24:16 > 0:24:18What a place.
0:24:19 > 0:24:22You know it's Rock Hudson's? He's letting me borrow it.
0:24:22 > 0:24:24It's fabulous.
0:24:24 > 0:24:28No. It's an apartment. This is fabulous.
0:24:28 > 0:24:30Come to Granny.
0:24:30 > 0:24:33There isn't a single book in the entire apartment.
0:24:33 > 0:24:36- Dad! Stop it!- A television the size of the Odeon Leicester Square...
0:24:36 > 0:24:38HE BLOWS A RASPBERRY, COOS
0:24:39 > 0:24:42Gee, look at these two, it's like they've never seen one before.
0:24:42 > 0:24:45We've never seen a nice one before. You two were horrible.
0:24:45 > 0:24:48Hey, well, you'll be pleased to know that we're going...
0:24:48 > 0:24:50OK, bye-bye.
0:24:50 > 0:24:52Bye, darling.
0:24:52 > 0:24:55We're going to see you again, before we lose you to this extravaganza.
0:24:55 > 0:24:58Say bye. Bye-bye, Gran.
0:24:58 > 0:24:59I love you, don't worry.
0:25:01 > 0:25:03- Bye-bye.- I need to put him to bed.
0:25:06 > 0:25:09- Oh, girls?- Yeah? - You all right for cash?
0:25:09 > 0:25:11- Yes!- Daddy.
0:25:11 > 0:25:13All right. Come on.
0:25:13 > 0:25:15LIZ SIGHS
0:25:17 > 0:25:20What are you doing?
0:25:20 > 0:25:23I'm getting a drink. Do you want one?
0:25:23 > 0:25:26Could this be one of your little occasions?
0:25:26 > 0:25:29- I came here to work. - I know. But that doesn't mean...
0:25:29 > 0:25:33Elizabeth! This is serious! We open in ten days.
0:25:33 > 0:25:37You're not remembering the words, your cues, any of the business.
0:25:37 > 0:25:39We both know why that is. Don't we?
0:25:39 > 0:25:41I'm not doing that any more!
0:25:41 > 0:25:44Not since yesterday morning, as a matter of fact.
0:25:44 > 0:25:46I'm not taking anything.
0:25:46 > 0:25:48Except the bare bones.
0:25:48 > 0:25:51Because they do, they CAN befuddle me, Richard, it's true.
0:25:51 > 0:25:55They can befuddle me so for the sake of the show,
0:25:55 > 0:25:59I am putting my health to one side. And...
0:25:59 > 0:26:02Well, you can expect a different Elizabeth from here on in,
0:26:02 > 0:26:04I, I promise.
0:26:04 > 0:26:08OK, good. Well, let's work on some scenes.
0:26:08 > 0:26:11It's the third act that needs the work but, er,
0:26:11 > 0:26:14let's just start from the top and mark the action.
0:26:15 > 0:26:17You have no idea, have you?
0:26:18 > 0:26:24You stand there and you tell me that I have to pull myself together.
0:26:27 > 0:26:29This is difficult, Richard!
0:26:29 > 0:26:32This is a difficult situation.
0:26:32 > 0:26:36Well, I wasn't going to say anything, I wasn't going to say anything
0:26:36 > 0:26:37but no, well what could I say?
0:26:37 > 0:26:39I never see you to talk to. You just go!
0:26:39 > 0:26:42- After every rehearsal, after every fitting...- Elizabeth.
0:26:42 > 0:26:45- No, just disappear, back to your apartment.- I have to work!
0:26:49 > 0:26:52This isn't how I planned it.
0:26:52 > 0:26:53I see.
0:26:57 > 0:27:00I just thought we'd spend time with each other.
0:27:00 > 0:27:03I was looking forward to that. Weren't you?
0:27:05 > 0:27:11That we'd get to see each other again? And...have fun?
0:27:14 > 0:27:16I, I don't know what to say.
0:27:16 > 0:27:18I don't.
0:27:21 > 0:27:23I don't know what to say.
0:27:26 > 0:27:29You have a... You have a God-given gift.
0:27:29 > 0:27:32- You can do it anywhere, on stage, on film.- What?!
0:27:32 > 0:27:33I'm just a dumb broad.
0:27:33 > 0:27:37You're not dumb. Don't say that. It's not true.
0:27:37 > 0:27:40And it makes me angry when you say it.
0:27:40 > 0:27:42OK.
0:27:42 > 0:27:46I'm not dumb. But...
0:27:48 > 0:27:54The stage is not my home and I, I, er, well this play is hard,
0:27:54 > 0:27:59really hard and...I'm isolated.
0:28:03 > 0:28:06And I thought you'd be there to back me up.
0:28:06 > 0:28:12I am! Really, I am. That's why I'm here now. To help.
0:28:12 > 0:28:13And I will!
0:28:14 > 0:28:15Good.
0:28:18 > 0:28:20I just didn't want to disappoint you.
0:28:20 > 0:28:24Disappoint me? Just learn your lines, love, go on stage, say them,
0:28:24 > 0:28:26and you will electrify.
0:28:39 > 0:28:42And irrespective of what happens here tonight,
0:28:42 > 0:28:46the entire run of this show is already sold out,
0:28:46 > 0:28:49guaranteeing both stars a payday
0:28:49 > 0:28:52somewhere in the region of 1 million!
0:28:52 > 0:28:55'Here outside the theatre, massive crowds wait
0:28:55 > 0:28:57'for a glimpse of Elizabeth Taylor and Richard Burton.'
0:28:57 > 0:28:59'..by Noel Coward is the first time Taylor and
0:28:59 > 0:29:01Burton have been on stage together since...'
0:29:01 > 0:29:03TANNOY: 'Ladies and Gentlemen,
0:29:03 > 0:29:05'welcome to this evening's performance of Private Lives.
0:29:05 > 0:29:07'We would like to take this time to remind you
0:29:07 > 0:29:10'that all photography in this performance is strictly prohibited.
0:29:10 > 0:29:13'We hope you enjoy this evening's performance.'
0:29:13 > 0:29:16We go up in ten minutes. Where the bloody hell is she?
0:29:16 > 0:29:17- They're parking up.- What?
0:29:17 > 0:29:20People are parking on the side of the road
0:29:20 > 0:29:22and in the middle of it, hoping to get a glimpse as she goes by.
0:29:22 > 0:29:25- It's caused a gridlock. - Oh, Christ!
0:29:25 > 0:29:27'Ladies and gentlemen, will you please... '
0:29:27 > 0:29:29Mike!
0:29:29 > 0:29:31Will you fetch me The Times crossword please?
0:29:31 > 0:29:33And possibly get the kettle on.
0:29:33 > 0:29:35Oh, and a couple of sleeping bags also,
0:29:35 > 0:29:37it's going to be a bloody long night.
0:29:38 > 0:29:42'Ladies and Gentlemen, unfortunately this evening's performance
0:29:42 > 0:29:45'of Private Lives is delayed for another 25 minutes.'
0:29:46 > 0:29:49It's now 45 minutes till Act One beginners.
0:29:49 > 0:29:5145 minutes till Act One beginners.
0:29:51 > 0:29:53DOGS BARK
0:29:53 > 0:29:56Hi, Gino. I'm here, I'm here!
0:29:56 > 0:29:58I'm here!
0:29:58 > 0:30:00I am so sorry I'm late.
0:30:00 > 0:30:03Here, here, here, Chen.
0:30:03 > 0:30:05I'm so sorry. I'm so, so, sorry.
0:30:05 > 0:30:08I did my make up in the car. I thought that might help.
0:30:08 > 0:30:10Thank you.
0:30:10 > 0:30:13Not at all. In these situations, we've got to all pull together.
0:30:13 > 0:30:14You're a bloody menace!
0:30:14 > 0:30:18You should have come out. Everyone was calling your name.
0:30:18 > 0:30:21And I signed so many posters for Virginia Woolf.
0:30:21 > 0:30:23Virginia Woolf!
0:30:23 > 0:30:26I know. For that. I was so fat. Anyway, can't talk.
0:30:26 > 0:30:28Got a play to do.
0:30:28 > 0:30:30PARROT SQUAWKS
0:30:30 > 0:30:32A parrot?!
0:30:32 > 0:30:33He's called Alvin.
0:30:36 > 0:30:39What is she? An actress or a bloody zoo?
0:30:42 > 0:30:45AUDIENCE LAUGHS AND APPLAUDS
0:30:59 > 0:31:01Thank you, Jess.
0:31:11 > 0:31:13Sibyl!
0:31:13 > 0:31:14< Yes.
0:31:14 > 0:31:17I've brought the cocktails outside. Hurry up.
0:31:17 > 0:31:19I can't find my lipstick.
0:31:19 > 0:31:22Never mind. Send down to the kitchen for some cochineal.
0:31:22 > 0:31:24AUDIENCE LAUGHS
0:31:24 > 0:31:25- Don't be silly.- Hurry!
0:31:25 > 0:31:28AUDIENCE APPLAUD, WHISTLE
0:32:01 > 0:32:03APPLAUSE CONTINUES
0:32:12 > 0:32:14Whose yacht is that?
0:32:14 > 0:32:17The Duke of Westminster's, I expect. It always is.
0:32:17 > 0:32:19I wish I were on it.
0:32:19 > 0:32:21I wish you were, too.
0:32:21 > 0:32:23AUDIENCE LAUGH
0:32:23 > 0:32:28There's no need...to be nasty.
0:32:28 > 0:32:30Yes, there is, every need.
0:32:30 > 0:32:34I've never in my life felt a greater urge to be nasty.
0:32:34 > 0:32:38And you've had some urges in your time, haven't you?
0:32:38 > 0:32:39AUDIENCE CHEER
0:32:39 > 0:32:41If you start bickering with me,
0:32:41 > 0:32:44Amanda, I swear I shall throw you over the edge.
0:32:44 > 0:32:46Try it, that's all, just try it.
0:32:46 > 0:32:49AUDIENCE LAUGH
0:32:49 > 0:32:51BELL RINGS
0:32:51 > 0:32:53TANNOY: 'Intermission, ladies and gentleman.
0:32:53 > 0:32:55'20 minutes till Act Two beginners.'
0:32:57 > 0:32:59What a start, Rich.
0:32:59 > 0:33:03I set them up, you knock them down!
0:33:04 > 0:33:05LIZ LAUGHS
0:33:07 > 0:33:09Did you notice her at supper,
0:33:09 > 0:33:12blowing all those shrimps through her ear trumpet?
0:33:12 > 0:33:14AUDIENCE LAUGH
0:33:17 > 0:33:20LAUGHTER CONTINUES
0:33:22 > 0:33:24What are you thinking about?
0:33:24 > 0:33:27Oh, nothing in particular.
0:33:27 > 0:33:29Come on, I know that face.
0:33:33 > 0:33:35Poor Sibyl.
0:33:36 > 0:33:38AUDIENCE LAUGH, MURMUR
0:33:40 > 0:33:42Sibyl?
0:33:44 > 0:33:48Yes, I suppose she loves you terribly.
0:33:48 > 0:33:50AUDIENCE LAUGH
0:33:52 > 0:33:54AUDIENCE APPLAUD
0:34:05 > 0:34:07Oh, my God. What have we done?
0:34:09 > 0:34:10Rich...listen.
0:34:10 > 0:34:12Didn't you hear them?
0:34:12 > 0:34:16When Sibyl was mentioned. They reacted like it was my wife Sybil.
0:34:16 > 0:34:20Richard Burton! We did it. You did it!
0:34:20 > 0:34:23A standing ovation. Five, six, curtain calls.
0:34:23 > 0:34:27I knew this play would be a hit. I knew it right from the off!
0:34:27 > 0:34:29- What's the matter? - Couldn't you hear it?
0:34:29 > 0:34:32Richard, I heard laughter and I heard cheering.
0:34:32 > 0:34:34That's usually a good sign, isn't it?
0:34:34 > 0:34:37- They were laughing at us. - No, they were not.- They were.
0:34:37 > 0:34:40They didn't think they were watching a play.
0:34:40 > 0:34:43They thought they'd had an invite into our lives,
0:34:43 > 0:34:45to see us HAPPEN in front of them.
0:34:45 > 0:34:47Stop it! You're overreacting.
0:34:47 > 0:34:50Well, OK, maybe there were a few that were more interested in us
0:34:50 > 0:34:53than in the show but you always get that on the first-night crowd.
0:34:53 > 0:34:57You get the rubber neckers. But they were not the majority.
0:34:57 > 0:35:01And the majority loved what we did, they loved it!
0:35:01 > 0:35:03TANNOY: 'Mike to stage door, please.'
0:35:03 > 0:35:05I'm proud of you, Elizabeth.
0:35:06 > 0:35:08You're phenomenal.
0:35:08 > 0:35:11There's no-one like you.
0:35:11 > 0:35:16Thank you. So stop worrying! OK. And let's go wow.
0:35:17 > 0:35:23The party. We've got a club in town. The whole place. And a band.
0:35:24 > 0:35:27I'm sorry. I've made arrangements.
0:35:27 > 0:35:30Later, perhaps I...
0:35:30 > 0:35:33But people'll be expecting it. Us.
0:35:33 > 0:35:35KNOCK ON DOOR
0:35:35 > 0:35:38Rich! Sally's brought the car around. Are you going to be long?
0:35:38 > 0:35:42- Or do you want me to ask her back? - No, no. I'm coming. Thank you.
0:35:43 > 0:35:48No, it's fine. It's fine. I forgot.
0:35:49 > 0:35:52You do what you've got to do.
0:35:52 > 0:35:54I'll see you.
0:35:59 > 0:36:01Hello, love.
0:36:01 > 0:36:03Chen?!
0:36:11 > 0:36:13I've got a table booked.
0:36:13 > 0:36:15SMALL DOG BARKS
0:36:18 > 0:36:20CAMERAS FLASH, PRESS CLAMOUR
0:36:38 > 0:36:41HE BREATHES UNSTEADILY
0:37:07 > 0:37:09DISTANT SIRENS WAIL
0:37:11 > 0:37:13Thou art a soul in bliss...
0:37:18 > 0:37:21But I am bound upon a wheel of fire.
0:37:25 > 0:37:28That mine own tears do scold like molten lead.
0:37:38 > 0:37:41You loathsome...
0:37:41 > 0:37:44loathsome man.
0:37:50 > 0:37:52HE SIGHS
0:37:52 > 0:37:54PHONE RINGS
0:38:05 > 0:38:07LOUD MUSIC PLAYS
0:38:13 > 0:38:16- They're not the best I've read.- Ha!
0:38:16 > 0:38:19Elizabeth. Please. Critics deserve nothing but our pity.
0:38:19 > 0:38:22To be so close to art and yet to contribute absolutely nothing
0:38:22 > 0:38:27whatsoever towards it. It's like being...a eunuch at an orgy.
0:38:27 > 0:38:29Yeah, but how can they say those things?
0:38:29 > 0:38:33They're cunts. That's a more prosaic version of what I just said.
0:38:34 > 0:38:37Christ, Elizabeth! You don't need THEIR approbation.
0:38:37 > 0:38:39Approbation!
0:38:39 > 0:38:41No, don't, don't, don't do it to yourself.
0:38:41 > 0:38:44No, no, no. Listen to this.
0:38:44 > 0:38:49"Miss Taylor plays Amanda Prynne in perhaps the strangest voice
0:38:49 > 0:38:51"this side of the Disney cartoon.
0:38:51 > 0:38:57"She squeaks, peeps, swoops and then pauses as though speaking Pinter."
0:38:57 > 0:39:00Approbation? I just want their fucking manners.
0:39:01 > 0:39:03PILLS RATTLE
0:39:08 > 0:39:10Do you have a handkerchief?
0:39:12 > 0:39:13Here.
0:39:13 > 0:39:16- I don't deserve that. - You don't. You're right.
0:39:16 > 0:39:19Let's not forget, they weren't exactly gushing about me, were they?
0:39:19 > 0:39:22- Yeah, well, they all like your voice. - Of course they do!
0:39:22 > 0:39:25It's the theatrical equivalent of a big cock.
0:39:25 > 0:39:27Everyone likes it.
0:39:27 > 0:39:29Doesn't make you a great lover per se, though, does it?
0:39:29 > 0:39:31SHE LAUGHS
0:39:31 > 0:39:32Here, have some of my burger.
0:39:32 > 0:39:35No, I'm on a diet! Two of those bastards said
0:39:35 > 0:39:38I was spending more time in the green room than on stage.
0:39:38 > 0:39:40Sod them! None of their business.
0:39:43 > 0:39:45But you are right. You shouldn't have to endure it.
0:39:45 > 0:39:47And nor should I.
0:39:51 > 0:39:53Nor do we have to.
0:39:53 > 0:39:54What do you mean?
0:39:54 > 0:39:56Let's cancel the run.
0:39:56 > 0:39:59Right here. Now. Spare ourselves any more pain.
0:39:59 > 0:40:02Either from these idiots or from the ones who plonk themselves
0:40:02 > 0:40:05down in the front rows and treat us like we're a bloody freak show!
0:40:05 > 0:40:10But we can't just cancel. The theatre'd sue us.
0:40:10 > 0:40:14Why don't we pay them? I think I've got enough in my current account.
0:40:14 > 0:40:17What about you? Wouldn't entirely clear us out, would it?
0:40:17 > 0:40:19We pop in later today,
0:40:19 > 0:40:22we bid a fond farewell to the other actors and that's it.
0:40:22 > 0:40:24We go our separate ways. Sounds like bliss.
0:40:27 > 0:40:30No! I won't give them the pleasure.
0:40:30 > 0:40:33Richard, we're going to do this play!
0:40:33 > 0:40:37And we're going to make people laugh, we're going to make people applaud.
0:40:37 > 0:40:40And we're going to make a pile of money while we do it.
0:40:40 > 0:40:45And no-one, not them or anyone else, is going to stand in our way!
0:40:48 > 0:40:51AUDIENCE APPLAUD
0:40:52 > 0:40:55AUDIENCE CHEER WILDLY
0:40:58 > 0:41:00- RICHARD: Sibyl.- Yes!
0:41:00 > 0:41:02I've bought the cocktails outside, hurry up.
0:41:02 > 0:41:04Considering what a hell she made your life,
0:41:04 > 0:41:06I think you're very nice about her.
0:41:06 > 0:41:09- And yet I'm sorry for her.- Why? - Because she's marked for tragedy.
0:41:09 > 0:41:12She's bound to make a mess of everything.
0:41:12 > 0:41:14If it's all her fault, I don't see that it matters much.
0:41:14 > 0:41:16AUDIENCE APPLAUD
0:41:16 > 0:41:19RICHARD: You're a vile, loose-living, wicked little beast
0:41:19 > 0:41:22and I never want to set eyes on you...
0:41:22 > 0:41:25LIZ: This is the end. Do you understand? Finally! And for ever!
0:41:25 > 0:41:28- You're not going like this. - Oh, yes, I am.- You're not.
0:41:28 > 0:41:30Oh, yes, I am. Let go of me!
0:41:30 > 0:41:32AUDIENCE LAUGH
0:41:53 > 0:41:55AUDIENCE APPLAUD
0:42:02 > 0:42:06Very enjoyable. Never had much of that anyhow.
0:42:06 > 0:42:10Quite insufferable. I expect it's because you're drunk!
0:42:10 > 0:42:12AUDIENCE LAUGH
0:42:12 > 0:42:15MAN: Keep going, you two! We love you, Liz!
0:42:17 > 0:42:19AUDIENCE APPLAUD
0:42:23 > 0:42:26- What the hell was that?- What?
0:42:26 > 0:42:28You were mugging for the audience.
0:42:28 > 0:42:30- I...- You were. I saw you!
0:42:30 > 0:42:32Er, Elizabeth. Costume.
0:42:32 > 0:42:34Shut your mouth! I'm talking to her.
0:42:34 > 0:42:38Don't you dare speak to my friends like that!
0:42:38 > 0:42:41And don't you dare think that you can tell me
0:42:41 > 0:42:45how to play my role. They loved it! The audience loved it.
0:42:45 > 0:42:47They adored that they were in on the gag.
0:42:47 > 0:42:49And the audience, may I remind you,
0:42:49 > 0:42:51are the ones who are paying our wages.
0:42:51 > 0:42:56Or rather, they're paying my company, who are paying your wages.
0:42:56 > 0:42:57Fuck off!
0:43:02 > 0:43:04Richard. Rich!
0:43:04 > 0:43:06What?
0:43:06 > 0:43:10Please. Don't storm off like that.
0:43:10 > 0:43:12Don't go off like that.
0:43:13 > 0:43:16When you still haven't apologised!
0:43:16 > 0:43:19- Bitch!- You bully! - Get off!- How dare you!- Stop it!
0:43:19 > 0:43:22- Don't you raise your hand to me! - Well, stop fucking hitting me!
0:43:22 > 0:43:24Only when you've fucking apologised!
0:43:24 > 0:43:25DOGS BARK
0:43:27 > 0:43:29- We're fine.- We were just talking.
0:43:41 > 0:43:44I'm sorry. You're right.
0:43:44 > 0:43:47I was...unprofessional.
0:43:47 > 0:43:52It's all we have! To rise above the rubbish in the stalls!
0:43:52 > 0:43:55Richard, I was unprofessional, you were rude.
0:43:55 > 0:43:57Which is much worse.
0:43:57 > 0:44:00We do not treat those around us, those who look after us, like dirt.
0:44:00 > 0:44:03That is inexcusable. And you know it!
0:44:03 > 0:44:07So, please, do the right thing now. Now!
0:44:09 > 0:44:13Or I am going to spend the entire final act of this play in full
0:44:13 > 0:44:15conversation with whoever in the front row,
0:44:15 > 0:44:17wants to join in with me the most!
0:44:26 > 0:44:28HE KNOCKS ON DOOR
0:44:28 > 0:44:31Chen? I erm, I'm so sorry about that outburst.
0:44:31 > 0:44:34My tone...I don't know what came over me.
0:44:34 > 0:44:36It's fine, Richard.
0:44:36 > 0:44:40Well, it won't happen again. I can assure you. Sorry.
0:44:40 > 0:44:42Thank you.
0:44:50 > 0:44:51Thank you.
0:44:55 > 0:44:58Would you like some supper afterwards?
0:44:58 > 0:45:00What?
0:45:00 > 0:45:02I was wondering if you'd care for a late supper?
0:45:02 > 0:45:07What about Sally? Is she not in tonight? She usually is.
0:45:07 > 0:45:11No. She's busy. I think she might have gone to the Met.
0:45:11 > 0:45:13- So has Victor.- Gone to the opera?
0:45:13 > 0:45:15No. He's busy.
0:45:15 > 0:45:17Oh, well, all the more reason then.
0:45:18 > 0:45:20Ideal.
0:45:20 > 0:45:22OK.
0:45:31 > 0:45:33DINERS APPLAUD
0:45:39 > 0:45:41Thank you.
0:45:45 > 0:45:47Thank you.
0:45:55 > 0:45:57- So sorry I'm late.- You're not.
0:45:57 > 0:46:01Miss Taylor. Mr Burton. Compliments of the management.
0:46:01 > 0:46:03How lovely.
0:46:06 > 0:46:07Thank you.
0:46:09 > 0:46:12Er, can I get a Tab as well please? And some iced water?
0:46:12 > 0:46:14Of course, sir.
0:46:14 > 0:46:15- Thank you.- Thank you.
0:46:24 > 0:46:26Thank you.
0:46:32 > 0:46:34Menu, ma'am.
0:46:34 > 0:46:36This is lovely. Very intimate!
0:46:36 > 0:46:39Thank you.
0:46:39 > 0:46:42I got a round of applause when I came in.
0:46:42 > 0:46:44I notice you didn't.
0:46:44 > 0:46:46HE LAUGHS
0:46:49 > 0:46:51What?
0:46:51 > 0:46:55It's bizarre. I mean, all these years and they're still interested.
0:46:55 > 0:46:57You'd think they'd tire.
0:47:00 > 0:47:04Are you going to be like this all night? Just drifting off.
0:47:04 > 0:47:08No. I was just thinking of that restaurant in Rome, Alfredo's?
0:47:08 > 0:47:12- Uh-huh.- Remember at the height of Le Scandale.
0:47:12 > 0:47:15We were holed up in that little flat,
0:47:15 > 0:47:19half the world's press on our doorstep. Cameras everywhere.
0:47:19 > 0:47:22And the Vatican telling us we were morally reprehensible.
0:47:22 > 0:47:24Then one day, you said,
0:47:24 > 0:47:26"Sod it, let's go and have some fettucine at Alfredo's!"
0:47:26 > 0:47:28Sure did.
0:47:28 > 0:47:30THEY LAUGH
0:47:30 > 0:47:34We went down the Via Veneto, into the restaurant and bang!
0:47:35 > 0:47:38Boy, did we go public!
0:47:39 > 0:47:41Remember?
0:47:42 > 0:47:44Every day.
0:47:47 > 0:47:50I think we're ready to order, please.
0:47:53 > 0:47:54I like this.
0:47:54 > 0:47:57What?
0:47:57 > 0:48:00I can be quiet with you.
0:48:00 > 0:48:02You can't with Victor?
0:48:02 > 0:48:06Sure I can. I'm saying, though, it's also true of you.
0:48:06 > 0:48:09Geez, can't a guy take a compliment any more?
0:48:11 > 0:48:15Feeling's mutual, love, I promise.
0:48:18 > 0:48:19Ma'am.
0:48:21 > 0:48:23Sir.
0:48:24 > 0:48:29It's funny, isn't it, what's at the heart of a good relationship.
0:48:29 > 0:48:32I mean, love, obviously but that's a catch all, really,
0:48:32 > 0:48:35a collective noun for all the other bits put together.
0:48:35 > 0:48:39The question is, what's the critical element
0:48:39 > 0:48:42around which everything else clusters?
0:48:43 > 0:48:46Er, passion.
0:48:46 > 0:48:47Maybe.
0:48:47 > 0:48:49Sex.
0:48:49 > 0:48:52Hmmm. Important. Very.
0:48:54 > 0:48:55Trust.
0:48:57 > 0:48:59That's not bad.
0:48:59 > 0:49:03Being able to trust one's most abject self to the other,
0:49:03 > 0:49:07in the knowledge that they'll tread carefully on your screams.
0:49:07 > 0:49:09SHE LAUGHS
0:49:12 > 0:49:14I always did feel like that with you.
0:49:14 > 0:49:19Really? That's what bound us? Trust?
0:49:19 > 0:49:21I always thought it was my tits.
0:49:21 > 0:49:23HE LAUGHS
0:49:23 > 0:49:26Yes, well they...clearly had a role.
0:49:29 > 0:49:33And they are still magnificent, by the way. May I say that?
0:49:33 > 0:49:37No, you may not! They're not yours to talk about any more.
0:49:37 > 0:49:39They'll always be mine!
0:49:44 > 0:49:47So are we going to have pudding or go straight for coffee?
0:49:47 > 0:49:51Richard, listen, listen, listen, listen. I want to say some things.
0:49:51 > 0:49:54I've wanted to say them for a while.
0:49:54 > 0:49:58Erm, I nearly did at Rock's but, I dunno, you seemed kind of frail.
0:49:58 > 0:50:00I am kind of frail.
0:50:00 > 0:50:01I mean it's a, it is a worry.
0:50:01 > 0:50:04I mean, it's the thing that concerns me about Lear.
0:50:04 > 0:50:07I'll be fine with the words but it's the physical demands...
0:50:07 > 0:50:09I'm not talking about acting, Richard!
0:50:09 > 0:50:12I'm talking about you and me. And why we're doing this.
0:50:13 > 0:50:1670,000 a week.
0:50:16 > 0:50:17That is not true.
0:50:17 > 0:50:19Elizabeth! Please.
0:50:23 > 0:50:26Can I say something, now that it's on my mind?
0:50:28 > 0:50:31There's a couple of things which have crept in over
0:50:31 > 0:50:33the course of the run.
0:50:33 > 0:50:38The tiny things, but your first entrance, for instance.
0:50:38 > 0:50:42You're now playing it very confidently, which I think is losing
0:50:42 > 0:50:46some sense of Amanda protecting herself, which she undoubtedly is...
0:50:46 > 0:50:48SHE CLEARS THROAT You're giving me notes?
0:50:50 > 0:50:53I'm trying to talk to you and you're giving me acting notes?
0:50:53 > 0:50:56- No...- Jesus, Richard! What are you doing?
0:50:56 > 0:50:58- Why did you ask me out tonight?- What?
0:50:58 > 0:51:00Why did you ask me out to supper tonight?
0:51:00 > 0:51:02Why did you do that?
0:51:02 > 0:51:05Because I wanted to see you. You're my ex wife.
0:51:05 > 0:51:08It's perfectly natural for me to want to see you, isn't it?
0:51:08 > 0:51:10Fine, in which case, I'll take that note.
0:51:10 > 0:51:13Where did my Anthony go? Remember?
0:51:13 > 0:51:16The man who would have risked everything for me.
0:51:16 > 0:51:19Who did! Who tossed it all against the rocks
0:51:19 > 0:51:22so he could be with me. Where did he go, Richard?
0:51:22 > 0:51:25Tell me where my fucking Anthony went?!
0:51:51 > 0:51:52There's still no sign.
0:51:52 > 0:51:55We need to start or we'll still be here at midnight.
0:51:55 > 0:52:00- Rich, we can't be certain... - She isn't coming! I know she isn't.
0:52:01 > 0:52:02Get ready, love.
0:52:06 > 0:52:08You'll be wonderful! Trust me.
0:52:14 > 0:52:16TANNOY: 'Ladies and gentlemen, due to a sudden illness,
0:52:16 > 0:52:19'Ms Taylor is sadly indisposed
0:52:19 > 0:52:22'and the role of Amanda will be played tonight by Kathryn Walker.'
0:52:24 > 0:52:26AUDIENCE GRUMBLE
0:52:46 > 0:52:48TANNOY: 'Five minutes stand-by for Mr Burton.
0:52:48 > 0:52:50'Mr Burton, please stand-by.'
0:52:53 > 0:52:55How's it going?
0:52:55 > 0:52:58How do you think? I'm Richard Burton.
0:52:58 > 0:53:01I don't play to 50 people!
0:53:01 > 0:53:06Christ, Mike, don't ever put that woman's back up. Not ever.
0:53:06 > 0:53:08What did you say to her?
0:53:08 > 0:53:13I gave her a note. And this is hers, back to me.
0:53:13 > 0:53:16This is La Taylor saying, loud and clear,
0:53:16 > 0:53:20"Don't you forget, boyo, who the star of this show really is!"
0:53:20 > 0:53:22Bitch!
0:53:25 > 0:53:28AUDIENCE APPLAUD
0:53:59 > 0:54:00KNOCK ON DOOR
0:54:00 > 0:54:02Yes!
0:54:02 > 0:54:05It was a great show, Rich. You and Kathryn, you really...
0:54:05 > 0:54:07What's the matter?
0:54:09 > 0:54:12We're going to go dark, just until Elizabeth gets better.
0:54:14 > 0:54:15What?
0:54:15 > 0:54:19I've spoken to Zev and the numbers, tickets coming back
0:54:19 > 0:54:21and phone calls, I...
0:54:22 > 0:54:26People really want to see Liz, Rich.
0:54:26 > 0:54:31So...it seems crazy. We're going to take a break.
0:54:31 > 0:54:34As soon as she's well again, we'll pick it up.
0:55:02 > 0:55:05OK, folks, please strike this and re-set for act one.
0:55:05 > 0:55:07We are back on the road.
0:55:14 > 0:55:17Todd, can you get on to resetting the doors?
0:55:19 > 0:55:22LIZ: I'm here, I'm here. Hi, Gino.
0:55:22 > 0:55:24SHE COUGHS
0:55:24 > 0:55:26Come on, babies.
0:55:26 > 0:55:29You go with Auntie Hayley.
0:55:29 > 0:55:32Hey, can you see, I'm going to go and see Uncle Rich.
0:55:32 > 0:55:34Hi, honey, I'm sorry I'm late.
0:55:34 > 0:55:36Elizabeth?
0:55:38 > 0:55:39What?
0:55:39 > 0:55:44Elizabeth, apologies, I didn't realise you were already in.
0:55:47 > 0:55:49What is happening?
0:55:49 > 0:55:54Nothing. I...Richard's on his way, Mike called from the airport.
0:55:54 > 0:55:57Airport? Where's he been?
0:56:01 > 0:56:05Can someone please tell me what the goddamn hell is going on?
0:56:05 > 0:56:08Honey, let's go to your room. Huh?
0:56:08 > 0:56:11We can talk better there. Come on.
0:56:19 > 0:56:21INDISTINCT CHATTER
0:56:25 > 0:56:28Can you guys give us some space, please!
0:56:28 > 0:56:31- Peter, take the dogs out, thank you. - No problem.
0:56:32 > 0:56:34- Thank you.- We'll be outside.
0:56:36 > 0:56:38Well?
0:56:44 > 0:56:48Guess they got an exclusive. It wasn't in any of the others, so...
0:57:00 > 0:57:01He got married in Vegas?
0:57:03 > 0:57:05Why would he do that?
0:57:28 > 0:57:31Yeah?
0:57:31 > 0:57:33DOOR OPENS
0:57:35 > 0:57:37Richard.
0:57:37 > 0:57:39I wondered how you were feeling.
0:57:41 > 0:57:44I'm on the mend, thank you.
0:57:47 > 0:57:53I, er, do wish you'd told me of your plans.
0:57:53 > 0:57:56I was a little surprised to read of them in the newspaper.
0:57:56 > 0:57:58I'm sorry.
0:58:00 > 0:58:02Events rather overtook us.
0:58:04 > 0:58:05Really?
0:58:07 > 0:58:10We'd always intended it, you know that.
0:58:10 > 0:58:14And then the break. Seemed like an ideal opportunity.
0:58:15 > 0:58:17I've no doubt it was.
0:58:21 > 0:58:23Congratulations.
0:58:41 > 0:58:43SHE CRIES
0:58:47 > 0:58:49AUDIENCE APPLAUD
0:58:52 > 0:58:54AUDIENCE LAUGH
0:59:06 > 0:59:07PARROT SQUAWKS
0:59:20 > 0:59:23Well, isn't that what you say a performance must always have?
0:59:23 > 0:59:25Some danger.
0:59:25 > 0:59:26Not parrots.
0:59:29 > 0:59:32You really can be more irritating than anyone in the world.
0:59:32 > 0:59:34AUDIENCE LAUGH
0:59:34 > 0:59:40Hmmm, I fail to see what I've done that is so terribly irritating.
0:59:40 > 0:59:43AUDIENCE LAUGH LOUDLY
0:59:47 > 0:59:50They want us to fight. Don't you see?
0:59:50 > 0:59:52No, I don't, why should they?
0:59:52 > 0:59:55Primitive feminine instinct. It's what...
0:59:57 > 1:00:01Boring females. Very enjoyable.
1:00:01 > 1:00:03The end. Finally and for ever.
1:00:03 > 1:00:06- You're not going like this! - Oh, yes, I am!- You're not!
1:00:06 > 1:00:08Oh, yes, I am. Let go of me!
1:00:08 > 1:00:09HE CRIES OUT
1:00:09 > 1:00:11AUDIENCE LAUGH
1:00:11 > 1:00:15You're a cruel fiend. I hate you and I loathe you!
1:00:23 > 1:00:25EXCITED CHATTERING
1:00:29 > 1:00:31- Great work, Rich.- Wonderful.
1:00:44 > 1:00:46I hope I didn't hurt you, did I, Richard?
1:00:46 > 1:00:49At the end of Act Two? You seemed to wince.
1:00:50 > 1:00:55Only on Noel's behalf. You're slurred again.
1:00:55 > 1:00:57You swallowed half the lines.
1:01:22 > 1:01:24Christ!
1:01:24 > 1:01:26What a bloody shambles!
1:01:31 > 1:01:33OBJECTS CLATTER
1:01:38 > 1:01:40COMMOTION IN HALLWAY
1:01:43 > 1:01:44LIZ SOBS
1:01:44 > 1:01:46It's OK.
1:01:46 > 1:01:47What's going on?
1:01:49 > 1:01:50Elizabeth!
1:01:50 > 1:01:52Leave her! She's poorly!
1:01:52 > 1:01:56We're getting her straight back to the apartment.
1:01:56 > 1:01:59- There's nothing wrong with her! - She's sick.
1:01:59 > 1:02:02Really? Well, if she is, take it from one who knows,
1:02:02 > 1:02:03she's got it from a bloody bottle!
1:02:03 > 1:02:07Can you blame her? You treat her like shit!
1:02:07 > 1:02:10She finds out you're married from a newspaper article,
1:02:10 > 1:02:13- you criticise her as an actress. - What?- You!
1:02:13 > 1:02:16I have never criticised her as an actress!
1:02:16 > 1:02:18She is peerless as an actress!
1:02:18 > 1:02:20Jesus!
1:02:20 > 1:02:24You call that acting, out there? It's like a bloody pantomime dame.
1:02:24 > 1:02:26Tripping over all her lines. I know she can act.
1:02:26 > 1:02:28I know better than anyone!
1:02:28 > 1:02:31Which is why I'm not going to tolerate that any more!
1:02:31 > 1:02:34In which case, maybe you'll leave her alone once and for all.
1:02:34 > 1:02:37Because Miss Taylor was fine until you took this job.
1:02:37 > 1:02:40She was well until you decided to come back into her life again.
1:02:40 > 1:02:44Now, why you did that, only you can know for sure but from here,
1:02:44 > 1:02:48it looks like it was for one reason only - to break her heart.
1:03:00 > 1:03:02What did he say?
1:03:02 > 1:03:04Did he ask if I was all right?
1:03:04 > 1:03:08He didn't say much. But I told him.
1:03:08 > 1:03:11I think it's disgusting the way he treats you.
1:03:14 > 1:03:16You said what?
1:03:22 > 1:03:24Get out.
1:03:25 > 1:03:27Get out!
1:03:27 > 1:03:28I said get out!
1:03:28 > 1:03:31Get out! Get the fuck out of here!
1:03:55 > 1:03:57LIZ SOBS Chen! Chen!
1:04:00 > 1:04:03Chen!
1:04:03 > 1:04:05SHE SOBS
1:04:35 > 1:04:37You OK, Mr Burton?
1:05:31 > 1:05:34Never. Never.
1:05:53 > 1:05:57Thou art the thing itself.
1:05:57 > 1:06:05Unaccommodated man is no more but such a poor, bare, forked animal.
1:06:09 > 1:06:11As thou art.
1:06:19 > 1:06:21AUDIENCE APPLAUD
1:07:18 > 1:07:20Congratulations.
1:07:22 > 1:07:25- Hey! Great work, Rich!- Thanks, Jess.
1:07:27 > 1:07:30You were terrific. Thank you.
1:07:30 > 1:07:32Thanks, John. Likewise, likewise.
1:07:34 > 1:07:37Rich! Thank you, thank you, thank you.
1:07:37 > 1:07:41- For what? - I finally got to act with my hero.
1:07:41 > 1:07:44And he was everything I dreamed of and more.
1:07:44 > 1:07:47You were brilliant. Really.
1:07:48 > 1:07:50See you at the party?
1:07:50 > 1:07:52Er, well, we'll see.
1:08:19 > 1:08:21Well done.
1:08:21 > 1:08:24Yes. And you.
1:08:29 > 1:08:32- There's a party. I... - I know. Kathryn said.
1:08:32 > 1:08:36- Yeah, I imagine you'll...- No. I, er, I dunno. I might call in.
1:08:46 > 1:08:48You're quite an actor.
1:08:55 > 1:08:56Elizabeth!
1:08:56 > 1:08:58What?
1:08:58 > 1:09:02I... I will... I'll try and come to the party.
1:09:18 > 1:09:21TANNOY: 'Ladies and gentlemen. for the last time -
1:09:21 > 1:09:26'Act One was 43 minutes, Act Two, 44 minutes
1:09:26 > 1:09:28'and Act Three, 46 minutes.
1:09:28 > 1:09:32'There will be no call on Monday. Thank you and good night.'
1:10:09 > 1:10:11KNOCKING
1:10:14 > 1:10:16There you go! Thank you.
1:10:16 > 1:10:18Thank you, ma'am.
1:10:18 > 1:10:20You really shouldn't do that, you know.
1:10:20 > 1:10:23Richard, I bought you a present. I want to hang it up.
1:10:24 > 1:10:26Yes, the thing about hotels, love,
1:10:26 > 1:10:29is that they come with the pictures already provided.
1:10:29 > 1:10:31Yeah, copies. Not originals.
1:10:31 > 1:10:34This one had its own seat in first all the way from Madrid.
1:10:38 > 1:10:39What ARE you wearing?
1:10:39 > 1:10:42Dior. Don't you like it?
1:10:42 > 1:10:44No. I mean, why are you dressed, as t'were,
1:10:44 > 1:10:47like an overripe tart, when we're about to start exercising?
1:10:47 > 1:10:50I thought maybe we could screw afterwards.
1:10:51 > 1:10:54Mmm, I can taste Jack. Lucky Jack.
1:10:54 > 1:10:58Right, Francis, you old bugger. Get us going.
1:10:59 > 1:11:02MUSIC: "I Get A Kick Out Of You" by Frank Sinatra
1:11:02 > 1:11:05Elizabeth. Elizabeth, come on.
1:11:07 > 1:11:09# I get no kick from champagne
1:11:09 > 1:11:11Right, start with side bends. Ready?
1:11:11 > 1:11:15# Mere alcohol, it doesn't move me at all
1:11:15 > 1:11:17Ready and one, two, three and...
1:11:17 > 1:11:20# So tell me why should it be true
1:11:20 > 1:11:23One, two, three and...
1:11:23 > 1:11:27# That I get a kick out of you
1:11:27 > 1:11:28One, two, three.
1:11:30 > 1:11:33- We're supposed to do a hundred of those.- What?!
1:11:33 > 1:11:35Well, I imagine you work up.
1:11:35 > 1:11:37We don't have to break any records at the outset.
1:11:37 > 1:11:41- Right, next, jog on the spot for five minutes.- Without stopping?!
1:11:41 > 1:11:45No, love, after 30 seconds, they encourage you to have another
1:11:45 > 1:11:47Jack Daniels and ring room service for another hot dog.
1:11:47 > 1:11:50Of course you don't stop. Are you ready?
1:11:51 > 1:11:52OK.
1:11:52 > 1:11:54# I get a kick every time I see you
1:11:54 > 1:11:56Knees up.
1:11:57 > 1:12:00- What are you doing? - What do you mean?
1:12:00 > 1:12:01What are you doing?
1:12:01 > 1:12:04Richard, I'm holding my bosom.
1:12:04 > 1:12:06It's bouncing up and down.
1:12:06 > 1:12:10Richard, I'm 40 years of age. They're 40 years of age.
1:12:10 > 1:12:12They've gained a certain...elasticity.
1:12:12 > 1:12:15HE LAUGHS
1:12:15 > 1:12:17# In a plane
1:12:17 > 1:12:20# Flying too high with some gal
1:12:20 > 1:12:22You are so gorgeous.
1:12:22 > 1:12:28Your tits are gorgeous, your arse is gorgeous, your legs, your belly...
1:12:28 > 1:12:30Did I mention your tits?
1:12:30 > 1:12:32# I get a kick out of you... #
1:12:32 > 1:12:34Let's just screw.
1:12:34 > 1:12:36We can be extra vigorous.
1:12:44 > 1:12:46Rich?
1:12:46 > 1:12:48- Stop the car, will you?- What?
1:12:48 > 1:12:51- Stop the car! Stop the car. - What's the matter?
1:12:52 > 1:12:56I'm...I'm going to walk. I need some air.
1:12:56 > 1:12:58I'll see you at the apartment.
1:13:00 > 1:13:02Tell Sally, will you?
1:13:11 > 1:13:14INDISTINCT CHATTERING
1:13:36 > 1:13:39INAUDIBLE DIALOGUE
1:14:13 > 1:14:14DOOR OPENS
1:14:21 > 1:14:23Now there's a surprise.
1:14:25 > 1:14:30I went to the party. Chen said you hadn't shown up so...
1:14:32 > 1:14:34No, I'm...
1:14:35 > 1:14:37I'm glad you came back.
1:14:38 > 1:14:41The...way it's all ended, it...
1:14:48 > 1:14:50Not how you planned it?
1:14:54 > 1:14:56No-one made you do it.
1:14:56 > 1:14:59No. You're right. I chose to.
1:15:08 > 1:15:11You need help, Elizabeth. You know that, don't you?
1:15:14 > 1:15:16Yes.
1:15:21 > 1:15:23I say that as someone who...
1:15:23 > 1:15:26No, I know, you've got your help. I understand.
1:15:26 > 1:15:28And I'm happy for you. No, I am. Really.
1:15:30 > 1:15:33- I'm sure Victor would... - Oh, we'll see.
1:15:36 > 1:15:37I love you, Richard.
1:15:39 > 1:15:41I always will.
1:15:55 > 1:15:58- You want me to say it, don't you? - Yes, please.
1:15:58 > 1:16:00Of course I love you.
1:16:03 > 1:16:07Don't say any more. I just want to hear the first bit. OK?
1:16:23 > 1:16:27We're addicts, Elizabeth, you and I.
1:16:27 > 1:16:29What?
1:16:29 > 1:16:33It's what King Lear's all about, that's why I want to do it so much.
1:16:33 > 1:16:38About the need we all have for drugs of...one kind or another,
1:16:38 > 1:16:41without which we crumble.
1:16:41 > 1:16:43What drugs?
1:16:43 > 1:16:46Kingship, power, love...
1:16:46 > 1:16:48- Love is not a drug.- Isn't it?
1:16:50 > 1:16:54I dunno. You can have too much.
1:16:57 > 1:17:02Until just a sip takes you beyond and ravages you.
1:17:11 > 1:17:14I'll always love you, Elizabeth,
1:17:14 > 1:17:16as long as I live but...
1:17:19 > 1:17:22..us, together,
1:17:22 > 1:17:24it'll destroy me.
1:17:27 > 1:17:29I can't do it.
1:17:34 > 1:17:38That's what I wanted to say to you. All I have to say, but....
1:17:38 > 1:17:43That's why I did this bloody job, to ask your forgiveness, because...
1:17:46 > 1:17:52..your love, I know, is total and unqualified...
1:17:53 > 1:17:57..and it makes a mockery of all my bombast.
1:17:57 > 1:18:02I can't do it any more. I can't match you, Elizabeth.
1:18:02 > 1:18:04I'm not as brave as you.
1:18:05 > 1:18:08And I'm sorry for that.
1:18:09 > 1:18:12For not measuring up, as a man.
1:18:12 > 1:18:15You're Richard Burton.
1:18:15 > 1:18:18You're every man there ever was.
1:18:23 > 1:18:26I know.
1:18:26 > 1:18:29And I have known...for a while.
1:18:31 > 1:18:34I just didn't want to admit it.
1:18:36 > 1:18:38I'm going to miss you.
1:18:44 > 1:18:46I'm going to miss you.
1:18:46 > 1:18:49No, no, love.
1:18:49 > 1:18:51No.
1:18:51 > 1:18:52I couldn't manage that, either.
1:18:54 > 1:18:57I love Sally, Elizabeth.
1:18:57 > 1:19:01My time is with her now. But I, I need you in my life, as well.
1:19:03 > 1:19:06I can't ever be completely apart from you again.
1:19:08 > 1:19:13Right, so you want me close but not, not too close?
1:19:16 > 1:19:19I'm sorry, I'm bloody hopeless.
1:19:19 > 1:19:22Yeah, you are bloody hopeless.
1:19:27 > 1:19:29What about another play?
1:19:29 > 1:19:31Oh, God! No!
1:19:33 > 1:19:35At least, not together.
1:19:38 > 1:19:42Yeah. Well, I think I'm ready for a break from the stage.
1:19:46 > 1:19:50I'll come and watch you, though. And whatever you're in...
1:19:50 > 1:19:54You're the greatest actor I have ever seen, Richard.
1:19:56 > 1:19:57Likewise, Elizabeth.
1:20:01 > 1:20:03What a king you'll be.
1:20:11 > 1:20:14I'm worried, you know, about my arms -
1:20:14 > 1:20:16carrying on Cordelia at the end.
1:20:16 > 1:20:18Ah, you'll be fine.
1:20:18 > 1:20:21They're so weak. The nerve damage is...
1:20:21 > 1:20:26Richard. You can do it. Look, try. Try now.
1:20:26 > 1:20:27Lift you?
1:20:27 > 1:20:30- Yeah, just take me over to the couch. - But Cordelia's...
1:20:30 > 1:20:33What? Thinner?
1:20:33 > 1:20:36No, no. She's younger. I mean, she's waif-like.
1:20:36 > 1:20:38Thinner.
1:20:38 > 1:20:39HE LAUGHS
1:20:40 > 1:20:42I...
1:20:42 > 1:20:46Come on, you can do it, come on.
1:20:46 > 1:20:49Yay! You see, you see! You can do it, Richard.
1:20:49 > 1:20:53- Yeah, it's OK.- You see, I know you. Better than you know yourself.
1:20:53 > 1:20:55- Yeah. - HE LAUGHS
1:20:55 > 1:20:58- You want to say the lines? - No, not at the same time, no!
1:20:58 > 1:21:00SHE CACKLES
1:21:00 > 1:21:02THEY LAUGH
1:21:09 > 1:21:11I'll never do it!
1:21:11 > 1:21:12You'll be fine!
1:21:50 > 1:21:54# I get no kick from champagne
1:21:56 > 1:22:00# Mere alcohol, it doesn't move me at all
1:22:00 > 1:22:06# So tell me why should it be true
1:22:06 > 1:22:10# That I get a kick out of you? #
1:22:12 > 1:22:15Subtitles by Red Bee Media Ltd