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Never. | 0:00:16 | 0:00:17 | |
Never. Never. | 0:00:19 | 0:00:21 | |
Never, never, never. | 0:00:23 | 0:00:25 | |
DISTANT CHATTERING | 0:00:29 | 0:00:32 | |
CAMERA FLASH | 0:00:32 | 0:00:33 | |
PEOPLE CLAMOUR | 0:00:37 | 0:00:39 | |
Liz, Liz, Liz. | 0:00:39 | 0:00:41 | |
OK. Ladies and gentlemen, | 0:00:44 | 0:00:47 | |
we're here to announce our theatre company's next production. | 0:00:47 | 0:00:51 | |
Noel Coward's comic masterpiece, Private Lives, | 0:00:51 | 0:00:54 | |
starring none other than Miss Elizabeth Taylor | 0:00:54 | 0:00:58 | |
and one of the greatest stage actors of all time, Mr Richard Burton. | 0:00:58 | 0:01:06 | |
PRESS CLAMOUR | 0:01:06 | 0:01:08 | |
Does this mean marriage number three for you and Richard? | 0:01:09 | 0:01:12 | |
PRESS LAUGH | 0:01:12 | 0:01:14 | |
No, I can assure you that Richard and I have entered into this | 0:01:14 | 0:01:17 | |
venture for purely creative reasons. And, it seemed to me | 0:01:17 | 0:01:21 | |
that since Richard had, not so very long ago, spectacularly re-conquered | 0:01:21 | 0:01:26 | |
Broadway in Equus and Camelot, then I really ought to cash in on the | 0:01:26 | 0:01:31 | |
fact that I was pretty certain I had his phone number somewhere at home. | 0:01:31 | 0:01:35 | |
PRESS LAUGH | 0:01:35 | 0:01:37 | |
Richard, can you confirm that? | 0:01:37 | 0:01:38 | |
What, that she had my phone number? | 0:01:38 | 0:01:40 | |
THEY LAUGH | 0:01:40 | 0:01:41 | |
No, we, er, we want to showcase a great play. | 0:01:41 | 0:01:44 | |
We, er, believe it's long overdue a revival. | 0:01:44 | 0:01:47 | |
So absolutely no plans to get back together again? | 0:01:47 | 0:01:50 | |
-None. -But you don't mind people thinking that? | 0:01:50 | 0:01:54 | |
People can think what they like. | 0:01:54 | 0:01:55 | |
We're, er, we're actors about to do a play together. | 0:01:55 | 0:01:58 | |
But the ad in today's New York Times, which I gather, Miss Taylor, | 0:01:58 | 0:02:02 | |
you designed yourself, that kind of begs the question. | 0:02:02 | 0:02:05 | |
It's just an advert. | 0:02:05 | 0:02:07 | |
A heart with an arrow through it and the words - "together again". | 0:02:07 | 0:02:11 | |
PRESS LAUGH | 0:02:11 | 0:02:13 | |
Well, erm, of course it says that. | 0:02:13 | 0:02:15 | |
That's the...that's the whole basis for Private Lives. | 0:02:15 | 0:02:18 | |
I mean, it's not like she's used a photo of us | 0:02:18 | 0:02:20 | |
and the words, "twice spliced," is it? | 0:02:20 | 0:02:22 | |
THEY LAUGH | 0:02:22 | 0:02:23 | |
That would have made no sense in the context of the play. | 0:02:23 | 0:02:26 | |
Liz! Liz! | 0:02:26 | 0:02:28 | |
The car's this way. | 0:02:30 | 0:02:32 | |
RICHARD: Elizabeth! | 0:02:35 | 0:02:37 | |
-Richard? -Can I...? | 0:02:40 | 0:02:42 | |
You OK? OK. | 0:02:43 | 0:02:46 | |
Come on, let's wait in the lobby. | 0:02:46 | 0:02:48 | |
God, it's a bloody circus. | 0:02:48 | 0:02:50 | |
Why didn't you tell me | 0:02:52 | 0:02:53 | |
you were going to put an ad in the paper? | 0:02:53 | 0:02:55 | |
I felt like a bloody idiot. And the wording? | 0:02:55 | 0:02:58 | |
It didn't occur to you it might cause a bit of a stir? | 0:02:58 | 0:03:00 | |
It was last minute, Richard! | 0:03:00 | 0:03:02 | |
I just suddenly thought, what a great idea! To get people talking. | 0:03:02 | 0:03:06 | |
Which it has done. The pre-sales have gone through the roof! | 0:03:06 | 0:03:09 | |
You know, plenty of people told me not to do this. | 0:03:09 | 0:03:11 | |
Well, nobody's said a single bad word to me about it, | 0:03:11 | 0:03:14 | |
so you must just have wussy advisors! | 0:03:14 | 0:03:16 | |
I ignored them. I go my own way. You know that. | 0:03:16 | 0:03:19 | |
Sure, I do. | 0:03:19 | 0:03:21 | |
Well, don't let me regret it. | 0:03:21 | 0:03:23 | |
SHE SIGHS | 0:03:27 | 0:03:29 | |
I'm ready now, Chen. | 0:03:29 | 0:03:31 | |
MUSIC: "Just An Illusion" by Imagination | 0:03:31 | 0:03:33 | |
# Illusion | 0:03:33 | 0:03:35 | |
Toodle-oo! | 0:03:35 | 0:03:36 | |
# Illusion | 0:03:38 | 0:03:41 | |
PRESS CLAMOUR | 0:03:41 | 0:03:43 | |
# Illusion | 0:03:43 | 0:03:45 | |
This programme contains very strong language | 0:03:47 | 0:03:55 | |
MUSIC AND CHATTERING | 0:04:07 | 0:04:09 | |
Daddy! Daddy! | 0:04:15 | 0:04:17 | |
-Maria. -Hi. | 0:04:17 | 0:04:20 | |
Liza, how are you, love? | 0:04:21 | 0:04:22 | |
Thank God you made it. We were worried. | 0:04:22 | 0:04:25 | |
What are you wearing? | 0:04:25 | 0:04:26 | |
-It's a mink. -SHE LAUGHS | 0:04:26 | 0:04:28 | |
-Is it too much? -(LAUGHING) No. | 0:04:28 | 0:04:31 | |
I just...I didn't want to seem like an old codger. | 0:04:31 | 0:04:33 | |
LIZ: Richard! | 0:04:33 | 0:04:35 | |
Richard Burton! | 0:04:35 | 0:04:37 | |
Mom's been celebrating a lot. See you later. | 0:04:37 | 0:04:41 | |
# Illusion | 0:04:41 | 0:04:45 | |
# Illusion | 0:04:45 | 0:04:47 | |
# Follow your emotions anywhere... # | 0:04:47 | 0:04:51 | |
Where were you? | 0:04:51 | 0:04:52 | |
I'm sorry I'm late, I'm...technical stuff. | 0:04:52 | 0:04:56 | |
What, for a poetry recital? | 0:04:56 | 0:04:58 | |
Can't they just twiddle a few knobs on the night? | 0:04:58 | 0:05:01 | |
We're charging quite a lot of money. Can't afford any cock ups. | 0:05:01 | 0:05:04 | |
Thank you. Here we are. | 0:05:05 | 0:05:08 | |
No, I, I don't. I told you on the phone. | 0:05:08 | 0:05:12 | |
-Sure you did. -Very occasionally, I... | 0:05:12 | 0:05:14 | |
That's what I imagined you'd be doing. | 0:05:14 | 0:05:16 | |
All the same. I...I'll have a Tab if they've got one. | 0:05:16 | 0:05:19 | |
MUSIC: "Love To Love You, Baby" by Donna Summer | 0:05:19 | 0:05:21 | |
Oh, I love this one. Come on, let's dance, let's dance. | 0:05:21 | 0:05:23 | |
I can't, I can't. I'm... | 0:05:23 | 0:05:25 | |
Richard! It's my birthday. I get what I want! | 0:05:25 | 0:05:27 | |
You get what you want anyway! | 0:05:27 | 0:05:28 | |
SHE LAUGHS | 0:05:28 | 0:05:30 | |
# I love to love you, baby | 0:05:30 | 0:05:32 | |
Oh, kitten. Watch and learn. | 0:05:32 | 0:05:35 | |
# I love to love you, baby | 0:05:35 | 0:05:38 | |
# I love to love you, baby | 0:05:40 | 0:05:43 | |
That's better. | 0:05:44 | 0:05:47 | |
Whoa. Don't you just want to sit down for a bit? | 0:05:47 | 0:05:50 | |
No, I don't! I, I am 50 years of age, Richard | 0:05:50 | 0:05:55 | |
and I just announced it to the world. | 0:05:55 | 0:05:57 | |
I want to get drunk and dance a lot! | 0:05:57 | 0:06:00 | |
# I love to love you, baby | 0:06:03 | 0:06:06 | |
# Do it to me again and again | 0:06:06 | 0:06:09 | |
# You put me in such a awful spin | 0:06:09 | 0:06:12 | |
# In a spin, in-uh... # | 0:06:12 | 0:06:15 | |
MUSIC: "You Make Me Feel" by Sylvester | 0:06:28 | 0:06:30 | |
Thank you. | 0:06:30 | 0:06:32 | |
Now this one I do know. | 0:06:48 | 0:06:51 | |
# You mean I've been dancin' on the floor, darlin' | 0:06:51 | 0:06:54 | |
# And I feel like I need some more and I | 0:06:54 | 0:06:57 | |
# Feel your body close to mine and I | 0:06:57 | 0:07:00 | |
# Move on love, it's about that time | 0:07:00 | 0:07:04 | |
# Make me feel | 0:07:04 | 0:07:06 | |
# Mighty real | 0:07:06 | 0:07:07 | |
# Make me feel | 0:07:07 | 0:07:09 | |
# Mighty real | 0:07:09 | 0:07:11 | |
# You make me feel mighty real... # | 0:07:11 | 0:07:16 | |
THEY LAUGH | 0:07:16 | 0:07:18 | |
Oh, for a glass of vintage that hath been | 0:07:20 | 0:07:23 | |
Cool'd a long age in the deep-delved earth. | 0:07:23 | 0:07:25 | |
That's a vodka, right? | 0:07:25 | 0:07:28 | |
SHE LAUGHS | 0:07:28 | 0:07:30 | |
No, no, no, I-I've had enough. | 0:07:32 | 0:07:35 | |
I don't want to be half cut for the recital. | 0:07:38 | 0:07:41 | |
I couldn't bear that. | 0:07:41 | 0:07:43 | |
Hello, pockmark. | 0:07:50 | 0:07:52 | |
Hello, lumpy. | 0:07:52 | 0:07:54 | |
Been a good night. We played a blinder. | 0:07:54 | 0:07:58 | |
Thank you for coming. I wasn't sure you would. | 0:07:58 | 0:08:02 | |
How long has it been? I was trying to remember. | 0:08:04 | 0:08:07 | |
-Five years. -God. | 0:08:07 | 0:08:09 | |
Yes, thank heaven for the newspapers! | 0:08:09 | 0:08:12 | |
HE CHUCKLES | 0:08:12 | 0:08:14 | |
Oh, Christ, this bloody neck. | 0:08:14 | 0:08:17 | |
I swear, Elizabeth, at times I'm like a cripple! | 0:08:18 | 0:08:22 | |
I had to do these fight scenes in Camelot. | 0:08:22 | 0:08:25 | |
Some nights I hardly had the strength to pull my sword | 0:08:25 | 0:08:28 | |
out of it's sheathe and wave it around a bit. | 0:08:28 | 0:08:30 | |
How very unlike you, Richard. | 0:08:30 | 0:08:32 | |
Stop it! | 0:08:32 | 0:08:33 | |
THEY LAUGH | 0:08:33 | 0:08:35 | |
You've the mind of a collier! | 0:08:35 | 0:08:37 | |
SHE CHUCKLES | 0:08:37 | 0:08:38 | |
I'm going to do King Lear next. | 0:08:42 | 0:08:46 | |
I spoke to a producer who says he'll back it. | 0:08:46 | 0:08:49 | |
You'll be fantastic. | 0:08:49 | 0:08:50 | |
Well, I'd better... | 0:08:52 | 0:08:53 | |
Don't! Stay. Stay here! Just stay! | 0:08:53 | 0:08:58 | |
It's not anything else. | 0:08:58 | 0:09:00 | |
Just...how do you fuck, anyway? You can barely move. | 0:09:00 | 0:09:04 | |
THEY LAUGH | 0:09:04 | 0:09:06 | |
There are ways and means, my love. | 0:09:06 | 0:09:08 | |
Do you remember that train we took to New York? | 0:09:08 | 0:09:11 | |
We just lay there and let the rocking of the carriage do the job. | 0:09:11 | 0:09:15 | |
THEY LAUGH | 0:09:15 | 0:09:17 | |
You know, I really should go. | 0:09:18 | 0:09:20 | |
No! No, no, I meant it, Richard! I meant it! | 0:09:20 | 0:09:23 | |
I'll make some tea and you can read a book | 0:09:23 | 0:09:27 | |
and then, erm, you can sleep. | 0:09:27 | 0:09:31 | |
What's she like? | 0:09:38 | 0:09:40 | |
Hmmm? | 0:09:42 | 0:09:43 | |
Your new girlfriend. Sally? | 0:09:45 | 0:09:47 | |
HE GROANS | 0:09:51 | 0:09:53 | |
Do you really want to talk about that? | 0:09:56 | 0:09:59 | |
Oh just...what sort of woman is she? I'm interested. | 0:09:59 | 0:10:02 | |
She's lovely. | 0:10:05 | 0:10:06 | |
Hmm. Good. | 0:10:09 | 0:10:10 | |
Victor's a lawyer. He's Mexican and he's charming. | 0:10:13 | 0:10:17 | |
Terrific. | 0:10:19 | 0:10:21 | |
Somebody told me she was like Sybil. | 0:10:23 | 0:10:26 | |
My wife Sybil? | 0:10:29 | 0:10:31 | |
Yeah. Your ex wife. | 0:10:31 | 0:10:33 | |
-Who told you that, anyway? She's... -What? What's she like? | 0:10:33 | 0:10:38 | |
HE GROANS | 0:10:39 | 0:10:41 | |
I'm sorry. I... | 0:10:41 | 0:10:43 | |
Go to your room! It's three o'clock. | 0:10:43 | 0:10:46 | |
Richard, I had an idea about doing another play, a Coward. | 0:10:53 | 0:10:59 | |
Elizabeth! I swear to God, if you don't shut up, | 0:10:59 | 0:11:01 | |
I'm going to climb out of this bed, get in my car and drive back | 0:11:01 | 0:11:04 | |
to The Dorchester in my bloody underpants! | 0:11:04 | 0:11:07 | |
SHE LAUGHS | 0:11:07 | 0:11:09 | |
SIREN WAILS | 0:11:41 | 0:11:43 | |
Oh, Christ. | 0:11:50 | 0:11:51 | |
HE VOMITS | 0:12:01 | 0:12:03 | |
I'm here. I'm here. I'm here. I'm here. | 0:12:59 | 0:13:02 | |
I'm so sorry I'm late. | 0:13:02 | 0:13:05 | |
Elizabeth. | 0:13:05 | 0:13:06 | |
I'm so sorry I'm late. | 0:13:09 | 0:13:11 | |
-It's quite all right. Was there a problem? -No. | 0:13:11 | 0:13:13 | |
Hi. I'm Elizabeth. | 0:13:13 | 0:13:14 | |
-I'm John, nice to meet you. -Hi, John. | 0:13:14 | 0:13:16 | |
-Hi, I'm Kathryn. -Hi Kathryn! Hi. Hi, Jane. | 0:13:16 | 0:13:19 | |
Hi. | 0:13:19 | 0:13:21 | |
Hello, Richard. | 0:13:24 | 0:13:26 | |
Hello, Elizabeth. | 0:13:26 | 0:13:28 | |
OK. Let's make a start! | 0:13:29 | 0:13:32 | |
If you want to pull up some chairs, we'll have a little read. | 0:13:32 | 0:13:35 | |
I got you a present. | 0:13:40 | 0:13:42 | |
It's tradition! The producer always buys the star a little welcome gift. | 0:13:43 | 0:13:49 | |
Sorry, everyone. | 0:13:49 | 0:13:51 | |
It's fine. We got ages. Chen, I need my Coke. | 0:13:51 | 0:13:54 | |
Right here. | 0:13:54 | 0:13:55 | |
Open it. | 0:13:55 | 0:13:57 | |
-Oh, it's beautiful. -Isn't it? | 0:13:57 | 0:13:59 | |
Gorgeous. | 0:13:59 | 0:14:01 | |
It's Cartier. | 0:14:01 | 0:14:03 | |
So. If we could get started. We break for lunch in 20. | 0:14:03 | 0:14:06 | |
Of course. | 0:14:06 | 0:14:07 | |
Thank you, darling. | 0:14:13 | 0:14:14 | |
I have your bag up there. | 0:14:14 | 0:14:16 | |
Thank you. Thank you. You can all go, babe. | 0:14:16 | 0:14:20 | |
Come on, guys, let's leave them to it. | 0:14:22 | 0:14:25 | |
Christ, if we have that many turn up on our first night, | 0:14:25 | 0:14:28 | |
we'll consider ourselves blessed. | 0:14:28 | 0:14:31 | |
Great. So...can I first welcome you all... | 0:14:31 | 0:14:35 | |
I am so looking forward to this. Can I just say that? | 0:14:35 | 0:14:38 | |
A great director, | 0:14:38 | 0:14:40 | |
great fellow actors and a play which, I'm sure, | 0:14:40 | 0:14:44 | |
will do none of us a disservice. | 0:14:44 | 0:14:46 | |
Well, it seems to have passed muster so far in its life. | 0:14:46 | 0:14:48 | |
I know. I can't wait to read it. | 0:14:48 | 0:14:51 | |
Elizabeth. | 0:14:56 | 0:14:58 | |
What? | 0:14:58 | 0:14:59 | |
-Well I'd rather assumed you might... -What, read it? God, no. No. | 0:14:59 | 0:15:03 | |
I always make it a rule never to look at anything | 0:15:03 | 0:15:06 | |
until I'm starring in it. Keeps it fresh. | 0:15:06 | 0:15:09 | |
What you've never read it?! Ever? | 0:15:09 | 0:15:11 | |
I mean, you didn't think it might be a good idea just to take | 0:15:11 | 0:15:14 | |
a glance before we got going? | 0:15:14 | 0:15:16 | |
No, I told you, I like to keep things fresh. | 0:15:16 | 0:15:19 | |
That's why rehearsals are called rehearsals. | 0:15:19 | 0:15:21 | |
Don't lecture me on the bloody theatre. | 0:15:21 | 0:15:24 | |
OK. I tell you what, | 0:15:24 | 0:15:26 | |
let's take lunch now, come back at two prompt, and start over again. | 0:15:26 | 0:15:31 | |
HE CHUCKLES | 0:15:31 | 0:15:33 | |
How's that sound? | 0:15:33 | 0:15:35 | |
ACTORS CHATTER | 0:15:35 | 0:15:37 | |
I'll just get my bag. | 0:15:38 | 0:15:40 | |
-See you later. -See you. | 0:15:43 | 0:15:46 | |
Richard? He seem OK to you? | 0:15:57 | 0:16:00 | |
What? | 0:16:00 | 0:16:02 | |
Milton. Bailed kind of early. | 0:16:02 | 0:16:05 | |
I think he'll be fine. He has an excellent reputation. | 0:16:05 | 0:16:11 | |
Good, good. Cos I trust you so much on this. | 0:16:11 | 0:16:15 | |
I mean, I, I would never fall out with you about the theatre. | 0:16:15 | 0:16:20 | |
"The world's greatest stage actor." At the launch. | 0:16:20 | 0:16:23 | |
That was me. I put that in. | 0:16:23 | 0:16:25 | |
Right. Thank you. | 0:16:25 | 0:16:28 | |
Don't thank me. It's true. | 0:16:28 | 0:16:30 | |
So, I got us a table at Sardi's. | 0:16:33 | 0:16:36 | |
The best table. And the linguini and clams are still to die for. | 0:16:36 | 0:16:41 | |
What? You've got to eat lunch! | 0:16:41 | 0:16:43 | |
I can't. I'm meeting Sally back at the apartment. | 0:16:43 | 0:16:48 | |
I'm seeing Mike first to sort out some business but she's joining us. | 0:16:48 | 0:16:52 | |
Oh, oh, I, er... Right. | 0:16:52 | 0:16:56 | |
She staying around? Sally is? For all the rehearsals? | 0:16:58 | 0:17:04 | |
Well, what did you and I do when the other was working? | 0:17:04 | 0:17:07 | |
That was us, Richard. | 0:17:07 | 0:17:09 | |
No, er, no, it's great. I mean, no, I just assumed that she'd, | 0:17:10 | 0:17:16 | |
I don't know, have other stuff to get on with, back in Europe. | 0:17:16 | 0:17:19 | |
But, er, no it'll be lovely for you to have the company. | 0:17:19 | 0:17:23 | |
Yes. It will. Well, I'd better go. | 0:17:23 | 0:17:25 | |
I'm only just around the corner. | 0:17:27 | 0:17:29 | |
Thank you for the scarf. | 0:17:31 | 0:17:32 | |
Any more news? On the Lear deal? | 0:18:11 | 0:18:13 | |
No. I'll chase it up this afternoon. | 0:18:13 | 0:18:16 | |
Good, if you could. | 0:18:16 | 0:18:18 | |
Thou should'st not have been old till thou hadst been wise. | 0:18:27 | 0:18:30 | |
Elizabeth. Of course she hasn't read it. I mean, that's our girl. | 0:18:33 | 0:18:37 | |
That's what she does. | 0:18:37 | 0:18:39 | |
Doesn't mean it isn't irritating. | 0:18:39 | 0:18:41 | |
Well, so what, though? She just works differently to me, that's all. | 0:18:41 | 0:18:45 | |
You know, when we did Cleopatra... | 0:18:47 | 0:18:50 | |
I'd come straight from the Old Vic. | 0:18:51 | 0:18:54 | |
I went over to Hollywood and she walked out onto the sound stage | 0:18:54 | 0:18:58 | |
and she was just tits and make up. | 0:18:58 | 0:19:01 | |
And then we had our first scene together and she did nothing. | 0:19:03 | 0:19:08 | |
Nothing. No voice, no movement, | 0:19:08 | 0:19:13 | |
no, no performance. | 0:19:13 | 0:19:16 | |
I thought she'd had a bloody stroke or something. | 0:19:18 | 0:19:21 | |
And, er, then I saw the rushes and I was acting Anthony. | 0:19:22 | 0:19:28 | |
-But she -was -Cleopatra. | 0:19:30 | 0:19:33 | |
She just sort of bleeds into a role... | 0:19:36 | 0:19:38 | |
..like osmosis. | 0:19:40 | 0:19:42 | |
Hard to rehearse around. | 0:19:42 | 0:19:43 | |
Impossible at times. | 0:19:43 | 0:19:45 | |
God, she's good, Mike. She's so bloody good. | 0:19:46 | 0:19:50 | |
Anyway, this last scene's a bit of a worry. | 0:19:52 | 0:19:56 | |
I'm afraid I won't be able to carry her on. | 0:19:56 | 0:19:59 | |
What? | 0:19:59 | 0:20:00 | |
Cordelia - Lear. Howl, howl, howl. How will I do that? | 0:20:00 | 0:20:04 | |
My arms are bloody useless at times. | 0:20:04 | 0:20:06 | |
Then don't take it on! Three hours on stage every night... | 0:20:06 | 0:20:10 | |
No, no. No, I've made promises. To myself. I must do it. | 0:20:10 | 0:20:15 | |
KATHRYN: What's the matter, darling? Are you hungry? | 0:20:18 | 0:20:21 | |
Not a bit. | 0:20:21 | 0:20:22 | |
You're very strange all of a sudden and rather cruel. | 0:20:22 | 0:20:25 | |
Just because I'm feminine it doesn't mean I'm crafty and calculating. | 0:20:25 | 0:20:28 | |
I never said you were either of those things. | 0:20:28 | 0:20:31 | |
I hate these half mas... | 0:20:31 | 0:20:32 | |
Sorry. Half masculine. Can I take the line again? | 0:20:32 | 0:20:35 | |
Well, sure, go ahead. | 0:20:35 | 0:20:37 | |
I hate these half masculine women who go banging about. | 0:20:37 | 0:20:40 | |
I hate anyone who goes banging about. | 0:20:40 | 0:20:43 | |
I should think you needed a little quiet womanliness after Amanda. | 0:20:43 | 0:20:46 | |
Why do you keep on talking about her? | 0:20:50 | 0:20:52 | |
That's good. That's a great idea, Rich, | 0:20:52 | 0:20:55 | |
holding a lighter away from her. | 0:20:55 | 0:20:57 | |
-THEY LAUGH -Works for me! | 0:20:57 | 0:20:59 | |
Right. Let's go back to, er, Amanda's entrance. | 0:20:59 | 0:21:02 | |
That's me. | 0:21:02 | 0:21:04 | |
That was great. | 0:21:06 | 0:21:08 | |
Oh! You OK? You were wonderful. | 0:21:08 | 0:21:11 | |
-Thank you. -No, it was... | 0:21:11 | 0:21:13 | |
No, it was...well, you were just funny. | 0:21:13 | 0:21:17 | |
You all right, love? | 0:21:18 | 0:21:20 | |
Of course I'm all right. | 0:21:20 | 0:21:22 | |
You eat enough at lunch? | 0:21:22 | 0:21:23 | |
Probably not as much as you did. | 0:21:23 | 0:21:26 | |
Er, Chen, can I have my, erm, chair? | 0:21:26 | 0:21:29 | |
OK, er...from the top? When everybody's ready. | 0:21:29 | 0:21:33 | |
-Do you want these? -No, I'm fine. Thanks. | 0:21:35 | 0:21:38 | |
And. | 0:21:40 | 0:21:42 | |
Mandy! | 0:21:42 | 0:21:43 | |
LIZ SIGHS | 0:21:43 | 0:21:46 | |
Mandy! | 0:21:50 | 0:21:52 | |
Elizabeth, that's your cue, from off stage. | 0:21:58 | 0:22:02 | |
Off stage? | 0:22:02 | 0:22:04 | |
Oh, well, if I'm off stage, can't somebody else do it? | 0:22:04 | 0:22:08 | |
No. It has to be your voice and you are answering him. So... | 0:22:08 | 0:22:12 | |
Oh, OK. OK, honey. Sorry. Hang on. | 0:22:12 | 0:22:17 | |
Honey, what page are we on? | 0:22:17 | 0:22:19 | |
Page five. | 0:22:19 | 0:22:20 | |
Five. Hang on. | 0:22:20 | 0:22:22 | |
OK. Here we are. | 0:22:24 | 0:22:26 | |
Mandy! | 0:22:28 | 0:22:30 | |
What? | 0:22:30 | 0:22:32 | |
Come outside. The view is wonderful. | 0:22:32 | 0:22:35 | |
I'm still damp from the bath. Bath. | 0:22:36 | 0:22:39 | |
Wait a minute. | 0:22:39 | 0:22:41 | |
I shall catch... | 0:22:43 | 0:22:45 | |
What's that? | 0:22:45 | 0:22:47 | |
Pneumonia. | 0:22:47 | 0:22:48 | |
Er, can we just take a break? | 0:22:53 | 0:22:56 | |
What? | 0:22:57 | 0:22:58 | |
Yeah, I need to talk to costume, | 0:22:58 | 0:23:00 | |
cos it says here I'm wearing a negligee. | 0:23:00 | 0:23:02 | |
-And I don't want to look... -Can I have a word, love? | 0:23:02 | 0:23:05 | |
What are you, what are you doing, Richard? | 0:23:05 | 0:23:08 | |
You sound really smashed! | 0:23:08 | 0:23:10 | |
I am not! | 0:23:10 | 0:23:12 | |
What have you taken? | 0:23:12 | 0:23:13 | |
Beyond the Coke. The always open Coke! | 0:23:15 | 0:23:17 | |
Which given that you can drink me under the table, Elizabeth, I | 0:23:17 | 0:23:21 | |
can't imagine is solely responsible for the way you're behaving. | 0:23:21 | 0:23:25 | |
Some pills. I have to take certain pills for my tummy. | 0:23:25 | 0:23:29 | |
You know the trouble I had in Puerto Vallarta. | 0:23:29 | 0:23:32 | |
-It was after that, some years ago... -Just don't take any more of them! | 0:23:32 | 0:23:36 | |
You're making a spectacle of yourself. | 0:23:36 | 0:23:38 | |
Yeah, you might think about... | 0:23:48 | 0:23:51 | |
No, I'm fine. | 0:23:51 | 0:23:53 | |
What a place. | 0:24:16 | 0:24:18 | |
You know it's Rock Hudson's? He's letting me borrow it. | 0:24:19 | 0:24:22 | |
It's fabulous. | 0:24:22 | 0:24:24 | |
No. It's an apartment. This is fabulous. | 0:24:24 | 0:24:28 | |
Come to Granny. | 0:24:28 | 0:24:30 | |
There isn't a single book in the entire apartment. | 0:24:30 | 0:24:33 | |
-Dad! Stop it! -A television the size of the Odeon Leicester Square... | 0:24:33 | 0:24:36 | |
HE BLOWS A RASPBERRY, COOS | 0:24:36 | 0:24:38 | |
Gee, look at these two, it's like they've never seen one before. | 0:24:39 | 0:24:42 | |
We've never seen a nice one before. You two were horrible. | 0:24:42 | 0:24:45 | |
Hey, well, you'll be pleased to know that we're going... | 0:24:45 | 0:24:48 | |
OK, bye-bye. | 0:24:48 | 0:24:50 | |
Bye, darling. | 0:24:50 | 0:24:52 | |
We're going to see you again, before we lose you to this extravaganza. | 0:24:52 | 0:24:55 | |
Say bye. Bye-bye, Gran. | 0:24:55 | 0:24:58 | |
I love you, don't worry. | 0:24:58 | 0:24:59 | |
-Bye-bye. -I need to put him to bed. | 0:25:01 | 0:25:03 | |
-Oh, girls? -Yeah? -You all right for cash? | 0:25:06 | 0:25:09 | |
-Yes! -Daddy. | 0:25:09 | 0:25:11 | |
All right. Come on. | 0:25:11 | 0:25:13 | |
LIZ SIGHS | 0:25:13 | 0:25:15 | |
What are you doing? | 0:25:17 | 0:25:20 | |
I'm getting a drink. Do you want one? | 0:25:20 | 0:25:23 | |
Could this be one of your little occasions? | 0:25:23 | 0:25:26 | |
-I came here to work. -I know. But that doesn't mean... | 0:25:26 | 0:25:29 | |
Elizabeth! This is serious! We open in ten days. | 0:25:29 | 0:25:33 | |
You're not remembering the words, your cues, any of the business. | 0:25:33 | 0:25:37 | |
We both know why that is. Don't we? | 0:25:37 | 0:25:39 | |
I'm not doing that any more! | 0:25:39 | 0:25:41 | |
Not since yesterday morning, as a matter of fact. | 0:25:41 | 0:25:44 | |
I'm not taking anything. | 0:25:44 | 0:25:46 | |
Except the bare bones. | 0:25:46 | 0:25:48 | |
Because they do, they CAN befuddle me, Richard, it's true. | 0:25:48 | 0:25:51 | |
They can befuddle me so for the sake of the show, | 0:25:51 | 0:25:55 | |
I am putting my health to one side. And... | 0:25:55 | 0:25:59 | |
Well, you can expect a different Elizabeth from here on in, | 0:25:59 | 0:26:02 | |
I, I promise. | 0:26:02 | 0:26:04 | |
OK, good. Well, let's work on some scenes. | 0:26:04 | 0:26:08 | |
It's the third act that needs the work but, er, | 0:26:08 | 0:26:11 | |
let's just start from the top and mark the action. | 0:26:11 | 0:26:14 | |
You have no idea, have you? | 0:26:15 | 0:26:17 | |
You stand there and you tell me that I have to pull myself together. | 0:26:18 | 0:26:24 | |
This is difficult, Richard! | 0:26:27 | 0:26:29 | |
This is a difficult situation. | 0:26:29 | 0:26:32 | |
Well, I wasn't going to say anything, I wasn't going to say anything | 0:26:32 | 0:26:36 | |
but no, well what could I say? | 0:26:36 | 0:26:37 | |
I never see you to talk to. You just go! | 0:26:37 | 0:26:39 | |
-After every rehearsal, after every fitting... -Elizabeth. | 0:26:39 | 0:26:42 | |
-No, just disappear, back to your apartment. -I have to work! | 0:26:42 | 0:26:45 | |
This isn't how I planned it. | 0:26:49 | 0:26:52 | |
I see. | 0:26:52 | 0:26:53 | |
I just thought we'd spend time with each other. | 0:26:57 | 0:27:00 | |
I was looking forward to that. Weren't you? | 0:27:00 | 0:27:03 | |
That we'd get to see each other again? And...have fun? | 0:27:05 | 0:27:11 | |
I, I don't know what to say. | 0:27:14 | 0:27:16 | |
I don't. | 0:27:16 | 0:27:18 | |
I don't know what to say. | 0:27:21 | 0:27:23 | |
You have a... You have a God-given gift. | 0:27:26 | 0:27:29 | |
-You can do it anywhere, on stage, on film. -What?! | 0:27:29 | 0:27:32 | |
I'm just a dumb broad. | 0:27:32 | 0:27:33 | |
You're not dumb. Don't say that. It's not true. | 0:27:33 | 0:27:37 | |
And it makes me angry when you say it. | 0:27:37 | 0:27:40 | |
OK. | 0:27:40 | 0:27:42 | |
I'm not dumb. But... | 0:27:42 | 0:27:46 | |
The stage is not my home and I, I, er, well this play is hard, | 0:27:48 | 0:27:54 | |
really hard and...I'm isolated. | 0:27:54 | 0:27:59 | |
And I thought you'd be there to back me up. | 0:28:03 | 0:28:06 | |
I am! Really, I am. That's why I'm here now. To help. | 0:28:06 | 0:28:12 | |
And I will! | 0:28:12 | 0:28:13 | |
Good. | 0:28:14 | 0:28:15 | |
I just didn't want to disappoint you. | 0:28:18 | 0:28:20 | |
Disappoint me? Just learn your lines, love, go on stage, say them, | 0:28:20 | 0:28:24 | |
and you will electrify. | 0:28:24 | 0:28:26 | |
And irrespective of what happens here tonight, | 0:28:39 | 0:28:42 | |
the entire run of this show is already sold out, | 0:28:42 | 0:28:46 | |
guaranteeing both stars a payday | 0:28:46 | 0:28:49 | |
somewhere in the region of 1 million! | 0:28:49 | 0:28:52 | |
'Here outside the theatre, massive crowds wait | 0:28:52 | 0:28:55 | |
'for a glimpse of Elizabeth Taylor and Richard Burton.' | 0:28:55 | 0:28:57 | |
'..by Noel Coward is the first time Taylor and | 0:28:57 | 0:28:59 | |
Burton have been on stage together since...' | 0:28:59 | 0:29:01 | |
TANNOY: 'Ladies and Gentlemen, | 0:29:01 | 0:29:03 | |
'welcome to this evening's performance of Private Lives. | 0:29:03 | 0:29:05 | |
'We would like to take this time to remind you | 0:29:05 | 0:29:07 | |
'that all photography in this performance is strictly prohibited. | 0:29:07 | 0:29:10 | |
'We hope you enjoy this evening's performance.' | 0:29:10 | 0:29:13 | |
We go up in ten minutes. Where the bloody hell is she? | 0:29:13 | 0:29:16 | |
-They're parking up. -What? | 0:29:16 | 0:29:17 | |
People are parking on the side of the road | 0:29:17 | 0:29:20 | |
and in the middle of it, hoping to get a glimpse as she goes by. | 0:29:20 | 0:29:22 | |
-It's caused a gridlock. -Oh, Christ! | 0:29:22 | 0:29:25 | |
'Ladies and gentlemen, will you please... ' | 0:29:25 | 0:29:27 | |
Mike! | 0:29:27 | 0:29:29 | |
Will you fetch me The Times crossword please? | 0:29:29 | 0:29:31 | |
And possibly get the kettle on. | 0:29:31 | 0:29:33 | |
Oh, and a couple of sleeping bags also, | 0:29:33 | 0:29:35 | |
it's going to be a bloody long night. | 0:29:35 | 0:29:37 | |
'Ladies and Gentlemen, unfortunately this evening's performance | 0:29:38 | 0:29:42 | |
'of Private Lives is delayed for another 25 minutes.' | 0:29:42 | 0:29:45 | |
It's now 45 minutes till Act One beginners. | 0:29:46 | 0:29:49 | |
45 minutes till Act One beginners. | 0:29:49 | 0:29:51 | |
DOGS BARK | 0:29:51 | 0:29:53 | |
Hi, Gino. I'm here, I'm here! | 0:29:53 | 0:29:56 | |
I'm here! | 0:29:56 | 0:29:58 | |
I am so sorry I'm late. | 0:29:58 | 0:30:00 | |
Here, here, here, Chen. | 0:30:00 | 0:30:03 | |
I'm so sorry. I'm so, so, sorry. | 0:30:03 | 0:30:05 | |
I did my make up in the car. I thought that might help. | 0:30:05 | 0:30:08 | |
Thank you. | 0:30:08 | 0:30:10 | |
Not at all. In these situations, we've got to all pull together. | 0:30:10 | 0:30:13 | |
You're a bloody menace! | 0:30:13 | 0:30:14 | |
You should have come out. Everyone was calling your name. | 0:30:14 | 0:30:18 | |
And I signed so many posters for Virginia Woolf. | 0:30:18 | 0:30:21 | |
Virginia Woolf! | 0:30:21 | 0:30:23 | |
I know. For that. I was so fat. Anyway, can't talk. | 0:30:23 | 0:30:26 | |
Got a play to do. | 0:30:26 | 0:30:28 | |
PARROT SQUAWKS | 0:30:28 | 0:30:30 | |
A parrot?! | 0:30:30 | 0:30:32 | |
He's called Alvin. | 0:30:32 | 0:30:33 | |
What is she? An actress or a bloody zoo? | 0:30:36 | 0:30:39 | |
AUDIENCE LAUGHS AND APPLAUDS | 0:30:42 | 0:30:45 | |
Thank you, Jess. | 0:30:59 | 0:31:01 | |
Sibyl! | 0:31:11 | 0:31:13 | |
< Yes. | 0:31:13 | 0:31:14 | |
I've brought the cocktails outside. Hurry up. | 0:31:14 | 0:31:17 | |
I can't find my lipstick. | 0:31:17 | 0:31:19 | |
Never mind. Send down to the kitchen for some cochineal. | 0:31:19 | 0:31:22 | |
AUDIENCE LAUGHS | 0:31:22 | 0:31:24 | |
-Don't be silly. -Hurry! | 0:31:24 | 0:31:25 | |
AUDIENCE APPLAUD, WHISTLE | 0:31:25 | 0:31:28 | |
APPLAUSE CONTINUES | 0:32:01 | 0:32:03 | |
Whose yacht is that? | 0:32:12 | 0:32:14 | |
The Duke of Westminster's, I expect. It always is. | 0:32:14 | 0:32:17 | |
I wish I were on it. | 0:32:17 | 0:32:19 | |
I wish you were, too. | 0:32:19 | 0:32:21 | |
AUDIENCE LAUGH | 0:32:21 | 0:32:23 | |
There's no need...to be nasty. | 0:32:23 | 0:32:28 | |
Yes, there is, every need. | 0:32:28 | 0:32:30 | |
I've never in my life felt a greater urge to be nasty. | 0:32:30 | 0:32:34 | |
And you've had some urges in your time, haven't you? | 0:32:34 | 0:32:38 | |
AUDIENCE CHEER | 0:32:38 | 0:32:39 | |
If you start bickering with me, | 0:32:39 | 0:32:41 | |
Amanda, I swear I shall throw you over the edge. | 0:32:41 | 0:32:44 | |
Try it, that's all, just try it. | 0:32:44 | 0:32:46 | |
AUDIENCE LAUGH | 0:32:46 | 0:32:49 | |
BELL RINGS | 0:32:49 | 0:32:51 | |
TANNOY: 'Intermission, ladies and gentleman. | 0:32:51 | 0:32:53 | |
'20 minutes till Act Two beginners.' | 0:32:53 | 0:32:55 | |
What a start, Rich. | 0:32:57 | 0:32:59 | |
I set them up, you knock them down! | 0:32:59 | 0:33:03 | |
LIZ LAUGHS | 0:33:04 | 0:33:05 | |
Did you notice her at supper, | 0:33:07 | 0:33:09 | |
blowing all those shrimps through her ear trumpet? | 0:33:09 | 0:33:12 | |
AUDIENCE LAUGH | 0:33:12 | 0:33:14 | |
LAUGHTER CONTINUES | 0:33:17 | 0:33:20 | |
What are you thinking about? | 0:33:22 | 0:33:24 | |
Oh, nothing in particular. | 0:33:24 | 0:33:27 | |
Come on, I know that face. | 0:33:27 | 0:33:29 | |
Poor Sibyl. | 0:33:33 | 0:33:35 | |
AUDIENCE LAUGH, MURMUR | 0:33:36 | 0:33:38 | |
Sibyl? | 0:33:40 | 0:33:42 | |
Yes, I suppose she loves you terribly. | 0:33:44 | 0:33:48 | |
AUDIENCE LAUGH | 0:33:48 | 0:33:50 | |
AUDIENCE APPLAUD | 0:33:52 | 0:33:54 | |
Oh, my God. What have we done? | 0:34:05 | 0:34:07 | |
Rich...listen. | 0:34:09 | 0:34:10 | |
Didn't you hear them? | 0:34:10 | 0:34:12 | |
When Sibyl was mentioned. They reacted like it was my wife Sybil. | 0:34:12 | 0:34:16 | |
Richard Burton! We did it. You did it! | 0:34:16 | 0:34:20 | |
A standing ovation. Five, six, curtain calls. | 0:34:20 | 0:34:23 | |
I knew this play would be a hit. I knew it right from the off! | 0:34:23 | 0:34:27 | |
-What's the matter? -Couldn't you hear it? | 0:34:27 | 0:34:29 | |
Richard, I heard laughter and I heard cheering. | 0:34:29 | 0:34:32 | |
That's usually a good sign, isn't it? | 0:34:32 | 0:34:34 | |
-They were laughing at us. -No, they were not. -They were. | 0:34:34 | 0:34:37 | |
They didn't think they were watching a play. | 0:34:37 | 0:34:40 | |
They thought they'd had an invite into our lives, | 0:34:40 | 0:34:43 | |
to see us HAPPEN in front of them. | 0:34:43 | 0:34:45 | |
Stop it! You're overreacting. | 0:34:45 | 0:34:47 | |
Well, OK, maybe there were a few that were more interested in us | 0:34:47 | 0:34:50 | |
than in the show but you always get that on the first-night crowd. | 0:34:50 | 0:34:53 | |
You get the rubber neckers. But they were not the majority. | 0:34:53 | 0:34:57 | |
And the majority loved what we did, they loved it! | 0:34:57 | 0:35:01 | |
TANNOY: 'Mike to stage door, please.' | 0:35:01 | 0:35:03 | |
I'm proud of you, Elizabeth. | 0:35:03 | 0:35:05 | |
You're phenomenal. | 0:35:06 | 0:35:08 | |
There's no-one like you. | 0:35:08 | 0:35:11 | |
Thank you. So stop worrying! OK. And let's go wow. | 0:35:11 | 0:35:16 | |
The party. We've got a club in town. The whole place. And a band. | 0:35:17 | 0:35:23 | |
I'm sorry. I've made arrangements. | 0:35:24 | 0:35:27 | |
Later, perhaps I... | 0:35:27 | 0:35:30 | |
But people'll be expecting it. Us. | 0:35:30 | 0:35:33 | |
KNOCK ON DOOR | 0:35:33 | 0:35:35 | |
Rich! Sally's brought the car around. Are you going to be long? | 0:35:35 | 0:35:38 | |
-Or do you want me to ask her back? -No, no. I'm coming. Thank you. | 0:35:38 | 0:35:42 | |
No, it's fine. It's fine. I forgot. | 0:35:43 | 0:35:48 | |
You do what you've got to do. | 0:35:49 | 0:35:52 | |
I'll see you. | 0:35:52 | 0:35:54 | |
Hello, love. | 0:35:59 | 0:36:01 | |
Chen?! | 0:36:01 | 0:36:03 | |
I've got a table booked. | 0:36:11 | 0:36:13 | |
SMALL DOG BARKS | 0:36:13 | 0:36:15 | |
CAMERAS FLASH, PRESS CLAMOUR | 0:36:18 | 0:36:20 | |
HE BREATHES UNSTEADILY | 0:36:38 | 0:36:41 | |
DISTANT SIRENS WAIL | 0:37:07 | 0:37:09 | |
Thou art a soul in bliss... | 0:37:11 | 0:37:13 | |
But I am bound upon a wheel of fire. | 0:37:18 | 0:37:21 | |
That mine own tears do scold like molten lead. | 0:37:25 | 0:37:28 | |
You loathsome... | 0:37:38 | 0:37:41 | |
loathsome man. | 0:37:41 | 0:37:44 | |
HE SIGHS | 0:37:50 | 0:37:52 | |
PHONE RINGS | 0:37:52 | 0:37:54 | |
LOUD MUSIC PLAYS | 0:38:05 | 0:38:07 | |
-They're not the best I've read. -Ha! | 0:38:13 | 0:38:16 | |
Elizabeth. Please. Critics deserve nothing but our pity. | 0:38:16 | 0:38:19 | |
To be so close to art and yet to contribute absolutely nothing | 0:38:19 | 0:38:22 | |
whatsoever towards it. It's like being...a eunuch at an orgy. | 0:38:22 | 0:38:27 | |
Yeah, but how can they say those things? | 0:38:27 | 0:38:29 | |
They're cunts. That's a more prosaic version of what I just said. | 0:38:29 | 0:38:33 | |
Christ, Elizabeth! You don't need THEIR approbation. | 0:38:34 | 0:38:37 | |
Approbation! | 0:38:37 | 0:38:39 | |
No, don't, don't, don't do it to yourself. | 0:38:39 | 0:38:41 | |
No, no, no. Listen to this. | 0:38:41 | 0:38:44 | |
"Miss Taylor plays Amanda Prynne in perhaps the strangest voice | 0:38:44 | 0:38:49 | |
"this side of the Disney cartoon. | 0:38:49 | 0:38:51 | |
"She squeaks, peeps, swoops and then pauses as though speaking Pinter." | 0:38:51 | 0:38:57 | |
Approbation? I just want their fucking manners. | 0:38:57 | 0:39:00 | |
PILLS RATTLE | 0:39:01 | 0:39:03 | |
Do you have a handkerchief? | 0:39:08 | 0:39:10 | |
Here. | 0:39:12 | 0:39:13 | |
-I don't deserve that. -You don't. You're right. | 0:39:13 | 0:39:16 | |
Let's not forget, they weren't exactly gushing about me, were they? | 0:39:16 | 0:39:19 | |
-Yeah, well, they all like your voice. -Of course they do! | 0:39:19 | 0:39:22 | |
It's the theatrical equivalent of a big cock. | 0:39:22 | 0:39:25 | |
Everyone likes it. | 0:39:25 | 0:39:27 | |
Doesn't make you a great lover per se, though, does it? | 0:39:27 | 0:39:29 | |
SHE LAUGHS | 0:39:29 | 0:39:31 | |
Here, have some of my burger. | 0:39:31 | 0:39:32 | |
No, I'm on a diet! Two of those bastards said | 0:39:32 | 0:39:35 | |
I was spending more time in the green room than on stage. | 0:39:35 | 0:39:38 | |
Sod them! None of their business. | 0:39:38 | 0:39:40 | |
But you are right. You shouldn't have to endure it. | 0:39:43 | 0:39:45 | |
And nor should I. | 0:39:45 | 0:39:47 | |
Nor do we have to. | 0:39:51 | 0:39:53 | |
What do you mean? | 0:39:53 | 0:39:54 | |
Let's cancel the run. | 0:39:54 | 0:39:56 | |
Right here. Now. Spare ourselves any more pain. | 0:39:56 | 0:39:59 | |
Either from these idiots or from the ones who plonk themselves | 0:39:59 | 0:40:02 | |
down in the front rows and treat us like we're a bloody freak show! | 0:40:02 | 0:40:05 | |
But we can't just cancel. The theatre'd sue us. | 0:40:05 | 0:40:10 | |
Why don't we pay them? I think I've got enough in my current account. | 0:40:10 | 0:40:14 | |
What about you? Wouldn't entirely clear us out, would it? | 0:40:14 | 0:40:17 | |
We pop in later today, | 0:40:17 | 0:40:19 | |
we bid a fond farewell to the other actors and that's it. | 0:40:19 | 0:40:22 | |
We go our separate ways. Sounds like bliss. | 0:40:22 | 0:40:24 | |
No! I won't give them the pleasure. | 0:40:27 | 0:40:30 | |
Richard, we're going to do this play! | 0:40:30 | 0:40:33 | |
And we're going to make people laugh, we're going to make people applaud. | 0:40:33 | 0:40:37 | |
And we're going to make a pile of money while we do it. | 0:40:37 | 0:40:40 | |
And no-one, not them or anyone else, is going to stand in our way! | 0:40:40 | 0:40:45 | |
AUDIENCE APPLAUD | 0:40:48 | 0:40:51 | |
AUDIENCE CHEER WILDLY | 0:40:52 | 0:40:55 | |
-RICHARD: Sibyl. -Yes! | 0:40:58 | 0:41:00 | |
I've bought the cocktails outside, hurry up. | 0:41:00 | 0:41:02 | |
Considering what a hell she made your life, | 0:41:02 | 0:41:04 | |
I think you're very nice about her. | 0:41:04 | 0:41:06 | |
-And yet I'm sorry for her. -Why? -Because she's marked for tragedy. | 0:41:06 | 0:41:09 | |
She's bound to make a mess of everything. | 0:41:09 | 0:41:12 | |
If it's all her fault, I don't see that it matters much. | 0:41:12 | 0:41:14 | |
AUDIENCE APPLAUD | 0:41:14 | 0:41:16 | |
RICHARD: You're a vile, loose-living, wicked little beast | 0:41:16 | 0:41:19 | |
and I never want to set eyes on you... | 0:41:19 | 0:41:22 | |
LIZ: This is the end. Do you understand? Finally! And for ever! | 0:41:22 | 0:41:25 | |
-You're not going like this. -Oh, yes, I am. -You're not. | 0:41:25 | 0:41:28 | |
Oh, yes, I am. Let go of me! | 0:41:28 | 0:41:30 | |
AUDIENCE LAUGH | 0:41:30 | 0:41:32 | |
AUDIENCE APPLAUD | 0:41:53 | 0:41:55 | |
Very enjoyable. Never had much of that anyhow. | 0:42:02 | 0:42:06 | |
Quite insufferable. I expect it's because you're drunk! | 0:42:06 | 0:42:10 | |
AUDIENCE LAUGH | 0:42:10 | 0:42:12 | |
MAN: Keep going, you two! We love you, Liz! | 0:42:12 | 0:42:15 | |
AUDIENCE APPLAUD | 0:42:17 | 0:42:19 | |
-What the hell was that? -What? | 0:42:23 | 0:42:26 | |
You were mugging for the audience. | 0:42:26 | 0:42:28 | |
-I... -You were. I saw you! | 0:42:28 | 0:42:30 | |
Er, Elizabeth. Costume. | 0:42:30 | 0:42:32 | |
Shut your mouth! I'm talking to her. | 0:42:32 | 0:42:34 | |
Don't you dare speak to my friends like that! | 0:42:34 | 0:42:38 | |
And don't you dare think that you can tell me | 0:42:38 | 0:42:41 | |
how to play my role. They loved it! The audience loved it. | 0:42:41 | 0:42:45 | |
They adored that they were in on the gag. | 0:42:45 | 0:42:47 | |
And the audience, may I remind you, | 0:42:47 | 0:42:49 | |
are the ones who are paying our wages. | 0:42:49 | 0:42:51 | |
Or rather, they're paying my company, who are paying your wages. | 0:42:51 | 0:42:56 | |
Fuck off! | 0:42:56 | 0:42:57 | |
Richard. Rich! | 0:43:02 | 0:43:04 | |
What? | 0:43:04 | 0:43:06 | |
Please. Don't storm off like that. | 0:43:06 | 0:43:10 | |
Don't go off like that. | 0:43:10 | 0:43:12 | |
When you still haven't apologised! | 0:43:13 | 0:43:16 | |
-Bitch! -You bully! -Get off! -How dare you! -Stop it! | 0:43:16 | 0:43:19 | |
-Don't you raise your hand to me! -Well, stop fucking hitting me! | 0:43:19 | 0:43:22 | |
Only when you've fucking apologised! | 0:43:22 | 0:43:24 | |
DOGS BARK | 0:43:24 | 0:43:25 | |
-We're fine. -We were just talking. | 0:43:27 | 0:43:29 | |
I'm sorry. You're right. | 0:43:41 | 0:43:44 | |
I was...unprofessional. | 0:43:44 | 0:43:47 | |
It's all we have! To rise above the rubbish in the stalls! | 0:43:47 | 0:43:52 | |
Richard, I was unprofessional, you were rude. | 0:43:52 | 0:43:55 | |
Which is much worse. | 0:43:55 | 0:43:57 | |
We do not treat those around us, those who look after us, like dirt. | 0:43:57 | 0:44:00 | |
That is inexcusable. And you know it! | 0:44:00 | 0:44:03 | |
So, please, do the right thing now. Now! | 0:44:03 | 0:44:07 | |
Or I am going to spend the entire final act of this play in full | 0:44:09 | 0:44:13 | |
conversation with whoever in the front row, | 0:44:13 | 0:44:15 | |
wants to join in with me the most! | 0:44:15 | 0:44:17 | |
HE KNOCKS ON DOOR | 0:44:26 | 0:44:28 | |
Chen? I erm, I'm so sorry about that outburst. | 0:44:28 | 0:44:31 | |
My tone...I don't know what came over me. | 0:44:31 | 0:44:34 | |
It's fine, Richard. | 0:44:34 | 0:44:36 | |
Well, it won't happen again. I can assure you. Sorry. | 0:44:36 | 0:44:40 | |
Thank you. | 0:44:40 | 0:44:42 | |
Thank you. | 0:44:50 | 0:44:51 | |
Would you like some supper afterwards? | 0:44:55 | 0:44:58 | |
What? | 0:44:58 | 0:45:00 | |
I was wondering if you'd care for a late supper? | 0:45:00 | 0:45:02 | |
What about Sally? Is she not in tonight? She usually is. | 0:45:02 | 0:45:07 | |
No. She's busy. I think she might have gone to the Met. | 0:45:07 | 0:45:11 | |
-So has Victor. -Gone to the opera? | 0:45:11 | 0:45:13 | |
No. He's busy. | 0:45:13 | 0:45:15 | |
Oh, well, all the more reason then. | 0:45:15 | 0:45:17 | |
Ideal. | 0:45:18 | 0:45:20 | |
OK. | 0:45:20 | 0:45:22 | |
DINERS APPLAUD | 0:45:31 | 0:45:33 | |
Thank you. | 0:45:39 | 0:45:41 | |
Thank you. | 0:45:45 | 0:45:47 | |
-So sorry I'm late. -You're not. | 0:45:55 | 0:45:57 | |
Miss Taylor. Mr Burton. Compliments of the management. | 0:45:57 | 0:46:01 | |
How lovely. | 0:46:01 | 0:46:03 | |
Thank you. | 0:46:06 | 0:46:07 | |
Er, can I get a Tab as well please? And some iced water? | 0:46:09 | 0:46:12 | |
Of course, sir. | 0:46:12 | 0:46:14 | |
-Thank you. -Thank you. | 0:46:14 | 0:46:15 | |
Thank you. | 0:46:24 | 0:46:26 | |
Menu, ma'am. | 0:46:32 | 0:46:34 | |
This is lovely. Very intimate! | 0:46:34 | 0:46:36 | |
Thank you. | 0:46:36 | 0:46:39 | |
I got a round of applause when I came in. | 0:46:39 | 0:46:42 | |
I notice you didn't. | 0:46:42 | 0:46:44 | |
HE LAUGHS | 0:46:44 | 0:46:46 | |
What? | 0:46:49 | 0:46:51 | |
It's bizarre. I mean, all these years and they're still interested. | 0:46:51 | 0:46:55 | |
You'd think they'd tire. | 0:46:55 | 0:46:57 | |
Are you going to be like this all night? Just drifting off. | 0:47:00 | 0:47:04 | |
No. I was just thinking of that restaurant in Rome, Alfredo's? | 0:47:04 | 0:47:08 | |
-Uh-huh. -Remember at the height of Le Scandale. | 0:47:08 | 0:47:12 | |
We were holed up in that little flat, | 0:47:12 | 0:47:15 | |
half the world's press on our doorstep. Cameras everywhere. | 0:47:15 | 0:47:19 | |
And the Vatican telling us we were morally reprehensible. | 0:47:19 | 0:47:22 | |
Then one day, you said, | 0:47:22 | 0:47:24 | |
"Sod it, let's go and have some fettucine at Alfredo's!" | 0:47:24 | 0:47:26 | |
Sure did. | 0:47:26 | 0:47:28 | |
THEY LAUGH | 0:47:28 | 0:47:30 | |
We went down the Via Veneto, into the restaurant and bang! | 0:47:30 | 0:47:34 | |
Boy, did we go public! | 0:47:35 | 0:47:38 | |
Remember? | 0:47:39 | 0:47:41 | |
Every day. | 0:47:42 | 0:47:44 | |
I think we're ready to order, please. | 0:47:47 | 0:47:50 | |
I like this. | 0:47:53 | 0:47:54 | |
What? | 0:47:54 | 0:47:57 | |
I can be quiet with you. | 0:47:57 | 0:48:00 | |
You can't with Victor? | 0:48:00 | 0:48:02 | |
Sure I can. I'm saying, though, it's also true of you. | 0:48:02 | 0:48:06 | |
Geez, can't a guy take a compliment any more? | 0:48:06 | 0:48:09 | |
Feeling's mutual, love, I promise. | 0:48:11 | 0:48:15 | |
Ma'am. | 0:48:18 | 0:48:19 | |
Sir. | 0:48:21 | 0:48:23 | |
It's funny, isn't it, what's at the heart of a good relationship. | 0:48:24 | 0:48:29 | |
I mean, love, obviously but that's a catch all, really, | 0:48:29 | 0:48:32 | |
a collective noun for all the other bits put together. | 0:48:32 | 0:48:35 | |
The question is, what's the critical element | 0:48:35 | 0:48:39 | |
around which everything else clusters? | 0:48:39 | 0:48:42 | |
Er, passion. | 0:48:43 | 0:48:46 | |
Maybe. | 0:48:46 | 0:48:47 | |
Sex. | 0:48:47 | 0:48:49 | |
Hmmm. Important. Very. | 0:48:49 | 0:48:52 | |
Trust. | 0:48:54 | 0:48:55 | |
That's not bad. | 0:48:57 | 0:48:59 | |
Being able to trust one's most abject self to the other, | 0:48:59 | 0:49:03 | |
in the knowledge that they'll tread carefully on your screams. | 0:49:03 | 0:49:07 | |
SHE LAUGHS | 0:49:07 | 0:49:09 | |
I always did feel like that with you. | 0:49:12 | 0:49:14 | |
Really? That's what bound us? Trust? | 0:49:14 | 0:49:19 | |
I always thought it was my tits. | 0:49:19 | 0:49:21 | |
HE LAUGHS | 0:49:21 | 0:49:23 | |
Yes, well they...clearly had a role. | 0:49:23 | 0:49:26 | |
And they are still magnificent, by the way. May I say that? | 0:49:29 | 0:49:33 | |
No, you may not! They're not yours to talk about any more. | 0:49:33 | 0:49:37 | |
They'll always be mine! | 0:49:37 | 0:49:39 | |
So are we going to have pudding or go straight for coffee? | 0:49:44 | 0:49:47 | |
Richard, listen, listen, listen, listen. I want to say some things. | 0:49:47 | 0:49:51 | |
I've wanted to say them for a while. | 0:49:51 | 0:49:54 | |
Erm, I nearly did at Rock's but, I dunno, you seemed kind of frail. | 0:49:54 | 0:49:58 | |
I am kind of frail. | 0:49:58 | 0:50:00 | |
I mean it's a, it is a worry. | 0:50:00 | 0:50:01 | |
I mean, it's the thing that concerns me about Lear. | 0:50:01 | 0:50:04 | |
I'll be fine with the words but it's the physical demands... | 0:50:04 | 0:50:07 | |
I'm not talking about acting, Richard! | 0:50:07 | 0:50:09 | |
I'm talking about you and me. And why we're doing this. | 0:50:09 | 0:50:12 | |
70,000 a week. | 0:50:13 | 0:50:16 | |
That is not true. | 0:50:16 | 0:50:17 | |
Elizabeth! Please. | 0:50:17 | 0:50:19 | |
Can I say something, now that it's on my mind? | 0:50:23 | 0:50:26 | |
There's a couple of things which have crept in over | 0:50:28 | 0:50:31 | |
the course of the run. | 0:50:31 | 0:50:33 | |
The tiny things, but your first entrance, for instance. | 0:50:33 | 0:50:38 | |
You're now playing it very confidently, which I think is losing | 0:50:38 | 0:50:42 | |
some sense of Amanda protecting herself, which she undoubtedly is... | 0:50:42 | 0:50:46 | |
SHE CLEARS THROAT You're giving me notes? | 0:50:46 | 0:50:48 | |
I'm trying to talk to you and you're giving me acting notes? | 0:50:50 | 0:50:53 | |
-No... -Jesus, Richard! What are you doing? | 0:50:53 | 0:50:56 | |
-Why did you ask me out tonight? -What? | 0:50:56 | 0:50:58 | |
Why did you ask me out to supper tonight? | 0:50:58 | 0:51:00 | |
Why did you do that? | 0:51:00 | 0:51:02 | |
Because I wanted to see you. You're my ex wife. | 0:51:02 | 0:51:05 | |
It's perfectly natural for me to want to see you, isn't it? | 0:51:05 | 0:51:08 | |
Fine, in which case, I'll take that note. | 0:51:08 | 0:51:10 | |
Where did my Anthony go? Remember? | 0:51:10 | 0:51:13 | |
The man who would have risked everything for me. | 0:51:13 | 0:51:16 | |
Who did! Who tossed it all against the rocks | 0:51:16 | 0:51:19 | |
so he could be with me. Where did he go, Richard? | 0:51:19 | 0:51:22 | |
Tell me where my fucking Anthony went?! | 0:51:22 | 0:51:25 | |
There's still no sign. | 0:51:51 | 0:51:52 | |
We need to start or we'll still be here at midnight. | 0:51:52 | 0:51:55 | |
-Rich, we can't be certain... -She isn't coming! I know she isn't. | 0:51:55 | 0:52:00 | |
Get ready, love. | 0:52:01 | 0:52:02 | |
You'll be wonderful! Trust me. | 0:52:06 | 0:52:08 | |
TANNOY: 'Ladies and gentlemen, due to a sudden illness, | 0:52:14 | 0:52:16 | |
'Ms Taylor is sadly indisposed | 0:52:16 | 0:52:19 | |
'and the role of Amanda will be played tonight by Kathryn Walker.' | 0:52:19 | 0:52:22 | |
AUDIENCE GRUMBLE | 0:52:24 | 0:52:26 | |
TANNOY: 'Five minutes stand-by for Mr Burton. | 0:52:46 | 0:52:48 | |
'Mr Burton, please stand-by.' | 0:52:48 | 0:52:50 | |
How's it going? | 0:52:53 | 0:52:55 | |
How do you think? I'm Richard Burton. | 0:52:55 | 0:52:58 | |
I don't play to 50 people! | 0:52:58 | 0:53:01 | |
Christ, Mike, don't ever put that woman's back up. Not ever. | 0:53:01 | 0:53:06 | |
What did you say to her? | 0:53:06 | 0:53:08 | |
I gave her a note. And this is hers, back to me. | 0:53:08 | 0:53:13 | |
This is La Taylor saying, loud and clear, | 0:53:13 | 0:53:16 | |
"Don't you forget, boyo, who the star of this show really is!" | 0:53:16 | 0:53:20 | |
Bitch! | 0:53:20 | 0:53:22 | |
AUDIENCE APPLAUD | 0:53:25 | 0:53:28 | |
KNOCK ON DOOR | 0:53:59 | 0:54:00 | |
Yes! | 0:54:00 | 0:54:02 | |
It was a great show, Rich. You and Kathryn, you really... | 0:54:02 | 0:54:05 | |
What's the matter? | 0:54:05 | 0:54:07 | |
We're going to go dark, just until Elizabeth gets better. | 0:54:09 | 0:54:12 | |
What? | 0:54:14 | 0:54:15 | |
I've spoken to Zev and the numbers, tickets coming back | 0:54:15 | 0:54:19 | |
and phone calls, I... | 0:54:19 | 0:54:21 | |
People really want to see Liz, Rich. | 0:54:22 | 0:54:26 | |
So...it seems crazy. We're going to take a break. | 0:54:26 | 0:54:31 | |
As soon as she's well again, we'll pick it up. | 0:54:31 | 0:54:34 | |
OK, folks, please strike this and re-set for act one. | 0:55:02 | 0:55:05 | |
We are back on the road. | 0:55:05 | 0:55:07 | |
Todd, can you get on to resetting the doors? | 0:55:14 | 0:55:17 | |
LIZ: I'm here, I'm here. Hi, Gino. | 0:55:19 | 0:55:22 | |
SHE COUGHS | 0:55:22 | 0:55:24 | |
Come on, babies. | 0:55:24 | 0:55:26 | |
You go with Auntie Hayley. | 0:55:26 | 0:55:29 | |
Hey, can you see, I'm going to go and see Uncle Rich. | 0:55:29 | 0:55:32 | |
Hi, honey, I'm sorry I'm late. | 0:55:32 | 0:55:34 | |
Elizabeth? | 0:55:34 | 0:55:36 | |
What? | 0:55:38 | 0:55:39 | |
Elizabeth, apologies, I didn't realise you were already in. | 0:55:39 | 0:55:44 | |
What is happening? | 0:55:47 | 0:55:49 | |
Nothing. I...Richard's on his way, Mike called from the airport. | 0:55:49 | 0:55:54 | |
Airport? Where's he been? | 0:55:54 | 0:55:57 | |
Can someone please tell me what the goddamn hell is going on? | 0:56:01 | 0:56:05 | |
Honey, let's go to your room. Huh? | 0:56:05 | 0:56:08 | |
We can talk better there. Come on. | 0:56:08 | 0:56:11 | |
INDISTINCT CHATTER | 0:56:19 | 0:56:21 | |
Can you guys give us some space, please! | 0:56:25 | 0:56:28 | |
-Peter, take the dogs out, thank you. -No problem. | 0:56:28 | 0:56:31 | |
-Thank you. -We'll be outside. | 0:56:32 | 0:56:34 | |
Well? | 0:56:36 | 0:56:38 | |
Guess they got an exclusive. It wasn't in any of the others, so... | 0:56:44 | 0:56:48 | |
He got married in Vegas? | 0:57:00 | 0:57:01 | |
Why would he do that? | 0:57:03 | 0:57:05 | |
Yeah? | 0:57:28 | 0:57:31 | |
DOOR OPENS | 0:57:31 | 0:57:33 | |
Richard. | 0:57:35 | 0:57:37 | |
I wondered how you were feeling. | 0:57:37 | 0:57:39 | |
I'm on the mend, thank you. | 0:57:41 | 0:57:44 | |
I, er, do wish you'd told me of your plans. | 0:57:47 | 0:57:53 | |
I was a little surprised to read of them in the newspaper. | 0:57:53 | 0:57:56 | |
I'm sorry. | 0:57:56 | 0:57:58 | |
Events rather overtook us. | 0:58:00 | 0:58:02 | |
Really? | 0:58:04 | 0:58:05 | |
We'd always intended it, you know that. | 0:58:07 | 0:58:10 | |
And then the break. Seemed like an ideal opportunity. | 0:58:10 | 0:58:14 | |
I've no doubt it was. | 0:58:15 | 0:58:17 | |
Congratulations. | 0:58:21 | 0:58:23 | |
SHE CRIES | 0:58:41 | 0:58:43 | |
AUDIENCE APPLAUD | 0:58:47 | 0:58:49 | |
AUDIENCE LAUGH | 0:58:52 | 0:58:54 | |
PARROT SQUAWKS | 0:59:06 | 0:59:07 | |
Well, isn't that what you say a performance must always have? | 0:59:20 | 0:59:23 | |
Some danger. | 0:59:23 | 0:59:25 | |
Not parrots. | 0:59:25 | 0:59:26 | |
You really can be more irritating than anyone in the world. | 0:59:29 | 0:59:32 | |
AUDIENCE LAUGH | 0:59:32 | 0:59:34 | |
Hmmm, I fail to see what I've done that is so terribly irritating. | 0:59:34 | 0:59:40 | |
AUDIENCE LAUGH LOUDLY | 0:59:40 | 0:59:43 | |
They want us to fight. Don't you see? | 0:59:47 | 0:59:50 | |
No, I don't, why should they? | 0:59:50 | 0:59:52 | |
Primitive feminine instinct. It's what... | 0:59:52 | 0:59:55 | |
Boring females. Very enjoyable. | 0:59:57 | 1:00:01 | |
The end. Finally and for ever. | 1:00:01 | 1:00:03 | |
-You're not going like this! -Oh, yes, I am! -You're not! | 1:00:03 | 1:00:06 | |
Oh, yes, I am. Let go of me! | 1:00:06 | 1:00:08 | |
HE CRIES OUT | 1:00:08 | 1:00:09 | |
AUDIENCE LAUGH | 1:00:09 | 1:00:11 | |
You're a cruel fiend. I hate you and I loathe you! | 1:00:11 | 1:00:15 | |
EXCITED CHATTERING | 1:00:23 | 1:00:25 | |
-Great work, Rich. -Wonderful. | 1:00:29 | 1:00:31 | |
I hope I didn't hurt you, did I, Richard? | 1:00:44 | 1:00:46 | |
At the end of Act Two? You seemed to wince. | 1:00:46 | 1:00:49 | |
Only on Noel's behalf. You're slurred again. | 1:00:50 | 1:00:55 | |
You swallowed half the lines. | 1:00:55 | 1:00:57 | |
Christ! | 1:01:22 | 1:01:24 | |
What a bloody shambles! | 1:01:24 | 1:01:26 | |
OBJECTS CLATTER | 1:01:31 | 1:01:33 | |
COMMOTION IN HALLWAY | 1:01:38 | 1:01:40 | |
LIZ SOBS | 1:01:43 | 1:01:44 | |
It's OK. | 1:01:44 | 1:01:46 | |
What's going on? | 1:01:46 | 1:01:47 | |
Elizabeth! | 1:01:49 | 1:01:50 | |
Leave her! She's poorly! | 1:01:50 | 1:01:52 | |
We're getting her straight back to the apartment. | 1:01:52 | 1:01:56 | |
-There's nothing wrong with her! -She's sick. | 1:01:56 | 1:01:59 | |
Really? Well, if she is, take it from one who knows, | 1:01:59 | 1:02:02 | |
she's got it from a bloody bottle! | 1:02:02 | 1:02:03 | |
Can you blame her? You treat her like shit! | 1:02:03 | 1:02:07 | |
She finds out you're married from a newspaper article, | 1:02:07 | 1:02:10 | |
-you criticise her as an actress. -What? -You! | 1:02:10 | 1:02:13 | |
I have never criticised her as an actress! | 1:02:13 | 1:02:16 | |
She is peerless as an actress! | 1:02:16 | 1:02:18 | |
Jesus! | 1:02:18 | 1:02:20 | |
You call that acting, out there? It's like a bloody pantomime dame. | 1:02:20 | 1:02:24 | |
Tripping over all her lines. I know she can act. | 1:02:24 | 1:02:26 | |
I know better than anyone! | 1:02:26 | 1:02:28 | |
Which is why I'm not going to tolerate that any more! | 1:02:28 | 1:02:31 | |
In which case, maybe you'll leave her alone once and for all. | 1:02:31 | 1:02:34 | |
Because Miss Taylor was fine until you took this job. | 1:02:34 | 1:02:37 | |
She was well until you decided to come back into her life again. | 1:02:37 | 1:02:40 | |
Now, why you did that, only you can know for sure but from here, | 1:02:40 | 1:02:44 | |
it looks like it was for one reason only - to break her heart. | 1:02:44 | 1:02:48 | |
What did he say? | 1:03:00 | 1:03:02 | |
Did he ask if I was all right? | 1:03:02 | 1:03:04 | |
He didn't say much. But I told him. | 1:03:04 | 1:03:08 | |
I think it's disgusting the way he treats you. | 1:03:08 | 1:03:11 | |
You said what? | 1:03:14 | 1:03:16 | |
Get out. | 1:03:22 | 1:03:24 | |
Get out! | 1:03:25 | 1:03:27 | |
I said get out! | 1:03:27 | 1:03:28 | |
Get out! Get the fuck out of here! | 1:03:28 | 1:03:31 | |
LIZ SOBS Chen! Chen! | 1:03:55 | 1:03:57 | |
Chen! | 1:04:00 | 1:04:03 | |
SHE SOBS | 1:04:03 | 1:04:05 | |
You OK, Mr Burton? | 1:04:35 | 1:04:37 | |
Never. Never. | 1:05:31 | 1:05:34 | |
Thou art the thing itself. | 1:05:53 | 1:05:57 | |
Unaccommodated man is no more but such a poor, bare, forked animal. | 1:05:57 | 1:06:05 | |
As thou art. | 1:06:09 | 1:06:11 | |
AUDIENCE APPLAUD | 1:06:19 | 1:06:21 | |
Congratulations. | 1:07:18 | 1:07:20 | |
-Hey! Great work, Rich! -Thanks, Jess. | 1:07:22 | 1:07:25 | |
You were terrific. Thank you. | 1:07:27 | 1:07:30 | |
Thanks, John. Likewise, likewise. | 1:07:30 | 1:07:32 | |
Rich! Thank you, thank you, thank you. | 1:07:34 | 1:07:37 | |
-For what? -I finally got to act with my hero. | 1:07:37 | 1:07:41 | |
And he was everything I dreamed of and more. | 1:07:41 | 1:07:44 | |
You were brilliant. Really. | 1:07:44 | 1:07:47 | |
See you at the party? | 1:07:48 | 1:07:50 | |
Er, well, we'll see. | 1:07:50 | 1:07:52 | |
Well done. | 1:08:19 | 1:08:21 | |
Yes. And you. | 1:08:21 | 1:08:24 | |
-There's a party. I... -I know. Kathryn said. | 1:08:29 | 1:08:32 | |
-Yeah, I imagine you'll... -No. I, er, I dunno. I might call in. | 1:08:32 | 1:08:36 | |
You're quite an actor. | 1:08:46 | 1:08:48 | |
Elizabeth! | 1:08:55 | 1:08:56 | |
What? | 1:08:56 | 1:08:58 | |
I... I will... I'll try and come to the party. | 1:08:58 | 1:09:02 | |
TANNOY: 'Ladies and gentlemen. for the last time - | 1:09:18 | 1:09:21 | |
'Act One was 43 minutes, Act Two, 44 minutes | 1:09:21 | 1:09:26 | |
'and Act Three, 46 minutes. | 1:09:26 | 1:09:28 | |
'There will be no call on Monday. Thank you and good night.' | 1:09:28 | 1:09:32 | |
KNOCKING | 1:10:09 | 1:10:11 | |
There you go! Thank you. | 1:10:14 | 1:10:16 | |
Thank you, ma'am. | 1:10:16 | 1:10:18 | |
You really shouldn't do that, you know. | 1:10:18 | 1:10:20 | |
Richard, I bought you a present. I want to hang it up. | 1:10:20 | 1:10:23 | |
Yes, the thing about hotels, love, | 1:10:24 | 1:10:26 | |
is that they come with the pictures already provided. | 1:10:26 | 1:10:29 | |
Yeah, copies. Not originals. | 1:10:29 | 1:10:31 | |
This one had its own seat in first all the way from Madrid. | 1:10:31 | 1:10:34 | |
What ARE you wearing? | 1:10:38 | 1:10:39 | |
Dior. Don't you like it? | 1:10:39 | 1:10:42 | |
No. I mean, why are you dressed, as t'were, | 1:10:42 | 1:10:44 | |
like an overripe tart, when we're about to start exercising? | 1:10:44 | 1:10:47 | |
I thought maybe we could screw afterwards. | 1:10:47 | 1:10:50 | |
Mmm, I can taste Jack. Lucky Jack. | 1:10:51 | 1:10:54 | |
Right, Francis, you old bugger. Get us going. | 1:10:54 | 1:10:58 | |
MUSIC: "I Get A Kick Out Of You" by Frank Sinatra | 1:10:59 | 1:11:02 | |
Elizabeth. Elizabeth, come on. | 1:11:02 | 1:11:05 | |
# I get no kick from champagne | 1:11:07 | 1:11:09 | |
Right, start with side bends. Ready? | 1:11:09 | 1:11:11 | |
# Mere alcohol, it doesn't move me at all | 1:11:11 | 1:11:15 | |
Ready and one, two, three and... | 1:11:15 | 1:11:17 | |
# So tell me why should it be true | 1:11:17 | 1:11:20 | |
One, two, three and... | 1:11:20 | 1:11:23 | |
# That I get a kick out of you | 1:11:23 | 1:11:27 | |
One, two, three. | 1:11:27 | 1:11:28 | |
-We're supposed to do a hundred of those. -What?! | 1:11:30 | 1:11:33 | |
Well, I imagine you work up. | 1:11:33 | 1:11:35 | |
We don't have to break any records at the outset. | 1:11:35 | 1:11:37 | |
-Right, next, jog on the spot for five minutes. -Without stopping?! | 1:11:37 | 1:11:41 | |
No, love, after 30 seconds, they encourage you to have another | 1:11:41 | 1:11:45 | |
Jack Daniels and ring room service for another hot dog. | 1:11:45 | 1:11:47 | |
Of course you don't stop. Are you ready? | 1:11:47 | 1:11:50 | |
OK. | 1:11:51 | 1:11:52 | |
# I get a kick every time I see you | 1:11:52 | 1:11:54 | |
Knees up. | 1:11:54 | 1:11:56 | |
-What are you doing? -What do you mean? | 1:11:57 | 1:12:00 | |
What are you doing? | 1:12:00 | 1:12:01 | |
Richard, I'm holding my bosom. | 1:12:01 | 1:12:04 | |
It's bouncing up and down. | 1:12:04 | 1:12:06 | |
Richard, I'm 40 years of age. They're 40 years of age. | 1:12:06 | 1:12:10 | |
They've gained a certain...elasticity. | 1:12:10 | 1:12:12 | |
HE LAUGHS | 1:12:12 | 1:12:15 | |
# In a plane | 1:12:15 | 1:12:17 | |
# Flying too high with some gal | 1:12:17 | 1:12:20 | |
You are so gorgeous. | 1:12:20 | 1:12:22 | |
Your tits are gorgeous, your arse is gorgeous, your legs, your belly... | 1:12:22 | 1:12:28 | |
Did I mention your tits? | 1:12:28 | 1:12:30 | |
# I get a kick out of you... # | 1:12:30 | 1:12:32 | |
Let's just screw. | 1:12:32 | 1:12:34 | |
We can be extra vigorous. | 1:12:34 | 1:12:36 | |
Rich? | 1:12:44 | 1:12:46 | |
-Stop the car, will you? -What? | 1:12:46 | 1:12:48 | |
-Stop the car! Stop the car. -What's the matter? | 1:12:48 | 1:12:51 | |
I'm...I'm going to walk. I need some air. | 1:12:52 | 1:12:56 | |
I'll see you at the apartment. | 1:12:56 | 1:12:58 | |
Tell Sally, will you? | 1:13:00 | 1:13:02 | |
INDISTINCT CHATTERING | 1:13:11 | 1:13:14 | |
INAUDIBLE DIALOGUE | 1:13:36 | 1:13:39 | |
DOOR OPENS | 1:14:13 | 1:14:14 | |
Now there's a surprise. | 1:14:21 | 1:14:23 | |
I went to the party. Chen said you hadn't shown up so... | 1:14:25 | 1:14:30 | |
No, I'm... | 1:14:32 | 1:14:34 | |
I'm glad you came back. | 1:14:35 | 1:14:37 | |
The...way it's all ended, it... | 1:14:38 | 1:14:41 | |
Not how you planned it? | 1:14:48 | 1:14:50 | |
No-one made you do it. | 1:14:54 | 1:14:56 | |
No. You're right. I chose to. | 1:14:56 | 1:14:59 | |
You need help, Elizabeth. You know that, don't you? | 1:15:08 | 1:15:11 | |
Yes. | 1:15:14 | 1:15:16 | |
I say that as someone who... | 1:15:21 | 1:15:23 | |
No, I know, you've got your help. I understand. | 1:15:23 | 1:15:26 | |
And I'm happy for you. No, I am. Really. | 1:15:26 | 1:15:28 | |
-I'm sure Victor would... -Oh, we'll see. | 1:15:30 | 1:15:33 | |
I love you, Richard. | 1:15:36 | 1:15:37 | |
I always will. | 1:15:39 | 1:15:41 | |
-You want me to say it, don't you? -Yes, please. | 1:15:55 | 1:15:58 | |
Of course I love you. | 1:15:58 | 1:16:00 | |
Don't say any more. I just want to hear the first bit. OK? | 1:16:03 | 1:16:07 | |
We're addicts, Elizabeth, you and I. | 1:16:23 | 1:16:27 | |
What? | 1:16:27 | 1:16:29 | |
It's what King Lear's all about, that's why I want to do it so much. | 1:16:29 | 1:16:33 | |
About the need we all have for drugs of...one kind or another, | 1:16:33 | 1:16:38 | |
without which we crumble. | 1:16:38 | 1:16:41 | |
What drugs? | 1:16:41 | 1:16:43 | |
Kingship, power, love... | 1:16:43 | 1:16:46 | |
-Love is not a drug. -Isn't it? | 1:16:46 | 1:16:48 | |
I dunno. You can have too much. | 1:16:50 | 1:16:54 | |
Until just a sip takes you beyond and ravages you. | 1:16:57 | 1:17:02 | |
I'll always love you, Elizabeth, | 1:17:11 | 1:17:14 | |
as long as I live but... | 1:17:14 | 1:17:16 | |
..us, together, | 1:17:19 | 1:17:22 | |
it'll destroy me. | 1:17:22 | 1:17:24 | |
I can't do it. | 1:17:27 | 1:17:29 | |
That's what I wanted to say to you. All I have to say, but.... | 1:17:34 | 1:17:38 | |
That's why I did this bloody job, to ask your forgiveness, because... | 1:17:38 | 1:17:43 | |
..your love, I know, is total and unqualified... | 1:17:46 | 1:17:52 | |
..and it makes a mockery of all my bombast. | 1:17:53 | 1:17:57 | |
I can't do it any more. I can't match you, Elizabeth. | 1:17:57 | 1:18:02 | |
I'm not as brave as you. | 1:18:02 | 1:18:04 | |
And I'm sorry for that. | 1:18:05 | 1:18:08 | |
For not measuring up, as a man. | 1:18:09 | 1:18:12 | |
You're Richard Burton. | 1:18:12 | 1:18:15 | |
You're every man there ever was. | 1:18:15 | 1:18:18 | |
I know. | 1:18:23 | 1:18:26 | |
And I have known...for a while. | 1:18:26 | 1:18:29 | |
I just didn't want to admit it. | 1:18:31 | 1:18:34 | |
I'm going to miss you. | 1:18:36 | 1:18:38 | |
I'm going to miss you. | 1:18:44 | 1:18:46 | |
No, no, love. | 1:18:46 | 1:18:49 | |
No. | 1:18:49 | 1:18:51 | |
I couldn't manage that, either. | 1:18:51 | 1:18:52 | |
I love Sally, Elizabeth. | 1:18:54 | 1:18:57 | |
My time is with her now. But I, I need you in my life, as well. | 1:18:57 | 1:19:01 | |
I can't ever be completely apart from you again. | 1:19:03 | 1:19:06 | |
Right, so you want me close but not, not too close? | 1:19:08 | 1:19:13 | |
I'm sorry, I'm bloody hopeless. | 1:19:16 | 1:19:19 | |
Yeah, you are bloody hopeless. | 1:19:19 | 1:19:22 | |
What about another play? | 1:19:27 | 1:19:29 | |
Oh, God! No! | 1:19:29 | 1:19:31 | |
At least, not together. | 1:19:33 | 1:19:35 | |
Yeah. Well, I think I'm ready for a break from the stage. | 1:19:38 | 1:19:42 | |
I'll come and watch you, though. And whatever you're in... | 1:19:46 | 1:19:50 | |
You're the greatest actor I have ever seen, Richard. | 1:19:50 | 1:19:54 | |
Likewise, Elizabeth. | 1:19:56 | 1:19:57 | |
What a king you'll be. | 1:20:01 | 1:20:03 | |
I'm worried, you know, about my arms - | 1:20:11 | 1:20:14 | |
carrying on Cordelia at the end. | 1:20:14 | 1:20:16 | |
Ah, you'll be fine. | 1:20:16 | 1:20:18 | |
They're so weak. The nerve damage is... | 1:20:18 | 1:20:21 | |
Richard. You can do it. Look, try. Try now. | 1:20:21 | 1:20:26 | |
Lift you? | 1:20:26 | 1:20:27 | |
-Yeah, just take me over to the couch. -But Cordelia's... | 1:20:27 | 1:20:30 | |
What? Thinner? | 1:20:30 | 1:20:33 | |
No, no. She's younger. I mean, she's waif-like. | 1:20:33 | 1:20:36 | |
Thinner. | 1:20:36 | 1:20:38 | |
HE LAUGHS | 1:20:38 | 1:20:39 | |
I... | 1:20:40 | 1:20:42 | |
Come on, you can do it, come on. | 1:20:42 | 1:20:46 | |
Yay! You see, you see! You can do it, Richard. | 1:20:46 | 1:20:49 | |
-Yeah, it's OK. -You see, I know you. Better than you know yourself. | 1:20:49 | 1:20:53 | |
-Yeah. -HE LAUGHS | 1:20:53 | 1:20:55 | |
-You want to say the lines? -No, not at the same time, no! | 1:20:55 | 1:20:58 | |
SHE CACKLES | 1:20:58 | 1:21:00 | |
THEY LAUGH | 1:21:00 | 1:21:02 | |
I'll never do it! | 1:21:09 | 1:21:11 | |
You'll be fine! | 1:21:11 | 1:21:12 | |
# I get no kick from champagne | 1:21:50 | 1:21:54 | |
# Mere alcohol, it doesn't move me at all | 1:21:56 | 1:22:00 | |
# So tell me why should it be true | 1:22:00 | 1:22:06 | |
# That I get a kick out of you? # | 1:22:06 | 1:22:10 | |
Subtitles by Red Bee Media Ltd | 1:22:12 | 1:22:15 |