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MUFFLED PA ANNOUNCEMENT | 0:00:02 | 0:00:05 | |
Dylan! | 0:00:18 | 0:00:19 | |
Ah...my ministering angels. | 0:00:19 | 0:00:23 | |
Right on time. | 0:00:23 | 0:00:25 | |
Terrible flight. Terrible. There was this priest, you see, | 0:00:31 | 0:00:34 | |
got on the plane at Shannon, | 0:00:34 | 0:00:37 | |
fighting drunk, roaring drunk, he was. | 0:00:37 | 0:00:39 | |
They overpowered him, and then they closed the bar! | 0:00:39 | 0:00:43 | |
"Why? Why?" I pleaded with them, "My nerves are shattered," I said. | 0:00:43 | 0:00:47 | |
"We're so sorry, sir, but your safety is our priority." | 0:00:47 | 0:00:50 | |
They put him off at Gander. | 0:00:50 | 0:00:52 | |
Still no bloody drink. | 0:00:52 | 0:00:54 | |
So, tell me the plan. What's the plan? | 0:00:56 | 0:00:58 | |
Well, I've arranged a great itinerary for you. | 0:00:58 | 0:01:00 | |
A lot of readings, big audiences, | 0:01:00 | 0:01:02 | |
the first performance of Under Milk Wood. | 0:01:02 | 0:01:05 | |
You know it's not finished. | 0:01:05 | 0:01:06 | |
Liz will help you with that. | 0:01:06 | 0:01:08 | |
God, though, I love this ride. I love this fabulous, filthy city. | 0:01:08 | 0:01:13 | |
Thank you, John. Thank you, Liz, for making all of this possible. | 0:01:18 | 0:01:23 | |
You're welcome, Dylan. | 0:01:23 | 0:01:24 | |
I shouldn't have come, though. It's all wrong. | 0:01:26 | 0:01:29 | |
Heaven. | 0:01:35 | 0:01:36 | |
Forgive me, Dylan, but are you OK? | 0:01:43 | 0:01:45 | |
You don't look...well. | 0:01:45 | 0:01:48 | |
Well, I've never been awfully well, John, you know that, | 0:01:48 | 0:01:50 | |
but at the moment, apart from a spot of gout and the gastritis, | 0:01:50 | 0:01:54 | |
of course, and the asthma, and piles, warts, | 0:01:54 | 0:01:57 | |
boils and carbuncles, bit of cirrhosis, touch of TB, | 0:01:57 | 0:02:00 | |
brittle bones and an overwhelming sense of panic and terror, | 0:02:00 | 0:02:03 | |
I'm absolutely tip-top. | 0:02:03 | 0:02:05 | |
Anyway, I never planned to live to 40. | 0:02:05 | 0:02:08 | |
Do you think I could possibly | 0:02:08 | 0:02:10 | |
have another of these delicious golden drinks? | 0:02:10 | 0:02:12 | |
-Sure, Dylan, no problem. -Wonderful. | 0:02:12 | 0:02:14 | |
Hello, you. | 0:02:17 | 0:02:18 | |
Everyone's so excited. You're going to have a great time. | 0:02:22 | 0:02:25 | |
And I'll be looking after you in absolutely...every way. | 0:02:26 | 0:02:30 | |
You're going to make lots of dollars. | 0:02:32 | 0:02:34 | |
Pay off all those tax bills. | 0:02:34 | 0:02:35 | |
Under Milk Wood is going to be sensational | 0:02:35 | 0:02:37 | |
and then you're off to California, to meet Stravinsky. | 0:02:37 | 0:02:40 | |
He actually asked for you! | 0:02:40 | 0:02:41 | |
Well, why wouldn't he? | 0:02:42 | 0:02:43 | |
The greatest living composer and the greatest living poet. | 0:02:43 | 0:02:46 | |
-What an opera that's going to be. -Terrifying. | 0:02:46 | 0:02:49 | |
I got you a chaser. | 0:02:49 | 0:02:50 | |
Oh, that's so thoughtful of you, John. | 0:02:50 | 0:02:53 | |
-I was just saying to Dylan... -Hmm? | 0:02:53 | 0:02:55 | |
-..this trip is going to be a triumph! -Absolutely. | 0:02:56 | 0:03:00 | |
Well, I'll drink to that. | 0:03:00 | 0:03:02 | |
RETCHING | 0:03:07 | 0:03:08 | |
VOMITING | 0:03:08 | 0:03:11 | |
You'll have to tell them he can't go on, John. | 0:03:12 | 0:03:15 | |
No! | 0:03:15 | 0:03:17 | |
I've seen him like this before. | 0:03:17 | 0:03:19 | |
John, no! | 0:03:23 | 0:03:25 | |
APPLAUSE | 0:03:25 | 0:03:27 | |
Ladies and gentlemen, my name is John Malcolm Brinnin. | 0:03:27 | 0:03:32 | |
And tonight it is my privilege | 0:03:32 | 0:03:36 | |
to introduce the greatest living poet in the English-speaking world, | 0:03:36 | 0:03:41 | |
and perhaps the finest reader of poetry the world has ever seen, | 0:03:41 | 0:03:45 | |
and I am proud to say, my friend... | 0:03:45 | 0:03:48 | |
-You don't have to do it. -..Dylan Thomas! | 0:03:48 | 0:03:50 | |
-I'll go out and tell them you can't. -There's money in these things. | 0:03:50 | 0:03:53 | |
APPLAUSE | 0:03:53 | 0:03:55 | |
I wasn't always like this, you know. | 0:04:10 | 0:04:12 | |
I used to be such a lovely little boy. | 0:04:13 | 0:04:16 | |
LAUGHTER | 0:04:16 | 0:04:18 | |
HE COUGHS | 0:04:18 | 0:04:20 | |
This is a poem about then. | 0:04:36 | 0:04:37 | |
When I was that little boy. | 0:04:40 | 0:04:41 | |
And about the farm where I used to spend my summer holidays. | 0:04:43 | 0:04:47 | |
Now, as I was young and easy under the apple boughs | 0:04:51 | 0:04:55 | |
About the lilting house and happy as the grass was green | 0:04:55 | 0:04:59 | |
The night above the dingle starry | 0:04:59 | 0:05:02 | |
Time let me hail and climb | 0:05:02 | 0:05:05 | |
Golden in the heydays of his eyes | 0:05:05 | 0:05:09 | |
And honoured among wagons I was prince of the apple towns | 0:05:09 | 0:05:14 | |
And once below a time I lordly had the trees and leaves | 0:05:14 | 0:05:19 | |
Trail with daisies and barley | 0:05:19 | 0:05:22 | |
Down the rivers of the windfall light | 0:05:22 | 0:05:26 | |
All the sun long it was running it was lovely | 0:05:26 | 0:05:30 | |
The hay fields high as the house The tunes from the chimneys | 0:05:30 | 0:05:34 | |
It was air And playing lovely and watery | 0:05:34 | 0:05:38 | |
And fire green as grass | 0:05:38 | 0:05:41 | |
And nightly under the simple stars | 0:05:42 | 0:05:45 | |
As I rode to sleep The owls were bearing the farm away | 0:05:45 | 0:05:50 | |
Oh, as I was young and easy in the mercy of his means | 0:05:52 | 0:05:56 | |
Time held me green and dying | 0:05:56 | 0:06:01 | |
Though I sang in my chains Like the sea. | 0:06:01 | 0:06:06 | |
APPLAUSE | 0:06:10 | 0:06:14 | |
CHEERING | 0:06:14 | 0:06:16 | |
That was fantastic, I'm such a huge fan! | 0:06:24 | 0:06:26 | |
Jerry Hart, remember me? | 0:06:26 | 0:06:27 | |
Great performance this evening. Terrific. They loved you! | 0:06:27 | 0:06:30 | |
-Oh, were you there? -No, but Sylvie was there, | 0:06:30 | 0:06:32 | |
Sylvie told me all about it. Sylvie! | 0:06:32 | 0:06:34 | |
-Hi Dylan, remember me? -Come and meet Dylan! | 0:06:34 | 0:06:35 | |
-Dr Milton Feltenstein, call me Milt. -Oh, yes, didn't you fix my arm | 0:06:35 | 0:06:38 | |
-that time? -Just wanted to say, anything you need, | 0:06:38 | 0:06:40 | |
any pharmaceutical support, | 0:06:40 | 0:06:42 | |
I'm here for you any time. Liz has my number. Enjoy New York, Dylan. | 0:06:42 | 0:06:45 | |
Mr Thomas, it is a thrill and an honour to meet you. | 0:06:45 | 0:06:48 | |
Come with me and let's get a drink. You can tell me what you'd like. | 0:06:48 | 0:06:51 | |
Oh, if I were to tell you what I'd really like... | 0:06:51 | 0:06:53 | |
Hey, Dylan, can I get one more? | 0:06:55 | 0:06:56 | |
Thanks, Dylan. | 0:06:58 | 0:07:00 | |
Well, we're all Dylan fans here, aren't we? | 0:07:00 | 0:07:03 | |
I guess I prefer to think of myself as Dylan's friend and fellow poet. | 0:07:03 | 0:07:08 | |
Is that right, John? And is that how he sees you? | 0:07:08 | 0:07:12 | |
How do you think of John, Dylan? Friend and fellow poet? | 0:07:12 | 0:07:16 | |
John Malcolm Brinnin is my keeper, and I am his performing bear! | 0:07:16 | 0:07:22 | |
Can't you see the chain he's got round my neck? | 0:07:22 | 0:07:25 | |
He just has to give it a little jerk | 0:07:25 | 0:07:26 | |
-and I do my little dance! -DRINK SPILLS | 0:07:26 | 0:07:29 | |
Oh! | 0:07:29 | 0:07:30 | |
Oh, bugger, I'm most frightfully sorry. | 0:07:30 | 0:07:33 | |
-Allow me to mop you down. -No, no, please. | 0:07:33 | 0:07:35 | |
I absolutely insist. | 0:07:35 | 0:07:37 | |
-OK, then. -The least I could do. | 0:07:39 | 0:07:42 | |
Well, I'm honoured. | 0:07:42 | 0:07:44 | |
No, no, the honour's all mine. We should continue this elsewhere. | 0:07:44 | 0:07:47 | |
Mr Thomas, my husband's just over there. | 0:07:47 | 0:07:51 | |
How inconvenient. And you must call me Dylan. | 0:07:51 | 0:07:53 | |
Why does he feel the need to humiliate me in public | 0:07:53 | 0:07:56 | |
when I've done so much for him and would do anything, he knows that. | 0:07:56 | 0:08:00 | |
He was desperate to come here again, desperate. | 0:08:00 | 0:08:03 | |
All I ask is a little bit of appreciation for what I'm doing. | 0:08:03 | 0:08:06 | |
He does appreciate you, John. He loves you. | 0:08:06 | 0:08:09 | |
I really think he does. | 0:08:09 | 0:08:11 | |
What no-one understands is I'm only a poet | 0:08:11 | 0:08:13 | |
when I'm writing the bloody stuff, and I haven't written | 0:08:13 | 0:08:15 | |
a bloody word worth reading for God knows how long. | 0:08:15 | 0:08:17 | |
Oh, come on, Dylan, please. | 0:08:17 | 0:08:19 | |
If you insist, one of my shorter works... | 0:08:19 | 0:08:22 | |
There was a young man from Australia | 0:08:22 | 0:08:24 | |
Who painted his arse Like a dahlia... | 0:08:24 | 0:08:28 | |
I suppose one should say "ass" on this side of the ocean. No matter. | 0:08:28 | 0:08:31 | |
At a penny a smell It went very well | 0:08:31 | 0:08:33 | |
But tuppence a lick was a failure. | 0:08:33 | 0:08:36 | |
Who is that, Jerry? | 0:08:38 | 0:08:40 | |
Er, Nadia something. She's a dancer. She's with the Kirov. | 0:08:40 | 0:08:44 | |
They're at the Met. But Dylan, I wouldn't go there. | 0:08:44 | 0:08:48 | |
Hello. I've fallen in love with you, | 0:08:48 | 0:08:50 | |
we must spend the night together, I absolutely insist. | 0:08:50 | 0:08:53 | |
SHE SPEAKS RUSSIAN | 0:08:55 | 0:08:57 | |
OK, Dylan, let's meet a couple of dear friends of mine. Come on. | 0:08:57 | 0:09:00 | |
HE WHISPERS IN RUSSIAN | 0:09:00 | 0:09:01 | |
Dylan, you have to realise, | 0:09:04 | 0:09:05 | |
not every woman in New York is dying to meet you. | 0:09:05 | 0:09:08 | |
She didn't even know who you were. | 0:09:08 | 0:09:10 | |
Oh, God, I'm sorry. You're quite right. | 0:09:10 | 0:09:12 | |
The poor creature looked absolutely terrified. I am so ashamed. | 0:09:12 | 0:09:15 | |
What a ludicrous buffoon I've become. What am I going to do? | 0:09:15 | 0:09:19 | |
Stop throwing yourself at anything in a skirt, that'd be a start. | 0:09:19 | 0:09:22 | |
No serious harm done, I guess. | 0:09:22 | 0:09:24 | |
But you must be exhausted, Dylan, we need to get you to bed. | 0:09:24 | 0:09:27 | |
-Long day tomorrow. -No! We're going to the White Horse! | 0:09:27 | 0:09:29 | |
First night in New York, White Horse! Has to be done! | 0:09:29 | 0:09:33 | |
Count me out. | 0:09:33 | 0:09:35 | |
You are a quitter. | 0:09:35 | 0:09:37 | |
-I am very disappointed, John. -You're disappointed? | 0:09:37 | 0:09:41 | |
What are you trying to do, Dylan? Kill yourself? | 0:09:41 | 0:09:44 | |
-So how much is that? -Two bucks 50. | 0:09:55 | 0:09:57 | |
-Ho ho! Ernie. -Hey, Dylan! | 0:09:59 | 0:10:03 | |
You remember Liz. | 0:10:04 | 0:10:05 | |
Lots of that. | 0:10:06 | 0:10:08 | |
You see, this is what I mean, Liz, this is a real pub. | 0:10:08 | 0:10:11 | |
A proper pub, like a Swansea pub, and these are real people, | 0:10:11 | 0:10:15 | |
real working men, not bloody culture vultures. | 0:10:15 | 0:10:18 | |
They don't give a toss about poetry or fame. You don't, do you? | 0:10:18 | 0:10:22 | |
And nor do I! | 0:10:22 | 0:10:24 | |
So you're a famous poet, is that it? | 0:10:24 | 0:10:26 | |
I am the squeezed-out, shrivelled husk of a famous poet, | 0:10:26 | 0:10:30 | |
and that's the truth. | 0:10:30 | 0:10:32 | |
Pretending I can still cut the mustard. | 0:10:32 | 0:10:34 | |
-What do you say to that? -Come on, Dylan. | 0:10:34 | 0:10:36 | |
It's all a sham, you see. | 0:10:36 | 0:10:38 | |
There's nothing but the life you live and the death you die. | 0:10:38 | 0:10:40 | |
Nothing else to say, you see. That's all there is. | 0:10:40 | 0:10:43 | |
Well, I'll drink to that. | 0:10:43 | 0:10:44 | |
Come on, Dylan, let's get you back to the hotel. | 0:10:44 | 0:10:46 | |
No, wait, I want to show them something! | 0:10:46 | 0:10:49 | |
Look at this. | 0:10:49 | 0:10:51 | |
You'll never believe it. | 0:10:51 | 0:10:53 | |
"Boy, 12, wins mile race." | 0:10:55 | 0:10:57 | |
So that was you, then? | 0:10:58 | 0:10:59 | |
Proudest achievement of my life so far. | 0:10:59 | 0:11:02 | |
I was a good runner. Light on my feet. | 0:11:02 | 0:11:05 | |
No-one believes me, but there's the proof. | 0:11:05 | 0:11:07 | |
Well, you put on a bit of weight since then, my friend. | 0:11:07 | 0:11:11 | |
I have abused the temple of my body in every way known to man, | 0:11:11 | 0:11:15 | |
but I'm still bloody well here. | 0:11:15 | 0:11:17 | |
HE COUGHS | 0:11:18 | 0:11:21 | |
What am I doing here? | 0:11:21 | 0:11:22 | |
Why do you bring me here and make me stay up so late | 0:11:25 | 0:11:28 | |
when you know I have work to do? | 0:11:28 | 0:11:30 | |
Come on, then, bed for you. | 0:11:31 | 0:11:34 | |
COUGHING | 0:11:35 | 0:11:38 | |
Oh... | 0:11:57 | 0:11:58 | |
Oh, God. | 0:12:00 | 0:12:01 | |
What a pathetic excuse for a human being, | 0:12:07 | 0:12:09 | |
what a slobbering slug, | 0:12:09 | 0:12:11 | |
what a seedy old ham, what a posing pretence of a poet... | 0:12:11 | 0:12:14 | |
Hey! | 0:12:14 | 0:12:16 | |
Stop that right now. | 0:12:16 | 0:12:19 | |
You're a great poet. | 0:12:19 | 0:12:21 | |
And you did a great show this evening. | 0:12:21 | 0:12:23 | |
You've just had your first night binge. | 0:12:23 | 0:12:26 | |
Don't leave me! | 0:12:26 | 0:12:28 | |
Promise you'll stay. | 0:12:28 | 0:12:30 | |
You're all I've got now, Liz. | 0:12:31 | 0:12:33 | |
I think it's all up with me, Liz. | 0:12:42 | 0:12:45 | |
I can't write any more, I'm just faking it. | 0:12:45 | 0:12:48 | |
I can't drink any more like I used to. I can't fuck. | 0:12:48 | 0:12:51 | |
Yes, you can. | 0:12:51 | 0:12:54 | |
And Caitlin, she told me if I left her in Laugharne | 0:12:54 | 0:12:57 | |
and came here, we'd be finished, but I had to leave, | 0:12:57 | 0:12:59 | |
we were killing each other. I had to come. Why couldn't she see that? | 0:12:59 | 0:13:03 | |
She'll take you back. She always does. | 0:13:03 | 0:13:06 | |
You're the love of her life... | 0:13:07 | 0:13:09 | |
..and she's the love of yours. | 0:13:10 | 0:13:12 | |
Worse luck for me. | 0:13:14 | 0:13:16 | |
I give you a hard time, don't I? | 0:13:16 | 0:13:19 | |
My choice. | 0:13:19 | 0:13:21 | |
In the morning, we'll get Milt Feltenstein to come over. | 0:13:21 | 0:13:23 | |
Ah, Dr Feltenstein with his winking needle. | 0:13:23 | 0:13:27 | |
I love her so much, you know... | 0:13:27 | 0:13:29 | |
Yeah, I know. | 0:13:29 | 0:13:30 | |
I love you, too. You know that, don't you? | 0:13:31 | 0:13:36 | |
Come on, let's get you undressed. | 0:13:36 | 0:13:38 | |
Am I your lovely little chap, Liz? | 0:13:40 | 0:13:42 | |
Sure you are. | 0:13:43 | 0:13:45 | |
CAR HORNS BLARE | 0:13:52 | 0:13:54 | |
What are you looking for? | 0:13:59 | 0:14:00 | |
I can't wait to get to work on it. | 0:14:02 | 0:14:05 | |
How are you feeling? | 0:14:06 | 0:14:08 | |
Terrible. I can't breathe. | 0:14:08 | 0:14:11 | |
HE COUGHS | 0:14:11 | 0:14:12 | |
Well, come out from under there, that'd be a start. | 0:14:12 | 0:14:15 | |
Get my puffer for me, would you, Liz? It's in there somewhere. | 0:14:17 | 0:14:21 | |
HE CONTINUES TO COUGH | 0:14:21 | 0:14:24 | |
PUMPS AIR | 0:14:30 | 0:14:31 | |
That's better. | 0:14:35 | 0:14:37 | |
Tip-top now. | 0:14:37 | 0:14:39 | |
Let's have a look, then. | 0:14:40 | 0:14:42 | |
Was I very terrible last night? | 0:14:49 | 0:14:52 | |
You were pretty vile, yeah. | 0:14:52 | 0:14:54 | |
But you stuck it out. | 0:14:55 | 0:14:57 | |
Did we... | 0:14:59 | 0:15:00 | |
Did we manage to do anything? | 0:15:00 | 0:15:03 | |
By some miracle, we did. | 0:15:03 | 0:15:06 | |
I thought I remembered something. Not just a dream, then. | 0:15:06 | 0:15:10 | |
Well, this is excellent news. | 0:15:12 | 0:15:14 | |
Now if I could just have a beer and a little bit of bread and milk, | 0:15:14 | 0:15:19 | |
with salt on it, I might be able to bring myself to bear | 0:15:19 | 0:15:22 | |
on this steaming pile of Welsh whimsy. | 0:15:22 | 0:15:26 | |
-I'll see what I can do. -Thank you, nurse. | 0:15:26 | 0:15:29 | |
HE COUGHS | 0:15:37 | 0:15:40 | |
SIRENS AND CAR HORNS | 0:15:43 | 0:15:47 | |
To begin at the beginning... | 0:16:12 | 0:16:15 | |
SEAGULLS CRY | 0:16:16 | 0:16:18 | |
SEAGULLS CRY | 0:16:21 | 0:16:23 | |
What do you think? | 0:16:25 | 0:16:27 | |
It's lovely. | 0:16:27 | 0:16:28 | |
Come on. | 0:16:30 | 0:16:31 | |
Where? Why? | 0:16:32 | 0:16:34 | |
Down here, and cos I say so. Race you! | 0:16:34 | 0:16:37 | |
Yes, all right, you win, you always win. | 0:16:44 | 0:16:46 | |
Oh, look at that. | 0:16:48 | 0:16:49 | |
Wouldn't you like to live there? | 0:16:52 | 0:16:55 | |
Yes, that would be very nice. | 0:16:55 | 0:16:57 | |
Why do we never have any money, Dylan? | 0:17:00 | 0:17:02 | |
People like us don't need money. What a vulgar thought. | 0:17:02 | 0:17:06 | |
-Shall we go inside? -What? Breaking and entering? | 0:17:09 | 0:17:12 | |
-Come on, no-one will know. -All right. | 0:17:12 | 0:17:15 | |
It's ours, Cat. | 0:17:18 | 0:17:19 | |
It can't be. | 0:17:19 | 0:17:21 | |
How? How is it ours? | 0:17:21 | 0:17:23 | |
Never mind that, it just is. | 0:17:23 | 0:17:25 | |
Shall we christen it? | 0:17:33 | 0:17:35 | |
GASPING AND MOANING | 0:17:35 | 0:17:38 | |
Lovely. | 0:17:43 | 0:17:45 | |
Come on, then. Tell me the truth. | 0:17:48 | 0:17:51 | |
What about? | 0:17:51 | 0:17:52 | |
This house. | 0:17:52 | 0:17:54 | |
If it is really ours, who paid for it? | 0:17:55 | 0:17:57 | |
It was that bloody Margaret Taylor, wasn't it? | 0:18:01 | 0:18:04 | |
-Possibly. -I knew it! | 0:18:04 | 0:18:06 | |
Come on, how did you wheedle her into it? | 0:18:08 | 0:18:10 | |
I didn't have to wheedle. She offered. | 0:18:10 | 0:18:12 | |
She was eager to help us, Cat. No strings, no nothing. | 0:18:12 | 0:18:15 | |
-I don't believe it! You were up her, weren't you... -No, I wasn't! | 0:18:15 | 0:18:18 | |
-..you dirty fucker! -Not once! Not ever! | 0:18:18 | 0:18:21 | |
Her generosity was her tribute to my genius. | 0:18:21 | 0:18:23 | |
You bloody old liar! | 0:18:23 | 0:18:26 | |
I swear it. | 0:18:26 | 0:18:27 | |
Swear on our unborn baby's head. | 0:18:34 | 0:18:38 | |
I swear on our unborn baby's head I was never up Margaret Taylor. | 0:18:41 | 0:18:46 | |
All right. | 0:18:51 | 0:18:53 | |
I believe you. | 0:18:54 | 0:18:56 | |
You crafty little bugger. | 0:19:01 | 0:19:02 | |
I can't believe you're still doing bread and milk for him. | 0:19:05 | 0:19:08 | |
Well. | 0:19:08 | 0:19:11 | |
I know how he likes it. | 0:19:11 | 0:19:12 | |
And you know I don't believe she does, | 0:19:14 | 0:19:16 | |
even after all this time together. | 0:19:16 | 0:19:19 | |
And he knows I like to do it for him. | 0:19:19 | 0:19:22 | |
I'd do it for you if you asked me. | 0:19:24 | 0:19:27 | |
I don't want baby food. | 0:19:27 | 0:19:29 | |
Well, all right, then. Read your paper. | 0:19:29 | 0:19:32 | |
I was wondering if you could lend me five bob, Dad. | 0:19:37 | 0:19:39 | |
Ah, this is it now! | 0:19:39 | 0:19:41 | |
I was wondering what the purpose of this visit was. | 0:19:41 | 0:19:43 | |
It's just, I was expecting a cheque this morning and it hasn't arrived. | 0:19:43 | 0:19:46 | |
You expect me to subsidise your drinking | 0:19:48 | 0:19:50 | |
out of my hard-earned pension, do you? | 0:19:50 | 0:19:51 | |
You could come with me, we could do the crossword. | 0:19:51 | 0:19:54 | |
I wouldn't be seen dead in that place. | 0:19:54 | 0:19:55 | |
If I want a drink, I go to the Feathers. | 0:19:55 | 0:19:57 | |
But if I might give you one word of advice? | 0:19:57 | 0:20:00 | |
You've got a rare talent. A rare talent. | 0:20:00 | 0:20:04 | |
I don't like to see you frittering it away in Brown's hotel. | 0:20:06 | 0:20:09 | |
And I won't lend, or more likely give you, the money to do it. | 0:20:09 | 0:20:13 | |
-HE MOUTHS: -Thank you. | 0:20:22 | 0:20:23 | |
Bloody bill, bloody bill, bloody bill. | 0:21:10 | 0:21:14 | |
Hello. | 0:21:14 | 0:21:15 | |
HE COUGHS | 0:21:20 | 0:21:22 | |
Oh, bugger me. | 0:21:27 | 0:21:29 | |
What? | 0:21:29 | 0:21:31 | |
Some fellow called John Malcolm Brinnin is inviting me | 0:21:31 | 0:21:33 | |
to New York to do some readings. | 0:21:33 | 0:21:36 | |
All expenses paid. | 0:21:36 | 0:21:38 | |
-Will you go? -Well, I don't know. | 0:21:40 | 0:21:43 | |
What do you think? | 0:21:43 | 0:21:45 | |
'She let me come on my own,' | 0:21:47 | 0:21:49 | |
that first time, but she didn't like being left behind. | 0:21:49 | 0:21:51 | |
Well, who could blame her? | 0:21:51 | 0:21:53 | |
But then when she came with me, she didn't like it one bit. | 0:21:53 | 0:21:56 | |
Sulked the whole time. Sulked and shopped. | 0:21:56 | 0:21:59 | |
And so rude to everyone. | 0:21:59 | 0:22:01 | |
She's magnificent in her rage, you know, Liz. | 0:22:01 | 0:22:04 | |
You'd see what I mean if you met her. | 0:22:04 | 0:22:07 | |
I'm sure I would. | 0:22:07 | 0:22:09 | |
Ah, here it is. | 0:22:09 | 0:22:10 | |
-Wait a sec, have you got a biro? -Of course. | 0:22:12 | 0:22:14 | |
New bit for Mr Pugh. | 0:22:18 | 0:22:19 | |
Alone in the hissing laboratory of his wishes | 0:22:23 | 0:22:27 | |
Mr Pugh minces among bad vats and jeroboams | 0:22:27 | 0:22:30 | |
Tiptoes through spinneys of murdering herbs | 0:22:30 | 0:22:33 | |
And mixes for Mrs Pugh a venomous porridge unknown to toxicologists | 0:22:33 | 0:22:39 | |
Which will scald and wriggle through her... | 0:22:39 | 0:22:45 | |
No, not wriggle. | 0:22:45 | 0:22:47 | |
Viper through her until her ears fall off like figs, | 0:22:47 | 0:22:54 | |
and her toes grow big and black as balloons. | 0:22:54 | 0:22:57 | |
And... | 0:22:59 | 0:23:01 | |
And... | 0:23:01 | 0:23:02 | |
Steam comes screaming out of her navel. | 0:23:03 | 0:23:07 | |
Genius! | 0:23:10 | 0:23:11 | |
-Two more, please! -Oh... -SHE MOUTHS: -No. | 0:23:11 | 0:23:15 | |
-HE COUGHS -It's all right, I'll drink them both. | 0:23:15 | 0:23:17 | |
In you go, then. | 0:23:28 | 0:23:29 | |
Aeronwy, out! | 0:23:33 | 0:23:34 | |
Flash, and the plumes crack... | 0:24:04 | 0:24:06 | |
And a black cap of jackdaws. | 0:24:07 | 0:24:09 | |
Sir John's hill dons. | 0:24:10 | 0:24:11 | |
And a black cap of jackdaws | 0:24:12 | 0:24:14 | |
Sir John's hill dons. | 0:24:14 | 0:24:15 | |
Sir John's... | 0:24:17 | 0:24:20 | |
just...hill. | 0:24:20 | 0:24:23 | |
Just hill. | 0:24:26 | 0:24:28 | |
AERONWY: Daddy! | 0:24:31 | 0:24:32 | |
Tell us again how you met Mam. | 0:24:38 | 0:24:41 | |
Well, I walked in the pub and there she was. The end. | 0:24:41 | 0:24:44 | |
No, tell it properly! | 0:24:44 | 0:24:47 | |
Well, this pub was like every other pub in London | 0:24:47 | 0:24:50 | |
and yet utterly unique. And it was called the Wheatsheaf. | 0:24:50 | 0:24:53 | |
And in you walked. | 0:24:53 | 0:24:55 | |
And in I walked and I stopped dead, thunderstruck, | 0:24:55 | 0:24:57 | |
because there, her golden curls caught in a shaft of sunlight, | 0:24:57 | 0:25:01 | |
was the loveliest girl I'd ever seen. | 0:25:01 | 0:25:03 | |
A girl as beautiful as an angel, and I fell in love, there and then, | 0:25:03 | 0:25:07 | |
on the spot, not a moment's doubt. I made up my mind | 0:25:07 | 0:25:11 | |
that this beautiful wild creature would be mine. | 0:25:11 | 0:25:14 | |
So you went over... | 0:25:14 | 0:25:16 | |
I went over and I laid my head in her lap and I said "My name's Dylan, | 0:25:16 | 0:25:19 | |
"I'm a poet and I've fallen in love with you." | 0:25:19 | 0:25:22 | |
And was she in love at first sight, too? | 0:25:22 | 0:25:25 | |
She says no, but she was, really. | 0:25:26 | 0:25:28 | |
-Cos you're bloody irresistible. -Well, I was then. | 0:25:28 | 0:25:33 | |
Throw away your bedsocks and your Welsh wool knitted jacket | 0:25:36 | 0:25:40 | |
I will warm your sheets like an electric toaster | 0:25:40 | 0:25:43 | |
I will lie by your side like the Sunday roast. | 0:25:43 | 0:25:47 | |
I will knit you a wallet of forget-me-not blue | 0:25:47 | 0:25:49 | |
For the money to be comfy | 0:25:49 | 0:25:52 | |
I will warm your heart by the fire | 0:25:52 | 0:25:54 | |
So that you can slip it in under your vest when the shop is closed. | 0:25:54 | 0:25:58 | |
My-fan-way, My-fan-way | 0:25:58 | 0:26:01 | |
Before the mice gnaw at your bottom drawer, will you say... | 0:26:01 | 0:26:05 | |
Yes, Mog, yes, Mog yes, yes, yes... | 0:26:05 | 0:26:09 | |
And all the bells of the tills of the town shall ring for our wedding. | 0:26:09 | 0:26:13 | |
Mr Thomas? | 0:26:21 | 0:26:22 | |
Mr Thomas? | 0:26:27 | 0:26:29 | |
Dylan, please. | 0:26:30 | 0:26:31 | |
I was wondering... | 0:26:33 | 0:26:35 | |
My-fan-way? | 0:26:36 | 0:26:38 | |
Myfanwy. | 0:26:38 | 0:26:40 | |
The "f" is sounded like a "v", as in "fachgen fach", | 0:26:40 | 0:26:45 | |
but think nothing of it. | 0:26:45 | 0:26:47 | |
Your interpretation of the role is superb. Let's take a short break. | 0:26:47 | 0:26:52 | |
You are all excellent, by the way. Excellent. | 0:26:52 | 0:26:55 | |
I, uh... | 0:26:56 | 0:26:58 | |
THUD | 0:26:58 | 0:27:01 | |
-HE GASPS -I... I... | 0:27:03 | 0:27:06 | |
GIRL: Poor little Cough. Isn't he extraordinary? | 0:27:06 | 0:27:09 | |
-He can't swim! -He can't run! | 0:27:09 | 0:27:11 | |
-He can't bowl! -He can't bat! | 0:27:11 | 0:27:12 | |
And I bet he can't even make water! | 0:27:12 | 0:27:15 | |
Yes, I can! | 0:27:15 | 0:27:17 | |
Come on then, show us! | 0:27:17 | 0:27:19 | |
No. I don't have to do it if I don't want to! | 0:27:19 | 0:27:22 | |
-There's posh, he is. -Like Greta Garbo. | 0:27:22 | 0:27:26 | |
-And I can run. -Come on, then. Show us. -Yeah, come on, show us. | 0:27:26 | 0:27:31 | |
I don't have to if I don't want to. | 0:27:31 | 0:27:33 | |
Extraordinary, extraordinary. | 0:27:33 | 0:27:35 | |
BOTH: Extraordinary little Cough. | 0:27:35 | 0:27:38 | |
What's happening to me? | 0:27:44 | 0:27:46 | |
You had a blackout, Dylan. | 0:27:46 | 0:27:48 | |
I'm not well. | 0:27:51 | 0:27:53 | |
It's OK. | 0:27:53 | 0:27:54 | |
All done. DYLAN COUGHS | 0:28:00 | 0:28:02 | |
You should start to feel the effects almost immediately. | 0:28:02 | 0:28:05 | |
You are indeed a wondrous necessary man, Doctor Feltenstein. | 0:28:05 | 0:28:08 | |
How long have you been having these blackouts? | 0:28:09 | 0:28:12 | |
A little while. | 0:28:12 | 0:28:14 | |
And how long are you out for, generally? | 0:28:14 | 0:28:16 | |
I don't know. A minute, maybe? | 0:28:16 | 0:28:18 | |
Is that very bad? I can't let people down, Milt. | 0:28:20 | 0:28:22 | |
These should help. No more than six a day. | 0:28:22 | 0:28:25 | |
Now listen. You need to get plenty of sleep, eat sensibly, | 0:28:27 | 0:28:31 | |
and cut out the booze. | 0:28:31 | 0:28:34 | |
-Not completely. -Completely. While you're on the medication. | 0:28:34 | 0:28:37 | |
Maybe the occasional beer. But no more. | 0:28:37 | 0:28:40 | |
Not sure I can manage that, Milt. | 0:28:40 | 0:28:42 | |
Well, try. This stuff can kill you, you know. | 0:28:42 | 0:28:46 | |
Yet we're all dying, aren't we? | 0:28:46 | 0:28:48 | |
Don't go out on the street any more than you have to. | 0:28:51 | 0:28:54 | |
The air pollution is lethal right now | 0:28:54 | 0:28:56 | |
for anyone with a history of breathing problems. | 0:28:56 | 0:28:59 | |
I was always a chesty boy. | 0:28:59 | 0:29:00 | |
-Take care. Call me any time. -Thanks. | 0:29:07 | 0:29:10 | |
DOOR CLOSES | 0:29:16 | 0:29:18 | |
-Is he a real doctor? -He was my family doctor. | 0:29:18 | 0:29:22 | |
-I wish we had doctors like that back home. -How DO you feel, really? | 0:29:22 | 0:29:26 | |
Well, come here and I'll show you. | 0:29:26 | 0:29:28 | |
Dylan. | 0:29:29 | 0:29:30 | |
Well, he said not to go out on the street. | 0:29:30 | 0:29:33 | |
Come on, just to be cosy, just to be comfy. | 0:29:33 | 0:29:37 | |
Don't be mean. | 0:29:37 | 0:29:39 | |
OK. | 0:29:39 | 0:29:41 | |
-You'll take care of me, won't you, Liz? -I'll try, Dylan. I'll try. | 0:29:51 | 0:29:56 | |
Mrs Dai Bread One and Mrs Dai Bread Two | 0:30:02 | 0:30:05 | |
Are sitting outside their house in Donkey Lane | 0:30:05 | 0:30:09 | |
One darkly, one plumply blooming in the quick, dewy sun. | 0:30:09 | 0:30:15 | |
Mrs Dai Bread Two is looking into a crystal ball | 0:30:15 | 0:30:18 | |
Which she holds in the lap of her dirty petticoat... | 0:30:18 | 0:30:21 | |
Feet up. | 0:30:21 | 0:30:22 | |
Hard against her hard dark thighs. | 0:30:22 | 0:30:25 | |
Dirty bugger. | 0:30:25 | 0:30:26 | |
"Cross my palm with silver | 0:30:26 | 0:30:29 | |
"Out of the housekeeping money | 0:30:29 | 0:30:33 | |
"Aah!" | 0:30:33 | 0:30:34 | |
-What do you think? It's good, isn't it? -Yeah, yeah. -Really? | 0:30:36 | 0:30:39 | |
Yeah, it's fine. | 0:30:39 | 0:30:41 | |
-Shall I go on, then? -No! -Yes! | 0:30:43 | 0:30:45 | |
No! I can't get anything done with you lot cluttering up the place. | 0:30:45 | 0:30:48 | |
I wish you'd just get the bloody thing finished and get paid for it. | 0:30:48 | 0:30:52 | |
Take him away, Aeronwy, take him for a walk, there's a good girl. | 0:30:52 | 0:30:55 | |
And not down the pub, either. | 0:30:55 | 0:30:57 | |
Come on. | 0:30:58 | 0:31:00 | |
-There you are. That's where they live. -Who? | 0:31:02 | 0:31:05 | |
-Dai Bread and his two wives. -He hasn't really got two wives. | 0:31:05 | 0:31:09 | |
Yes, he has. | 0:31:09 | 0:31:10 | |
In some countries it's quite common. | 0:31:10 | 0:31:12 | |
Men have two wives - three, even, if they can afford it. | 0:31:12 | 0:31:15 | |
If it's more than two, it's called a harem. | 0:31:15 | 0:31:18 | |
Would you like to have two wives, then? | 0:31:18 | 0:31:19 | |
No, no. One's enough for me. | 0:31:21 | 0:31:22 | |
I wouldn't mind if you had two wives. | 0:31:25 | 0:31:27 | |
Maybe the other one would like ME better than Colm. | 0:31:27 | 0:31:31 | |
Your mom doesn't love Colm more than you. | 0:31:31 | 0:31:33 | |
Yes, she does. You know she does. It's cos I take after you. | 0:31:33 | 0:31:37 | |
Not in every way, I hope. | 0:31:37 | 0:31:39 | |
Willy Nilly postman. Mrs Willy Nilly steaming open all the letters. | 0:31:40 | 0:31:45 | |
You spotted it, too. | 0:31:45 | 0:31:46 | |
Willy Nilly postman asleep up street | 0:31:48 | 0:31:51 | |
Walks 14 miles to deliver the post as he does every day of the night | 0:31:51 | 0:31:56 | |
And rat-a-tats hard and sharp on Mrs Willy Nilly. | 0:31:56 | 0:32:00 | |
Don't spank me, please, teacher! | 0:32:00 | 0:32:02 | |
Whimpers his wife at his side | 0:32:02 | 0:32:04 | |
But every night of her married life she has been late for school | 0:32:04 | 0:32:10 | |
Sinbad Sailors, over the taproom of the Sailors Arms | 0:32:10 | 0:32:14 | |
Hugs his damp pillow, whose secret name is Gossamer Beynon. | 0:32:14 | 0:32:19 | |
He's amazing. | 0:32:19 | 0:32:21 | |
If you'd seen him yesterday. I thought he was dying. | 0:32:21 | 0:32:24 | |
A mogul catches Lily Smalls in the wash-house. | 0:32:24 | 0:32:27 | |
Ooh, you old mogul! | 0:32:27 | 0:32:30 | |
What did Feltenstein give him? | 0:32:30 | 0:32:32 | |
A shot of cortisone. And he wrote a prescription, for uppers, I think. | 0:32:32 | 0:32:36 | |
-Was that appropriate? -He's the doctor. | 0:32:36 | 0:32:39 | |
..a waterfall in a wood and waits there, raw as an onion | 0:32:39 | 0:32:43 | |
For Mr Right to leap up the burning tall hollow splashes of leaves | 0:32:43 | 0:32:49 | |
Like a brilliantined trout! | 0:32:49 | 0:32:52 | |
Call me Dolores like they do in the stories. | 0:32:53 | 0:32:58 | |
Lovely. | 0:32:58 | 0:32:59 | |
Let's take a break. | 0:32:59 | 0:33:00 | |
-Fabulous, Dylan. Fabulous. -Ah, John. | 0:33:03 | 0:33:06 | |
Glad you could find a moment to grace us with your presence. | 0:33:06 | 0:33:08 | |
-Could we have a word, do you think? -Of course, Dylan. | 0:33:08 | 0:33:12 | |
The thing is, John, I'm not sure your heart is really in this. | 0:33:17 | 0:33:21 | |
I... I don't understand. | 0:33:21 | 0:33:24 | |
Of course it is. I care more about this than anything. | 0:33:24 | 0:33:26 | |
We haven't seen very much of you, though, have we? | 0:33:26 | 0:33:29 | |
I didn't want to intrude. Liz looks after you so well. | 0:33:29 | 0:33:31 | |
And John does have other writers to look after on the programme, | 0:33:31 | 0:33:34 | |
besides his academic work. | 0:33:34 | 0:33:36 | |
But I'm always here for you, Dylan, you know that. | 0:33:36 | 0:33:39 | |
-Was there any particular concern? -Money. As always. | 0:33:39 | 0:33:43 | |
Dylan! | 0:33:43 | 0:33:45 | |
Why didn't you say? How much do you need? | 0:33:45 | 0:33:48 | |
I'm not talking about my immediate needs. | 0:33:48 | 0:33:51 | |
Look, I might as well tell you, | 0:33:51 | 0:33:52 | |
I've been approached by one of the big lecture agencies, | 0:33:52 | 0:33:55 | |
and they're telling me I could be earning three times | 0:33:55 | 0:33:57 | |
-what I'm getting now. -Which one? -Gerstman. | 0:33:57 | 0:34:00 | |
He would take 50% and the schedule would kill you. | 0:34:00 | 0:34:03 | |
Well, you're killing me as it is, John. | 0:34:03 | 0:34:05 | |
I might as well get decent money for it. | 0:34:05 | 0:34:06 | |
-Believe me, Dylan... -And it pains me to say this, but I believe | 0:34:06 | 0:34:09 | |
you've been holding back some of the fees, is that correct? | 0:34:09 | 0:34:11 | |
Dylan, I've always kept back a proportion to send direct to Caitlin, | 0:34:11 | 0:34:14 | |
-you know that. -Did I ever explicitly instruct you to do that? | 0:34:14 | 0:34:17 | |
Dylan! I... I thought we were friends. | 0:34:17 | 0:34:20 | |
I invite you to stay in my home, you've even stayed with my mother. | 0:34:20 | 0:34:23 | |
My mother loves you, Dylan. | 0:34:23 | 0:34:25 | |
Everything I have done has been out of love for your work, | 0:34:25 | 0:34:30 | |
and love for you. | 0:34:30 | 0:34:31 | |
For God's sake. | 0:34:32 | 0:34:34 | |
You don't believe I'd try to make money out of you? | 0:34:34 | 0:34:37 | |
I don't know what to believe, John. | 0:34:37 | 0:34:39 | |
Jesus! | 0:34:39 | 0:34:41 | |
Then, I... | 0:34:43 | 0:34:45 | |
I don't know what to say to you. | 0:34:45 | 0:34:47 | |
Now what have you done? | 0:34:51 | 0:34:54 | |
Are you part of this conspiracy against me? | 0:34:54 | 0:34:56 | |
There's no conspiracy. John's trying to help you. | 0:34:57 | 0:35:02 | |
You haven't sent any money home, have you? | 0:35:04 | 0:35:06 | |
You wouldn't know how to do it, would you? | 0:35:06 | 0:35:09 | |
Christ sake, Dylan, can't you see John is your friend | 0:35:09 | 0:35:12 | |
and you've hurt him terribly? | 0:35:12 | 0:35:13 | |
Oh, God. I'm so sorry. | 0:35:17 | 0:35:19 | |
-I'll find him, I'll make it right with him. -I'll come with you. | 0:35:21 | 0:35:23 | |
No, I'm too ashamed. I'll... | 0:35:23 | 0:35:25 | |
I'll see you later. | 0:35:26 | 0:35:28 | |
I guess that's it for today, people. | 0:35:30 | 0:35:33 | |
God, what am I doing in this bloody place? | 0:35:46 | 0:35:48 | |
What a mess, what a mess... | 0:35:51 | 0:35:54 | |
what a mess, what a mess. | 0:35:54 | 0:35:55 | |
SOFT JAZZ PLAYS | 0:35:57 | 0:36:02 | |
Bourbon, please. | 0:36:04 | 0:36:06 | |
Too much of it. | 0:36:06 | 0:36:08 | |
"Oh, Caitlin, Cat, my beautiful, my love, what am I doing here? | 0:36:44 | 0:36:49 | |
"I don't want to be in this nightmare any more, | 0:36:50 | 0:36:52 | |
"where no-one understands me, | 0:36:52 | 0:36:54 | |
"but everyone wants to bite little bits off me and swallow them. | 0:36:54 | 0:36:58 | |
"I want to be home in Laugharne and live quietly with you and Colm | 0:36:58 | 0:37:03 | |
"and noisily with Aeronwy, | 0:37:03 | 0:37:06 | |
"and I want to sit in my hut and write and I want to eat your stews, | 0:37:06 | 0:37:10 | |
"and I want to touch your breasts and your cunt, | 0:37:10 | 0:37:13 | |
"and I want, every night, to lie in love and peace, | 0:37:13 | 0:37:18 | |
"close, close, close, close, close to you, | 0:37:18 | 0:37:23 | |
"closer than the marrow of your soul, | 0:37:23 | 0:37:26 | |
"Caitlin, my wild, wise, wonderful woman, | 0:37:26 | 0:37:31 | |
"my lovely girl." | 0:37:31 | 0:37:33 | |
That's it! | 0:37:48 | 0:37:49 | |
Yes... | 0:37:50 | 0:37:52 | |
Exactly. | 0:37:52 | 0:37:54 | |
-CAITLIN: -'Houdini, that's him. The great escaper!' | 0:37:54 | 0:37:57 | |
Do you know I have to lock him in that shed every afternoon | 0:37:57 | 0:38:00 | |
in the hope of getting a shred of work out of him? | 0:38:00 | 0:38:02 | |
Poetry's difficult, you know, Cat. | 0:38:02 | 0:38:04 | |
"Poetry's difficult." You're bloody impossible. | 0:38:04 | 0:38:07 | |
-I wish I'd never met him, I do! -She doesn't mean that. | 0:38:07 | 0:38:09 | |
And now you're talking about dragging him off to America again. | 0:38:09 | 0:38:12 | |
It's not that I want to go, Cat. | 0:38:12 | 0:38:14 | |
Yes, you bloody do! You're dying to get away from me! | 0:38:14 | 0:38:18 | |
Get away from the bills, and the writing, | 0:38:18 | 0:38:20 | |
and bloody old Cat and her nagging, | 0:38:20 | 0:38:21 | |
and hello, eight weeks of whisky binges | 0:38:21 | 0:38:24 | |
and showing off, and infidelity! | 0:38:24 | 0:38:26 | |
And I know what you're up to, too, John Malcolm Brinnin Mephistopheles! | 0:38:26 | 0:38:30 | |
Well, we wouldn't want to scupper | 0:38:30 | 0:38:32 | |
the chances of a collaboration with Stravinsky. | 0:38:32 | 0:38:34 | |
The greatest living composer and the greatest living poet. | 0:38:34 | 0:38:38 | |
Don't let TS Eliot catch you saying that. | 0:38:38 | 0:38:40 | |
HE CHUCKLES CAT MOCKS HIS LAUGH | 0:38:40 | 0:38:42 | |
Eliot's best work is long behind him. Auden's too. | 0:38:42 | 0:38:45 | |
Whereas you, you're just coming into the full flower of your maturity. | 0:38:45 | 0:38:50 | |
If he decides to come... | 0:38:53 | 0:38:56 | |
you should come, too. | 0:38:56 | 0:38:57 | |
You know you have dear friends in New York who are longing to see you. | 0:38:57 | 0:39:00 | |
-That's so, isn't it, Rollie? -Yeah. Sure. | 0:39:00 | 0:39:03 | |
God knows you deserve a holiday. | 0:39:03 | 0:39:05 | |
You're such a silver-tongued bastard, aren't you? | 0:39:05 | 0:39:08 | |
I mean every word, Caitlin. | 0:39:09 | 0:39:11 | |
And what am I supposed to do with the children? | 0:39:13 | 0:39:16 | |
Right! There you are! | 0:39:31 | 0:39:34 | |
You'd better carve, John, no use asking him to do anything like that. | 0:39:34 | 0:39:37 | |
I'll do my best, Caitlin. | 0:39:38 | 0:39:40 | |
I'm not sure I've ever carved wild duck before. | 0:39:40 | 0:39:43 | |
But, uh, I'm always open to new experiences. | 0:39:43 | 0:39:47 | |
They look a bit on the rare side, Caitlin. | 0:39:47 | 0:39:49 | |
They're supposed to be like that, you ignoramus. | 0:39:49 | 0:39:51 | |
Gwilym Price, who gave them me, | 0:39:51 | 0:39:52 | |
said the worst thing you could do with a wild duck is overcook it. | 0:39:52 | 0:39:55 | |
Well, you certainly haven't done that. | 0:39:55 | 0:39:57 | |
I cooked them exactly the way the bloody book said! | 0:39:57 | 0:39:59 | |
Why don't you learn to cook if you don't like the way I do it? | 0:39:59 | 0:40:02 | |
-Oops! -Christ, can you do nothing bloody right either? | 0:40:02 | 0:40:04 | |
For God's sweet sake, Caitlin, take that bloody mess off the table. | 0:40:04 | 0:40:08 | |
Right! | 0:40:12 | 0:40:14 | |
I'm so sorry. | 0:40:18 | 0:40:20 | |
You bloody smug little patronising Welsh bastard. | 0:40:20 | 0:40:24 | |
How dare you apologise for me! | 0:40:24 | 0:40:25 | |
I'll bloody kill you, I will! | 0:40:25 | 0:40:28 | |
No, please, Caitlin! You're a great cook. | 0:40:28 | 0:40:31 | |
I'm going to spill his great poetic brains | 0:40:31 | 0:40:34 | |
and then I'm going to go down the pub and fuck every man in it! | 0:40:34 | 0:40:38 | |
See how he likes that! | 0:40:38 | 0:40:40 | |
Caitlin, for Christ's sake, stop! | 0:40:40 | 0:40:42 | |
How dare you try to manhandle me! Hardly chivalrous behaviour! | 0:40:43 | 0:40:48 | |
Did no-one ever teach you how to treat a lady? | 0:40:48 | 0:40:50 | |
Well, that's it. America's out. | 0:40:52 | 0:40:54 | |
DOOR SLAMS | 0:41:02 | 0:41:03 | |
She's a bit cross with me. | 0:41:03 | 0:41:04 | |
-She's just wonderfully furious, isn't she? -Hmm. | 0:41:11 | 0:41:15 | |
-Well, that's one way of putting it. -Maybe if you told her, Rollie. | 0:41:15 | 0:41:18 | |
She likes you, she trusts you. | 0:41:18 | 0:41:21 | |
Every other woman she thinks is after my body. If only. | 0:41:21 | 0:41:25 | |
But this rage that possesses her, it's tearing me to bits, John. | 0:41:25 | 0:41:29 | |
-I've got to get away. -OK. | 0:41:31 | 0:41:33 | |
You can fix it? | 0:41:35 | 0:41:37 | |
No problem, if you can fix it with Caitlin. | 0:41:39 | 0:41:41 | |
People in New York are dying to see you and hear you. | 0:41:41 | 0:41:44 | |
And there's this Stravinsky thing. | 0:41:44 | 0:41:46 | |
-I think it's the right thing for you now, Dylan. -Just me, not her. | 0:41:48 | 0:41:52 | |
OK. Caitlin stays here. You think she'll be OK with that? | 0:41:56 | 0:42:00 | |
She'll never be all right with any of it, John, | 0:42:00 | 0:42:02 | |
and nor will I, not really. | 0:42:02 | 0:42:04 | |
But she understands how it has to be, and for me, | 0:42:04 | 0:42:08 | |
these last months here, trying to work, | 0:42:08 | 0:42:10 | |
getting nowhere with it, it's been torture. | 0:42:10 | 0:42:13 | |
-I just need... -I understand. You need a change of scene, | 0:42:13 | 0:42:17 | |
recharge the creative batteries with friends who love you, huh? | 0:42:17 | 0:42:20 | |
Ah, John. | 0:42:20 | 0:42:22 | |
My lovely co-conspirator. | 0:42:22 | 0:42:24 | |
So let's get it straight. You don't want to go to New York again, ever. | 0:42:25 | 0:42:32 | |
I'm advising against it, it'd be bad for your work. | 0:42:34 | 0:42:37 | |
Could be catastrophic for your health. | 0:42:37 | 0:42:39 | |
It will probably destroy your marriage. | 0:42:39 | 0:42:42 | |
But you're going all the same. | 0:42:42 | 0:42:44 | |
Like a bat out of hell, God forgive me. | 0:42:44 | 0:42:47 | |
Well, this is it. | 0:42:59 | 0:43:02 | |
Fern Hill. | 0:43:02 | 0:43:04 | |
It's strange. | 0:43:09 | 0:43:10 | |
After the poem, I thought it would be... | 0:43:10 | 0:43:14 | |
I don't know. | 0:43:14 | 0:43:15 | |
More, somehow. | 0:43:15 | 0:43:16 | |
Well, that's the transformative power of his poetic bloody genius, | 0:43:19 | 0:43:22 | |
isn't it? | 0:43:22 | 0:43:23 | |
-DYLAN CHUCKLES -Come on. | 0:43:29 | 0:43:31 | |
That's great, thanks, Dylan. | 0:43:33 | 0:43:36 | |
Maybe we can get one here... | 0:43:36 | 0:43:38 | |
He's got some woman in New York, hasn't he? | 0:43:40 | 0:43:42 | |
Come on. I know he has. Just tell me who it is. | 0:43:44 | 0:43:46 | |
You've got it all wrong, Caitlin. | 0:43:49 | 0:43:51 | |
You bloody liar. You're all in it together. | 0:43:51 | 0:43:54 | |
-I never trusted you. -Caitlin, on my word of honour, | 0:43:54 | 0:43:59 | |
on my life, there's no-one. | 0:43:59 | 0:44:01 | |
And if there ever was, it never meant anything. | 0:44:01 | 0:44:06 | |
You're the only one for him. You always have been, you know that. | 0:44:06 | 0:44:09 | |
You bloody liar. | 0:44:09 | 0:44:10 | |
I know why you want to take him away from me. | 0:44:11 | 0:44:14 | |
You're in love with him yourself. | 0:44:16 | 0:44:19 | |
That's so unfair. | 0:44:21 | 0:44:22 | |
Well, you can bloody have him, as far as I'm concerned. | 0:44:22 | 0:44:25 | |
We used to be so happy here. | 0:44:32 | 0:44:34 | |
A Polish countess, no less. And she's loaded. And gorgeous. | 0:44:44 | 0:44:50 | |
And, I'm led to understand, the most amazing fuck. | 0:44:50 | 0:44:54 | |
She sounds delightful, | 0:44:54 | 0:44:55 | |
but you have to understand I'm in love with my wife. | 0:44:55 | 0:44:57 | |
She's throwing a party after the show tomorrow in your honour, Dylan. | 0:44:57 | 0:45:00 | |
It would be churlish to refuse. | 0:45:00 | 0:45:02 | |
Well, I have always tried not to be churlish. | 0:45:02 | 0:45:05 | |
-Is she very, very beautiful? -Heartbreakingly beautiful. | 0:45:05 | 0:45:08 | |
And her own heart would be broken if you turn her down. | 0:45:08 | 0:45:11 | |
We wouldn't want that, would we? | 0:45:11 | 0:45:13 | |
She's the fuck of the century, too. | 0:45:13 | 0:45:15 | |
You put it very persuasively, Jerry. | 0:45:15 | 0:45:17 | |
Did you know it's extraordinary the way your face keeps changing shape? | 0:45:19 | 0:45:22 | |
Have you always been able to do that? | 0:45:22 | 0:45:25 | |
I think you need another drink, Dylan. | 0:45:25 | 0:45:27 | |
Not sure you're right, but if you insist. | 0:45:27 | 0:45:30 | |
Oh, there's posh, he is! How do he talk like that? | 0:45:35 | 0:45:38 | |
It's quite extraordinary! | 0:45:38 | 0:45:40 | |
-Posh as piss, he is. -Posh as pink panties. | 0:45:40 | 0:45:43 | |
With his little cough. Extraordinary, extraordinary! | 0:45:43 | 0:45:47 | |
Extraordinary, little Cough. | 0:45:47 | 0:45:48 | |
Little Cough's crying! | 0:45:48 | 0:45:50 | |
Crying for nothing! | 0:45:50 | 0:45:52 | |
HE GASPS FOR BREATH | 0:45:52 | 0:45:54 | |
I'm not! | 0:45:54 | 0:45:55 | |
-Little Cough's crying! -Crying for nothing! | 0:45:55 | 0:45:58 | |
I'm not! | 0:45:58 | 0:45:59 | |
HE COUGHS AND GASPS | 0:46:01 | 0:46:04 | |
Dylan? | 0:46:04 | 0:46:05 | |
Dylan? | 0:46:07 | 0:46:08 | |
You should start to feel better in an hour or so, | 0:46:14 | 0:46:17 | |
but you have to remember - nothing I do for you is going to help you | 0:46:17 | 0:46:21 | |
if you're not going to look after yourself. | 0:46:21 | 0:46:23 | |
I know. I know. I've had a shock. | 0:46:23 | 0:46:25 | |
I've never felt so bad. Good boy from now on. I promise. | 0:46:25 | 0:46:29 | |
It's no good promising me. | 0:46:29 | 0:46:31 | |
You have to make the promise to yourself. | 0:46:31 | 0:46:33 | |
Oh, I have. | 0:46:33 | 0:46:34 | |
-OK. Just give me a call any time. -Thanks. | 0:46:35 | 0:46:40 | |
Are you going to be OK for the performance this evening? | 0:46:44 | 0:46:47 | |
Have to see, won't we? | 0:46:49 | 0:46:51 | |
We could still cancel. | 0:46:51 | 0:46:52 | |
And refund the money? Absolutely not. I'll be fine. | 0:46:52 | 0:46:56 | |
Well, I'll be there, anyway. | 0:46:56 | 0:46:58 | |
If I'm too weak to speak, you could read in for me. | 0:46:59 | 0:47:02 | |
It's you they want to see, not me. | 0:47:03 | 0:47:05 | |
I could sit on your lap, like a ventriloquist's dummy. | 0:47:07 | 0:47:10 | |
-You, Jesus! -What? | 0:47:12 | 0:47:14 | |
-How do you do it? -What? | 0:47:15 | 0:47:17 | |
Come back from the dead like that? | 0:47:18 | 0:47:21 | |
It's wonderful stuff, this cortisone. | 0:47:21 | 0:47:23 | |
And Mr Waldo, drunk in Milk Wood | 0:47:40 | 0:47:42 | |
Hugs his lovely Polly Garter | 0:47:42 | 0:47:45 | |
Under the eyes and rattling tongues | 0:47:45 | 0:47:47 | |
Of the neighbours and the birds and he doesn't care. | 0:47:47 | 0:47:52 | |
He smacks his live red lips. | 0:47:53 | 0:47:56 | |
But it is not his name that Polly Garter whispers | 0:47:57 | 0:48:00 | |
as she lies under the oak and loves him back. | 0:48:00 | 0:48:04 | |
Six feet deep, that name sings in the cold earth. | 0:48:04 | 0:48:09 | |
# But I always think As we tumble into bed | 0:48:10 | 0:48:17 | |
# Of little Willy Wee | 0:48:17 | 0:48:21 | |
# Who is dead | 0:48:21 | 0:48:24 | |
# Dead | 0:48:24 | 0:48:26 | |
# Dead. # | 0:48:28 | 0:48:30 | |
The thin night darkens. | 0:48:30 | 0:48:34 | |
A breeze from the creased water sighs the streets close | 0:48:34 | 0:48:38 | |
Under Milk Waking Wood. | 0:48:38 | 0:48:41 | |
The wood, whose every tree-foot's cloven in the black glad sight | 0:48:41 | 0:48:47 | |
of the hunters of lovers | 0:48:47 | 0:48:49 | |
That is a God-built garden to Mary Ann the Sailors | 0:48:49 | 0:48:53 | |
who knows there is heaven on earth and the chosen people | 0:48:53 | 0:48:57 | |
of his kind fire in Llareggub's land | 0:48:57 | 0:49:01 | |
That is the fairday farmhands' | 0:49:01 | 0:49:04 | |
wantoning ignorant chapel of bridebeds | 0:49:04 | 0:49:08 | |
And to the Reverend Eli Jenkins | 0:49:08 | 0:49:11 | |
A green-leaved sermon on the innocence of men, | 0:49:11 | 0:49:16 | |
The suddenly wind-shaken wood springs awake | 0:49:16 | 0:49:21 | |
For the second dark time this one spring day. | 0:49:21 | 0:49:29 | |
APPLAUSE | 0:49:34 | 0:49:37 | |
CHEERING | 0:49:43 | 0:49:45 | |
-One down, five to go. -Yeah. | 0:49:49 | 0:49:51 | |
Mr Thomas, welcome. May I call you Dylan? | 0:49:53 | 0:49:57 | |
Please do. May I call you Countess? | 0:49:57 | 0:50:00 | |
You're funny. I'm not a real countess, you know. | 0:50:00 | 0:50:03 | |
Well, by a curious coincidence, I'm not a real poet. | 0:50:03 | 0:50:06 | |
Naughty man. You are a genius, and we worship you. | 0:50:06 | 0:50:11 | |
But you know, I'm so happy to have you here in my house. | 0:50:11 | 0:50:14 | |
Happy to be here. | 0:50:14 | 0:50:15 | |
What will you have? Do you like whisky? | 0:50:16 | 0:50:18 | |
Unfortunately I'm not drinking at the moment for health reasons, | 0:50:18 | 0:50:21 | |
but, yes, please, I will take a small whisky. | 0:50:21 | 0:50:24 | |
With too many people, I am no good. | 0:50:25 | 0:50:28 | |
-I don't speak these languages too well. -Mmm. | 0:50:28 | 0:50:32 | |
Would you like to see the rest of the house? | 0:50:32 | 0:50:34 | |
Come! | 0:50:36 | 0:50:37 | |
BEDSPRINGS CREAK | 0:50:51 | 0:50:53 | |
'The force that through the green fuse drives the flower | 0:50:55 | 0:50:59 | |
'Drives my green age | 0:50:59 | 0:51:02 | |
'That blasts the roots of trees Is my destroyer | 0:51:02 | 0:51:07 | |
'And I am dumb to tell The crooked rose | 0:51:07 | 0:51:11 | |
'My youth is bent By the same wintry fever | 0:51:11 | 0:51:16 | |
'And I am dumb to tell The lover's tomb | 0:51:16 | 0:51:19 | |
'How at my sheet Goes the same crooked worm.' | 0:51:19 | 0:51:24 | |
I don't think there's any point waiting any longer for him. | 0:51:25 | 0:51:28 | |
-I'll hang on for a bit. -OK. | 0:51:28 | 0:51:30 | |
John! So glad you came. Listen, I feel dreadful about the other day. | 0:51:32 | 0:51:38 | |
Are you very, very hurt? | 0:51:38 | 0:51:40 | |
Look, it's only money. We can still be friends, can't we? | 0:51:40 | 0:51:43 | |
I want that more than anything. But, look... | 0:51:43 | 0:51:45 | |
I know, I know. But all the rest, that's all stupidity, John. | 0:51:45 | 0:51:48 | |
Truly. All nonsense. All that is not love is nonsense. | 0:51:48 | 0:51:53 | |
You are my dear friend and I trust you. You, me, and Liz. | 0:51:53 | 0:51:57 | |
That's all that matters. That's forever. | 0:51:57 | 0:52:00 | |
You know that, don't you? | 0:52:00 | 0:52:02 | |
Ah, Dylan... | 0:52:02 | 0:52:03 | |
Forever. | 0:52:03 | 0:52:04 | |
Are we all right now? | 0:52:06 | 0:52:08 | |
Then for God's sake, let's have a bloody drink! | 0:52:11 | 0:52:14 | |
Ah, Liz, come on, what's the matter with you? | 0:52:15 | 0:52:17 | |
I just don't care to watch you drink yourself into oblivion again, | 0:52:17 | 0:52:21 | |
-that's all. -Look, that woman just now, that wasn't anything. | 0:52:21 | 0:52:24 | |
She was just showing me her treasures from the old country. | 0:52:24 | 0:52:27 | |
Don't make it worse. | 0:52:27 | 0:52:28 | |
You've treated me as if I'm... | 0:52:29 | 0:52:33 | |
Who do you think I am? | 0:52:33 | 0:52:36 | |
Some floozy? | 0:52:36 | 0:52:37 | |
Your mother? | 0:52:38 | 0:52:40 | |
Some nurse you've hired? | 0:52:41 | 0:52:43 | |
You just don't give a shit about anyone but yourself, do you? | 0:52:45 | 0:52:48 | |
There was an old bugger named God | 0:52:52 | 0:52:55 | |
Who got a young virgin in pod | 0:52:55 | 0:52:58 | |
This appalling behaviour | 0:53:00 | 0:53:02 | |
Produced Christ our Saviour | 0:53:02 | 0:53:05 | |
Who died on the cross - The poor sod! | 0:53:05 | 0:53:10 | |
LAUGHTER AND APPLAUSE | 0:53:10 | 0:53:13 | |
SOFT JAZZ PLAYS | 0:53:20 | 0:53:23 | |
I shouldn't be here. | 0:53:42 | 0:53:43 | |
And where should you be, then? | 0:53:43 | 0:53:45 | |
I escaped. But now I'm out, I wish I was back in. | 0:53:45 | 0:53:47 | |
-But where? Back in where? -You're very beautiful. | 0:53:47 | 0:53:50 | |
-Oh, you think so? -Are you coming back with me? | 0:53:50 | 0:53:54 | |
And why should I do that? | 0:53:56 | 0:53:58 | |
Because I'm frightened of the dark. | 0:53:58 | 0:54:00 | |
OK. | 0:54:05 | 0:54:07 | |
If you could have seen her when I first met her. | 0:54:07 | 0:54:10 | |
She's still beautiful now, but...so angry all the time. | 0:54:10 | 0:54:14 | |
She was a dancer, you know. | 0:54:14 | 0:54:16 | |
I've ruined her life, really. | 0:54:16 | 0:54:18 | |
God, I feel like death, I've got this weight on my chest, I can't.... | 0:54:19 | 0:54:24 | |
Are you all right down there? | 0:54:26 | 0:54:27 | |
I guess I'm going to give up. This isn't working. | 0:54:35 | 0:54:38 | |
It's like trying to raise the dead. | 0:54:38 | 0:54:39 | |
How well you put it! | 0:54:39 | 0:54:41 | |
What a gift for words. Have you ever thought of writing poetry? | 0:54:41 | 0:54:45 | |
Fuck you! | 0:54:46 | 0:54:48 | |
No, really, I didn't mean to be offensive. | 0:54:48 | 0:54:51 | |
Please do carry on. it's most wonderfully soothing. | 0:54:51 | 0:54:54 | |
No, I'm going to cut my losses, I guess. | 0:54:54 | 0:54:58 | |
So, well, thanks for a wonderful evening. | 0:54:58 | 0:55:01 | |
HE COUGHS | 0:55:01 | 0:55:03 | |
Don't leave me. | 0:55:05 | 0:55:07 | |
I'm not well. | 0:55:07 | 0:55:08 | |
Jesus! You're a mess, you know that? | 0:55:10 | 0:55:13 | |
Oh, I do, I do. | 0:55:13 | 0:55:14 | |
I been with writers before, I've been with drunks before, but you... | 0:55:14 | 0:55:19 | |
you are something else. | 0:55:19 | 0:55:21 | |
Well, thank you. | 0:55:23 | 0:55:24 | |
You're welcome. | 0:55:24 | 0:55:25 | |
God forgive me. | 0:55:28 | 0:55:30 | |
DOOR SLAMS | 0:55:30 | 0:55:32 | |
I am such... | 0:55:32 | 0:55:33 | |
..a terrible disappointment, it seems. | 0:55:36 | 0:55:38 | |
To everyone. | 0:55:39 | 0:55:41 | |
Including... | 0:55:42 | 0:55:44 | |
..of course... | 0:55:45 | 0:55:47 | |
..myself. | 0:55:50 | 0:55:51 | |
COUGHING | 0:56:29 | 0:56:31 | |
DOOR OPENS | 0:56:42 | 0:56:44 | |
DOOR CLOSES | 0:56:44 | 0:56:46 | |
How are you feeling? | 0:56:46 | 0:56:48 | |
Like death. | 0:56:48 | 0:56:50 | |
There was a telegram waiting for you downstairs. | 0:56:51 | 0:56:54 | |
They didn't want to disturb you. | 0:56:54 | 0:56:56 | |
Ah... | 0:57:10 | 0:57:11 | |
Who's it from? | 0:57:13 | 0:57:15 | |
Caitlin. | 0:57:15 | 0:57:16 | |
"No word from you, stop. | 0:57:18 | 0:57:20 | |
"No money, stop. | 0:57:20 | 0:57:22 | |
"What do you want me to do - kill myself, or go on the streets? Stop. | 0:57:24 | 0:57:28 | |
"Hate, stop." | 0:57:31 | 0:57:33 | |
What am I going to do? | 0:57:38 | 0:57:39 | |
Look, she's not saying she's finished with you. | 0:57:44 | 0:57:47 | |
Neither of you could ever say that. | 0:57:47 | 0:57:49 | |
We're both scared to. But it's the truth, Liz. | 0:57:49 | 0:57:52 | |
I can't go back. | 0:57:56 | 0:57:58 | |
This contract guarantees you 1,000 a week, Mr Thomas. | 0:58:12 | 0:58:16 | |
Travel arrangements and accommodation will be covered, of course. | 0:58:16 | 0:58:20 | |
What sort of audiences will I be addressing? | 0:58:20 | 0:58:22 | |
Women's groups, mainly. There's a whole lot of people out there | 0:58:22 | 0:58:26 | |
who want to hear from the greatest living poet in the English language. | 0:58:26 | 0:58:30 | |
And that's how we'll be billing you. | 0:58:30 | 0:58:32 | |
America's a big country, Mr Thomas. Hundreds of first-class venues. | 0:58:32 | 0:58:36 | |
It could be years before you have to go round a second time. | 0:58:36 | 0:58:39 | |
I have some existing commitments with John Malcolm Brinnin. | 0:58:39 | 0:58:43 | |
Once you sign with us, our arrangement will be exclusive. | 0:58:43 | 0:58:46 | |
I guess John was always, how should I put it, an amateur in this field. | 0:58:48 | 0:58:53 | |
SHE CLEARS HER THROAT | 0:58:53 | 0:58:55 | |
So, OK. If you're ready? | 0:58:57 | 0:58:59 | |
Ready. | 0:58:59 | 0:59:00 | |
If you could sign... | 0:59:00 | 0:59:02 | |
..here, here and here. | 0:59:04 | 0:59:06 | |
PEN SCRATCHING ON PAPER | 0:59:06 | 0:59:08 | |
Gerstman Associates looks forward to a long and happy association. | 0:59:09 | 0:59:13 | |
DOOR CLOSES | 0:59:23 | 0:59:25 | |
Now I've really signed my soul away. | 0:59:25 | 0:59:27 | |
What are you going to say to John? | 0:59:30 | 0:59:32 | |
He'll understand. Won't he? I mean, it was never a business arrangement | 0:59:34 | 0:59:38 | |
between me and him, was it? | 0:59:38 | 0:59:40 | |
I think you should be prepared. | 0:59:43 | 0:59:45 | |
I think he'll see it as a betrayal. | 0:59:45 | 0:59:47 | |
How do you see it? | 0:59:50 | 0:59:51 | |
Not for me to say. | 0:59:53 | 0:59:54 | |
-Why does it all have to take so bloody long? -What? | 0:59:57 | 0:59:59 | |
Dying. | 1:00:02 | 1:00:03 | |
Dylan's here. | 1:00:09 | 1:00:10 | |
-Did you want anything? -Er, no. No, nothing. | 1:00:12 | 1:00:15 | |
Leave you together, then. | 1:00:17 | 1:00:18 | |
-How are you feeling? -Oh, worn out. | 1:00:23 | 1:00:26 | |
-You're off to America again soon, I hear? -That's it. | 1:00:28 | 1:00:31 | |
They seem keen to have me back, God knows why. | 1:00:31 | 1:00:34 | |
Don't sell yourself short, Dylan, you've written some fine poems. | 1:00:34 | 1:00:39 | |
Not many men can say that. | 1:00:39 | 1:00:41 | |
No-one ever asked ME to go to America. | 1:00:42 | 1:00:45 | |
Would you have wanted to go, though? | 1:00:45 | 1:00:47 | |
HE LAUGHS | 1:00:47 | 1:00:48 | |
Probably not. Must be gratifying to be invited, though. | 1:00:48 | 1:00:53 | |
My life on the whole has been a series of disappointments. | 1:00:54 | 1:00:59 | |
Senior English Master of Swansea Grammar, though. | 1:01:01 | 1:01:04 | |
-Generations of boys were terrified of you. -THEY CHUCKLE | 1:01:04 | 1:01:07 | |
Married the wrong girl, between you and me. | 1:01:08 | 1:01:11 | |
Youthful concupiscence is not the best indicator of lasting happiness. | 1:01:12 | 1:01:17 | |
No, I suppose not. | 1:01:19 | 1:01:21 | |
But what else is there? | 1:01:21 | 1:01:22 | |
What, indeed? | 1:01:24 | 1:01:26 | |
Well, at least neither of us married for money. | 1:01:27 | 1:01:30 | |
HE GASPS | 1:01:32 | 1:01:33 | |
Does it hurt? | 1:01:34 | 1:01:36 | |
Well...you have to expect that, don't you? | 1:01:36 | 1:01:40 | |
Life's mostly boredom and then a bit of pain. | 1:01:41 | 1:01:45 | |
Fear to finish up. | 1:01:45 | 1:01:47 | |
Milton probably put it a bit more eloquently. | 1:01:50 | 1:01:53 | |
I'm proud of you, you know. | 1:01:55 | 1:01:58 | |
What you've done. | 1:01:58 | 1:02:00 | |
Collected Poems. | 1:02:01 | 1:02:03 | |
A real body of work. | 1:02:04 | 1:02:06 | |
I'd have been very proud to have achieved something like that. | 1:02:08 | 1:02:11 | |
Instead of wasting my life on drink and crossword puzzles. | 1:02:12 | 1:02:17 | |
Don't say that. | 1:02:17 | 1:02:19 | |
Look, you taught me everything I know about poetry. | 1:02:20 | 1:02:23 | |
Couldn't write it, though, could I? | 1:02:25 | 1:02:27 | |
Didn't have the gift. | 1:02:28 | 1:02:30 | |
Or the... | 1:02:30 | 1:02:32 | |
or the... | 1:02:32 | 1:02:33 | |
..application. | 1:02:35 | 1:02:36 | |
Tired now. | 1:02:41 | 1:02:42 | |
'Do not go gentle into that good night | 1:02:46 | 1:02:50 | |
'Old age should burn and rave at close of day | 1:02:50 | 1:02:55 | |
'Rage, rage against the dying of the light. | 1:02:56 | 1:03:01 | |
'Though wise men at their end know dark is right | 1:03:03 | 1:03:06 | |
'Because their words had forked no lightning they | 1:03:06 | 1:03:10 | |
'Do not go gentle into that good night.' | 1:03:10 | 1:03:15 | |
Good men, the last wave by Crying how bright | 1:03:15 | 1:03:20 | |
Their frail deeds might have danced in a green bay | 1:03:20 | 1:03:26 | |
Rage, rage against the dying of the light. | 1:03:26 | 1:03:30 | |
Wild men who caught and sang the sun in flight | 1:03:32 | 1:03:37 | |
And learn, too late They grieved it on its way | 1:03:37 | 1:03:41 | |
Do not go gentle into that good night. | 1:03:41 | 1:03:45 | |
Grave men, near death Who see with blinding sight | 1:03:47 | 1:03:52 | |
Blind eyes could blaze like meteors and be gay | 1:03:52 | 1:03:57 | |
Rage, rage against the dying of the light. | 1:03:57 | 1:04:03 | |
And you, my father There on the sad height | 1:04:05 | 1:04:11 | |
Curse, bless me now With your fierce tears, I pray | 1:04:11 | 1:04:17 | |
Do not go gentle into that good night | 1:04:18 | 1:04:22 | |
Rage, rage against the dying of the light. | 1:04:23 | 1:04:29 | |
APPLAUSE | 1:04:35 | 1:04:37 | |
# If your sweetheart | 1:04:50 | 1:04:54 | |
# Sends a letter of goodbye... | 1:04:54 | 1:05:02 | |
# It's no secret you feel better | 1:05:03 | 1:05:10 | |
# If you cry | 1:05:10 | 1:05:15 | |
# When waking from a bad dream | 1:05:17 | 1:05:23 | |
# Don't you sometimes think it's real? # | 1:05:23 | 1:05:30 | |
SLOW JAZZ PLAYS | 1:05:30 | 1:05:32 | |
MUSIC FADES, DISTORTS | 1:05:44 | 1:05:46 | |
SIREN WAILS | 1:06:13 | 1:06:15 | |
LABOURED BREATHING | 1:06:32 | 1:06:34 | |
HE COUGHS | 1:06:34 | 1:06:36 | |
DOOR CLOSES | 1:06:43 | 1:06:45 | |
I've just drunk... 18 straight whiskies. | 1:06:53 | 1:06:58 | |
I think that's the record. | 1:06:59 | 1:07:03 | |
Had enough, Little Cough? Had enough? | 1:07:10 | 1:07:13 | |
I... can't... | 1:07:15 | 1:07:17 | |
Had enough? | 1:07:17 | 1:07:19 | |
HE GROANS AND WHEEZES | 1:07:19 | 1:07:21 | |
Dylan? Dylan? | 1:07:24 | 1:07:26 | |
Had enough? | 1:07:28 | 1:07:30 | |
HE WHEEZES | 1:07:30 | 1:07:33 | |
BREATHING SETTLES | 1:07:48 | 1:07:50 | |
Wow. What was that? | 1:07:50 | 1:07:53 | |
It's morphine. | 1:07:53 | 1:07:55 | |
He should sleep peacefully now for a good four hours. | 1:07:55 | 1:07:59 | |
I'll come back and see him then. | 1:07:59 | 1:08:02 | |
DYLAN'S STRAINED BREATHING | 1:08:14 | 1:08:16 | |
They don't know what it is. | 1:09:17 | 1:09:19 | |
They're testing for a cerebral haemorrhage. | 1:09:21 | 1:09:23 | |
Feltenstein thinks it's liver failure. | 1:09:25 | 1:09:27 | |
John, I think... | 1:09:35 | 1:09:36 | |
..we're losing him. | 1:09:38 | 1:09:39 | |
He may be able to hear you. | 1:09:47 | 1:09:49 | |
Dylan? | 1:09:58 | 1:10:00 | |
Dylan, it's John. | 1:10:04 | 1:10:06 | |
Liz is here, too. Caitlin is on her way. | 1:10:07 | 1:10:09 | |
Try again. | 1:10:11 | 1:10:13 | |
Caitlin's coming, Dylan. | 1:10:13 | 1:10:15 | |
David's organised a flight for her. | 1:10:16 | 1:10:18 | |
FAINT GASP | 1:10:24 | 1:10:26 | |
Dylan? | 1:10:26 | 1:10:28 | |
Well, where is the bloody man? Is he dead or alive? | 1:10:32 | 1:10:35 | |
Oh, God, Dylan. | 1:11:02 | 1:11:03 | |
What have they done to you? | 1:11:14 | 1:11:16 | |
Mrs Thomas, you mustn't smoke in here. | 1:11:31 | 1:11:34 | |
Who are those people? | 1:11:45 | 1:11:46 | |
What are they doing here? Fuck off! | 1:11:48 | 1:11:51 | |
Dylan... | 1:12:02 | 1:12:03 | |
Dylan, it's Caitlin. | 1:12:07 | 1:12:09 | |
Can you hear me? | 1:12:11 | 1:12:12 | |
You're not to die, Dylan, do you hear? | 1:12:16 | 1:12:18 | |
I won't... | 1:12:21 | 1:12:22 | |
I won't have it. | 1:12:24 | 1:12:26 | |
Christ, I can't even find you in that lot! | 1:12:32 | 1:12:36 | |
Mrs Thomas... | 1:12:36 | 1:12:38 | |
Where's your hand? | 1:12:39 | 1:12:40 | |
-Mrs Thomas... -Dylan... | 1:12:43 | 1:12:45 | |
Mrs Thomas, you mustn't do that! | 1:12:47 | 1:12:49 | |
Leave me alone, you! | 1:12:50 | 1:12:52 | |
BELL RINGS | 1:12:52 | 1:12:54 | |
DOOR OPENS | 1:12:54 | 1:12:56 | |
Mrs Thomas, please understand. | 1:12:56 | 1:12:59 | |
Mrs Thomas... | 1:12:59 | 1:13:00 | |
Stop. | 1:13:02 | 1:13:04 | |
Mrs Thomas, calm down! | 1:13:04 | 1:13:05 | |
Dylan! | 1:13:05 | 1:13:07 | |
Let go of me! | 1:13:07 | 1:13:09 | |
No! | 1:13:09 | 1:13:10 | |
Dylan! Dylan! | 1:13:10 | 1:13:13 | |
SHE SOBS | 1:13:13 | 1:13:14 | |
Dylan! | 1:13:14 | 1:13:16 | |
SHE SOBS | 1:13:18 | 1:13:20 | |
No! Dylan! | 1:13:26 | 1:13:28 | |
SHE WAILS | 1:13:30 | 1:13:32 | |
Dylan! | 1:13:32 | 1:13:34 | |
MUSIC PLAYS SOFTLY | 1:13:40 | 1:13:43 | |
WAVES CRASH | 1:14:13 | 1:14:14 | |
'Dylan! | 1:14:24 | 1:14:27 | |
'Where are you?' | 1:14:27 | 1:14:28 |