Browse content similar to Piano Man. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
PIANO MUSIC PLAYS | 0:00:31 | 0:00:33 | |
MUSIC STOPS | 0:00:47 | 0:00:49 | |
She'll miss you. | 0:01:12 | 0:01:13 | |
I'll miss her. | 0:01:14 | 0:01:16 | |
Will you? | 0:01:18 | 0:01:19 | |
Of course. | 0:01:19 | 0:01:21 | |
Goodbye, then. | 0:01:37 | 0:01:38 | |
Thank you. | 0:01:50 | 0:01:51 | |
Fancy a biscuit? | 0:02:27 | 0:02:28 | |
There's a Garibaldi in there somewhere. | 0:02:28 | 0:02:30 | |
It's probably the last one. | 0:02:30 | 0:02:32 | |
Fine. | 0:02:43 | 0:02:44 | |
-ANSWERPHONE: -Hi, this is Zara Carmichael. | 0:02:50 | 0:02:52 | |
Leave a message and I'll get back to you. | 0:02:52 | 0:02:54 | |
Hi, er...it's me. | 0:02:54 | 0:02:56 | |
Come home, | 0:02:58 | 0:02:59 | |
your things are all there... | 0:02:59 | 0:03:02 | |
Your music and your clothes... | 0:03:04 | 0:03:05 | |
and...and our photos. | 0:03:07 | 0:03:08 | |
I miss you. | 0:03:11 | 0:03:13 | |
PIANO MUSIC PLAYS | 0:03:24 | 0:03:26 | |
KNOCK ON WINDOW | 0:03:34 | 0:03:37 | |
Jack Hollins. You called me. | 0:03:37 | 0:03:39 | |
So, this is it, then? | 0:03:49 | 0:03:51 | |
I didn't see a van outside. You said you had wheels... | 0:03:51 | 0:03:53 | |
Yes. I do. | 0:03:53 | 0:03:55 | |
You're joking. | 0:03:57 | 0:04:00 | |
You want this pushed across Letherbridge on those? | 0:04:00 | 0:04:03 | |
Sorry... You are Jack Hollins? | 0:04:03 | 0:04:06 | |
Your leaflet expressly states that no job is too big or too small. | 0:04:06 | 0:04:09 | |
I have engaged you to move this piano | 0:04:09 | 0:04:11 | |
and you agreed a verbal contract on the telephone... | 0:04:11 | 0:04:13 | |
And you said you had wheels. | 0:04:13 | 0:04:15 | |
I have wheels. | 0:04:15 | 0:04:16 | |
I have a plan, a timetable, a route... | 0:04:18 | 0:04:21 | |
Good. I hope all that works out for you. | 0:04:21 | 0:04:23 | |
Look, I'm sorry, you're going to have to find someone else. | 0:04:23 | 0:04:26 | |
PHONE BEEPS | 0:04:29 | 0:04:30 | |
No way! | 0:04:32 | 0:04:34 | |
Problem? | 0:04:34 | 0:04:35 | |
Yeah, my mate. He's let me down, he wants an early night. | 0:04:35 | 0:04:38 | |
-You were going out? -Yeah, out out. | 0:04:38 | 0:04:40 | |
Chasing some tail. What an idiot! | 0:04:40 | 0:04:42 | |
Kevin...er... | 0:04:44 | 0:04:45 | |
I don't have any plans. | 0:04:45 | 0:04:47 | |
You and me? | 0:04:47 | 0:04:48 | |
Yeah, I could teach you a few tricks. | 0:04:48 | 0:04:50 | |
It'd be like going out with my dad. | 0:04:50 | 0:04:52 | |
-Your dad? -Yeah. -I think you're confusing age with experience. | 0:04:52 | 0:04:55 | |
OK, yeah, OK, if you're up for it, what with Zara... | 0:04:57 | 0:05:00 | |
I am a free agent. | 0:05:00 | 0:05:02 | |
In that case it would be my honour | 0:05:02 | 0:05:03 | |
to see the great Daniel Granger in action! | 0:05:03 | 0:05:06 | |
You'd better believe it! | 0:05:06 | 0:05:08 | |
PHONE RINGS | 0:05:13 | 0:05:15 | |
Mate! | 0:05:15 | 0:05:17 | |
No, it's not looking good... | 0:05:17 | 0:05:20 | |
What do you mean, you've got the tickets?... | 0:05:20 | 0:05:23 | |
I don't have the cash... | 0:05:23 | 0:05:25 | |
Yeah, I know what I said... | 0:05:25 | 0:05:27 | |
OK, look, I'll get the money... | 0:05:30 | 0:05:33 | |
What time? | 0:05:33 | 0:05:34 | |
Yeah, it'll be a good night. | 0:05:34 | 0:05:36 | |
All right then, see you later. | 0:05:36 | 0:05:38 | |
-Go away. -I thought you wanted a helping hand. | 0:05:45 | 0:05:47 | |
I don't want your help. I don't need anybody's help. | 0:05:47 | 0:05:50 | |
I... | 0:05:50 | 0:05:51 | |
I just require you to honour your contractual obligations. | 0:05:52 | 0:05:55 | |
Fine. I just need the money. | 0:05:55 | 0:05:56 | |
Night, Jim. | 0:06:03 | 0:06:05 | |
See you. | 0:06:05 | 0:06:06 | |
Kevin! The Blue Lagoon, yeah? | 0:06:06 | 0:06:09 | |
Still time to back out, Grandad. | 0:06:09 | 0:06:11 | |
The masterclass starts at seven. | 0:06:11 | 0:06:13 | |
You're the boss. | 0:06:13 | 0:06:14 | |
What's for tea? | 0:06:21 | 0:06:22 | |
Cheese on toast. | 0:06:22 | 0:06:23 | |
What? Where's Mum? | 0:06:23 | 0:06:24 | |
She's out. | 0:06:24 | 0:06:26 | |
Haven't you got some homework to do or something? | 0:06:27 | 0:06:30 | |
Homework? | 0:06:30 | 0:06:30 | |
Or whatever. | 0:06:30 | 0:06:32 | |
You're going to art college in a couple of weeks - | 0:06:32 | 0:06:34 | |
go and draw something! | 0:06:34 | 0:06:35 | |
The route avoids all significant hills, | 0:06:52 | 0:06:54 | |
kerbs and areas of rough ground. | 0:06:54 | 0:06:57 | |
That looks significant. | 0:06:58 | 0:07:00 | |
Look out! | 0:07:01 | 0:07:02 | |
That was your responsibility! | 0:07:05 | 0:07:06 | |
This is stupid. | 0:07:06 | 0:07:08 | |
-The plan is robust. -The plan is ridiculous. | 0:07:08 | 0:07:11 | |
We're behind schedule. | 0:07:11 | 0:07:12 | |
That is ridiculous. | 0:07:16 | 0:07:18 | |
The 338 goes in completely the wrong direction. | 0:07:19 | 0:07:22 | |
Fine. Follow the fluorescent pink line but I haven't got all night. | 0:07:22 | 0:07:26 | |
I've got places to be. | 0:07:26 | 0:07:27 | |
MUSIC - "River" by Emili Sande | 0:07:31 | 0:07:34 | |
# Follow me | 0:07:34 | 0:07:35 | |
# I'll be your river, river | 0:07:37 | 0:07:39 | |
# I'll do the running for you | 0:07:39 | 0:07:44 | |
# Follow me | 0:07:44 | 0:07:46 | |
# I'll be your river, river | 0:07:46 | 0:07:49 | |
# I'll move the mountains for you | 0:07:49 | 0:07:52 | |
# Follow me | 0:07:52 | 0:07:55 | |
# I'll be your river, river | 0:07:55 | 0:07:59 | |
# I'm here to keep you floating | 0:07:59 | 0:08:03 | |
# Follow me | 0:08:03 | 0:08:05 | |
# I'll be your river, river | 0:08:05 | 0:08:08 | |
# River, river... # | 0:08:08 | 0:08:10 | |
Look out! | 0:08:16 | 0:08:17 | |
PIANO KEYS CLATTER | 0:08:17 | 0:08:19 | |
Stop! | 0:08:23 | 0:08:25 | |
Do you think you could... | 0:08:28 | 0:08:30 | |
Oh, sorry. | 0:08:30 | 0:08:33 | |
That's OK. | 0:08:33 | 0:08:34 | |
Cheers. | 0:08:36 | 0:08:37 | |
So, where do we start? | 0:08:38 | 0:08:39 | |
We start with clear strategic objectives. | 0:08:40 | 0:08:43 | |
What do we want to achieve? | 0:08:43 | 0:08:45 | |
I just want to get laid. | 0:08:45 | 0:08:47 | |
Anything beyond that? | 0:08:47 | 0:08:49 | |
No, nothing beyond that. | 0:08:49 | 0:08:50 | |
Look, the last three women I got involved with all... | 0:08:50 | 0:08:53 | |
Let's not go there. I just want some action. | 0:08:53 | 0:08:57 | |
OK, so that is your strategic objective, | 0:08:57 | 0:08:59 | |
and we will lower the quality threshold accordingly. | 0:08:59 | 0:09:02 | |
Right. And you? | 0:09:02 | 0:09:04 | |
Me, I never lower the threshold. | 0:09:04 | 0:09:07 | |
It's a bit thin on the ground. | 0:09:07 | 0:09:10 | |
Early birds. | 0:09:10 | 0:09:11 | |
Just out for a couple of beers with their mates after work. | 0:09:11 | 0:09:14 | |
Not really in the market, and too sober to do anything silly. | 0:09:14 | 0:09:17 | |
So, why are we here? | 0:09:17 | 0:09:19 | |
We're easing ourselves in. | 0:09:19 | 0:09:20 | |
And you never know... | 0:09:20 | 0:09:22 | |
Problem is they're all in pairs or groups, | 0:09:22 | 0:09:24 | |
they're difficult to split up... | 0:09:24 | 0:09:27 | |
but... | 0:09:27 | 0:09:28 | |
What about her? | 0:09:28 | 0:09:29 | |
Yeah, maybe. She's vulnerable. | 0:09:29 | 0:09:32 | |
But look how she's knocking them back. | 0:09:32 | 0:09:33 | |
You'd start with tears on your shoulder, | 0:09:33 | 0:09:35 | |
and end up with vomit in your lap. | 0:09:35 | 0:09:37 | |
Now, that one. | 0:09:39 | 0:09:42 | |
She's only come here to show willing. | 0:09:42 | 0:09:44 | |
Doesn't really like her mates from work. | 0:09:44 | 0:09:46 | |
-She's looking for someone a bit more grown-up. -Definitely. | 0:09:46 | 0:09:50 | |
Woah woah woah! What's your angle? | 0:09:50 | 0:09:52 | |
Buy her a drink? | 0:09:53 | 0:09:55 | |
-She's drinking mineral water. -So she needs a drink... | 0:09:55 | 0:09:57 | |
She doesn't like drink. | 0:09:57 | 0:09:59 | |
Maybe she's pregnant. | 0:09:59 | 0:10:01 | |
Yeah, that's a possibility. | 0:10:01 | 0:10:03 | |
Too late, man! She's leaving. | 0:10:03 | 0:10:05 | |
Leave her, leave her. There'll be better pickings. | 0:10:05 | 0:10:08 | |
My friend, the night is still young. | 0:10:08 | 0:10:11 | |
Woohoo! | 0:10:11 | 0:10:12 | |
Why don't you go out? | 0:10:23 | 0:10:25 | |
Isn't Jack going to a concert or something? | 0:10:25 | 0:10:28 | |
What, some crappy student band, and my brother? No, thanks. | 0:10:28 | 0:10:31 | |
Call your mates. | 0:10:32 | 0:10:34 | |
Nah. They're all just a bit... | 0:10:34 | 0:10:35 | |
Just a bit what? | 0:10:37 | 0:10:39 | |
A bit too immature. | 0:10:39 | 0:10:40 | |
Don't start getting all hoity-toity, | 0:10:41 | 0:10:43 | |
you're only going to an art college and London's not everything. | 0:10:43 | 0:10:47 | |
PHONE BEEPS | 0:10:47 | 0:10:48 | |
Be one of your immature mates. | 0:10:48 | 0:10:51 | |
Well, I suppose you can always stay in with your old dad. | 0:10:53 | 0:10:56 | |
We've got that Juliet Bravo box set, that we haven't touched really. | 0:10:56 | 0:11:00 | |
It's from Mr Dean. | 0:11:00 | 0:11:01 | |
Oh, yeah, what does he want? | 0:11:01 | 0:11:03 | |
He says he wants me to go meet him in half an hour | 0:11:03 | 0:11:05 | |
because he's got a surprise for me. | 0:11:05 | 0:11:08 | |
I don't think you should go. | 0:11:08 | 0:11:10 | |
Dad! He's not like that. | 0:11:10 | 0:11:11 | |
-He's a teacher, you're a student. -Not any more. | 0:11:11 | 0:11:14 | |
-I'll come with you. -No, you won't. | 0:11:14 | 0:11:16 | |
OK, here we go. The "walk past" with the sympathetic smile. | 0:11:20 | 0:11:24 | |
-Timing is everything. -I'm watching. | 0:11:24 | 0:11:27 | |
Wait for it... | 0:11:27 | 0:11:29 | |
And now. | 0:11:29 | 0:11:30 | |
She must be short-sighted. | 0:11:51 | 0:11:53 | |
Yeah, she's not wearing her glasses. | 0:11:53 | 0:11:54 | |
-So, what do we do? -Regroup, retarget... | 0:11:54 | 0:11:57 | |
And never surrender. | 0:11:57 | 0:11:59 | |
Her. The "little boy lost" routine? | 0:11:59 | 0:12:01 | |
Good call. | 0:12:02 | 0:12:04 | |
He's very tense, your friend. | 0:12:21 | 0:12:24 | |
He's not...my friend. | 0:12:24 | 0:12:25 | |
He has a plan and it never involved drinking tea in a florist en route. | 0:12:27 | 0:12:31 | |
We are actually late now. | 0:12:34 | 0:12:35 | |
For what? | 0:12:37 | 0:12:39 | |
We should be there already. We have to go. | 0:12:39 | 0:12:41 | |
No. I'm sorry. It's too dangerous. | 0:12:41 | 0:12:44 | |
We could have put Maggie in hospital or worse. | 0:12:44 | 0:12:46 | |
I'm fine. I'm Maggie! | 0:12:46 | 0:12:48 | |
Don't worry about me. | 0:12:48 | 0:12:50 | |
That's not the point. | 0:12:50 | 0:12:52 | |
Oh, but look at him. This really matters. | 0:12:52 | 0:12:55 | |
Maybe I can help. Can I help? | 0:12:56 | 0:12:58 | |
Not unless you've got a nice big van with real wheels. | 0:12:59 | 0:13:02 | |
Hmmm. | 0:13:02 | 0:13:03 | |
How about a medium-sized van? Would that do? | 0:13:03 | 0:13:08 | |
The plan specifies a pedestrian route. | 0:13:09 | 0:13:12 | |
That would be great. Thank you. | 0:13:12 | 0:13:15 | |
Isn't this fun? | 0:13:15 | 0:13:17 | |
So... | 0:13:30 | 0:13:31 | |
You really got a van? | 0:13:54 | 0:13:56 | |
Dad normally drives it. Mum runs the shop. | 0:13:56 | 0:13:59 | |
I just help out. | 0:13:59 | 0:14:01 | |
Ooh, isn't this lovely? | 0:14:01 | 0:14:03 | |
Please be careful. | 0:14:03 | 0:14:04 | |
You're sure they won't mind? | 0:14:04 | 0:14:05 | |
-She's very delicate. -They won't mind a bit. | 0:14:05 | 0:14:08 | |
Anyway, they're in the Algarve and what they don't know won't kill them. | 0:14:08 | 0:14:11 | |
How dare you?! This was my mother's piano. | 0:14:14 | 0:14:17 | |
Mate, it's just an off night. | 0:14:20 | 0:14:22 | |
An "off night"? It's not off, it's rancid. | 0:14:22 | 0:14:26 | |
-Never surrender... -Yeah, whatever. | 0:14:26 | 0:14:27 | |
-Mate, two o'clock... -It's your round. | 0:14:31 | 0:14:33 | |
No, seriously. A pair. Definitely interested. | 0:14:33 | 0:14:36 | |
OK, regroup, retarget. | 0:14:36 | 0:14:39 | |
Girls, what can we get you? | 0:14:39 | 0:14:42 | |
I'm sorry, Michael. | 0:14:44 | 0:14:46 | |
No, you're not. You've got nothing to apologise for. | 0:14:46 | 0:14:48 | |
All he cares about is getting this piece of junk from A to B | 0:14:48 | 0:14:51 | |
and he needs to learn to ask nicely, otherwise it's not going anywhere. | 0:14:51 | 0:14:54 | |
You have contractual obligations. We have a verbal contract. | 0:14:54 | 0:14:57 | |
I tear your verbal contract up into tiny pieces. | 0:14:57 | 0:15:00 | |
-Oh, you shouldn't do that. -Yes, I should. | 0:15:00 | 0:15:02 | |
A breach of good faith on the part of the party with the piano, | 0:15:02 | 0:15:05 | |
not to mention a number of significant Health and Safety issues. | 0:15:05 | 0:15:07 | |
We should throw him and his piano out onto the pavement, | 0:15:07 | 0:15:10 | |
-and leave them there. -We shouldn't really. | 0:15:10 | 0:15:12 | |
Maggie, he tried to break your fingers, | 0:15:12 | 0:15:14 | |
and the piano tried to kill you. | 0:15:14 | 0:15:16 | |
But they didn't really mean it. | 0:15:17 | 0:15:19 | |
All I'm saying is it wouldn't hurt for him to ask nicely. | 0:15:19 | 0:15:22 | |
Please. | 0:15:29 | 0:15:30 | |
Sorry? | 0:15:30 | 0:15:31 | |
Please! | 0:15:31 | 0:15:32 | |
Can I buy you a drink? | 0:15:47 | 0:15:49 | |
I don't believe this! | 0:15:49 | 0:15:51 | |
Have you scared him off? | 0:15:51 | 0:15:52 | |
I haven't, no, I've just had you under surveillance, that's all. | 0:15:52 | 0:15:56 | |
It sounded a bit dodgy. | 0:15:56 | 0:15:57 | |
-He's late, that's all. -OK. So in the meantime... | 0:15:58 | 0:16:03 | |
shall we have a drink? | 0:16:03 | 0:16:05 | |
I shouldn't even be here. | 0:16:07 | 0:16:09 | |
Helical Flow are playing at the Union. | 0:16:09 | 0:16:11 | |
I should have been there half an hour ago. | 0:16:11 | 0:16:12 | |
That was MY schedule, it's the only reason I took this job. | 0:16:12 | 0:16:15 | |
But I need you to help me unload at the other end. | 0:16:15 | 0:16:17 | |
-I'll miss the whole set. -He did say please. | 0:16:17 | 0:16:19 | |
He hasn't said sorry. | 0:16:19 | 0:16:21 | |
-But he is. -I have to get there, Jack. | 0:16:22 | 0:16:25 | |
I have to play the piano. | 0:16:25 | 0:16:26 | |
I have to play this piano, or it'll be too late. | 0:16:27 | 0:16:29 | |
I am sorry. | 0:16:31 | 0:16:33 | |
He said sorry. Now get in the van. You're up front. | 0:16:33 | 0:16:37 | |
Fingers, please! | 0:16:37 | 0:16:39 | |
Where to? | 0:16:46 | 0:16:47 | |
It's that way, I think. | 0:16:47 | 0:16:48 | |
ENGINE CHOKES | 0:16:52 | 0:16:53 | |
ENGINE STOPS | 0:16:57 | 0:16:59 | |
How much do you think a piano weighs? | 0:17:00 | 0:17:02 | |
Dad's going to kill me. | 0:17:02 | 0:17:04 | |
Now these hands... | 0:17:05 | 0:17:07 | |
Healing hands. And those... | 0:17:07 | 0:17:09 | |
Magic hands. | 0:17:10 | 0:17:12 | |
You would not believe what these hands can achieve. | 0:17:12 | 0:17:15 | |
I taught him that. The old "healing hands" line. | 0:17:15 | 0:17:17 | |
Works every time. | 0:17:17 | 0:17:18 | |
Mate! There for the taking. | 0:17:21 | 0:17:23 | |
Below the quality threshold. | 0:17:23 | 0:17:25 | |
-I'm going home. -Fine. | 0:17:25 | 0:17:28 | |
You should call it a night. | 0:17:28 | 0:17:29 | |
Whatever. | 0:17:30 | 0:17:32 | |
Lightweight! | 0:17:32 | 0:17:34 | |
Leave him. | 0:17:34 | 0:17:36 | |
He's a boy. | 0:17:36 | 0:17:37 | |
What does he know? | 0:17:39 | 0:17:40 | |
About anything? | 0:17:40 | 0:17:41 | |
He's very quiet. | 0:17:51 | 0:17:53 | |
Michael? | 0:17:53 | 0:17:55 | |
Michael? Are you all right? | 0:17:55 | 0:17:58 | |
We'll never get there in time. It's over. | 0:17:58 | 0:18:00 | |
-I've got an idea... -It won't work. | 0:18:00 | 0:18:02 | |
-The fire brigade! -My life is over. | 0:18:02 | 0:18:04 | |
Or we could take it apart, transport it bit by bit, | 0:18:04 | 0:18:06 | |
and rebuild it once we get there. | 0:18:06 | 0:18:08 | |
Nothing matters any more. | 0:18:08 | 0:18:09 | |
Or a forklift truck? Do you know anyone with a forklift truck? | 0:18:09 | 0:18:13 | |
I will never play again... | 0:18:13 | 0:18:14 | |
Will you both just put a sock in it! | 0:18:14 | 0:18:16 | |
Explain it to me. | 0:18:17 | 0:18:18 | |
Explain to me why the world is going to end because you | 0:18:18 | 0:18:21 | |
and this piano are stuck in the back of a broken-down van. | 0:18:21 | 0:18:24 | |
I'd just about given up. | 0:18:27 | 0:18:28 | |
A man. It's not much to ask for, is it? | 0:18:30 | 0:18:34 | |
All these boys. All these charmless morons. | 0:18:34 | 0:18:38 | |
I was about to take myself home. Make my own entertainment. | 0:18:38 | 0:18:43 | |
Well, there is no need for that. | 0:18:43 | 0:18:45 | |
No. Not any more. | 0:18:45 | 0:18:48 | |
She used to walk down my street. | 0:18:52 | 0:18:54 | |
Every morning I'd see her, while I was playing. | 0:18:55 | 0:18:58 | |
And one day she stopped to listen. | 0:18:58 | 0:19:01 | |
Who are we talking about? | 0:19:01 | 0:19:04 | |
She walked up to my window and asked me to teach her. | 0:19:04 | 0:19:06 | |
That's lovely. | 0:19:07 | 0:19:09 | |
Her name is Jill Emery. | 0:19:10 | 0:19:12 | |
-We're taking the piano to Jill. -Why? | 0:19:12 | 0:19:15 | |
Because she's leaving. | 0:19:15 | 0:19:17 | |
Her father is ill, and she's leaving Letherbridge to be with him. | 0:19:19 | 0:19:23 | |
And you haven't told her? | 0:19:23 | 0:19:25 | |
I've never told her. | 0:19:26 | 0:19:28 | |
He has to tell her! | 0:19:28 | 0:19:30 | |
Tell her what? | 0:19:30 | 0:19:31 | |
Were you listening to a word he just said?! | 0:19:31 | 0:19:34 | |
What are you waiting for?! | 0:19:34 | 0:19:35 | |
Are you sure that this is art? | 0:19:41 | 0:19:43 | |
Dad you're trying too hard. Just relax. | 0:19:43 | 0:19:45 | |
Is it good? Just tell me, tell me if it's good cos if it is | 0:19:45 | 0:19:49 | |
I shall work harder on the relaxation. | 0:19:49 | 0:19:51 | |
I mean, what is it? | 0:19:53 | 0:19:55 | |
It's...you. | 0:20:02 | 0:20:04 | |
So it is. And you must be the great Imogen Hollins. | 0:20:04 | 0:20:08 | |
I was told I might find you here. | 0:20:08 | 0:20:10 | |
And you are...? | 0:20:11 | 0:20:12 | |
It's Kingsley Apollo. | 0:20:12 | 0:20:14 | |
-Kingsley Apollo...who? -Dad! | 0:20:14 | 0:20:17 | |
My dad. | 0:20:18 | 0:20:20 | |
Well, that's a relief! | 0:20:20 | 0:20:21 | |
Delighted to meet you, sir. You must be very proud. | 0:20:21 | 0:20:24 | |
That's not fair. You've got more than me. | 0:20:30 | 0:20:32 | |
I'm saving myself. | 0:20:32 | 0:20:34 | |
-We could always get another bottle. -Or you could take me home. | 0:20:34 | 0:20:37 | |
I...er... | 0:20:37 | 0:20:39 | |
I thought we understood each other. | 0:20:40 | 0:20:42 | |
Yes but... | 0:20:42 | 0:20:44 | |
Is it the drink? | 0:20:44 | 0:20:45 | |
-No. -If you're... If you have a problem... | 0:20:45 | 0:20:49 | |
I don't have a problem. | 0:20:49 | 0:20:50 | |
Well, then... | 0:20:50 | 0:20:52 | |
I mean, he has absolutely no idea. | 0:21:02 | 0:21:03 | |
He gets Damien Hirst confused with Banksy. | 0:21:03 | 0:21:06 | |
I am still here, you know? | 0:21:06 | 0:21:08 | |
I'm sorry, Mr Hollins, we've been ignoring you. | 0:21:08 | 0:21:11 | |
I've been quite dazzled by your daughter. | 0:21:11 | 0:21:13 | |
I'm sorry but someone's going to have to treat me like | 0:21:14 | 0:21:17 | |
a complete idiot and tell me exactly who you are. | 0:21:17 | 0:21:19 | |
Oh! I'm an artist. Like Imogen. | 0:21:19 | 0:21:22 | |
He's nothing like me. Dad, this is Kingsley Apollo, | 0:21:22 | 0:21:25 | |
he had that exhibition at the MAC last year | 0:21:25 | 0:21:27 | |
and I've got the poster in my room... | 0:21:27 | 0:21:29 | |
The red squares? | 0:21:30 | 0:21:31 | |
The red squares! That's me! | 0:21:31 | 0:21:34 | |
Kingsley is probably the biggest name in contemporary art... | 0:21:34 | 0:21:37 | |
-Only "probably"? -So what's he doing here, talking to you? | 0:21:37 | 0:21:40 | |
I wrote to him last term. I sent him some photos of my work. | 0:21:40 | 0:21:43 | |
Mr Dean knows him. I knew it was a long shot, but... | 0:21:43 | 0:21:45 | |
I have never seen a student with such promise. | 0:21:45 | 0:21:47 | |
Did you send him that self-portrait? | 0:21:48 | 0:21:51 | |
She did. | 0:21:51 | 0:21:52 | |
Did she? Yeah, that showed a lot of promise. | 0:21:54 | 0:21:59 | |
It shows a lot more besides. | 0:21:59 | 0:22:01 | |
Your daughter has talent, Mr Hollins. | 0:22:01 | 0:22:03 | |
Which is why I would like her to come and work with me. | 0:22:03 | 0:22:08 | |
OMG! | 0:22:10 | 0:22:12 | |
There's an internship opening up. If you're interested. | 0:22:12 | 0:22:15 | |
Oh, no. No, no, no. | 0:22:15 | 0:22:17 | |
She's got a place at The Slade School of Fine Art. | 0:22:17 | 0:22:20 | |
When do you want me to start? | 0:22:20 | 0:22:22 | |
HE RINGS DOORBELL | 0:22:30 | 0:22:32 | |
Hello? | 0:22:38 | 0:22:39 | |
Who is it? | 0:22:40 | 0:22:41 | |
PIANO MUSIC PLAYS | 0:22:48 | 0:22:51 | |
Michael? | 0:22:55 | 0:22:57 | |
Nice! | 0:23:20 | 0:23:21 | |
I'm almost tempted. | 0:23:23 | 0:23:25 | |
A freebie. | 0:23:26 | 0:23:27 | |
It's tempting. | 0:23:30 | 0:23:32 | |
But a girl's got to earn a living. | 0:23:32 | 0:23:34 | |
It's beautiful. | 0:23:47 | 0:23:48 | |
I shall miss you. | 0:24:04 | 0:24:05 | |
It's not that far. | 0:24:07 | 0:24:08 | |
And it won't be forever. | 0:24:09 | 0:24:11 | |
Stay? | 0:24:39 | 0:24:40 | |
Please, er... | 0:24:43 | 0:24:45 | |
I'll pay. | 0:24:45 | 0:24:46 | |
You could wear this. | 0:24:53 | 0:24:54 | |
What's her name? | 0:24:57 | 0:24:58 | |
It doesn't matter. | 0:25:00 | 0:25:01 | |
# Wherever you're standing | 0:25:07 | 0:25:09 | |
# I will be by your side | 0:25:09 | 0:25:12 | |
# Through the good Through the bad | 0:25:15 | 0:25:19 | |
# I'll never be hard to find... # | 0:25:19 | 0:25:23 | |
I'm really sorry. Please don't call the police. | 0:25:30 | 0:25:33 | |
Arghhhh! | 0:25:33 | 0:25:35 | |
If anything happened to Cherry I'd be devastated. | 0:25:35 | 0:25:37 | |
Don't compare Cherry to Zara. OK, Zara is a woman, | 0:25:37 | 0:25:40 | |
Princess Pinky is an inflatable doll! | 0:25:40 | 0:25:43 | |
Promise me you'll never give up your dream. | 0:25:43 | 0:25:47 | |
Is that what I think it is? | 0:25:47 | 0:25:49 | |
I don't know. | 0:25:50 | 0:25:52 | |
Subtitles by Red Bee Media Ltd | 0:25:52 | 0:25:53 |