0:00:02 > 0:00:10This film contains some strong language.
0:00:55 > 0:00:58STAFF SPEAK IN OWN LANGUAGE
0:00:58 > 0:01:01WOMAN PLAYS PIANO
0:01:01 > 0:01:04Thank you, ladies. Octavia's usual spot.
0:01:05 > 0:01:08- There we go. Is that OK for you? - Yes.
0:01:22 > 0:01:24GARGLING
0:01:28 > 0:01:30MUSIC: Brindisi by Giuseppe Verdi
0:01:30 > 0:01:33# Oh, ooohhhhhhhh! #
0:01:35 > 0:01:37# La-la-la-la-la, la-la-la-la-lah, lah... #
0:02:35 > 0:02:37HE STARTS WHISTLING "BRINDISI"
0:03:04 > 0:03:10# Godiamo, la tazza, la tazza e il cantico
0:03:10 > 0:03:12# La notte abbella e il riso... #
0:03:19 > 0:03:21CELLO TUNING
0:03:27 > 0:03:29HE PLAYS JAZZY PIECE ON CLARINET
0:03:33 > 0:03:34HE SIGHS
0:03:40 > 0:03:45#... in questo, in questo paradiso
0:03:45 > 0:03:47# Ne scopra il nuovo di
0:03:47 > 0:03:50# Ah! Ah! Ne scopra il di
0:03:50 > 0:03:53# Ah! Ah! Ne scopra il di
0:03:53 > 0:03:55- # Ahhhh - Ne scopra il di, ne scopra il nuovo
0:03:55 > 0:03:59- # Diiii! - Siiii! #
0:03:59 > 0:04:01Nowhere near where you should be, Bobby.
0:04:01 > 0:04:02Give me the score, will you?
0:04:02 > 0:04:05Wilf, the gala's only a month away.
0:04:05 > 0:04:08I couldn't work out what you were doing.
0:04:08 > 0:04:10Can we take it from the top, please?
0:04:10 > 0:04:12SHE PLAYS INTRO ON PIANO
0:04:12 > 0:04:15# Ah, si, godiamo, godiamo, godiamo
0:04:15 > 0:04:17# La tazza e il cantico... #
0:04:17 > 0:04:18You're...
0:04:18 > 0:04:20Bobby, you're going too fast for me.
0:04:20 > 0:04:21I'm sorry, Cedric.
0:04:21 > 0:04:23- It's "Cee-dric". - Oh, Cee-dric.
0:04:23 > 0:04:26Could you give me the intro again, please?
0:04:26 > 0:04:29SHE PLAYS INTRO AGAIN
0:04:29 > 0:04:32- # Ah, si, godiamo... # - LAUGHTER
0:04:32 > 0:04:36You did it again! I'm on fire here and you're holding me back!
0:04:36 > 0:04:39Be quiet! You find this amusing. I don't!
0:04:39 > 0:04:41It won't be amusing if they shut this place down.
0:04:41 > 0:04:46# Ah, si, godiamo, godiamo, godiamo, la tazza e il cantico... #
0:04:46 > 0:04:48Thank you, Nigel. You are so kind to do that, thank you.
0:04:48 > 0:04:49Now stop, please.
0:04:49 > 0:04:52- # Godiamo... # - The man said thank you. That's it.
0:04:52 > 0:04:54Is there no end to your bloody talent?
0:04:54 > 0:04:58Cissy! Please...pay...attention.
0:04:58 > 0:05:00- Ready.- You must listen.
0:05:01 > 0:05:03Never bother with him, Cissy. He's a bully.
0:05:03 > 0:05:07Now, Lottie, in bars 17, 18 and 19, you were deeply flat.
0:05:07 > 0:05:10No, I don't think I was. I think the piano needs tuning.
0:05:10 > 0:05:12Anne, darling, would you mind singing it for us?
0:05:12 > 0:05:14I don't do chorus, Cedric. I never have.
0:05:14 > 0:05:18I achieved immediate international success at the Royal Opera
0:05:18 > 0:05:20when I was only 21 years old.
0:05:20 > 0:05:23Cedric, we should have been using this room five minutes ago.
0:05:23 > 0:05:27Oh, yeah. The space is entirely yours, gentlemen.
0:05:27 > 0:05:28The rehearsals are over.
0:05:28 > 0:05:29Come along, Bobby. Come on. Hurry up.
0:05:30 > 0:05:32# Ahhh, la-la
0:05:32 > 0:05:34# Dee-dee-dee, dee-dee-dee
0:05:34 > 0:05:37# Da-da-da, da-da-da-da-da, da-da, dee-dee-dee
0:05:37 > 0:05:39# Dee-dee
0:05:39 > 0:05:41# Ah-ah-ah, ah-ah-ah
0:05:41 > 0:05:42# Ah-ah-ahhhh
0:05:42 > 0:05:44# Oh-oh-oh, oh-oh-ohhhh
0:05:44 > 0:05:47# Ohhhh. #
0:05:47 > 0:05:48Beautiful.
0:05:48 > 0:05:50APPLAUSE
0:05:50 > 0:05:52LAUGHTER
0:05:52 > 0:05:54You're making a fool of my part.
0:05:59 > 0:06:02INSTRUMENTALISTS PRACTISE
0:06:09 > 0:06:12Reggie, it's empty. You can't save seats, Reg.
0:06:12 > 0:06:14He's not coming.
0:06:14 > 0:06:15- Wilf - he's not coming. - Why now?
0:06:15 > 0:06:17You seem to think that you own the thing.
0:06:17 > 0:06:20- We've been sitting at this table since I first came here.- Yes.
0:06:20 > 0:06:22- That's precisely the point. - It's not fair, Reggie.
0:06:22 > 0:06:24We want the window sometimes, don't we?
0:06:24 > 0:06:27Yes. If this place has to shut down in six months,
0:06:27 > 0:06:28which it very well might,
0:06:28 > 0:06:31then I want to try and remember I once had a fucking window seat.
0:06:31 > 0:06:32Excuse me, please.
0:06:32 > 0:06:33You can't deny it, Wilf,
0:06:33 > 0:06:36you soloists would be lost without us.
0:06:36 > 0:06:37Say that once more,
0:06:37 > 0:06:39and I swear I'll ram a fork up your jacksy, Harry.
0:06:39 > 0:06:41- He's right, Wilf. - Anybody got a fork?
0:06:41 > 0:06:44- And you know he is. - Make that two forks.
0:06:44 > 0:06:48Ah, merci, Angelique. Have you done something new with your hair?
0:06:48 > 0:06:51- No, I just put my fringe in front. - Oh, I love your fringe in front.
0:06:51 > 0:06:55I give you extra slice of fried bread this morning.
0:06:55 > 0:06:57- I noticed. - And your favourite, apricot jam.
0:06:57 > 0:07:00Oh. Magnifique, Angelique.
0:07:00 > 0:07:02Fancy vous a little rumpy-pumpy ce soir?
0:07:02 > 0:07:04Qu'est-ce que c'est, "rumpy-pumpy"?
0:07:04 > 0:07:06Oh, secrets of the marriage bed,
0:07:06 > 0:07:08you'll have to answer my proposal at once.
0:07:08 > 0:07:10- Bon appetit.- Cissy? Cissy!
0:07:10 > 0:07:11Ready.
0:07:11 > 0:07:14- Remember the emergency meeting, 12:15.- Cedric. Cedric.
0:07:14 > 0:07:16- Breakfast time. - This is critical.
0:07:16 > 0:07:17CEDRIC TAPS HIS GLASS
0:07:17 > 0:07:19All members of the gala committee, please note,
0:07:19 > 0:07:22we have a serious problem with our star tenor, Frank White.
0:07:22 > 0:07:26As such, there's an emergency meeting at 12 noon - precisely.
0:07:26 > 0:07:29Reggie, don't forget to remind me.
0:07:29 > 0:07:30I'll set my watch.
0:07:32 > 0:07:33Hey, what's this? Look.
0:07:33 > 0:07:36- Didn't you say today was the day, Reg?- What's today?
0:07:36 > 0:07:38Tadek setting off to fetch the new arrival.
0:07:38 > 0:07:39There's to be a new arrival?
0:07:39 > 0:07:41Cissy, we've talked about it for days.
0:07:41 > 0:07:43- You, too.- Really?
0:07:43 > 0:07:44- Yeah.- Who is it?
0:07:44 > 0:07:47- They'd only send the van for a star. - Mm-hm.
0:07:47 > 0:07:49When I came, I had to pay for me own taxi.
0:07:49 > 0:07:51They sent a private car with a chauffeur for me.
0:07:51 > 0:07:53This is a replacement for Leonard Timms.
0:07:53 > 0:07:55He was a real dear friend of mine.
0:07:55 > 0:07:57I'm really going to miss him terribly.
0:07:57 > 0:07:58He was a genius, you know.
0:07:58 > 0:08:00- He could fart at will. - Wilf, we're having breakfast.
0:08:00 > 0:08:02- I'm not kidding. - But don't let that stop you.
0:08:02 > 0:08:05I swear it's true. I saw it with my own eyes.
0:08:05 > 0:08:08He got down on all fours and went into a meditative state.
0:08:08 > 0:08:10And when he was ready,
0:08:10 > 0:08:14he could exhale and inhale through his anal canal.
0:08:14 > 0:08:18- I suppose that's the stroke talking. - I suppose it must be.
0:08:18 > 0:08:20Hey, Cissy, do you think I could replace Nobby
0:08:20 > 0:08:23for a quick one in the long grass?
0:08:23 > 0:08:26You have the nicest tits I've ever seen in my life.
0:08:26 > 0:08:27Thank you.
0:08:27 > 0:08:32Reg, you've got to try this jam. It is unbelievable.
0:08:32 > 0:08:34It's like eating Christmas.
0:09:01 > 0:09:04FOOTSTEPS APPROACH
0:09:09 > 0:09:10CASE CLANKS, SHE GASPS
0:09:10 > 0:09:12Be careful with that one.
0:09:12 > 0:09:14It's fragile.
0:09:16 > 0:09:18I come back for the trunk. And for you.
0:09:28 > 0:09:31I...I...I apologise.
0:09:31 > 0:09:33Please be kind.
0:09:33 > 0:09:35We were different people then.
0:09:35 > 0:09:37Be kind. Be kind.
0:09:39 > 0:09:41I can't do this. I can't. Stop. Stop.
0:09:41 > 0:09:44- You say to me something? - What did you say?
0:09:44 > 0:09:47- Why are we stopping? - We...We are not.
0:09:47 > 0:09:48- We're on the way.- Right.
0:09:50 > 0:09:53- Should I call Dr Cogan? - No. No, thank you.
0:09:59 > 0:10:02These hydrangeas are beautiful. Do you like them, Marta?
0:10:02 > 0:10:04Yes, I do, but I would never put on my table.
0:10:04 > 0:10:06Well, well, well, this is new.
0:10:06 > 0:10:09I've never seen you arranging flowers before, Dr Cogan.
0:10:09 > 0:10:10Really, Wilf? Haven't you noticed
0:10:10 > 0:10:12we've cut down on staff in the past few months?
0:10:12 > 0:10:16And is this for the new arrival? Is it? Or is that a secret?
0:10:16 > 0:10:18Is it, Marta?
0:10:18 > 0:10:21Is that a new skirt you're wearing, Dr Cogan?
0:10:21 > 0:10:23It clings beautifully to you.
0:10:23 > 0:10:26And how it accentuates your already beautiful legs.
0:10:26 > 0:10:29My goodness. What do you think of that, Marta?
0:10:29 > 0:10:30I don't talk such things.
0:10:30 > 0:10:34You're overstepping the line, Wilf. Go for your walk.
0:10:34 > 0:10:36I would love to, if only you would come with me.
0:10:36 > 0:10:38Go for your walk.
0:10:38 > 0:10:39May I?
0:10:39 > 0:10:42I wonder if you could help me. I can never do this without my glasses.
0:10:42 > 0:10:44I can't see a thing.
0:10:46 > 0:10:48You don't have a buttonhole, Wilf.
0:10:48 > 0:10:50Well, there you go.
0:10:50 > 0:10:51You know, I could propose to you,
0:10:51 > 0:10:53but this is as close to kneeling as I get.
0:10:53 > 0:10:55Go for your walk.
0:10:55 > 0:10:57Sure. Would you like to join me, Marta?
0:10:57 > 0:10:59I don't do such things.
0:10:59 > 0:11:01He's a very naughty boy, Marta.
0:11:01 > 0:11:03He could be your father or your grandfather.
0:11:04 > 0:11:07Like that. OK? Swing it close to the ground.
0:11:07 > 0:11:10That's it. That's it. Like a pendulum. Just like this.
0:11:10 > 0:11:12When you're finished being a croquet expert, Nigel,
0:11:12 > 0:11:14I have a pound says I'll kick your arse.
0:11:14 > 0:11:16Ah, the way you play, you probably will.
0:11:16 > 0:11:19You forget - I saw your Barber Of Seville,
0:11:19 > 0:11:21and your singing brought tears to my ears.
0:11:22 > 0:11:25Saw you in Carmen - I'll never forget it, but I'll try.
0:11:25 > 0:11:26THEY CHUCKLE
0:11:33 > 0:11:36CLARINET PLAYS, THEN STUTTERS
0:11:54 > 0:11:57CLARINET RESUMES
0:11:59 > 0:12:02- Morning, Nobby. - Ah, morning, Mr Bond.
0:12:02 > 0:12:04- Simon, what's up? - All good, mate.
0:12:04 > 0:12:05Oh, by the way, Nobby,
0:12:05 > 0:12:08if you get a chance, I could use another one of the usual.
0:12:08 > 0:12:10- Do you need any money? - No, it's all right.
0:12:10 > 0:12:12Look, I've got some change from last time.
0:12:12 > 0:12:13I'll stick it in the usual place.
0:12:13 > 0:12:17Oh, and watch it, Cissy Robson's been looking for you all morning.
0:12:17 > 0:12:20Can't think why. I'm the most attractive man in the place.
0:12:21 > 0:12:25MUSIC: La Donna e Mobile by Giuseppe Verdi
0:12:26 > 0:12:28I read somewhere that the average man
0:12:28 > 0:12:30thinks of sex every seven seconds.
0:12:30 > 0:12:31Do you?
0:12:31 > 0:12:34I wish it was only every seven seconds.
0:12:35 > 0:12:38Do you know, the first time I set eyes on her,
0:12:38 > 0:12:41I thought she was the most beautiful, sexiest creature
0:12:41 > 0:12:42I'd ever clapped my eyes on.
0:12:42 > 0:12:44- ALARM BUZZES - Oh.
0:12:44 > 0:12:46Oh, Cissy - Cissy, my love,
0:12:46 > 0:12:49can you imagine the passionate love we might have made?
0:12:49 > 0:12:51But it's not too late.
0:12:51 > 0:12:53We can still dive beneath the blankets
0:12:53 > 0:12:54and cuddle till the end of time.
0:12:54 > 0:12:58- What do you say to that, sweetie? - Ready.
0:12:58 > 0:13:00Why are you laughing?
0:13:00 > 0:13:03You'll never guess what I've been listening to. Our Rigoletto.
0:13:03 > 0:13:04We are so lovely...
0:13:04 > 0:13:07- Uh, Cissy, the gala committee. - Oh...
0:13:07 > 0:13:09This was the last time we sang it. Remember, Reggie?
0:13:09 > 0:13:12- Why have they reissued it? - I don't know.
0:13:12 > 0:13:15I remember the recording session, the production, everything,
0:13:15 > 0:13:16like it was yesterday,
0:13:16 > 0:13:19and yet I can't remember what I had for breakfast this morning.
0:13:19 > 0:13:21- Apricot jam. - "Rigoletto - Horton and Paget".
0:13:21 > 0:13:23You'll notice my name isn't there, of course.
0:13:23 > 0:13:26I should've been top of the bill - I had the named part.
0:13:26 > 0:13:28Still, I made a living from it, which was all I really wanted.
0:13:28 > 0:13:32I'm not like you, you see, Reggie - you're an artist, I'm an artisan.
0:13:32 > 0:13:35Where's my bag? I can't find my bag. Where is it?
0:13:35 > 0:13:36Oh. Thank you, Reggie.
0:13:36 > 0:13:39And you're safe back from Karachi, and I'm so glad.
0:13:39 > 0:13:40Oh...
0:13:42 > 0:13:44Why Karachi?
0:13:44 > 0:13:45Well, her father was Indian army.
0:13:45 > 0:13:48- Do you think she's getting worse, Reg?- Yes.
0:13:48 > 0:13:51# I'm born famous, I'm sorta known
0:13:51 > 0:13:52- # If your son doesn't... - # If your...
0:13:52 > 0:13:56- # Son doesn't, I bet your... # - # I bet your daughter knows. #
0:13:56 > 0:13:58Boom, boom, chh!
0:13:58 > 0:14:00Reg, you might as well get used to it - rap's here to stay.
0:14:00 > 0:14:02Oh, I don't think it is.
0:14:02 > 0:14:04That's what you said about The Beatles.
0:14:04 > 0:14:06- Well, it isn't music. - They think it is.
0:14:06 > 0:14:08- Who?- The kids you're talking to.
0:14:08 > 0:14:10# That's what we mean
0:14:10 > 0:14:11# When we say that a thing
0:14:11 > 0:14:14# Is welcome as flowers that bloom in the spring
0:14:14 > 0:14:17# Tra, la-la-la-la-la Tra, la-la-la-la-la
0:14:17 > 0:14:19# The flowers that bloom in the spring
0:14:19 > 0:14:21# Tra, la-la-la-la Tra, la-la-la-la
0:14:21 > 0:14:26- # Tra, la-la-la, la-la. # - That's better. That was good.
0:14:27 > 0:14:29Now this is a bloody disaster! Really!
0:14:29 > 0:14:31Come in, Cissy.
0:14:31 > 0:14:32- Who? What?- Cissy.
0:14:32 > 0:14:35- You're late. - Sorry. I said I was sorry.
0:14:35 > 0:14:36Sit down.
0:14:36 > 0:14:39Frank White has just pulled out. He doesn't feel up to the gala.
0:14:39 > 0:14:40It's even in the local paper.
0:14:40 > 0:14:43- He's not well. - Darling, Frank White!
0:14:43 > 0:14:45Oh, he's such a lovely man.
0:14:45 > 0:14:47This is a disaster.
0:14:47 > 0:14:51Because he's pulled out, ticket sales have already fallen by 60%.
0:14:51 > 0:14:52The givers aren't giving.
0:14:52 > 0:14:55If we can't make the gala into the hottest ticket in town,
0:14:55 > 0:14:57this house could collapse about our ears.
0:14:57 > 0:14:58Oh! We could lose it!
0:14:58 > 0:15:01We have to find a replacement for Frank immediately.
0:15:01 > 0:15:04Who was it who said, "Old age is not for sissies"?
0:15:04 > 0:15:06I always remember that, you know,
0:15:06 > 0:15:07because it's my name... and "sissies".
0:15:07 > 0:15:12Cissy, if you must speak, please raise your hand.
0:15:12 > 0:15:13Now, where was I?
0:15:13 > 0:15:15"This is a disaster."
0:15:15 > 0:15:18Of course. Yes, it is a disaster. Yes? What?
0:15:18 > 0:15:20- She's raising her hand.- What?
0:15:20 > 0:15:22Bette Davis. Bette Davis.
0:15:22 > 0:15:25She said, she said, "Old age is not for sissies".
0:15:25 > 0:15:26PIANO PLAYS
0:15:26 > 0:15:29- Silenzio! - # Tra, la-la-la-la
0:15:29 > 0:15:31- # Tra, la-la-la-la... # - Silenzio!
0:15:31 > 0:15:34Shut it! You will choose a different song immediately.
0:15:34 > 0:15:38I'll have no "tra-la-la" at my gala! None of it!
0:15:39 > 0:15:41What about Reggie? La Donna e Mobile.
0:15:41 > 0:15:43I just had a brilliant idea -
0:15:43 > 0:15:46to ask Reggie if he'll sing La Donna e Mobile.
0:15:46 > 0:15:48Oh...yeah, what?
0:15:48 > 0:15:51Reggie's a bit funny about La Donna e Mobile.
0:15:51 > 0:15:52Your job is to ask him.
0:15:52 > 0:15:55Please put your hand/arm down.
0:15:56 > 0:15:59- He won't do it. - That was my idea.
0:15:59 > 0:16:01Yes, it was.
0:16:23 > 0:16:24Look.
0:16:28 > 0:16:30- Oh, my God.- Oh, my.
0:16:35 > 0:16:37- Excuse me, love. - Oh.
0:16:41 > 0:16:43Here.
0:16:47 > 0:16:49DOOR CLOSES
0:16:53 > 0:16:57Most of our residents are on the floor upstairs.
0:16:58 > 0:17:01This is Sir Thomas Beecham.
0:17:01 > 0:17:03He was one of Britain's greatest conductors.
0:17:03 > 0:17:05Yes. I know who he was.
0:17:05 > 0:17:08He inherited a fortune. His grandfather made laxatives.
0:17:08 > 0:17:12Naming a nursing home after him is frighteningly apt.
0:17:12 > 0:17:14Um...these flowers are here to welcome you.
0:17:14 > 0:17:16I'll have them sent up to your room.
0:17:16 > 0:17:18We're very lucky to have you here.
0:17:18 > 0:17:20Your room is as large as Anne Langley's.
0:17:20 > 0:17:21Oh, God, is she here?
0:17:21 > 0:17:24It's a beautiful suite in what we call the B Wing.
0:17:24 > 0:17:26Well, it sounds like a prison.
0:17:26 > 0:17:28The service lift is currently being repaired,
0:17:28 > 0:17:30but we have the chairlift, which will be much easier for you.
0:17:30 > 0:17:34Chairlift? What do I do when I get to the top, ski down?
0:17:34 > 0:17:36APPLAUSE
0:17:36 > 0:17:39Brava!
0:17:39 > 0:17:42Brava! Brava!
0:17:44 > 0:17:46Brava! Brava!
0:17:46 > 0:17:48Oh.
0:17:51 > 0:17:54- Brava! - Oh, how very kind.
0:17:56 > 0:17:57Oh...
0:17:57 > 0:17:59Brava!
0:18:10 > 0:18:12Yeah, we could always do the Barber -
0:18:12 > 0:18:13you, Cissy and me.
0:18:13 > 0:18:15For the gala.
0:18:15 > 0:18:18- Oh. You moved your ball. - That's unthinkable! How dare you!
0:18:18 > 0:18:20I just saw you move it. With your foot.
0:18:20 > 0:18:23Uh, Wilf, uh, she's married.
0:18:23 > 0:18:25She gave me a look.
0:18:27 > 0:18:29- Your shot. - Thank you, Wilf.
0:18:29 > 0:18:31You're never going to get it from there, anyway.
0:18:31 > 0:18:33Oh, you watch me.
0:18:33 > 0:18:34Told you.
0:18:34 > 0:18:37I always wanted to sing Wagner - Tristan. Never came my way.
0:18:37 > 0:18:39Wilf, what are you doing?
0:18:39 > 0:18:41What does it look like I'm doing?
0:18:41 > 0:18:43- Wagner! - There are people watching.
0:18:43 > 0:18:45The British should stick to British composers
0:18:45 > 0:18:47like Rossini, Donizetti, Verdi.
0:18:47 > 0:18:49Boys! Boys! Boys!
0:18:49 > 0:18:52I know who it is.
0:18:52 > 0:18:54I saw her. I saw her!
0:18:54 > 0:18:56George was right - it is a star.
0:18:56 > 0:18:58But you'll never, never guess who it is.
0:18:58 > 0:18:59- Never. - Well, tell us.
0:18:59 > 0:19:01Don't keep us in suspense for eternity.
0:19:01 > 0:19:03No, you won't believe it.
0:19:03 > 0:19:05As large as life and twice as terrifying.
0:19:05 > 0:19:07Um...oh, it's gone. Um...uh...
0:19:07 > 0:19:09Think, Cissy. Think.
0:19:09 > 0:19:11- Soprano, beginning with G. - Mary Garden.
0:19:11 > 0:19:12- No, no, no, no. - Rita Gorr?
0:19:12 > 0:19:15- Galli-Curci. - No! No! Oh, God!
0:19:16 > 0:19:18Gilda.
0:19:18 > 0:19:20- Gilda? - Our Gilda.
0:19:21 > 0:19:24- Rigoletto? - Yes.
0:19:24 > 0:19:26- Jean Horton? - Yes.
0:19:26 > 0:19:27Jean Horton. Yes.
0:19:32 > 0:19:34Oh, my darling.
0:19:37 > 0:19:39Steady, Reg.
0:19:41 > 0:19:42Excuse me, Dr Cogan.
0:19:42 > 0:19:44That's why you've kept it such a secret.
0:19:44 > 0:19:45You didn't want me to know.
0:19:47 > 0:19:50- You mean Jean Horton? - I should have been consulted.
0:19:51 > 0:19:52She was such a huge star...
0:19:52 > 0:19:54I should have been consulted.
0:19:54 > 0:19:56Well, she didn't want media attention...
0:19:56 > 0:19:59She didn't want? Nothing changes! What about what I didn't want?!
0:20:01 > 0:20:04- It had nothing to do with you, Reggie.- Obviously not!
0:20:04 > 0:20:05I mean, it was simply at her request.
0:20:05 > 0:20:08She did know that I live here?
0:20:08 > 0:20:10She DID know that I live here?
0:20:12 > 0:20:14Reggie, I'm sure she's going to be amicable...
0:20:14 > 0:20:18With great respect, Dr Cogan, you don't know her.
0:20:19 > 0:20:20You don't know her.
0:20:27 > 0:20:29I wanted a dignified senility.
0:20:31 > 0:20:33Fat chance, now she's here.
0:20:35 > 0:20:37I'll have to find somewhere else to live.
0:20:37 > 0:20:39Sod it.
0:20:40 > 0:20:42Don't you have one of your talks tomorrow, Reggie?
0:20:42 > 0:20:45- What?- Your talk, with the children, tomorrow.
0:20:45 > 0:20:46Oh, God.
0:20:48 > 0:20:51Uh...excuse me.
0:20:55 > 0:20:58# Ahhhh... #
0:20:58 > 0:21:00Why don't they have tenors like Jon Vickers anymore?
0:21:00 > 0:21:02They just don't exist.
0:21:02 > 0:21:04And Freni was such a wonderful Desdemona.
0:21:04 > 0:21:06Oh, I loved singing that role.
0:21:06 > 0:21:08It was so easy for me.
0:21:08 > 0:21:11Poor thing. She's having such a hard time.
0:21:11 > 0:21:14- Cissy, canasta! You've won! - I win! I win!
0:21:14 > 0:21:15- You cheated- Nonsense.
0:21:15 > 0:21:17- How dare you.- Any of you seen...?
0:21:17 > 0:21:19Who is that smoking?
0:21:19 > 0:21:21- George and Harry.- Nobody, nothing.
0:21:21 > 0:21:23I don't know how many times I have told you, smoking kills.
0:21:23 > 0:21:26- Put those out.- What? - Drop them on the floor, please.
0:21:26 > 0:21:28- Thank you. - Oh, for goodness' sake.
0:21:28 > 0:21:31Give them a break. George is 78, Harry's 82.
0:21:31 > 0:21:32Suppose they were to stop smoking -
0:21:32 > 0:21:35how much longer are they going to live? A week?
0:21:35 > 0:21:37It would probably rain that week, anyway.
0:21:37 > 0:21:39- You are a bad influence, Wilfred. - I think so.
0:21:39 > 0:21:41- Have you seen Reginald? - He went to bed early.
0:21:41 > 0:21:44Don't worry about him. He's as tough as a monkey's tit, our Reggie.
0:21:44 > 0:21:47I think we should worry more about Jean Horton.
0:22:04 > 0:22:06Ms Horton?
0:22:08 > 0:22:10- Are you all right?- Yes.
0:22:12 > 0:22:14Isn't it a lovely room?
0:22:18 > 0:22:21Well, you've had a very long day. You might want to retire early.
0:22:21 > 0:22:23Yes, I've not yet entered second childhood,
0:22:23 > 0:22:25so please don't talk to me as though I have.
0:22:25 > 0:22:28Just leave me be. And I'll take my meals in my room.
0:22:28 > 0:22:31Uh...we don't usually serve the residents in their rooms.
0:22:31 > 0:22:34I presume you do when the residents are unwell. I am unwell.
0:22:36 > 0:22:38Well, I...I hope you feel better soon.
0:23:12 > 0:23:13CELLO PLAYS
0:24:01 > 0:24:05# So, please, sir, we much regret If we have failed in etiquette
0:24:05 > 0:24:09# Towards a man of rank so high We shall know better by and by
0:24:09 > 0:24:11# But youth, of course, must have its fling
0:24:11 > 0:24:13# So pardon us, so pardon us
0:24:13 > 0:24:15# And don't, in girlhood's happy spring
0:24:15 > 0:24:17# Be hard on us, be hard on us... #
0:24:17 > 0:24:19- Where do you want it, Nobby? Here?- That's it, yeah.
0:24:20 > 0:24:24# But youth, of course, must have its fling, so pardon us... #
0:24:24 > 0:24:27# La, la, la, la, la, la, la, la, la. #
0:24:27 > 0:24:29Yoo-hoo, Nobby! Hello, big boy.
0:24:29 > 0:24:31- Morning, Ms Robson. - I'm coming right down.
0:24:31 > 0:24:32Good morning, Nobby!
0:24:32 > 0:24:35# La, la, la, la, la, la, la, la, la. #
0:24:35 > 0:24:37THEY CHUCKLE
0:24:52 > 0:24:53Reggie?
0:24:53 > 0:24:56MUSIC: Pass Out by Tinie Tempah
0:24:56 > 0:24:58# You're the foundation I'm the cornerstone
0:24:58 > 0:24:59# I'm born famous, I'm sorta known
0:24:59 > 0:25:02# And if your son doesn't I bet your daughter knows... #
0:25:02 > 0:25:06MUSIC: Toccata and Fugue In D Minor by Johann Sebastian Bach
0:25:23 > 0:25:24- Oh.- Excuse me.
0:25:24 > 0:25:26This room is occupied, Wilf.
0:25:26 > 0:25:27Oh, I'm sorry.
0:25:27 > 0:25:29Oh, and don't do your toes the same colour -
0:25:29 > 0:25:31it's considered gauche.
0:25:34 > 0:25:36No breeding.
0:25:36 > 0:25:37Doctor, have you seen Reggie?
0:25:37 > 0:25:39Yes. He's using the computer in my office.
0:25:39 > 0:25:41Thanks.
0:25:49 > 0:25:51- Morning. - Good morning.
0:25:52 > 0:25:54Oh.
0:25:56 > 0:25:58You OK, Mr Bond?
0:26:01 > 0:26:03Mr Bond, are you OK?
0:26:03 > 0:26:06I'm...just a bit dizzy.
0:26:07 > 0:26:09I'm fine. Fine.
0:26:13 > 0:26:14Ooh.
0:26:25 > 0:26:27RAP MUSIC PLAYS
0:26:27 > 0:26:30Reg? You OK?
0:26:33 > 0:26:35- Can I get you a coffee? - I'm preparing my talk.
0:26:37 > 0:26:38Anything?
0:26:43 > 0:26:45Reg? Coffee?
0:26:45 > 0:26:48Close the door behind you, please.
0:26:48 > 0:26:49Yeah. OK.
0:26:49 > 0:26:52# I said, bitch, listen up... #
0:26:55 > 0:26:57KNOCK ON DOOR
0:26:57 > 0:26:59Well, come in.
0:27:03 > 0:27:04Jean?
0:27:06 > 0:27:07It's me, Cissy.
0:27:08 > 0:27:10Cicely Robson.
0:27:11 > 0:27:16Oh! Yes, of course. Course it is. Yes, do come in.
0:27:16 > 0:27:18Ah, lovely room. Bigger than mine.
0:27:18 > 0:27:21- How nice to see you. - You haven't unpacked yet.
0:27:21 > 0:27:24I've been telling everyone you still look like a young girl.
0:27:24 > 0:27:25Well, I don't feel it.
0:27:25 > 0:27:27Look. Huh.
0:27:27 > 0:27:30I'm on the waiting list for a new hip.
0:27:30 > 0:27:33Oh, dear. Lovely jewels.
0:27:34 > 0:27:36You look beautiful.
0:27:39 > 0:27:40You haven't changed a bit.
0:27:40 > 0:27:42Did they serve you breakfast in your room?
0:27:42 > 0:27:43Of course.
0:27:44 > 0:27:46CHATTER AND LAUGHTER
0:27:48 > 0:27:49Who are all those children?
0:27:49 > 0:27:52It's probably Reggie giving one of his classes.
0:27:53 > 0:27:55Yes, of course.
0:27:55 > 0:27:57Reginald Paget's here, isn't he?
0:27:57 > 0:27:59Yes.
0:28:01 > 0:28:07Now, I'd like to ask if any of you have a favourite singer.
0:28:07 > 0:28:09Don't be shy.
0:28:09 > 0:28:11- Lady Gaga? - Lady Ga-who?
0:28:11 > 0:28:12LAUGHTER
0:28:12 > 0:28:15I'm sorry. Lady Gaga. I don't know about Lady Gaga.
0:28:15 > 0:28:17Anyone else? You? Do you like Lady Gaga?
0:28:17 > 0:28:20Nah, Lady Gaga's pop.
0:28:20 > 0:28:22I like hip-hop, period.
0:28:22 > 0:28:25"Hip-hop, period"?
0:28:26 > 0:28:28Is that the same as rap?
0:28:28 > 0:28:29No, it's different, slightly.
0:28:29 > 0:28:33- Would you mind telling me what rap is?- Tell me what opera is.
0:28:33 > 0:28:36No, yes, uh, well, yes, I will... I will eventually.
0:28:36 > 0:28:38No, you tell me what rap is
0:28:38 > 0:28:40and then I'll tell you what opera is.
0:28:40 > 0:28:41How about you tell me what opera is
0:28:41 > 0:28:43and then later on I'll tell you what rap is?
0:28:43 > 0:28:46There you go. What can I do?
0:28:46 > 0:28:48Uh, well, you know, originally,
0:28:48 > 0:28:51it was people just like you went to the opera.
0:28:51 > 0:28:53Casual clothes, they took food,
0:28:53 > 0:28:56they took alcohol, they threw things.
0:28:56 > 0:28:58Anyway, that was a long time ago
0:28:58 > 0:29:00that rich people took over the world of opera
0:29:00 > 0:29:02with their fancy dress,
0:29:02 > 0:29:04and they took the soul out of it -
0:29:04 > 0:29:08they made it something that it's not.
0:29:08 > 0:29:11What is it? Uh, what is it?
0:29:11 > 0:29:13Would you wait for me, Cissy, dear?
0:29:13 > 0:29:14What? Oh, sorry, sorry. I'm so excited.
0:29:14 > 0:29:18Even I... Even I...I've woken up with the black dog on my shoulder
0:29:18 > 0:29:20from time to time, and it doesn't last for long.
0:29:20 > 0:29:22You see, how could it?
0:29:22 > 0:29:25Because everyone here looks after each other and...
0:29:25 > 0:29:28Make up your mind, dear, please.
0:29:28 > 0:29:30And there's so much to enjoy here - people coming and going,
0:29:30 > 0:29:34- new faces, old friends, new hobbies. - SALSA MUSIC PLAYS
0:29:34 > 0:29:36What's that dreadful noise?
0:29:36 > 0:29:37I'm meant to be in there.
0:29:40 > 0:29:44Side to side, basic. Cissy, you're missing my class.
0:29:44 > 0:29:46Come in, darling.
0:29:50 > 0:29:51Forward and back.
0:29:53 > 0:29:56Nice, hips, move those hips.
0:30:03 > 0:30:05Side to side now. Shake it, ladies. Shake it.
0:30:05 > 0:30:08This is not a retirement home, this is a madhouse.
0:30:09 > 0:30:10God.
0:30:12 > 0:30:13Hello.
0:30:19 > 0:30:22Jean? Jean?
0:30:24 > 0:30:26Birthday benefit gala, emergency, top secret.
0:30:28 > 0:30:31- Jean?- Didn't that used to be Bobby Swanson?
0:30:31 > 0:30:33- Yes.- Well, he didn't seem to recognise me.
0:30:33 > 0:30:34Isn't that odd?
0:30:34 > 0:30:37"Birthday benefit gala, emergency, top secret."
0:30:37 > 0:30:39Oh, whose birthday? Mine isn't till January 6.
0:30:39 > 0:30:42No, no, no. Not yours, darling, no. No, Verdi's birthday.
0:30:42 > 0:30:45There's a benefit gala and we're all expected to perform.
0:30:45 > 0:30:48- Wha...? Perform? - Yes, we all do...what we do.
0:30:48 > 0:30:50At our age? That's ridiculous.
0:30:50 > 0:30:52No, it isn't. Everybody can do something.
0:30:52 > 0:30:56Well, I'm not singing at Verdi's gala or anybody else's.
0:30:56 > 0:30:58I don't sing anymore, and that is final.
0:30:58 > 0:31:00Jean, I was listening to our Rigoletto this morning,
0:31:00 > 0:31:03and we were all so good, but...
0:31:03 > 0:31:06Jean, your Gilda, it was magnificent.
0:31:06 > 0:31:08Yes, I know.
0:31:08 > 0:31:11I know. I never took less than 12 curtain calls. Never.
0:31:13 > 0:31:15Where is Reggie?
0:31:15 > 0:31:18Um...I think he's round here.
0:31:18 > 0:31:22Opera is when a guy is stabbed in the back,
0:31:22 > 0:31:26instead of bleeding, he sings.
0:31:26 > 0:31:28But it seems to me, after much research,
0:31:28 > 0:31:32that rap is, when a guy is stabbed in the back,
0:31:32 > 0:31:34instead of bleeding, he talks -
0:31:34 > 0:31:36albeit rhythmically, even with feeling.
0:31:36 > 0:31:39But because rap's spoken,
0:31:39 > 0:31:43the feeling is sort of held in check, all on one note.
0:31:43 > 0:31:45I think he's in here. This is the...
0:31:45 > 0:31:47No, no, no, no. This is the little music room.
0:31:47 > 0:31:48This is the little m...
0:31:48 > 0:31:50He'll be in the big music room
0:31:50 > 0:31:53because that's where they do all the big lectures, in here.
0:31:53 > 0:31:54- Yes. - No, Cissy, don't.
0:31:54 > 0:31:57- He'll be thrilled to see you. - Don't.
0:31:57 > 0:32:00In opera, we sing what we're feeling,
0:32:00 > 0:32:03and the song, the rise and fall of the music,
0:32:03 > 0:32:07sets our emotions free.
0:32:07 > 0:32:11If you ask me, I'd say to you that opera
0:32:11 > 0:32:16is simply the outpouring of all the emotions
0:32:16 > 0:32:19that all of us carry inside us.
0:32:19 > 0:32:22Now, Joey, I think it's your turn.
0:32:22 > 0:32:24Show him what you can do.
0:32:24 > 0:32:26- Oh, he can actually do rap? - He's really good.
0:32:26 > 0:32:27- Come on.- All right.
0:32:27 > 0:32:30# Opera's where you sing your arse on stage
0:32:30 > 0:32:32# Rap is where you're trying to get your arse paid
0:32:32 > 0:32:34# You're talking horny but we get laid
0:32:34 > 0:32:36# We can't help what we talk about
0:32:36 > 0:32:38# We just talk and you sing it out
0:32:38 > 0:32:40# Opera make you feel the pain too
0:32:40 > 0:32:42# We wake up, we're 16 years old
0:32:42 > 0:32:45# We look outside The sky stays cold
0:32:45 > 0:32:47# See, there's pain in my heart
0:32:47 > 0:32:49# And every day I wake up and it's damaged
0:32:49 > 0:32:51# But opera, you sing it out loud
0:32:51 > 0:32:53# Get stabbed in the back You seem to manage
0:32:53 > 0:32:55# Everybody thinks that opera and rap
0:32:55 > 0:32:57# Are two completely different things
0:32:57 > 0:32:59# But it's just talking, for us
0:32:59 > 0:33:01# And for you, it's just the way that you sing
0:33:01 > 0:33:03# And everybody knows how we do it, Holmes
0:33:03 > 0:33:05# Cos the sky... #
0:33:05 > 0:33:07- Oh. I don't know - whatever, man... - Fantastic.
0:33:07 > 0:33:11APPLAUSE AND WHOOPING
0:33:11 > 0:33:14Thank you, Joey. Now, uh, very good, it's going very well.
0:33:14 > 0:33:16Don't go away.
0:33:16 > 0:33:19Um, we're going to, uh...
0:33:19 > 0:33:21Uh, yes, come in.
0:33:21 > 0:33:23It's us.
0:33:31 > 0:33:32Can I help you?
0:33:44 > 0:33:46Where was I?
0:33:50 > 0:33:53Rigoletto is, uh...
0:33:54 > 0:33:58..one of Verdi's, uh, masterpieces.
0:33:58 > 0:34:00It's about infidelity.
0:34:03 > 0:34:05- No. No... - Ah, Reggie, how'd the talk go?
0:34:08 > 0:34:09Um...
0:34:11 > 0:34:12Reggie?
0:34:14 > 0:34:17HE HUMS BOCHERINI'S "MINUET IN E"
0:34:26 > 0:34:28# You little beauty, yes... #
0:34:55 > 0:34:58Jean, shall we just sit for a while?
0:34:58 > 0:35:00I don't care what we do, really.
0:35:00 > 0:35:04Oh! Nobby really ought to have a go at this pond.
0:35:04 > 0:35:07- Ugh, it's filthy.- Yes.
0:35:07 > 0:35:08Here we are.
0:35:10 > 0:35:12Oh! There's Olly.
0:35:12 > 0:35:15Daisy! Daisy-Jo!
0:35:15 > 0:35:17Run, run, run, run, run, run, run!
0:35:17 > 0:35:19Look at you!
0:35:19 > 0:35:22Give me a hug! Mmmm!
0:35:22 > 0:35:25- This is my friend, Jean. - Hello, Jean.
0:35:25 > 0:35:26Uh, which hand?
0:35:28 > 0:35:29That one.
0:35:29 > 0:35:31Yes!
0:35:31 > 0:35:33Daisy! It's time to go home.
0:35:33 > 0:35:34Off you go. Say goodbye.
0:35:34 > 0:35:36- Goodbye, Cissy. - Bye-bye, sweetheart.
0:35:36 > 0:35:40- What's your name again?- Jean.
0:35:40 > 0:35:42Bye, Jean.
0:35:43 > 0:35:45Bye.
0:35:47 > 0:35:48Mm...
0:35:49 > 0:35:52Must be lovely to have visitors, like family.
0:35:53 > 0:35:56Will you, Jean, have visitors?
0:35:56 > 0:35:58- The grounds are nice.- Yes. Yes.
0:36:02 > 0:36:05I'm not like you, Wilf - I positively liked getting old.
0:36:05 > 0:36:07I think I can say that I made the transition
0:36:07 > 0:36:11from opera singer to old fart with aplomb.
0:36:11 > 0:36:14And then Jean arrives and shatters everything.
0:36:14 > 0:36:17You know, I remember thinking about you when you got married.
0:36:17 > 0:36:19She was always much more ambitious than you.
0:36:19 > 0:36:20Of course she was.
0:36:20 > 0:36:22She was more ambitious than everyone.
0:36:22 > 0:36:24If I know anything about it...
0:36:24 > 0:36:26- What can you know about it? - I was your best man.
0:36:26 > 0:36:28Yeah, of course you were.
0:36:28 > 0:36:30But you were married to the same woman for 35 years.
0:36:30 > 0:36:31Call me old-fashioned, Wilf,
0:36:31 > 0:36:34but did she know you were unfaithful to her God knows how many times?
0:36:36 > 0:36:39You say some very harsh things, Reg.
0:36:39 > 0:36:40I think I'll have myself a widdle.
0:36:45 > 0:36:48And you were right, you know - I do hate getting older.
0:36:48 > 0:36:50I hate every bloody moment of it.
0:36:50 > 0:36:54If it isn't piles, it's bloody prostate
0:36:54 > 0:36:57or peeing five times a night, if you're lucky.
0:37:01 > 0:37:04Ah! Ladies!
0:37:04 > 0:37:08You may want to avert your gaze.
0:37:08 > 0:37:12A wise man goes when he can, a fool goes when he must.
0:37:12 > 0:37:14Look, here's Jean in all her glory.
0:37:14 > 0:37:18Oh, Jean. You haven't changed a jot.
0:37:18 > 0:37:21Didn't I tell you? Didn't I say she still looks like a young girl?
0:37:21 > 0:37:24Reggie? Don't I get a kiss?
0:37:25 > 0:37:26Reg?
0:37:27 > 0:37:30I apologise for hurting you.
0:37:30 > 0:37:33Please...be kind to me.
0:37:33 > 0:37:36We were different people then.
0:37:38 > 0:37:41There, I've...I've been rehearsing that all the past week.
0:37:41 > 0:37:43He's upset because he wasn't warned you were coming.
0:37:43 > 0:37:45I'm not upset.
0:37:46 > 0:37:48Oh, Reg.
0:37:48 > 0:37:50This is the first time we've seen each other
0:37:50 > 0:37:52in God knows how many years.
0:37:52 > 0:37:5397.
0:37:53 > 0:37:56- GASPING:- Is it really that long?
0:37:56 > 0:37:58God. How time flies.
0:37:59 > 0:38:01Oh...a joke!
0:38:01 > 0:38:02BOBBY: Cissy!
0:38:02 > 0:38:05Bobby, give us a clue, for God's sake.
0:38:05 > 0:38:07Is it a book, a film, a play?
0:38:07 > 0:38:10Cissy. The note?
0:38:10 > 0:38:12I couldn't read your writing.
0:38:12 > 0:38:14Meeting, now.
0:38:14 > 0:38:16Oh, God. The emergency meeting.
0:38:16 > 0:38:20- I wonder what that was all about. - Where's Reg? Where's Reg?
0:38:23 > 0:38:24Reg!
0:38:52 > 0:38:54Reg?
0:38:58 > 0:38:59Reggie?
0:39:04 > 0:39:06Reg, are you in here?
0:39:10 > 0:39:12BOOK CRASHES TO THE FLOOR
0:39:12 > 0:39:14Oh. There you are.
0:39:14 > 0:39:16What you doing there?
0:39:17 > 0:39:19Leave me in peace, Jean.
0:39:19 > 0:39:22God...oh, dear, I've walked miles to find you.
0:39:22 > 0:39:24Leave me in peace.
0:39:26 > 0:39:27Reggie?
0:39:29 > 0:39:30Leave!
0:39:37 > 0:39:41SHE SOBS
0:39:58 > 0:40:00Can't ever remember you crying.
0:40:00 > 0:40:02I don't remember you being religious.
0:40:02 > 0:40:06I'm not. I was trying to avoid you.
0:40:06 > 0:40:09I apologise for hurting you. Please be kind.
0:40:09 > 0:40:12- We were different people then. - No, you just said that, Jean.
0:40:12 > 0:40:13You're repeating yourself.
0:40:15 > 0:40:16Gosh.
0:40:17 > 0:40:19Why do we have to get old?
0:40:19 > 0:40:21That's what people do.
0:40:24 > 0:40:26We have to come to some arrangement.
0:40:26 > 0:40:29I don't want to talk about it. You're here. I'm here. Trapped.
0:40:29 > 0:40:31So what are we going to do?
0:40:31 > 0:40:32Grin and bear it.
0:40:34 > 0:40:36What happened to forgive and forget?
0:40:46 > 0:40:48This cologne...
0:40:49 > 0:40:51Takes me back.
0:40:55 > 0:40:57It takes me back to you, Reg.
0:41:19 > 0:41:21HE COUGHS
0:41:26 > 0:41:29MUSIC: Symphony 100 in G (Military) by Joseph Haydn
0:41:36 > 0:41:39- It's flat.- I know.
0:41:39 > 0:41:41Are there any other pianos?
0:41:41 > 0:41:44We will make sure you get a better one next time, all right?
0:41:44 > 0:41:46Have a little go, see how you get on.
0:41:46 > 0:41:47OK.
0:42:10 > 0:42:13APPLAUSE
0:42:15 > 0:42:16Esme.
0:42:18 > 0:42:21- Thank you. - Hello. My name's Isla Mathieson.
0:42:21 > 0:42:23Hello. My name's Iona Mathieson.
0:42:23 > 0:42:26- And we'll be playing... - Go Tell Aunt Rhody.
0:42:26 > 0:42:28APPLAUSE
0:42:33 > 0:42:36MUSIC: Go Tell Aunt Rhody
0:43:34 > 0:43:36Would you like to go for a walk?
0:43:41 > 0:43:45LIVELY STRINGS MUSIC PLAYS
0:44:01 > 0:44:03Were you married four or five times?
0:44:03 > 0:44:06I was only married twice.
0:44:06 > 0:44:08After you.
0:44:08 > 0:44:09Charlie Tripper.
0:44:10 > 0:44:12He was a businessman.
0:44:13 > 0:44:16Mixed pleasure with business rather too often.
0:44:16 > 0:44:18And Edward...
0:44:21 > 0:44:23- Fitzroy?- Yeah.
0:44:23 > 0:44:26Yeah. He wanted me to retire, have a family,
0:44:26 > 0:44:27so that was the end of that.
0:44:32 > 0:44:33- You never married again?- No.
0:44:36 > 0:44:37- Why not?- Didn't want to.
0:44:41 > 0:44:44When we did Boheme at the Met and you backed out,
0:44:44 > 0:44:45was that because of me?
0:44:45 > 0:44:47Yep.
0:44:47 > 0:44:49- And Salzburg?- Yep.
0:44:51 > 0:44:53Oh.
0:45:00 > 0:45:01What brought you here?
0:45:01 > 0:45:05Um...actually, Wilf was ill.
0:45:05 > 0:45:06He had a stroke, didn't he?
0:45:06 > 0:45:08Yes - it was only a mild one, thankfully.
0:45:08 > 0:45:11It's affected his, um...his frontal lobe
0:45:11 > 0:45:14and he has trouble censoring himself.
0:45:14 > 0:45:15Is that it?
0:45:15 > 0:45:17Well, so he says.
0:45:17 > 0:45:20So I came here to see how Wilf was getting on.
0:45:21 > 0:45:22- And stayed.- Mm.
0:45:24 > 0:45:28I loved singing. But I like my life.
0:45:28 > 0:45:31You can't have both. Can you?
0:45:33 > 0:45:35- No.- No.
0:45:37 > 0:45:38No, you can't.
0:45:42 > 0:45:43I have nothing.
0:45:43 > 0:45:47Well, my clothes, bit of jewellery
0:45:47 > 0:45:49and a hip that gives me hell.
0:45:49 > 0:45:51- And here you are. - Yeah, here I am.
0:45:51 > 0:45:54On charity. God, it's embarrassing.
0:45:55 > 0:45:57I wouldn't tell anyone.
0:45:57 > 0:45:59I mean, the press have always been mean to me.
0:45:59 > 0:46:03If they learned I'd landed up here, God, how they'd gloat.
0:46:03 > 0:46:05Do the press still have any interest in you?
0:46:05 > 0:46:07- Oh!- Ow.
0:46:07 > 0:46:09Piss off, Reg.
0:46:09 > 0:46:11W... Bitch!
0:46:11 > 0:46:13There she goes. See her?
0:46:13 > 0:46:15Angelique. Bitch!
0:46:15 > 0:46:18Cow! Sodding frog!
0:46:18 > 0:46:20She won't give me marmalade at breakfast.
0:46:20 > 0:46:22She gives me apricot jam.
0:46:22 > 0:46:26- Oh. You hate apricot jam.- Bitch!
0:46:26 > 0:46:29- Skinny-arsed French twat.- Shh.
0:46:29 > 0:46:30Stop it, Reggie.
0:46:37 > 0:46:40So, Jean, what made you stop singing?
0:46:40 > 0:46:43- You mean for good? - Yes, for good.
0:46:44 > 0:46:49I just became so scared. Suddenly, the pressure was huge.
0:46:49 > 0:46:51I became so aware of the critics,
0:46:51 > 0:46:54and the importance of getting a good review,
0:46:54 > 0:46:59that whatever you did had to be good, or, well, better than before.
0:47:01 > 0:47:03And of course, it can't be.
0:47:04 > 0:47:06I got so nervous, I just...
0:47:06 > 0:47:08I just could not sing any more.
0:47:08 > 0:47:11- I just...- Here. You know this?
0:47:15 > 0:47:18"Works of art are of an infinite loneliness,
0:47:18 > 0:47:19"and nothing...
0:47:21 > 0:47:25"..can reach them so little as criticism."
0:47:39 > 0:47:42We weren't doing anything.
0:47:42 > 0:47:44Neither were we.
0:47:44 > 0:47:46# Underneath the arches... #
0:47:46 > 0:47:47Can you find us somewhere?
0:47:47 > 0:47:49# We dream our dreams away... #
0:47:49 > 0:47:51Where is she - Cissy? Where is she?
0:47:51 > 0:47:53- She will be here.- Excuse me!
0:47:53 > 0:47:55Are you planning to do this at the gala?
0:47:55 > 0:47:56Certainly!
0:47:56 > 0:47:59Well, I've changed my mind. I don't think it's sophisticated enough.
0:47:59 > 0:48:02What do you mean it isn't sophisticated enough?
0:48:02 > 0:48:05- Exactly what I say. What did I say? - "It's not sophisticated enough."
0:48:05 > 0:48:07- There you are. - Well, we are going to do it.
0:48:07 > 0:48:11# Underneath the arches... #
0:48:11 > 0:48:13We started half an hour ago. You're late.
0:48:13 > 0:48:14I had to get my bag.
0:48:14 > 0:48:16Have you asked Reggie to sing La Donna e Mobile?
0:48:16 > 0:48:18- God. No, I forgot. - Good. Don't.
0:48:18 > 0:48:21I have a brilliant idea!
0:48:21 > 0:48:22What is it?
0:48:22 > 0:48:25Oh, I've forgotten it. Um...er... You remember it. What was that?
0:48:25 > 0:48:28- You haven't said it yet. - I told you this morning.
0:48:28 > 0:48:29- No, you didn't. - I told you at breakfast!
0:48:29 > 0:48:31- You didn't. - And you. I've told you.
0:48:31 > 0:48:35You were sitting outside with us. What is it? You must know...
0:48:35 > 0:48:37Oh, for God's sake, you cretins.
0:48:37 > 0:48:41I'll find it eventually. Go and find Wilf. Go on.
0:48:41 > 0:48:43Now, where was I?
0:48:43 > 0:48:45Who?
0:48:45 > 0:48:46WILF!
0:48:46 > 0:48:49MUSIC: Tit-Willow by WS Gilbert and A Sullivan
0:48:49 > 0:48:50The reason I've asked you here
0:48:50 > 0:48:52is because I've had a brilliant idea.
0:48:52 > 0:48:55Excuse me while I shut out Tit-Willow, Cedric.
0:48:55 > 0:48:58"Cee-dric". A brilliant idea.
0:48:58 > 0:48:59Terrific. I can explain to you now.
0:48:59 > 0:49:01I'm sorry, I missed that last bit, Cedric.
0:49:01 > 0:49:04- "Cee-dric". - Oh, Cee-dric. Of course, of course.
0:49:04 > 0:49:06Now that Jean is here and the four of you are together again,
0:49:06 > 0:49:10I put it to you that you should perform at the gala
0:49:10 > 0:49:11the quartet from Rigoletto.
0:49:11 > 0:49:14That's amazing! I've...I've just been listening to us.
0:49:14 > 0:49:17- The Rigoletto. - Think of the publicity!
0:49:17 > 0:49:20The Times, The Telegraph, Opera Magazine.
0:49:20 > 0:49:24We have four of the finest singers in English operatic history.
0:49:24 > 0:49:27We already know the bloody thing. We'd hardly have to rehearse.
0:49:27 > 0:49:29- But Jean won't sing it. - Put your hand up.
0:49:29 > 0:49:31- Put your hand up? - Oh, but you must change her mind.
0:49:31 > 0:49:33She's a huge draw.
0:49:33 > 0:49:35Don't you put your hand up for anyone.
0:49:35 > 0:49:37It would be as if Maria Callas were making a comeback.
0:49:37 > 0:49:39I don't think I want to sing with Jean again.
0:49:39 > 0:49:40Why not?
0:49:40 > 0:49:43- They were married once, but it didn't work out.- Cissy, please.
0:49:43 > 0:49:46I don't want to. It wouldn't be right.
0:49:46 > 0:49:47Well, it's a shame.
0:49:47 > 0:49:50I can't count the number of galas you have graced over the years
0:49:50 > 0:49:52with your incomparable voice - and I mean that sincerely.
0:49:52 > 0:49:54I don't think you realise it, Reggie,
0:49:54 > 0:49:57but people still talk about your Celeste Aida four years ago
0:49:57 > 0:49:59and your Ave Maria two years ago.
0:49:59 > 0:50:01For what it's worth,
0:50:01 > 0:50:05when I heard you sing Nessun Dorma at the gala last year,
0:50:05 > 0:50:09all I thought was, "Eat your heart out, Pavarotti."
0:50:09 > 0:50:12Reggie, I know you don't think much of me, but with this one concert,
0:50:12 > 0:50:14we could get enough money to keep this place going
0:50:14 > 0:50:16for the rest of the year.
0:50:16 > 0:50:18- Or possibly even the next. - It's true.
0:50:18 > 0:50:21You could help save Beecham House, Reginald.
0:50:21 > 0:50:24But I have an important meeting now. Do excuse me.
0:50:24 > 0:50:25# Tit-willow... #
0:50:25 > 0:50:28Oh, shut up! For f... sakes, shut up!
0:50:28 > 0:50:31And you could persuade Jean to sing.
0:50:31 > 0:50:32It's only one gala, Reggie.
0:50:35 > 0:50:38Why don't the three of us ask her out to dinner?
0:50:38 > 0:50:40- Well done, Reggie.- Oh, Reggie!
0:50:40 > 0:50:42- Thank you.- Excellent.
0:50:42 > 0:50:45No, I'll, uh...I'll write her a little note, Cissy,
0:50:45 > 0:50:47and perhaps you'll be good enough to deliver it.
0:50:47 > 0:50:49Yes.
0:50:58 > 0:50:59Sorry.
0:51:03 > 0:51:06- Just two favours. - Exactly what do you propose?
0:51:06 > 0:51:10The Swan restaurant. Just the four of us - Cissy, Reggie and me.
0:51:10 > 0:51:12If we could convince Jean to sing at the gala,
0:51:12 > 0:51:14we're talking serious money here.
0:51:14 > 0:51:18I mean, even Cedric reckons we could charge Covent Garden prices.
0:51:18 > 0:51:19In by 10:30. No later.
0:51:19 > 0:51:21- 12:30.- No.
0:51:21 > 0:51:23- You sure?- Yes.
0:51:23 > 0:51:25What kind of cigarettes is it you smoke again?
0:51:31 > 0:51:34- 12:30. No later.- Done, Lucy.
0:51:34 > 0:51:36- Please call me Dr Cogan. - Done, Dr Cogan.
0:51:36 > 0:51:39Why is it, Wilfred, I always get the impression you're up to no good?
0:51:39 > 0:51:41Because I'm normally up to no good.
0:51:41 > 0:51:42And please, call me Wilf.
0:51:42 > 0:51:45We've done this, remember? You don't have a buttonhole.
0:51:47 > 0:51:50Why do you persist in flirting with me, Wilf?
0:51:50 > 0:51:53Because you're a cracker, a thing of beauty.
0:51:53 > 0:51:56You're not a bimbo or a chick or any of those awful things.
0:51:56 > 0:52:00You're one of that rarest of species -
0:52:00 > 0:52:02you're a woman, Lucy Cogan.
0:52:02 > 0:52:05Well, I'm flattered, but I have professional ethics to uphold.
0:52:05 > 0:52:08Ah, throw caution to the wind.
0:52:08 > 0:52:11What if we were to make beautiful music together?
0:52:11 > 0:52:13Your husband would never know.
0:52:13 > 0:52:15That's reassuring, Wilf.
0:52:15 > 0:52:18- Think about it, huh?- No, Wilf.
0:52:18 > 0:52:20- No-one would ever know. - I- will know, Wilf.
0:52:20 > 0:52:23Older man. Vintage wine.
0:52:23 > 0:52:25Seasoned wood.
0:52:25 > 0:52:28- Did you say wood?- Seasoned.
0:52:28 > 0:52:30SHE CHUCKLES
0:52:30 > 0:52:33MUSIC: Bella Figlia dell'Amore by Giuseppe Verdi
0:52:42 > 0:52:44Remember, wait until she's totally legless
0:52:44 > 0:52:46before we hit her with it.
0:52:46 > 0:52:47Yes. Don't speak till she's legless.
0:52:47 > 0:52:49- She's coming.- Legless.
0:52:49 > 0:52:52- I should never have agreed to this. - Here she comes.
0:52:54 > 0:52:56She looks fairly all right-ish.
0:52:56 > 0:52:57You look lovely, Jean.
0:52:57 > 0:53:00Oh. Thank you.
0:53:00 > 0:53:03You give a whole new meaning to the word "chic".
0:53:03 > 0:53:06- It's so very, very kind of you. - It's the least we can do.
0:53:06 > 0:53:07- May I, Jean?- Thank you.
0:53:36 > 0:53:38For you, Jean, a little toast,
0:53:38 > 0:53:41from all of us, to make you feel welcome.
0:53:41 > 0:53:43Oh-oh, now, don't forget,
0:53:43 > 0:53:45you've got to make eye contact or it's bad luck.
0:53:45 > 0:53:47I never heard of anything like that in my life.
0:53:47 > 0:53:49- It's the truth.- Nonsense.
0:53:51 > 0:53:53Jean, do you ever listen to your old recordings?
0:53:53 > 0:53:55- Oh, no. No.- I do.
0:53:55 > 0:53:56I listen to us a lot.
0:53:56 > 0:53:58As a matter of fact,
0:53:58 > 0:54:00Reggie was meant to be singing La Donna e Mobile
0:54:00 > 0:54:02at the gala concert.
0:54:02 > 0:54:04- But even more exciting, guess what? - Shh, shh, shh.
0:54:05 > 0:54:07What?
0:54:07 > 0:54:09"La donna e mobile, qual piuma al vento."
0:54:09 > 0:54:11"Women are as fickle as a feather in the wind."
0:54:11 > 0:54:14Oh, I fell in love with you when I first heard you sing that.
0:54:14 > 0:54:16Yeah, that's why I never sang it again.
0:54:16 > 0:54:18I took 12 curtain calls.
0:54:18 > 0:54:20No. No, you took nine. I took 12.
0:54:20 > 0:54:21WILF SNORTS WITH LAUGHTER
0:54:21 > 0:54:23- Stop.- If you say so.
0:54:23 > 0:54:25You know, the other night
0:54:25 > 0:54:28I was at the Garden, I was Sir George's guest,
0:54:28 > 0:54:30and I received a standing ovation.
0:54:30 > 0:54:32Oh, how lovely!
0:54:32 > 0:54:33You're doing it again, Jean.
0:54:33 > 0:54:36- Doing what?- Repeating yourself.
0:54:36 > 0:54:37Oh, what's it matter?
0:54:37 > 0:54:39In opera, we repeat ourselves all the time,
0:54:39 > 0:54:40all the time, all the time...
0:54:40 > 0:54:42In opera we repeat ourselves all the time,
0:54:42 > 0:54:45- repeat ourselves over and over... - Repetito...
0:54:45 > 0:54:46I think you two are drunk.
0:54:46 > 0:54:48I think I possibly am,
0:54:48 > 0:54:51although I find it very difficult to tell the difference at this age.
0:54:51 > 0:54:53- You always drink. - Let's have a toast to our quartet.
0:54:53 > 0:54:56- To the quartet.- What quartet?
0:54:56 > 0:54:59Cedric wants us all to sing in the gala concert.
0:54:59 > 0:55:01What, us to sing?
0:55:01 > 0:55:02He wants us to sing...
0:55:02 > 0:55:05ALL: The quartet from Rigoletto.
0:55:05 > 0:55:07It's such an honour.
0:55:07 > 0:55:08It's a great honour, Jean.
0:55:09 > 0:55:12- Great honour.- Very great honour.
0:55:13 > 0:55:14The quartet?
0:55:15 > 0:55:17Is that why you're...?
0:55:17 > 0:55:19I don't want any of this, please. Please.
0:55:19 > 0:55:21Is that why you asked me for this dinner?
0:55:21 > 0:55:23No. We asked you because...
0:55:23 > 0:55:25- Well...- Why?
0:55:25 > 0:55:27- Because we love you.- Aye. Yeah.
0:55:34 > 0:55:37Well, I'm not singing in any quartet.
0:55:40 > 0:55:42I think you really are despicable.
0:55:50 > 0:55:51Phew!
0:55:52 > 0:55:54Did she say yes?
0:55:55 > 0:55:56No.
0:56:02 > 0:56:05MUSIC: Caro Nome by Giuseppe Verdi
0:56:05 > 0:56:12# Festi primo palpitar
0:56:12 > 0:56:20# Le delizie dell'amor
0:56:20 > 0:56:28# Mi dei sempre rammentar
0:56:28 > 0:56:37# Col pensier il mio desir
0:56:37 > 0:56:46# A te sempre volera
0:56:46 > 0:56:54# E fin l'ultimo sospir
0:56:54 > 0:57:01# Caro nome, tuo sara. #
0:57:15 > 0:57:17Excuse me.
0:57:17 > 0:57:18Let me ask you something.
0:57:18 > 0:57:20When did you last sing?
0:57:20 > 0:57:23This morning in the shower?
0:57:23 > 0:57:25Has anybody heard you recently?
0:57:25 > 0:57:28Any idea of the noise you make?
0:57:28 > 0:57:31I mean, what were you thinking of? Why did you ask me out to dinner?
0:57:31 > 0:57:35Why didn't you just say you want us - average age, what, 198 -
0:57:35 > 0:57:37to sing the quartet from Rigoletto?
0:57:39 > 0:57:41"It's an honour." It's not an honour.
0:57:42 > 0:57:44It's insanity.
0:57:46 > 0:57:48Is this your idea of revenge?
0:57:50 > 0:57:52I'm going to say something very rude to you.
0:57:53 > 0:57:55Fuck you.
0:58:02 > 0:58:03And you.
0:58:03 > 0:58:07GASPS AND GIGGLES
0:58:13 > 0:58:14Can't believe it.
0:58:14 > 0:58:16Can you believe that bitch?
0:58:22 > 0:58:24Oh, my God. It's Olly!
0:58:35 > 0:58:37Dwayne. Olly's been taken ill.
0:58:37 > 0:58:40I'm going to explain to everybody. Can you...?
0:58:41 > 0:58:42Morning.
0:58:44 > 0:58:46Ladies and gentlemen, can I have your attention, please?
0:58:46 > 0:58:48Sorry to interrupt your breakfast.
0:58:48 > 0:58:52Er...it seems that Olly Fisher is unwell.
0:58:52 > 0:58:53It's his recurring condition,
0:58:53 > 0:58:56but he is in the safest hands.
0:58:56 > 0:58:58I want to reassure you he's on his way to hospital
0:58:58 > 0:59:00and he's going to be absolutely OK.
0:59:00 > 0:59:01He's going for a check-up.
0:59:01 > 0:59:03Dr Cogan, he is still conscious, isn't he?
0:59:03 > 0:59:05He's fully conscious, Norma, yes.
0:59:05 > 0:59:07And he wouldn't want any of us worrying, now.
0:59:07 > 0:59:10Would he? So, you just enjoy your breakfast, OK?
0:59:14 > 0:59:16With everything in life,
0:59:16 > 0:59:19I'd just like to ask you one question.
0:59:19 > 0:59:22# Why, you silly so-and-so
0:59:23 > 0:59:25# With all your dough
0:59:25 > 0:59:27# Are you havin' any fun?
0:59:28 > 0:59:31# What y'gettin' out of livin'?
0:59:31 > 0:59:34# What good is what you've got
0:59:34 > 0:59:36# If you're not havin' any fun?
0:59:38 > 0:59:40# Are you havin' any laughs?
0:59:41 > 0:59:45# Are you gettin' any lovin'?
0:59:45 > 0:59:47# If other people do
0:59:47 > 0:59:48# So can you
0:59:48 > 0:59:50# Have a little fun
0:59:51 > 0:59:55# After the honey's in the comb
0:59:55 > 0:59:57# Little bees go out and play
0:59:57 > 1:00:01# Even the old grey mare down home
1:00:01 > 1:00:04# Has got to have hay
1:00:04 > 1:00:06# Are you havin' any fun?
1:00:07 > 1:00:11# You ain't gonna live forever
1:00:11 > 1:00:13# Before you're old and grey
1:00:13 > 1:00:15# Still OK
1:00:15 > 1:00:19# Have a little fun, son
1:00:19 > 1:00:21# Have a little fun! #
1:00:26 > 1:00:28Go away.
1:00:28 > 1:00:29Jean?
1:00:29 > 1:00:32- It's me, Cissy. - Just go away, Cissy, please.
1:00:32 > 1:00:35I know you're upset, so I brought you some flowers
1:00:35 > 1:00:36and I picked them myself.
1:00:36 > 1:00:38Aren't they lovely? Look.
1:00:38 > 1:00:40I thought these might really cheer you up.
1:00:40 > 1:00:42And Nobby doesn't usually allow us to pick any flowers
1:00:42 > 1:00:45and especially not the ones in the woodland, not even those.
1:00:45 > 1:00:47And I really wanted to get you bluebells
1:00:47 > 1:00:48because I know you love bluebells.
1:00:48 > 1:00:50Because we talked about them before.
1:00:50 > 1:00:53But I wondered also, would you like to talk about the quartet?
1:00:53 > 1:00:56No! I would not like to talk about the quartet!
1:00:56 > 1:00:58- Oh! Oh!- Get out!
1:00:59 > 1:01:02Why did she do that? Why did she do that?
1:01:02 > 1:01:04Ahhh!
1:01:47 > 1:01:48Is this my house?
1:01:49 > 1:01:51It's a lovely place.
1:01:51 > 1:01:53This is Beecham House.
1:01:53 > 1:01:55It's not your room. It's another room.
1:01:55 > 1:01:59You've come here to have a rest, Cissy.
1:02:01 > 1:02:03You're... you're...
1:02:03 > 1:02:05my friend.
1:02:05 > 1:02:06Sheryl.
1:02:06 > 1:02:08Sheryl. Yes.
1:02:09 > 1:02:11Sheryl. Mm-hmm.
1:02:11 > 1:02:12And this is?
1:02:18 > 1:02:19Reggie.
1:02:25 > 1:02:26And, of course,
1:02:26 > 1:02:29this is a naughty, naughty man.
1:02:29 > 1:02:31Hi, Cissy.
1:02:31 > 1:02:33Where's... where's...
1:02:33 > 1:02:34...where's my, um...
1:02:34 > 1:02:36Where's my... my thing?
1:02:36 > 1:02:38I got your bag here, Cissy.
1:02:40 > 1:02:42That's my bag.
1:02:43 > 1:02:45- This is my...- Mm-hmm.
1:02:45 > 1:02:46Yes.
1:02:48 > 1:02:49See?
1:02:49 > 1:02:51- That's mine.- Mm-hmm.
1:02:51 > 1:02:54- And what were you listening to? - Mmm...
1:02:54 > 1:02:56What's that?
1:02:56 > 1:02:59Cissy... this is our quartet.
1:03:00 > 1:03:02You... you've been listening to us.
1:03:02 > 1:03:04It's new. It's new.
1:03:04 > 1:03:05- Mm-hmm.- Yes.
1:03:05 > 1:03:07- This is... - The one they re-issued.
1:03:07 > 1:03:10This is new. Yep. That's mine.
1:03:14 > 1:03:18Wilf... Wilf, that's...
1:03:18 > 1:03:19that's my swimming costume.
1:03:19 > 1:03:21It certainly is, Cissy.
1:03:21 > 1:03:22- Mmm.- Yes.
1:03:23 > 1:03:25Yes.
1:03:37 > 1:03:41This... this place is a God-send for me.
1:03:41 > 1:03:45Because I've got no husband and no children.
1:03:45 > 1:03:47I've got you.
1:03:47 > 1:03:50- Mm.- Indeed you have, Cissy.
1:03:50 > 1:03:51All of you.
1:03:59 > 1:04:01I think she should get some rest.
1:04:03 > 1:04:05Lovely girl.
1:04:06 > 1:04:08Beautifully endowed.
1:04:13 > 1:04:16- Have you seen Cissy?- Yes.
1:04:16 > 1:04:17How is she?
1:04:17 > 1:04:19- She's...- Fine.
1:04:42 > 1:04:43I'll come back in the morning.
1:04:43 > 1:04:45Yes, of course, Ms Horton.
1:04:45 > 1:04:47You be sure to tell her I came to see her.
1:04:47 > 1:04:48Absolutely.
1:04:48 > 1:04:49Jean, is that you?
1:04:49 > 1:04:52I thought I recognised your voice.
1:04:52 > 1:04:53As if one couldn't.
1:04:54 > 1:04:56Frank?
1:04:57 > 1:04:58Frank White!
1:04:58 > 1:05:01It's nothing serious, just one of my dizzy spells.
1:05:01 > 1:05:03But I won't be taking part in the gala.
1:05:03 > 1:05:07I had no idea you were here. I would've come to see you earlier.
1:05:07 > 1:05:10Oh, dear, dear Frank.
1:05:12 > 1:05:13I'm sorry you're not well.
1:05:13 > 1:05:16What a fling we had.
1:05:18 > 1:05:20What a fling indeed.
1:05:20 > 1:05:22Short, but giving.
1:05:22 > 1:05:24And that beautiful hotel.
1:05:25 > 1:05:27- You...- Yes.
1:05:29 > 1:05:30You've been up to your usual tricks.
1:05:35 > 1:05:36Poor Cissy.
1:05:36 > 1:05:39I don't know what came over me.
1:05:39 > 1:05:41I feel so ashamed.
1:05:43 > 1:05:46She does so want to perform the quartet.
1:05:47 > 1:05:49Jean.
1:05:51 > 1:05:53Take part.
1:05:54 > 1:05:56If you can't sing at the gala,
1:05:56 > 1:05:58do conjuring tricks.
1:06:01 > 1:06:02The only alternative
1:06:02 > 1:06:04is to be guest of honour at the crematorium.
1:06:08 > 1:06:10MUSIC: Ah! Qual Colpo Inaspettato! by Rossini
1:06:10 > 1:06:13- # Dolce nodo - Nodo
1:06:13 > 1:06:17# Avventurato
1:06:17 > 1:06:21- # Che fai paghi - Andiamo
1:06:21 > 1:06:25# I miei desiri
1:06:26 > 1:06:30- # Dolce nodo - Nodo
1:06:30 > 1:06:33- # Avventurato - Presto andiamo
1:06:33 > 1:06:38# Che fai paghi... #
1:06:39 > 1:06:41- Oh, thank you. - There's some change, Ms Horton.
1:06:41 > 1:06:44No, you keep that. Could you give this to Mr Paget?
1:06:44 > 1:06:47- Of course I will. - Thank you.
1:06:47 > 1:06:49It's the only trio we could come up with, Bobby.
1:06:49 > 1:06:51Are you sure about this, Wilfred?
1:06:51 > 1:06:54Well, the three of us must have sang the Barber a dozen times.
1:06:54 > 1:06:55You'll need at least six sessions.
1:06:55 > 1:06:57- Six?- Mmm.
1:06:58 > 1:06:59- Who's that from?- Ms Horton.
1:07:03 > 1:07:05Did she say yes?
1:07:06 > 1:07:09Oh. How good of you to come.
1:07:10 > 1:07:12Please. Please sit down.
1:07:13 > 1:07:15Why don't you sit on the bed, Cissy?
1:07:15 > 1:07:17I have some little gifts for you.
1:07:17 > 1:07:19First, I want to apologise,
1:07:19 > 1:07:20especially to you, Cissy.
1:07:22 > 1:07:23What I did to you was appalling,
1:07:23 > 1:07:26and I am... I'm so very sorry.
1:07:26 > 1:07:27Thank you.
1:07:27 > 1:07:29This is for you, Wilf.
1:07:29 > 1:07:30Oh, thank you.
1:07:30 > 1:07:32I don't even remember you throwing flowers at me.
1:07:34 > 1:07:35This is for you, Reggie.
1:07:35 > 1:07:36There.
1:07:39 > 1:07:40I really am very sorry.
1:07:40 > 1:07:42My fault entirely.
1:07:43 > 1:07:45I think I know what it is.
1:07:46 > 1:07:49- Lime marmalade. - A CD of our Rigoletto.
1:07:49 > 1:07:51How lovely.
1:07:51 > 1:07:52Yes, I know you have copies,
1:07:52 > 1:07:54but these are signed, so they're rather valuable.
1:07:54 > 1:07:56And I wrapped them myself.
1:07:56 > 1:07:58I thought perhaps you did.
1:07:59 > 1:08:01- Well, is that it?- Yes.
1:08:01 > 1:08:04This should do rather well on eBay, I would imagine.
1:08:04 > 1:08:06Come on, Cissy.
1:08:06 > 1:08:08Have you changed your mind about the gala?
1:08:08 > 1:08:10Well, of course, she hasn't. I mean, why should she?
1:08:10 > 1:08:11It's only a celebration
1:08:11 > 1:08:14in honour of the greatest composer for the human voice
1:08:14 > 1:08:16who ever bloody lived, that's all.
1:08:16 > 1:08:18You must understand. I was someone once.
1:08:18 > 1:08:20I thought I was someone now.
1:08:20 > 1:08:22I can't insult the memory of who I was.
1:08:22 > 1:08:25What are you talking about, "memory"? Whose memory? Your fans?
1:08:25 > 1:08:28Your fans are dead! Gone, split, bought the farm!
1:08:28 > 1:08:30Except the ones who've moved in here,
1:08:30 > 1:08:31and they're just waiting to die.
1:08:31 > 1:08:35We've all aged. It's crept up on all of us without us even noticing.
1:08:35 > 1:08:37I'm the same old Wilf I always was,
1:08:37 > 1:08:40thankfully, with a little bit of testosterone to keep me interested.
1:08:40 > 1:08:43Now, I'm going to say something that's a wee bit rude here.
1:08:43 > 1:08:46Just fucking do it!
1:08:48 > 1:08:49My gift deserted me.
1:08:49 > 1:08:52It deserts us all, Jean. It's called life.
1:08:52 > 1:08:54Oh, my darling. Old age is not for sissies.
1:08:54 > 1:08:56No.
1:08:57 > 1:08:59Jean?
1:08:59 > 1:09:00Let go.
1:09:00 > 1:09:03What's it matter now what anyone says or thinks?
1:09:03 > 1:09:05You might even enjoy it.
1:09:05 > 1:09:07Are you telling me to go out and smell the roses?
1:09:07 > 1:09:08No, I'm telling you to sing.
1:09:08 > 1:09:11The roses are long gone. But the chrysanthemums are magnificent.
1:09:11 > 1:09:13They certainly are, Cissy.
1:09:13 > 1:09:15Jean, if you say yes,
1:09:15 > 1:09:18Cedric will give us the finale instead of Anne Langley.
1:09:18 > 1:09:20- Anne Langley?- Yes.
1:09:20 > 1:09:22Yes, she wanted to sing Violetta.
1:09:22 > 1:09:24And she was, of course, a very fine Violetta.
1:09:24 > 1:09:26Oh, pull yourself together, Cissy.
1:09:26 > 1:09:29Violetta's supposed to be dying of tuberculosis.
1:09:29 > 1:09:31She sounded as if she was singing Falstaff.
1:09:31 > 1:09:32Well, she's singing Tosca now.
1:09:38 > 1:09:40Over my dead body.
1:09:43 > 1:09:44Is that a yes?
1:10:03 > 1:10:06So, you decided to sing in the gala after all.
1:10:06 > 1:10:09Yes, they've persuaded me to join them in the quartet.
1:10:09 > 1:10:12Really? I would've thought you would want to sing an aria, dear.
1:10:12 > 1:10:14No, I prefer to sing with my friends.
1:10:14 > 1:10:16How are your high notes nowadays?
1:10:16 > 1:10:18Just a little shaky, dear.
1:10:18 > 1:10:20Oh, I'm so sorry.
1:10:20 > 1:10:21Now, when I sang Gilda...
1:10:21 > 1:10:23Yes, I heard it was a triumph.
1:10:23 > 1:10:26I remember my mother telling me about it.
1:10:26 > 1:10:29# Happy birthday to you
1:10:29 > 1:10:33# Happy birthday to you
1:10:33 > 1:10:39# Happy birthday, dear Octavia
1:10:39 > 1:10:46# Happy birthday to you. #
1:10:48 > 1:10:50Speech! Speech!
1:10:50 > 1:10:53Now, when I played Gilda...!
1:10:53 > 1:10:57LAUGHTER AND APPLAUSE
1:11:59 > 1:12:01I may crack on the high notes.
1:12:03 > 1:12:06MUSIC: Toccata and Fugue in D Minor by JS Bach
1:13:45 > 1:13:47And then Sir Thomas Beecham did the same in Britain.
1:13:47 > 1:13:49- Hence Beecham House.- Ladies?
1:13:49 > 1:13:51Lady Mayor. Sorry. Thank you.
1:13:51 > 1:13:52Thank you so much for coming.
1:13:52 > 1:13:55Ah. Hello there.
1:13:55 > 1:13:57Nice. Thank you. Yeah, one more.
1:13:57 > 1:14:00Lady Mayoress, will you come this way, please?
1:14:06 > 1:14:08Well, I don't think that's...
1:14:08 > 1:14:10Is that going to be too late in the day for that?
1:14:10 > 1:14:14I'd say something like, "Verdi's Rigoletto is a masterpiece
1:14:14 > 1:14:18"and the quartet is one of the great milestones in the history of opera."
1:14:18 > 1:14:19Now, look at that. Perfect.
1:14:19 > 1:14:21And then I'll introduce each of us in turn.
1:14:21 > 1:14:23No, wait a minute, Reggie.
1:14:23 > 1:14:25- What?- I'll go on last.
1:14:25 > 1:14:26I'm sure we can live with that.
1:14:26 > 1:14:28We certainly can, yes.
1:14:28 > 1:14:29- I remember.- What?
1:14:29 > 1:14:31I've got to do Anne Langley's make-up.
1:14:31 > 1:14:34It's not make-up she needs. It's a paper-hanging job.
1:14:34 > 1:14:37- That's very naughty, Jean. - And very true.
1:14:37 > 1:14:39Make it nice and tight.
1:14:39 > 1:14:41Make sure the middle bit's tight so it stays that way.
1:14:41 > 1:14:45- cos it ends up listing to starboard. - No, no, no. I promise you...
1:14:45 > 1:14:46This too much, Reg?
1:14:46 > 1:14:48Do you think it's too much?
1:14:48 > 1:14:50No, no. Lovely.
1:14:50 > 1:14:52Well, I don't think it'll work.
1:14:52 > 1:14:53I do.
1:14:57 > 1:14:58Hello, good afternoon.
1:14:58 > 1:15:00Hello, ladies and gentlemen.
1:15:00 > 1:15:02Welcome to Beecham House
1:15:02 > 1:15:05and our annual gala in honour of Giuseppe Verdi's birthday.
1:15:05 > 1:15:08First of all, I would like to express our debt of gratitude
1:15:08 > 1:15:11to the amazing Mr Cedric Livingstone for organising the event.
1:15:11 > 1:15:13- APPLAUSE - Thank you so much.
1:15:13 > 1:15:15Thank you, thank you, ladies and gentlemen.
1:15:15 > 1:15:17Let me just say, in all modesty,
1:15:17 > 1:15:21that all great artists need a great director, you know.
1:15:21 > 1:15:22And I... Here I am.
1:15:22 > 1:15:25Well said!
1:15:25 > 1:15:27Thank you. Thank you so much.
1:15:28 > 1:15:29Thank you.
1:15:29 > 1:15:32This year, in aid of our rebuilding programme,
1:15:32 > 1:15:33you have all given so generously,
1:15:33 > 1:15:35and we thank you for that with all our hearts.
1:15:35 > 1:15:38And, because of that, the quartet and you have done it -
1:15:38 > 1:15:40Beecham House lives on!
1:15:50 > 1:15:53I'd also like to thank all those taking part in the gala itself.
1:15:53 > 1:15:55The preparations and rehearsals
1:15:55 > 1:15:57have kept everybody busy and very excited
1:15:57 > 1:15:59for the past few months.
1:15:59 > 1:16:02I and all my staff here feel highly privileged
1:16:02 > 1:16:06to have in our care such talented performers,
1:16:06 > 1:16:08gifted musicians who seem to find renewed energy
1:16:08 > 1:16:11when they anticipate performing before an audience.
1:16:11 > 1:16:12It keeps them young.
1:16:14 > 1:16:17And, actually, let me just say something else, if I may,
1:16:17 > 1:16:19before we start.
1:16:20 > 1:16:22I, and all my staff here at Beecham House,
1:16:22 > 1:16:26we owe those in our charge an enormous debt.
1:16:27 > 1:16:29They inspire us.
1:16:29 > 1:16:33Their love of life, as you well know, is infectious,
1:16:33 > 1:16:35and gives us all faith in the future.
1:16:35 > 1:16:37I mean that.
1:16:38 > 1:16:39Thank you so much.
1:16:47 > 1:16:48Whoops!
1:16:54 > 1:16:57MUSIC: Libiamo Ne' Lieti Calici by Verdi
1:17:03 > 1:17:07# Godiamo, la tazza, la tazza e il cantico
1:17:07 > 1:17:11# La notte abbella e il riso
1:17:11 > 1:17:16# In questo, in questo paradiso
1:17:16 > 1:17:18# Ne scopra il nuovo di
1:17:18 > 1:17:20# Ah! Ah! Ne scopra il di
1:17:21 > 1:17:23# Ah! Ah! Ne scopra il di
1:17:23 > 1:17:24# Ahhhh
1:17:24 > 1:17:27# Ne scopra il di ne scopra il nuovo
1:17:27 > 1:17:30# Diiii! Siiii! #
1:17:36 > 1:17:38Thank you.
1:17:42 > 1:17:45Oh, my darling! It's so exciting!
1:17:45 > 1:17:47- They loved the Brindisi. - Oh, good.
1:17:47 > 1:17:50Tadek, quick! Come and do my dress.
1:17:50 > 1:17:51OK. OK.
1:17:51 > 1:17:53Make sure there's no black showing, yeah?
1:17:53 > 1:17:55- OK.- OK.
1:17:56 > 1:17:58Dress is done.
1:18:05 > 1:18:07Reggie likes this one, but I think...
1:18:09 > 1:18:10- I think I'll wear this.- Yes.
1:18:10 > 1:18:17MUSIC: Vissi d'arte by Puccini
1:18:17 > 1:18:24# Vissi d'amore
1:18:24 > 1:18:32# Non feci mai male ad anima viva
1:18:35 > 1:18:42# Con man furtiva
1:18:42 > 1:18:47# Quante miserie
1:18:47 > 1:18:50# Conobbi aiutai... #
1:18:50 > 1:18:52Hey, Reg, remember the Barber of Seville
1:18:52 > 1:18:55- in the '60s in Covent Garden?- Yeah?
1:18:55 > 1:18:57Who was that big, fat, mezzo-soprano
1:18:57 > 1:18:59who was doing it with a little tenor in the bathtub?
1:18:59 > 1:19:01She got suctioned in. What was her name?
1:19:01 > 1:19:03I can't remember.
1:19:03 > 1:19:05London. Remember. The wee guy couldn't get out!
1:19:05 > 1:19:07She was Italian.
1:19:07 > 1:19:10The tenor had to dial the emergency services.
1:19:12 > 1:19:13What was her name?
1:19:13 > 1:19:16Oh, uh... uh... Elizabeta Botticelli.
1:19:16 > 1:19:19That's it. Elizabeta Botticelli.
1:19:19 > 1:19:21They say her high notes were never the same again.
1:19:21 > 1:19:23True.
1:19:23 > 1:19:25# ..sincera
1:19:25 > 1:19:30# Diedi fiori... #
1:19:30 > 1:19:32I always think you take the last bit too quick.
1:19:32 > 1:19:34- No, we don't take it too quick. - No, it's the last four bars.
1:19:34 > 1:19:36Listen to Tony on the trumpet.
1:19:36 > 1:19:39What about the trumpet? Doesn't matter about the trumpet.
1:19:39 > 1:19:41Sometimes he'd slow down at the end.
1:19:41 > 1:19:43We'll just take two steps after the end, the way we always do.
1:19:43 > 1:19:51# ..rimuneri cosi? #
1:19:58 > 1:19:59Brava!
1:20:14 > 1:20:17MUSIC: Three Little Maids From School
1:20:20 > 1:20:22# Three little maids from school are we
1:20:22 > 1:20:24# Pert as a schoolgirl well can be
1:20:24 > 1:20:26# Filled to the brim with girlish glee
1:20:26 > 1:20:28# Three little maids from school
1:20:28 > 1:20:30# Everything is a source of fun... #
1:20:32 > 1:20:34Jean, is that too much?
1:20:34 > 1:20:35No.
1:20:35 > 1:20:37I'm so happy to be here doing this.
1:20:37 > 1:20:40And you and Reggie are friends again.
1:20:40 > 1:20:42- How long were the two of you married?- Nine hours.
1:20:42 > 1:20:44- Nine hours?- Yes.
1:20:44 > 1:20:45Ha! Nine hours!
1:20:46 > 1:20:48We were together for about a year,
1:20:48 > 1:20:51and he finally got down on his knees and asked me to marry him
1:20:51 > 1:20:53and I said yes - he's very old-fashioned.
1:20:53 > 1:20:55- He still is.- I know.
1:20:55 > 1:20:57And we were going to get married in the January
1:20:57 > 1:20:59and then I got that offer from La Scala.
1:20:59 > 1:21:01I remember that. I remember.
1:21:01 > 1:21:04But when I was at La Scala, I had...
1:21:04 > 1:21:06I had a fling with a tenor.
1:21:06 > 1:21:08Why on earth would you do that?
1:21:08 > 1:21:11Because I'd had too much champagne. I was pissed!
1:21:11 > 1:21:13MUSIC ENDS AUDIENCE APPLAUSE
1:21:13 > 1:21:15Shh, shh, shh, shh.
1:21:15 > 1:21:17Must hurry.
1:21:19 > 1:21:21What's his name, that tenor?
1:21:21 > 1:21:24I know who you mean. Roberto di Angelis.
1:21:24 > 1:21:27- But he was so persuasive.- I know.
1:21:27 > 1:21:29Anyway, we came back.
1:21:30 > 1:21:32We had this wonderful wedding breakfast,
1:21:32 > 1:21:34champagne and scrambled eggs.
1:21:34 > 1:21:36And I told him about Roberto.
1:21:37 > 1:21:39Why on earth did you do that?
1:21:39 > 1:21:41I wanted to be honest.
1:21:41 > 1:21:42Anyway, he was very angry.
1:21:42 > 1:21:44- So he walked out?- He ran.
1:21:44 > 1:21:47He was heartbroken, Jean.
1:21:47 > 1:21:48So was I.
1:21:48 > 1:21:50So was I.
1:21:52 > 1:21:54It was the biggest mistake of my life.
1:21:54 > 1:21:59Darling girl, you still have your future.
1:21:59 > 1:22:01There's not a lot of it.
1:22:01 > 1:22:02Most of it's been.
1:22:05 > 1:22:07No, it hasn't.
1:22:07 > 1:22:09# Underneath the arches
1:22:09 > 1:22:14# We'll dream our dreams away. #
1:22:14 > 1:22:15Amen!
1:22:19 > 1:22:20Wonderful!
1:22:20 > 1:22:23- Are you having any fun? AUDIENCE MEMBERS:- Yes!
1:22:23 > 1:22:25# Are you havin' any fun?
1:22:26 > 1:22:29# What y'gettin' out of livin'?
1:22:29 > 1:22:31# What good is what you've got
1:22:31 > 1:22:34# If you're not havin' any fun... #
1:22:34 > 1:22:37Do you know, darling, I last wore this in 1983.
1:22:37 > 1:22:39Arts Council tour of India.
1:22:39 > 1:22:41And I fell in love with the maharajah.
1:22:41 > 1:22:43I'll help you with it.
1:22:43 > 1:22:45Ooh, thanks. Yeah.
1:22:46 > 1:22:49Oh, this isn't... God, this is tight, Cissy.
1:22:49 > 1:22:51- What's... What's the matter? - I can't fasten it.
1:22:51 > 1:22:53Oh. Come on.
1:22:54 > 1:22:57Well, I altered it. I altered it.
1:22:57 > 1:22:59Yeah, well, I'm... I'm trying, I'm try...
1:22:59 > 1:23:02- I can't do it. - Well, try. Just try...
1:23:02 > 1:23:04I cannot fasten it, Cissy! I can't fasten it.
1:23:04 > 1:23:06Oh, all right. Well, I'll... I'll let it out a bit more.
1:23:06 > 1:23:09All right. Well, I've got some safety pins somewhere.
1:23:09 > 1:23:11- My scissors.- Cissy?
1:23:11 > 1:23:13Cissy?
1:23:13 > 1:23:15Cissy, where are you going?
1:23:15 > 1:23:16I... I have to go home.
1:23:16 > 1:23:17What are you talking about?
1:23:17 > 1:23:19Mother and Father are waiting for me.
1:23:19 > 1:23:21Cissy's gone walkabout! Reg, Wilf!
1:23:25 > 1:23:27Cissy!
1:23:27 > 1:23:28Oh!
1:23:28 > 1:23:30I nearly forgot to say goodbye to you.
1:23:30 > 1:23:33Goodbye, Wilfred. Goodbye, Reginald. Wish me bon voyage.
1:23:33 > 1:23:35- Cissy?!- I'm late!
1:23:35 > 1:23:37Cissy.
1:23:38 > 1:23:40- Don't let them see her like this. - Cissy.
1:23:40 > 1:23:42I have to go.
1:23:42 > 1:23:43Cissy.
1:23:43 > 1:23:45You mustn't leave.
1:23:45 > 1:23:47We're doing the quartet, Cissy.
1:23:47 > 1:23:49- The quartet from Rigoletto. - No. I want to go home.
1:23:49 > 1:23:51Jean?
1:23:51 > 1:23:53Is that Jean Horton? I thought she wouldn't sing any more.
1:23:53 > 1:23:56Cissy, come with me and we'll get your luggage.
1:23:58 > 1:23:59My big case?
1:23:59 > 1:24:01Yes, your big case.
1:24:01 > 1:24:03Come with me. And your passport.
1:24:03 > 1:24:04Yes.
1:24:04 > 1:24:06Yes. There we are.
1:24:07 > 1:24:10The ship doesn't leave for two weeks, you know.
1:24:10 > 1:24:13- Doesn't it? - No. We've got plenty of time.
1:24:13 > 1:24:16- # Mais la vie... # - It's all right.
1:24:16 > 1:24:18It's the little things that get you down.
1:24:18 > 1:24:20I know. But we'll get your dress fixed.
1:24:20 > 1:24:22That was a close one.
1:24:22 > 1:24:23Jean was very good.
1:24:23 > 1:24:25She was indeed.
1:24:30 > 1:24:33- CLAPPING - Shh!
1:24:53 > 1:24:55We're getting close, gents.
1:24:55 > 1:24:57- Thank you, Simon.- Thanks, Si.
1:24:58 > 1:25:00Getting near, ladies.
1:25:00 > 1:25:01Ready!
1:25:08 > 1:25:10Where shall I...?
1:25:10 > 1:25:11It's through there, Cissy.
1:25:11 > 1:25:13WHISPERS: Mr Paget.
1:25:14 > 1:25:16- You're on next.- Thanks.
1:25:17 > 1:25:19Jean, I was thinking about the sticks.
1:25:19 > 1:25:21I think we could get through without them.
1:25:21 > 1:25:24Oh, no. No, I don't think I could. My hip's very bad today.
1:25:24 > 1:25:26Well, I'm not so good, but I think we should try.
1:25:26 > 1:25:28It's more distinguished, more operatic.
1:25:28 > 1:25:30I may have to lean on you.
1:25:30 > 1:25:32Lean on Reg. You'll be much safer.
1:25:32 > 1:25:35And he'll love it because he adores you.
1:25:35 > 1:25:37Trust me.
1:25:37 > 1:25:39How do you know?
1:25:39 > 1:25:41I don't believe he ever stopped loving you.
1:25:44 > 1:25:46How do you know? Did he say so?
1:25:46 > 1:25:48Wilf!
1:25:48 > 1:25:50It's the man from Opera Today.
1:26:04 > 1:26:05You look very handsome.
1:26:07 > 1:26:08You look very beautiful.
1:26:11 > 1:26:14We're both very old.
1:26:14 > 1:26:16Thanks.
1:26:16 > 1:26:18Then let's get married.
1:26:59 > 1:27:01Were you serious?
1:27:01 > 1:27:02Yes.
1:27:02 > 1:27:03OK.
1:27:34 > 1:27:40MUSIC: Bella Figlia dell'Amore