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This programme contains very strong language and scenes of a sexual nature | 0:00:02 | 0:00:10 | |
(MAN'S VOICE) 'I was eating a tomato at teatime a few weeks ago | 0:00:10 | 0:00:13 | |
'and I suddenly realised that Mommy is not dead at all, | 0:00:13 | 0:00:16 | |
'just very, very mysterious.' | 0:00:16 | 0:00:18 | |
'Papa spoke languages, climbed mountains.' | 0:00:22 | 0:00:25 | |
'He was an adventurer.' | 0:00:25 | 0:00:27 | |
'But Mommy was such a gifted person socially.' | 0:00:29 | 0:00:33 | |
'She was a master of the understatement, an adventuress.' | 0:00:33 | 0:00:38 | |
'He was cold and dark and she was warm and light.' | 0:00:44 | 0:00:49 | |
'And I was "Little Tony".' | 0:00:53 | 0:00:55 | |
Bye. Your mommy loves you. | 0:00:55 | 0:00:58 | |
'I was the steam when hot meets cold.' | 0:00:58 | 0:01:01 | |
Midge? Well, hello. | 0:01:04 | 0:01:06 | |
The reason that I called, darling, is that Aschwin, | 0:01:06 | 0:01:09 | |
Prince Aschwin Lippe, | 0:01:09 | 0:01:11 | |
his brother is Prince Bernhard, | 0:01:11 | 0:01:13 | |
well, Aschwin thought it would be lovely to meet at the Stork Club. | 0:01:13 | 0:01:17 | |
He so wants to know you and Joost and asked if I could... | 0:01:17 | 0:01:21 | |
Well, of course. Shall we say... 10.30? | 0:01:21 | 0:01:25 | |
Is that too Continental? | 0:01:25 | 0:01:28 | |
(LAUGHS) | 0:01:29 | 0:01:32 | |
Be as catty as you want but Tony can hear every word you're saying. | 0:01:33 | 0:01:37 | |
Can you imagine the world he's growing up into? | 0:01:37 | 0:01:41 | |
Brooks and I will see you tonight. | 0:01:41 | 0:01:44 | |
Brooks... | 0:01:47 | 0:01:49 | |
..darling. | 0:01:49 | 0:01:51 | |
I gather that you're making commitments for me. | 0:01:54 | 0:01:57 | |
Sans permission, sans consultation. | 0:01:59 | 0:02:03 | |
Prince Aschwin de Lippe, please. | 0:02:06 | 0:02:10 | |
You may say Barbara Baekeland is calling. | 0:02:10 | 0:02:13 | |
Don't get difficult, not tonight, darling. | 0:02:13 | 0:02:16 | |
Please, forgive the intrusion and the damnably short notice | 0:02:16 | 0:02:19 | |
but we are having supper with Midge and Joost van den Heuvel | 0:02:19 | 0:02:22 | |
and they would so like the pleasure of your company. | 0:02:22 | 0:02:26 | |
They'll be delighted. | 0:02:26 | 0:02:28 | |
As will I. | 0:02:28 | 0:02:30 | |
As will Brooks. | 0:02:30 | 0:02:33 | |
Thank you, darling. | 0:02:35 | 0:02:37 | |
'People say now that I must have hated them because of what... | 0:02:37 | 0:02:41 | |
'..transpired...' | 0:02:41 | 0:02:43 | |
We won't be back too late, I promise. | 0:02:44 | 0:02:47 | |
'..but everything that happened, happened because of love.' | 0:02:47 | 0:02:51 | |
Do I... | 0:02:52 | 0:02:54 | |
Do I look like a monkey to you? | 0:02:54 | 0:02:56 | |
Then, why on Earth should I get dressed up in a fucking monkey suit | 0:02:58 | 0:03:02 | |
-just to eat? -You don't have to wear your tux. And no need to be vulgar. | 0:03:01 | 0:03:06 | |
-In front of the B-O-Y? -Just wear your uniform. | 0:03:06 | 0:03:09 | |
-I will not. -You look so handsome, so dashing, in your uniform. | 0:03:09 | 0:03:13 | |
The war is over, had you not heard? | 0:03:13 | 0:03:15 | |
You have a right. You won the war. | 0:03:15 | 0:03:18 | |
I mean, you volunteered so you have a right to wear your uniform. | 0:03:18 | 0:03:21 | |
Your father looked so handsome, so dashing. | 0:03:22 | 0:03:26 | |
So dashing... | 0:03:25 | 0:03:27 | |
Is the little paragon coming or do you plan on leaving him here alone? | 0:03:29 | 0:03:33 | |
Nini will be here at 9.00. | 0:03:33 | 0:03:35 | |
In that case, I'm glad that I shall be dining out. | 0:03:35 | 0:03:39 | |
(BABY MURMURS) | 0:03:43 | 0:03:46 | |
Tone... Tony, Tony... | 0:03:48 | 0:03:50 | |
Mother, do you think we should call him "Antony"? | 0:03:50 | 0:03:53 | |
"Antony" will be his full name, | 0:03:53 | 0:03:55 | |
his formal name, his name to the world. | 0:03:55 | 0:03:57 | |
And "Tony" will be his name as a child... and among intimates. | 0:03:57 | 0:04:02 | |
When I refer to him, when I am asked if I have a photograph, do I say...? | 0:04:02 | 0:04:08 | |
You say "This is Tony". | 0:04:08 | 0:04:10 | |
And they will say, "What an angel!" | 0:04:10 | 0:04:14 | |
Oh, yes... An angel. | 0:04:14 | 0:04:17 | |
What an angel. What an angel you are. | 0:04:17 | 0:04:22 | |
-We may be out late. -"Shall". | 0:04:22 | 0:04:25 | |
Oh, yes... Your mommy loves you. | 0:04:26 | 0:04:29 | |
Barbara. | 0:04:35 | 0:04:37 | |
Good night, Tony, you are in good hands. | 0:04:38 | 0:04:42 | |
Enjoy the Stork Club. | 0:04:42 | 0:04:44 | |
And you may stay out as late as you wish. | 0:04:44 | 0:04:47 | |
Fuck... | 0:04:48 | 0:04:50 | |
(BALLROOM MUSIC) | 0:04:58 | 0:04:59 | |
Thank you. | 0:05:02 | 0:05:04 | |
Good evening. | 0:05:04 | 0:05:06 | |
So we were coming downtown... | 0:05:06 | 0:05:10 | |
Mr and Mrs Baekeland. Right this way, ma'am. | 0:05:10 | 0:05:12 | |
(MAN) She's gorgeous. | 0:05:15 | 0:05:17 | |
Hello. | 0:05:28 | 0:05:29 | |
Wonderful to see you. | 0:05:29 | 0:05:31 | |
How do you do? | 0:05:31 | 0:05:33 | |
-I'm Barbara. -Simone. -How do you do? | 0:05:37 | 0:05:40 | |
Why, it was with Dieter that Brooks went on his great adventure in Peru, | 0:05:42 | 0:05:47 | |
in the Villa...? | 0:05:47 | 0:05:49 | |
Darling, you know I'm not at my best with geography. | 0:05:49 | 0:05:53 | |
Brooks, help me. Villa...? | 0:05:54 | 0:05:57 | |
Darling, don't press. Maybe your husband don't feel like at dinner. | 0:05:57 | 0:06:01 | |
Brooks, please, if you don't feel like performing... | 0:06:01 | 0:06:04 | |
-Vilcabamba. -Ah. | 0:06:04 | 0:06:06 | |
Dieter and I we went to the Vilcabamba in Peru. | 0:06:06 | 0:06:09 | |
So tell us, man, what was your "little adventure"? | 0:06:09 | 0:06:13 | |
It was nothing. | 0:06:13 | 0:06:15 | |
-Well, I lie. It was something. -(ALL CHUCKLE) | 0:06:16 | 0:06:19 | |
-(LAUGHS) -I was intrigued by a 400-year-old mystery - | 0:06:19 | 0:06:23 | |
what became of Manco Inca. | 0:06:23 | 0:06:25 | |
-I wanted to find the ruins of the lost city. -This is actually true. | 0:06:25 | 0:06:29 | |
-Give him a dirt road and he'll go up it. -(ALL LAUGH) -That's very good. | 0:06:29 | 0:06:34 | |
-Would you, Simone? -Oh, I don't know. | 0:06:48 | 0:06:51 | |
-Your husband asked you a question. -This seems... unfair. | 0:06:51 | 0:06:56 | |
This seems... tedious. | 0:06:56 | 0:06:59 | |
-Hmm... But would you? -Yes, would you? | 0:06:59 | 0:07:02 | |
Would I eat a pound of human flesh for 10 million? | 0:07:02 | 0:07:07 | |
No, I would not. | 0:07:07 | 0:07:09 | |
I have eaten horse flesh, you know? | 0:07:12 | 0:07:14 | |
There is a difference between eating the cheval and eating the chevalier. | 0:07:14 | 0:07:18 | |
Brooks, for 10 million would you sleep with Simone? | 0:07:18 | 0:07:22 | |
-For 10 million would you - ? -Don't, Barbara. Please... | 0:07:24 | 0:07:28 | |
..don't be tedious. | 0:07:28 | 0:07:30 | |
Would you go home with the first person you met | 0:07:31 | 0:07:34 | |
-going through a nightclub door? -Yes, I would. | 0:07:34 | 0:07:37 | |
So... shall we get on with our drinks? | 0:07:39 | 0:07:42 | |
Brooks, Barbara, have you ever been to the Engadin? | 0:07:42 | 0:07:46 | |
Oh, I was practically born in Gstaad! | 0:07:46 | 0:07:49 | |
She practically loves the ski instructors. | 0:07:49 | 0:07:52 | |
(LAUGHS) | 0:07:52 | 0:07:54 | |
Thank you for coming this evening. | 0:08:04 | 0:08:06 | |
Bye. | 0:08:06 | 0:08:08 | |
-Barbara. -You said you'd go home with the first person you met | 0:08:09 | 0:08:13 | |
-going through a door... -No... -So I thought I might go home | 0:08:13 | 0:08:18 | |
with the first person... Hello! | 0:08:18 | 0:08:21 | |
Hello, I'm awfully thirsty. Would you buy me a drink? | 0:08:21 | 0:08:24 | |
Aschwin... Simone... | 0:08:24 | 0:08:26 | |
-Barbara. -Brooks... | 0:08:26 | 0:08:29 | |
Lovely to see you all. | 0:08:31 | 0:08:34 | |
(LAUGHS) | 0:08:36 | 0:08:38 | |
Nini. | 0:08:57 | 0:08:59 | |
-Oh, I'm sorry. I'm sorry. -Quite all right. | 0:08:59 | 0:09:02 | |
-I must have... -You fell asleep. Quite natural. | 0:09:04 | 0:09:07 | |
It's late. It got late, you fell asleep. | 0:09:07 | 0:09:10 | |
-I trust your evening was...? -Oh, we had a fine time. | 0:09:12 | 0:09:15 | |
I can hold down the fort. | 0:09:15 | 0:09:18 | |
-Where's Barbara? -She's returning separately. | 0:09:18 | 0:09:21 | |
-May I get your coat? -I'll just go. | 0:09:21 | 0:09:24 | |
-And was the Prince there? -Excuse me? | 0:09:23 | 0:09:26 | |
-The Prince. The Prince of Amsterdam. -Ah. -Was he there? | 0:09:26 | 0:09:30 | |
I think you're thinking of Prince Bernhard of the Netherlands. | 0:09:30 | 0:09:34 | |
He was Count Lippe-Biesterfeld, of course, before he married Juliana. | 0:09:34 | 0:09:38 | |
The man with whom we dined Aschwin Lippe | 0:09:38 | 0:09:41 | |
is just Aschwin Lippe - younger brother. | 0:09:41 | 0:09:43 | |
-A prince in title but not in any way... -Oh... | 0:09:43 | 0:09:46 | |
-Because Barbara said... -"Barbara said"(!) | 0:09:46 | 0:09:48 | |
Decent man nonetheless. | 0:09:57 | 0:09:59 | |
I see. | 0:09:59 | 0:10:01 | |
Good man. | 0:10:01 | 0:10:04 | |
(CAR ENGINE) | 0:10:04 | 0:10:05 | |
(CAR DOOR OPENS / CLOSES) | 0:10:05 | 0:10:07 | |
(FOOTSTEPS) | 0:10:11 | 0:10:13 | |
(BABY COUGHS) | 0:10:31 | 0:10:32 | |
Oh, yes. Oh, yes... | 0:10:48 | 0:10:51 | |
Hey, kid... | 0:10:51 | 0:10:53 | |
Oh, what a life. | 0:10:53 | 0:10:55 | |
Thirsty? Hmm? Thirsty boy? | 0:10:55 | 0:10:59 | |
Tony a thirsty boy? | 0:10:59 | 0:11:02 | |
'Papa used to say "For 2 the court fee and 10 for a wedding band, | 0:11:02 | 0:11:09 | |
I made your mommy into Mrs Brooks Baekeland"...' | 0:11:08 | 0:11:13 | |
S'il vous plait! | 0:11:13 | 0:11:15 | |
'..and myself for the next 30 years into "Barbara's husband".' | 0:11:15 | 0:11:19 | |
Oh! You are an angel. | 0:11:51 | 0:11:55 | |
-Where's Papa? -He went to visit Duran. | 0:11:55 | 0:11:58 | |
What shall we do today? | 0:11:59 | 0:12:01 | |
Ah... Well... | 0:12:01 | 0:12:03 | |
Tonight we're going to L'Hippo with Marcel and his wife Teeny. | 0:12:03 | 0:12:10 | |
-Remember them? -(SPEAKS FRENCH) -En Anglais, s'il vous plait. | 0:12:09 | 0:12:14 | |
-Doesn't sound like much fun for a kid. -You don't have to come. | 0:12:14 | 0:12:17 | |
-But when you leave me alone... -Tony. | 0:12:17 | 0:12:19 | |
I feel no bigger than a lima bean. | 0:12:19 | 0:12:22 | |
Oh... You won't be alone. You'll be with Clothilde. | 0:12:22 | 0:12:25 | |
Maybe since I'll be with boring Clothilde we can balance it out | 0:12:25 | 0:12:29 | |
with something more fun during the day? | 0:12:29 | 0:12:31 | |
Ah... I see where this is going. | 0:12:31 | 0:12:33 | |
-Your mother needs time to paint. -I'd like to go on the Ferris wheel. | 0:12:33 | 0:12:37 | |
-And for lunch I'd like some ice cream. -Ah! | 0:12:37 | 0:12:41 | |
-But you had ice cream for breakfast. -(CHUCKLES) | 0:12:41 | 0:12:44 | |
-Please don't tell Papa. -I won't. It will be our secret. | 0:12:48 | 0:12:52 | |
-As will the aspirins you're going to fetch from... -The bathroom | 0:12:52 | 0:12:56 | |
next to the sink. | 0:12:56 | 0:12:58 | |
Your mother has a shocking hangover. | 0:12:59 | 0:13:02 | |
Mommy... | 0:13:05 | 0:13:07 | |
I shall cure you. | 0:13:08 | 0:13:10 | |
-Ha! -Oh! | 0:13:21 | 0:13:22 | |
OK! OK, OK. | 0:13:37 | 0:13:39 | |
-I concede, I resign. -Well, sir, I'm pretty expert. | 0:13:39 | 0:13:44 | |
So there's no embarrassment in losing if that's a concern. | 0:13:43 | 0:13:47 | |
-Do you love me? -Of course. | 0:13:50 | 0:13:53 | |
Will you still love me when my hair is gray and my tits are sagging? | 0:13:53 | 0:13:57 | |
Well, of course. | 0:13:57 | 0:13:59 | |
-Do you remember the dog? -What dog? | 0:14:01 | 0:14:04 | |
-Which dog? -The one we had in Italy. | 0:14:04 | 0:14:08 | |
Giotto. | 0:14:08 | 0:14:10 | |
I remember when Giotto died. | 0:14:10 | 0:14:13 | |
-He was old. -No, he wasn't. -In dog years. | 0:14:13 | 0:14:16 | |
-We still have his collar. -I know. | 0:14:17 | 0:14:20 | |
-Somewhere... -I know where. | 0:14:20 | 0:14:23 | |
Leo was famous. Not like you're famous of course. | 0:14:23 | 0:14:27 | |
Well, I'm not... | 0:14:27 | 0:14:30 | |
For heaven's sake. You won the Premio Nadal. | 0:14:29 | 0:14:32 | |
You know Picasso, you know Camus, you know Malraux, you know Dali. | 0:14:32 | 0:14:36 | |
Pilar knows them. I just write. | 0:14:36 | 0:14:38 | |
What I'm saying, Carlos, is that Leo's fame, like yours, | 0:14:38 | 0:14:41 | |
was a function of achievement, it came from what he did. | 0:14:41 | 0:14:45 | |
So Leo's stroke of genius was the notion that the formaldehyde | 0:14:45 | 0:14:49 | |
might stabilize the phenol, give it strength. | 0:14:49 | 0:14:51 | |
But they never mixed. Leo thought "Try putting it under pressure". | 0:14:51 | 0:14:56 | |
Poof! Long-chain molecules, Bakelite, plastic. | 0:14:56 | 0:15:00 | |
The telephone, bracelets, radios, records, | 0:15:01 | 0:15:04 | |
coffins, submarines, the housing for the atom bomb - | 0:15:04 | 0:15:08 | |
the world as we know it today. | 0:15:08 | 0:15:10 | |
-That was your father? -No, that was my grandfather. | 0:15:10 | 0:15:14 | |
My father is a crapule, my grandfather decidedly was not. | 0:15:14 | 0:15:18 | |
-What does Papa do? -How do you mean? | 0:15:19 | 0:15:21 | |
-Well, Francois at the... -Ecole? | 0:15:21 | 0:15:25 | |
-Francois asked me... -You can tell him, "My father writes". | 0:15:25 | 0:15:32 | |
"My father explores." | 0:15:31 | 0:15:34 | |
"My father has a very refined knowledge of mathematics." | 0:15:34 | 0:15:38 | |
Oh. | 0:15:38 | 0:15:40 | |
And you can tell him that your mother was almost a movie star. | 0:15:40 | 0:15:44 | |
Do you find my wife attractive? | 0:15:47 | 0:15:50 | |
Most men do. | 0:15:50 | 0:15:52 | |
But what she doesn't... | 0:15:52 | 0:15:54 | |
What Barbara doesn't realise... | 0:15:54 | 0:15:57 | |
..is that women find me... | 0:15:57 | 0:16:00 | |
..you know... | 0:16:01 | 0:16:04 | |
..attractive. | 0:16:05 | 0:16:07 | |
Some people's fathers, some people's mothers, | 0:16:08 | 0:16:12 | |
they have to go to an office or a factory or a store I guess every day. | 0:16:12 | 0:16:17 | |
But we are fortunate... | 0:16:17 | 0:16:19 | |
..because what we do is what we love. | 0:16:20 | 0:16:24 | |
What does Francois's father do? | 0:16:24 | 0:16:25 | |
-He works. -Ah, well, we worked. | 0:16:27 | 0:16:30 | |
I mean, Father worked, Nini worked. There was no other way. | 0:16:30 | 0:16:34 | |
I kind of had to raise myself and then I worked too at Filene's. | 0:16:34 | 0:16:39 | |
Then when I could I left. | 0:16:39 | 0:16:41 | |
I just left. | 0:16:42 | 0:16:44 | |
Nini wanted what was best for me - only what was best for me. | 0:16:45 | 0:16:49 | |
"Find the mon," she'd say. | 0:16:49 | 0:16:52 | |
She meant "man" I guess and she meant "money". | 0:16:51 | 0:16:56 | |
The rich, they don't have pet names for money. | 0:16:58 | 0:17:01 | |
Did you know Leonardo da Vinci wrote backwards? | 0:17:01 | 0:17:04 | |
So you could only read it in a mirror. | 0:17:04 | 0:17:06 | |
-(WOMAN SPEAKS IN SPANISH) -(MAN REPLIES IN SPANISH) | 0:17:11 | 0:17:14 | |
-Entrez. -Hi. | 0:17:27 | 0:17:30 | |
Carlos! | 0:17:29 | 0:17:31 | |
Pilar! My, you're looking swell! | 0:17:32 | 0:17:36 | |
Gracias. Mrs Baekeland, permit me to introduce Monsieur Souvestre. | 0:17:35 | 0:17:40 | |
Jean-Pierre, I am so happy to meet you. | 0:17:40 | 0:17:44 | |
Please, come in. | 0:17:44 | 0:17:46 | |
I have been dying to ask you about Marcel Proust, | 0:17:49 | 0:17:52 | |
your biography of whom I have yet to read | 0:17:52 | 0:17:55 | |
as my French reading skills are not what they will be. | 0:17:55 | 0:17:58 | |
It is not necessary to apologise for that. | 0:17:58 | 0:18:01 | |
Brooks, of course, reads the language like a native. | 0:18:01 | 0:18:04 | |
And our Tony is mastering it every day at the Ecole Bilingue. | 0:18:04 | 0:18:07 | |
But for pour moi I must confess it's been a struggle. | 0:18:07 | 0:18:11 | |
-Understood. -What was I saying? Oh... yes... | 0:18:11 | 0:18:14 | |
Jean-Pierre, was Proust truly a homosexual? | 0:18:14 | 0:18:19 | |
(SPEAKS FRENCH) | 0:18:19 | 0:18:21 | |
-So you met Carlos here in Paris? -I was at the Sorbonne, | 0:18:24 | 0:18:28 | |
the adoring graduate student writing about his work. | 0:18:29 | 0:18:33 | |
But then... we woke up one morning and none of that seemed to matter. | 0:18:33 | 0:18:38 | |
I think I knew he was serious | 0:18:38 | 0:18:40 | |
when he introduced me to Marcel and Teeny Duchamp. | 0:18:40 | 0:18:44 | |
Oh! I ran into them today at L'Equipe. | 0:18:44 | 0:18:48 | |
They said they might stop over... later. (SPEAKS FRENCH) | 0:18:48 | 0:18:52 | |
You may be assured they were only being polite. | 0:18:52 | 0:18:55 | |
I don't want to be impolite | 0:18:59 | 0:19:00 | |
but Monsieur Souvestre has an early day tomorrow. | 0:19:00 | 0:19:04 | |
He's off to Vittel. | 0:19:03 | 0:19:06 | |
It is regrettable but what Mrs Duran says is the truth. | 0:19:06 | 0:19:10 | |
Un petit cafe for the road? And you've yet to meet Tony. | 0:19:09 | 0:19:14 | |
Excusez-moi. | 0:19:14 | 0:19:16 | |
(SIGHS / SPEAKS FRENCH) | 0:19:16 | 0:19:18 | |
(SPEAKS FRENCH) | 0:19:24 | 0:19:26 | |
Did I get it right? Did I get the order right? | 0:19:28 | 0:19:32 | |
The younger is presented to the older, the less distinguished. | 0:19:32 | 0:19:35 | |
Exception is a gentleman is always presented to a lady. Exception to | 0:19:35 | 0:19:39 | |
the exception, unless the man is a president a cardinal or a sovereign. | 0:19:39 | 0:19:43 | |
So, then, it's right. | 0:19:43 | 0:19:46 | |
Well, everyone, this is Tony. | 0:19:46 | 0:19:48 | |
Say hello. | 0:19:48 | 0:19:50 | |
(SPEAKS SPANISH) | 0:19:50 | 0:19:52 | |
(REPLIES IN SPANISH) | 0:19:52 | 0:19:54 | |
(SPEAKS FRENCH) | 0:19:54 | 0:19:56 | |
Told you his French is better than mine. | 0:19:58 | 0:20:00 | |
Perhaps you'd like to read something. | 0:20:00 | 0:20:03 | |
Perhaps Tony would prefer to get his sleep. | 0:20:04 | 0:20:07 | |
Especially as Monsieur Souvestre has an early start. | 0:20:07 | 0:20:10 | |
(Please...) | 0:20:10 | 0:20:12 | |
For me. | 0:20:11 | 0:20:13 | |
Thank you, Tony. It was gracious of you to volunteer. | 0:20:32 | 0:20:35 | |
You are welcome, senora. | 0:20:35 | 0:20:37 | |
Your mother's a bit tired, as are we, as I'm sure are you. | 0:20:37 | 0:20:41 | |
-Erm... -Then, we call it an evening. | 0:20:41 | 0:20:44 | |
As your friend Monsieur Duchamp says... | 0:20:44 | 0:20:47 | |
(SPEAKS FRENCH) | 0:20:47 | 0:20:50 | |
-Your husband or your son will translate. -Don't you dare. | 0:20:50 | 0:20:53 | |
Don't you dare condescend to me. Fucking French! | 0:20:53 | 0:20:57 | |
They tell you how to raise your child and then they stare at your ass. | 0:20:57 | 0:21:00 | |
Yes! I know the word! | 0:21:00 | 0:21:03 | |
It's sick. This society is sick! | 0:21:03 | 0:21:07 | |
Excuse me. Move! | 0:21:07 | 0:21:09 | |
I shall be leaving too. Tell Tony his father says good night. | 0:21:19 | 0:21:23 | |
(SPEAKS SPANISH) | 0:21:23 | 0:21:26 | |
(SPEAKS FRENCH) | 0:21:28 | 0:21:30 | |
(DOOR CREAKS) | 0:21:56 | 0:21:59 | |
(FOOTSTEPS) | 0:22:00 | 0:22:04 | |
What are you doing in my hotel room? | 0:22:04 | 0:22:06 | |
You bribed the concierge, didn't you? | 0:22:13 | 0:22:15 | |
Mmm... | 0:22:15 | 0:22:17 | |
(SPITS) | 0:23:13 | 0:23:15 | |
(PANTING) | 0:23:34 | 0:23:36 | |
Uh... | 0:23:39 | 0:23:41 | |
Hello? | 0:24:01 | 0:24:03 | |
Hello? | 0:24:03 | 0:24:06 | |
Mommy? > | 0:24:13 | 0:24:15 | |
Mommy? | 0:24:17 | 0:24:19 | |
-Bonjour, Mama. -Bonjour. | 0:24:35 | 0:24:37 | |
-Who's that boy? -Francois. | 0:24:45 | 0:24:48 | |
From the ecole. | 0:24:49 | 0:24:51 | |
From the Ecole Bilingue? | 0:24:51 | 0:24:53 | |
I know where he's from. | 0:24:54 | 0:24:56 | |
When you left and then when Mommy left, I didn't want to be alone | 0:24:59 | 0:25:03 | |
so I called Francois and he came over. | 0:25:03 | 0:25:06 | |
We listened to the radio. It was Boulez - | 0:25:06 | 0:25:09 | |
one of those poems by Rene Char which Boulez set to music. | 0:25:09 | 0:25:12 | |
I rather like Boulez, don't you, Mommy? | 0:25:12 | 0:25:14 | |
I know that some consider him atonal and all that | 0:25:14 | 0:25:17 | |
but I think they just don't know how to listen or what to listen for. | 0:25:17 | 0:25:21 | |
Your friend leaves. | 0:25:21 | 0:25:24 | |
Now. | 0:25:26 | 0:25:27 | |
Get him a towel. | 0:25:31 | 0:25:33 | |
(MELODIC ACOUSTIC GUITAR) | 0:26:10 | 0:26:13 | |
That wasn't bad, you know? Tony? | 0:26:30 | 0:26:34 | |
Do you have a cigarette for me? | 0:26:34 | 0:26:36 | |
Black. | 0:26:38 | 0:26:40 | |
I like black tobacco. | 0:26:40 | 0:26:42 | |
But sometimes I yearn for the brown. | 0:26:42 | 0:26:44 | |
-You know how they are. -What? | 0:27:16 | 0:27:18 | |
-Fussing, always making a fuss. -Not all women. -Damn near all. | 0:27:18 | 0:27:23 | |
Always telling us, you know? | 0:27:23 | 0:27:26 | |
Always telling us where to put our cocks, | 0:27:27 | 0:27:30 | |
where not to... and so forth. | 0:27:30 | 0:27:35 | |
I don't need to tell you, you've seen, you know. | 0:27:36 | 0:27:39 | |
So, what are you saying? | 0:27:39 | 0:27:42 | |
You'll soon be... Hell, you're on your own. | 0:27:43 | 0:27:47 | |
I just wanted to give you a piece of... what fathers tell sons. | 0:27:47 | 0:27:52 | |
Well, thanks. | 0:27:54 | 0:27:56 | |
I mean, your mother was an actress... | 0:27:56 | 0:27:59 | |
..in some ways, is an actress, will mostly likely be... | 0:28:00 | 0:28:04 | |
Mommy can be histrionic but she's not... | 0:28:04 | 0:28:06 | |
Don't defend her. You needn't defend her. | 0:28:06 | 0:28:09 | |
You love her as do I but for the moment | 0:28:08 | 0:28:11 | |
we're sitting here, Brooks and Antony, two men. | 0:28:11 | 0:28:14 | |
Had she been on time, we'd never have had this discussion. | 0:28:18 | 0:28:22 | |
Do you think she gets stoned? | 0:28:34 | 0:28:36 | |
Well, she's Spanish. | 0:28:36 | 0:28:39 | |
Worth a pull? | 0:28:40 | 0:28:42 | |
After you, pal. | 0:28:43 | 0:28:45 | |
(SPEAKS SPANISH) | 0:28:51 | 0:28:53 | |
Si. | 0:28:53 | 0:28:55 | |
Gracias. | 0:28:55 | 0:28:57 | |
(CHUCKLES) | 0:29:03 | 0:29:05 | |
Taught by experts. | 0:29:05 | 0:29:07 | |
You know what this place needs? | 0:29:10 | 0:29:12 | |
Some music. | 0:29:14 | 0:29:17 | |
-I have one. -Excuse me? | 0:29:17 | 0:29:20 | |
(MOTOWN MUSIC) | 0:29:29 | 0:29:31 | |
# Once upon a time A long, long time ago | 0:29:39 | 0:29:45 | |
# Wherever you lead me I would surely follow | 0:29:45 | 0:29:50 | |
# Girl you put me through Some pain and misery | 0:29:50 | 0:29:54 | |
# And now you stand here On my doorstep | 0:29:54 | 0:29:59 | |
# Telling me how much you need me | 0:29:59 | 0:30:03 | |
# Ain't nobody home | 0:30:06 | 0:30:09 | |
# Girl...! | 0:30:09 | 0:30:11 | |
# Ain't nobody home | 0:30:10 | 0:30:14 | |
# How many times I begged for you to come home | 0:30:15 | 0:30:19 | |
# But you laughed at me And said, 'Let me alone' | 0:30:19 | 0:30:24 | |
# Ain't nobody home... Girl! # | 0:30:25 | 0:30:29 | |
-I don't know. -What's she like? | 0:30:29 | 0:30:31 | |
-I don't know. She's Spanish. -Well, with a name like Blanca... | 0:30:31 | 0:30:35 | |
-Blanca what? -I don't know, Blanca what. | 0:30:35 | 0:30:38 | |
This is not a city, it's a port so when we hang out, | 0:30:38 | 0:30:42 | |
it's typically on a first-name basis. | 0:30:42 | 0:30:44 | |
And if what you're asking is, "Does she come from bonne famille?", | 0:30:44 | 0:30:48 | |
you know, if that's what you're asking well... | 0:30:48 | 0:30:52 | |
..aren't there enough counts and countesses in that stack | 0:30:52 | 0:30:56 | |
of cartes de visite in the foyer, just the way that Nini taught you? | 0:30:56 | 0:31:00 | |
The carte from Prince Bernhard on top and bills on the bottom. | 0:31:01 | 0:31:06 | |
You will not speak to your mother like that. I will not stand for it. | 0:31:06 | 0:31:11 | |
Oh, piss off. | 0:31:11 | 0:31:13 | |
A mother knows. | 0:31:21 | 0:31:24 | |
-Hmm? -When her son... when her son might like someone. | 0:31:24 | 0:31:30 | |
(ENGINE REVS) | 0:31:44 | 0:31:47 | |
(TYRES SCREECH) | 0:31:56 | 0:31:58 | |
(TYRES SCREECH) | 0:32:08 | 0:32:11 | |
(TYRES SCREECH) | 0:32:19 | 0:32:21 | |
The discovery, that was 1907. | 0:32:26 | 0:32:29 | |
In less than ten years my grandfather was a very wealthy man. | 0:32:29 | 0:32:32 | |
1924, his face on the cover of Time magazine. | 0:32:32 | 0:32:36 | |
1930, Coco Chanel makes all her mannequins | 0:32:36 | 0:32:39 | |
wear Bakelite accessories. | 0:32:39 | 0:32:41 | |
Then came the Depression which hit everyone except the Baekelands. | 0:32:41 | 0:32:45 | |
We were headed the other direction - | 0:32:45 | 0:32:47 | |
our triumph, and, of course, our downfall. | 0:32:47 | 0:32:50 | |
How do you mean? | 0:32:50 | 0:32:52 | |
Leo knew the social register | 0:32:52 | 0:32:55 | |
but it wasn't what moved him, it wasn't what he prized. | 0:32:55 | 0:32:59 | |
To him all that was just la parade. | 0:32:59 | 0:33:02 | |
But not to George, his son, my father. | 0:33:02 | 0:33:04 | |
He valued all that to a fault and in the process lost everything. | 0:33:04 | 0:33:09 | |
Camarero! No-one here is drinking enough. Another round over here. | 0:33:09 | 0:33:14 | |
Tony, drink while your father bores the shit out of your little friend. | 0:33:15 | 0:33:20 | |
-She's not very happy. -Ah... -(CHUCKLES) | 0:33:26 | 0:33:29 | |
Then, you understand. | 0:33:29 | 0:33:31 | |
Well, it's been a long night. | 0:33:38 | 0:33:40 | |
Bye, kiddo. | 0:33:42 | 0:33:44 | |
-Night, Blanca. -Good night. | 0:33:44 | 0:33:47 | |
-Are you sure that...? -Yes! | 0:33:56 | 0:33:59 | |
You know, I don't think I've ever met a family like yours. | 0:34:32 | 0:34:36 | |
All this excitement, all this history. | 0:34:38 | 0:34:42 | |
-Well, there is that. -(CHUCKLES) Yes. | 0:34:42 | 0:34:45 | |
(LAUGHS) | 0:35:10 | 0:35:12 | |
You really are such a handsome boy. | 0:35:59 | 0:36:02 | |
'Later Mommy said that I had brought Blanca home | 0:36:13 | 0:36:16 | |
'like a kitten that had killed its first mouse | 0:36:16 | 0:36:19 | |
'and laid it at your feet.' | 0:36:19 | 0:36:22 | |
'"And you... and you took it."' | 0:36:24 | 0:36:27 | |
(SPEAKS SPANISH) | 0:36:54 | 0:36:56 | |
-Landing? When it lands? -Oh, it's been delayed. | 0:37:00 | 0:37:03 | |
So... 6PM. Any time after that. | 0:37:03 | 0:37:06 | |
"Paging Mr Baekeland, to the Aviaco counter, please." | 0:37:23 | 0:37:27 | |
Paging, please, Mr Baekeland, to Aviaco. Your party is waiting. | 0:37:26 | 0:37:31 | |
Boarding time's at...? | 0:37:36 | 0:37:38 | |
Let me see. | 0:37:39 | 0:37:41 | |
Yeah it's 1.30. | 0:37:45 | 0:37:46 | |
Come, darling. | 0:37:51 | 0:37:53 | |
Coward! | 0:37:54 | 0:37:56 | |
Cobarde! | 0:37:58 | 0:38:00 | |
Cobarde! That's right, that's you I'm talking about, you little puta. | 0:38:00 | 0:38:06 | |
-You little whore! -(SPEAKS SPANISH) | 0:38:06 | 0:38:09 | |
(SPEAKS SPANISH) | 0:38:10 | 0:38:12 | |
You are truly disgusting, do you know that? | 0:38:12 | 0:38:15 | |
You and your little Spanish cunt! | 0:38:15 | 0:38:17 | |
-You're speaking too loudly. -I am speaking of a cunt half your age. | 0:38:17 | 0:38:21 | |
She looked at Tony, looked at you, thought for about five seconds | 0:38:21 | 0:38:24 | |
and said to herself, "Ha! That's where the money is"! | 0:38:24 | 0:38:27 | |
Entiendes? | 0:38:27 | 0:38:29 | |
You go on about your grandfather and the life of the fucking mind. | 0:38:29 | 0:38:33 | |
I go away for one week and what do you do? | 0:38:32 | 0:38:35 | |
Something very intellectual, very intellectual indeed. | 0:38:35 | 0:38:38 | |
Oh, does he fuck you up the ass? (SHOUTS IN SPANISH) | 0:38:38 | 0:38:42 | |
That's what he likes, you know? He thinks... it's very manly. | 0:38:42 | 0:38:47 | |
I think... quite the opposite. | 0:38:47 | 0:38:50 | |
She bats her eyes at you and says, | 0:38:50 | 0:38:55 | |
"Oh, Brooks, you, you big man, you". | 0:38:55 | 0:39:00 | |
And you honour the great Baekeland tradition by fucking her. | 0:39:00 | 0:39:03 | |
OK... Fuck her. | 0:39:06 | 0:39:09 | |
Fuck her. I understand. | 0:39:09 | 0:39:13 | |
But leave me? | 0:39:13 | 0:39:15 | |
Break my heart? Break Tony's? | 0:39:15 | 0:39:18 | |
He never broke Tony's heart. | 0:39:18 | 0:39:20 | |
And neither did I. | 0:39:23 | 0:39:25 | |
Much of what you've just said is an amalgam of paranoia and spite. | 0:39:25 | 0:39:29 | |
Sell yourself to yourself any way you like but in your heart you know. | 0:39:29 | 0:39:32 | |
So does everyone else. | 0:39:32 | 0:39:35 | |
Also... | 0:39:36 | 0:39:38 | |
..you're a little old for this, don't you think? | 0:39:38 | 0:39:42 | |
(SPEAKS SPANISH) | 0:40:07 | 0:40:09 | |
(ENGINE STARTS) | 0:40:14 | 0:40:17 | |
(SPEAKS SPANISH) | 0:40:17 | 0:40:19 | |
(GUNSHOT) | 0:40:22 | 0:40:24 | |
(GUNSHOTS CONTINUE) | 0:40:41 | 0:40:44 | |
(ENGINE STARTS) | 0:40:51 | 0:40:53 | |
(GUNSHOT) | 0:41:00 | 0:41:02 | |
You are a very nice man. | 0:41:15 | 0:41:17 | |
(SPEAKS SPANISH) | 0:41:19 | 0:41:23 | |
(SOBS) | 0:41:43 | 0:41:46 | |
'Jake was like a devil... or a magician.' | 0:42:12 | 0:42:18 | |
Nothing is true. Everything is permitted. | 0:42:18 | 0:42:21 | |
'He wore little bones and things on his vest, | 0:42:21 | 0:42:26 | |
these certain little bones.' | 0:42:26 | 0:42:29 | |
Tony! Jake! | 0:42:34 | 0:42:36 | |
-You might have knocked. -I did. | 0:42:36 | 0:42:39 | |
I went to the airport today to pick up Sam. | 0:42:44 | 0:42:47 | |
Who should I see but your father? | 0:42:46 | 0:42:48 | |
We had a word or two I can tell you that. | 0:42:48 | 0:42:52 | |
You CAN tell me, you are telling me. | 0:42:53 | 0:42:56 | |
-Don't get harsh with me. -I'm sorry. | 0:42:56 | 0:42:59 | |
Are you defending him? Are you taking his side? | 0:42:59 | 0:43:02 | |
You must have had a long drive. | 0:43:02 | 0:43:05 | |
Sit down and let me pour you something to drink, OK? | 0:43:05 | 0:43:08 | |
So I told Sam you'd be joining us for dinner. | 0:43:25 | 0:43:29 | |
I'll see you around 9.00. | 0:43:29 | 0:43:31 | |
How can you live in this shit hole? | 0:43:35 | 0:43:37 | |
(BOTH LAUGH) | 0:43:45 | 0:43:47 | |
'Sam was often called a walker, | 0:43:58 | 0:44:01 | |
one of those homosexuals who escort wealthy women to dinner or the opera | 0:44:01 | 0:44:06 | |
when their husbands are not able.' | 0:44:06 | 0:44:08 | |
'But Sam's devotion to Barbara was never about the money.' | 0:44:08 | 0:44:12 | |
'He liked us more when there was less of it.' | 0:44:12 | 0:44:14 | |
Do you remember how it was with Maxime de la Falaise? | 0:44:14 | 0:44:18 | |
There was a difficult period. | 0:44:18 | 0:44:20 | |
I helped her as much as I could, a few of us we did what we could, | 0:44:20 | 0:44:24 | |
and now, well... no-one remembers the sad period now, do they? | 0:44:24 | 0:44:30 | |
These are the facts we have to face. | 0:44:32 | 0:44:35 | |
One, we are dealing with an insecure and capricious crowd | 0:44:36 | 0:44:41 | |
who given any doubt or hesitation will always follow the money. | 0:44:41 | 0:44:46 | |
In this case, meaning Brooks. | 0:44:45 | 0:44:48 | |
Second and this is in your favour, | 0:44:52 | 0:44:56 | |
you were to any sensible observer, | 0:44:55 | 0:44:59 | |
THE charm and vivacity of the couple. | 0:44:59 | 0:45:03 | |
So we must make that work to your benefit. | 0:45:03 | 0:45:06 | |
-I'm so glad you're here. -It's my pleasure. | 0:45:06 | 0:45:09 | |
'Pop across to Cadaques for a day or two.' | 0:45:10 | 0:45:13 | |
'You need to be proud not embarrassed to be seen in public.' | 0:45:13 | 0:45:16 | |
'And that will give people permission to be seen with you.' | 0:45:16 | 0:45:20 | |
-Hola... -'Let us think, who are those...' | 0:45:20 | 0:45:25 | |
..you know, from whom others take their cue? | 0:45:25 | 0:45:29 | |
Someone like Pilar Duran would be terrific. | 0:45:29 | 0:45:32 | |
And then of course we need a doyenne to seal it. | 0:45:32 | 0:45:36 | |
You do of course know Teeny Duchamp? | 0:45:36 | 0:45:40 | |
Teeny Matisse Duchamp? | 0:45:39 | 0:45:42 | |
And I shall naturally make sure that the word gets out. | 0:45:42 | 0:45:46 | |
As will others. (CHUCKLES) As WILL others! | 0:45:47 | 0:45:50 | |
(LAUGHS) | 0:45:53 | 0:45:54 | |
You've got to start painting again. The difference between... | 0:45:54 | 0:45:58 | |
-An artist and a divorcee. -So you understand. | 0:45:58 | 0:46:02 | |
That's for starters. | 0:46:03 | 0:46:05 | |
-Some of it will, I've no doubt, be emotionally unpleasant. -Oh, please. | 0:46:05 | 0:46:09 | |
-Where is he? -Oh, I'm sure he'll be along, Barbara. | 0:46:09 | 0:46:13 | |
He's just... being Tony. | 0:46:13 | 0:46:16 | |
Mommy, what I don't understand is Brooks. | 0:46:21 | 0:46:24 | |
Of all the places Brooks would wanna go for the season, | 0:46:24 | 0:46:28 | |
he'd choose a place near us and then not wanna see us? | 0:46:28 | 0:46:32 | |
-And Blanca. Why'd she go to Mallorca when she hates me? -She doesn't. | 0:46:32 | 0:46:36 | |
-And Brooks? -He doesn't hate you either. | 0:46:39 | 0:46:42 | |
-Then why won't he - -I've given up trying to understand Brooks. | 0:46:42 | 0:46:46 | |
Explain him, justify his ways. | 0:46:46 | 0:46:50 | |
Men do... This is something you know very well. | 0:46:50 | 0:46:54 | |
Men do what... what men do. | 0:46:54 | 0:46:57 | |
Mommy? | 0:46:57 | 0:46:59 | |
I think he's writing us a letter. | 0:46:59 | 0:47:03 | |
I think he is writing us a letter | 0:47:03 | 0:47:05 | |
but in another alphabet, in Baekeland writing, | 0:47:05 | 0:47:09 | |
no-one else can read. | 0:47:09 | 0:47:12 | |
-Cos the thing with Brooks is he - -Oh, please. | 0:47:12 | 0:47:14 | |
Mommy, don't be angry. | 0:47:14 | 0:47:17 | |
I'm not angry. | 0:47:17 | 0:47:20 | |
I love you. | 0:47:22 | 0:47:25 | |
Mommy, I love you. | 0:47:25 | 0:47:27 | |
(INSTRUMENTAL GUITAR MUSIC) | 0:47:31 | 0:47:33 | |
(MUSIC STOPS) | 0:47:44 | 0:47:46 | |
-No, you've been fantastic. -No, no, no. You needn't... -I wanted to. | 0:47:48 | 0:47:52 | |
I can't begin to tell you how much of an improvement... | 0:47:52 | 0:47:55 | |
-Well, she'll be all right. -Well, she'll always be Barbara. | 0:47:55 | 0:48:01 | |
(CHUCKLES) Yeah. | 0:48:00 | 0:48:03 | |
And... what of you? | 0:48:03 | 0:48:06 | |
-What of life in the world of Tony Baekeland? -(SPEAKS FRENCH) | 0:48:06 | 0:48:10 | |
(SPEAKS FRENCH) | 0:48:13 | 0:48:15 | |
(SPEAKS FRENCH) No, no, no, no! | 0:48:15 | 0:48:18 | |
That isn't good enough by half. Tony takes care of Jake. | 0:48:19 | 0:48:24 | |
Tony takes care of Barbara. | 0:48:24 | 0:48:26 | |
Someone must take care of Tony. | 0:48:26 | 0:48:30 | |
(SIGHS) | 0:48:49 | 0:48:52 | |
What I would like to do ideally is to place you with a gallery. | 0:49:41 | 0:49:46 | |
Or failing that, with a private dealer | 0:49:45 | 0:49:49 | |
and that is something I know I can do. | 0:49:49 | 0:49:52 | |
You shouldn't have done that. | 0:49:59 | 0:50:02 | |
Sam... you should not have done that. | 0:50:05 | 0:50:09 | |
He's your child and he will always be your child | 0:50:13 | 0:50:17 | |
but he is a grown man with his own life and his own choices. | 0:50:17 | 0:50:21 | |
-You don't know what you're talking about. -Tony is who Tony is. | 0:50:21 | 0:50:25 | |
(PLATE SHATTERS) Tony is not who Tony is! | 0:50:25 | 0:50:30 | |
(SOFT INSTRUMENTAL MUSIC) | 0:50:30 | 0:50:33 | |
'Dear Papa, I don't know any other way to say this but straight out.' | 0:51:11 | 0:51:17 | |
'Would you please come back to Mommy? She's so unhappy.' | 0:51:18 | 0:51:23 | |
'She needs you... | 0:51:24 | 0:51:28 | |
..but is too full of pride to ask.' | 0:51:28 | 0:51:31 | |
'Do you remember our dog whom you named Giotto?' | 0:51:33 | 0:51:37 | |
'The dog is gone but the collar remains.' | 0:51:37 | 0:51:40 | |
'For all the times we've moved, I've taken it from place to place.' | 0:51:41 | 0:51:46 | |
'It's never gotten lost, not even once.' | 0:51:45 | 0:51:48 | |
'I do not know why you fear me.' | 0:51:53 | 0:51:56 | |
'I do not fear you.' | 0:51:56 | 0:51:59 | |
'Sometimes I have a bloody mind and I don't know what to do about it | 0:52:00 | 0:52:05 | |
but I fight it with everything I've got.' | 0:52:05 | 0:52:09 | |
'With my best love, Antony.' | 0:52:09 | 0:52:13 | |
Tony! | 0:52:45 | 0:52:47 | |
Tony! | 0:52:47 | 0:52:49 | |
Brooks! | 0:53:15 | 0:53:17 | |
(Everything is going to be all right.) | 0:54:02 | 0:54:05 | |
'My mommy told me ever since I was seven, | 0:54:56 | 0:54:59 | |
"Hold your head up high."' | 0:54:59 | 0:55:01 | |
'A very strange thing is when your charm ceases.' | 0:55:09 | 0:55:14 | |
'And for one reason or another, you become gloomy.' | 0:55:16 | 0:55:20 | |
'And people cease to understand you | 0:55:24 | 0:55:26 | |
when you need understanding the most.' | 0:55:26 | 0:55:29 | |
'I now realize that for many years, | 0:55:39 | 0:55:43 | |
I have been living a totally false life.' | 0:55:43 | 0:55:46 | |
'Anyway... | 0:55:53 | 0:55:56 | |
..for Mommy's sake, I've decided to make a new person of myself.' | 0:55:56 | 0:56:00 | |
(LAUGHS) | 0:57:27 | 0:57:29 | |
(ALL LAUGH) | 0:57:32 | 0:57:35 | |
(BIRDS CHIRP) | 0:58:18 | 0:58:21 | |
We'll be bored rigid without you. | 0:58:23 | 0:58:25 | |
-It's harder to get people to come - -Like it was in Cadaques? I know. | 0:58:27 | 0:58:31 | |
I know. | 0:58:31 | 0:58:34 | |
It's time. | 0:58:34 | 0:58:37 | |
It's time. | 0:58:40 | 0:58:43 | |
Take care. | 0:58:51 | 0:58:54 | |
(ENGINE REVS) | 0:58:55 | 0:58:57 | |
I'm glad he's gone. | 0:59:07 | 0:59:09 | |
(LAUGHS) | 0:59:09 | 0:59:12 | |
'I'm not sure, Papa, you would wanna know this | 0:59:19 | 0:59:22 | |
but she used sleeping suppositories, six or seven of them, | 0:59:22 | 0:59:26 | |
so that she wouldn't change her mind - couldn't.' | 0:59:26 | 0:59:29 | |
'I remember she told me that her father, my grandfather, | 0:59:29 | 0:59:33 | |
had killed himself, so I fear that... | 0:59:33 | 0:59:36 | |
..all this ran very deep within her.' | 0:59:36 | 0:59:40 | |
'It was a miracle that I came home that night | 0:59:40 | 0:59:43 | |
instead of staying out till morning, as is my custom.' | 0:59:43 | 0:59:47 | |
'And a miracle that when I did come home, she was still alive.' | 0:59:47 | 0:59:51 | |
'Taking care of Mommy had been your job.' | 0:59:51 | 0:59:56 | |
'But when you left, Brooks, | 0:59:58 | 1:00:01 | |
taking care of Mommy became my inheritance.' | 1:00:01 | 1:00:05 | |
Barbara? | 1:00:07 | 1:00:10 | |
(SQUEAKING) | 1:00:41 | 1:00:43 | |
Hi. We just missed each other. | 1:01:02 | 1:01:06 | |
(SPEAKS FRENCH) | 1:01:06 | 1:01:08 | |
They told me that you had been there. | 1:01:08 | 1:01:11 | |
This... must be very hard for you. | 1:01:11 | 1:01:15 | |
Your music? Your writing? | 1:01:19 | 1:01:22 | |
-That! -Carlos thinks very highly of you, always has. | 1:01:22 | 1:01:26 | |
-And I'm sure he'll... -Have you seen Brooks? | 1:01:26 | 1:01:30 | |
Carlos saw him. | 1:01:30 | 1:01:33 | |
I don't think that Brooks is liking me very much these days. | 1:01:35 | 1:01:40 | |
-He said I was a crapule. -Oh, please! | 1:01:43 | 1:01:46 | |
To Brooks, everyone is a little shit. | 1:01:46 | 1:01:49 | |
Everyone in the whole wide world. Including me, including you. | 1:01:49 | 1:01:53 | |
-Including even Carlos, for God's sake! -But not Leo. | 1:01:53 | 1:01:57 | |
Not the sainted grandfather. | 1:01:58 | 1:02:01 | |
-What was it he said? -Who? | 1:02:05 | 1:02:08 | |
Hemingway, I think. Or the other one. | 1:02:08 | 1:02:11 | |
-Fitzgerald? -Hemingway or Fitzgerald. Yes. It was one of them. -Who said? | 1:02:11 | 1:02:15 | |
Who said what it is I'm trying to remember! | 1:02:15 | 1:02:18 | |
God! I'm turning into Nini. | 1:02:18 | 1:02:22 | |
(SPEAKS FRENCH) | 1:02:23 | 1:02:26 | |
I know. It was about Paris, I think. "If you're tired of Paris, | 1:02:27 | 1:02:30 | |
you're tired of everything." | 1:02:30 | 1:02:33 | |
I remember. | 1:02:33 | 1:02:35 | |
"To say that one is tired of Paris | 1:02:35 | 1:02:39 | |
is in fact to say that one is tired of life." Something like that. | 1:02:39 | 1:02:45 | |
'Mommy hoped that with a new place would come better things for us | 1:02:45 | 1:02:50 | |
and she was right, but not completely so.' | 1:02:50 | 1:02:53 | |
'But still, Paris was a step up in the world.' | 1:02:53 | 1:02:57 | |
'It was in Paris I started writing backwards in my notebook | 1:02:57 | 1:03:01 | |
so that no-one could read my thoughts.' | 1:03:01 | 1:03:04 | |
'But Mommy seemed to be able to read them anyway | 1:03:04 | 1:03:08 | |
as if she were inside my head, looking out.' | 1:03:08 | 1:03:12 | |
'My great-grandfather Leo once said, "One of the uses of money is | 1:03:18 | 1:03:22 | |
that it allows us not to live with the consequences of our mistakes."' | 1:03:22 | 1:03:26 | |
'But I fear that in this, Leo was wrong.' | 1:03:28 | 1:03:32 | |
'Tony? Do you know what I would really love?' | 1:03:34 | 1:03:38 | |
-What would you really love? -'What do you think?' | 1:03:40 | 1:03:44 | |
-This is so good. -I'm glad. | 1:03:46 | 1:03:49 | |
It's exactly what I wanted. | 1:03:49 | 1:03:52 | |
Well, then I'm all the more glad I was able to obtain it. | 1:03:52 | 1:03:55 | |
Is there a better ice cream in the whole world? | 1:03:55 | 1:03:59 | |
-Is it Thursday? -Yes, it is. | 1:04:01 | 1:04:04 | |
I have dinner with Ethel tonight. Ethel de Croisset. | 1:04:07 | 1:04:10 | |
-I'll make other plans. -She wouldn't mind if you tagged along. -No. | 1:04:10 | 1:04:14 | |
I don't like what happens when you make other plans. | 1:04:14 | 1:04:18 | |
Mommy, please. | 1:04:18 | 1:04:21 | |
-The afternoon of the longest laundry? -(CHUCKLES) | 1:04:22 | 1:04:25 | |
-I don't do that anymore. -Mmm. Hmm. | 1:04:25 | 1:04:28 | |
What does the G stand for? | 1:04:30 | 1:04:33 | |
-What, dear? -The G. | 1:04:34 | 1:04:36 | |
George, like his father. | 1:04:36 | 1:04:40 | |
Do my wrists, would you? | 1:04:44 | 1:04:47 | |
That was lovely. | 1:05:48 | 1:05:50 | |
And now... | 1:05:50 | 1:05:53 | |
..I need some privacy. | 1:05:54 | 1:05:57 | |
Scoot so that I can get dressed. | 1:06:00 | 1:06:03 | |
I'm so sorry. | 1:06:10 | 1:06:13 | |
'Mommy said I should be furious with you for stealing my girl.' | 1:06:14 | 1:06:19 | |
'But I said, "Mommy, he didn't hurt me. He hurt you."' | 1:06:19 | 1:06:25 | |
'Still, Papa, you should have come back.' | 1:06:25 | 1:06:28 | |
'I thought that one day, you'd wake up and know that, too.' | 1:06:28 | 1:06:33 | |
'But you never did.' | 1:06:33 | 1:06:35 | |
'And something else I want you to know | 1:06:37 | 1:06:40 | |
is Giotto's collar has disappeared | 1:06:40 | 1:06:43 | |
and I will not be able to sleep until we find it.' | 1:06:43 | 1:06:48 | |
Not the formal opening dinner, of course. That's me | 1:07:44 | 1:07:48 | |
and 17 of his closest friends getting pissed at Regine's. Mmm. | 1:07:48 | 1:07:52 | |
This is different. What I was thinking was after the vernissage, | 1:07:52 | 1:07:57 | |
I would gather together a small group, you and Mishka of course, | 1:07:57 | 1:08:01 | |
and Ethel de Croisset and the Durans | 1:08:01 | 1:08:04 | |
and Bill and Rose Styron if they are still in town. Not buyers. | 1:08:04 | 1:08:08 | |
-Not a business thing. Thank you. -People you love | 1:08:08 | 1:08:12 | |
and who I know would love each other. I can't begin to tell you | 1:08:12 | 1:08:15 | |
how much Tony adores London. It's brought about a sea change in him. | 1:08:15 | 1:08:21 | |
Do you remember, in Paris, how down he could get? | 1:08:21 | 1:08:24 | |
How pulled within himself? And then in the morning, how agitated? | 1:08:24 | 1:08:28 | |
Well... that's still Tony, of course. | 1:08:28 | 1:08:31 | |
But in London, he eats, he walks, he even shops. | 1:08:31 | 1:08:34 | |
This morning, we stayed in bed until 11, reading the newspapers. | 1:08:34 | 1:08:38 | |
-For him, that's unheard of. For me, paradise. -Oh, thank you. | 1:08:38 | 1:08:42 | |
It's a pleasure. | 1:08:42 | 1:08:45 | |
What do you think of a small dinner following the vernissage? | 1:08:45 | 1:08:49 | |
-It sounds like a great idea. -Well, I was thinking I might have it here. | 1:08:49 | 1:08:54 | |
I thought it might add a note of class to my own little works | 1:08:54 | 1:08:57 | |
-which they, in no way, merits. -You can have your little dinner here. | 1:08:57 | 1:09:02 | |
I don't know how to thank you. | 1:09:04 | 1:09:07 | |
Tony will be thrilled. | 1:09:08 | 1:09:11 | |
(SIGHS) | 1:09:11 | 1:09:14 | |
(DOOR SHUTS) | 1:09:16 | 1:09:18 | |
Well? Where is it? | 1:09:18 | 1:09:21 | |
Where is it? Where did you put it? | 1:09:24 | 1:09:28 | |
It is not my responsibility to keep track of your objects. | 1:09:28 | 1:09:32 | |
-But it's not anywhere. -Missy Harnden is the soul of graciousness. | 1:09:32 | 1:09:37 | |
When I mentioned that there would be a vernissage after the opening, | 1:09:37 | 1:09:41 | |
she offered to host a little dinner, chez Harnden. | 1:09:41 | 1:09:46 | |
-I'm so happy for you, Mommy. -I like the way you've been dressing lately. | 1:09:46 | 1:09:50 | |
-Is that from Gieves? -No. Actually it's from Anderson and Sheppard. | 1:09:50 | 1:09:55 | |
-Did you just walk in? -No. You might just walk into Gieves | 1:09:55 | 1:09:58 | |
but you won't walk into Anderson, you get walked into Anderson. | 1:09:58 | 1:10:02 | |
In my case, by Timothy Chalmers. | 1:10:02 | 1:10:05 | |
Have you been seeing a lot of young Timothy Chalmers? | 1:10:05 | 1:10:09 | |
I don't think he's the kind of person you want to be learning from | 1:10:10 | 1:10:14 | |
if what you want to learn is how to be a man. | 1:10:14 | 1:10:17 | |
-What do you mean? -I don't think Timothy likes women very much. | 1:10:18 | 1:10:23 | |
Oh, he's English is all. | 1:10:23 | 1:10:26 | |
He's the kind of person that does things for people | 1:10:26 | 1:10:29 | |
in the way that Missy Harnden does for you. | 1:10:29 | 1:10:33 | |
I hope you haven't incurred any obligation. | 1:10:33 | 1:10:35 | |
Mother, we're talking about an introduction to a tailor. | 1:10:35 | 1:10:39 | |
Well, I very much like this material... this fabric. | 1:10:39 | 1:10:44 | |
-What would you call it? -It's a worsted, I should think. -Hmm. | 1:10:46 | 1:10:50 | |
-It's much nicer than your other worsted. -Well, that's Anderson. | 1:10:50 | 1:10:54 | |
This is interesting. | 1:10:58 | 1:11:01 | |
Barbara... please. | 1:11:01 | 1:11:05 | |
You don't seem to mind it. Part of you doesn't seem to mind it. | 1:11:05 | 1:11:10 | |
I suppose I don't... mind. | 1:11:10 | 1:11:14 | |
-You might even enjoy it. -I might. | 1:11:14 | 1:11:17 | |
Ah, I'm finding some buttons here. | 1:11:17 | 1:11:20 | |
-How many? -Five. | 1:11:22 | 1:11:24 | |
-They do them with five. -That's five. That's four. | 1:11:24 | 1:11:30 | |
That's three. | 1:11:32 | 1:11:35 | |
Hold that thought. | 1:11:37 | 1:11:40 | |
(DOOR SHUTS) | 1:11:44 | 1:11:46 | |
-God. -(CLOCK CHIMES) | 1:11:52 | 1:11:54 | |
(DOOR OPENS AND CLOSES) | 1:11:59 | 1:12:01 | |
-I like the boxers you've chosen. -I picked them out for myself. | 1:12:12 | 1:12:17 | |
How does that feel? | 1:12:34 | 1:12:37 | |
I think you know. | 1:12:36 | 1:12:39 | |
(FAST PANTING) | 1:13:02 | 1:13:06 | |
Did you come? | 1:13:46 | 1:13:48 | |
No. | 1:13:48 | 1:13:51 | |
(SIGHS) We can do something about that. | 1:13:55 | 1:13:58 | |
(PANTING) | 1:14:23 | 1:14:26 | |
(GROANS) | 1:14:31 | 1:14:33 | |
(SIGHS) | 1:14:38 | 1:14:41 | |
You're the best. | 1:14:52 | 1:14:55 | |
You are. | 1:14:55 | 1:14:58 | |
You are the best. | 1:14:57 | 1:15:01 | |
Are you sure you didn't put it anywhere? | 1:15:01 | 1:15:04 | |
Why do you care so much about this thing? | 1:15:24 | 1:15:27 | |
For the same reason anyone cares about anything. For its value. | 1:15:29 | 1:15:33 | |
-Its sentimental value. -We are talking about a dog collar. | 1:15:33 | 1:15:38 | |
We are talking about a collar that belonged to Giotto, | 1:15:38 | 1:15:41 | |
-a dog I loved and a dog that died! -Inside voice, please. | 1:15:41 | 1:15:45 | |
Now the dog is gone but we still have the collar and we have moved | 1:15:45 | 1:15:49 | |
-and moved and moved and we have never lost it! -Oh, Tony, please. | 1:15:49 | 1:15:54 | |
Go look for it. | 1:15:58 | 1:16:00 | |
Go! | 1:16:05 | 1:16:07 | |
Tony? | 1:16:42 | 1:16:44 | |
(CLOCK CHIMES) Tony! | 1:16:45 | 1:16:48 | |
Get your thumb out of your mouth. You are not a fucking baby! | 1:16:56 | 1:17:01 | |
(CLOCK CONTINUES TO CHIME) | 1:17:01 | 1:17:04 | |
You hid it. | 1:17:11 | 1:17:14 | |
You hid it in the cupboard. | 1:17:14 | 1:17:17 | |
-At the back of the cupboard with Nini's silver. -I did no such thing. | 1:17:18 | 1:17:23 | |
-Then how did it get there? -Well, maybe you put it there | 1:17:23 | 1:17:27 | |
for safekeeping and then you forgot. | 1:17:27 | 1:17:30 | |
Everything's gonna be all right. | 1:17:43 | 1:17:46 | |
Let me help you. Tony. Tony... | 1:17:49 | 1:17:52 | |
After we fought this morning, you wrote something on a piece of paper. | 1:18:11 | 1:18:16 | |
And I was so angry, | 1:18:17 | 1:18:20 | |
that when you went out for lunch, I just had to tear it up. | 1:18:20 | 1:18:24 | |
We didn't fight this morning. We stayed in and read the papers. | 1:18:24 | 1:18:28 | |
You wrote it in that backwards writing. | 1:18:31 | 1:18:34 | |
But I'm not stupid. | 1:18:34 | 1:18:37 | |
I know that you think I'm not smart but I'm... | 1:18:37 | 1:18:41 | |
..smart enough to know that if there is a piece of backward writing... | 1:18:41 | 1:18:45 | |
(SNIFFLES) | 1:18:45 | 1:18:47 | |
..why you just hold it up to a mirror. | 1:18:47 | 1:18:51 | |
So I tore it into little pieces and I flushed it down the toilet. | 1:18:52 | 1:18:56 | |
But you know how that toilet is and those pieces, they just kept... | 1:18:56 | 1:19:01 | |
-They kept floating to the top. -I don't know what you're talking about. | 1:19:00 | 1:19:04 | |
-When you talk nonsense, I can't... -I'm not talking... -I can't help you. | 1:19:04 | 1:19:08 | |
-I am telling you! -You are spouting! | 1:19:08 | 1:19:11 | |
(CHILDREN SHOUTING) | 1:19:53 | 1:19:56 | |
I'm gonna call an ambulance. | 1:20:01 | 1:20:04 | |
Yes. | 1:20:20 | 1:20:22 | |
83. | 1:20:22 | 1:20:24 | |
Cadogan Square. | 1:20:26 | 1:20:28 | |
-Thank you. -(PHONE HANGS UP) | 1:20:30 | 1:20:32 | |
(DIALLING) | 1:20:35 | 1:20:37 | |
Yes, I'd like to place an order. | 1:20:57 | 1:21:00 | |
To be delivered. | 1:21:02 | 1:21:05 | |
Yes. Baekeland. | 1:21:06 | 1:21:08 | |
I'm very hungry. | 1:21:11 | 1:21:14 | |
Yeah, those thin rice noodles with pork, shredded pork. | 1:21:15 | 1:21:19 | |
Yeah, that would be it. | 1:21:21 | 1:21:24 | |
And some rice, some fried rice. | 1:21:24 | 1:21:26 | |
No, the large. | 1:21:28 | 1:21:30 | |
'Dear Papa, I'm hoping you receive this letter.' | 1:21:41 | 1:21:45 | |
'During the time, preceding what happened | 1:21:52 | 1:21:55 | |
a lot of rather strange things were happening.' | 1:21:55 | 1:21:59 | |
'Earlier that afternoon, I had a telephone call | 1:21:58 | 1:22:02 | |
from a friend of ours who lives in Wales.' | 1:22:02 | 1:22:05 | |
'She told me I had fallen down an elevator shaft.' | 1:22:04 | 1:22:09 | |
-(DOORBELL RINGS) -'I thought this rather strange.' | 1:22:09 | 1:22:13 | |
'And yet, it had a profound effect on me.' | 1:22:13 | 1:22:16 | |
'I was in a dreadful state.' | 1:22:21 | 1:22:24 | |
'For a long time, I didn't know where I was.' | 1:22:25 | 1:22:29 | |
'Past memories kept flooding my mind and I felt like I was re-enacting | 1:22:29 | 1:22:34 | |
-parts of my former life.' -'(SIREN WAILS)' | 1:22:34 | 1:22:37 | |
'You know I loved and still love and adore my mommy | 1:22:37 | 1:22:41 | |
-more than anyone in the world.' -Hello? | 1:22:41 | 1:22:44 | |
Hello? | 1:22:47 | 1:22:49 | |
Mr Baekeland? | 1:22:49 | 1:22:52 | |
-You would be Mr Baekeland, sir? -Yes. | 1:22:57 | 1:23:01 | |
-And this would be? -My mother. | 1:23:01 | 1:23:04 | |
'I do wish we could all be together again.' | 1:23:08 | 1:23:12 | |
'And another thing is | 1:23:12 | 1:23:15 | |
-I have so much in my head that...' -I said steady with that. | 1:23:15 | 1:23:19 | |
'..to let it out would surely kill me.' | 1:23:19 | 1:23:22 | |
'Nevertheless, I feel better now... | 1:23:22 | 1:23:27 | |
..and even feel that a great weight has been lifted from my shoulders.' | 1:23:28 | 1:23:32 | |
-Something strange. -Yes, what a shame. Quite a shame. | 1:23:32 | 1:23:38 | |
-(CHATTER) -Does anyone know who died? Is it someone famous? | 1:23:38 | 1:23:44 | |
-(CHATTER) -I said go. They said to move on. | 1:23:44 | 1:23:48 | |
'Yes, it is very boring here but I try to be good and not to fret.' | 1:23:48 | 1:23:53 | |
(INDISTINCT CHATTER) | 1:23:52 | 1:23:55 | |
'And you ask me what it's like to be in prison. Well... | 1:23:57 | 1:24:01 | |
..just exactly as one would imagine.' | 1:24:01 | 1:24:04 | |
(INDISTINCT CHATTER) | 1:24:04 | 1:24:06 | |
'There will be a Mass given by Barbara's friends who knew her well | 1:24:11 | 1:24:15 | |
and remember what was lovable and brave in her | 1:24:15 | 1:24:19 | |
at St Mary's Cadogan Gardens | 1:24:19 | 1:24:22 | |
at 6.30pm on November 30th.' | 1:24:22 | 1:24:26 | |
'She would have been happy to know you had been there, too.' | 1:24:28 | 1:24:32 | |
(INSTRUMENTAL GUITAR MUSIC) | 1:25:38 | 1:25:41 | |
# Let's get out of town | 1:25:58 | 1:26:00 | |
# Go swimming, swimming | 1:26:00 | 1:26:04 | |
# Move your arms around | 1:26:04 | 1:26:06 | |
# We're wading so far out | 1:26:06 | 1:26:11 | |
# Nothing to cry about | 1:26:11 | 1:26:15 | |
# Mmm-hmm | 1:26:15 | 1:26:18 | |
# It barely makes a sound | 1:26:18 | 1:26:21 | |
# Let's get out of here | 1:26:26 | 1:26:29 | |
# Go flying, flying | 1:26:29 | 1:26:32 | |
# You're so pretty, dear | 1:26:32 | 1:26:35 | |
# And you're mine | 1:26:35 | 1:26:37 | |
# Aren't you now? | 1:26:37 | 1:26:39 | |
# Higher than a cloud | 1:26:40 | 1:26:43 | |
# Mmm, mmm | 1:26:43 | 1:26:46 | |
# It barely makes a sound | 1:26:46 | 1:26:50 | |
# Ahh-ahh, ahh-ahh, ahh | 1:26:54 | 1:26:59 | |
# Ahh-ahh, ahh | 1:27:00 | 1:27:01 | |
# Ahh-ahh, ahh-ahh, ahh | 1:27:01 | 1:27:04 | |
# Ahh-ahh | 1:27:06 | 1:27:08 | |
# Ahh-ahh, ahh-ahh, ahh | 1:27:08 | 1:27:10 | |
# Ahh-ahh, ahh | 1:27:12 | 1:27:14 | |
# Ahh-ahh, ahh-ahh, ahh... # | 1:27:14 | 1:27:16 |