0:00:18 > 0:00:25This film contains some strong language
0:00:40 > 0:00:43# When love goes wrong
0:00:43 > 0:00:46# Nothing goes right
0:00:46 > 0:00:50# This one thing I know
0:00:50 > 0:00:53# When love goes wrong
0:00:53 > 0:00:56# A man takes flight
0:00:56 > 0:01:00# And women get uppity-oh
0:01:07 > 0:01:11# We're having a heat wave
0:01:11 > 0:01:14# A tropical heat wave
0:01:16 > 0:01:18# The temperature's rising
0:01:18 > 0:01:20# It isn't surprising
0:01:20 > 0:01:22# You certainly can
0:01:25 > 0:01:30# I started this heat wave
0:01:30 > 0:01:34# By letting my seat wave
0:01:34 > 0:01:36# And in such a way that
0:01:36 > 0:01:38# The customers say that
0:01:38 > 0:01:40# I certainly can
0:01:40 > 0:01:42# Can-can
0:01:46 > 0:01:50# We're having a heat wave
0:01:50 > 0:01:52# A tropical heat wave
0:01:54 > 0:01:58# The way that I move that thermometer proves
0:01:58 > 0:02:01# That I certainly can
0:02:07 > 0:02:09# Can #
0:02:10 > 0:02:12Everyone remembers their first job.
0:02:13 > 0:02:15This is the story of mine.
0:02:15 > 0:02:19I was the youngest in a family of overachievers.
0:02:19 > 0:02:21My father was a world-famous art historian,
0:02:21 > 0:02:24and my brother was ahead of me in everything.
0:02:24 > 0:02:26I was always the disappointment.
0:02:26 > 0:02:30I found my solace in the small cinema I went to every Thursday night.
0:02:30 > 0:02:34Alfred Hitchcock. Orson Welles. Laurence Olivier.
0:02:34 > 0:02:36These were my heroes.
0:02:36 > 0:02:38I wanted to be a part of their world.
0:02:39 > 0:02:43When I was 23, I got my chance.
0:02:43 > 0:02:45Colin, come in. Have you met James and Anna,
0:02:45 > 0:02:47- my two very brilliant pupils? - Hello.
0:02:47 > 0:02:50- I'm off to London now, Pa. - Your silly job interview.
0:02:50 > 0:02:52Well, bonne chance, dear boy.
0:02:52 > 0:02:55I can always get you a research position at the V&A
0:02:55 > 0:02:59once you've grown up a bit and got this film idea out of your system.
0:02:59 > 0:03:01- So I'm off now, Ma. - Off?
0:03:01 > 0:03:04- My job interview, Mother. - Oh! Can't you stay for dinner?
0:03:04 > 0:03:07There's nothing to eat, but I'm sure the conversation will be charming.
0:03:07 > 0:03:08I don't want to be late in the morning.
0:03:08 > 0:03:11I'm sure they won't mind. You'll be a famous film director in no time.
0:03:13 > 0:03:17I had everything to prove to my family, but more to prove to myself.
0:03:18 > 0:03:20Like every young man, I had to make my own way.
0:03:22 > 0:03:25So I decided to leave home
0:03:25 > 0:03:27and join the circus.
0:03:27 > 0:03:30- What do you want? - A job on your next film.
0:03:30 > 0:03:32You're an actor, aren't you?
0:03:32 > 0:03:34No, I want to work on the production side.
0:03:34 > 0:03:36We don't start shooting for another eight weeks.
0:03:36 > 0:03:39- Come back nearer the time. - May I wait until there's a job?
0:03:51 > 0:03:52Vanessa!
0:03:53 > 0:03:56- Good night. - Good night, sir.
0:03:57 > 0:03:59There are no jobs.
0:03:59 > 0:04:01I'll come back tomorrow morning just in case.
0:04:01 > 0:04:03It's a free country.
0:04:10 > 0:04:13- Good morning. - You're very determined.
0:04:13 > 0:04:15Well, I'd do anything to be in the film business.
0:04:15 > 0:04:18Anything?
0:04:18 > 0:04:20Sir Laurence Olivier Productions.
0:04:20 > 0:04:23No, I'm afraid he's at Notley till the end of the week.
0:04:24 > 0:04:27- Vanessa asked me to... - Oh, did she?
0:04:27 > 0:04:30I need a number for Noel Coward. It won't be in the book.
0:04:44 > 0:04:46- Hello, Vivien. - Hello.
0:04:46 > 0:04:47- Sir Laurence. - Hughie!
0:04:47 > 0:04:50Simply impossible to get Marilyn Monroe on the telephone.
0:04:50 > 0:04:52The darling girl spends the entire day asleep.
0:04:52 > 0:04:55- Hello, boy. Remind me. - Darling, you remember Colin.
0:04:55 > 0:04:59- You met him at the Clarks' party. - Of course. What are you doing here?
0:04:59 > 0:05:01You said there might be a job on your film.
0:05:01 > 0:05:03Have a cigarette. Keep the pack.
0:05:03 > 0:05:05Thank you, sir.
0:05:05 > 0:05:08There won't be a film unless Miss Monroe gets her splendid posterior out of bed.
0:05:08 > 0:05:11The house committee is threatening to withhold Miller's passport.
0:05:11 > 0:05:13They say he's a communist. No Arthur, no Marilyn.
0:05:13 > 0:05:15I'll have a word with the American ambassador.
0:05:15 > 0:05:18I'm taking him to see Vivien's play on Thursday. Terry's rewrites, are they in?
0:05:18 > 0:05:20Not all of them, of course. When did that ever happen?
0:05:20 > 0:05:24He's the first actor since du Maurier to have his own brand.
0:05:24 > 0:05:28They pay him an absolute fortune. I'm afraid they're rather ghastly.
0:05:28 > 0:05:31Isn't he gorgeous, Vanessa?
0:05:31 > 0:05:33I suppose he's all right.
0:05:33 > 0:05:37Darling, you must do something for Colin. You absolutely promised.
0:05:37 > 0:05:39Hughie, let's try to find him something to do.
0:05:39 > 0:05:41- Yes. Of course. - Come on, darling.
0:05:41 > 0:05:43You'll look after my precious Larrykins, won't you?
0:05:43 > 0:05:46- Come on, darling. - Christ.
0:05:46 > 0:05:47'Do you like it?'
0:05:47 > 0:05:50'That's absolutely splendid. You were absolutely born for it.'
0:05:50 > 0:05:52- Door. - Sorry.
0:05:52 > 0:05:55'And could you turn all the way around, my darling?
0:05:55 > 0:05:59- 'Thank you.' - This is the dress Larry likes.
0:05:59 > 0:06:01- 'There? - 'The camera's ravishing you.
0:06:01 > 0:06:03'Oh, dear. That sounds serious.
0:06:03 > 0:06:05- 'That's wonderful. - 'Too much?
0:06:05 > 0:06:07- 'Oh, God. Not for me.' - Arthur Jacobs,
0:06:07 > 0:06:09Miss Monroe's publicist, is flying in tomorrow.
0:06:09 > 0:06:11He wants to see the house where she'll be staying.
0:06:11 > 0:06:13Find something suitable.
0:06:13 > 0:06:15- Yes, sir. - 'More importantly,
0:06:15 > 0:06:18- 'how does it make you feel?' - And leave the bloody tea.
0:06:18 > 0:06:20Oh. Sorry.
0:06:21 > 0:06:25- Out of the question.- I can't have a lot of awful film people travelling
0:06:25 > 0:06:27- through the house in dirty boots. - But we'd be paying
0:06:27 > 0:06:30100 pounds per week for 18 weeks.
0:06:30 > 0:06:32- My wife would never agree. - That's a pity, Mr Cotes-Preedy.
0:06:32 > 0:06:35I'll have to tell Miss Monroe to look elsewhere, then.
0:06:35 > 0:06:38- Marilyn Monroe? - Yes.
0:06:38 > 0:06:41Suppose I'd have to be introduced.
0:06:44 > 0:06:49Good morning, Mr Jacobs. Hope you had a pleasant flight.
0:06:51 > 0:06:53Is this the fucking car?
0:07:00 > 0:07:03Who built this place? Hansel and Gretel?
0:07:03 > 0:07:05It's one of the best houses in the area.
0:07:05 > 0:07:07All right. We'll take it.
0:07:07 > 0:07:10But ditch the wallpaper. It's giving me a migraine.
0:07:13 > 0:07:15That house was perfect for Marilyn.
0:07:15 > 0:07:17- Can't use it now. - Yes, we can.
0:07:17 > 0:07:20I knew that Cotes-Preedy wouldn't be able to keep this quiet,
0:07:20 > 0:07:22so that's why when you asked me to find a house for Miss Monroe,
0:07:22 > 0:07:24I took the precaution of finding two.
0:07:24 > 0:07:27So the other one, Parkside, is much better.
0:07:27 > 0:07:28And the owner is very discreet.
0:07:28 > 0:07:31So we've got two expensive houses now where we only needed one.
0:07:31 > 0:07:34I thought that someone else on the production might want it.
0:07:34 > 0:07:35Oh, did you?
0:07:35 > 0:07:38I guess Milton could use it
0:07:38 > 0:07:40and it's near the studio. Near Marilyn.
0:07:42 > 0:07:44What are we paying you, boy?
0:07:44 > 0:07:47- Nothing, sir. - Let's see to it, Hughie.
0:07:47 > 0:07:49Well done, boy.
0:07:50 > 0:07:52Nice job, kid.
0:07:55 > 0:07:58Colin Clark, Laurence Olivier Productions.
0:08:02 > 0:08:05The film was then called The Sleeping Prince.
0:08:05 > 0:08:09Marilyn was to play a naive American showgirl called Elsie Marina
0:08:09 > 0:08:13who is seduced by an Eastern-European prince played by Olivier.
0:08:13 > 0:08:15It was the lightest of comedies.
0:08:19 > 0:08:21- You in the union? - No.
0:08:21 > 0:08:23Then you can't have a job on the film.
0:08:23 > 0:08:25Well, how do I get into the union?
0:08:25 > 0:08:26By getting a job on the film.
0:08:26 > 0:08:29It's called a closed shop.
0:08:31 > 0:08:33I suppose I might be able to do something for you.
0:08:33 > 0:08:36The union owe me a few favours. We don't have a third yet.
0:08:36 > 0:08:41- A third? - Third assistant director.
0:08:41 > 0:08:44- You do know what the job is? - Assisting the director?
0:08:44 > 0:08:46That's the last thing you do!
0:08:46 > 0:08:50Lesson one - third's job is to do whatever the fuck I tell him.
0:08:50 > 0:08:53And what are you waiting for?
0:08:57 > 0:08:58Colin!
0:08:58 > 0:09:01Lesson two - don't shit on your own doorstep.
0:09:01 > 0:09:02- Got it? - Got it.
0:09:02 > 0:09:06Lesson three - the third always stays nearby.
0:09:06 > 0:09:08Not in some bloody palace in London.
0:09:08 > 0:09:10Book a room at The Dog & Duck down the road.
0:09:10 > 0:09:13It's a bit rough. You'll get used to it.
0:09:13 > 0:09:16Now make yourself useful. Marilyn needs a bodyguard.
0:09:16 > 0:09:19Sort something out.
0:09:19 > 0:09:22I'm sure you understand the sensitive nature of the job, Superintendent.
0:09:22 > 0:09:25Something about looking after a cinema actress?
0:09:25 > 0:09:27Well, not just any actress. Marilyn Monroe.
0:09:27 > 0:09:30I never had much time for the pictures.
0:09:30 > 0:09:31Excellent.
0:09:31 > 0:09:33For the next four months,
0:09:33 > 0:09:36you never leave her side. Day or night.
0:09:36 > 0:09:39Her behaviour is reputedly a little erratic.
0:09:39 > 0:09:42- She drinks? - Amongst other things.
0:09:42 > 0:09:44- Pills? - It would be useful if you could, uh,
0:09:44 > 0:09:47keep us informed of her domestic situation.
0:09:47 > 0:09:48You want me to spy on her.
0:09:48 > 0:09:51Well, the odd early warning if you know she's going to be late.
0:09:51 > 0:09:53That kind of thing.
0:10:01 > 0:10:02Hello.
0:10:02 > 0:10:05Colin Clark. I booked a room.
0:10:05 > 0:10:08Ah, right. Here you are.
0:10:08 > 0:10:09Sign this.
0:10:11 > 0:10:13What brings you up this way?
0:10:13 > 0:10:14I'm working on a film at Pinewood.
0:10:14 > 0:10:16Oh. What film is that?
0:10:16 > 0:10:20It's called The Sleeping Prince. With Sir Laurence Olivier and Marilyn Monroe,
0:10:20 > 0:10:23so I'll be working with them.
0:10:23 > 0:10:25Room's three quid a week. First week in advance.
0:10:25 > 0:10:27Number two.
0:10:27 > 0:10:31And, uh, hope you don't mind, you'll be sharing with Grace Kelly.
0:10:47 > 0:10:48This'll work fine for Marilyn.
0:10:48 > 0:10:51Oh, and, uh, Paula will need the room next door.
0:10:51 > 0:10:53- I beg your pardon? - Sorry, who is Paula?
0:10:53 > 0:10:55Strasberg. Marilyn's acting coach.
0:10:55 > 0:10:57She's nuts about the Method.
0:10:57 > 0:10:59Arthur, we've spoken about this before.
0:10:59 > 0:11:02Stanislavski and the Method are perfectly fine in the rehearsal room,
0:11:02 > 0:11:05but they don't belong on a film set.
0:11:05 > 0:11:06Time is too tight.
0:11:09 > 0:11:11Larry! Some good news.
0:11:11 > 0:11:14House committee have decided Miller isn't a communist after all.
0:11:14 > 0:11:15Of course he is.
0:11:15 > 0:11:18All those pain in the ass New York intellectuals are Reds.
0:11:18 > 0:11:21Which means she'll be flying in next week on schedule.
0:11:21 > 0:11:24- Excellent news. - She'll have to be met.
0:11:24 > 0:11:27Well, naturally Vivien and l will be there to greet her,
0:11:27 > 0:11:28but let's keep it low key, shall we?
0:11:28 > 0:11:31You join us here at London Airport,
0:11:31 > 0:11:33where it is absolute mayhem.
0:11:41 > 0:11:43- Marilyn!- This way! - Get out of the way!
0:11:57 > 0:12:00With her is her new husband, America's most celebrated playwright
0:12:00 > 0:12:03and author of Death of a Salesman, Arthur Miller.
0:12:05 > 0:12:08Beautiful. You're looking at tomorrow's front page, boys.
0:12:08 > 0:12:10- We'll have to get them into the hall.- Sir Laurence Olivier
0:12:10 > 0:12:13and Scarlett O'Hara herself, Vivien Leigh, are set to greet them.
0:12:13 > 0:12:16American acting royalty meeting British acting royalty.
0:12:18 > 0:12:20Gentlemen, it is my especial pleasure
0:12:20 > 0:12:24to introduce a woman who clearly needs no introduction.
0:12:24 > 0:12:27- Marilyn!- How do you like being married?
0:12:27 > 0:12:29Well, I like it. I like it a lot.
0:12:29 > 0:12:31- Is this third time lucky? - You bet it is.
0:12:31 > 0:12:34Is it true you want to be a classical actress now?
0:12:34 > 0:12:35Well, I want to be the best actress I can be.
0:12:35 > 0:12:39There's a rumour you're going to be in The Brothers Karamazov on Broadway.
0:12:39 > 0:12:42Ooh. I'm...considering it.
0:12:42 > 0:12:45- Which of them will you be playing? - I'll be playing Grushenka.
0:12:45 > 0:12:48- Can you spell that? - Sure. Can you?
0:12:50 > 0:12:53Vivien, you created the role of Elsie on stage.
0:12:53 > 0:12:55Have you any advice for Marilyn?
0:12:55 > 0:12:58I am sure if Miss Monroe needs any advice,
0:12:58 > 0:13:00she'll get it from her director.
0:13:00 > 0:13:03I hear he's terribly good.
0:13:03 > 0:13:04- Marilyn!- Marilyn!
0:13:06 > 0:13:08Are you happy with your last film?
0:13:08 > 0:13:10Marilyn!
0:13:10 > 0:13:13Is it true you wear nothing in bed except perfume?
0:13:13 > 0:13:14Ooh.
0:13:14 > 0:13:18Darling, as I'm in England, let's say I sleep in nothing but Yardley's Lavender.
0:13:32 > 0:13:34Smile, Marilyn!
0:13:38 > 0:13:41OK, let's get a snap of the newlyweds.
0:13:41 > 0:13:43Smile, Arthur. It's not a firing squad.
0:13:45 > 0:13:46This is some place you found.
0:13:46 > 0:13:48You have my new assistant Colin to thank for that.
0:13:48 > 0:13:51Colin, this is Milton Greene. You must be very nice to him.
0:13:51 > 0:13:54He owns half of Marilyn Monroe Productions.
0:13:54 > 0:13:56- 49 percent, Larry. - Have a cigarette.
0:13:56 > 0:13:58- I don't smoke. - Really?
0:13:58 > 0:14:01- And the studio, they want a new title.- Nonsense.
0:14:01 > 0:14:04Thank you very much.
0:14:08 > 0:14:10Marvellous, isn't she?
0:14:10 > 0:14:13- She's all right. - Larry fell desperately
0:14:13 > 0:14:16in love with her in New York. He's determined to seduce her.
0:14:16 > 0:14:18Yeah, but she's only been married three weeks.
0:14:18 > 0:14:21I thought you were a man of the world.
0:14:21 > 0:14:22Of course, Larry would never leave me,
0:14:22 > 0:14:25but if anything were to happen you would tell me, wouldn't you?
0:14:26 > 0:14:29- I'm sure he loves you very much. - Oh, don't be such a boy.
0:14:29 > 0:14:32I'm 43, darling.
0:14:33 > 0:14:37No-one will love me for very much longer. Not even you.
0:14:53 > 0:14:55What a wonderful adventure, Dame Sybil.
0:14:55 > 0:14:57Such a lark.
0:14:57 > 0:14:59I long to see her.
0:15:15 > 0:15:18Miss Monroe?
0:15:18 > 0:15:22Sir Laurence sends his compliments. He's ready for the read-through.
0:15:22 > 0:15:24But Marilyn is not ready.
0:15:24 > 0:15:26She's preparing.
0:15:27 > 0:15:30Excuse my horrible face.
0:15:35 > 0:15:37Ah! Marilyn, my dear.
0:15:38 > 0:15:41Everyone is so excited to meet you.
0:15:41 > 0:15:43Do...come along, my darling, my angel.
0:15:44 > 0:15:47Ladies and gentlemen, Miss Marilyn Monroe.
0:15:47 > 0:15:49- Marilyn. - How lovely you are.
0:15:49 > 0:15:53- Here, I kept a place for you. - I have to be next to Marilyn.
0:15:53 > 0:15:55What a good idea. I wish we could all bring a friend.
0:15:55 > 0:15:57One does get so terribly nervous.
0:15:57 > 0:16:00It's just like the first day at school, isn't it?
0:16:00 > 0:16:03So, welcome, dear Marilyn,
0:16:03 > 0:16:06to our little fraternity.
0:16:06 > 0:16:08We may seem a little strange
0:16:08 > 0:16:12and, uh, quaint to you at first,
0:16:12 > 0:16:14but I hope that in time,
0:16:14 > 0:16:18you may come to find your method in our madness.
0:16:19 > 0:16:22So, my very noble and approved good masters,
0:16:22 > 0:16:24may we strive to create a work of art
0:16:24 > 0:16:27that, led by your good graces,
0:16:27 > 0:16:29will be cherished
0:16:29 > 0:16:34as long as motion pictures
0:16:34 > 0:16:35may be remembered.
0:16:39 > 0:16:42Were you surprised to get my invitation?
0:16:42 > 0:16:44I'll say I was surprised.
0:16:44 > 0:16:47I was so surprised, I couldn't hardly think you meant me.
0:16:47 > 0:16:49Oh, but of course I meant you.
0:16:49 > 0:16:52I had your name most carefully marked down in my programme.
0:16:52 > 0:16:54In matters of this kind, I assure you I'm most methodical.
0:16:54 > 0:16:58Who would you think I meant if not you?
0:16:58 > 0:17:01Gee, Mr Sir, I could just listen to your accent all day.
0:17:01 > 0:17:03Oh, you darling, Marilyn.
0:17:03 > 0:17:05You're amongst friends now.
0:17:05 > 0:17:07Just plain "Larry" will suffice, really.
0:17:07 > 0:17:10That's so sweet. Um, whenever you're ready.
0:17:10 > 0:17:12Well, Maisie Springfield.
0:17:12 > 0:17:14No, not Maisie Springfield.
0:17:14 > 0:17:17She is quite what I would call "old hat."
0:17:17 > 0:17:19Remember why you're in the embassy, Marilyn.
0:17:19 > 0:17:22What does the Grand Duke want from Elsie?
0:17:22 > 0:17:25You came here and you thought...
0:17:25 > 0:17:27From experience, Marilyn.
0:17:27 > 0:17:29It's only a read-through, Paula.
0:17:29 > 0:17:33Marilyn has to begin finding the character.
0:17:33 > 0:17:35Oh, the character's on the page.
0:17:35 > 0:17:38The words, maybe. Not the character.
0:17:39 > 0:17:42Aren't we going to have fun?
0:17:44 > 0:17:47Well, we'll pick it up whenever you like.
0:17:47 > 0:17:49- We should talk. Just us. - Yeah.
0:17:49 > 0:17:50Thank you so much.
0:17:51 > 0:17:53We can't have two fucking directors!
0:17:53 > 0:17:55- Marilyn wants Paula. - Why? She's got me.
0:17:55 > 0:17:58Paula's costing us two and a half thousand bucks a week.
0:17:58 > 0:18:00We might as well use her. Listen, Larry.
0:18:00 > 0:18:03Accept Marilyn on her own terms and you'll be OK.
0:18:03 > 0:18:05Try to change her and she will drive you crazy.
0:18:05 > 0:18:08- Trust me.- Christ, what have I got myself into?
0:18:09 > 0:18:11- Come out with me tonight. - I'm working.
0:18:11 > 0:18:13- Well, tomorrow night, then. - I'm washing my hair.
0:18:13 > 0:18:17- But your hair's lovely. - Look, I've got two rules.
0:18:17 > 0:18:19Everyone has a lot of rules around here.
0:18:19 > 0:18:21One, never touch the talent,
0:18:21 > 0:18:23and two, never go out with thirds.
0:18:23 > 0:18:24Why not?
0:18:24 > 0:18:27Because they're all randy little buggers who just want some fun
0:18:27 > 0:18:29- during shooting. - I'm not like that.
0:18:31 > 0:18:33Really.
0:18:34 > 0:18:36I'm free on Saturday.
0:18:37 > 0:18:38Colin!
0:18:40 > 0:18:42Quiet on set, everyone!
0:18:46 > 0:18:49How kind of you to meet us. Dear me, you do look cold.
0:18:49 > 0:18:51They're ready for you in make-up, Dame Sybil.
0:18:51 > 0:18:54How exciting. Don't you love the first day of a new production?
0:18:54 > 0:18:56I don't know, Dame Sybil. I've never had one before.
0:18:56 > 0:18:57Oh, to be young again.
0:19:05 > 0:19:07She has kept Dame Sybil Thorndike
0:19:07 > 0:19:10and the entire company waiting in full costume
0:19:10 > 0:19:14for two hours, Mr Orton, and it is simply not fair.
0:19:33 > 0:19:35I can't do this.
0:19:39 > 0:19:42- What's wrong? - She's nervous.
0:19:42 > 0:19:43I'll deal with it.
0:19:48 > 0:19:50Would you like to sit down, Dame Sybil?
0:19:50 > 0:19:51Oh, yes. Colin, how kind.
0:19:51 > 0:19:55- Why don't we all sit down. - Oi!
0:19:55 > 0:19:56That chair is a prop.
0:19:56 > 0:19:57- Props are NATKE. - But I was...
0:19:57 > 0:20:01If ACTT members are going to start doing NATKE jobs, I'm calling my men out!
0:20:01 > 0:20:02- He's right. - Right.
0:20:02 > 0:20:04I'm sure we're all good union members here.
0:20:04 > 0:20:06There's no need to fall out over something so trivial.
0:20:06 > 0:20:10It might be trivial to you, Dame Sybil, but it's my livelihood!
0:20:10 > 0:20:13Put the chair down. Now!
0:20:13 > 0:20:16I rather think you've made your point.
0:20:16 > 0:20:19Solidarity is the most important thing here.
0:20:19 > 0:20:21When unions fall out, it's management that benefits.
0:20:23 > 0:20:25If I see you doing a NATKE job again,
0:20:25 > 0:20:28I will close this set down quicker than you can blink.
0:20:28 > 0:20:30- Dave! - Yes?
0:20:30 > 0:20:31Dame Sybil would like a chair.
0:20:31 > 0:20:34Right. There you are.
0:20:35 > 0:20:38I was on the picket lines in 1926, you know.
0:20:38 > 0:20:41Now that really was a strike. We were all Bolsheviks then.
0:20:46 > 0:20:48Ready. Camera running.
0:20:50 > 0:20:52- Very quiet, everyone. - Speed.
0:20:52 > 0:20:54Five, take one.
0:20:54 > 0:20:55Action.
0:20:55 > 0:20:56Now, before you meet my mother-in-law,
0:20:56 > 0:21:01I must remind you she's a little vague and can be very deaf on occasion.
0:21:01 > 0:21:03My dear, such boredom.
0:21:03 > 0:21:06The decoration's hideous and the music catastrophe.
0:21:06 > 0:21:09Our friend, the ex-king of Moravia, drove me home.
0:21:09 > 0:21:11He's now called the Duke of Strelitz.
0:21:11 > 0:21:12He cannot, of course, go to the abbey tomorrow,
0:21:12 > 0:21:15but he's most anxious you should invite him to the room
0:21:15 > 0:21:16you have taken at the Ritz for Nicky.
0:21:16 > 0:21:18- Maud? - Yes, ma'am?
0:21:18 > 0:21:22There you are. I didn't see you. Give me a glass of champagne I see over there.
0:21:22 > 0:21:25- Olga Bosnia... - Might I present Miss Elsie Marina?
0:21:25 > 0:21:28Yes, my dear, of course. I remember you well.
0:21:36 > 0:21:39- Gee, I forgot my line. - That's a cut.
0:21:39 > 0:21:42- I'm sorry. - It's so easily done, isn't it?
0:21:42 > 0:21:44I'm sure I went wrong somewhere there.
0:21:44 > 0:21:46- Shall we have another go, Larry? - Of course. Action.
0:21:46 > 0:21:48Yes, my dear, of course.
0:21:48 > 0:21:51- I remember you well. - Oh, I'm quite sure you don't,
0:21:51 > 0:21:53Your Royal...
0:21:53 > 0:21:55I mean Your, uh, Imperial, uh...
0:21:57 > 0:22:00..Serene Majesty? What does she say?
0:22:00 > 0:22:03She says she's flattered and compliments you on your wonderful memory.
0:22:03 > 0:22:07I'm in The Coconut Girl at the Avenue.
0:22:07 > 0:22:09Didn't I have a line somewhere there?
0:22:09 > 0:22:11Cut.
0:22:11 > 0:22:13- Action. - Sweetly pretty.
0:22:13 > 0:22:15She should use more mascara.
0:22:15 > 0:22:18When one is young, one should use a lot of mascara.
0:22:18 > 0:22:21When one is old, one should use much more.
0:22:21 > 0:22:23What do you do, my dear?
0:22:23 > 0:22:26I'm in The Coconut Girl at the Avenue.
0:22:26 > 0:22:28- Dear? - She says she's an actress.
0:22:31 > 0:22:33- Cut it there. - Print.
0:22:35 > 0:22:38- Check the gate. - Gate's good.
0:22:38 > 0:22:40That was perfect, Marilyn.
0:22:40 > 0:22:42You were Elsie to the life.
0:22:42 > 0:22:45I wonder, could we practise our lines together later?
0:22:45 > 0:22:47You'd be doing me such a kindness.
0:22:47 > 0:22:50At my great age, it's just so hard to make them stick.
0:22:50 > 0:22:53- Why don't you come for tea tomorrow.- Can I?
0:22:53 > 0:22:57Sure.
0:22:59 > 0:23:02She's impossible. I should've cast Vivien.
0:23:02 > 0:23:05If anyone can make her great, it's you, sir.
0:23:05 > 0:23:09Well, let's just hope I'm as brilliant as you think I am.
0:23:09 > 0:23:11Now be a good boy and keep an eye on her.
0:23:11 > 0:23:12Yes, sir.
0:23:12 > 0:23:15I can't figure this stupid movie out.
0:23:15 > 0:23:19You were wonderful, Marilyn. The most gifted actress I have ever known.
0:23:19 > 0:23:21- No. - You were superb, Marilyn.
0:23:21 > 0:23:25You were divine. Have faith in your talent.
0:23:25 > 0:23:27He was disappointed in me.
0:23:27 > 0:23:29You are a great, great actress.
0:23:29 > 0:23:32All my life, I have prayed for a great actress I could help and guide.
0:23:34 > 0:23:36- Oh! - Like this, I prayed to God,
0:23:36 > 0:23:39on my knees, and he has given me you.
0:23:39 > 0:23:42You are that great actress, Marilyn.
0:23:42 > 0:23:44Trust yourself. Trust your talent.
0:23:44 > 0:23:46- Come on, Paula, get up. - No.
0:23:46 > 0:23:49- Not until you admit that you were great!- Oh!
0:23:49 > 0:23:51- OK! - Yes!
0:23:51 > 0:23:54- I guess I was. - Of course you were.
0:23:54 > 0:23:56- There you are. Sorry. - Thank you.
0:23:56 > 0:23:58You really were very good, Miss Monroe.
0:23:58 > 0:24:00Oh, thank you.
0:24:12 > 0:24:13# Uno
0:24:13 > 0:24:14# Dos
0:24:14 > 0:24:15# Tres
0:24:17 > 0:24:18# Uno
0:24:18 > 0:24:20# Dos
0:24:20 > 0:24:22# Tres. #
0:24:25 > 0:24:27Are you sure you can afford all this?
0:24:27 > 0:24:29It's fine.
0:24:29 > 0:24:31Must be costing you a week's wages.
0:24:31 > 0:24:32You are worth it.
0:24:32 > 0:24:35You're not the average third, are you?
0:24:35 > 0:24:37I'm not living off my parents, if that's what you mean.
0:24:37 > 0:24:39I want to make my own way.
0:24:39 > 0:24:41Will you be signing on your father's account, sir?
0:24:41 > 0:24:43Um, no, I'm going to pay cash.
0:24:43 > 0:24:45- Thank you. - There you are, sir.
0:24:46 > 0:24:49I was always going to pay, you know.
0:24:49 > 0:24:50Course you were.
0:24:54 > 0:24:56Do you think Marilyn's beautiful?
0:24:57 > 0:24:59Not compared to you.
0:24:59 > 0:25:01You don't have to try so hard to be charming.
0:25:01 > 0:25:04You're nice enough as it is.
0:25:04 > 0:25:06Well, you could be.
0:25:15 > 0:25:18Wait a while, crocodile.
0:25:18 > 0:25:20But I really do like you, Lucy.
0:25:20 > 0:25:22Maybe. That's my dad.
0:25:29 > 0:25:32Time to be thinking about bed, darling. Early start tomorrow.
0:25:32 > 0:25:35Sorry, Daddy. We're just going over tomorrow's schedule.
0:25:35 > 0:25:36Yes, I should be off, sir.
0:25:36 > 0:25:38Uh, Colin Clark. Lovely to meet you, Mr Armstrong.
0:25:38 > 0:25:42This is a great place you have here.
0:25:42 > 0:25:43Do you know this part of the world?
0:25:43 > 0:25:46Um, no. My family are more country people.
0:25:46 > 0:25:49Oh. Well, good night.
0:25:49 > 0:25:51Good night.
0:25:56 > 0:26:00- Next Saturday? - Yeah.
0:26:02 > 0:26:04- Good morning, Dame Sybil. - Colin, dear.
0:26:04 > 0:26:07I thought you looked cold so I bought you this.
0:26:07 > 0:26:10- Thank you, Dame Sybil. - Film sets and rehearsal rooms
0:26:10 > 0:26:12are coldest places on Earth.
0:26:16 > 0:26:18She should be on time like everyone else.
0:26:18 > 0:26:21- She's a star. - I'm a fucking star.
0:26:21 > 0:26:23She's the greatest piece of ass on Earth.
0:26:23 > 0:26:25With tits like that, you make allowances.
0:26:25 > 0:26:26Marilyn, my darling,
0:26:26 > 0:26:29you are an angel and I kiss the hem of your garment,
0:26:29 > 0:26:32but why can't you get here on time for the love of fuck?!
0:26:32 > 0:26:35Oh. You have that word in England, too.
0:26:35 > 0:26:38Marilyn has to prepare properly.
0:26:38 > 0:26:41Acting isn't just a case of putting on a costume or a false nose.
0:26:41 > 0:26:43You must apologise to Dame Sybil.
0:26:46 > 0:26:47Sybil?
0:26:53 > 0:26:54I'm so sorry.
0:26:54 > 0:26:56My dear, you mustn't concern yourself.
0:26:56 > 0:26:59A great actress like you has many other things on her mind.
0:26:59 > 0:27:01You think I'm a great actress?
0:27:01 > 0:27:05None of the rest of us truly know how to act for the camera,
0:27:05 > 0:27:08but you do. It's a rare gift.
0:27:11 > 0:27:13This poor girl hasn't had your years of experience.
0:27:13 > 0:27:16She's in a strange country acting a strange part.
0:27:16 > 0:27:17Now, are you helping or bullying?
0:27:21 > 0:27:22Oh, thank you.
0:27:26 > 0:27:27Before you meet my mother-in-law,
0:27:27 > 0:27:32I must warn you she's a little vague and can be very deaf on occasions.
0:27:32 > 0:27:34Uh, two is good, Jack. Yeah.
0:27:34 > 0:27:35OK, let's cut it there.
0:27:35 > 0:27:38- Speed. - Five, take one.
0:27:38 > 0:27:40- OK. - Action.
0:27:40 > 0:27:43When one is old, one should use much more.
0:27:43 > 0:27:47- What do you do, my dear? - I'm The Coconut...
0:27:47 > 0:27:50And once again, please. Keep rolling.
0:27:50 > 0:27:53- I'm in The Coconut Girl at the Avenue.- Excellent.
0:27:53 > 0:27:56I do need you to keep your eyes open if you can, my angel.
0:27:56 > 0:27:58Paula, would you give the line, please?
0:27:58 > 0:28:00Wait, I know it.
0:28:00 > 0:28:02I'm in The Coconut Girl on the Avenue.
0:28:02 > 0:28:06- At the Avenue. - I'm at the Avenue.
0:28:06 > 0:28:08It's not at the Avenue.
0:28:08 > 0:28:10Uh, Sybil, would you give her the line again?
0:28:10 > 0:28:13- Thank you. - What do you do, my dear?
0:28:13 > 0:28:16I'm in The Coconut Girl at the Avenue.
0:28:17 > 0:28:22That one's pretty damn good. You knocked it outta the park.
0:28:22 > 0:28:25- She says she's an actress. - When Marilyn gets it right,
0:28:25 > 0:28:27you just don't want to look at anyone else.
0:28:27 > 0:28:29Cut it there.
0:28:33 > 0:28:36We've only been shooting for four days. Already, we're two weeks behind.
0:28:36 > 0:28:38So why not only show her the good takes.
0:28:38 > 0:28:40She might feel better about herself.
0:28:40 > 0:28:43Well, the kid's right. She could use the confidence.
0:28:43 > 0:28:46No-one's forcing her to watch. Besides, she's an experienced actress.
0:28:46 > 0:28:48- She should learn from her mistakes. - But they only upset her.
0:28:48 > 0:28:51Not half so much as they upset me!
0:28:53 > 0:28:56Leave all that. Go and find Marilyn's script.
0:28:56 > 0:28:59- Paula thinks she's left it in her dressing room.- Yes.
0:29:13 > 0:29:16- Your script... - Oh, I found it.
0:29:18 > 0:29:20You can go now, Colin.
0:29:36 > 0:29:39David wants to know if you're ready for the extras in the ballroom scene.
0:29:39 > 0:29:42Tell him he can start sending them up. Women first.
0:29:45 > 0:29:47I'm looking forward to Saturday.
0:29:48 > 0:29:51- Our date. - Oh, I completely forgot.
0:29:51 > 0:29:54I can't do Saturday. Marilyn wants to go shopping.
0:29:54 > 0:29:56Since when do you work for her?
0:29:56 > 0:29:57Next Friday instead.
0:30:00 > 0:30:02- Yeah.- Yeah, I'll pick you up. Eight o'clock.
0:30:10 > 0:30:13- Gee, it's quiet. - Sure is.
0:30:13 > 0:30:16It's a Saturday, so it's early closing, but at least she can shop in peace.
0:30:16 > 0:30:20That's awfully pretty. Every building here looks like a castle.
0:30:20 > 0:30:22Oh, I think so.
0:30:22 > 0:30:23Look.
0:30:23 > 0:30:26- It's Marilyn! - It's Marilyn Monroe!
0:30:26 > 0:30:29- OK. - It's her!
0:30:32 > 0:30:35Slow down. You'll get your autograph.
0:30:35 > 0:30:37- Whoa! - You're so kind!
0:30:38 > 0:30:40Boy, you're awfully excited.
0:30:40 > 0:30:41- OK, guys, let's keep calm. - Marilyn!
0:30:41 > 0:30:43- Hold back a little. - It's for my son.
0:30:43 > 0:30:45Wait your turn!
0:30:48 > 0:30:50This is too much.
0:30:50 > 0:30:52- Oh! - Colin, get in the car!
0:30:52 > 0:30:54Stand back a few feet, please.
0:31:02 > 0:31:04Jeez, Marilyn, they really love you.
0:31:15 > 0:31:18Well, we're still the first ones, aren't we?
0:31:19 > 0:31:22Gee, this is all right, isn't it?
0:31:22 > 0:31:25Cut. Uh, the line is, "Gee, this is all right too, isn't it?"
0:31:25 > 0:31:28It's a tiny word, my darling, but it does matter. So we'll...
0:31:28 > 0:31:31We'll do it again. Once more, please, straightaway. Thank you.
0:31:31 > 0:31:33- All right, as soon as we can. - Turn over.
0:31:36 > 0:31:38Well, we're still the first ones, aren't we?
0:31:38 > 0:31:41- Gee, this is all right, isn't it? - Cut.
0:31:42 > 0:31:45- Can't we just drop it? - Well, the thing is, darling,
0:31:45 > 0:31:50you've already admired the downstairs hall in the earlier scene,
0:31:50 > 0:31:52and now you're admiring this room as well.
0:31:52 > 0:31:54If you see what I mean?
0:31:54 > 0:31:58- Oh, sure. - Thank you.
0:31:58 > 0:32:01- Turn over. - Paula?
0:32:01 > 0:32:02Christ.
0:32:02 > 0:32:04I don't get it.
0:32:04 > 0:32:07He's such a strange man, I think she's already figured out
0:32:07 > 0:32:09that he only invited her here to sleep with him.
0:32:09 > 0:32:11I... What... So, what is the...?
0:32:11 > 0:32:13The reason Marilyn can't remember the line
0:32:13 > 0:32:16is because she doesn't believe the situation her character is in.
0:32:17 > 0:32:20Then she should pretend to believe it.
0:32:20 > 0:32:22"Pretend"? We're talking about the difference
0:32:22 > 0:32:24between the truth and artificial crap.
0:32:24 > 0:32:26We're in absolute agreement. Acting is all about truth,
0:32:26 > 0:32:29and if you can fake that, you'll have a jolly good career.
0:32:29 > 0:32:30Maybe we should try for another take.
0:32:30 > 0:32:33Marilyn needs time to give a great performance.
0:32:33 > 0:32:35You should give her as long as it takes.
0:32:35 > 0:32:37Chaplin took eight months to make a movie.
0:32:37 > 0:32:38Eight months of this?
0:32:38 > 0:32:40- I'd rather kill myself. - Oh!
0:32:45 > 0:32:47I can't do this.
0:32:47 > 0:32:49- I can't. - Yes, you can. Yes, you can.
0:32:49 > 0:32:51You can do it. You can't fail.
0:32:51 > 0:32:54You'll have more pain, you will suffer more,
0:32:54 > 0:32:57but you will create. All you need is time.
0:32:57 > 0:33:00Think about the things you like instead of him.
0:33:00 > 0:33:03Frank Sinatra. Hmm?
0:33:03 > 0:33:05Coca-Cola.
0:33:05 > 0:33:08Use your substitutions and make it work for you.
0:33:08 > 0:33:09- OK. - OK.
0:33:09 > 0:33:12281, take 17.
0:33:14 > 0:33:18Oh, we're still the first ones, aren't we?
0:33:18 > 0:33:22Gee, this is all right too, isn't it?
0:33:25 > 0:33:28Then she goes... She...
0:33:30 > 0:33:32Cut! What is the matter now?
0:33:32 > 0:33:34You wait! Marilyn, please.
0:33:34 > 0:33:36Please, tell me how I can help you.
0:33:36 > 0:33:39I don't know who Elsie is, and I can't act her if I don't know who she is.
0:33:39 > 0:33:42You have her precisely. You understand her inside out.
0:33:42 > 0:33:45I'm in awe of your gift. We all are.
0:33:45 > 0:33:50- She's not real.- Then why not simply rely on your natural talents?
0:33:53 > 0:33:55So are you saying you don't want me to act?
0:33:55 > 0:33:59Marilyn, will you just try to be sexy. Isn't that what you do?
0:34:02 > 0:34:03I want Lee.
0:34:04 > 0:34:05I want Lee.
0:34:05 > 0:34:07- You've already got Paula... - I want Lee!
0:34:07 > 0:34:09- I'm the director. - I'm Lee's representative...
0:34:09 > 0:34:11It's 5:00 in the morning in New York.
0:34:11 > 0:34:13I want Lee!
0:34:13 > 0:34:15Oh, now forever,
0:34:15 > 0:34:19farewell the tranquil mind,
0:34:19 > 0:34:22farewell content...
0:34:22 > 0:34:24Farewell the plumed troops
0:34:24 > 0:34:30and the big wars that make ambition virtue. Oh, farewell!
0:34:30 > 0:34:32Paula's not an actress!
0:34:32 > 0:34:34She's not a director, she's not a teacher!
0:34:34 > 0:34:36Her only talent is buttering up Marilyn!
0:34:36 > 0:34:39Larry, she needs her people. We're the only family she's ever had.
0:34:39 > 0:34:43Do you know what would make Marilyn Monroe a real actor? A season in rep.
0:34:43 > 0:34:46They wouldn't stand for this nonsense at the Hippodrome in Eastbourne.
0:34:46 > 0:34:48Larry, you have to be patient with her.
0:34:48 > 0:34:51Trying to teach Marilyn how to act is like teaching Urdu to a badger!
0:34:53 > 0:34:57I better go see her. She'll need something to help her calm down.
0:35:00 > 0:35:03Christ! Pills to sleep. Pills to wake up.
0:35:03 > 0:35:05Pills to calm her down. Pills to give her energy.
0:35:05 > 0:35:08No wonder she's permanently ten feet underwater!
0:35:09 > 0:35:11- Maybe she's scared. - We're all scared!
0:35:11 > 0:35:14I've spent half of my professional life in abject bloody terror!
0:35:14 > 0:35:16It's what actors do!
0:35:16 > 0:35:18But you have the training to deal with it, sir.
0:35:18 > 0:35:20I wouldn't buy the "little girl lost" act if I were you.
0:35:22 > 0:35:24Though heaven knows, it's tempting.
0:35:24 > 0:35:27I think Marilyn knows exactly what she's doing.
0:35:34 > 0:35:37Look, you better get over to Parkside and make sure the poor girl's all right.
0:35:50 > 0:35:54Marilyn's OK. She's taken some pills and gone to bed.
0:35:54 > 0:35:58They like to keep her doped up. It makes her easier to control.
0:35:59 > 0:36:02They're terrified their cash cow will slip away.
0:36:02 > 0:36:04Cheers.
0:36:14 > 0:36:17Why does everybody always think I'm crazy?
0:36:17 > 0:36:18I'm not crazy.
0:36:56 > 0:36:58Marilyn, come back to bed.
0:37:02 > 0:37:06It's not about you. It's not what you think.
0:37:06 > 0:37:08It's just a few ideas.
0:37:10 > 0:37:12Writer stuff.
0:37:15 > 0:37:20Come on, let's get some sleep and bring back my book.
0:37:29 > 0:37:30Don't touch me.
0:37:38 > 0:37:39Good morning, Miss Monroe.
0:37:49 > 0:37:53- It's nearly lunchtime. - She's not feeling the part.
0:37:53 > 0:37:55It's a light comedy. How much feeling can it possibly require?
0:37:55 > 0:37:58Just give her a few minutes, Larry.
0:37:58 > 0:38:01Boy, will you find out what the hell is going on, please?
0:38:15 > 0:38:17KNOCK AT DOOR
0:38:18 > 0:38:21It's Colin. Come in.
0:38:29 > 0:38:31Are you all right, Miss Monroe?
0:38:34 > 0:38:38- How old are you? - 24.
0:38:38 > 0:38:41Nearly. I'm... I'm 23. I'm nearly 24.
0:38:44 > 0:38:48Do you know you remind us of the young king in the movie?
0:38:48 > 0:38:50And so...
0:38:50 > 0:38:54uh...sweet.
0:38:56 > 0:38:57And innocent.
0:38:58 > 0:39:01I'm not sure I'm that innocent.
0:39:04 > 0:39:07So, what's your job on this picture?
0:39:07 > 0:39:10I'm the third assistant director. So, it's a gofer, really.
0:39:10 > 0:39:12"Go for this, go for that."
0:39:14 > 0:39:16But you're Larry's assistant, too.
0:39:16 > 0:39:18Yes.
0:39:18 > 0:39:21What were you doing in my house last night?
0:39:22 > 0:39:25Did he send you?
0:39:25 > 0:39:26He was worried about you.
0:39:30 > 0:39:32Are you spying on me?
0:39:32 > 0:39:35No, of course not. Why would anyone spy on you?
0:39:43 > 0:39:46Colin.
0:39:46 > 0:39:49Whose side are you on?
0:39:52 > 0:39:54Yours, Miss Monroe.
0:40:01 > 0:40:03Call me Marilyn.
0:40:09 > 0:40:12Marilyn's got a new boyfriend.
0:40:13 > 0:40:15- Larry will get jealous. - Nothing happened.
0:40:15 > 0:40:17You were there for ten minutes.
0:40:17 > 0:40:18Plenty of time for a kiss and a cuddle.
0:40:21 > 0:40:25I dreamed last night that I could hear singing.
0:40:25 > 0:40:28And then I realised it wasn't a dream.
0:40:28 > 0:40:32There was a male voice choir serenading Marilyn under our window.
0:40:32 > 0:40:34At two in the morning.
0:40:34 > 0:40:37It's a circus. Freak show.
0:40:37 > 0:40:39I'm going back to New York for a few days.
0:40:41 > 0:40:44I need a break. I need to see my kids.
0:40:44 > 0:40:46- That won't help Marilyn. - I can't help her.
0:40:47 > 0:40:51She wants me to protect her, but...I can't.
0:40:51 > 0:40:54She thought I could smash all her insecurities.
0:40:54 > 0:40:56That I can make her a new person.
0:40:56 > 0:40:59She read some notes I made.
0:40:59 > 0:41:01They were nothing. Just, just a few ideas.
0:41:01 > 0:41:05- But about her? - She took them the wrong way.
0:41:07 > 0:41:11You do...love her, your new bride and all that?
0:41:11 > 0:41:14I can't work.
0:41:14 > 0:41:16I can't think.
0:41:17 > 0:41:19She's devouring me.
0:41:23 > 0:41:26Good morning, Vivien.
0:41:26 > 0:41:29Uh, ladies and gentlemen, my darling wife.
0:41:29 > 0:41:32Hello. I hope Larry isn't making you all work too hard.
0:41:32 > 0:41:36I know what a dreadful slave-driver he can be.
0:41:36 > 0:41:39David. He would be lost without you.
0:41:39 > 0:41:41- Just doing my job. - And Jack, of course. Jack.
0:41:41 > 0:41:44Oh. I'm getting old, Jack.
0:41:44 > 0:41:46More beautiful every year, Vivien.
0:41:46 > 0:41:49Well, I need you to work your miracles on me.
0:41:49 > 0:41:51Are you looking after Larry like I told you?
0:41:51 > 0:41:53I'm doing my best, Vivien.
0:41:54 > 0:41:56Marilyn, darling.
0:41:56 > 0:42:02Larry tells me that you are quite, quite superb,
0:42:02 > 0:42:05- and I am wild with jealousy. - Oh.
0:42:05 > 0:42:08But everyone says you were a wonderful Elsie on stage.
0:42:08 > 0:42:11Oh, but I'm too old to play her in the film.
0:42:11 > 0:42:14Larry was quite brutal about that.
0:42:14 > 0:42:18You see, the truth is all that matters to him,
0:42:18 > 0:42:21and that's why we all admire him so very much.
0:42:21 > 0:42:24I must let you work. I just wanted to wish you good luck.
0:42:26 > 0:42:29- Hi, Vivien. - And you.
0:42:29 > 0:42:33I love the moustache. I do.
0:42:33 > 0:42:34It suits you. Bye...
0:42:37 > 0:42:40So I wasn't addressed. Who cares?
0:42:41 > 0:42:43Bull in the labyrinth. Oop!
0:42:43 > 0:42:46Who the heck is Theseus anyway?
0:42:46 > 0:42:49I didn't think she would be so beautiful.
0:42:49 > 0:42:53- Disgraceful! - Oh, she shines on that screen.
0:42:53 > 0:42:55Oh, darling. Puss, don't upset yourself.
0:42:55 > 0:42:57You are ten times the actress she will ever be.
0:42:57 > 0:43:01Oh, if you could see yourself. The way you watch her!
0:43:01 > 0:43:04Oh, Vivien, you're imagining things. Please.
0:43:04 > 0:43:06I hope she makes your life hell.
0:43:06 > 0:43:09Vivien...
0:43:16 > 0:43:18Do you have a cigarette, please, Colin?
0:43:21 > 0:43:23No, not one of my awful things.
0:43:32 > 0:43:35Remember, boy, when it comes to women,
0:43:35 > 0:43:38you're never too old for humiliation.
0:43:40 > 0:43:43Marilyn won't shoot today. She's gone back to Parkside.
0:43:43 > 0:43:45She's upset about Arthur leaving England.
0:43:45 > 0:43:47He's only going to visit his children.
0:43:47 > 0:43:51You don't leave Marilyn alone. She can't handle it.
0:43:51 > 0:43:53She thinks that everyone's going to abandon her.
0:43:53 > 0:43:54PHONE RINGS
0:43:54 > 0:43:57Let's hope she's changed her bloody mind.
0:43:57 > 0:43:59- Yes. - Sir Laurence?
0:43:59 > 0:44:03- Roger, what's up? - Is, uh, Colin there, sir?
0:44:03 > 0:44:06- Yes, he is. - Can I speak to him?
0:44:06 > 0:44:08Colin, it's for you.
0:44:13 > 0:44:15- Roger? - Colin.
0:44:15 > 0:44:17Miss Monroe.
0:44:17 > 0:44:21Why don't you drop by here on your way home.
0:44:21 > 0:44:22- Uh... - What?
0:44:22 > 0:44:26What is Marilyn doing on the phone with my third fucking assistant?
0:44:26 > 0:44:28Yes, I'm sure I could do that.
0:44:28 > 0:44:30Good.
0:44:30 > 0:44:32Don't tell anyone, though.
0:44:35 > 0:44:37Well, is she coming back?
0:44:37 > 0:44:38No, she wants to see me.
0:44:38 > 0:44:40He shouldn't be talking to her. He's just a kid.
0:44:40 > 0:44:43- Supposing he said something.- I'm sure Colin knows what he's doing.
0:44:43 > 0:44:45Don't you, Colin?
0:44:49 > 0:44:51I know you're awfully busy, Colin,
0:44:51 > 0:44:53but if you could manage to find me a cup of tea before you leave,
0:44:53 > 0:44:55that would be marvellous.
0:44:57 > 0:44:59Miss Monroe said for you to wait.
0:45:05 > 0:45:06Help yourself to a drink.
0:45:06 > 0:45:10Oh, I'm sorry. I was checking that you've got everything.
0:45:10 > 0:45:12Let me.
0:45:19 > 0:45:21Are you frightened of me, Colin?
0:45:21 > 0:45:22No.
0:45:23 > 0:45:25Good. cos I like you.
0:45:29 > 0:45:31I want you to help me.
0:45:31 > 0:45:34Well, I'm only the third. I'm just... I'm a messenger, really.
0:45:34 > 0:45:36But you know everything that's going on.
0:45:36 > 0:45:38You can see both sides of the situation.
0:45:38 > 0:45:41Please tell me everything.
0:45:41 > 0:45:45- Uh... - Relax!
0:45:45 > 0:45:48I thought you weren't scared of me.
0:45:51 > 0:45:52- Are you hungry? - Uh...
0:45:52 > 0:45:55I'll have them send in a tray. I'm starved.
0:45:56 > 0:45:59Oh, go... Oh, gosh, I'm sorry.
0:45:59 > 0:46:01Am I interrupting something?
0:46:01 > 0:46:03Maybe you have a Mrs Colin waiting for you at home.
0:46:03 > 0:46:06There's no Mrs Colin.
0:46:06 > 0:46:09So we can talk as long as we like.
0:46:10 > 0:46:13Why is Sir Olivier so mean?
0:46:14 > 0:46:16He talks awful to me.
0:46:16 > 0:46:18Like he's slumming.
0:46:20 > 0:46:22I'll tell you what's wrong.
0:46:22 > 0:46:24It's agony for him because he is a great actor
0:46:24 > 0:46:27that wants to be a film star. And it's agony for you
0:46:27 > 0:46:30because you're a film star who wants to be a great actress.
0:46:30 > 0:46:34And this film won't help either of you.
0:46:37 > 0:46:39You sure you can handle that?
0:46:39 > 0:46:40You don't look old enough to drink.
0:46:40 > 0:46:44- I'm 23, Miss Monroe. - Oh, it's Marilyn.
0:46:44 > 0:46:47Hmm. I'm 30.
0:46:47 > 0:46:49I guess that makes me an old lady to you.
0:46:49 > 0:46:51Seven years is nothing.
0:46:51 > 0:46:54You know I've been married three times already.
0:46:54 > 0:46:55How did that happen?
0:46:55 > 0:46:58Maybe you're just looking for the right man.
0:46:58 > 0:47:01They always look right at the start.
0:47:03 > 0:47:04PHONE RINGS
0:47:04 > 0:47:06I'll get that.
0:47:08 > 0:47:10- Hello? - Colin, is everything OK?
0:47:10 > 0:47:13Everything's fine. Uh, Miss Monroe, she just...
0:47:13 > 0:47:15She had some large packages she needed handling.
0:47:15 > 0:47:17OK, what does she want?
0:47:17 > 0:47:19Colin?
0:47:19 > 0:47:21- Let me speak to her, Colin. - Oh...
0:47:21 > 0:47:24Let me talk to her. Sh!
0:47:24 > 0:47:26Let me speak to her.
0:47:26 > 0:47:29What is going on, Colin?
0:47:29 > 0:47:32I'm afraid she's tied up right now.
0:47:32 > 0:47:33Let me talk to her, damn it.
0:47:33 > 0:47:35Let me talk to her.
0:47:35 > 0:47:36- Colin! - I'm sorry, Milton.
0:47:36 > 0:47:39- I'm sorry. I have to go. - Colin!
0:47:46 > 0:47:48Let's go for a walk in the garden.
0:47:48 > 0:47:52Let's go see if we can find any more reporters in the bushes.
0:47:57 > 0:48:01Oh, I didn't know it was so pretty out here.
0:48:01 > 0:48:03You should get out more. You should see the sights.
0:48:03 > 0:48:05I am the sights.
0:48:06 > 0:48:10You know, we're just like Elsie and the young king.
0:48:14 > 0:48:18What would Sir Laurence say if he could see us now?
0:48:18 > 0:48:20I don't think he'd mind.
0:48:22 > 0:48:24But he thinks that I'm the enemy.
0:48:24 > 0:48:26No, he doesn't understand your kind of actor.
0:48:26 > 0:48:30He's hated the Method ever since Vivien worked with Elia Kazan.
0:48:30 > 0:48:31It's all too strange and new.
0:48:31 > 0:48:34So you're the future, and that frightens him.
0:48:34 > 0:48:38You know what? Every time I walk into the studio,
0:48:38 > 0:48:41I feel a sense of doom come over me.
0:48:43 > 0:48:47He gives me the dirtiest looks, even when he's smiling.
0:48:48 > 0:48:50And the crew hates me.
0:48:50 > 0:48:51No, that's not true.
0:48:51 > 0:48:54The only person I can trust is Paula.
0:48:54 > 0:48:56Except for you now, maybe.
0:48:56 > 0:49:00Phone call from New York, Miss Monroe. It's Mr Miller.
0:49:06 > 0:49:08- Goodbye, Colin. - Goodbye.
0:49:08 > 0:49:10Thank you for telling me the truth.
0:49:14 > 0:49:16You'll be leaving now, I expect.
0:49:18 > 0:49:20I don't care if he fucks her sideways.
0:49:20 > 0:49:22Perhaps it'll calm her down.
0:49:22 > 0:49:24Oh, hello, boy.
0:49:24 > 0:49:26Hear you spent last night with Marilyn.
0:49:26 > 0:49:28I didn't spend the night with her. We had a chat.
0:49:28 > 0:49:31- I heard them chuckling.- Perhaps if Colin is very diplomatic,
0:49:31 > 0:49:33Marilyn's more likely to behave herself.
0:49:33 > 0:49:35- She just wants a chum, that's all. - A chum?
0:49:35 > 0:49:38Jesus Christ, what is this, Goodbye, Mr Chips?
0:49:38 > 0:49:39Grow up, kid.
0:49:45 > 0:49:48You know, I thought working with Marilyn would make me feel young again.
0:49:50 > 0:49:52But I look dead in the rushes.
0:49:52 > 0:49:55Dead behind these eyes.
0:49:58 > 0:50:01I wanted to renew myself through her.
0:50:01 > 0:50:06But all I see reflected in that magnificent face
0:50:06 > 0:50:09is my own inadequacy.
0:50:12 > 0:50:16You know, I admire Marilyn. I really do, despite her behaviour.
0:50:18 > 0:50:20She's taken everything Hollywood can throw at her
0:50:20 > 0:50:22and she's triumphed. That takes some bloody guts.
0:50:24 > 0:50:27An actress has to be pretty tough
0:50:27 > 0:50:30to get even a tenth as far as she has.
0:50:32 > 0:50:33Be careful, boy.
0:50:35 > 0:50:37She doesn't need to be rescued.
0:50:37 > 0:50:39Not really.
0:51:31 > 0:51:33It's you.
0:51:35 > 0:51:37Marvellous! Absolutely marvellous, darling.
0:51:37 > 0:51:40That's wonderful. Well done. Let's check that.
0:51:40 > 0:51:42MARILYN LAUGHS
0:51:47 > 0:51:49..Hold that thought.
0:51:52 > 0:51:55Three minutes, ladies and gentlemen. Three minutes!
0:51:55 > 0:51:59Colin! Arthur Miller called me. He's not happy with you.
0:51:59 > 0:52:02- He doesn't even know who I am. - Marilyn must have said something.
0:52:02 > 0:52:04Well, maybe she's trying to make him jealous.
0:52:08 > 0:52:11Listen, kid. I've known Marilyn for seven years.
0:52:11 > 0:52:13I fell in love with her just as you've done.
0:52:13 > 0:52:16We had ten days together, and that was it.
0:52:16 > 0:52:18She picked me up, she put me down, that's what she does.
0:52:18 > 0:52:21She breaks hearts. She will break yours.
0:52:21 > 0:52:24My advice to you is quit before you get burned.
0:52:24 > 0:52:28- I don't need your advice. - Have it your way.
0:52:28 > 0:52:30You don't see Marilyn again. You don't even talk to her.
0:52:30 > 0:52:34She's completely off limits to you. Do you understand me?
0:52:34 > 0:52:36Yes.
0:52:38 > 0:52:41- I waited for you on Friday. - Lucy, I'm so sorry.
0:52:41 > 0:52:43I completely forgot. I just... I've been so busy.
0:52:43 > 0:52:45So I hear.
0:52:45 > 0:52:47Well, you know how crews gossip. There's nothing in it.
0:52:47 > 0:52:49Of course there isn't.
0:52:49 > 0:52:52Marilyn Monroe fancying you? Come on.
0:52:56 > 0:52:57- Oh, hi, Colin. - Hi.
0:52:57 > 0:52:59Hi, Lucy.
0:53:05 > 0:53:10- I thought you were different. - I really like you, and we have fun.
0:53:10 > 0:53:12And now it's time to set your sights a little higher.
0:53:15 > 0:53:17Well, good luck.
0:53:40 > 0:53:42- Get in. - Any problem, Roger?
0:53:42 > 0:53:45Uh, no. Just dropped by to take Colin out to lunch.
0:53:45 > 0:53:47You're not taking him to Marilyn.
0:53:47 > 0:53:49That would drop us all in a whole ocean of shit.
0:53:49 > 0:53:52No, sir. Been looking forward to this, haven't we, Colin?
0:53:52 > 0:53:54Yeah.
0:53:56 > 0:53:59OK. You have a nice time, boys.
0:54:01 > 0:54:04- Surprise! - Jesus!
0:54:04 > 0:54:06Roger and I decided to take you on an adventure.
0:54:08 > 0:54:10What the hell?
0:54:10 > 0:54:11- Colin! - Oh!
0:54:13 > 0:54:15Get back here, you little bastard!
0:54:15 > 0:54:18Colin! You're fired! You hear me?
0:54:21 > 0:54:23Do you think he saw me?
0:54:23 > 0:54:24Colin!
0:54:27 > 0:54:30Snuggle up. This is fun.
0:54:30 > 0:54:32This is the getaway car.
0:54:45 > 0:54:47I oughta feel like this every day.
0:54:51 > 0:54:52We have today, anyway.
0:54:52 > 0:54:54We have one day to do whatever you like.
0:54:54 > 0:54:57Then we can go back to real life tomorrow.
0:54:57 > 0:54:59Only one day?
0:54:59 > 0:55:02- Well, maybe the weekend. - Or a week!
0:55:06 > 0:55:08What should we do now?
0:55:08 > 0:55:10We could go to Windsor Castle, if you like.
0:55:18 > 0:55:20Detective Chief Superintendent Smith.
0:55:20 > 0:55:23I'm escorting this lady and gentleman for the day.
0:55:23 > 0:55:24They'd like to look around the castle.
0:55:24 > 0:55:26I need a contact name for the book.
0:55:26 > 0:55:29You don't know Her Majesty, by any chance?
0:55:29 > 0:55:32Yes, we met at a movie premiere. She said my dress was pretty.
0:55:32 > 0:55:34I don't think that quite does it, sir.
0:55:34 > 0:55:36My godfather works here.
0:55:36 > 0:55:39He's the royal librarian. Sir Owen Morshead.
0:55:57 > 0:56:02- Hello, sir. - Colin, my boy! Come in!
0:56:02 > 0:56:05Forgive the dust.
0:56:05 > 0:56:08Oh, you are very pretty, my dear.
0:56:08 > 0:56:10Oh!
0:56:10 > 0:56:12Gee, I'd sure like to read all these books.
0:56:12 > 0:56:15Luckily, one doesn't really have to.
0:56:15 > 0:56:17A lot of them just have pictures in.
0:56:17 > 0:56:22- This is by an artist called Holbein. - She's beautiful.
0:56:22 > 0:56:26She was the daughter of one of the king's courtiers.
0:56:26 > 0:56:28Nearly 400 years ago.
0:56:28 > 0:56:31Gee, I hope I look that good when I'm 400.
0:56:32 > 0:56:36These are by Leonardo da Vinci.
0:56:36 > 0:56:39Didn't he paint that lady with the funny smile?
0:56:39 > 0:56:42- The Mona Lisa. - Do you have that one here, too?
0:56:42 > 0:56:44Alas, that one got away.
0:56:44 > 0:56:46Oh.
0:56:46 > 0:56:49- The Queen's sorry to have missed you.- Really?
0:56:49 > 0:56:51Oh, yes! Why, she was only saying to me the other day,
0:56:51 > 0:56:56"What must it be like to be the most famous woman on Earth?"
0:57:05 > 0:57:07Colin, look.
0:57:09 > 0:57:13Gee, I sure never had a doll's house like this when I was a kid.
0:57:13 > 0:57:16- Can I? - Yes, of course.
0:57:23 > 0:57:25This is me.
0:57:25 > 0:57:29That's you, and these are our kids.
0:57:31 > 0:57:34Oh, our daughter's so pretty.
0:57:36 > 0:57:39All little girls should be told how pretty they are.
0:57:42 > 0:57:45Should grow up knowing how much their mother loves them.
0:57:49 > 0:57:50There she is!
0:57:56 > 0:57:58Shall I be her?
0:58:05 > 0:58:08- Are you somebody, mate? - No. I'm no-one.
0:58:23 > 0:58:25So this is your old school, huh?
0:58:25 > 0:58:27Did you sing in the school choir?
0:58:27 > 0:58:31- No. - That's a lie, I can tell.
0:58:31 > 0:58:34How old were you?
0:58:34 > 0:58:36I was sent away to boarding school when I was eight.
0:58:36 > 0:58:39Why? Didn't your parents like you very much?
0:58:39 > 0:58:42That's just how they do it in my family.
0:58:42 > 0:58:45Well, I'd never send my kids away.
0:58:45 > 0:58:48Eton is 500 years old.
0:58:48 > 0:58:50It was founded by King Henry VI.
0:58:50 > 0:58:52No wonder it's so dusty.
0:58:53 > 0:58:55Looks more like a palace.
0:58:55 > 0:58:57That room there, upper school, that's where you're sent
0:58:57 > 0:58:59if you don't work hard enough. You're whipped.
0:58:59 > 0:59:01- No. - Mm-hm.
0:59:01 > 0:59:03- That's awful. - It's Marilyn Monroe!
0:59:06 > 0:59:08Oh!
0:59:12 > 0:59:15- Come see Marilyn. - Well, hello, boys.
0:59:15 > 0:59:18- Pleased to meet you! - Blow us a kiss, Marilyn!
0:59:18 > 0:59:22Sure. All right, boys. Work hard! I don't want anyone whipping you.
0:59:22 > 0:59:25You can whip me any time, Marilyn!
0:59:25 > 0:59:27Oh!
0:59:27 > 0:59:29Oh!
0:59:29 > 0:59:32- Maybe we should go. - It's time to go. Lovely to see you.
0:59:42 > 0:59:44Hurry up, slowpoke!
0:59:48 > 0:59:51There's no... We haven't got our... We can't...
0:59:54 > 0:59:55Oh, God.
0:59:58 > 1:00:00Oh, God.
1:00:04 > 1:00:06This is great.
1:00:09 > 1:00:13Oh, my God!
1:00:13 > 1:00:15What if a boat goes past? We'll be arrested.
1:00:15 > 1:00:18Don't worry. Roger will fix it.
1:00:23 > 1:00:25- Ooh! - What?
1:00:25 > 1:00:28- I have something in my eye. - Let me see.
1:00:31 > 1:00:32I can't see anything.
1:00:38 > 1:00:41That's the first time I've kissed anyone younger than me.
1:00:41 > 1:00:46There's a lot of older guys in Hollywood.
1:00:49 > 1:00:51Ooh.
1:01:04 > 1:01:07Don't be shy, Colin. It's nothing you haven't seen before.
1:01:14 > 1:01:19Oh, Colin. And you, an old Etonian.
1:01:19 > 1:01:21My God, it's cold. It's freezing!
1:01:29 > 1:01:32Here. Come here. Let me warm you up.
1:01:34 > 1:01:36Is that better?
1:01:38 > 1:01:42I want this to be the perfect date.
1:01:42 > 1:01:46I haven't had a real date since I was 13 years old.
1:02:01 > 1:02:03That was nice.
1:02:06 > 1:02:10Ahem! Time to go home, I think, Miss Monroe.
1:02:26 > 1:02:29Be careful not to get in too deep, son.
1:02:33 > 1:02:40# The falling leaves drift by the window
1:02:42 > 1:02:48# The autumn leaves of red and gold
1:02:48 > 1:02:52# I see your lips
1:02:52 > 1:02:56# The summer kisses
1:02:56 > 1:03:00# The sunburned hands
1:03:00 > 1:03:04# I used to hold
1:03:04 > 1:03:08# Since you went away
1:03:08 > 1:03:12# The days grow long
1:03:12 > 1:03:15# And soon I'll hear
1:03:15 > 1:03:19# Old winter's song
1:03:19 > 1:03:26# But I miss you most of all, my darling... #
1:03:27 > 1:03:29Hi, Milton.
1:03:29 > 1:03:33The next time I come on set, you better make sure Colin is there.
1:03:33 > 1:03:34Take him home.
1:03:46 > 1:03:48You spent the day with her. What frame of mind was she in?
1:03:48 > 1:03:50- She was fine, sir. - Oh, how lovely.
1:03:50 > 1:03:52Well, go and find out why she's not standing here
1:03:52 > 1:03:54right now in front of that. There's a good chap.
1:03:54 > 1:03:57And perhaps on this splendid day we can persuade her to do
1:03:57 > 1:04:00some of the work that she is currently paying herself to do.
1:04:01 > 1:04:04- Don't start, Dickie. - You won't get any sympathy from me.
1:04:04 > 1:04:07- She's trying her best. - Oh, dear.
1:04:07 > 1:04:09Little Colin's in love.
1:04:13 > 1:04:17- Colin? - What's the matter?
1:04:17 > 1:04:19It's Marilyn. She's asking for you.
1:04:27 > 1:04:28She hasn't made a sound for over an hour.
1:04:28 > 1:04:31- So how many pills did she take? - Jesus! Who knows?
1:04:31 > 1:04:34- I wasn't counting. - Marilyn? So how about the window?
1:04:35 > 1:04:39Marilyn, darling? Open the door, bubbeleh.
1:04:41 > 1:04:43That's her window.
1:04:51 > 1:04:53Marilyn?
1:04:54 > 1:04:55Marilyn.
1:04:58 > 1:05:00Colin?
1:05:00 > 1:05:02Oh, hi, Colin.
1:05:05 > 1:05:08Are you OK?
1:05:08 > 1:05:09Everyone's worried about you.
1:05:12 > 1:05:14Oh, phooey.
1:05:14 > 1:05:16Colin!
1:05:20 > 1:05:22- Get in. - Colin!
1:05:22 > 1:05:24Colin, come on, open up!
1:05:24 > 1:05:26- Colin? - Colin!
1:05:26 > 1:05:28Open this door. She needs me. Colin!
1:05:28 > 1:05:30You don't understand her.
1:05:30 > 1:05:32- Come on. - She's fine, uh...
1:05:32 > 1:05:34- Come on, open up! - I'm going to keep an eye on her,
1:05:34 > 1:05:35and I will sleep on the sofa.
1:05:35 > 1:05:38Colin, listen to me. You can't talk to her.
1:05:38 > 1:05:40I can't find the key. Look, you can all go home now.
1:05:40 > 1:05:43- You don't understand her. Come on. - Go home.
1:05:43 > 1:05:46Oh, my...
1:06:45 > 1:06:48Colin. What are you doing here?
1:06:50 > 1:06:52Uh, I came in through the window.
1:06:52 > 1:06:54Milton thought that you were sick.
1:06:54 > 1:06:57Oh.
1:06:57 > 1:06:59The window.
1:06:59 > 1:07:01How romantic.
1:07:01 > 1:07:03That's just like Romeo and Juliet.
1:07:05 > 1:07:08What... Why would they say that I'm sick?
1:07:13 > 1:07:14Please.
1:07:16 > 1:07:18Please don't take any more.
1:07:19 > 1:07:22Who's this? Who's that?
1:07:22 > 1:07:26That's my mama. She bought me a white piano.
1:07:28 > 1:07:31Right before they took her to the asylum.
1:07:31 > 1:07:33I grew up in other people's homes, mostly.
1:07:36 > 1:07:37Is that Abraham Lincoln?
1:07:37 > 1:07:40That's my dad.
1:07:40 > 1:07:44Well, I don't know who my real father is, so it may as well be him, right?
1:07:49 > 1:07:53Do you have a home, Colin? A real one?
1:07:53 > 1:07:57- With a mama and a daddy? - Yes, I do.
1:07:57 > 1:07:59Do they love you?
1:08:00 > 1:08:02I'm sure that they do.
1:08:02 > 1:08:06Mm. You're lucky.
1:08:07 > 1:08:08Yes.
1:08:10 > 1:08:12Do you love me, Colin?
1:08:14 > 1:08:15Yes.
1:08:19 > 1:08:21You're like some Greek goddess to me.
1:08:21 > 1:08:24I'm not a goddess.
1:08:24 > 1:08:28I just want to be loved like a regular girl.
1:08:28 > 1:08:31- Mr Miller loves you. - No, I found his notebook.
1:08:31 > 1:08:34He said the most horrible things about me.
1:08:34 > 1:08:37Writers, they scribble all kinds of things. It doesn't mean anything.
1:08:37 > 1:08:39No, he wanted me to find it.
1:08:39 > 1:08:44He said he wished he'd never married me.
1:08:45 > 1:08:48Why do the people I love always leave me?
1:08:48 > 1:08:51I will never leave you.
1:08:58 > 1:09:01All people ever see is Marilyn Monroe.
1:09:03 > 1:09:06As soon as they realise I'm not her, they run.
1:09:10 > 1:09:12You're different.
1:09:14 > 1:09:16You're not like that.
1:09:21 > 1:09:24You should date that wardrobe girl.
1:09:24 > 1:09:27She's so pretty.
1:09:27 > 1:09:30I don't want to.
1:09:31 > 1:09:33I love you.
1:10:10 > 1:10:12This is nice.
1:10:15 > 1:10:17It's like spoons.
1:10:18 > 1:10:21I used to do this with Johnny.
1:10:21 > 1:10:24- Who's Johnny? - Johnny Hyde.
1:10:27 > 1:10:30He was my agent back in the old days.
1:10:33 > 1:10:35He was thin just like you.
1:10:40 > 1:10:42Marilyn, do one thing for me.
1:10:42 > 1:10:44Mm...
1:10:45 > 1:10:47Come to the studio on-time tomorrow
1:10:47 > 1:10:49and show everybody what you can do.
1:10:49 > 1:10:53Show Larry that you are a great actress.
1:10:55 > 1:10:56OK.
1:11:03 > 1:11:08MARILYN HUMS AND SPLASHES
1:11:23 > 1:11:29# No matter what others may say or do
1:11:29 > 1:11:34# Light of heart and fancy free
1:11:34 > 1:11:38# That's the way to start
1:11:38 > 1:11:42# There will be nothing to lose
1:11:42 > 1:11:46# Till you lose your
1:11:46 > 1:11:49# Heart. #
1:11:55 > 1:11:57Oh!
1:11:57 > 1:11:59- This is intolerable! - With deepest respects, sir.
1:11:59 > 1:12:02My message was so important, I had no choice but to intrude.
1:12:02 > 1:12:03- Revolution? - No, sir.
1:12:03 > 1:12:06Miss Marina's aunt has been in a motor accident.
1:12:06 > 1:12:08What?
1:12:08 > 1:12:11Oh, go away, you silly man.
1:12:11 > 1:12:15Miss Marina, your aunt. Do you realise how serious her condition is?
1:12:15 > 1:12:18Well, it's her own fault.
1:12:18 > 1:12:21She has no right out this time of night. She's 93!
1:12:23 > 1:12:25Cut it there.
1:12:30 > 1:12:33Well, whatever it was you did to her, boy, keep doing it.
1:12:33 > 1:12:35I've never seen her so happy.
1:12:35 > 1:12:37PHONE RINGS
1:12:38 > 1:12:40- Yes. - We need Colin
1:12:40 > 1:12:41at the house right away.
1:12:41 > 1:12:43Got a pain in my side, for Christ's sake!
1:12:43 > 1:12:46What, are they trying to make me think I'm crazy or something?
1:12:46 > 1:12:50Is that what it is? You know I don't just rev it up like a Model T.
1:12:50 > 1:12:52I don't just crank it up.
1:12:52 > 1:12:55No-one's asking you to just crank it up. We're worried about you...
1:12:55 > 1:12:58Isn't that what you're saying? I was sick, for God's sake!
1:12:58 > 1:13:00- Can't I be sick? - Colin's here.
1:13:00 > 1:13:02Colin.
1:13:02 > 1:13:03Colin.
1:13:04 > 1:13:08Colin thinks I'm a good actress. Don't you, Colin?
1:13:08 > 1:13:10- Yes, I do. You were wonderful today.- See?
1:13:10 > 1:13:13- Marilyn's tired now. - I want him to stay with me.
1:13:13 > 1:13:15And what would Arthur say if he knew Colin was here?
1:13:15 > 1:13:18You heard what she said, she wants me here. Come on.
1:13:18 > 1:13:23You have no idea of your position in the world, Marilyn.
1:13:25 > 1:13:30You are the greatest actress that has ever been.
1:13:30 > 1:13:31Mm?
1:13:31 > 1:13:34I love you like a daughter.
1:13:34 > 1:13:39- Oh.- My darling girl. I know it's hard now.
1:13:39 > 1:13:43But you will survive this and go on to better things. You're young.
1:13:43 > 1:13:47Your life is ahead of you, just beginning.
1:13:48 > 1:13:51Sit with Colin, mm?
1:13:51 > 1:13:54Oh, Paula, I'm sorry.
1:13:54 > 1:13:57- Come here. - Oh, no.
1:13:57 > 1:13:59Come here. I'm here now.
1:14:02 > 1:14:03Colin?
1:14:03 > 1:14:06- I'll look after you. - Don't leave.
1:14:06 > 1:14:07- I'm not. - Please don't leave.
1:14:07 > 1:14:10- I'm not. Sh. - Please don't leave.
1:14:10 > 1:14:12Please don't leave.
1:14:19 > 1:14:20Oh.
1:14:32 > 1:14:34Oh, it hurts, it hurts!
1:14:36 > 1:14:39It's a baby! It's a baby!
1:14:39 > 1:14:41I can't lose the baby! Colin!
1:14:41 > 1:14:44Oh!
1:14:44 > 1:14:46Roger! Call a doctor!
1:14:52 > 1:14:54Who's in charge here?
1:14:55 > 1:14:58I've given Mrs Miller an injection and the bleeding stopped.
1:14:58 > 1:15:02But she needs to stay in bed tomorrow, and after that she'll be fine.
1:15:02 > 1:15:04I suggest someone stays with her.
1:15:04 > 1:15:06She'll be safe with me. Thank you.
1:15:15 > 1:15:17- Thank you. - Good night, then.
1:15:18 > 1:15:20Was she really pregnant, sir?
1:15:22 > 1:15:26I think that's a private matter between Mr and Mrs Miller, don't you?
1:15:47 > 1:15:48Arthur's on his way back.
1:15:55 > 1:15:58When this movie is over,
1:15:58 > 1:16:02I'm going to settle down and be a good wife to him.
1:16:05 > 1:16:08I'm going to learn to make matzo-ball soup as good as his dad.
1:16:14 > 1:16:17We have to forget this whole thing ever happened.
1:16:19 > 1:16:21I don't want to forget.
1:16:24 > 1:16:26Let me protect you from all this.
1:16:26 > 1:16:30Oh. What are you going to do?
1:16:30 > 1:16:32- Marry me? - Why not?
1:16:32 > 1:16:35You could quit this. Forget Marilyn Monroe.
1:16:35 > 1:16:37Forget Hollywood. Let it all go.
1:16:39 > 1:16:40Just let it go.
1:16:46 > 1:16:48I couldn't just give it up.
1:16:49 > 1:16:51Why not?
1:16:53 > 1:16:55Why not, when it drives you crazy?
1:16:55 > 1:16:57You think I'm crazy?
1:16:57 > 1:17:00I just meant that you could be happy.
1:17:05 > 1:17:07I am happy.
1:17:09 > 1:17:11Of course you're happy.
1:17:15 > 1:17:17You're the biggest star in the world.
1:17:29 > 1:17:31You're right. We have to forget all this.
1:17:32 > 1:17:36So from now on, I'm just the third assistant director,
1:17:36 > 1:17:39and we will never look at each other again.
1:17:42 > 1:17:44Maybe just a wink.
1:17:47 > 1:17:49Once in a while.
1:18:03 > 1:18:06My dear. My dear.
1:18:06 > 1:18:09- Yes? - They're ready for you on set.
1:18:09 > 1:18:11- Marilyn? - Just arrived.
1:18:11 > 1:18:13Only an hour late. Not bad by her standards.
1:18:15 > 1:18:18Perhaps we'll finish this bloody film after all.
1:18:18 > 1:18:20527. Take one.
1:18:23 > 1:18:26- Cut it there. - And check that, please.
1:18:26 > 1:18:27584, take two.
1:18:31 > 1:18:33Take five.
1:18:33 > 1:18:34649, take two.
1:18:35 > 1:18:37Let's cut it there.
1:18:37 > 1:18:39Very quiet, studio.
1:18:39 > 1:18:42# I found a dream
1:18:42 > 1:18:44# Laying in your arms
1:18:44 > 1:18:48# The whole night through
1:18:48 > 1:18:50# I'm yours
1:18:50 > 1:18:53# No matter what others may say
1:18:53 > 1:18:55# Or do
1:18:55 > 1:18:59# Light of heart and fancy free
1:18:59 > 1:19:04# That's the way to start
1:19:04 > 1:19:08# There will be nothing to lose
1:19:08 > 1:19:13# Till you lose your heart. #
1:19:18 > 1:19:21First love is such sweet despair, Colin.
1:19:27 > 1:19:29Cut. That's a wrap.
1:19:41 > 1:19:43(She's there.)
1:19:58 > 1:20:00I hope you will all forgive me.
1:20:02 > 1:20:05It wasn't altogether my fault...
1:20:07 > 1:20:09..but I've been ill.
1:20:13 > 1:20:14I'd like you to remember I tried.
1:20:52 > 1:20:53Lucy, um...
1:20:55 > 1:20:58I was wondering if you were doing anything on Saturday.
1:20:59 > 1:21:01I'm washing my hair.
1:21:05 > 1:21:07Did she break your heart?
1:21:09 > 1:21:10A little.
1:21:12 > 1:21:13Good. It needed breaking.
1:21:24 > 1:21:26We're back, everyone!
1:21:26 > 1:21:28All right...
1:21:48 > 1:21:52You do look, my son, in a moved sort, as if you were dismayed.
1:21:52 > 1:21:54Be cheerful, sir.
1:21:56 > 1:21:59Our revels now are ended.
1:22:00 > 1:22:04We are such stuff
1:22:04 > 1:22:07as dreams are made on,
1:22:07 > 1:22:11and our little life
1:22:11 > 1:22:16is rounded with a sleep.
1:22:16 > 1:22:17Prospero.
1:22:22 > 1:22:24She's quite wonderful.
1:22:25 > 1:22:27No training, no craft to speak of.
1:22:27 > 1:22:30No guile, just pure instinct. She's astonishing.
1:22:30 > 1:22:33- You should tell her that.- Oh, I will. But she won't believe me.
1:22:33 > 1:22:36President Taft.
1:22:36 > 1:22:39It's probably what makes her great.
1:22:39 > 1:22:42It's almost certainly what makes her so profoundly unhappy.
1:22:42 > 1:22:46Oh, Miss Marina, won't you have some champagne?
1:22:46 > 1:22:49Oh, I don't know, Your Grand Ducal. You really think I ought?
1:22:49 > 1:22:52I tried my best to change her,
1:22:52 > 1:22:55but she remains brilliant, despite me.
1:22:55 > 1:23:01Maybe just up to... Ah!
1:23:01 > 1:23:03Do you know, I think directing a movie
1:23:03 > 1:23:06has to be just about the best job ever invented.
1:23:06 > 1:23:08But Marilyn's cured me of ever wanting to do it again.
1:23:08 > 1:23:11Well, now I'm back to the theatre.
1:23:11 > 1:23:13John Osborne's writing a piece for me.
1:23:13 > 1:23:16Sir, I thought you hated all that Royal Court stuff.
1:23:16 > 1:23:19Well, Miller made me see things a little differently.
1:23:22 > 1:23:24Thank you, Colin, for all your help.
1:23:31 > 1:23:33Glad you ran away to the circus?
1:23:41 > 1:23:44My dear.
1:23:44 > 1:23:46Uh... Ow.
1:23:46 > 1:23:50I've got a solemn word of warning for you.
1:23:50 > 1:23:51What is that, my beloved?
1:23:53 > 1:23:55You know what's going to happen.
1:23:56 > 1:23:59I'm going to fall in love with you.
1:24:01 > 1:24:03I'm going to fall in love with you
1:24:03 > 1:24:06because I always, always do.
1:24:26 > 1:24:29There you go.
1:24:44 > 1:24:46Buy a girl a drink?
1:24:48 > 1:24:51I'll get another one of those, please, Barry.
1:24:54 > 1:24:57I wasn't going to leave without saying goodbye.
1:24:58 > 1:25:00Don't forget me.
1:25:03 > 1:25:04As if I could.
1:25:04 > 1:25:07Everybody else on the picture wishes they could.
1:25:07 > 1:25:09They don't understand you.
1:25:12 > 1:25:14Walk me to my car?
1:25:17 > 1:25:19Nice place you got here.
1:25:49 > 1:25:51Thanks for being on my side.
1:26:00 > 1:26:03Looking a couple of inches taller than when I first saw you.
1:26:09 > 1:26:13Here's what I remember most - her embrace.
1:26:14 > 1:26:16Her belief in me.
1:26:16 > 1:26:19And the joy she gave. That was her gift.
1:26:21 > 1:26:25When I think of her now, I think of that time when a dream came true.
1:26:25 > 1:26:28And my only talent was not to close my eyes.
1:26:38 > 1:26:42# That old black magic
1:26:42 > 1:26:46# Has me in its spell
1:26:46 > 1:26:50# That old black magic
1:26:50 > 1:26:54# That you weave so well
1:26:54 > 1:26:59# And down and down I go
1:26:59 > 1:27:03# Round and round I go
1:27:03 > 1:27:05# In a spin
1:27:05 > 1:27:08# Lovin' that spin I'm in
1:27:08 > 1:27:12# Under that old black magic
1:27:12 > 1:27:15# Called love
1:27:16 > 1:27:19# For you're the lover
1:27:19 > 1:27:22# I have waited for
1:27:22 > 1:27:25# The mate that fate
1:27:25 > 1:27:29# Had me created for
1:27:29 > 1:27:35# But every time your lips meet mine
1:27:35 > 1:27:40# Darling, down, down Down I go
1:27:40 > 1:27:44# Round, round, round I go
1:27:44 > 1:27:46# In a spin
1:27:46 > 1:27:49# Loving that spin I'm in
1:27:49 > 1:27:54# Under that old black magic
1:27:54 > 1:27:56# Called
1:28:03 > 1:28:05# Love. #