
Browse content similar to Not Another Happy Ending. Check below for episodes and series from the same categories and more!
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|---|---|---|---|
BELL DINGS | 0:00:24 | 0:00:25 | |
WATCH BEEPS | 0:01:42 | 0:01:44 | |
THUNDER RUMBLES | 0:01:53 | 0:01:56 | |
Roddy! Let's go! | 0:02:11 | 0:02:14 | |
Morning. | 0:02:18 | 0:02:19 | |
DOOR BUZZES Get that, would you? | 0:03:01 | 0:03:04 | |
If you're not giving me a lift I'll have to get another minicab! | 0:03:04 | 0:03:08 | |
PHONE RINGS | 0:03:08 | 0:03:10 | |
Tristesse Books. | 0:03:10 | 0:03:12 | |
I've got Wuthering Heights with my Year 10s! | 0:03:13 | 0:03:16 | |
Hello? Yes? | 0:03:16 | 0:03:19 | |
Tristesse Books? | 0:03:19 | 0:03:21 | |
Tom Duval? | 0:03:21 | 0:03:22 | |
Oh, yeah, come in. | 0:03:22 | 0:03:24 | |
Just down the hall! | 0:03:24 | 0:03:26 | |
MAN SPEAKS FRENCH ON PHONE | 0:03:28 | 0:03:33 | |
HE SPEAKS FRENCH | 0:03:33 | 0:03:36 | |
Mm-hm. Mm-hm. | 0:03:54 | 0:03:57 | |
Mm, yeah. | 0:03:57 | 0:03:59 | |
Yeah. Oh, yeah, no, he's a wonderful writer. | 0:03:59 | 0:04:03 | |
Very unremittingly bleak. MAN SHOUTS IN FRENCH ON PHONE | 0:04:03 | 0:04:07 | |
No, Tristesse doesn't publish him any more. | 0:04:07 | 0:04:10 | |
Do you know what, he had a little disagreement with Tom. | 0:04:10 | 0:04:12 | |
SHOUTING IN FRENCH | 0:04:12 | 0:04:18 | |
Yeah, she's one of my favourites. | 0:04:18 | 0:04:19 | |
Yeah. She was longlisted for the Booker. | 0:04:19 | 0:04:23 | |
Right after she was sectioned. | 0:04:23 | 0:04:25 | |
HE SHOUTS IN FRENCH | 0:04:28 | 0:04:30 | |
No, she-she left, too. (Jane Lockhart!) | 0:04:32 | 0:04:35 | |
CLANGING | 0:04:35 | 0:04:37 | |
What are you doing? | 0:04:39 | 0:04:40 | |
I'm so sorry. I didn't mean to... | 0:04:43 | 0:04:47 | |
I was just touching it. Not like... | 0:04:47 | 0:04:49 | |
touching it, that sounds like molesting. | 0:04:49 | 0:04:52 | |
Like I'm some kind of pervert. | 0:04:52 | 0:04:54 | |
Which I'm not. So... | 0:04:56 | 0:04:59 | |
Young European Publisher of the Year Runner-Up! That's really impressive. | 0:04:59 | 0:05:05 | |
I have a swimming certificate. | 0:05:05 | 0:05:06 | |
Who the hell are you? | 0:05:09 | 0:05:11 | |
Jane Lockhart. | 0:05:11 | 0:05:13 | |
I wrote The Endless Anguish Of My Father. | 0:05:14 | 0:05:17 | |
Oh. | 0:05:17 | 0:05:19 | |
Yeah. | 0:05:20 | 0:05:22 | |
Follow me. | 0:05:22 | 0:05:23 | |
Hello. | 0:05:26 | 0:05:28 | |
I'm busy, so I'll keep this brief. | 0:05:29 | 0:05:31 | |
I read your novel, I'm afraid it needs work. A lot of work. | 0:05:31 | 0:05:35 | |
Please, sit down. | 0:05:35 | 0:05:37 | |
But it has potential, so I'm going to publish it. | 0:05:37 | 0:05:41 | |
I'm offering you a two-book deal. | 0:05:41 | 0:05:43 | |
It's going to mean a lot of rewriting, definitely a new title, | 0:05:43 | 0:05:46 | |
and neither of us will get rich, but... | 0:05:46 | 0:05:49 | |
I think you have it in you to be a writer, | 0:05:49 | 0:05:51 | |
and as unfashionable as it may seem, that's what I came here to find. | 0:05:51 | 0:05:54 | |
I believe you're... | 0:05:54 | 0:05:56 | |
..crying. Sorry. | 0:06:00 | 0:06:03 | |
I didn't mean to start... | 0:06:03 | 0:06:06 | |
It's just... | 0:06:06 | 0:06:08 | |
It's been so long, you know? | 0:06:08 | 0:06:10 | |
So many rejections, and I have a board... | 0:06:10 | 0:06:13 | |
You have a board? Of rejections letters. | 0:06:13 | 0:06:15 | |
I call it my board of pain. | 0:06:15 | 0:06:18 | |
Well, that's completely normal. | 0:06:18 | 0:06:20 | |
It is? I'm sorry. | 0:06:20 | 0:06:22 | |
He was like this in university. Everywhere he went, crying women. | 0:06:22 | 0:06:25 | |
Your lot are supposed to be charming. Charmant, n'est-ce pas? | 0:06:25 | 0:06:28 | |
I told you never speak French to me! Don't you dare! No, really! | 0:06:28 | 0:06:31 | |
I've never been so happy | 0:06:33 | 0:06:36 | |
in all my life. | 0:06:36 | 0:06:39 | |
SHE SOBS | 0:06:39 | 0:06:43 | |
Jane. | 0:07:12 | 0:07:14 | |
There is no need to be nervous. Nervous? Me? No. No, no. | 0:07:14 | 0:07:18 | |
I'm not nervous. Not me. | 0:07:18 | 0:07:21 | |
OK, a little bit nervous. | 0:07:21 | 0:07:24 | |
You'll be fine. | 0:07:24 | 0:07:25 | |
It's just usually I need a run-up before I start editing, like a tea, | 0:07:25 | 0:07:29 | |
a walk, regrouting the shower... Or we could just begin. | 0:07:29 | 0:07:33 | |
OK! | 0:07:34 | 0:07:36 | |
OK, so, where do you want to begin? | 0:07:36 | 0:07:38 | |
Well, call me crazy, but we could start at the beginning. | 0:07:38 | 0:07:42 | |
Yeah, OK. Yeah. | 0:07:42 | 0:07:43 | |
You crazy Frenchman. What? | 0:07:45 | 0:07:47 | |
I don't know. All right. | 0:07:48 | 0:07:51 | |
So you're in a good mood. I'm always in a good mood. No, you're not. | 0:07:51 | 0:07:54 | |
Yes, I am. Are you? Yes. Oh. | 0:07:54 | 0:07:57 | |
SHE GIGGLES | 0:07:57 | 0:07:59 | |
So, first sentence, I think it's so good. It's beautiful. | 0:07:59 | 0:08:03 | |
MUSIC: How We Met (Cherry Pie) by TeenCanteen | 0:08:04 | 0:08:08 | |
# I fell into your eyes with an inky black splash | 0:08:27 | 0:08:31 | |
# I fell into your eyes with an shiny black splash | 0:08:33 | 0:08:37 | |
# My, oh my cherry pie what a big, big splash | 0:08:39 | 0:08:43 | |
# I ran into your heart with a red-hot crash | 0:08:45 | 0:08:49 | |
# I ran into your heart with a full-on smash | 0:08:52 | 0:08:56 | |
# My, oh my cherry pie it'll happen so fast | 0:08:58 | 0:09:01 | |
# My, oh my cherry pie it was all so fast | 0:09:04 | 0:09:07 | |
# Like rain that falls without a warning | 0:09:09 | 0:09:14 | |
# On a sunny morning | 0:09:14 | 0:09:17 | |
# This is how we met | 0:09:17 | 0:09:20 | |
# Like sugar in my cup of coffee | 0:09:22 | 0:09:27 | |
# Apples dipped in toffee | 0:09:27 | 0:09:30 | |
# This is how we met... # | 0:09:30 | 0:09:34 | |
Well, actually, I'm reading it right now. | 0:09:34 | 0:09:37 | |
"I shut my eyes and sink into the water, | 0:09:39 | 0:09:41 | |
"letting it wash over my face and hair..." Hello! | 0:09:41 | 0:09:44 | |
So, I was just, you know, passing, and thought | 0:09:44 | 0:09:47 | |
it might have come back from the printers and it actually has. Yeah. | 0:09:47 | 0:09:51 | |
I don't know. | 0:09:51 | 0:09:52 | |
"Beneath my feet, I felt crumpled pages..." | 0:09:56 | 0:09:59 | |
I don't believe this. | 0:10:02 | 0:10:04 | |
I'll call you back. "Happy Ending?" | 0:10:04 | 0:10:07 | |
Happy Ending? What happened to The Endless Anguish Of My Father? | 0:10:07 | 0:10:10 | |
What happened? | 0:10:10 | 0:10:12 | |
You know how important this stuff is. You changed my title to that! | 0:10:12 | 0:10:15 | |
I told you. The very first time we met, I said it must go. Yeah, | 0:10:15 | 0:10:19 | |
but we never discussed it. I knew how you'd react, darling. | 0:10:19 | 0:10:22 | |
Oi, careful! | 0:10:23 | 0:10:25 | |
That's my Young Publisher of the Year award. | 0:10:25 | 0:10:28 | |
Runner-up! | 0:10:28 | 0:10:29 | |
What's wrong with you? | 0:10:32 | 0:10:34 | |
Who are you? What? | 0:10:34 | 0:10:36 | |
All that time we spent together working on the manuscript... | 0:10:36 | 0:10:40 | |
No-one's EVER got me the way you... | 0:10:41 | 0:10:44 | |
I don't know you. | 0:10:52 | 0:10:54 | |
Look, it was a terrible title and I changed it. What's done is done. | 0:10:58 | 0:11:03 | |
Let's move on. How can it be so easy for you? | 0:11:05 | 0:11:08 | |
Perhaps because I am not a moderately talented writer | 0:11:08 | 0:11:12 | |
whose loser dad left her with an inability to stop worshipping | 0:11:12 | 0:11:15 | |
her own pain. Worshipping my own pain? Calm, sit down. | 0:11:15 | 0:11:18 | |
Let's talk about the launch. | 0:11:18 | 0:11:20 | |
You know what? | 0:11:20 | 0:11:22 | |
Our deal is one more book, and then what's done is done. | 0:11:23 | 0:11:26 | |
Let's move on. | 0:11:27 | 0:11:29 | |
"Most childhood summers are long and blue. | 0:11:45 | 0:11:48 | |
"Mine wasn't like that, | 0:11:48 | 0:11:50 | |
"and certainly not the summer when Mum got sick. I knew if I just | 0:11:50 | 0:11:53 | |
"went out and saw her in the sun, she'd be all right again..." | 0:11:53 | 0:11:56 | |
JANE READS INDISTINCTLY FROM HER BOOK | 0:11:56 | 0:12:02 | |
"..but not me. I never saw her in the sun again..." | 0:12:02 | 0:12:05 | |
"She'd taken me to Woolworths to choose my birthday present | 0:12:07 | 0:12:10 | |
"and it wouldn't be like last year when Dad just slipped the Barbie | 0:12:10 | 0:12:13 | |
"under his coat and walked right out the door with it..." | 0:12:13 | 0:12:15 | |
INDISTINCT CHATTER | 0:12:15 | 0:12:19 | |
And this is to...? | 0:12:34 | 0:12:37 | |
Dad. | 0:12:44 | 0:12:45 | |
It's great to be here to present this award for Best New Writer | 0:13:18 | 0:13:22 | |
to an outstanding debut. | 0:13:22 | 0:13:25 | |
Happy Ending. Jane Lockhart. | 0:13:27 | 0:13:30 | |
Congratulations. Thank you. | 0:13:41 | 0:13:44 | |
What we have here is a real writer. | 0:13:47 | 0:13:51 | |
Someone who can go to some pretty dark places - but I get it, Jane. | 0:13:51 | 0:13:56 | |
Writers! We both understand what it is to face el toro blanco, | 0:13:56 | 0:14:00 | |
the terror of the white bull, the blank page. | 0:14:00 | 0:14:03 | |
And every day, we face it together. | 0:14:03 | 0:14:07 | |
Right, Jane? Mm-hm. | 0:14:08 | 0:14:11 | |
Ladies and gentlemen, Jane Lockhart. | 0:14:11 | 0:14:14 | |
Thank you. | 0:14:24 | 0:14:25 | |
SHE SHRIEKS AND GIGGLES | 0:14:29 | 0:14:32 | |
PHONE RINGS | 0:15:30 | 0:15:33 | |
Yeah? 'I'm starting the final chapter.' | 0:15:37 | 0:15:40 | |
You'll have the manuscript by the end of the week. About bloody time. | 0:15:40 | 0:15:43 | |
Ah, Tom, as ever my little ray of sunshine. Well, moan all you like. | 0:15:43 | 0:15:46 | |
I've never been this... Annoying? | 0:15:46 | 0:15:49 | |
Happy. | 0:15:49 | 0:15:51 | |
You bastard. Happy! So... | 0:15:51 | 0:15:54 | |
One more chapter? Yes. | 0:15:54 | 0:15:56 | |
And we never have to see each other again? | 0:15:56 | 0:15:59 | |
Yes. Better get writing, then. | 0:15:59 | 0:16:03 | |
A bientot, Jane. Au revoir, Tom. | 0:16:03 | 0:16:06 | |
Willie? I'm off out for a bit. | 0:17:09 | 0:17:11 | |
Sure! | 0:17:11 | 0:17:13 | |
WOMAN: Just look to the chapter... | 0:17:18 | 0:17:20 | |
BANGING AND CLATTERING | 0:17:20 | 0:17:22 | |
TOM: Listen. I don't care what you think. | 0:17:22 | 0:17:25 | |
I'm telling you, this is not an opening chapter, its an ice age! | 0:17:25 | 0:17:29 | |
You can't talk to me like that! | 0:17:30 | 0:17:33 | |
I was voted one of Scotland's foremost novelists | 0:17:33 | 0:17:36 | |
under the age of 30! | 0:17:36 | 0:17:38 | |
TOM CRIES MOCKINGLY | 0:17:38 | 0:17:42 | |
And that's why I won't allow this piece of crap to be published | 0:17:42 | 0:17:47 | |
with your name on it! | 0:17:47 | 0:17:49 | |
You have my notes. Fix it. | 0:17:50 | 0:17:52 | |
Bye then, Nicola, see you at the launch. | 0:17:58 | 0:18:00 | |
If you try to make ME cry, | 0:18:02 | 0:18:04 | |
I'll inform the Inland Revenue about your yacht. | 0:18:04 | 0:18:07 | |
Hi. | 0:18:22 | 0:18:24 | |
Hi. | 0:18:24 | 0:18:25 | |
If we have to talk figures, | 0:18:35 | 0:18:36 | |
can you do that thing where you use vegetables? | 0:18:36 | 0:18:38 | |
Imagine this tomato is my cash flow. | 0:18:38 | 0:18:40 | |
How many new writers have you thrown money at this year? | 0:18:40 | 0:18:43 | |
I only throw money at good writers. Good Scottish writers. | 0:18:43 | 0:18:46 | |
I'm very patriotic. And what does it matter? | 0:18:46 | 0:18:49 | |
One hit pays for all the rest. And I have a bestseller in the wings. | 0:18:49 | 0:18:52 | |
Mm, Jane Lockhart, yeah. | 0:18:52 | 0:18:54 | |
So how's the new book shaping up? I have no idea. | 0:18:54 | 0:18:57 | |
She won't let me read a word until it's finished. | 0:18:57 | 0:18:59 | |
Relax! | 0:19:01 | 0:19:02 | |
It'll be just like the first one. | 0:19:02 | 0:19:04 | |
I read that she was moving publisher. Klinsch and McLeish? | 0:19:04 | 0:19:07 | |
With the red and white covers? That's big time. | 0:19:07 | 0:19:09 | |
Klinsch and McLeish. You know what they're called in the trade? | 0:19:09 | 0:19:13 | |
Clench and Release. They're not right for my Jane. | 0:19:13 | 0:19:15 | |
For Jane. So talk to her! Persuade her to stay. | 0:19:17 | 0:19:20 | |
But I don't want her to stay! | 0:19:20 | 0:19:22 | |
After she delivers her new novel, I want her to go! Far away! | 0:19:22 | 0:19:25 | |
Oh, for God's sake, Tom, | 0:19:25 | 0:19:27 | |
Tristesse Books is on the verge of compulsory liquidation. | 0:19:27 | 0:19:31 | |
And...I've had an offer. | 0:19:31 | 0:19:33 | |
Well, you're a very attractive... Shut up. | 0:19:33 | 0:19:36 | |
They want to invest in you. | 0:19:38 | 0:19:40 | |
I don't need Pandemic Media. I have Jane Lockhart and this time | 0:19:43 | 0:19:47 | |
she's going all the way. Are you sure? | 0:19:47 | 0:19:50 | |
Because if she doesn't deliver... | 0:19:50 | 0:19:52 | |
your tomatoes look like ketchup. | 0:19:52 | 0:19:55 | |
She'll deliver. She might be a miserable pain in the arse, | 0:19:55 | 0:19:58 | |
but when she's writing, she's like a guided missile. | 0:19:58 | 0:20:01 | |
SHE HUMS | 0:20:01 | 0:20:04 | |
Teaspoon. | 0:20:10 | 0:20:12 | |
PHONE RINGS | 0:20:12 | 0:20:14 | |
Willie? Willie, will you get that? | 0:20:18 | 0:20:21 | |
Willie! | 0:20:23 | 0:20:24 | |
PHONE CONTINUES TO RING | 0:20:27 | 0:20:30 | |
Hello? Thursday or Friday for the manuscript? | 0:20:35 | 0:20:38 | |
Grease-proof paper! | 0:20:38 | 0:20:40 | |
Oh! | 0:20:41 | 0:20:43 | |
Just want to check. You're certain it will be finished next week? | 0:20:45 | 0:20:48 | |
I told you, one more chapter. | 0:20:48 | 0:20:50 | |
What are you doing? | 0:20:50 | 0:20:52 | |
Nothing. Are you baking? | 0:20:53 | 0:20:55 | |
LINE DISCONNECTS | 0:20:55 | 0:20:56 | |
PHONE RINGS | 0:20:58 | 0:21:01 | |
PHONE RINGS INSIDE FRIDGE | 0:21:09 | 0:21:12 | |
TOM: Oh, my God. | 0:21:12 | 0:21:13 | |
She's baking. | 0:21:14 | 0:21:16 | |
She only bakes when she's blocked. | 0:21:16 | 0:21:18 | |
Largest planet in the solar system? | 0:21:23 | 0:21:25 | |
Jupiter. Who did Ali beat to become World Heavyweight Champion | 0:21:25 | 0:21:29 | |
for the first time? | 0:21:29 | 0:21:31 | |
Sonny Liston. Come on, the quiz is going to be harder than this. | 0:21:31 | 0:21:34 | |
Get serious. | 0:21:34 | 0:21:35 | |
Right. Who was Shakespeare's wife? | 0:21:35 | 0:21:38 | |
Hi, Dad. | 0:21:40 | 0:21:41 | |
Ah, darling! | 0:21:41 | 0:21:43 | |
(Who was Shakespeare's wife?) | 0:21:46 | 0:21:48 | |
(Anne Hathaway.) | 0:21:48 | 0:21:49 | |
And at the end of the third round, the winners are Benny Lockhart | 0:21:49 | 0:21:52 | |
and his Jets with 22 points. Join us for the second half in ten minutes. | 0:21:52 | 0:21:57 | |
Mr L! Ah, Tom! | 0:22:02 | 0:22:05 | |
Good to see you. Good to see you! How are you? Aye, good. | 0:22:05 | 0:22:08 | |
Where you been hiding? From your daughter, mostly. | 0:22:08 | 0:22:11 | |
I understand that, aye. | 0:22:11 | 0:22:12 | |
Never talked to me for years, but...with good reason. | 0:22:12 | 0:22:15 | |
Hey, what you having? Nothing. He's not staying. | 0:22:15 | 0:22:18 | |
Come on, Jane. | 0:22:18 | 0:22:20 | |
What are you doing here? My favourite author is being adapted | 0:22:20 | 0:22:24 | |
by Scotland's most talented screenwriter, Willie Scott. | 0:22:24 | 0:22:27 | |
Huge fan. Naturally, I want to know how he's getting on. | 0:22:27 | 0:22:32 | |
Well, I may not be the most talented, but... | 0:22:32 | 0:22:36 | |
who else are you going to pick, uh? | 0:22:36 | 0:22:37 | |
THEY LAUGH | 0:22:37 | 0:22:39 | |
Just one sec. | 0:22:39 | 0:22:41 | |
Where is my novel? | 0:22:43 | 0:22:44 | |
I'm working on it. So you're not suffering from el toro blanco? What? | 0:22:44 | 0:22:47 | |
So you're not B-L-O-C-K-E-D? Why are you spelling it? | 0:22:47 | 0:22:50 | |
It's nothing to be ashamed of, and there are plenty of strategies | 0:22:50 | 0:22:52 | |
to overcome it. I'm not blocked. For instance, narcotics. | 0:22:52 | 0:22:55 | |
I'm not blocked. For a while there Hunter S Thompson was permanently | 0:22:55 | 0:22:58 | |
unblocked. I'm not blocked! Until you deliver that manuscript, | 0:22:58 | 0:23:01 | |
you're still under contract to me, so whatever is going on, | 0:23:01 | 0:23:03 | |
snap out of it, and get writing. | 0:23:03 | 0:23:06 | |
Bye, Jane. | 0:23:06 | 0:23:08 | |
"Bye, Jane." | 0:23:10 | 0:23:12 | |
He's not gone, has he? | 0:23:12 | 0:23:14 | |
Won't get a chance to talk about my screenplay. | 0:23:14 | 0:23:16 | |
Hi. The French really appreciate my work, you know? | 0:23:16 | 0:23:19 | |
Connoisseurs du cinema. Oh, aye. | 0:23:19 | 0:23:23 | |
We should have him over for dinner. Oh, your wine. | 0:23:23 | 0:23:27 | |
Bathroom. | 0:23:27 | 0:23:28 | |
I know you, don't I? | 0:23:34 | 0:23:36 | |
Where was it we met? | 0:23:36 | 0:23:39 | |
Chapter two. I'm in the opening chapter, of course, | 0:23:39 | 0:23:42 | |
but you only really get to know me from chapter two on. | 0:23:42 | 0:23:45 | |
Darsie? | 0:23:49 | 0:23:50 | |
What do you think? I think I'm talking to my protagonist. | 0:23:52 | 0:23:54 | |
I prefer heroine. | 0:23:54 | 0:23:56 | |
What are you doing here? It's a very intense narrative. | 0:23:56 | 0:24:01 | |
I personally have suffered a broken engagement | 0:24:01 | 0:24:03 | |
and two bereavements so far. Yes, I know. Sorry. No, no, no. | 0:24:03 | 0:24:07 | |
Please don't apologise. I think it's going to make me a stronger person | 0:24:07 | 0:24:10 | |
in the end. The end? | 0:24:10 | 0:24:13 | |
Yes, so you're going to go back and finish it? | 0:24:13 | 0:24:17 | |
I can't do that, not without you. Why can't you finish it, Jane? | 0:24:18 | 0:24:22 | |
Huh? | 0:24:23 | 0:24:25 | |
What are you afraid of? | 0:24:25 | 0:24:26 | |
HE SOBS | 0:24:40 | 0:24:42 | |
Get a hold of yourself, will you? | 0:24:45 | 0:24:47 | |
Gets me every time. Three times now. | 0:24:49 | 0:24:51 | |
It's that ending. Don't talk to me about damn endings! Do your marking. | 0:24:53 | 0:24:58 | |
OK. | 0:24:58 | 0:25:00 | |
Being silly. | 0:25:00 | 0:25:01 | |
Oh, Jane says hi. | 0:25:04 | 0:25:06 | |
HE SOBS | 0:25:06 | 0:25:09 | |
That poor lassie. | 0:25:09 | 0:25:10 | |
She must have led such a shocking life to write like that. | 0:25:11 | 0:25:14 | |
What are you saying? Well, the lonely page, | 0:25:14 | 0:25:18 | |
the endless introspection, | 0:25:18 | 0:25:21 | |
the mind plagued by funky thoughts... | 0:25:21 | 0:25:24 | |
That's how writers tick, innit? | 0:25:26 | 0:25:28 | |
No misery, no poetry. | 0:25:28 | 0:25:30 | |
PHONE RINGS | 0:25:32 | 0:25:34 | |
Yeah? Did you speak to Jane Lockhart? | 0:25:40 | 0:25:43 | |
Yes, she's happy, very happy. | 0:25:43 | 0:25:45 | |
Happier than she's ever been, apparently. | 0:25:45 | 0:25:48 | |
And the novel? | 0:25:48 | 0:25:49 | |
Tom? | 0:25:54 | 0:25:55 | |
Hello, are you still there? | 0:25:55 | 0:25:57 | |
Tom! | 0:26:00 | 0:26:01 | |
I have a problem I believe may be suited to your particular talents. | 0:26:10 | 0:26:14 | |
Let's say... | 0:26:14 | 0:26:15 | |
A miserable writer, through the supreme efforts of her publisher | 0:26:17 | 0:26:21 | |
and her only good talent, becomes successful and happy. | 0:26:21 | 0:26:25 | |
Are you listening? Hello, sir. | 0:26:25 | 0:26:28 | |
Amber, Roxanne! Out on a school night, sir? | 0:26:28 | 0:26:31 | |
This your boyfriend, sir? | 0:26:31 | 0:26:33 | |
GIRLS GIGGLE | 0:26:33 | 0:26:35 | |
Say nothing, just keep very still, you don't want to antagonize them. | 0:26:35 | 0:26:38 | |
Can we get back to my problem? Yeah, OK. | 0:26:38 | 0:26:41 | |
Yeah, miserable writer becomes successful and happy, I get it. And? | 0:26:41 | 0:26:44 | |
And, being happy, she's unable to finish her latest miserable novel. | 0:26:44 | 0:26:50 | |
So, in order to help her, the selfless publisher embarks | 0:26:50 | 0:26:53 | |
on a course of action to return her to the fragile mental state | 0:26:53 | 0:26:56 | |
in which she wrote her highly profitable debut! | 0:26:56 | 0:27:00 | |
You want to make Jane Lockhart's life a misery | 0:27:00 | 0:27:03 | |
so she can finish writing her book? | 0:27:03 | 0:27:04 | |
That's seriously messed up. | 0:27:04 | 0:27:06 | |
They teach you this stuff in France? We study a broad curriculum. | 0:27:06 | 0:27:09 | |
So, how do we make someone completely, totally miserable? | 0:27:09 | 0:27:14 | |
Why are you asking me? | 0:27:14 | 0:27:16 | |
I dedicated the last ten years to encouraging young minds, | 0:27:16 | 0:27:18 | |
planting hope and aspiration. | 0:27:18 | 0:27:20 | |
Benson, put it away, stand in the corner and face the wall! | 0:27:20 | 0:27:23 | |
(Little shite.) | 0:27:23 | 0:27:24 | |
OK, maybe I've some experience in the field. | 0:27:27 | 0:27:29 | |
The trick is not simply to upset her, | 0:27:29 | 0:27:32 | |
you have to get her in the right mood. | 0:27:32 | 0:27:35 | |
It's a special kind of misery you want, a melancholy. | 0:27:35 | 0:27:39 | |
A dull sense of dissociation | 0:27:39 | 0:27:40 | |
and alienation that's the source of every artist's creativity. | 0:27:40 | 0:27:44 | |
It's like drain unblocker for novelists. | 0:27:44 | 0:27:46 | |
Keats? Mm. John Keats? Mm-hm. | 0:27:48 | 0:27:51 | |
Your plan involves actual poetry? | 0:27:51 | 0:27:54 | |
I think by definition that makes it a shit plan. | 0:27:54 | 0:27:57 | |
All right, settle down, you lot, settle down. William Wordsworth. | 0:28:01 | 0:28:06 | |
Wordsworth was, of course, | 0:28:08 | 0:28:11 | |
the first of the Romantics to use a MacBook Pro. | 0:28:11 | 0:28:13 | |
HE CHUCKLES | 0:28:23 | 0:28:25 | |
(OK...) | 0:28:40 | 0:28:41 | |
Careful. You're going to kill that thing. | 0:28:45 | 0:28:47 | |
You know, it was a birthday present from my dad. | 0:28:57 | 0:28:59 | |
He showed up out of the blue with a card and baby money plant | 0:29:01 | 0:29:04 | |
and he said... | 0:29:04 | 0:29:05 | |
"I owe you, darling. | 0:29:07 | 0:29:09 | |
"I owe you the world." | 0:29:09 | 0:29:10 | |
And, um... | 0:29:12 | 0:29:14 | |
And then he left. | 0:29:14 | 0:29:16 | |
And I didn't see him again for six years. | 0:29:17 | 0:29:19 | |
How many Ps in deprivation? | 0:29:22 | 0:29:25 | |
Just one. | 0:29:29 | 0:29:31 | |
One. | 0:29:31 | 0:29:32 | |
Coffee cake. Mm-hm. | 0:29:38 | 0:29:39 | |
That was your mum's favourite. I know. | 0:29:41 | 0:29:43 | |
Your mum was a big fan of cake, in general. | 0:29:44 | 0:29:47 | |
She always made a cake for my birthday. Aye. | 0:29:49 | 0:29:52 | |
Do you remember when you were six... | 0:29:54 | 0:29:57 | |
your mum and I, we took you to Edinburgh Zoo, | 0:29:57 | 0:29:59 | |
and the monkeys threw rotten fruit at us. I slipped on a bit, | 0:29:59 | 0:30:03 | |
fractured my foot in three places. | 0:30:03 | 0:30:06 | |
Damn monkeys, they were laughing at us. Do you remember? Yeah. | 0:30:06 | 0:30:09 | |
I remember. | 0:30:09 | 0:30:11 | |
That's in your book, isn't it? | 0:30:15 | 0:30:18 | |
The Happy thing. | 0:30:18 | 0:30:19 | |
Ending. | 0:30:19 | 0:30:21 | |
It's called Happy Ending and, yeah, the main character does go to the zoo | 0:30:21 | 0:30:25 | |
with her dad, but he's not you. | 0:30:25 | 0:30:27 | |
And they're not monkeys, they're penguins. | 0:30:27 | 0:30:29 | |
The penguins throw fruit, uh? | 0:30:31 | 0:30:33 | |
It's different, its a story, not real life... They're not the same. | 0:30:34 | 0:30:38 | |
Aye, whatever you say. | 0:30:39 | 0:30:41 | |
Damn monkeys. | 0:30:42 | 0:30:43 | |
THEY LAUGH | 0:30:43 | 0:30:45 | |
How's the new book, then? Oh, that's cooking. Aye? Yup. | 0:30:46 | 0:30:50 | |
And Tommy? | 0:30:50 | 0:30:52 | |
Don't call him Tommy, his name is Thomas Duval, he's from Saint-Tropez, | 0:30:52 | 0:30:56 | |
a place they named a fake tan after. You call him Tommy, you make him | 0:30:56 | 0:30:59 | |
sound he's from here, like he's normal. With his... | 0:30:59 | 0:31:02 | |
and his stupid, stubbly face. | 0:31:02 | 0:31:04 | |
You see a lot of Thomas Duvals around here? | 0:31:04 | 0:31:06 | |
There's a Jean-Claude Darcheville, he played for Rangers. | 0:31:06 | 0:31:09 | |
Anyway, forget about Tom. | 0:31:09 | 0:31:11 | |
I'm about to sign with a new publisher, Klinsch and McLeish. | 0:31:11 | 0:31:14 | |
With the red and white covers? | 0:31:14 | 0:31:15 | |
I liked him. I liked Tom. Dad. | 0:31:15 | 0:31:18 | |
I mean, nobody else wanted your wee book, did they? | 0:31:18 | 0:31:21 | |
I mean, he showed faith in you. | 0:31:21 | 0:31:23 | |
No, he showed faith in my book. | 0:31:23 | 0:31:25 | |
You know he changed my original title? Did he? Yep. | 0:31:25 | 0:31:27 | |
Was it a good title? That's not the point. | 0:31:27 | 0:31:30 | |
Was what it? What was the original title? | 0:31:30 | 0:31:32 | |
Nothing. Nothing, it doesn't matter. Tell me. | 0:31:32 | 0:31:36 | |
I mean, I like that kind of stuff, stuff that other people don't know. | 0:31:36 | 0:31:39 | |
It makes me feel closer to you. | 0:31:39 | 0:31:42 | |
OK. I was going to call it... | 0:31:42 | 0:31:46 | |
The Endless Anguish Of My Father. | 0:31:46 | 0:31:49 | |
For fuck's sake! | 0:31:52 | 0:31:54 | |
The Endless Anguish Of My Father?! | 0:31:55 | 0:31:57 | |
I knew it was about me, I knew it! | 0:31:59 | 0:32:00 | |
No, its not about you, it's a character I made up. | 0:32:00 | 0:32:03 | |
People at work looked at me differently when it came out, | 0:32:03 | 0:32:06 | |
I knew it! I'm away back to the depot. No, you never read it! | 0:32:06 | 0:32:10 | |
You're not allowed to be hurt until you've actually read the damn thing! | 0:32:10 | 0:32:14 | |
Do you not think I'm hurt my own dad hasn't read my novel? | 0:32:14 | 0:32:17 | |
I will read it. | 0:32:19 | 0:32:21 | |
I will read it just as soon as I get over my anguish. | 0:32:21 | 0:32:24 | |
Dad? | 0:32:28 | 0:32:29 | |
Target acquired. Over. | 0:32:43 | 0:32:45 | |
It's a pot plant, Roddy. | 0:32:45 | 0:32:47 | |
Not a North Korean reactor. | 0:32:47 | 0:32:49 | |
Just warn me if either of them comes back. Roger that. | 0:32:49 | 0:32:53 | |
Understood loud and clear. | 0:32:53 | 0:32:55 | |
That is a solid copy. | 0:32:55 | 0:32:57 | |
Right. Time for some low-level unhappiness. | 0:33:05 | 0:33:09 | |
HE INHALES Mm. | 0:33:14 | 0:33:16 | |
"The Twilight Sad." | 0:33:20 | 0:33:23 | |
Hey, Roddy, are you there? | 0:33:30 | 0:33:32 | |
"Maverick to Ice Man." | 0:33:51 | 0:33:53 | |
"We are Oscar Mike." | 0:33:54 | 0:33:56 | |
"Five clicks from extraction point." | 0:33:58 | 0:34:01 | |
"We have a clean visual on" - Bollocks. | 0:34:02 | 0:34:05 | |
Tom, Tom, Tom, she's back. | 0:34:05 | 0:34:08 | |
What? | 0:34:08 | 0:34:09 | |
She's coming up the stairs! | 0:34:09 | 0:34:11 | |
Shit! | 0:34:11 | 0:34:13 | |
Damn it, man, get out of there! Abort! Abort! | 0:34:13 | 0:34:16 | |
Oh, that's horrible, she's really upset. I'm not looking at that. | 0:35:10 | 0:35:13 | |
Yes! | 0:35:17 | 0:35:18 | |
Oh! What was that for? | 0:35:18 | 0:35:19 | |
You're enjoying this too much. | 0:35:21 | 0:35:23 | |
It's for her own good. | 0:35:23 | 0:35:25 | |
And it's not as if I actually killed her plant. | 0:35:27 | 0:35:29 | |
ENGINE SPLUTTERS | 0:35:38 | 0:35:41 | |
ENGINE STRUGGLES AND DIES | 0:35:44 | 0:35:47 | |
TYPEWRITER KEYS CLACK | 0:35:55 | 0:35:59 | |
So what do you think? I think this is the end of Les Miserables. Yes. | 0:36:24 | 0:36:27 | |
You should write something like that. | 0:36:27 | 0:36:29 | |
Oh, yeah, thank you, great suggestion. | 0:36:29 | 0:36:32 | |
Bit of French, people dying of consumption and all that. | 0:36:32 | 0:36:34 | |
I'm a bit more urban Scotland, Primal Scream, | 0:36:34 | 0:36:37 | |
unhappy '90s childhood. | 0:36:37 | 0:36:38 | |
Sorry? She wasn't talking to you! | 0:36:38 | 0:36:40 | |
I wasn't talking to you. Oh. | 0:36:41 | 0:36:44 | |
Willie? Mm? | 0:36:50 | 0:36:52 | |
Do your characters ever, uh...talk to you? | 0:36:53 | 0:36:57 | |
Sure. All the time. | 0:36:57 | 0:37:00 | |
That's why I've got this. Drowns out the bastards. | 0:37:00 | 0:37:03 | |
See, when I'm writing, I like to hear the one voice - mine. | 0:37:03 | 0:37:08 | |
Charming. | 0:37:08 | 0:37:09 | |
Quite the hero. Aww, you still blocked? | 0:37:09 | 0:37:13 | |
SHE MOUTHS | 0:37:16 | 0:37:17 | |
# Hey, hey, hey, hey, hey, hey | 0:37:19 | 0:37:28 | |
# Hey, hey, hey, hey | 0:37:28 | 0:37:31 | |
# She said hey... # | 0:37:31 | 0:37:35 | |
"101 Ways To Beat Writer's Block"? | 0:37:35 | 0:37:37 | |
"Beat Your Block To A Pulp"? | 0:37:39 | 0:37:41 | |
SHE GIGGLES | 0:37:44 | 0:37:46 | |
"What Would Jesus Write"? Seriously? | 0:37:46 | 0:37:49 | |
OK. OK, so what is the deal? | 0:37:49 | 0:37:50 | |
Are you going to stalk me until I finish my novel? | 0:37:50 | 0:37:53 | |
Yes, I believe that's how it works. | 0:37:53 | 0:37:54 | |
Now, can we talk about the last chapter? What about it? | 0:37:54 | 0:37:57 | |
I'm a romantic heroine, I don't want to end up unhappy. | 0:37:57 | 0:38:00 | |
It's not that easy. You don't really get to choose your ending. | 0:38:00 | 0:38:03 | |
It has to follow from what came before, or it doesn't feel true. | 0:38:03 | 0:38:06 | |
Please. I want it all to turn out OK. Jane... | 0:38:06 | 0:38:09 | |
don't let us down, darling. Jane Lockhart? Mm-hm. | 0:38:09 | 0:38:13 | |
I thought it was you! | 0:38:13 | 0:38:16 | |
Shona Haybridge, proprietor of Mocha Books. | 0:38:16 | 0:38:18 | |
Can I just say it's such a pleasure to meet the woman | 0:38:18 | 0:38:21 | |
who helped pay for my new kitchen? | 0:38:21 | 0:38:23 | |
THEY CHUCKLE | 0:38:23 | 0:38:25 | |
It is, it's her, it's her, it's her. | 0:38:25 | 0:38:28 | |
I just lo-o-o-o-ved Happy Ending, it's so sad. | 0:38:28 | 0:38:32 | |
I can't wait for your next one. What's it called? | 0:38:32 | 0:38:34 | |
Is it finished yet? Well, it's going to be, um... It must be difficult. | 0:38:34 | 0:38:38 | |
I mean, so much to live up to. How do you come back | 0:38:38 | 0:38:41 | |
after the extraordinary success of Happy Ending? | 0:38:41 | 0:38:44 | |
We are interrupting the muse. | 0:38:46 | 0:38:49 | |
I'm sure you're eager to get back to the page. | 0:38:49 | 0:38:51 | |
Oh, yes. And I have my eye on a gorgeous bathroom! | 0:38:51 | 0:38:53 | |
LAUGHTER | 0:38:53 | 0:38:56 | |
Please take that with my compliments. Thank you. | 0:38:56 | 0:38:58 | |
I just need to run that through the till. Ah, no! | 0:38:58 | 0:39:01 | |
Blocked? | 0:39:02 | 0:39:04 | |
HE EXHALES | 0:39:29 | 0:39:31 | |
Dad. | 0:39:31 | 0:39:33 | |
Come in. | 0:39:33 | 0:39:34 | |
I was just making strudel. Oh...I cant stay, anyway. Er... | 0:39:34 | 0:39:38 | |
I just wanted to say... | 0:39:40 | 0:39:41 | |
I had it in my head what I was going to say. | 0:39:45 | 0:39:48 | |
I don't supposed you're ever stuck for words. | 0:39:50 | 0:39:53 | |
Eh... | 0:39:53 | 0:39:55 | |
Listen. | 0:39:55 | 0:39:56 | |
We don't really know each other. | 0:39:57 | 0:40:00 | |
And I would like to... to get to know you. | 0:40:00 | 0:40:03 | |
And I'm making a mess of it again. | 0:40:03 | 0:40:06 | |
The other day in the cemetery, I... | 0:40:06 | 0:40:09 | |
HE EXHALES | 0:40:09 | 0:40:10 | |
I was out of order. | 0:40:10 | 0:40:12 | |
I was and I'm sorry. | 0:40:13 | 0:40:15 | |
I'm really sorry, darling. | 0:40:15 | 0:40:17 | |
Right, that's it, I've said it and, uh... | 0:40:18 | 0:40:21 | |
I'm going to go and meet the boys for quiz practice, I'm off. | 0:40:21 | 0:40:25 | |
Right, OK, I'm off. Dad? | 0:40:25 | 0:40:27 | |
It's OK. | 0:40:34 | 0:40:35 | |
I know how complicated all of this is and, er.... | 0:40:35 | 0:40:39 | |
Can I be on your quiz team? | 0:40:41 | 0:40:43 | |
I think you're maybe a bit busy | 0:40:50 | 0:40:52 | |
for a daft quiz team. | 0:40:52 | 0:40:55 | |
Please. | 0:40:57 | 0:40:58 | |
I'd like to. | 0:40:59 | 0:41:02 | |
Get to know you. | 0:41:02 | 0:41:03 | |
Really? Really. | 0:41:05 | 0:41:07 | |
Great! | 0:41:10 | 0:41:11 | |
Great. We need you. | 0:41:12 | 0:41:15 | |
Rory's showing signs of early dementia. | 0:41:15 | 0:41:18 | |
That would be great. | 0:41:18 | 0:41:20 | |
Welcome to the family! Thanks! Thanks so much! | 0:41:37 | 0:41:40 | |
Please excuse Dr Klinsch, she does have a tendency to pee her pants | 0:41:40 | 0:41:45 | |
whenever we sign a new author. | 0:41:45 | 0:41:47 | |
That was just the one time. OK. | 0:41:47 | 0:41:49 | |
So, Klinsch and McLeish. I cant quite believe it! | 0:41:49 | 0:41:54 | |
I'm going to be published in one of those classic red and white covers! | 0:41:54 | 0:41:57 | |
I-It's obviously not just about the covers, but they're so pretty. | 0:41:57 | 0:42:00 | |
And your list's amazing, too. I mean, you published Glen Bucking. | 0:42:00 | 0:42:03 | |
Ah, Glen, fabulous writer. | 0:42:03 | 0:42:05 | |
And you know that you have something in common. Really? | 0:42:05 | 0:42:08 | |
No... What, you think so? God, he's up there with...Rushdie and McEwan. | 0:42:08 | 0:42:13 | |
Quite possibly. | 0:42:15 | 0:42:16 | |
No, I meant you were both discovered by your former publisher. Tom. | 0:42:16 | 0:42:20 | |
Yes, he didn't last, | 0:42:20 | 0:42:22 | |
they went their separate ways before the first novel was published. | 0:42:22 | 0:42:25 | |
By us. Oh. | 0:42:25 | 0:42:27 | |
Well, yeah, sounds like Tom. Anyway, enough of the past, | 0:42:27 | 0:42:31 | |
here's to the future. | 0:42:31 | 0:42:33 | |
Phew! | 0:42:33 | 0:42:35 | |
(So exciting!) | 0:42:41 | 0:42:43 | |
Blocked on this, too, eh? | 0:42:53 | 0:42:55 | |
I'm so sorry, would you excuse us - uh, me - for just one second? | 0:43:03 | 0:43:07 | |
Where's your bathroom? Uh, it's... | 0:43:07 | 0:43:09 | |
What are you doing here? Well, I figured out what's going on. | 0:43:11 | 0:43:14 | |
You can't write the ending because once it's finished | 0:43:15 | 0:43:18 | |
you'll have no reason to see Tom ever again. | 0:43:18 | 0:43:20 | |
SHE LAUGHS FORCEFULLY | 0:43:20 | 0:43:23 | |
Oh, that is such a load of rubbish! | 0:43:23 | 0:43:26 | |
KNOCK ON DOOR Jane, dear... | 0:43:26 | 0:43:28 | |
is everything all right? | 0:43:28 | 0:43:30 | |
Yep, fine, I'll just be out in a minute. | 0:43:30 | 0:43:32 | |
In case you haven't noticed, | 0:43:35 | 0:43:37 | |
I'm about to leave Tom and sign with a new publisher. | 0:43:37 | 0:43:40 | |
Oh, and one more minor detail, | 0:43:40 | 0:43:42 | |
I'm not writing my ending, I'm writing yours. And I'm not you. | 0:43:42 | 0:43:45 | |
No, of course not, and your first novel wasn't a barely fictionalised | 0:43:45 | 0:43:48 | |
account of your relationship with your father. | 0:43:48 | 0:43:50 | |
Oh, and remind me, what's your middle name, Jane Darsie Lockhart? | 0:43:50 | 0:43:53 | |
That means nothing, and anyway, I was thinking of changing your name, so... | 0:43:53 | 0:43:57 | |
Still here. Oh! | 0:44:02 | 0:44:04 | |
Sorry. I'm so sorry. | 0:44:07 | 0:44:10 | |
Now then, young lady, ready to go with a real publisher? | 0:44:10 | 0:44:14 | |
Um... | 0:44:16 | 0:44:17 | |
Let me get this straight: you only take on writers you love. | 0:44:25 | 0:44:29 | |
WRITING I love. | 0:44:29 | 0:44:31 | |
How interesting. | 0:44:31 | 0:44:32 | |
No, no, it isn't. | 0:44:32 | 0:44:35 | |
Can we get back to making Jane miserable? | 0:44:35 | 0:44:38 | |
Fine. | 0:44:38 | 0:44:39 | |
If that's what you really want. | 0:44:39 | 0:44:41 | |
Have you thought a bit about what will happen if you succeed? | 0:44:41 | 0:44:44 | |
Yeah. | 0:44:44 | 0:44:45 | |
I win. | 0:44:47 | 0:44:48 | |
Yes, but you'll lose her. | 0:44:48 | 0:44:51 | |
Who cares? | 0:44:51 | 0:44:53 | |
It's not as if she wants to stay. | 0:44:53 | 0:44:55 | |
TAPE: 'Motivation: The heart of self-improvement. | 0:45:00 | 0:45:03 | |
'A - Achieve your dreams. Avoid negative people, things and places. | 0:45:03 | 0:45:07 | |
'B - Believe in yourself and in what you can do. | 0:45:07 | 0:45:11 | |
'C - Consider things on every angle and aspect. | 0:45:11 | 0:45:13 | |
'Motivation comes from the...' One of us really needs to get laid. | 0:45:13 | 0:45:17 | |
Oh, God, yes. | 0:45:17 | 0:45:19 | |
We should. Next week. | 0:45:20 | 0:45:22 | |
Yeah? There's a girl at the chippy. | 0:45:22 | 0:45:24 | |
'Q - quitters never win, and winners never quit. | 0:45:26 | 0:45:29 | |
'So choose your fate - | 0:45:29 | 0:45:31 | |
'are you going to be a quitter or a winner?' | 0:45:31 | 0:45:34 | |
'R...' OK. | 0:45:34 | 0:45:36 | |
Here's the thought. We could kill her dog. | 0:45:36 | 0:45:39 | |
I didn't know she had a dog. She doesn't. | 0:45:39 | 0:45:41 | |
We could buy her one, and then kill it. | 0:45:41 | 0:45:44 | |
It wouldn't be a cute dog. | 0:45:44 | 0:45:46 | |
And you don't think that's a little bit - how can I put this - | 0:45:46 | 0:45:49 | |
psychotic? Yeah, you're right. She hasn't got a dog. | 0:45:49 | 0:45:52 | |
But she has got a screenwriter. | 0:45:55 | 0:45:58 | |
I'm not helping you kill Willie Scott, am I? | 0:45:58 | 0:46:00 | |
HE CHUCKLES | 0:46:00 | 0:46:01 | |
Tom? | 0:46:01 | 0:46:02 | |
Dammit. | 0:46:20 | 0:46:21 | |
She's still baking. | 0:46:21 | 0:46:23 | |
Back, you cupcakes of Satan! | 0:46:24 | 0:46:26 | |
OK, here goes. | 0:46:28 | 0:46:30 | |
I hate these things. Mmm. | 0:46:42 | 0:46:45 | |
Yeah, I prefer the Routemaster 2670, myself. | 0:46:45 | 0:46:48 | |
It's a bus joke. Sorry. | 0:46:52 | 0:46:54 | |
No, no, I... | 0:46:57 | 0:46:59 | |
I get it. It's, erm... | 0:46:59 | 0:47:00 | |
It's just, I've never really met anyone else who made | 0:47:00 | 0:47:03 | |
a bus joke before. | 0:47:03 | 0:47:04 | |
Hello, Jane. | 0:47:12 | 0:47:14 | |
Hello. What do you want? | 0:47:14 | 0:47:16 | |
I'll tell you what I don't want. | 0:47:16 | 0:47:18 | |
Mmm. I don't want a cupcake. | 0:47:18 | 0:47:21 | |
So, two writers living under the same roof. | 0:47:21 | 0:47:25 | |
How's that working out? Oh... | 0:47:25 | 0:47:27 | |
I bet it's fantastic - sharing ideas, | 0:47:27 | 0:47:29 | |
the ebb and flow of discussion... | 0:47:29 | 0:47:31 | |
Willie must be a great boon. Yes, yes, he is. | 0:47:31 | 0:47:34 | |
So, what does the big man make of the new novel? | 0:47:34 | 0:47:37 | |
You're right, it's not fair to ask you. I should ask him. | 0:47:39 | 0:47:42 | |
What? No, no, he loves it. He just loves it. Naturally he has notes. | 0:47:42 | 0:47:46 | |
Naturally. | 0:47:46 | 0:47:47 | |
Willie has not asked to read one single page, has he? | 0:47:51 | 0:47:54 | |
Well, he's very busy with his screen thing. Oh, yes, the adaptation. | 0:47:54 | 0:47:58 | |
How's that going? Terrific. | 0:47:58 | 0:48:00 | |
Oh, it's going terrific...ly. | 0:48:00 | 0:48:01 | |
You don't know, do you? | 0:48:03 | 0:48:05 | |
He doesn't discuss it with you. | 0:48:07 | 0:48:10 | |
What's your point? He's using you! | 0:48:10 | 0:48:13 | |
That's rich, coming from you. | 0:48:13 | 0:48:14 | |
Grr! Come on, it's common knowledge. | 0:48:14 | 0:48:17 | |
He wouldn't be adapting Happy Ending if you hadn't insisted... Oh, yeah? | 0:48:17 | 0:48:20 | |
Willie Scott's writing career peaked sometime around 1998. | 0:48:20 | 0:48:24 | |
He's a talentless hack without a brain or a conscience | 0:48:24 | 0:48:27 | |
who doesn't give a damn about you or your novel! | 0:48:27 | 0:48:30 | |
Um, yeah, behind you. | 0:48:33 | 0:48:34 | |
Hey! | 0:48:39 | 0:48:40 | |
Willie! | 0:48:40 | 0:48:41 | |
CROWD MURMURS | 0:48:43 | 0:48:45 | |
HE GROANS | 0:48:57 | 0:48:59 | |
Is that fruit cake? Oh, yeah. | 0:49:05 | 0:49:07 | |
It's frozen. IT CLANGS | 0:49:08 | 0:49:10 | |
I brought a couple of spares. It's for your nose. | 0:49:10 | 0:49:13 | |
Look, I'm sorry about Willie. | 0:49:13 | 0:49:16 | |
He shouldn't have hit you, even though you did deserve it. | 0:49:16 | 0:49:19 | |
He caught me off guard. | 0:49:20 | 0:49:22 | |
Usually I don't go down after the first punch. | 0:49:23 | 0:49:26 | |
Usually it's about the... | 0:49:26 | 0:49:27 | |
third or fourth. Mm-hmm. | 0:49:27 | 0:49:29 | |
How did I get here? | 0:49:30 | 0:49:31 | |
I made Willie carry you. | 0:49:32 | 0:49:34 | |
No, you didn't. What? What's wrong now? | 0:49:35 | 0:49:37 | |
It's not very manly, being carried upstairs by another bloke. | 0:49:37 | 0:49:41 | |
He's not still here, is he? No, I sent him outside to calm down. | 0:49:43 | 0:49:47 | |
Look, Jane... | 0:49:55 | 0:49:57 | |
There's something I need to tell you. | 0:49:57 | 0:49:59 | |
Something I've never said before. | 0:50:00 | 0:50:02 | |
What's the capital of Ethiopia? | 0:50:06 | 0:50:08 | |
1,001 Trivia Questions. What's this for? | 0:50:14 | 0:50:18 | |
Your dad has a... | 0:50:18 | 0:50:19 | |
You're on the team. | 0:50:20 | 0:50:21 | |
We're in the finals, actually. | 0:50:21 | 0:50:24 | |
So that was it? | 0:50:25 | 0:50:27 | |
That's what you needed to say? | 0:50:28 | 0:50:30 | |
No. | 0:50:31 | 0:50:33 | |
No, no, no. | 0:50:33 | 0:50:35 | |
I... | 0:50:38 | 0:50:40 | |
What I meant to say is... | 0:50:43 | 0:50:44 | |
Happy Ending... Mmm. | 0:50:46 | 0:50:47 | |
At the end, when things became, you know... | 0:50:49 | 0:50:52 | |
..with us. | 0:50:53 | 0:50:54 | |
And the title... | 0:50:58 | 0:50:59 | |
I never told you. | 0:51:04 | 0:51:05 | |
The book... | 0:51:07 | 0:51:09 | |
..it's good. | 0:51:12 | 0:51:13 | |
Mm. | 0:51:14 | 0:51:15 | |
It's like the saddest music I've ever heard. | 0:51:17 | 0:51:19 | |
What the hell was that? | 0:51:25 | 0:51:27 | |
What are you up to? I'm not up to anything. Yes, you are. | 0:51:27 | 0:51:30 | |
All this sad music crap and filling my head with doubts about Willie. | 0:51:30 | 0:51:34 | |
Why would you do that? Why, unless...? | 0:51:34 | 0:51:36 | |
Unless... | 0:51:37 | 0:51:38 | |
Oh, I know why. | 0:51:39 | 0:51:42 | |
You want me to sign a new book deal with you. | 0:51:42 | 0:51:44 | |
Well, if you can hear me through the obvious concussion, | 0:51:44 | 0:51:46 | |
pay attention, it is NEVER going to happen. | 0:51:46 | 0:51:50 | |
I have a concussion? Oh, get off. Get off this bus. | 0:51:50 | 0:51:54 | |
You know what? | 0:51:57 | 0:51:58 | |
You really think I'd want you back? | 0:52:00 | 0:52:02 | |
Why? | 0:52:02 | 0:52:04 | |
Why would I do that to myself? | 0:52:04 | 0:52:06 | |
You're distant at the best of times and when you're writing, | 0:52:06 | 0:52:09 | |
your characters were more real to you than I was. | 0:52:09 | 0:52:12 | |
Ahem. | 0:52:12 | 0:52:13 | |
So, no, Jane. | 0:52:20 | 0:52:22 | |
I do not want you back. | 0:52:23 | 0:52:24 | |
I do not want you back. | 0:52:25 | 0:52:27 | |
TYPEWRITER CLACKS | 0:52:29 | 0:52:31 | |
So, how's the screenplay coming along? | 0:52:37 | 0:52:41 | |
Hmm? Your screenplay. | 0:52:41 | 0:52:43 | |
I was just thinking, we haven't really discussed it much at all, | 0:52:43 | 0:52:47 | |
and since, well, I wrote the novel, maybe I could... | 0:52:47 | 0:52:51 | |
you know. | 0:52:51 | 0:52:52 | |
What I mean is, we should have more ebb and flow. | 0:52:52 | 0:52:56 | |
It's not a bad idea. | 0:52:56 | 0:52:58 | |
You know the scene in the book where the father goes on a bender, | 0:52:58 | 0:53:01 | |
doesn't turn up for the mother's funeral? | 0:53:01 | 0:53:03 | |
Yeah. | 0:53:03 | 0:53:05 | |
I remember. Would you miss it? | 0:53:05 | 0:53:07 | |
What? You... What? You... You can't... | 0:53:10 | 0:53:14 | |
Willie, I think we need to talk this through. | 0:53:14 | 0:53:16 | |
I know what this is about, Jane. | 0:53:16 | 0:53:18 | |
You haven't written a word in two weeks, | 0:53:18 | 0:53:21 | |
so you want to talk instead of dealing with your luggage. | 0:53:21 | 0:53:25 | |
How many times? I am not... | 0:53:25 | 0:53:26 | |
There was this writer I knew that got stuck | 0:53:26 | 0:53:30 | |
on a long-lost sibling story arc. | 0:53:30 | 0:53:32 | |
Thought it was the end of his career, but... | 0:53:32 | 0:53:35 | |
But he beat it. | 0:53:35 | 0:53:36 | |
Do you know how? | 0:53:36 | 0:53:38 | |
How? | 0:53:38 | 0:53:39 | |
He wrote naked. | 0:53:42 | 0:53:44 | |
Yeah. | 0:53:45 | 0:53:47 | |
Yeah, right. Seriously. | 0:53:47 | 0:53:49 | |
The idea is you release yourself from the restrictions of the | 0:53:49 | 0:53:51 | |
everyday so you can express your ideas in an uninhibited fashion. | 0:53:51 | 0:53:56 | |
Oh, OK. | 0:53:56 | 0:53:57 | |
I think you just want to be able to sit there and write | 0:53:57 | 0:54:00 | |
while you stare at my tits. | 0:54:00 | 0:54:01 | |
They are great tits. | 0:54:02 | 0:54:04 | |
WHISTLE BLOWS | 0:54:18 | 0:54:21 | |
Yeah, come on! | 0:54:21 | 0:54:23 | |
It's not a weapon, Jane. | 0:54:23 | 0:54:24 | |
There's something up with my stick. | 0:54:27 | 0:54:29 | |
Yeah, pass it to the other team, Shona. | 0:54:29 | 0:54:31 | |
That's it, well played, well played. | 0:54:38 | 0:54:40 | |
PHONE RINGS | 0:54:40 | 0:54:42 | |
Tom? | 0:54:43 | 0:54:44 | |
I've got some business to take care of. | 0:54:51 | 0:54:53 | |
DOOR CLOSES | 0:55:05 | 0:55:08 | |
I want it on record that this is going too far, OK? | 0:55:08 | 0:55:10 | |
She's only just started rebuilding her relationship with her dad. | 0:55:10 | 0:55:13 | |
I'm just trying to help her finish her book, | 0:55:13 | 0:55:16 | |
and she'll thank me in the end. | 0:55:16 | 0:55:17 | |
First we get rid of Willie, then we work on Papa. | 0:55:17 | 0:55:21 | |
AMERICAN ACCENT ON PHONE: So, Mr Scott - Willie - | 0:55:21 | 0:55:25 | |
our senior development executive has been looking for... | 0:55:25 | 0:55:29 | |
a very special screenwriter with a distinctive voice | 0:55:29 | 0:55:32 | |
for a project which she has slated for next year. | 0:55:32 | 0:55:35 | |
Yeah. When she heard you were adapting Jane Lockhart's, | 0:55:35 | 0:55:39 | |
uh, Happy Ending, she was...she was excited. | 0:55:39 | 0:55:42 | |
We were...we were all excited. | 0:55:42 | 0:55:44 | |
What company is this again? I mean, have you spoken to my agent, or...? | 0:55:44 | 0:55:49 | |
Yeah, thank you, you too. Ciao, ciao. | 0:55:49 | 0:55:52 | |
Sure, she put us right onto you. Uh... | 0:55:52 | 0:55:56 | |
But if you're too busy right now, perhaps we should just leave it. PHONE BLEEPS | 0:55:56 | 0:56:00 | |
Oh, no, no, no. Erm, no. | 0:56:00 | 0:56:02 | |
No, no, I'm excited. It's, erm... | 0:56:02 | 0:56:05 | |
You know, it's not just adaptations that I do. | 0:56:05 | 0:56:08 | |
I mean, I have my own material, you know. Terrific. Well, uh, we, uh... | 0:56:08 | 0:56:13 | |
You can share all that with our... | 0:56:13 | 0:56:15 | |
uh, senior BP, Bob, | 0:56:15 | 0:56:18 | |
and our head of deputy acquisitions, Bonda, who... | 0:56:18 | 0:56:22 | |
They're going to be over there next Friday. You live in London, right? | 0:56:22 | 0:56:26 | |
Well, mainly, but, you know, I've got my place up country too, | 0:56:26 | 0:56:30 | |
you know, obviously. | 0:56:30 | 0:56:31 | |
Well, apologies, | 0:56:31 | 0:56:32 | |
but it may involve dragging you out to the middle of nowhere, | 0:56:32 | 0:56:35 | |
but we're scouting Steven's next pick. | 0:56:35 | 0:56:38 | |
Steven... | 0:56:38 | 0:56:40 | |
Seagal? Soderbergh. | 0:56:40 | 0:56:42 | |
He'll probably drop by to say hi, if that's OK. | 0:56:42 | 0:56:45 | |
Aye, that would be fine! | 0:56:45 | 0:56:48 | |
BELL TOLLS | 0:56:48 | 0:56:51 | |
HORN BEEPS | 0:56:51 | 0:56:53 | |
Taxi's here. Oh, where's my ticket? | 0:56:53 | 0:56:56 | |
Oh, it's in your bag, where you put it two minutes ago. | 0:56:56 | 0:56:59 | |
Jane, this is an important trip for me. | 0:56:59 | 0:57:01 | |
These people are working with Soderbergh. | 0:57:01 | 0:57:03 | |
They called me, and that just never happens. | 0:57:03 | 0:57:06 | |
You're right. It doesn't. | 0:57:06 | 0:57:08 | |
And it's all because of you. | 0:57:09 | 0:57:11 | |
The truth is, they would never have asked to see me | 0:57:11 | 0:57:14 | |
if I hadn't been adapting your novel. | 0:57:14 | 0:57:16 | |
Och, that's rubbish. Look, you're a great writer. | 0:57:16 | 0:57:20 | |
Yeah, you're right. | 0:57:20 | 0:57:22 | |
Where's my treatments? Did you tidy them? Willie, breathe! | 0:57:22 | 0:57:25 | |
How are you feeling? Good. | 0:57:32 | 0:57:34 | |
Sharp? Sharp, aye. | 0:57:34 | 0:57:36 | |
Rory? Brand-new. | 0:57:37 | 0:57:39 | |
Mind you, I'm a bit worried | 0:57:39 | 0:57:41 | |
because we don't know what he's gonnae ask us. | 0:57:41 | 0:57:44 | |
It's a quiz. It's a quiz, Rory. Oh, right, aye. | 0:57:44 | 0:57:48 | |
Aye. | 0:57:48 | 0:57:50 | |
Mr L! | 0:57:50 | 0:57:51 | |
Tom! Oh, hey, good to see you. | 0:57:51 | 0:57:53 | |
Good to see you. | 0:57:53 | 0:57:55 | |
Big night, eh? Oh, big night, big night. | 0:57:55 | 0:57:58 | |
Aye, this is the final. | 0:57:58 | 0:57:59 | |
The winner gets a holiday to America and two tickets to Disneyland. | 0:57:59 | 0:58:03 | |
Whoa! That's wonderful. Good luck with that. | 0:58:03 | 0:58:05 | |
Oh, thanks, Tom, thanks. | 0:58:05 | 0:58:07 | |
Listen, eh, I know that Jane and you haven't always seen eye to eye, | 0:58:07 | 0:58:11 | |
but, erm... | 0:58:11 | 0:58:12 | |
I'm sure she'll be really happy to see you. | 0:58:12 | 0:58:15 | |
Where is she? | 0:58:15 | 0:58:16 | |
Oh, she's not here yet, but the quiz doesn't start until eight, so... | 0:58:16 | 0:58:19 | |
Oh, well, plenty of time, then. | 0:58:19 | 0:58:22 | |
Och, plenty of time. | 0:58:22 | 0:58:24 | |
HORN BEEPS | 0:58:24 | 0:58:26 | |
That was quick. | 0:58:33 | 0:58:34 | |
Wasn't expecting you for another ten minutes. | 0:58:34 | 0:58:37 | |
Aye, well, I was just round the corner, hen. | 0:58:37 | 0:58:39 | |
Where are you going? East End, please, The Walter Scott. | 0:58:39 | 0:58:42 | |
Mm-hmm, lovely. | 0:58:42 | 0:58:43 | |
Ta-da! What do you think? | 0:58:47 | 0:58:50 | |
Lovely. Me and the lads discussed it. | 0:58:50 | 0:58:54 | |
We're going to make her captain. | 0:58:54 | 0:58:56 | |
When she was a little girl, | 0:58:56 | 0:58:57 | |
every penny her mother gave her she put in the piggy bank. | 0:58:57 | 0:59:01 | |
Saving up, you know, to go to Disneyland. | 0:59:01 | 0:59:04 | |
Every birthday was Mickey Mouse, Mickey Mouse, | 0:59:04 | 0:59:06 | |
Disneyland, Mickey Mouse, you know? | 0:59:06 | 0:59:08 | |
Every birthday. | 0:59:08 | 0:59:09 | |
Well... | 0:59:11 | 0:59:12 | |
..until the seventh birthday. | 0:59:14 | 0:59:15 | |
Her mother took her to Woolworths for a present, a gift, and, erm... | 0:59:21 | 0:59:25 | |
Well, they were late getting back. | 0:59:26 | 0:59:28 | |
I lost it, Tom, you know? | 0:59:30 | 0:59:33 | |
I was, "Oh, I want my dinner on the table," and... | 0:59:33 | 0:59:36 | |
That was the night I walked out on them. | 0:59:40 | 0:59:42 | |
If only that was the worst thing I did that night. | 0:59:47 | 0:59:49 | |
Excuse me, where are we going? | 0:59:53 | 0:59:56 | |
The Rabbie Burns. No, I said The Walter Scott. | 0:59:56 | 0:59:59 | |
You sure? | 1:00:00 | 1:00:01 | |
Of course I'm sure! Hey, there's no need for that. | 1:00:01 | 1:00:05 | |
They're both iconic pillars of our national literature, | 1:00:05 | 1:00:07 | |
arguably responsible for the over-romanticisation | 1:00:07 | 1:00:10 | |
of Scottish history that persists to this day. | 1:00:10 | 1:00:13 | |
It's an easy mistake to make. | 1:00:13 | 1:00:14 | |
All right, please, just please hurry. Please. | 1:00:14 | 1:00:17 | |
'Hello, it's Benny Lockhart here. | 1:00:21 | 1:00:22 | |
'If you leave a message then I'll get back to you soon. | 1:00:22 | 1:00:25 | |
'Okey dokes, bye.' | 1:00:25 | 1:00:27 | |
BEEP | 1:00:27 | 1:00:29 | |
Do you know why they were late back? | 1:00:31 | 1:00:33 | |
Yeah. | 1:00:36 | 1:00:37 | |
Yeah, of course you do, because it's in the book, isn't it? | 1:00:38 | 1:00:41 | |
Her mother dropped dead in Woolworths. | 1:00:44 | 1:00:47 | |
Her mother was lying dead in the pick and mix aisle and I'm... | 1:00:48 | 1:00:52 | |
Daddy was spending her Mickey Mouse money on booze. | 1:00:53 | 1:00:57 | |
I swore I would never touch another drop after that. | 1:01:02 | 1:01:05 | |
Not a drop. | 1:01:05 | 1:01:06 | |
You look familiar. You on the telly? | 1:01:13 | 1:01:16 | |
Erm, no. I've done a few interviews but... Oh, you're that writer. | 1:01:16 | 1:01:20 | |
Jane something. Aye, my...my wife read your book. Oh, yeah? | 1:01:20 | 1:01:24 | |
Aye, what's it called again? Happy Ending. Happy Ending, aye. | 1:01:24 | 1:01:27 | |
She was greeting her eyes out by the end. | 1:01:27 | 1:01:29 | |
And you wrote it? That's amazing! | 1:01:29 | 1:01:30 | |
God, you must be a right miserable cow. | 1:01:32 | 1:01:34 | |
Do know you from...? | 1:01:36 | 1:01:38 | |
Uh... | 1:01:38 | 1:01:39 | |
I'm out of fags. | 1:01:41 | 1:01:42 | |
What? Hey, no! | 1:01:42 | 1:01:45 | |
Come back, I need to get to the... Run! | 1:01:45 | 1:01:47 | |
..pub. | 1:01:47 | 1:01:48 | |
Hey! | 1:01:54 | 1:01:55 | |
BENNY: Years later... | 1:02:01 | 1:02:02 | |
..I discovered that the police brought her back... | 1:02:03 | 1:02:06 | |
..two minutes after I'd left home. | 1:02:07 | 1:02:09 | |
Two minutes, Tom. | 1:02:11 | 1:02:12 | |
You know, I realise that I can never make it up to that little girl, | 1:02:14 | 1:02:19 | |
that seven-year-old Jane that... | 1:02:19 | 1:02:21 | |
I can't do it. | 1:02:24 | 1:02:26 | |
But if we win tonight, Tom... | 1:02:27 | 1:02:29 | |
Whoa, if we win tonight, I'm gonnae take her to Disneyland. Aye. | 1:02:30 | 1:02:36 | |
I don't mean the shite one in Paris, the real Disneyland. | 1:02:36 | 1:02:40 | |
No offence, I know you're French. | 1:02:40 | 1:02:42 | |
None taken. | 1:02:42 | 1:02:43 | |
Gentlemen, ladies, can you please take your places for the quiz final? | 1:02:45 | 1:02:49 | |
She'll be here, she'll be here. | 1:02:52 | 1:02:53 | |
Nothing's gonnae happen. Not again, no. | 1:02:55 | 1:02:57 | |
Hey, hey! | 1:03:01 | 1:03:02 | |
You know what? I'll see you in a sec. | 1:03:12 | 1:03:14 | |
PHONE RINGS | 1:03:16 | 1:03:18 | |
Tom. Roddy, call it off. Call it off, bring her here immediately. | 1:03:20 | 1:03:24 | |
She's gone. | 1:03:24 | 1:03:26 | |
We've lost her. | 1:03:28 | 1:03:29 | |
In Cambuslang. | 1:03:30 | 1:03:31 | |
HORN BEEPS Sorry! | 1:03:55 | 1:03:58 | |
THUNDER RUMBLES | 1:04:06 | 1:04:08 | |
Captains, last call. | 1:04:09 | 1:04:12 | |
Please bring your team lists to the adjudicator's table. | 1:04:12 | 1:04:15 | |
Ben, if I don't get your list you'll forfeit your place. | 1:04:20 | 1:04:24 | |
Benny, come on. Come on, Benny! | 1:04:24 | 1:04:26 | |
Two more minutes, lads. | 1:04:26 | 1:04:28 | |
Oh! Argh! | 1:04:29 | 1:04:31 | |
Benny, I'm... | 1:04:44 | 1:04:46 | |
I'm sorry. | 1:04:46 | 1:04:48 | |
It's OK, son. | 1:04:48 | 1:04:50 | |
It's not your fault. Well, actually... | 1:04:50 | 1:04:53 | |
OK, that's enough. Let's get on with this. | 1:04:53 | 1:04:56 | |
Welcome, ladies and gentlemen, to the grand final of the... | 1:04:56 | 1:05:00 | |
MUSIC DROWNS SPEECH | 1:05:00 | 1:05:02 | |
Dad. Dad? | 1:05:05 | 1:05:08 | |
Question one. Who was William Shakespeare's wife? | 1:05:12 | 1:05:18 | |
Oh! | 1:05:18 | 1:05:20 | |
The indisputable winners, Benny and his Jets! | 1:05:21 | 1:05:25 | |
We've won! Whoa-hoa! | 1:05:25 | 1:05:27 | |
THEY CHANT | 1:05:27 | 1:05:29 | |
DISTANT CELEBRATIONS | 1:05:51 | 1:05:53 | |
.Fact is... | 1:06:00 | 1:06:01 | |
..we're not dog killers. | 1:06:03 | 1:06:05 | |
What's the worst thing we actually achieved? | 1:06:05 | 1:06:09 | |
Kidnapping a pot plant. | 1:06:09 | 1:06:11 | |
There's our fatal flaw. | 1:06:14 | 1:06:15 | |
At heart... | 1:06:17 | 1:06:18 | |
..we're nice guys. | 1:06:20 | 1:06:21 | |
I'm going to tell her everything. | 1:06:27 | 1:06:29 | |
JANE HUMS | 1:06:35 | 1:06:37 | |
I will not do nudity unless it is essential to the plot. | 1:06:39 | 1:06:42 | |
DOORBELL RINGS | 1:06:46 | 1:06:48 | |
Oh, you must be joking! | 1:06:55 | 1:06:57 | |
Jane? | 1:06:57 | 1:06:58 | |
Just go away. | 1:07:01 | 1:07:02 | |
I've got to talk to you. | 1:07:02 | 1:07:04 | |
Please open the door. | 1:07:04 | 1:07:06 | |
PHONE RINGS | 1:07:06 | 1:07:08 | |
Hold on a minute. | 1:07:08 | 1:07:10 | |
Willie? 'You need to hear about our great deal on home insurance...' | 1:07:12 | 1:07:15 | |
ALARM BEEPS Your meringues, Jane. | 1:07:15 | 1:07:18 | |
Oh, shit! | 1:07:18 | 1:07:20 | |
Shit, shit! | 1:07:20 | 1:07:22 | |
Jane, you OK? Shit! | 1:07:22 | 1:07:24 | |
SHE BLOWS ON THE MERINGUES | 1:07:24 | 1:07:27 | |
Shit, shit, shit. Shit! | 1:07:27 | 1:07:29 | |
Shit, shit! No! | 1:07:34 | 1:07:36 | |
Stop looking! | 1:07:42 | 1:07:44 | |
What the hell are you doing here, anyway? | 1:07:49 | 1:07:52 | |
I came to apolo... Whoa. | 1:07:52 | 1:07:54 | |
Is that my novel? | 1:07:57 | 1:07:59 | |
No, no, no. Give it back. | 1:08:01 | 1:08:04 | |
Give it back! | 1:08:04 | 1:08:06 | |
I paid good money for this, I'm going to read it. | 1:08:06 | 1:08:08 | |
No, you don't get to read anything until it's finished. | 1:08:08 | 1:08:12 | |
OK. | 1:08:13 | 1:08:14 | |
Here. | 1:08:16 | 1:08:18 | |
Thank you. | 1:08:20 | 1:08:21 | |
Good to know you behave like a grown-up once in a... | 1:08:21 | 1:08:24 | |
Where's the rest of it? Oh! | 1:08:24 | 1:08:26 | |
Hey, come out of there, you thieving bastard! | 1:08:26 | 1:08:30 | |
Give my back my novel! | 1:08:30 | 1:08:33 | |
How could you do that? | 1:08:44 | 1:08:45 | |
I can't believe you. | 1:08:46 | 1:08:48 | |
Even you. | 1:08:48 | 1:08:49 | |
So, what did you think? | 1:08:52 | 1:08:54 | |
It's merely the first couple of chapters, so who can say? | 1:08:54 | 1:08:57 | |
However... | 1:08:58 | 1:09:00 | |
Putting to one side that you're a whining, | 1:09:00 | 1:09:03 | |
overpaid author who clearly got lucky with her debut... | 1:09:03 | 1:09:06 | |
..I'd say this is a very good start. | 1:09:08 | 1:09:10 | |
Well... | 1:09:12 | 1:09:14 | |
Coming from a never-even-has-been | 1:09:14 | 1:09:16 | |
owner of a third-rate publishing company... | 1:09:16 | 1:09:19 | |
I have to say thank you. | 1:09:19 | 1:09:21 | |
MUSIC: Like Comedy by The Proclaimers | 1:09:21 | 1:09:23 | |
Naturally... | 1:09:23 | 1:09:24 | |
..I have a few notes. | 1:09:26 | 1:09:27 | |
Definitely. | 1:09:28 | 1:09:30 | |
For instance... MUSIC DROWNS SPEECH | 1:09:34 | 1:09:36 | |
# You don't have to make it worse | 1:09:36 | 1:09:39 | |
# Cos the world isn't perfect | 1:09:39 | 1:09:41 | |
# And you don't need to give a toss | 1:09:43 | 1:09:45 | |
# But you'd make it better if you did | 1:09:45 | 1:09:48 | |
# You did | 1:09:48 | 1:09:55 | |
# You were made to be loving | 1:09:55 | 1:10:00 | |
# Not a source of bitterness and hate | 1:10:03 | 1:10:07 | |
# And when you turn them on yourself | 1:10:10 | 1:10:12 | |
# You make one more useless martyr | 1:10:12 | 1:10:15 | |
# Make the best of here and now | 1:10:17 | 1:10:19 | |
# Heaven or hell can wait | 1:10:19 | 1:10:22 | |
# They'll wait | 1:10:22 | 1:10:26 | |
# Let them wait | 1:10:26 | 1:10:28 | |
# When you lose your appetite for self-destruction. # | 1:10:30 | 1:10:34 | |
PHONE RINGS | 1:10:34 | 1:10:36 | |
Who's going to get the phone? | 1:10:36 | 1:10:38 | |
Just one second. Willie. Hi, Janey. Hi. | 1:10:41 | 1:10:43 | |
So, how's the trip going? Did you meet Soderbergh? | 1:10:43 | 1:10:46 | |
There was no meeting. I've been stuck in the arse end of nowhere. | 1:10:46 | 1:10:50 | |
Couldn't get a cab, I've been walking for nine hours | 1:10:50 | 1:10:53 | |
in the rain, my phone died - I've only just now found a phone. | 1:10:53 | 1:10:56 | |
Oh, Willie! | 1:10:56 | 1:10:57 | |
I'm cold, I'm wet and I'm feeling so... | 1:10:57 | 1:11:00 | |
so miserable. You know, the funny thing is... | 1:11:00 | 1:11:04 | |
..even though the trip turned out so badly... | 1:11:05 | 1:11:08 | |
it made me realise a few things. | 1:11:08 | 1:11:11 | |
I miss you, Janey. | 1:11:13 | 1:11:15 | |
You're the best thing in my life and... | 1:11:16 | 1:11:18 | |
..I love you. | 1:11:21 | 1:11:22 | |
Janey, let's get married. | 1:11:24 | 1:11:26 | |
# So many days | 1:11:52 | 1:11:54 | |
# So many nights I cried | 1:11:54 | 1:11:57 | |
# Written in these words | 1:12:00 | 1:12:02 | |
# Everything I feel inside | 1:12:02 | 1:12:06 | |
# So be careful with my heart... # | 1:12:08 | 1:12:11 | |
Oh. HE COUGHS | 1:12:11 | 1:12:13 | |
There we go. | 1:12:13 | 1:12:14 | |
He's sick! Oh, come on, he's just taking the piss now. | 1:12:21 | 1:12:25 | |
He said he loves me. | 1:12:25 | 1:12:27 | |
You've heard him. | 1:12:27 | 1:12:29 | |
Actually, I didn't. Maybe it was in your vivid imagination. | 1:12:29 | 1:12:33 | |
And I love Willie too. He makes me...happy. | 1:12:33 | 1:12:37 | |
Any chance of that cup of tea, doll? | 1:12:37 | 1:12:40 | |
Aw, he's a sweetheart. | 1:12:42 | 1:12:44 | |
# But I cannot be loved | 1:12:50 | 1:12:52 | |
# If I never give my heart | 1:12:52 | 1:12:55 | |
# Torn all along the way | 1:12:57 | 1:13:00 | |
# Picking up the pieces... # | 1:13:00 | 1:13:03 | |
Priscilla. | 1:13:07 | 1:13:09 | |
Listen, sweetheart, get out the big pen. | 1:13:09 | 1:13:12 | |
It's time to bill the bastards for my first draft. | 1:13:12 | 1:13:15 | |
I just finished the script. | 1:13:15 | 1:13:17 | |
A lifetime with Willie Scott. | 1:13:25 | 1:13:27 | |
If that doesn't make her miserable, nothing will. | 1:13:29 | 1:13:33 | |
Look, I know things haven't worked out for the two of you but... | 1:13:33 | 1:13:37 | |
surely you don't really, actually, totally, | 1:13:37 | 1:13:40 | |
completely want her to be unhappy? | 1:13:40 | 1:13:42 | |
Of course I don't. I mean... | 1:13:42 | 1:13:45 | |
Oh, tu comprends rien. | 1:13:45 | 1:13:48 | |
It's tricky, OK? Whatever. | 1:13:48 | 1:13:49 | |
# Ever since he tore my world | 1:13:49 | 1:13:53 | |
# I fell apart | 1:13:53 | 1:13:58 | |
# And rescue me | 1:13:58 | 1:14:01 | |
# From this story | 1:14:01 | 1:14:04 | |
# Cos this is not another happy ending. # | 1:14:04 | 1:14:07 | |
Which is why Shakespeare never left New York again. | 1:14:07 | 1:14:13 | |
PHONE BUZZES | 1:14:13 | 1:14:15 | |
Oh, OK. Erm, chapter 21. | 1:14:15 | 1:14:19 | |
Read it or be punished. | 1:14:19 | 1:14:21 | |
Yo. He's only gone and changed the ending! Wow! | 1:14:23 | 1:14:26 | |
All you did was change her title | 1:14:26 | 1:14:28 | |
and she thought you were a complete wanker. | 1:14:28 | 1:14:30 | |
That's... Juan Kerr. | 1:14:30 | 1:14:33 | |
He was a 19th century South American revolutionary. | 1:14:33 | 1:14:35 | |
This is going to break her heart. Yeah, well, great. | 1:14:37 | 1:14:40 | |
Now all you've got to do is make sure she reads it. | 1:14:40 | 1:14:43 | |
Mission accomplished. | 1:14:43 | 1:14:45 | |
Yeah. | 1:14:45 | 1:14:46 | |
You've given it a happy ending? | 1:14:48 | 1:14:50 | |
And your point? The point is Jane's novel doesn't end happily. | 1:14:51 | 1:14:55 | |
Who the hell wants to walk out of a movie feeling miserable? | 1:14:55 | 1:14:58 | |
You have to change it back. I don't think so. | 1:14:58 | 1:15:00 | |
That script says more about my love for her | 1:15:00 | 1:15:02 | |
than I could ever put into words. | 1:15:02 | 1:15:04 | |
She doesn't know yet, does she? | 1:15:04 | 1:15:06 | |
Do you have any idea what this will do to her? To both of you? | 1:15:08 | 1:15:12 | |
I made a mistake and I can't take it back. | 1:15:13 | 1:15:16 | |
But really, if you truly love her, change it. | 1:15:16 | 1:15:21 | |
What's going on here? | 1:15:21 | 1:15:23 | |
You just don't get her, do you? Oh, I get her, all right. | 1:15:23 | 1:15:26 | |
Every night I get her. | 1:15:27 | 1:15:28 | |
Any way up I fancy. | 1:15:30 | 1:15:32 | |
Hit a sick man, would you? | 1:15:36 | 1:15:37 | |
Watch this. Ah! Oh, oh, oh! | 1:15:39 | 1:15:42 | |
Remind me, does the bridge explode in the novel? | 1:15:50 | 1:15:53 | |
DOOR CREAKS | 1:15:53 | 1:15:56 | |
Hi, Janey, I'm home. | 1:15:56 | 1:15:58 | |
HE COUGHS Any chance of a wee cup of tea? | 1:15:58 | 1:16:01 | |
Willie! | 1:16:04 | 1:16:06 | |
I just don't understand how you can do this over a dumb ending. | 1:16:06 | 1:16:09 | |
No, no, you don't. | 1:16:09 | 1:16:10 | |
Well, if it's any consolation, Janey, I don't think me | 1:16:10 | 1:16:13 | |
and you would have worked out anyway. Oh. | 1:16:13 | 1:16:15 | |
I just don't get all that "worshipping your pain" stuff. | 1:16:15 | 1:16:20 | |
Daddy issues. | 1:16:24 | 1:16:25 | |
# I guess it's funnier from where you're standing | 1:16:36 | 1:16:40 | |
# Cos from over here I miss the joke | 1:16:44 | 1:16:47 | |
# Clear the way for my crash landing | 1:16:52 | 1:16:56 | |
# I've done it again, another number for your notes | 1:16:57 | 1:17:03 | |
# I'd be smiling if I wasn't so desperate | 1:17:07 | 1:17:10 | |
# I'd be patient if I had the time | 1:17:14 | 1:17:18 | |
# I could stop and answer all of your questions | 1:17:21 | 1:17:25 | |
# As soon as I find out how I can move from the back of the line | 1:17:27 | 1:17:32 | |
# I'll be your clown | 1:17:34 | 1:17:36 | |
# Behind the glass | 1:17:37 | 1:17:41 | |
# Go ahead and laugh cos it's funny | 1:17:41 | 1:17:45 | |
# I would too if I saw | 1:17:45 | 1:17:48 | |
# I'll be your clown | 1:17:48 | 1:17:50 | |
# On your favourite channel | 1:17:52 | 1:17:54 | |
# My life's a circus, circus | 1:17:55 | 1:17:58 | |
# Round in circles | 1:17:58 | 1:18:00 | |
# Selling out tonight. # | 1:18:00 | 1:18:03 | |
Tom, if she hasn't delivered, you have to take Pandemic Media's offer. | 1:18:08 | 1:18:12 | |
Mark my words - never going to happen. | 1:18:12 | 1:18:14 | |
Well, I'll have no option but to declare you bankrupt | 1:18:14 | 1:18:17 | |
and call in a receiver. | 1:18:17 | 1:18:19 | |
HE WHINES, COUGHS | 1:18:19 | 1:18:20 | |
You're my relationship manager, right? Yeah, so? | 1:18:27 | 1:18:30 | |
So, what should I do about my relationship? | 1:18:31 | 1:18:33 | |
Oh, for God's sake! | 1:18:33 | 1:18:35 | |
Do you love her? | 1:18:38 | 1:18:40 | |
Tom. | 1:18:40 | 1:18:41 | |
Jane. Hi. Tom's not here. | 1:18:57 | 1:19:00 | |
Should be back any minute if you want to wait. No, I don't think so. | 1:19:00 | 1:19:04 | |
I'm heading off for a bit of a break. | 1:19:04 | 1:19:06 | |
I just came to drop this off. It's my new novel. | 1:19:07 | 1:19:11 | |
I finished it. Oh! That's a relief. | 1:19:11 | 1:19:13 | |
Between you and me, | 1:19:13 | 1:19:15 | |
your book's the only thing stopping this place from going tits up. | 1:19:15 | 1:19:18 | |
So, where shall I leave it? | 1:19:23 | 1:19:25 | |
Erm... | 1:19:25 | 1:19:26 | |
Just put it on his desk. | 1:19:26 | 1:19:28 | |
OK. Bye. | 1:19:28 | 1:19:30 | |
SHE SIGHS | 1:19:41 | 1:19:43 | |
I don't know what to do. | 1:19:51 | 1:19:52 | |
Hold it. Jane. | 1:19:54 | 1:19:56 | |
Jane! | 1:19:57 | 1:19:58 | |
Argh! Bastard! | 1:20:00 | 1:20:02 | |
No, I shouldn't still be seeing you. | 1:20:35 | 1:20:38 | |
I finished it! | 1:20:38 | 1:20:40 | |
Leave me alone. All I want is to be alone! | 1:21:03 | 1:21:06 | |
GRAVEL CRUNCHES | 1:21:27 | 1:21:29 | |
HE KNOCKS THE DOOR Jane. | 1:21:56 | 1:21:59 | |
Jane! | 1:21:59 | 1:22:00 | |
Listen, I know you're in there. | 1:22:06 | 1:22:08 | |
And I know it sounds crazy, but I was trying to help. | 1:22:09 | 1:22:12 | |
Jane. | 1:22:14 | 1:22:15 | |
Your dad's worried about you and so am I. | 1:22:16 | 1:22:19 | |
He told me where to find you. | 1:22:19 | 1:22:21 | |
All you care about is what my book can do for your damn company. | 1:22:23 | 1:22:26 | |
Well, you got what you wanted. | 1:22:26 | 1:22:29 | |
HE KNOCKS THE DOOR | 1:22:51 | 1:22:52 | |
Jane, please open the door. | 1:22:55 | 1:22:56 | |
Jane, I'm not good at this countryside stuff, all right? | 1:23:00 | 1:23:04 | |
I think I saw a bear. | 1:23:07 | 1:23:08 | |
SHE MOUTHS | 1:23:08 | 1:23:10 | |
Jane. | 1:23:10 | 1:23:11 | |
I'm sorry. | 1:23:19 | 1:23:20 | |
Thanks a lot. | 1:23:44 | 1:23:45 | |
I deserved that. | 1:23:50 | 1:23:52 | |
I'll just go, shall I? | 1:23:52 | 1:23:53 | |
I'll go. | 1:23:55 | 1:23:56 | |
# Crash land | 1:24:02 | 1:24:04 | |
# So I can't find you | 1:24:04 | 1:24:06 | |
# And just as things were looking up | 1:24:06 | 1:24:10 | |
# We're stuck | 1:24:10 | 1:24:13 | |
# Don't panic | 1:24:13 | 1:24:16 | |
# Because I'm left without food | 1:24:16 | 1:24:18 | |
# And just as things were heating up | 1:24:18 | 1:24:21 | |
# I should've told you that you're good enough | 1:24:21 | 1:24:24 | |
# Because I'm stuck here on this island | 1:24:24 | 1:24:27 | |
# And I've lost her all over again | 1:24:27 | 1:24:30 | |
# Nothing gets better than memories | 1:24:30 | 1:24:33 | |
# When all your have are memories for friends | 1:24:33 | 1:24:36 | |
# And I was searching... # | 1:24:36 | 1:24:39 | |
HE SHOUTS IN FRENCH | 1:24:39 | 1:24:41 | |
# I was searching when my flight went down | 1:24:43 | 1:24:47 | |
# Cos I made a rope | 1:24:47 | 1:24:50 | |
# Can I throw it out to you? | 1:24:50 | 1:24:53 | |
# You drag me back home | 1:24:53 | 1:24:55 | |
# I deserve to be rescued | 1:24:55 | 1:24:58 | |
# But still I have trouble with most days and nights | 1:25:00 | 1:25:05 | |
# But still I have trouble with moving my life outside... # | 1:25:06 | 1:25:10 | |
HE SPEAKS FRENCH | 1:25:10 | 1:25:12 | |
# Crash land | 1:25:12 | 1:25:14 | |
# So I can't find you | 1:25:15 | 1:25:17 | |
# And just as things were looking up | 1:25:17 | 1:25:20 | |
# We're fucked | 1:25:21 | 1:25:24 | |
# Don't panic | 1:25:24 | 1:25:26 | |
# Cos there's nothing here to fear | 1:25:26 | 1:25:29 | |
# Just don't lose imagination | 1:25:29 | 1:25:33 | |
# Or luck | 1:25:33 | 1:25:34 | |
# Cos I made a rope | 1:25:34 | 1:25:37 | |
# And can I throw it out to you? | 1:25:37 | 1:25:41 | |
# You drag me back home | 1:25:41 | 1:25:42 | |
# I deserve to be rescued. # | 1:25:42 | 1:25:46 | |
It's eight miles to the nearest village. | 1:25:46 | 1:25:49 | |
I don't expect to see you when I wake up. | 1:25:49 | 1:25:51 | |
Goodnight. | 1:25:53 | 1:25:54 | |
HE COUGHS | 1:25:54 | 1:25:56 | |
SHE YELLS | 1:26:00 | 1:26:02 | |
What the hell were you thinking? | 1:26:02 | 1:26:04 | |
About the plant? No, about me! Idiot. | 1:26:04 | 1:26:06 | |
Here's the thing. | 1:26:08 | 1:26:09 | |
You go to some dark places when you write. | 1:26:11 | 1:26:13 | |
You bring out stuff most people prefer to keep locked up, | 1:26:13 | 1:26:16 | |
so I thought maybe if I made you miserable... | 1:26:16 | 1:26:18 | |
I'd be able to finish my novel? Well, that's genius. Well, I was wrong. | 1:26:18 | 1:26:22 | |
Of course you were wrong. | 1:26:22 | 1:26:23 | |
You don't have to be miserable to write, you do it because you have to. | 1:26:23 | 1:26:27 | |
Because it gnaws away at your insides if you try to ignore it. | 1:26:27 | 1:26:30 | |
Because if you don't write, then you might as well be dead. | 1:26:30 | 1:26:34 | |
And what do you mean you were wrong? You got the novel, didn't you? | 1:26:34 | 1:26:37 | |
In Tom and Roddy world, the plan was a roaring success. Not exactly. | 1:26:37 | 1:26:42 | |
The last chapter, it doesn't work. | 1:26:42 | 1:26:45 | |
It needs a rewrite. | 1:26:45 | 1:26:46 | |
How much of it? | 1:26:49 | 1:26:50 | |
All of it. | 1:26:50 | 1:26:51 | |
You all right? | 1:26:58 | 1:26:59 | |
No. | 1:26:59 | 1:27:01 | |
I'm bloody not all right and I want more chocolate. | 1:27:01 | 1:27:04 | |
Maybe... | 1:27:07 | 1:27:09 | |
..it would help if you talked it through. | 1:27:10 | 1:27:12 | |
What have I missed? | 1:27:13 | 1:27:15 | |
I think the problem might be that you don't really get | 1:27:20 | 1:27:23 | |
to choose your ending. | 1:27:23 | 1:27:25 | |
It has to follow naturally from what comes before or it doesn't | 1:27:25 | 1:27:28 | |
feel true. Oh, he's so insightful. I want to start with Darsie. | 1:27:28 | 1:27:31 | |
Oh, goody. I don't understand her. You'll get it. | 1:27:31 | 1:27:35 | |
I mean, why is she in love with a man who betrays her so utterly? | 1:27:35 | 1:27:39 | |
He's emotionally crippled, | 1:27:39 | 1:27:41 | |
has an uncomfortable tendency for mean-spiritedness... | 1:27:41 | 1:27:43 | |
He has nice... | 1:27:43 | 1:27:45 | |
hair. | 1:27:45 | 1:27:46 | |
Mm. | 1:27:46 | 1:27:48 | |
OK, so, yes. | 1:27:52 | 1:27:54 | |
Maybe there is an element of autobiography. | 1:27:54 | 1:27:57 | |
Which means you're the reason I can't write. Me? | 1:27:57 | 1:27:59 | |
At some point during the last few weeks, it dawned on me that... | 1:27:59 | 1:28:03 | |
when I finished this novel, we were finished too, | 1:28:03 | 1:28:06 | |
and some insane part of me doesn't want that to happen. | 1:28:06 | 1:28:09 | |
You're my block, Tom. But I want you to finish it. | 1:28:12 | 1:28:14 | |
Yeah, of course you want me to finish it. And for what? | 1:28:14 | 1:28:16 | |
So you can turn a profit. I've sold it. | 1:28:16 | 1:28:19 | |
What? | 1:28:20 | 1:28:23 | |
I've sold the business. | 1:28:23 | 1:28:24 | |
No, you can't have sold it. | 1:28:24 | 1:28:26 | |
That stupid company is you. | 1:28:26 | 1:28:29 | |
Get it back. You can't do this to me. | 1:28:31 | 1:28:33 | |
I'm on the moral high ground here and I'm not getting off now. | 1:28:33 | 1:28:37 | |
You sold it? Yeah. | 1:28:40 | 1:28:42 | |
And you can take all the time you need for the last chapter. | 1:28:49 | 1:28:51 | |
I made it part of the deal. | 1:28:51 | 1:28:53 | |
Uh, Tom? | 1:28:55 | 1:28:56 | |
I didn't sign. | 1:28:58 | 1:28:59 | |
With Klinsch and McLeish - I couldn't do it. | 1:29:00 | 1:29:02 | |
Jane, I've spoken to my relationship manager... | 1:29:02 | 1:29:05 | |
If I hear the words "sad", | 1:29:05 | 1:29:06 | |
"beautiful" or "music" you're a dead man. | 1:29:06 | 1:29:09 | |
Apparently... | 1:29:09 | 1:29:10 | |
..I block you. | 1:29:12 | 1:29:13 | |
And I block you too. | 1:29:13 | 1:29:15 | |
SHE YELLS | 1:29:21 | 1:29:22 | |
What? What could possibly be more important? | 1:29:22 | 1:29:25 | |
I know how it ends. | 1:29:26 | 1:29:27 | |
I'm just going to get my laptop. | 1:29:27 | 1:29:30 | |
Ah! I don't care. | 1:29:30 | 1:29:31 | |
You are on fire! You are pretty hot yourself, baby. | 1:29:41 | 1:29:44 | |
SHE GIGGLES | 1:29:44 | 1:29:47 | |
Uh, Tom? | 1:29:49 | 1:29:51 | |
Tom, what are you doing? | 1:29:51 | 1:29:53 | |
Tom? Oh, my God, Tom! | 1:29:53 | 1:29:55 | |
Tom? | 1:30:01 | 1:30:02 | |
Tom! | 1:30:03 | 1:30:04 | |
Why is it that the saddest endings always seem the truest? | 1:30:10 | 1:30:14 | |
In the stories I told myself, I was always the heroine. | 1:30:14 | 1:30:18 | |
Always reaching for my happy ending. | 1:30:18 | 1:30:20 | |
It didn't turn out that way. | 1:30:24 | 1:30:26 | |
I won't get to spend the rest of my life with him. | 1:30:27 | 1:30:29 | |
But I was loved. | 1:30:31 | 1:30:32 | |
And that's enough. | 1:30:34 | 1:30:35 | |
MAN COUGHS | 1:30:39 | 1:30:41 | |
Ladies and gentlemen, Jane Lockhart will now be signing | 1:30:47 | 1:30:51 | |
copies of her chart-topping new novel, You'll Catch Your Death. | 1:30:51 | 1:30:56 | |
Well, Darsie, back where you belong. | 1:31:10 | 1:31:12 | |
Are you actually talking to your book? | 1:31:12 | 1:31:14 | |
You don't think it's all a bit tacky? Tacky? We have canapes. | 1:31:16 | 1:31:19 | |
Now, get signing. | 1:31:19 | 1:31:21 | |
Are you ready? Go on, just do it. OK, pay attention, class. | 1:31:27 | 1:31:30 | |
Pay attention! | 1:31:30 | 1:31:31 | |
Jane Lockhart, of course, follows Charlotte Bronte as only | 1:31:35 | 1:31:40 | |
the second writer in English to design and build her own hovercraft. | 1:31:40 | 1:31:46 | |
Hovercraft! | 1:31:46 | 1:31:47 | |
H-O-V-E-R-C-R-A-F-T. | 1:31:47 | 1:31:50 | |
See? They believe anything you tell them. | 1:31:52 | 1:31:54 | |
So... | 1:31:57 | 1:31:59 | |
I thought you said the Pandemic Media people were coming today. | 1:31:59 | 1:32:03 | |
Where are they? | 1:32:03 | 1:32:04 | |
You're looking at them. What do you mean? | 1:32:04 | 1:32:07 | |
They want someone in the company who won't let you get away | 1:32:07 | 1:32:09 | |
with your usual extravagance. | 1:32:09 | 1:32:11 | |
Someone hardline.. | 1:32:11 | 1:32:12 | |
..someone disciplined. | 1:32:14 | 1:32:15 | |
Oh! | 1:32:17 | 1:32:19 | |
Cheers! Brilliant. | 1:32:19 | 1:32:20 | |
Cheers, thank you. Thank you. | 1:32:22 | 1:32:24 | |
You read it. | 1:32:26 | 1:32:28 | |
Yeah. | 1:32:28 | 1:32:30 | |
Her father was really bad to her. A nasty piece of work. | 1:32:30 | 1:32:33 | |
No. No, no, no, he wasn't... But... | 1:32:33 | 1:32:35 | |
..she forgives him in the end. | 1:32:36 | 1:32:38 | |
Mr L! | 1:32:45 | 1:32:46 | |
Oh, if you think that was bad, | 1:32:48 | 1:32:50 | |
wait till you see what she's done with you in her new one. | 1:32:50 | 1:32:53 | |
Yeah, erm... | 1:32:57 | 1:32:58 | |
Mr Lockhart, Benny, would you give us a second? | 1:32:59 | 1:33:03 | |
Yeah, sure. Thanks. | 1:33:05 | 1:33:07 | |
So... Mm-hmm. | 1:33:23 | 1:33:24 | |
Look... Yes. | 1:33:26 | 1:33:28 | |
You are, frankly, | 1:33:28 | 1:33:29 | |
about the most infuriating person I've ever met, which, | 1:33:29 | 1:33:32 | |
considering I work in Scottish publishing, is saying something. | 1:33:32 | 1:33:36 | |
But we couldn't have got here without each other. | 1:33:38 | 1:33:41 | |
So, Jane, what I'm saying is... | 1:33:44 | 1:33:46 | |
will you...? | 1:33:46 | 1:33:48 | |
Could you...? | 1:33:50 | 1:33:52 | |
Is that a contract? Two more books and an option for a third. | 1:33:52 | 1:33:55 | |
Exclusive? Naturally, we'd have to work very, very, very closely. | 1:33:55 | 1:33:59 | |
With lots of notes. An excessive amount of notes. | 1:33:59 | 1:34:02 | |
OK, I do. | 1:34:02 | 1:34:03 | |
I mean... I mean, I will. | 1:34:05 | 1:34:08 | |
I will, I meant. Erm... | 1:34:08 | 1:34:10 | |
OK, just give it here. | 1:34:10 | 1:34:11 | |
MUSIC: I Fall For You by Lorne Balfe Sandi Thom | 1:34:20 | 1:34:23 | |
He likes that - you like that, don't you? I like that. | 1:38:32 | 1:38:33 |