0:00:10 > 0:00:14This film contains some strong language and some scenes of a sexual nature
0:00:50 > 0:00:53CHURCH BELLS CHIME
0:01:38 > 0:01:40SHE DIALS THE INTERCOM
0:01:42 > 0:01:44CHAIR ROLLS OVERHEAD
0:01:44 > 0:01:46Yeah? Do you want anything?
0:01:47 > 0:01:49Mm...
0:01:49 > 0:01:52You know, it'd be nice if you could come up here.
0:01:52 > 0:01:55Um, maybe try and distract me from my work.
0:01:57 > 0:01:59Get under the desk or something.
0:02:01 > 0:02:04SHE HANGS UP
0:02:05 > 0:02:07CHAIR ROLLS OVERHEAD
0:02:08 > 0:02:09CHAIR ROLLS OVERHEAD
0:02:11 > 0:02:13CHAIR ROLLS OVERHEAD
0:02:13 > 0:02:14THUD
0:02:26 > 0:02:29THUMPING UPSTAIRS
0:02:33 > 0:02:37FOOTSTEPS
0:02:42 > 0:02:46FOOTSTEPS
0:02:52 > 0:02:53Where you going?
0:02:56 > 0:02:58Ah.
0:03:56 > 0:03:58CAR HORN TOOTS
0:04:03 > 0:04:05FRONT DOOR OPENS
0:04:08 > 0:04:10TYRES SCREECH
0:04:28 > 0:04:32FOOTSTEPS
0:04:36 > 0:04:39SHE SKETCHES
0:04:41 > 0:04:44DOOR CLOSES
0:04:44 > 0:04:46FOOTSTEPS UPSTAIRS
0:04:49 > 0:04:50CHAIR ROLLS OVERHEAD
0:05:03 > 0:05:04CHAIR ROLLS OVERHEAD
0:05:04 > 0:05:08In a way, if you don't really talk about it or-or can't discuss it,
0:05:08 > 0:05:11other people are going to decide, you know?
0:05:11 > 0:05:14I know, I just don't want to discuss it with you.
0:05:14 > 0:05:16Eh? I just don't want to discuss it with you.
0:05:16 > 0:05:20Yeah, but I'm good, you know, I'm good practice, no?
0:05:20 > 0:05:22No, cos you'll just say it's silly and glib.
0:05:25 > 0:05:27Well, but...you know.
0:05:27 > 0:05:29If you don't, you won't get it.
0:05:39 > 0:05:43I'm on your side. I'm not... I'm not against you, I'm just curious.
0:05:43 > 0:05:45I'm just curious, that's all.
0:05:45 > 0:05:48I know, but... Cos why not...why not use someone else?
0:05:48 > 0:05:51You should use someone else, makes life much easier.
0:05:51 > 0:05:52I don't want to be put down,
0:05:52 > 0:05:55criticised, and I think that's what you'll do.
0:05:56 > 0:05:58Stop it before it's begun.
0:05:58 > 0:05:59No.
0:06:10 > 0:06:12SHE KNOCKS THE DOOR
0:06:12 > 0:06:13Hi.
0:06:13 > 0:06:17Hi. What you up to? Ah, eh, just...go.
0:06:17 > 0:06:19It'll be better, thank you. All right, sorry.
0:06:51 > 0:06:53'Yet though she played at being a child,
0:06:53 > 0:06:55'she had seen through me completely.
0:06:55 > 0:06:58'And though she made me her pupil there and then
0:06:58 > 0:07:01'in the game of living, for each fleeting moment, she seemed to
0:07:01 > 0:07:05'know more of life than is known to the wisest of the wise.
0:07:05 > 0:07:08'It might be the highest wisdom or the merest artlessness.
0:07:08 > 0:07:12'It is certain in any case that life is quite disarmed by the gift
0:07:12 > 0:07:15'to live so entirely in the present,
0:07:15 > 0:07:19'to treasure with such eager care every flower by the wayside
0:07:19 > 0:07:22'and the light that plays on every passing moment.
0:07:22 > 0:07:24'Was I to believe that this happy child,
0:07:24 > 0:07:28'with her hearty appetite and the air of a gourmet, was at the
0:07:28 > 0:07:32'same time a victim of hysterical visions who wished to die,
0:07:32 > 0:07:36'or a careful calculating woman who unmoved herself at the
0:07:36 > 0:07:41'conscious intention of making me her lover and her slave?
0:07:41 > 0:07:43'I could not believe it.
0:07:43 > 0:07:46'Know her surrender to the moment was so simple and complete that
0:07:46 > 0:07:49'the fleeting shadows and agitation to the very depths of the
0:07:49 > 0:07:53'soul come to her no less than every pleasurable impulse and were
0:07:53 > 0:07:55'lived as fully.'
0:07:55 > 0:07:58RAIN FALLS
0:08:26 > 0:08:30THEY GIGGLE
0:08:32 > 0:08:34SHE LAUGHS
0:08:34 > 0:08:36SHE SQUEALS HAPPILY
0:08:39 > 0:08:42ALARM ARMS
0:08:47 > 0:08:48CAR HORN TOOTS
0:09:29 > 0:09:30Did I do something?
0:09:30 > 0:09:31Did I say something?
0:11:04 > 0:11:06MOTOR CORD PULLED
0:11:08 > 0:11:11MOTOR STARTS
0:11:12 > 0:11:15MOTOR REVS
0:11:16 > 0:11:19HEAVY CONSTRUCTION NOISE
0:11:31 > 0:11:34Then I was in the cinema, but the screen was blank and there
0:11:34 > 0:11:36were only two chairs.
0:11:38 > 0:11:42And he was standing in the doorway, a very narrow doorway.
0:11:42 > 0:11:46I had to squeeze through it and we touched.
0:11:46 > 0:11:49I could feel him watching me, his eyes boring into me
0:11:49 > 0:11:50everywhere I went.
0:11:50 > 0:11:53HE SNORES SOFTLY BEHIND HER
0:11:53 > 0:11:58And he called out and asked me how my work was going.
0:11:58 > 0:12:02And he really listened and I told him.
0:12:02 > 0:12:06He never took his eyes off me and when he spoke he had
0:12:06 > 0:12:07a beautiful deep voice.
0:12:08 > 0:12:10And I wanted him to touch me so badly.
0:12:14 > 0:12:16SHE BREATHES SHAKILY
0:12:35 > 0:12:39I can barely make any decisions at all, to be honest.
0:12:39 > 0:12:43I start making decisions based on stupid things that I think about.
0:12:45 > 0:12:49I thought we would just sort of miraculously come to some...
0:12:49 > 0:12:52unified position,
0:12:52 > 0:12:56based on a mixture of intellect and intuition that somehow
0:12:56 > 0:12:59magically synchronise.
0:12:59 > 0:13:01HE LAUGHS
0:14:17 > 0:14:20..garden carries traces of a body, in a way,
0:14:20 > 0:14:24because a yard is based on a human measurement.
0:14:24 > 0:14:27So, you've got these kind of moments where you keep encountering
0:14:27 > 0:14:29these three foot here, three foot there,
0:14:29 > 0:14:34and they're basically the reach of an adult male.
0:14:34 > 0:14:37And it's interesting that... I don't know if this was subconscious, but
0:14:37 > 0:14:41it's almost like the architect had stood in the garden and then
0:14:41 > 0:14:44reached out from the house, and where their fingertips were, that's
0:14:44 > 0:14:47where a retaining wall would be. A low retaining wall.
0:14:47 > 0:14:49So, all the way around the house
0:14:49 > 0:14:53you've got these moments of...of reach.
0:14:53 > 0:14:55BIRDS SING
0:15:06 > 0:15:09First you look at it and you think that's some kind of...possibly
0:15:09 > 0:15:11a beech tree or something like that.
0:15:11 > 0:15:13But actually, if you look at the leaf shape and so on,
0:15:13 > 0:15:15it's very special. Oop, sorry. Heh.
0:15:15 > 0:15:17I'm always doing that.
0:15:17 > 0:15:19You know... So, you know, the way it's been cut,
0:15:19 > 0:15:22it means that you've got these different levels. The different
0:15:22 > 0:15:26views from the different floors of the house give you a very particular
0:15:26 > 0:15:31kind of layering, you know, of the foliage and what not. It's good.
0:15:31 > 0:15:33Yeah, OK. Yeah, thank you. It's great, very unique.
0:15:33 > 0:15:35Should we go back inside? Yeah.
0:15:47 > 0:15:50I have to say, I have always wanted to be inside this house. Exactly.
0:15:58 > 0:16:02Original spiral staircase and I always wonder if they...you know,
0:16:02 > 0:16:06I always wonder if they intended to go right through to the roof. Mm.
0:16:06 > 0:16:09I mean, it's about the only thing I would really suggest changing
0:16:09 > 0:16:11about the house, probably. Right.
0:16:11 > 0:16:14That would still be in keeping, you know, with its importance.
0:16:14 > 0:16:15Go all the way up.
0:16:15 > 0:16:20Yeah, think about it. I just think people didn't do it then.
0:16:20 > 0:16:23Roof terraces. I don't know, you're the expert.
0:16:23 > 0:16:25We claim to be. Yes.
0:16:25 > 0:16:28How long have you lived here, do you mind me asking?
0:16:28 > 0:16:3018 years, I suppose now, 17? Feels like 40 or something.
0:16:30 > 0:16:32I mean... Well, don't know. Doesn't it?
0:16:32 > 0:16:33Bit of a disagreement.
0:16:33 > 0:16:35I really love the house still and I'll be
0:16:35 > 0:16:37sorry to leave it.
0:16:39 > 0:16:41Shall we go into the bedroom?
0:16:41 > 0:16:43Yes, yes, of course. Right.
0:16:50 > 0:16:54Might take a while.
0:16:54 > 0:16:55All right.
0:16:59 > 0:17:02God, it used to fit.
0:17:02 > 0:17:04Don't do the neck up, it's choking me already.
0:17:04 > 0:17:05You sure? Yeah.
0:17:08 > 0:17:09Maybe. More?
0:17:09 > 0:17:10Yeah, just up to the collar.
0:17:15 > 0:17:18I'm going to go and make some things. Ahem, do I look all right?
0:17:18 > 0:17:20What? Do I look all right?
0:17:24 > 0:17:28Don't have any fear, just get in. Trust it. It's amazing.
0:17:29 > 0:17:32We've got the wine if anything goes wrong. HE LAUGHS
0:17:32 > 0:17:35LIFT STARTS
0:17:37 > 0:17:39He'll end up in Feltham Young Offenders Institute anyway.
0:17:39 > 0:17:42Oh, no, William, you always go to the worst-case scenario.
0:17:42 > 0:17:45It is not going to get that far. It happens, you know, it happens.
0:17:45 > 0:17:47It does because that's what you see every day in court.
0:17:47 > 0:17:49That's not going to be Matthew's path. No.
0:17:49 > 0:17:52We've just got to help him and support him. OK, all right.
0:17:52 > 0:17:55He's doing his homework at the moment. Mm-hmm.
0:17:55 > 0:17:56Well, that's good, you see? Well.
0:17:56 > 0:17:59Yes, I mean, as long as he's doing it. Yeah.
0:17:59 > 0:18:01I mean, if he... Would you mind if I just had a little look,
0:18:01 > 0:18:04cos I can see through? I just want to see that he's still...
0:18:04 > 0:18:07Don't worry so much about him, he'll be OK. No, I'm just checking.
0:18:07 > 0:18:10It's OK, it's OK. Sorry, it's just a bit of a stressful night. I mean...
0:18:10 > 0:18:13HE CHUCKLES You know, you can imagine. I understand.
0:18:13 > 0:18:16Sorry, it's very boring going on about children the whole time.
0:18:20 > 0:18:22HE COUGHS
0:19:12 > 0:19:14Does this actually come off or...?
0:19:14 > 0:19:15Ever?
0:19:15 > 0:19:16This thing.
0:19:30 > 0:19:32POLE FALLS
0:20:38 > 0:20:40CLATTERING
0:20:45 > 0:20:48It's not about wanting to, it's the fact that we can.
0:20:48 > 0:20:49We have time, we can do something.
0:20:49 > 0:20:51We can...
0:20:51 > 0:20:56build something. We've got possibilities, you know?
0:20:56 > 0:20:58We should do it while we can.
0:21:19 > 0:21:20We've been here so long.
0:21:22 > 0:21:25There's no children, there's nothing to stop us doing it.
0:21:25 > 0:21:26We can do what we want.
0:21:35 > 0:21:39THUNDER ROLLS
0:21:50 > 0:21:52OK.
0:21:58 > 0:22:01Try and enjoy the house while you can. Yep.
0:22:01 > 0:22:02OK?
0:22:02 > 0:22:04Watch out for the phantom pisser.
0:22:43 > 0:22:47BOILER HUMS AND CLANKS
0:23:14 > 0:23:16ALARM ARMS
0:23:35 > 0:23:38BOILER HUMS AND CLANKS
0:24:26 > 0:24:28THUD
0:24:29 > 0:24:31THUD
0:24:41 > 0:24:46DULL RATTLE
0:25:25 > 0:25:28VAGUE COMMOTION OUTSIDE
0:25:28 > 0:25:29WOMAN SCREAMS
0:25:29 > 0:25:30BANG
0:25:36 > 0:25:39SOMEONE POUNDS ON A DOOR
0:25:40 > 0:25:42ALARM SOUNDS
0:25:42 > 0:25:45DOG BARKS
0:25:53 > 0:25:54ALARM STOPS
0:26:29 > 0:26:31CLATTERING UPSTAIRS
0:26:45 > 0:26:48SHE JOGS UPSTAIRS
0:27:35 > 0:27:41PEOPLE LAUGH AND TALK
0:28:28 > 0:28:31PHONE RINGS
0:28:31 > 0:28:34TOOTHBRUSH BUZZES
0:28:44 > 0:28:48TOOTHBRUSH BUZZES
0:29:39 > 0:29:40Well, there is some regret.
0:29:40 > 0:29:43I mean, there's two things. There's the nostalgia, really. Mm.
0:29:43 > 0:29:47Regret maybe is a bit strong. Mm. But there's the nostalgia.
0:29:47 > 0:29:50I mean, if I had to make the decision again, I probably
0:29:50 > 0:29:52would have done what I've done. Oh.
0:29:52 > 0:29:55But the nostalgia is a permanent factor... Yeah.
0:29:55 > 0:29:56..of making such a huge move.
0:29:56 > 0:29:59But I can't imagine... All those maintenance factors
0:29:59 > 0:30:02will be the same wherever you are. Exactly.
0:30:02 > 0:30:04I live in a cabin here and it was only yesterday that I
0:30:04 > 0:30:06finished all the maintenance,
0:30:06 > 0:30:08and the cabin's only six metres by three.
0:30:08 > 0:30:11Yeah. You know, there's always going to be maintenance, even if it's a
0:30:11 > 0:30:13tiny place, there's going to be maintenance.
0:30:13 > 0:30:15And, you know, the original architects, they stayed here
0:30:15 > 0:30:18until they were in their 80s. They had a very happy marriage here.
0:30:18 > 0:30:21I feel it's in the walls, you know. Oh, did they?
0:30:21 > 0:30:23Yeah, the house has recorded, you know, this happy,
0:30:23 > 0:30:27long happy marriage from the... Oh, gorgeous.
0:30:27 > 0:30:29You know, from the building of the house till their 80s, yeah. Yeah.
0:30:29 > 0:30:32HEAVY CONSTRUCTION
0:30:55 > 0:30:58CAR HORN TOOTS
0:30:58 > 0:31:00Me ol' mate, what's up?
0:31:00 > 0:31:04What's going on? That's my car there. What's up?
0:31:04 > 0:31:07Come on. What's up, mate?
0:31:07 > 0:31:11What are you doing? I'm parking here. I'm waiting for a bit of paint to come down.
0:31:11 > 0:31:13Private. It don't look private to me, mate.
0:31:13 > 0:31:15Public. Private. Yeah, I know, but it just...
0:31:15 > 0:31:16This is everyone else's bit...
0:31:16 > 0:31:18There's nothing up there saying...
0:31:18 > 0:31:21..and this is my bit. Can you go in? H, can you go inside? Your bit.
0:31:21 > 0:31:23No, this, nothing says this is private.
0:31:23 > 0:31:24Looks like the back of a shop to me.
0:31:24 > 0:31:25Look!
0:31:25 > 0:31:27It's context, right?
0:31:27 > 0:31:29Building. Yeah. This is everyone else's bit.
0:31:29 > 0:31:31What's going on? I don't understand.
0:31:31 > 0:31:34This is driving me nuts. I'm going to be here five minutes, that's all.
0:31:34 > 0:31:37Just, look, just go inside. He'll move it. I'll get him to move it.
0:31:37 > 0:31:39Five minutes. Can't do it now.
0:31:39 > 0:31:42You know what? I'm going to put some big gates up here...
0:31:42 > 0:31:44That's what I would do... and write "fuck off" across them.
0:31:44 > 0:31:47I'd put gates all the way along here and that way you won't get
0:31:47 > 0:31:48this problem, will ya?
0:31:48 > 0:31:50Can't move it now, can you?
0:31:50 > 0:31:53No, I can't move it, I'm waiting for some paint. H, just...
0:31:53 > 0:31:54Move it, move it. No, I can't.
0:31:54 > 0:31:57I'm going to pop over there, get the paint and just come back, all right?
0:31:57 > 0:32:01Move it, move it. Got the picture? Got the picture? Move it.
0:32:01 > 0:32:03Fuck off, fucker.
0:32:03 > 0:32:05You're so aggressive. Fucker.
0:32:10 > 0:32:13Where you going? I'm just moving the car.
0:32:40 > 0:32:45THUMPING UPSTAIRS
0:32:47 > 0:32:48CHAIR ROLLS OVERHEAD
0:32:49 > 0:32:54INTERCOM BEEPS
0:32:54 > 0:32:55Hi.
0:32:55 > 0:32:57'Hi.
0:32:57 > 0:32:59'What are you doing?'
0:32:59 > 0:33:01Just working.
0:33:01 > 0:33:03'Uh-huh.' Just working.
0:33:04 > 0:33:06'Want to come upstairs?'
0:33:08 > 0:33:11I can't at the moment. Maybe later.
0:33:11 > 0:33:12'Uh-huh.
0:33:13 > 0:33:16'Well, you won't feel like it then, will you?'
0:33:17 > 0:33:20HE HANGS UP
0:33:24 > 0:33:26CHAIR ROLLS OVERHEAD
0:33:33 > 0:33:37THUDDING
0:33:39 > 0:33:40CHAIR ROLLS OVERHEAD
0:35:27 > 0:35:28Mm-hm.
0:35:31 > 0:35:32She's not moving.
0:36:02 > 0:36:03Just do it.
0:36:04 > 0:36:07I know, I know. I want you to get... Hey, hey, I want to play.
0:36:07 > 0:36:09Do you want to play first? Nope.
0:36:13 > 0:36:15No?
0:36:20 > 0:36:22Suppose it's too fast?
0:36:23 > 0:36:24Hm? I like it fast.
0:36:34 > 0:36:36And, you know...
0:36:49 > 0:36:51I can't with-with, eh...
0:36:53 > 0:36:56..with like, eh, just a-a-a body.
0:36:58 > 0:36:59You know?
0:37:02 > 0:37:03Hm?
0:37:16 > 0:37:20Are they scared of getting too close to it?
0:37:20 > 0:37:22No, no, it's got nothing to do with that.
0:37:22 > 0:37:24Lazy?
0:37:27 > 0:37:29Perhaps they want you to say it
0:37:29 > 0:37:30so they don't look stupid.
0:37:30 > 0:37:34No, I'm not doing that. I'm not going to tell them.
0:37:34 > 0:37:38It's not my job to classify myself or tell people...
0:37:38 > 0:37:42Describe to people what species I'm part of or what subset,
0:37:42 > 0:37:45you know, of waterfowl I am.
0:37:46 > 0:37:50See what I mean? Mm. Every artist gets that. No, they don't.
0:37:50 > 0:37:53It's really...it's particular to now.
0:37:53 > 0:37:56It's a unique problem now. It's not an old problem.
0:37:56 > 0:38:02It is, every artist, every musician always gets asked, you know,
0:38:02 > 0:38:05"Where do you fit in? Define yourself."
0:38:05 > 0:38:07I don't know why you're making such a fuss about it.
0:38:07 > 0:38:09Sounds like you're on her side.
0:38:09 > 0:38:13Well, just think you're lucky to have people write about you
0:38:13 > 0:38:16and are interested in your ideas and they want to talk to you
0:38:16 > 0:38:19because they think you're...
0:38:19 > 0:38:20interesting.
0:38:21 > 0:38:24And, uh, they want to engage with you and that's...
0:38:27 > 0:38:29..that's a nice position to be in.
0:38:35 > 0:38:38Maybe it's something else. Maybe...
0:38:39 > 0:38:41..you're unhappy about something else.
0:38:43 > 0:38:45Cos you've dealt with that so many times.
0:38:47 > 0:38:48HE CLEARS HIS THROAT
0:38:48 > 0:38:53INTERCOM BEEPS
0:38:59 > 0:39:00Hi.
0:39:03 > 0:39:04'I love you.'
0:39:32 > 0:39:36PASSING CAR PLAYS HEAVY BASS
0:40:13 > 0:40:15I don't think there's anything really wrong with him.
0:40:15 > 0:40:18You've got to give him a little... We've just got to be very careful.
0:40:18 > 0:40:21This is a difficult...it's a very tricky stage. Very hard.
0:40:21 > 0:40:23I mean, to be honest, I was all over the place as a teenager.
0:40:23 > 0:40:25So, I'm just very, very wary. Oh, I see.
0:40:25 > 0:40:28I'm just... A-ha, aah. Maybe we should go to the party. Well...
0:40:28 > 0:40:31I know what you mean, I know what you mean and, you know, yes,
0:40:31 > 0:40:34but he's just not quite ready for that kind of stuff.
0:40:34 > 0:40:36He's just not. You can't write him...
0:40:36 > 0:40:38And now it's just... One has to be so careful.
0:40:38 > 0:40:41You can't write him out an ASBO or something, keep him...
0:40:41 > 0:40:44Well, it's just much heavier and there are these kids with knives.
0:40:44 > 0:40:46Just fascinating, seeing it from the other side.
0:40:46 > 0:40:48Yes, you won't have seen it from the other way.
0:40:48 > 0:40:50Are we in? What are we doing? NEIGHBOUR LAUGHS
0:40:50 > 0:40:52You are funny, aren't you? We're thinking.
0:40:52 > 0:40:54Yes, it's lovely actually, just seeing the sort of...
0:40:54 > 0:40:57That used to terrify me as a kid, the idea of knocking on the
0:40:57 > 0:40:59door and he would answer the door or something. Mm.
0:40:59 > 0:41:01It was one of those things.
0:41:01 > 0:41:03Oh. So, you sure you really want to sell? It's a doppelganger thing.
0:41:03 > 0:41:06Beg your pardon? You really want to sell? Uh, yeah.
0:41:06 > 0:41:09I mean, it's such a stunning place. I just dream of living there myself.
0:41:09 > 0:41:11You say that, but who would want to live...? It's very odd.
0:41:11 > 0:41:14Sorry, I'm not being rude but it is odd. It's a fantastic place.
0:41:14 > 0:41:16It's not, it's... Do you want to put in an offer?
0:41:16 > 0:41:19I wish I could but on my minimal legal aid barrister salary,
0:41:19 > 0:41:22unfortunately I'm not able... No, it wouldn't be, it's not a family home.
0:41:22 > 0:41:25Sorry, I don't mean... No, no. It's not really a family home, is it?
0:41:25 > 0:41:28It's an artist's home and that's what it's... Well, they are artists.
0:41:28 > 0:41:29I mean, they belong there.
0:41:29 > 0:41:32Yes, exactly, it suits them but it wouldn't be right for us.
0:41:32 > 0:41:34No, no, I'm not... God, I feel, I feel really hot.
0:41:34 > 0:41:36Ooh! What? Are you OK? Shit.
0:41:36 > 0:41:38Oh, God, right.
0:41:38 > 0:41:40She's going to be fine. She's going to be fine. What's happened?!
0:41:40 > 0:41:43Leave... Hang on, hang on. Let's have some air. Is it the food?
0:41:43 > 0:41:45You can open this window if you like. Hang on, hang on.
0:41:45 > 0:41:47I'll call a doctor, yeah? Oh, my God.
0:41:47 > 0:41:50Oh, I think... D. I'm all right. Can you stand? No, no, shall I...?
0:41:50 > 0:41:54Get some water, William, for Christ's sake. All right, all right.
0:41:54 > 0:41:56I thought you were going to leave me down there.
0:41:56 > 0:41:58You can't keep doing that kind of thing.
0:41:58 > 0:42:00Why? I thought you...I thought you'd be pleased.
0:42:00 > 0:42:03No, someone's going to give you the kiss of life if you're not careful.
0:42:03 > 0:42:06SHE GIGGLES And it's not going to be me.
0:42:06 > 0:42:08I was having a good time. I couldn't stand it any longer,
0:42:08 > 0:42:11going on about their children all the time. I just wanted to get home.
0:42:11 > 0:42:13DOOR OPENS
0:42:13 > 0:42:14DOOR CLOSES
0:42:23 > 0:42:25Mm?
0:42:31 > 0:42:32That's better.
0:42:37 > 0:42:38HE CLEARS HIS THROAT
0:42:43 > 0:42:44Hang on.
0:43:06 > 0:43:08I had an idea. I had an idea.
0:43:08 > 0:43:10I had an idea. You're not going out.
0:43:10 > 0:43:12Hm? You're not going out.
0:43:12 > 0:43:14Yeah, yeah, yeah, it's fine. It's too late.
0:43:14 > 0:43:16No, it's good. I'll feel better. You'll feel better too.
0:43:16 > 0:43:17It's too late.
0:43:17 > 0:43:19No, no, no. No. No, no, no, no.
0:43:19 > 0:43:22No, you're not going out. It's ridiculous.
0:43:22 > 0:43:25It's good, it's lovely. Don't you feel better?
0:43:26 > 0:43:29Right, hang on. No, no, no. What are you doing?!
0:43:29 > 0:43:31It's fine. Where's my coat?
0:43:31 > 0:43:34It's too late. It's good for you, it's good for you.
0:43:34 > 0:43:37No, no. It's good for you. Two scarves too many.
0:43:38 > 0:43:42Please...please don't go. It's good. Please don't go out.
0:43:42 > 0:43:44You'll like it. You'll be impressed.
0:43:44 > 0:43:46No, I don't want you to go. You'll be impressed.
0:43:46 > 0:43:49Please, please, please don't go. No, no, no, you'll be impressed.
0:43:49 > 0:43:51No, no, no, no. No, no, no. I really worry.
0:43:51 > 0:43:55No, no. Look, look, let me get my shit together.
0:43:55 > 0:43:57It reminds me... Look at...look, how do I look?
0:43:57 > 0:44:00No, please don't go out. I beg you.
0:44:00 > 0:44:02It's going to be fun. It's fun.
0:44:02 > 0:44:04No, I'm going to really worry, please. No, no, no.
0:44:04 > 0:44:06It's too dangerous, you know, it reminds me of what...
0:44:06 > 0:44:08It's not dangerous. Come on, let's look at it.
0:44:08 > 0:44:13Look at everyone who's out there. Look, it reminds me of what happened before. No-one's watching.
0:44:13 > 0:44:14Come on. Let's go.
0:44:14 > 0:44:17Please, please. No, no, no, it's fine. It's nice, it's lovely.
0:44:17 > 0:44:19Please. Look at it. It's really nice.
0:45:18 > 0:45:21CAR ALARM SOUNDS
0:45:24 > 0:45:26CAR HORN TOOTS
0:45:44 > 0:45:47Yeah, just...just don't worry about me. Go back to work.
0:45:55 > 0:45:58CAR ALARM SOUNDS
0:46:10 > 0:46:13CHURCH BELLS AND TRAFFIC MINGLE
0:46:40 > 0:46:42HELICOPTER WHIRS
0:47:33 > 0:47:36SHE BREATHES SHAKILY
0:47:44 > 0:47:45SNAP
0:48:04 > 0:48:06STOOL SLIDES
0:48:40 > 0:48:45INTERCOM BEEPS
0:48:49 > 0:48:51Yeah?
0:48:51 > 0:48:53'Hi.
0:48:53 > 0:48:54'Um...' What?
0:48:55 > 0:48:58What are we doing tonight?
0:48:58 > 0:48:59I'm...I'm working at the moment.
0:48:59 > 0:49:02'Uh-huh.' SHE HANGS UP
0:49:02 > 0:49:05CHAIR ROLLS OVERHEAD
0:49:17 > 0:49:19SHE BREATHES SHAKILY
0:49:48 > 0:49:50DOOR CLOSES
0:49:50 > 0:49:52FOOTSTEPS FADE
0:49:55 > 0:49:57PEOPLE TALK LOUDLY
0:50:09 > 0:50:11OUTSIDE: Fucking fuck!
0:50:13 > 0:50:14FUCKER!
0:50:23 > 0:50:26CAR STARTS
0:50:28 > 0:50:31SOMEONE RUNS PAST
0:50:48 > 0:50:54SIRENS WAIL
0:51:05 > 0:51:07SHE BREATHES NERVOUSLY
0:51:09 > 0:51:12CAR ALARM SOUNDS
0:51:20 > 0:51:24TRAFFIC PASSES NOISILY
0:51:24 > 0:51:26SIRENS APPROACH
0:51:34 > 0:51:37SIRENS AND SHOUTING
0:51:37 > 0:51:38OUTSIDE: Get off me!
0:51:38 > 0:51:41KNOCKING
0:51:41 > 0:51:42CHORUS OF SIRENS
0:51:42 > 0:51:45SHE DIALS A NUMBER
0:51:46 > 0:51:49VEHICLE MOVES OFF
0:51:53 > 0:51:57PHONE RINGS
0:52:48 > 0:52:49DOOR OPENS
0:52:51 > 0:52:54DOOR CLOSES
0:53:10 > 0:53:13HE SNORES SOFTLY
0:53:21 > 0:53:25SHE STIRS
0:55:58 > 0:55:59SHE BREATHES DEEPLY
0:56:39 > 0:56:41SHE BREATHES RAGGEDLY
0:59:22 > 0:59:25REMOTE CONTROL CAR BUZZES
1:00:25 > 1:00:28SHE KNOCKS
1:00:28 > 1:00:29H?
1:00:29 > 1:00:31Are you OK in there?
1:00:32 > 1:00:33'What?' Are you OK?
1:00:47 > 1:00:48You sure you're all right?
1:00:55 > 1:00:57DULL METALLIC SCRAPING
1:01:00 > 1:01:01'Stop worrying about me.'
1:01:23 > 1:01:25MUSIC PLAYS OUTSIDE
1:01:25 > 1:01:27PASSING SHOUTS
1:01:45 > 1:01:47PASSING FOOTSTEPS
1:02:06 > 1:02:10DREAMY CHIMES
1:02:10 > 1:02:13DRESS RUSTLES
1:02:26 > 1:02:28DOORBELL CHIMES
1:02:37 > 1:02:40Just them. Yeah?
1:02:40 > 1:02:42DOORBELL CHIMES
1:02:44 > 1:02:45Come on.
1:02:51 > 1:02:53Oop. Oh, hi, hi. Hello.
1:02:53 > 1:02:56Come in. Good to see you again. And you. Hiya. Hi.
1:02:56 > 1:02:59Hello. Glad to see you. Good to see you. Welcome back.
1:02:59 > 1:03:02Hi. Hello, how are you? Good to see you. Yeah, good.
1:03:02 > 1:03:04Right. OK, can you take your shoes off, please? We forgot.
1:03:04 > 1:03:06Oh, of course. Yeah.
1:03:15 > 1:03:18There we go. OK, great. Thanks.
1:03:18 > 1:03:20Thanks.
1:03:21 > 1:03:25Up until you exchange contracts, it's completely up to you and nobody
1:03:25 > 1:03:30has to know why you're refusing to sell to them specifically.
1:03:30 > 1:03:33Um, we'll...and we're pretty sharp at keeping
1:03:33 > 1:03:35a beady eye out for developers.
1:03:35 > 1:03:39Even developers disguised as domestic buyers. Mm. Mm.
1:03:40 > 1:03:43Can it be in a contract even to say, you know,
1:03:43 > 1:03:45they won't pull the building down?
1:03:45 > 1:03:50It's hard to stipulate that and you risk alienating buyers at the
1:03:50 > 1:03:52point of sale. Mm.
1:03:52 > 1:03:54Um, but you'll get a very... You'll have an instinct.
1:03:54 > 1:03:56As soon as people walk into the house, you'll have
1:03:56 > 1:03:59a very clear instinct of their taste and if they fall in love with
1:03:59 > 1:04:02the house as it is. People start talking about what they
1:04:02 > 1:04:05would do to the house. "This is where... Oh, I love this kitchen,
1:04:05 > 1:04:08"this is what I'd do to the bathroom." Yeah.
1:04:08 > 1:04:10In a way, I can't even go there,
1:04:10 > 1:04:12to start thinking what they might do with the house.
1:04:12 > 1:04:14You know, I'm going to have to cut off emotionally and
1:04:14 > 1:04:18separate, otherwise, you know, it's going to be too hurtful.
1:04:18 > 1:04:20But I don't ever want it to be pulled down, you know.
1:04:20 > 1:04:22It's important that it isn't.
1:04:22 > 1:04:24You don't have to be here when people are being shown round
1:04:24 > 1:04:28if you don't want to. I mean, we can arrange whatever's useful for you.
1:04:28 > 1:04:32Mm. And we'll try and make it as painless as we possibly can. Mm.
1:04:32 > 1:04:37METALLIC SAWING SOUND
1:04:37 > 1:04:39POLES FALL
1:04:53 > 1:04:56Yeah, I've got a few things, you know, ideas that I'm working on
1:04:56 > 1:05:00at the moment that might be really good, you know, to develop for that.
1:05:02 > 1:05:05Yeah, but we'd have to have a... you know, have a good talk and...
1:05:07 > 1:05:08Yeah.
1:05:10 > 1:05:12No, nothing this year, no.
1:05:12 > 1:05:15So, you know, it's a good time to do it really, cos I haven't sort
1:05:15 > 1:05:16of saturated.
1:05:18 > 1:05:22I haven't been overexposed or anything so it would be good.
1:05:22 > 1:05:23Yeah.
1:05:24 > 1:05:26Mm.
1:05:34 > 1:05:38Mm, well, thank you very much. Yeah, that's good to hear.
1:05:38 > 1:05:43Um, yeah, because I think I've been quite... Working quite sort of
1:05:43 > 1:05:45insular in a way.
1:05:45 > 1:05:47Which, you know, is a strength, I think,
1:05:47 > 1:05:49of the work as well but there comes a time when it
1:05:49 > 1:05:55has to go out and it makes you...not so much to be seen but, yeah,
1:05:55 > 1:06:00makes me reassess what I'm doing if I let go of it sometimes.
1:06:00 > 1:06:04And, uh, yeah, moves it along so that would be brilliant.
1:06:15 > 1:06:16SCAFFOLDER SHOUTS
1:06:27 > 1:06:30Yeah, that's very exciting, yeah.
1:06:30 > 1:06:33That's a very exciting prospect.
1:06:37 > 1:06:39Mm.
1:06:39 > 1:06:42OK, so, shall I wait for an e-mail for you, or...? Yeah.
1:06:43 > 1:06:45Yeah.
1:06:50 > 1:06:51Mm, absolutely.
1:06:51 > 1:06:54That's...yeah, really exciting.
1:06:54 > 1:06:55Great.
1:06:55 > 1:06:56Thanks very much.
1:06:56 > 1:06:58Bye.
1:07:24 > 1:07:30INTERCOM BEEPS
1:07:33 > 1:07:34'Hello.'
1:07:36 > 1:07:37Do you still love me?
1:07:38 > 1:07:41'Oh, of course. What kind of a question's that? Of course I do.
1:07:45 > 1:07:50'Did that just arrive out of the blue?'
1:07:50 > 1:07:51Sort of.
1:07:53 > 1:07:54'What's the problem?'
1:07:54 > 1:07:56Nothing. 'You sure?'
1:07:56 > 1:07:57Yeah.
1:07:57 > 1:08:00Just-just needed to know. 'Uh-huh.'
1:08:00 > 1:08:02OK.
1:08:02 > 1:08:03Talk to you later. 'OK.'
1:08:08 > 1:08:11CHAIR ROLLS OVERHEAD
1:08:14 > 1:08:17THUMPING OVERHEAD
1:08:20 > 1:08:21CHAIR ROLLS OVERHEAD
1:09:11 > 1:09:15CAR ALARM SOUNDS
1:09:34 > 1:09:37MUFFLED ALARM SOUND
1:09:38 > 1:09:42ALARM FADES
1:09:52 > 1:09:57'40s STYLE DANCE MUSIC
1:09:59 > 1:10:01BELL TOLLS
1:10:46 > 1:10:50Maybe this is one aspect of the work that you're capable of
1:10:50 > 1:10:53putting into people's minds. A critical and analytical
1:10:53 > 1:10:57framework, that otherwise they wouldn't have, yet you do it without
1:10:57 > 1:11:01being overly didactic or telling them exactly how to behave or think.
1:11:01 > 1:11:07And I have to say, I spend a lot of time nowadays when I'm
1:11:07 > 1:11:11looking at certain situations, I'm brought back to your work somehow.
1:11:11 > 1:11:15It stays with me, it haunts me, it somehow... It feeds my...
1:11:15 > 1:11:18It works as a road map to try and unpack
1:11:18 > 1:11:22a lot of these kind of psychological aspects of the domestic that
1:11:22 > 1:11:25are normally quite hard to reach.
1:11:25 > 1:11:28When you're working on something yourself, are you...?
1:11:28 > 1:11:29What are you responding to most profoundly?
1:11:29 > 1:11:34Is it the place itself or is it the things that come from your
1:11:34 > 1:11:38private life that somehow find their way into the work?
1:11:38 > 1:11:42It's ridiculous if you get to the point where you're not even
1:11:42 > 1:11:46prepared to say anything at all. It makes me feel I'm missing something
1:11:46 > 1:11:50or that I just a...happen to be there at the same time as you.
1:11:50 > 1:11:52I have no other purpose.
1:11:52 > 1:11:55I know, but it's funny because you say that about my work,
1:11:55 > 1:11:58but actually I find you very withholding emotionally
1:11:58 > 1:12:01and you never talk about your emotions or what you're feeling.
1:12:01 > 1:12:04That's a construct, it's not a... People are different.
1:12:04 > 1:12:06Some people do, some people don't.
1:12:06 > 1:12:08Well, some people talk about their work, some people don't.
1:12:08 > 1:12:11Right, right. Well, then it's fine, it doesn't bother me really.
1:12:11 > 1:12:14Can just... You just said it did.
1:12:14 > 1:12:17It bothers me a little bit but I'm curious and I support it,
1:12:17 > 1:12:21but I'm also... I feel that there's this barrier.
1:12:21 > 1:12:24I can be useful to you. I can be useful. I'm not completely...
1:12:24 > 1:12:26But the thing is... ..useless.
1:12:26 > 1:12:28I...
1:12:28 > 1:12:32I don't want your input, I don't want your judgment, I don't
1:12:32 > 1:12:36want your ideas, I don't want your cleverness because it derails me.
1:12:36 > 1:12:39Then what-what's... what am I doing then, in the end?
1:12:39 > 1:12:42I'm just sort of a... I'm company.
1:12:42 > 1:12:44Yeah. Or something. Yeah, you're my companion.
1:12:50 > 1:12:57BEEPING
1:12:59 > 1:13:01CHAIR ROLLS
1:13:01 > 1:13:04HE HUMS
1:13:06 > 1:13:09BOILER HUMS AND CLANKS
1:13:09 > 1:13:11HE HUMS
1:13:11 > 1:13:14SHE JOINS IN
1:13:19 > 1:13:21CHEERFUL '40s STYLE MUSIC
1:13:21 > 1:13:23HE LAUGHS
1:13:27 > 1:13:29HE LAUGHS
1:13:29 > 1:13:31# King was in the counting house
1:13:31 > 1:13:35# The counting house
1:13:35 > 1:13:37# Counting his money
1:13:37 > 1:13:39# Wearing an artful grin
1:13:39 > 1:13:41# The Queen began to plead then roar
1:13:41 > 1:13:43# And cried once more
1:13:43 > 1:13:44# "Unlock this door!"
1:13:44 > 1:13:47# The King replied, "Shan't, I'm busy, you can't come in.
1:13:49 > 1:13:54# "When you were eating honey then you made me wait, it's true.
1:13:54 > 1:13:56# "For your housekeeping money, you..." #
1:14:02 > 1:14:04CHAIR ROLLS OVERHEAD
1:14:18 > 1:14:20INTERCOM BEEPS
1:14:26 > 1:14:28Hello.
1:14:28 > 1:14:32'I'm cold.' You're cold? 'Mm...freezing.'
1:14:32 > 1:14:35Why don't you put a coat on or something?
1:14:35 > 1:14:38'I've got a jumper on.'
1:14:38 > 1:14:40Put another one on. 'Mm.'
1:14:40 > 1:14:42You don't feel cold?
1:14:42 > 1:14:46'No, no, I'm not cold but maybe, I mean, I've been run...you know...
1:14:46 > 1:14:48'I haven't been thinking about it.
1:14:50 > 1:14:54'Are you trying to tell me something?'
1:14:54 > 1:14:55Mm.
1:14:55 > 1:14:57'Do you want me to go and look at the boiler?'
1:14:59 > 1:15:01Wouldn't mind.
1:15:01 > 1:15:02'OK.
1:15:04 > 1:15:06'I'll stop what I'm doing and do that.'
1:15:06 > 1:15:07OK.
1:15:09 > 1:15:11HE HANGS UP
1:15:11 > 1:15:12CHAIR ROLLS OVERHEAD
1:15:20 > 1:15:23FOOTSTEPS ON STAIRS
1:15:50 > 1:15:53The Chans are a family but they were worried about actually
1:15:53 > 1:15:55selling to a family because it's so...
1:15:55 > 1:15:56Yeah, they don't have any children
1:15:56 > 1:15:59so I suppose they're worried it's not very child friendly.
1:15:59 > 1:16:02Right, well, that's what I'm here to sort of have a look at. Yeah.
1:16:02 > 1:16:06OK. Yeah. As you know they've got three young children. Yes.
1:16:06 > 1:16:10And, with the parents, that's five people all on the top floor
1:16:10 > 1:16:12so I'd be interested to, you know,
1:16:12 > 1:16:15work our way through the house, but perhaps we should start down here.
1:16:15 > 1:16:17Absolutely. How can we help you? What do you want to see?
1:16:17 > 1:16:20Well, there's two key things I'd like to look at.
1:16:20 > 1:16:23One is the lift and the lift car in relation to the lift shaft,
1:16:23 > 1:16:25just to see how much space there is,
1:16:25 > 1:16:28cos it looks like here there's quite a lot of space.
1:16:31 > 1:16:32OK.
1:16:35 > 1:16:36Oh, right, well...
1:16:36 > 1:16:39So, it's a pretty small car within what looks like quite
1:16:39 > 1:16:41a big lift shaft itself.
1:16:43 > 1:16:47Yeah, I don't know how many, um...
1:16:47 > 1:16:49Quite a thin wall, yeah. Yep.
1:16:50 > 1:16:53'Are you happy with everything you've seen down here?
1:16:53 > 1:16:55'Yep, sure. Yeah.
1:16:55 > 1:16:58'Um, oh, shoes off, everybody. Oh, yes, of course. Sorry.
1:17:01 > 1:17:02'It's one of the house rules.
1:17:06 > 1:17:10'The balustrade is very open and these days you need to have
1:17:10 > 1:17:13'a gap of not more than four inches only.
1:17:13 > 1:17:15'So, it would be nice to preserve that but provide the safety
1:17:15 > 1:17:18'that we do need for a family house.
1:17:18 > 1:17:20'Especially with children, yeah.
1:17:20 > 1:17:22'Yeah, exactly.'
1:21:38 > 1:21:40CHURCH BELLS TOLL
1:21:53 > 1:21:56PASSING CAR PLAYS BASS
1:21:56 > 1:21:57HEAVY TRAFFIC
1:22:04 > 1:22:07Met someone I really liked, really attracted to him.
1:22:09 > 1:22:13And he asked me about my work and he talked about my work and...
1:22:13 > 1:22:15he really listened and he really got it.
1:22:17 > 1:22:19Uh...
1:22:19 > 1:22:21Oh, then we were running down a corridor...
1:22:23 > 1:22:25Stone steps,
1:22:25 > 1:22:26laughing.
1:22:30 > 1:22:32I loved the sound of his voice.
1:22:34 > 1:22:36Could've listened to it forever.
1:23:51 > 1:23:56SHE CRIES QUIETLY
1:24:16 > 1:24:21SHE CONTINUES CRYING
1:25:03 > 1:25:06SHE SNIFFS Hey.
1:25:06 > 1:25:07SHE SOBS QUIETLY
1:25:29 > 1:25:31LOUD TRAFFIC
1:25:42 > 1:25:45Hi. Hiya. How are you? Good, thanks. Hello, how are you?
1:25:45 > 1:25:49How's it going? All right, a bit cold. Cold? Yeah. I didn't dress up.
1:25:49 > 1:25:53Cup of tea to get you warm? I wouldn't mind, I wouldn't mind,
1:25:53 > 1:25:55but I've got to get home. OK. All right. Well, I won't keep you.
1:25:55 > 1:25:59You might want to pop in later. See you later. See you, bye. Bye.
1:26:13 > 1:26:18HER FOOTSTEPS ECHO CRISPLY
1:26:41 > 1:26:45We should get the house tattooed on my back. What do you think?
1:26:45 > 1:26:47THEY LAUGH
1:26:47 > 1:26:49Good idea?
1:26:49 > 1:26:52You'd better get me tattooed if you're getting the house.
1:26:52 > 1:26:55If I get you tattooed standing in the window of the house.
1:26:58 > 1:27:02And then if things don't work out I can always tattoo
1:27:02 > 1:27:06a curtain over you and then tattoo someone else into another window.
1:27:06 > 1:27:07THEY LAUGH
1:27:07 > 1:27:09You're such...
1:27:09 > 1:27:12You're such trouble. It's funny, it's not funny. No, it's not funny.
1:28:41 > 1:28:43WATER SLOSHES QUIETLY
1:28:48 > 1:28:51PLAYGROUND NOISE
1:28:59 > 1:29:02CONTINUOUS BEEPING
1:29:04 > 1:29:06ECHOING AND OVERLAPPING: Hi, what do you want to do later? I...
1:29:06 > 1:29:09Stay in on or go out? I don't really know what you mean. What you doing?
1:29:09 > 1:29:11What you doing? Uh, writing.
1:29:11 > 1:29:14We'll have children in here one day, won't we? Mm-hm.
1:29:14 > 1:29:16Exactly. We'll be perfect.
1:29:16 > 1:29:18You know, sometimes I get the feeling you'd rather be at home.
1:29:18 > 1:29:20I don't want to tell you, it'll spoil it. OK. Course.
1:29:20 > 1:29:23What do you want to do later, stay in or go out? What's wrong?
1:29:23 > 1:29:27Mm, nothing. When you were away... Uh-huh. I missed you so much.
1:29:27 > 1:29:29Really? 2036 probably. When's your next...hm-hm.
1:29:29 > 1:29:31WATER SLOSHES
1:29:51 > 1:29:54It's all sugar. Shall we do it? Yeah.
1:29:54 > 1:29:58Ahem, we're going to cut the...cut the house as it were.
1:29:58 > 1:30:00We're going to break the house.
1:30:00 > 1:30:04And I know a lot of you have been here over the years and it's been,
1:30:04 > 1:30:08uh, great and we've had such good times, and other people are new here.
1:30:08 > 1:30:12And, you know, we thought it'd be a good way to...
1:30:12 > 1:30:15I don't know, what would you say, celebrate?
1:30:15 > 1:30:19No. Commiserate? Say goodbye. Good way to say goodbye. Say goodbye.
1:30:19 > 1:30:22So, shall we do it? Yep. THEY LAUGH
1:30:22 > 1:30:24OK, I'm... You guide it though. You know what you're doing? No.
1:30:24 > 1:30:26THEY LAUGH
1:30:26 > 1:30:28GUESTS GASP
1:30:28 > 1:30:32GUESTS LAUGH AND CHEER
1:30:35 > 1:30:37There you go.
1:30:37 > 1:30:40There's got to be something in there. Oh, there goes the bathroom.
1:30:40 > 1:30:43THEY LAUGH
1:30:43 > 1:30:44OK. Try a bit? Tear a bit off.
1:30:44 > 1:30:48Tear a bit off. Absolutely, a bit of wall. Fantastic.
1:30:48 > 1:30:49Oh, it's delicious.
1:30:49 > 1:30:52Mm, hang on, I'm going to try and... Get into the cake bit.
1:30:52 > 1:30:56I'm going to try and cut some properly at the same time.
1:30:59 > 1:31:01Who wants the bed? Yeah, the bed.
1:31:01 > 1:31:04Hang on a second.
1:31:04 > 1:31:05Where's that other knife?
1:31:05 > 1:31:07There. Here.
1:31:09 > 1:31:11There you go.
1:31:13 > 1:31:16H, I can't get through it. Anyone want a tree?
1:31:16 > 1:31:18Broccoli, anyone?
1:31:18 > 1:31:20Bit of broccoli. H, you do it.
1:31:20 > 1:31:21Yeah, I'll have a go.
1:31:23 > 1:31:25I never liked that small room anyway.
1:31:25 > 1:31:28Yeah, we should've knocked those walls down.
1:31:28 > 1:31:29Oh, my God, it looks like a squat.
1:31:29 > 1:31:31GUESTS LAUGH
1:32:40 > 1:32:42TAPE TEARS
1:32:50 > 1:32:55I got a call from Susan Shalabi about doing a show. Really?
1:32:58 > 1:33:00Uh-huh. Yeah. Are you serious?
1:33:00 > 1:33:02THEY CHUCKLE
1:33:02 > 1:33:03That's good.
1:33:06 > 1:33:08Did she do the funny voice thing she does?
1:33:08 > 1:33:11We had a good chat, yes. It was really good.
1:33:11 > 1:33:13Uh-huh. Yeah. Wow.
1:33:16 > 1:33:17An exhibition? Mm.
1:33:19 > 1:33:20Excellent.
1:33:21 > 1:33:23And you can do anything you want, right?
1:33:23 > 1:33:24Yeah, yeah.
1:33:25 > 1:33:29Just left it open for... It was just completely into what I do and...
1:33:29 > 1:33:31Uh-huh. ..very open, yeah.
1:33:31 > 1:33:33So, when's the exhibition going to be?
1:33:33 > 1:33:35Um, towards the end of next year.
1:33:36 > 1:33:39Completely alone, no-one else?
1:33:39 > 1:33:41Perfect.
1:33:41 > 1:33:43So, you happy now?
1:33:43 > 1:33:44HE LAUGHS
1:33:45 > 1:33:47Happy and scared. Yeah?
1:33:48 > 1:33:51It's nothing to be scared of. I mean, it's perfect. Yeah.
1:33:51 > 1:33:52Don't you think?
1:33:52 > 1:33:54Well, I was thinking of doing...
1:33:54 > 1:33:59Um, you know, a mixture of performance and drawings but
1:33:59 > 1:34:02the work to be ongoing throughout the...
1:34:02 > 1:34:06the time I'm there. So, the whole exhibition would be that?
1:34:06 > 1:34:09Mm, with no end in sight. Would just keep changing through the whole thing?
1:34:09 > 1:34:13Yeah, yeah. Good idea. Every day would be something different. Mm-hm.
1:34:14 > 1:34:15SHE CLEARS HER THROAT
1:34:19 > 1:34:22And I'd, I sort of, you know, improvise and make mistakes
1:34:22 > 1:34:27and take wrong turns and it would all be there for all to see.
1:34:29 > 1:34:34Right, and normal gallery hours or do you try and keep it open later?
1:34:34 > 1:34:35No, normal, I think.
1:34:37 > 1:34:38It's really good.
1:34:40 > 1:34:43Did you tell her all that or not yet? No.
1:34:44 > 1:34:48Interesting. We sort of talked around it. I said a few things,
1:34:48 > 1:34:50probably a bit too much.
1:34:50 > 1:34:55I don't think you can say too much. It's fine, it's good.
1:34:55 > 1:34:58You know, when someone offers you an exhibition like that,
1:34:58 > 1:35:00it's kind of commitment, you know?
1:35:00 > 1:35:03That means they believe in the work and that they want to show it
1:35:03 > 1:35:05and that, um...
1:35:05 > 1:35:08It's fine, you don't have to think about anything else.
1:35:08 > 1:35:11It gives you freedom to work, in a way, maybe. Mm.
1:35:12 > 1:35:13Or to think at least.
1:36:24 > 1:36:26COMPLETE SILENCE
1:36:46 > 1:36:49HEAVY TRAFFIC
1:36:49 > 1:36:51BIRDS SING
1:37:05 > 1:37:07CAR RUSHES PAST
1:37:18 > 1:37:22'40s STYLE DANCE MUSIC
1:37:50 > 1:37:54King Was In The Counting House by Al Bowlly
1:37:56 > 1:37:58# The king was in the counting house
1:37:58 > 1:38:01# The counting house
1:38:01 > 1:38:04# Counting his money Wearing an artful grin
1:38:06 > 1:38:09# The queen began to plead then roar And cried once more
1:38:09 > 1:38:10# "Unlock this door!"
1:38:10 > 1:38:15# The king replied, "Shan't, I'm busy, you can't come in."
1:38:15 > 1:38:18# When you were eating honey
1:38:18 > 1:38:21# Then you made me wait this through
1:38:21 > 1:38:22# For your housekeeping money
1:38:22 > 1:38:25# You can wait Like I had to wait for you
1:38:25 > 1:38:28# The king was in the counting house
1:38:28 > 1:38:30# The counting house
1:38:30 > 1:38:34# So the butcher and baker Had to take IOUs. #
1:38:44 > 1:38:46The case against you is too strong.
1:38:46 > 1:38:49It's not a question of whether you'll be found guilty, but when.
1:38:50 > 1:38:51I am a gentleman.
1:38:51 > 1:38:53I am a gentleman's wife.
1:38:53 > 1:38:54Soon to be a gentleman's widow.
1:38:54 > 1:38:56In truth, I would do the same again.