0:00:02 > 0:00:06This film contains some violent scenes,
0:00:06 > 0:00:10very strong language and some scenes of a sexual nature.
0:01:46 > 0:01:48AEROPLANE ENGINE ROARS
0:01:54 > 0:01:57PHONE RINGS
0:01:59 > 0:02:01A WOMAN ANSWERS
0:02:01 > 0:02:03Hello. This is Thomas Lang.
0:02:03 > 0:02:04Hi. Are you...are you in Rome?
0:02:04 > 0:02:08- Yes.- Oh, great. We should meet.
0:02:08 > 0:02:10OK. Where?
0:02:10 > 0:02:12Um, we could meet at Cafe Rosati.
0:02:12 > 0:02:14- It's near your hotel.- Uh-huh.
0:02:14 > 0:02:16I'll be carrying a copy of your book.
0:02:20 > 0:02:22Good likeness?
0:02:23 > 0:02:24Not bad.
0:02:24 > 0:02:28- I'm Thomas. - Hi. Simone. Good to meet you.
0:02:30 > 0:02:32- Have you lived here long? - 15 years.
0:02:33 > 0:02:35Grazie. This is home now.
0:02:35 > 0:02:37It's not enough money for a foreign press bureau, so...
0:02:37 > 0:02:42I cover, um, Italy for Newsweek, Daily Beast, CNN, BBC.
0:02:42 > 0:02:45- You must be good.- I do OK.
0:02:45 > 0:02:47You've got family here?
0:02:47 > 0:02:48Yeah. Two young boys.
0:02:48 > 0:02:50And a husband.
0:02:52 > 0:02:53I was sent your book.
0:02:53 > 0:02:55Thought I was going to hate it.
0:02:55 > 0:02:57True crime isn't really my thing.
0:02:57 > 0:02:59I was flying to New York on the red-eye,
0:02:59 > 0:03:01couldn't sleep, so I read your book instead.
0:03:01 > 0:03:04- Take that as a compliment. - Like it says on the cover,
0:03:04 > 0:03:05"Every parent's nightmare".
0:03:06 > 0:03:09- You have children?- Daughter.
0:03:09 > 0:03:11I'm separated from her mother.
0:03:11 > 0:03:13I know.
0:03:13 > 0:03:15How old's your daughter?
0:03:16 > 0:03:18- She's nine.- And what's her name?
0:03:18 > 0:03:20Bea. We call her Bea.
0:03:21 > 0:03:22Short for Beatrice.
0:03:22 > 0:03:25She was conceived in Italy. Her mum was acting in a film here.
0:03:26 > 0:03:29- It's a nice name.- Yes.
0:03:30 > 0:03:33So, tomorrow's the end of the appeal.
0:03:33 > 0:03:35Yes, round two begins. We'll need to leave really early.
0:03:35 > 0:03:37- Can you be at my apartment by seven? - Sure.
0:03:37 > 0:03:39But one piece of advice.
0:03:39 > 0:03:43If you're going to make the film, make it a fiction.
0:03:43 > 0:03:45You can't tell the truth, unless you make it a fiction.
0:03:45 > 0:03:48There are so many things I couldn't put in my book
0:03:48 > 0:03:49- even though they were true.- OK.
0:04:07 > 0:04:09- NEWS REPORTER:- 'In September, 2007,
0:04:09 > 0:04:12'two young women arrived at the university town of Siena.
0:04:12 > 0:04:17'They were looking forward with excitement to spending a year as a student in Italy.
0:04:17 > 0:04:20'Elizabeth Pryce and Jessica Fuller, both rented rooms in this house,
0:04:20 > 0:04:23'on the edge of the medieval town.
0:04:23 > 0:04:25'Two months later, Elizabeth was dead,
0:04:25 > 0:04:28'and Jessica had been accused of her murder,
0:04:28 > 0:04:30'along with her boyfriend, Carlo Elias.
0:04:30 > 0:04:33'The case made headlines around the world,
0:04:33 > 0:04:37'and the focus of attention was the character of Jessica Fuller.
0:04:37 > 0:04:41'Was she the cunning manipulator described by the prosecution?'
0:04:43 > 0:04:47'The quirky student described by her mother?'
0:04:47 > 0:04:51'She's smart. She's artistic. She's imaginative, she's deep.'
0:04:51 > 0:04:54'Or "Jessica Rabbit," as described by the British media -
0:04:54 > 0:04:56'a sexy, drug-taking student killer?'
0:04:58 > 0:05:01'On Halloween, Jessica was working in Bar Rumba,
0:05:01 > 0:05:04'while Elizabeth partied late into the night with some English friends.
0:05:06 > 0:05:08'Elizabeth spent the next day recovering.
0:05:08 > 0:05:11'The last time she was seen alive was 8.45pm.
0:05:13 > 0:05:16'No-one knows exactly what happened after that.
0:05:16 > 0:05:19'The only thing known for certain
0:05:19 > 0:05:22'is Elizabeth died a brutal and horrible death.'
0:05:24 > 0:05:29One year later, the families of Elizabeth and Jessica
0:05:29 > 0:05:31'were in court to hear the verdict.'
0:05:45 > 0:05:47PHONE RINGS
0:05:47 > 0:05:50- Hello.- 'Who's there?' - Is Bea there?
0:05:50 > 0:05:53- This is Thomas.- 'Who is it?'
0:05:53 > 0:05:55- Thomas, we... - 'No. Bea is out with her mum.'
0:05:57 > 0:05:59- OK. Then I'll try again tomorrow. - 'OK, bye.'- Yeah. Bye.
0:06:02 > 0:06:04You must know this road well.
0:06:04 > 0:06:05Yeah, every week for a year.
0:06:05 > 0:06:08Up to Siena on Thursday and back on Saturday.
0:06:08 > 0:06:11Crazy Italian legal system totally fucked up our lives.
0:06:11 > 0:06:14You were covering this story from the beginning?
0:06:14 > 0:06:15Yeah. Pretty much.
0:06:15 > 0:06:18I was due to go to Modena to test drive a Maserati,
0:06:18 > 0:06:20when ANSA, the Italian wire service,
0:06:20 > 0:06:23said that an English student had been murdered in Siena.
0:06:23 > 0:06:25Well, I decided to go take a look.
0:06:25 > 0:06:26I knew an Italian journalist based there
0:06:26 > 0:06:28for Corriere Della Sera, Roberto Feluci.
0:06:31 > 0:06:33Look, it's Maria Argento,
0:06:33 > 0:06:35head of the local homicide.
0:06:35 > 0:06:38That's Polizia, not Carabinieri?
0:06:38 > 0:06:40I know. Carabinieri are furious.
0:06:40 > 0:06:43We're getting bits and pieces of information,
0:06:43 > 0:06:46but we do know that the victim's name is Elizabeth Pryce.
0:06:49 > 0:06:50She was found dead in the bedroom
0:06:50 > 0:06:53of her house that you can see just behind me down there.
0:07:04 > 0:07:07Worst part is, I bumped into them later that day.
0:07:07 > 0:07:08I'm tired.
0:07:10 > 0:07:13Hi. Excuse me, I'm a journalist from Newsweek.
0:07:13 > 0:07:16- You were Elizabeth's roommate, right?- That's right.
0:07:16 > 0:07:18- Oh, it must be terrible. - It's really shocking.
0:07:18 > 0:07:21I'm too scared to go back in the house.
0:07:21 > 0:07:24I think I put in my notes, uh, "She's a dud. He looks boring."
0:07:24 > 0:07:26I could've had a scoop.
0:07:26 > 0:07:30A world exclusive. Instead I left Siena to go test drive the Maserati.
0:07:30 > 0:07:31- The one that got away.- Exactly.
0:07:31 > 0:07:34I was still in Modena when I heard that an American woman,
0:07:34 > 0:07:38an Italian man and a Congolese man had been arrested for murder.
0:07:38 > 0:07:40So, I turned around and went straight back.
0:07:40 > 0:07:42- HUBBUB - Hi, can I talk to you?
0:07:42 > 0:07:44Have you spoken to your daughter?
0:07:44 > 0:07:47'At this point, none of us knew the names of the arrested.'
0:07:47 > 0:07:49- Hey there. - OK, listen up, everybody.
0:07:49 > 0:07:51In the Elizabeth Pryce memorial sweepstake,
0:07:51 > 0:07:53the runners and riders are
0:07:53 > 0:07:55Jessica Fuller, Carlo Elias,
0:07:55 > 0:07:58- and, uh, Cedric Bapupa. - How do you know this stuff?
0:07:58 > 0:08:00Sometimes you got to leave the cafe, mate, even in the rain.
0:08:00 > 0:08:03OK. Got it. Jessica Fuller, 21, from Baltimore.
0:08:03 > 0:08:06Carlo Elias, 25. Likes knives.
0:08:06 > 0:08:09- It's like a public confession. - Yeah, or a suicide note.
0:08:09 > 0:08:12- Who's Cedric Bapupa?- He runs the bar where Jessica works. Bar Rumba.
0:08:12 > 0:08:16- I get scooped even in my own town. - Yes, you do. You get scuppered.
0:08:16 > 0:08:18Well, I see your meat-cleaver, I raise you a gun.
0:08:18 > 0:08:20And a YouTube link. She's pretty.
0:08:20 > 0:08:23'You put this on YouTube, you motherfucker,
0:08:23 > 0:08:24'I'm going to kill you, OK?'
0:08:24 > 0:08:26Now, they were unlucky.
0:08:26 > 0:08:28The families tried to erase the internet info, but it was too late.
0:08:28 > 0:08:31All their dirty laundry was hung out to dry.
0:08:43 > 0:08:47Thomas just wanted to meet, and um, get your take on what happened.
0:08:48 > 0:08:50Of course.
0:08:50 > 0:08:52I'm asked many times.
0:08:52 > 0:08:54- When did you hear about the killing?- A phone call.
0:08:54 > 0:08:57There wasn't much information. Just the address of the house.
0:09:01 > 0:09:03The burglary was false.
0:09:03 > 0:09:06Glass on top of the disturbed clothing,
0:09:06 > 0:09:08wrong way around.
0:09:08 > 0:09:11Most importantly, the body.
0:09:11 > 0:09:13It was covered by a duvet.
0:09:14 > 0:09:17At that moment, I could feel it.
0:09:17 > 0:09:20Only a woman would cover a body when it is already dead.
0:09:20 > 0:09:22The following day, I asked Jessica
0:09:22 > 0:09:25to show me around the apartment.
0:09:25 > 0:09:28She was very calm. Very collected.
0:09:28 > 0:09:31When we came to the kitchen, I asked her to look in the drawer
0:09:31 > 0:09:33and tell me if there were any knives missing.
0:09:35 > 0:09:37She became hysterical.
0:09:37 > 0:09:40That is when we started to tap the phones of Jessica and Carlo.
0:09:46 > 0:09:48We knew Carlo was lying.
0:09:48 > 0:09:51He switched off his phone at 8.45 that night.
0:09:51 > 0:09:53So had Jessica.
0:09:53 > 0:09:56They turned their phones on at six o'clock the next morning.
0:09:56 > 0:09:58He had no phone call from his father.
0:10:06 > 0:10:09We checked his computer. He hadn't even surfed the net.
0:10:09 > 0:10:12They hadn't thought through their alibis.
0:10:21 > 0:10:24Carlo and I went back to his apartment.
0:10:24 > 0:10:26We watched a DVD together.
0:10:26 > 0:10:27Amelie.
0:10:27 > 0:10:29And then we had dinner.
0:10:29 > 0:10:31- Together?- Yes.
0:10:33 > 0:10:35Then we made love.
0:10:38 > 0:10:41You got a message on your phone from Cedric Bapupa.
0:10:41 > 0:10:44You replied...
0:10:44 > 0:10:45- Did you see him?- No.
0:10:45 > 0:10:48Why did you say "Ci vediamo pui tardi"?
0:10:48 > 0:10:49I was just being friendly.
0:10:49 > 0:10:53If they were guilty, wouldn't they have worked out what to say?
0:10:53 > 0:10:56People do not behave rationally in cases like this.
0:10:56 > 0:10:58So she panicked and accused Bapupa?
0:10:58 > 0:11:00Exactly.
0:11:00 > 0:11:04I met Cedric and took him back to our house
0:11:04 > 0:11:08because he liked Elizabeth and wanted to start something with her.
0:11:08 > 0:11:10Cedric and her were in Lizzie's bedroom
0:11:10 > 0:11:13while I must've stayed in the kitchen.
0:11:13 > 0:11:15At a certain point, I heard Lizzie screaming.
0:11:17 > 0:11:18I was frightened of him.
0:11:19 > 0:11:22I got scared and put my hands over my ears.
0:11:23 > 0:11:25I can't remember anything else.
0:11:39 > 0:11:42And why would she accuse someone who's innocent?
0:11:42 > 0:11:46Who knows? Maybe she knew a black guy had been involved somehow,
0:11:46 > 0:11:49thought, uh, accusing a different black man...
0:11:51 > 0:11:52..might confuse us.
0:12:45 > 0:12:47- Hey, darling.- Joey.
0:12:49 > 0:12:52Joe, this is, um, Thomas. Thomas this is Joey,
0:12:52 > 0:12:55- currently head of...- Uh, this week the Daily Mail and Sky.
0:12:55 > 0:12:56Oh, so, are you the film guy?
0:12:56 > 0:12:59Right. Who's gonna play me? I bet everyone asks you that.
0:12:59 > 0:13:01- No, you're the first. - Oh, great. Well, hey...
0:13:01 > 0:13:03- I'm thinking Colin Farrell. - He's Irish.
0:13:03 > 0:13:06Yeah. He's also really good-looking, sensitive.
0:13:06 > 0:13:08This is perfect. Change the accent and keep the face.
0:13:08 > 0:13:09- I'll bear him in mind.- Sure.
0:13:09 > 0:13:11Listen, I love your wife's TV show, by the way.
0:13:11 > 0:13:14She's not my wife, she's my ex-partner.
0:13:14 > 0:13:16Yeah. It must have been very difficult when you separated,
0:13:16 > 0:13:19especially because she moved in with her on-screen husband.
0:13:19 > 0:13:22Would you be interested in talking about that? We could put across your point of view.
0:13:22 > 0:13:25The difficulty of having your private life picked over
0:13:25 > 0:13:28- by the gossip industry.- No. I wouldn't.- It's worth a try.
0:13:28 > 0:13:29- Uh, are going to eat later?- Sure.
0:13:29 > 0:13:31- Usual place? Uh-huh.- Yes.
0:13:31 > 0:13:32Sorry.
0:13:34 > 0:13:36- Hey. Hi.- Hi.
0:13:36 > 0:13:37PHONE RINGS
0:13:40 > 0:13:42- Hey. Hi, Bea.- Hey!
0:13:42 > 0:13:44- How are you?- Good.
0:13:44 > 0:13:46Where are you?
0:13:46 > 0:13:49- In Italy. - When are you coming home?
0:13:49 > 0:13:51Uh, London home?
0:13:52 > 0:13:55No. Your home. Here home.
0:13:55 > 0:13:57Um, soon.
0:13:58 > 0:13:59- In a few weeks.- OK.
0:13:59 > 0:14:01We miss you!
0:14:01 > 0:14:03Missing you, too.
0:14:03 > 0:14:06- What you're up to?- Bea, come on, we're already late.
0:14:06 > 0:14:08OK, coming!
0:14:08 > 0:14:10Well, I got to go, Daddy.
0:14:10 > 0:14:12OK. I call you tomorrow, OK?
0:14:14 > 0:14:15Bea? Bea?
0:14:19 > 0:14:21- Hey.- Hi, Sarah.
0:14:21 > 0:14:24- How are you?- Good. - This is Sarah.- Red or white?
0:14:24 > 0:14:26She's a producer for the US networks.
0:14:26 > 0:14:29She has a special fondness for Siena.
0:14:29 > 0:14:32Not. I spent so much time here, my marriage went down the pan.
0:14:32 > 0:14:34Just another casualty of war reporting.
0:14:34 > 0:14:37- It's not really a war though.- No, it kind of feels like it though.
0:14:37 > 0:14:39There's all this competitive flag-waving. It's like
0:14:39 > 0:14:41they're innocent or they're guilty, and you can't be neutral.
0:14:41 > 0:14:43- What do you think? - I work for the networks.
0:14:43 > 0:14:45We pay for Jessica's family to be here.
0:14:45 > 0:14:48So, they have spent an absolute fortune
0:14:48 > 0:14:50on the flights, hotels, lawyers,
0:14:50 > 0:14:52and we get exclusive interviews in return.
0:14:52 > 0:14:54So she's innocent? ALL SHOUT AT ONCE
0:14:54 > 0:14:56Of course she is innocent.
0:14:56 > 0:14:58No, look, they have the guy banged up.
0:14:58 > 0:15:00- Joseph, OK?- Wrong guy.
0:15:00 > 0:15:02He had a criminal record. He had threatened somebody with a knife.
0:15:02 > 0:15:05Right. So why did they accuse Cedric Bapupa?
0:15:05 > 0:15:08- Why did they switch the phone off? - Why did she say she was there and heard screams?
0:15:08 > 0:15:11- Why sign a confession?- And the blond hair that they found on the body. - Which they lost.
0:15:11 > 0:15:13When the police showed up at the house,
0:15:13 > 0:15:15she and Carlo had a mop and bucket.
0:15:15 > 0:15:17They'd been out at seven in the morning buying bleach.
0:15:17 > 0:15:18What were they cleaning up?
0:15:18 > 0:15:20Why was she doing yoga in the police waiting room?
0:15:20 > 0:15:23- Yeah, Carlo laughed. - So bendy, so flexible.
0:15:23 > 0:15:25Listen, the police and the prosecutors,
0:15:25 > 0:15:27they condemned the wrong people in the wrong order.
0:15:27 > 0:15:30- And the press all piled in after. - That's what we do.
0:15:30 > 0:15:32At the end of the day, she said she was there,
0:15:32 > 0:15:34in the house, on the night. Guilty!
0:15:34 > 0:15:35- Game Over.- Exactly.
0:15:35 > 0:15:38- Game over.- Why would they do it? What's the motive?
0:15:38 > 0:15:41- You need a reason. - Right. It's not a film.
0:15:41 > 0:15:43OK? It's not a Miss Marple mystery.
0:15:43 > 0:15:45Why does no-one ever want to make a story about Carlo?
0:15:45 > 0:15:48- No.- No.- Carlo is the quiet one.
0:15:48 > 0:15:50What will happen tomorrow with the appeal?
0:15:50 > 0:15:53- It'll be adjourned.- Yeah, we'll get our pictures, and then we'll go.
0:15:53 > 0:15:56This is just a really good excuse to catch up on all the gossip.
0:15:56 > 0:15:57- LAUGHTER - How's your husband?
0:15:57 > 0:16:00- The last I heard...- Is he still chasing small boys in Morocco, or...
0:16:00 > 0:16:03Fucking your wife, actually.
0:16:03 > 0:16:05Someone has to.
0:16:14 > 0:16:15Good evening.
0:16:21 > 0:16:22- Well.- Well.
0:16:22 > 0:16:24I guess it's goodnight.
0:16:25 > 0:16:26Guess so.
0:16:41 > 0:16:44SIRENS
0:16:46 > 0:16:49HUBBUB
0:16:54 > 0:16:57SHOUTING IN ITALIAN
0:17:02 > 0:17:04Coming through, coming through.
0:17:04 > 0:17:06- You OK?- You'll need your pass.
0:17:06 > 0:17:08Thank you.
0:17:21 > 0:17:23Wow, she changed her style.
0:17:23 > 0:17:26They're not going to make the same mistake twice, are they?
0:17:26 > 0:17:28How're you feeling today, Jessica?
0:17:29 > 0:17:31I'm going to call that demure.
0:17:40 > 0:17:43Simone, how did Jessica strike you today?
0:17:43 > 0:17:46Her hair was darker than it was the last time we saw her.
0:17:46 > 0:17:48She was wearing a very demure skirt.
0:17:48 > 0:17:50She seemed older, more composed.
0:17:50 > 0:17:52Her Italian had improved a lot.
0:17:52 > 0:17:54And what can we expect next from the case?
0:17:54 > 0:17:55The case has been adjourned,
0:17:55 > 0:17:58but the appellate process could take many months.
0:18:06 > 0:18:08Hey.
0:18:08 > 0:18:10Coffee.
0:18:10 > 0:18:12- Hey.- Hey.
0:18:12 > 0:18:15- So, does it all make sense? - Not yet. Too many angles.
0:18:15 > 0:18:18Jessica is innocent. That is your story.
0:18:18 > 0:18:21Uh, this is Francesco, he's Joseph's lawyer.
0:18:21 > 0:18:23This is Thomas, he's making a film about Jessica.
0:18:23 > 0:18:25Not about Jessica, about the case.
0:18:25 > 0:18:27Hmm. You should make Joseph your protagonist.
0:18:27 > 0:18:31His is the best story of all, it tells you a lot about Italy.
0:18:31 > 0:18:33- Well, about the world. - Go on.
0:18:33 > 0:18:36The police knew there was someone else in the flat.
0:18:36 > 0:18:38Someone had a shit in the toilet, and left it there,
0:18:38 > 0:18:40so they arrested Cedric Bapupa.
0:18:40 > 0:18:43Then he got lucky, he got a cast-iron alibi.
0:18:44 > 0:18:46So the police start checking their database.
0:18:46 > 0:18:49They found that the shit belonged to Joseph Derma,
0:18:49 > 0:18:52a young guy who had been adopted by a family in Siena.
0:18:52 > 0:18:54He was definitely involved?
0:18:54 > 0:18:58He was definitely in the apartment, uh, we don't dispute that.
0:18:58 > 0:19:00A couple of days later, Joseph went to Munich, he left Siena.
0:19:00 > 0:19:03The police got a friend to contact him on Skype.
0:19:20 > 0:19:22So you see? Jessica had nothing to do with it.
0:19:22 > 0:19:23It was perfect for the police.
0:19:23 > 0:19:26They just swapped one black man for another.
0:19:26 > 0:19:28Oh, come on, you know he's guilty. There's no point
0:19:28 > 0:19:30- playing the race card. - Joseph went for a separate trial.
0:19:30 > 0:19:32I believe what he said.
0:19:32 > 0:19:34And he was the only one who seemed genuinely sad
0:19:34 > 0:19:36by Elizabeth's death.
0:21:39 > 0:21:42MOANING
0:21:46 > 0:21:50SHE SCREAMS
0:21:53 > 0:21:55SHE LAUGHS
0:22:06 > 0:22:09Thomas, lovely, lovely, lovely to meet you finally.
0:22:09 > 0:22:11- Hey.- Adam. - Nice to meet you.- Hi.
0:22:11 > 0:22:13- Hi.- How are you doing?- Hi.
0:22:13 > 0:22:16So, we are all very excited about this.
0:22:16 > 0:22:18We're absolutely thrilled that you're on board.
0:22:18 > 0:22:21- Well done, Steve, for dragging him back from Hollywood.- Pleasure.
0:22:21 > 0:22:24This will be the first time that you guys have worked together...
0:22:24 > 0:22:26Uh, since, uh, the last time.
0:22:26 > 0:22:30So, um, what happened with your CIA in Central America project?
0:22:30 > 0:22:32First I got the stars and no money,
0:22:32 > 0:22:34and then I got the money, but lost the stars.
0:22:34 > 0:22:36Ah, such a shame. I loved that script.
0:22:36 > 0:22:38Thomas, tell us, how was... How was Italy?
0:22:38 > 0:22:41- Interesting. - This is a great, great story.
0:22:41 > 0:22:44- It's gonna be wonderful.- Siena is beautiful. It's an amazing city.
0:22:44 > 0:22:47Should almost be a character in the film.
0:22:47 > 0:22:49We have a clash of cultures, American, Italian, British...
0:22:49 > 0:22:52And two great parts for young women. Do you have any thoughts?
0:22:52 > 0:22:55Fortunately, we are now blessed with a whole ream of fantastic young actresses.
0:22:55 > 0:22:57Carey Mulligan would be good.
0:22:57 > 0:22:59Yeah. She's very beautiful in her acting...
0:22:59 > 0:23:02Well. I think I have to work out the story before we start casting.
0:23:02 > 0:23:03- Yeah.- Yep.
0:23:03 > 0:23:06Have you worked out what your angle is going to be?
0:23:06 > 0:23:10Not really. I was thinking maybe Simone herself, a journalist,
0:23:10 > 0:23:12might be the right way into the story.
0:23:12 > 0:23:16- What's she like?- Interesting. Intelligent. Attractive.
0:23:16 > 0:23:18- How old is she?- Mid-30s.
0:23:18 > 0:23:21I think that a whole world of foreign correspondence could be rich for us.
0:23:21 > 0:23:23- Sort of an exile.- Naomi Watts?
0:23:23 > 0:23:25Chloe Sevigny maybe?
0:23:25 > 0:23:28- Or Tina Fey? - I love Tina Fey. She's...
0:23:28 > 0:23:31They just need a sense of how you see the story.
0:23:31 > 0:23:33- Sure.- OK.
0:23:33 > 0:23:36You going to work on the script here or in LA?
0:23:36 > 0:23:40- Here or Italy.- Mmm-hmm. - Not in LA. Can't concentrate.
0:23:40 > 0:23:43Everybody knows Katherine, or knows someone who knows Katherine
0:23:43 > 0:23:45from some fucking party or other.
0:23:45 > 0:23:48And there's all that shit with Timothy, custody issues and...
0:23:50 > 0:23:52I hate this fucking prick.
0:23:53 > 0:23:54Did you really threaten to kill him?
0:23:54 > 0:23:58It makes me sick to think of Bea growing up with him in that house.
0:23:59 > 0:24:00Another drink?
0:24:01 > 0:24:03- Can I get two more, please? - Same again?
0:24:03 > 0:24:06- Yeah, that'd be great, thanks. - Of course.
0:24:08 > 0:24:10I was thinking of flying back to Italy for Halloween.
0:24:10 > 0:24:13Shoot some documentary stuff. Won't cost that much.
0:24:13 > 0:24:16Yeah, it's a good idea, go for it.
0:24:23 > 0:24:25Is it in focus?
0:24:25 > 0:24:26No, it's not in focus.
0:24:30 > 0:24:32Pan with her.
0:24:39 > 0:24:41OK if we film you?
0:24:41 > 0:24:44Uh, yeah, sure.
0:24:44 > 0:24:46We should go back to Piazza del Campo now.
0:24:46 > 0:24:48- It'll be busier there. - Well, you know what we need.
0:24:48 > 0:24:49Go ahead, I'll catch up.
0:24:49 > 0:24:51- OK.- Yep.- I got it.- Here.
0:25:01 > 0:25:03Happy Halloween!
0:25:03 > 0:25:05- Can I get a drink? - Yeah, of course.
0:25:05 > 0:25:07It's what I'm here for.
0:25:07 > 0:25:09We have a special on zombies tonight.
0:25:09 > 0:25:11- Try one.- Good, good.
0:25:11 > 0:25:13- Where you from? - Uh, I'm from London, actually.
0:25:13 > 0:25:15- Oh, really?- Wandsworth.
0:25:15 > 0:25:16- Oh, wow. Know it.- Really?
0:25:16 > 0:25:18- Yeah, I lived in London for six years.- Oh, no way!
0:25:18 > 0:25:20So, what are you filming?
0:25:20 > 0:25:22Did you hear about the Jessica Fuller case?
0:25:22 > 0:25:25Yeah, of course. Is it another documentary?
0:25:25 > 0:25:28- Film.- Are you the director? - Yes, I am.- No way.
0:25:28 > 0:25:31- Do you live in Siena?- Uh, I've been here about six months.
0:25:31 > 0:25:34It's lovely. Do you need any actresses, by any chance?
0:25:34 > 0:25:36Um, no. Not yet. But a guide.
0:25:36 > 0:25:38I want to see the real Siena.
0:25:38 > 0:25:40Do you work here every night?
0:25:40 > 0:25:41Most nights, not always.
0:25:43 > 0:25:45I can give you my number, if that helps?
0:25:45 > 0:25:46Yeah. Sure.
0:25:46 > 0:25:48Cool.
0:25:53 > 0:25:55Call me if you need me.
0:25:55 > 0:25:59- Sure. What's your name? - Uh, I'm Melanie.- Thomas.
0:25:59 > 0:26:01Nice to meet you, Thomas.
0:26:05 > 0:26:07- How are you?- Good.
0:26:07 > 0:26:09Hey. How'd it go?
0:26:09 > 0:26:12Wasn't quite the Sodom and Gomorrah your book made it out to be.
0:26:12 > 0:26:13Oh, it's still early.
0:26:13 > 0:26:16You got to give the town a chance. Did you get to the red zone?
0:26:16 > 0:26:18Uh-huh. The crew were only booked until midnight.
0:26:18 > 0:26:20That doesn't go on until 1.00am. So...
0:26:20 > 0:26:21Let's go anyway.
0:26:22 > 0:26:24I want to see Siena at its worst.
0:26:24 > 0:26:26CHEERING AND SHOUTING
0:26:31 > 0:26:33It's left here.
0:26:39 > 0:26:41Simone.
0:26:46 > 0:26:48What's the matter?
0:26:48 > 0:26:50Are you scared to see me after what you wrote?
0:26:50 > 0:26:53- This is Thomas.- Hello. - I know who he is.
0:26:53 > 0:26:55You want to be careful with this one.
0:26:55 > 0:26:57She seems so nice when you meet her,
0:26:57 > 0:26:59then, when she writes, she turns into a real bitch.
0:26:59 > 0:27:02- Come and have a drink.- We're on our way to the red zone.
0:27:02 > 0:27:05Come on, that's for shitty students. You're not students, are you?
0:27:05 > 0:27:07Not for a long time.
0:27:08 > 0:27:12In a murder, the dead body tells you a lot.
0:27:12 > 0:27:14I saw Elizabeth's body, in the morgue.
0:27:14 > 0:27:17- How? - I visit the morgue often.
0:27:17 > 0:27:18I have a cousin.
0:27:18 > 0:27:22It's important to look death in the face
0:27:22 > 0:27:23if you want to understand life.
0:27:23 > 0:27:26That's why there are so many murder stories.
0:27:26 > 0:27:30Every news programme is full of killings, so many films.
0:27:30 > 0:27:32Death is the end of everyone's story.
0:27:33 > 0:27:36The only thing we share, now we no longer believe in God.
0:27:39 > 0:27:42And so we have become obsessed with killings.
0:27:43 > 0:27:45Real killings, fictional killings...
0:27:45 > 0:27:49But from the safety of our homes,
0:27:49 > 0:27:51where the only issue is,
0:27:51 > 0:27:52"Who done it?"
0:27:53 > 0:27:55Not what it means.
0:27:55 > 0:27:57When we see it on TV and not in the flesh.
0:27:57 > 0:27:59In the flesh, when a friend dies,
0:27:59 > 0:28:00we don't even want to see the body.
0:28:02 > 0:28:04So what did the body tell you?
0:28:04 > 0:28:06That Jessica didn't do it.
0:28:06 > 0:28:07So why is she on trial?
0:28:08 > 0:28:10Police here are the worst.
0:28:10 > 0:28:12Corrupt, incompetent.
0:28:12 > 0:28:14Everyone is corrupt here, but...
0:28:14 > 0:28:15she didn't kill her.
0:28:15 > 0:28:18I know her. We have talked.
0:28:18 > 0:28:20She is intelligent.
0:28:21 > 0:28:23Not like most of the students here.
0:28:23 > 0:28:25The students I teach are idiots.
0:28:25 > 0:28:27Not Jessica, she has true understanding.
0:28:28 > 0:28:30So you think it was one of the others?
0:28:30 > 0:28:33Carlo had a collection of knives, OK?
0:28:33 > 0:28:36Elizabeth was killed with more than one knife,
0:28:36 > 0:28:38but the police never found them
0:28:38 > 0:28:39because they are fools.
0:28:41 > 0:28:42I know where they are.
0:28:42 > 0:28:44So why don't you just give them to the police, Edoardo?
0:28:44 > 0:28:46They will try to frame me.
0:28:47 > 0:28:49And they have already arrested me before.
0:28:50 > 0:28:52They broke my finger.
0:28:52 > 0:28:55I would be an easy target, like Cedric,
0:28:55 > 0:28:56- a scapegoat.- Come on.
0:28:56 > 0:28:59No-one likes me because I write the truth.
0:28:59 > 0:29:01I tell the world how stupid they are.
0:29:01 > 0:29:03Have you already talked to Cedric?
0:29:04 > 0:29:06- No.- Why?
0:29:06 > 0:29:10Are you hiding people from him or don't you know as much as you pretend?
0:29:10 > 0:29:13Cedric Bapupa is a friend of mine.
0:29:13 > 0:29:16- If you want to meet him, I can set it up.- Yeah, for a price.
0:29:16 > 0:29:18Always a price for everything.
0:29:18 > 0:29:21Do you think you are the only one allowed to make money from this story?
0:29:21 > 0:29:23Hmm?
0:29:23 > 0:29:26And not a guy whose life was ruined by it.
0:29:27 > 0:29:29- Quite a character. - Hmm, yeah.
0:29:29 > 0:29:32His blog had stuff on it that nobody else knew.
0:29:32 > 0:29:34We all had to read it every day to keep up to speed.
0:29:34 > 0:29:38He has the time and he knows everybody, and he also has money.
0:29:38 > 0:29:40He rents out rooms all over the city.
0:29:40 > 0:29:42Really cheap, almost squats.
0:29:42 > 0:29:44And they say he deals drugs on the side.
0:29:45 > 0:29:46Handy man to know.
0:29:46 > 0:29:48Yeah.
0:29:48 > 0:29:50Sometimes I think he might actually be the killer.
0:29:50 > 0:29:53When we were covering the trials, somebody decided that
0:29:53 > 0:29:57Joe and I were having an affair, and they put it on the internet.
0:29:57 > 0:29:59It was just an easy way of attacking somebody who
0:29:59 > 0:30:02wasn't on Jessica's side, but I think it was Edoardo.
0:30:04 > 0:30:08It wasn't true, but I had to tell my husband.
0:30:08 > 0:30:10Mmm.
0:30:12 > 0:30:13We're separated now.
0:30:30 > 0:30:34"The man who lies asleep will never waken fame,
0:30:34 > 0:30:37"and his desire and all his life drift past him like a dream,
0:30:37 > 0:30:40"and the traces of his memory fade from time
0:30:40 > 0:30:43"like smoke in air or ripples on a stream."
0:30:47 > 0:30:49- Hi.- Hey.- Hey.
0:30:49 > 0:30:50This seat taken?
0:30:53 > 0:30:56- Pretty view.- Yeah.
0:30:58 > 0:30:59What's this?
0:30:59 > 0:31:02Oh, bit of light reading.
0:31:03 > 0:31:05Calls itself a comedy, but not that many laughs.
0:31:05 > 0:31:07Are you in heaven or hell?
0:31:07 > 0:31:08Inferno.
0:31:10 > 0:31:13I have to go back to Rome. I have the kids this weekend.
0:31:13 > 0:31:15Lucky you.
0:31:18 > 0:31:20OK, have a good one.
0:31:28 > 0:31:29- Bye.- Bye.
0:32:01 > 0:32:03MOANING
0:32:25 > 0:32:28- Hey. It's me, Thomas. - 'Hey, Thomas!'
0:32:28 > 0:32:30I'm in your bar, but you're not here.
0:32:30 > 0:32:32'I'm at a party. Not much of a party, but...
0:32:32 > 0:32:35- 'Do you wanna come?' - I thought it wasn't any good.
0:32:35 > 0:32:38'It's your typical student party, so...'
0:32:38 > 0:32:41- Then I have to come.- 'OK, great!' - For research.
0:32:41 > 0:32:42'Good.'
0:32:45 > 0:32:47- Hey.- Hey.
0:32:52 > 0:32:54Mr Director.
0:32:54 > 0:32:57- You can call me Thomas. - 'Course.
0:32:57 > 0:32:59So, this is your comeback film.
0:33:01 > 0:33:03Hope so. How do you know?
0:33:03 > 0:33:05I looked you up on Siena's Burning.
0:33:05 > 0:33:07- Do you know the blog?- Yeah.
0:33:07 > 0:33:09Don't believe everything you read.
0:33:09 > 0:33:11'Course. Only the good things.
0:33:12 > 0:33:14Here it is. Come on.
0:33:20 > 0:33:25HUBBUB
0:33:30 > 0:33:32- This is Thomas.- Hi.
0:33:35 > 0:33:38- Thomas, everyone. Everyone, Thomas. - Hey.
0:33:41 > 0:33:43- Do you have a lighter?- Yeah.
0:34:36 > 0:34:38Hey!
0:34:38 > 0:34:40What are you doing here?
0:34:41 > 0:34:43Come with me.
0:34:43 > 0:34:45- I'm tired.- Come.
0:34:46 > 0:34:49How can you make a movie about the murder
0:34:49 > 0:34:51if you haven't even seen where the killing happened?
0:34:51 > 0:34:55- Listen, it's late. - No time like the present.
0:34:55 > 0:34:57Strike while the iron's hot.
0:34:57 > 0:34:59Don't you know your English sayings?
0:35:19 > 0:35:21This is the window they entered.
0:35:22 > 0:35:24GLASS SMASHES
0:35:24 > 0:35:26Don't throw stones if you live in glass houses.
0:35:39 > 0:35:40Come on, it's empty!
0:35:41 > 0:35:45If you were here that night, you could have saved her.
0:35:46 > 0:35:48That's what everyone dreams.
0:35:51 > 0:35:53This is Elizabeth's room.
0:35:55 > 0:35:56She was found by the wardrobe.
0:35:58 > 0:36:00Look what they didn't find.
0:36:09 > 0:36:11This is the knife that killed her.
0:36:12 > 0:36:14But the police never even looked under the wardrobe.
0:36:16 > 0:36:20They didn't even look under the fucking wardrobe.
0:36:43 > 0:36:45- You all right?- Yeah.
0:36:45 > 0:36:46I'm sorry.
0:36:46 > 0:36:48That's my after work one.
0:36:48 > 0:36:50I always go better with the dob.
0:36:50 > 0:36:52- Let me take you home. - It's all right.
0:36:52 > 0:36:53Come on, it's like a maze out there.
0:36:55 > 0:36:57What are you studying here?
0:36:57 > 0:36:59Italian literature, culture and cinema.
0:36:59 > 0:37:00- Oh.- It's very serious.
0:37:01 > 0:37:03It's a whole four hours every morning.
0:37:03 > 0:37:06I mean, it's... It's an excuse, to be honest.
0:37:06 > 0:37:09An excuse to be here and have fun for a year.
0:37:09 > 0:37:10It's a pretty good one.
0:37:10 > 0:37:13- Aren't you having fun?- Yeah.
0:37:13 > 0:37:15- I always have fun.- Even at work?
0:37:16 > 0:37:18Yeah.
0:37:18 > 0:37:20I mean, come on, I do make a mean mojito.
0:37:20 > 0:37:22Do you?
0:37:23 > 0:37:25Put a bit too much rum in, and watch everyone get drunk.
0:37:25 > 0:37:27It's good for tips, too.
0:37:31 > 0:37:32Here we are.
0:37:32 > 0:37:35Delivered back to your hotel safe and sound, as I promised.
0:37:35 > 0:37:37Thank you.
0:37:37 > 0:37:40- All right, auf Wiedersehen. - Auf Wiedersehen.
0:37:55 > 0:37:58You may follow me, and I will guide you,
0:37:58 > 0:38:00and lead you from here.
0:38:00 > 0:38:02But if you want to see the blessed,
0:38:02 > 0:38:05then a spirit worthier than I must lead you.
0:38:17 > 0:38:20"Abandon hope, all ye who enter here."
0:38:28 > 0:38:30How's Bea?
0:38:30 > 0:38:31She's good.
0:38:31 > 0:38:34And Katherine, I saw she was nominated for an Emmy.
0:38:34 > 0:38:38Very impressive. Must be hard, seeing her face everywhere...
0:38:38 > 0:38:39Can we talk about something else?
0:38:41 > 0:38:44- You guys were so good together... - Please, come on.
0:38:50 > 0:38:52How come we're not talking about The Face Of An Angel?
0:38:52 > 0:38:54How's it going?
0:38:56 > 0:38:58Everyone is asking me about the script.
0:38:58 > 0:39:01- Have you worked out who did it? - It's not a whodunit.- Just teasing.
0:39:01 > 0:39:03Carlo and Jessica and Joseph did it.
0:39:03 > 0:39:05- That's why they're in prison. - For now.
0:39:05 > 0:39:06There's so many angles.
0:39:06 > 0:39:08How to organise it in a meaningful way...
0:39:08 > 0:39:11It's important that it's a story based on truth.
0:39:11 > 0:39:14- Mmm-hmm.- But I wanna do something that transcends them,
0:39:14 > 0:39:16which is not just a simple reconstruction.
0:39:19 > 0:39:21- Thank you.- Carry on.
0:39:21 > 0:39:24I was trying to see if it's possible to use the shape of...
0:39:24 > 0:39:27Dante's Divine Comedy as the shape of the film.
0:39:27 > 0:39:28SHE LAUGHS
0:39:28 > 0:39:30After all, it's a three-act structure.
0:39:30 > 0:39:32Hell, purgatory, heaven.
0:39:32 > 0:39:34Happy ending. It's perfect, really.
0:39:34 > 0:39:36Are you being serious?
0:39:36 > 0:39:40Dante was in love with a beautiful Beatrice, and then she died.
0:39:40 > 0:39:43Heartbroken, he goes in search of her,
0:39:43 > 0:39:46but he also goes in search of a meaning to life and death.
0:39:46 > 0:39:50Listen, Caroline's commissioned you to make a true crime thriller.
0:39:50 > 0:39:53Are you really saying you're trying to write a medieval morality tale?
0:39:53 > 0:39:55No, no, no. It would be modern and it would deal with the case.
0:39:55 > 0:39:57It would just follow the shape of the poem,
0:39:57 > 0:40:00because the story, the real story, is too hard. It's too brutal.
0:40:00 > 0:40:02The poem is really a dream, a nightmare.
0:40:02 > 0:40:06Dante is a man in the middle of his life who lost his way,
0:40:06 > 0:40:08strayed off the narrow path, and finds himself
0:40:08 > 0:40:10back in a deep, black forest.
0:40:10 > 0:40:12You know, lots of the stuff in the poem's
0:40:12 > 0:40:14actually classic horror movie stuff.
0:40:15 > 0:40:17The return of the repressed.
0:40:19 > 0:40:22They want to make a film about two teenagers
0:40:22 > 0:40:25- and a murder that can't be solved. - I know.
0:40:25 > 0:40:28And now you want to give them a script about a middle-aged man who's lost his way.
0:40:29 > 0:40:31How much have you written?
0:40:32 > 0:40:35- Not much.- Good, then you haven't wasted too much time.
0:40:35 > 0:40:39Thomas, you're too young to have a mid-life crisis.
0:40:39 > 0:40:41It's been four years.
0:40:41 > 0:40:43They really want this film.
0:40:43 > 0:40:45Give them something they can make.
0:40:47 > 0:40:48Please.
0:40:48 > 0:40:50Yeah.
0:41:13 > 0:41:18Exterior, Tuscan countryside - Day.
0:41:18 > 0:41:20Jessica is sitting on a train.
0:41:20 > 0:41:23She's outgoing, confident, attractive.
0:41:23 > 0:41:26Elizabeth makes the same journey.
0:41:26 > 0:41:28Jessica arrives first.
0:41:28 > 0:41:30Elizabeth, a few days later.
0:41:30 > 0:41:33She's quieter, calm, thoughtful.
0:41:38 > 0:41:41They both find a room in a house on the edge of the medieval town.
0:41:41 > 0:41:44They're both full of hope and excitement
0:41:44 > 0:41:46for the year ahead.
0:41:56 > 0:41:58How's the script going?
0:41:59 > 0:42:01Not.
0:42:02 > 0:42:04Missing your daughter?
0:42:09 > 0:42:12Well, I'm seeing her now, but I'll be back in a moment, sir.
0:42:12 > 0:42:14OK. OK, Bobby.
0:42:14 > 0:42:16- Ciao.- Ciao. - Hey.- Hi.
0:42:16 > 0:42:19I thought you might like this. It's one of my articles.
0:42:19 > 0:42:20Thank you.
0:42:22 > 0:42:24Strange, when I think of A Face Of An Angel,
0:42:24 > 0:42:26I always think of Elizabeth. But you all mean Jessica.
0:42:26 > 0:42:28Yeah, we all use that line for Jessica.
0:42:28 > 0:42:30Jessica is like a film star, blank canvas.
0:42:30 > 0:42:33Somewhere we project our fantasies onto.
0:42:33 > 0:42:35- She's the story.- Guilty or not, that's all anyone wants to read.
0:42:35 > 0:42:37It's sad that Elizabeth just disappeared.
0:42:37 > 0:42:39Look at that, he's got Jessica's diaries there.
0:42:39 > 0:42:43- There's some flawless journalism right there. - Joe's very proud of his scoop.
0:42:43 > 0:42:45You know the police played a dirty trick on her when she was in jail?
0:42:45 > 0:42:49They told her that she had tested positive for HIV,
0:42:49 > 0:42:52so she had to write a list of everyone she had ever slept with.
0:42:52 > 0:42:54- It's in there. - How much did you pay for it?
0:42:54 > 0:42:56These diaries, they're not even that big a deal.
0:42:56 > 0:42:58OK, it's one of the things that I used
0:42:58 > 0:43:01to articulate a story about her. So, for example,
0:43:01 > 0:43:03- she says that she wants to visit a sex shop.- Oh, please.
0:43:03 > 0:43:06Uh, she writes a letter to her boyfriend saying she wants to
0:43:06 > 0:43:08watch a porn film and then practice with him.
0:43:08 > 0:43:09She e-mailed her friends,
0:43:09 > 0:43:12She had sex with this random guy that she met on a train in Italy...
0:43:12 > 0:43:15- So?- She had a vibrator in the bathroom she shared with Elizabeth.
0:43:15 > 0:43:19- It became part of the trial. - Exactly. It was only this big.
0:43:19 > 0:43:21I remember the famous kiss outside the house.
0:43:21 > 0:43:22That kiss put them in prison.
0:43:22 > 0:43:25Oh, she went underwear shopping the night after the murder.
0:43:25 > 0:43:27- None of that makes her a killer. - Well, people love it.
0:43:27 > 0:43:29I mean, sex and murder sells.
0:43:29 > 0:43:31Is that everything you're interested in?
0:43:31 > 0:43:33Yeah, because it's how I make a living.
0:43:33 > 0:43:35And you know what, guess what, it's how you make a living now too.
0:43:35 > 0:43:37She wrote a fantasy story about rape.
0:43:37 > 0:43:39I'm writing a script about a murder. Does that make me a murderer?
0:43:39 > 0:43:41No, her character was part of the trial.
0:43:41 > 0:43:43That's what the jury was asked to judge.
0:43:43 > 0:43:45So if she would have been a better actor, if she had behaved well
0:43:45 > 0:43:47and cried, she would have been found innocent?
0:43:47 > 0:43:49- Sure.- Probably.
0:43:49 > 0:43:50Now she's dressing all prim and proper,
0:43:50 > 0:43:52- and is likely to get off. - Of course.- Yeah.- Right.
0:43:52 > 0:43:55So if that's all true, don't you worry a little bit
0:43:55 > 0:43:57that all the stuff you make up could make a fair trial harder?
0:43:57 > 0:44:00- So listen, mate, we don't actually make stuff up, OK?- OK.
0:44:00 > 0:44:03You write what sells. Sex sells. You steal her diaries and make her look like a nymphomaniac.
0:44:03 > 0:44:07- Yeah, because that's what she wrote. - Oh, come on. You can make anyone look bad if you want to.
0:44:07 > 0:44:09I dare say even you would look like a shit
0:44:09 > 0:44:11if people would go through your private life.
0:44:11 > 0:44:15- Listen, I'm a tabloid journalist. Everyone thinks I'm a shit anyway. - You fucking said it.
0:44:16 > 0:44:18- Excuse me.- Oh.
0:44:18 > 0:44:20Well, he still has my diary then.
0:44:20 > 0:44:23- Bravo, Joe.- He didn't want my paper. - Well, he's got taste.
0:44:36 > 0:44:38I don't want to die.
0:44:39 > 0:44:42I want to get married and have children.
0:44:43 > 0:44:44I want to create something good.
0:44:46 > 0:44:48I want to get old.
0:44:48 > 0:44:50I want my time.
0:44:50 > 0:44:51I want my life.
0:44:53 > 0:44:55I don't know where I could have got HIV from.
0:45:06 > 0:45:08- Hey. - Hi, stranger, long time, no see.
0:45:10 > 0:45:13- I was back in London. - Nice. What can I get you?
0:45:13 > 0:45:16- Whiskey and coke.- Cool.
0:45:16 > 0:45:19I was wondering, could you do me a favour?
0:45:19 > 0:45:21Of course.
0:45:21 > 0:45:23Do you know where I could buy some stuff?
0:45:23 > 0:45:26- What, weed?- Yeah, but... But some other stuff too.
0:45:26 > 0:45:28Remember what happened last time.
0:45:28 > 0:45:30- Thanks, I do. - Is that what you want?
0:45:32 > 0:45:34- I'm not a dealer.- I know.
0:45:34 > 0:45:36I just thought you might be able to help a friend.
0:45:37 > 0:45:39That's better.
0:45:40 > 0:45:41Give me your phone.
0:45:45 > 0:45:48That's the number. Be careful.
0:45:49 > 0:45:50Promise.
0:45:53 > 0:45:55Hi, it's me, Thomas.
0:45:55 > 0:45:56Are you here?
0:45:56 > 0:45:57I'm here, where are you?
0:45:57 > 0:45:59I'm here. OK, I see you.
0:46:01 > 0:46:03So, you're a friend of Melanie?
0:46:03 > 0:46:04Yeah.
0:46:18 > 0:46:20KNOCK AT DOOR
0:46:25 > 0:46:26- Hey.- Hey.
0:46:28 > 0:46:29- You wanna come in?- Sure.
0:46:29 > 0:46:32- Want a drink?- Um, no, I'm good.
0:46:34 > 0:46:36- Uh, I have something for you. - What is it?
0:46:36 > 0:46:37It's the scene of crime video.
0:46:37 > 0:46:39The appeal's gonna be all about the forensics,
0:46:39 > 0:46:42so you really need to see that if you wanna know what's going on.
0:46:42 > 0:46:44- Joe was upset about earlier. - Good.
0:46:44 > 0:46:47You know, he's good at what he does.
0:46:47 > 0:46:50He gets a hold of stuff no-one else does and finds a way to tell a story.
0:46:50 > 0:46:53He's not as bad as he likes to pretend to be.
0:46:53 > 0:46:55Are you sleeping with him?
0:46:56 > 0:46:58Not tonight.
0:46:58 > 0:47:00Do you still sleep with him?
0:47:00 > 0:47:01Are you jealous?
0:47:09 > 0:47:12GROANING
0:47:29 > 0:47:30- Hey.- Hey.
0:47:30 > 0:47:33Sorry, New York wants me to change the article.
0:47:33 > 0:47:35They need it in two hours.
0:47:35 > 0:47:36Another fashion report?
0:47:36 > 0:47:37Jesus, lighten up.
0:47:39 > 0:47:40Does it never bother you?
0:47:40 > 0:47:41All this shit you have to write?
0:47:41 > 0:47:43I'm not writing a fashion report.
0:47:43 > 0:47:47- I'm writing about a murder, somebody was killed. - You trivialize it.
0:47:47 > 0:47:48People want to hear about this story.
0:47:48 > 0:47:51It's not up to us to decide what people should and shouldn't know.
0:47:51 > 0:47:53We just write what happened, and then they decide
0:47:53 > 0:47:55- whether they want to read it or not.- That's not true.
0:47:55 > 0:47:57Well, would it be better if we didn't cover trials at all?
0:47:57 > 0:47:59People had no idea what went on in court?
0:47:59 > 0:48:01People had no idea what went on during a police investigation?
0:48:01 > 0:48:03That's what happens in a police state.
0:48:03 > 0:48:05Then tell the truth, don't make up the sexist...
0:48:05 > 0:48:07I do tell the truth, you asshole.
0:48:07 > 0:48:09God, come back, Joe.
0:48:09 > 0:48:12At least he doesn't lecture me after we've fucked.
0:48:13 > 0:48:15You know what, you should watch this,
0:48:15 > 0:48:17before you get high and mighty with everybody.
0:48:17 > 0:48:19That's the sad and bitter truth.
0:50:06 > 0:50:09You are nurturing, playful and easy-going.
0:50:09 > 0:50:11You often put others' needs before your own,
0:50:11 > 0:50:13or your decisions are guided by your feelings.
0:50:13 > 0:50:15- At heart, you're pragmatic and self-possessed.- Oh, I love it.
0:50:15 > 0:50:17- Enjoy your meal. - Thank you so much.- Thank you.
0:50:17 > 0:50:18Thomas, how's the appeal going?
0:50:18 > 0:50:20Yeah, quite right.
0:50:20 > 0:50:22- Sorry.- No, no, no, no, no. It's the right thing to do.
0:50:22 > 0:50:25- I'll shut up.- Give him a minute. - Go ahead, go ahead, go ahead.
0:50:25 > 0:50:28- Slow.- Do you think they're going to win?- No idea.
0:50:28 > 0:50:30Must be difficult not knowing the ending.
0:50:30 > 0:50:32I don't think it matters for our film.
0:50:32 > 0:50:34I imagine that the courts or the police will find the truth.
0:50:34 > 0:50:36My idea is that it's impossible to know.
0:50:36 > 0:50:38The trial is like an episode of X Factor.
0:50:38 > 0:50:40If they like your face, you win.
0:50:40 > 0:50:41The system in Italy's different,
0:50:41 > 0:50:43which makes it easier to see it's arbitrary.
0:50:43 > 0:50:46But in this case the evidence is so contradictory,
0:50:46 > 0:50:47we'll never know what happened.
0:50:47 > 0:50:49If they killed her, it doesn't make sense.
0:50:49 > 0:50:51If they didn't kill her, it doesn't make sense either.
0:50:51 > 0:50:54So it boils down to, do we want to see these people
0:50:54 > 0:50:56going to prison for 20 years?
0:50:57 > 0:50:59But in the film, we're gonna have to decide,
0:50:59 > 0:51:00did they do it, how did they do it,
0:51:00 > 0:51:02or how else are we gonna tell the story?
0:51:02 > 0:51:04I don't think that's the story.
0:51:04 > 0:51:08The story is that there is no such thing as real truth or justice.
0:51:08 > 0:51:10It's just a popularity contest.
0:51:10 > 0:51:11Well, that's not a film.
0:51:11 > 0:51:13I think it can be.
0:51:15 > 0:51:17Well, you're gonna have to show the two girls,
0:51:17 > 0:51:19who they are, their relationship.
0:51:19 > 0:51:21I mean, what happened that night, why did it happen?
0:51:21 > 0:51:23All of that would be fake.
0:51:23 > 0:51:25It would be just my version of what might have happened.
0:51:25 > 0:51:27It's more honest to say I don't know what happened.
0:51:27 > 0:51:31It's like a detective story in a world without God,
0:51:31 > 0:51:33or a puzzle without a solution.
0:51:33 > 0:51:37Hmm. Would people want to do puzzles without solutions?
0:51:37 > 0:51:41Why not? It's more truthful than all these easy answers.
0:51:42 > 0:51:45Well, it sounds incredibly ambitious, which is what we wanted.
0:51:45 > 0:51:47If you want any help looking at pages, the opening or...
0:51:47 > 0:51:50- I'm happy to help. - Thanks.
0:51:50 > 0:51:51Great editor.
0:51:51 > 0:51:54- Seriously, no, honestly. - Thanks very much.
0:51:54 > 0:51:56Top, top 25 under 25.
0:51:56 > 0:51:57What time is it?
0:51:57 > 0:52:00It is four-something.
0:52:00 > 0:52:03- What time is it there? - It's late, after midnight.
0:52:03 > 0:52:05Oh, wow, that's pretty late.
0:52:06 > 0:52:08You must be really tired, huh?
0:52:08 > 0:52:10I can't sleep.
0:52:12 > 0:52:13Are you OK, Daddy?
0:52:14 > 0:52:16Listen...
0:52:18 > 0:52:20..I gotta call you tomorrow, OK?
0:52:20 > 0:52:22OK. Bye.
0:52:22 > 0:52:24Bye.
0:52:45 > 0:52:49No sadness is greater than in misery to rehearse memories of joy.
0:53:01 > 0:53:03- Welcome back, Mr Lang. - Thank you.
0:53:03 > 0:53:05How long are you staying for?
0:53:05 > 0:53:06Not sure.
0:53:19 > 0:53:21No, it's nice. It's definitely nice.
0:53:24 > 0:53:26Um, I've gotta go. See you later.
0:53:26 > 0:53:27- Bye.- Bye, guys.
0:53:27 > 0:53:29- Hey.- Hey.
0:53:30 > 0:53:33- Strange, seeing you in the daylight. - Why, do I look different?
0:53:33 > 0:53:36- Even more beautiful. - Thank you.
0:53:36 > 0:53:38I like a bit of old-fashioned courtesy.
0:53:42 > 0:53:44- Hey, Edoardo.- Hi.
0:53:47 > 0:53:50My friend Thomas is looking for a place to stay.
0:53:50 > 0:53:52I told him I knew someone who could help.
0:53:52 > 0:53:53Sit down.
0:53:59 > 0:54:01I'm too old for a student accommodation.
0:54:01 > 0:54:04Well, I have lots of places, and the best addresses.
0:54:04 > 0:54:07- Really?- Did Simone tell you something different?
0:54:07 > 0:54:09Be careful with her.
0:54:09 > 0:54:12If you believe everything she says, you will never know the truth.
0:54:14 > 0:54:16Do you read my blog?
0:54:16 > 0:54:21- No.- You should. I said some very kind things about you.
0:54:21 > 0:54:24- Didn't I, Melanie?- Yeah.
0:54:24 > 0:54:26- Do you wanna drink? - No, thank you.
0:54:30 > 0:54:32This was my uncle's house.
0:54:32 > 0:54:34He was a doctor.
0:54:42 > 0:54:44This is a perfect place for writing.
0:54:44 > 0:54:46Full of atmosphere.
0:54:47 > 0:54:48I'll take it.
0:54:48 > 0:54:49How much?
0:54:49 > 0:54:51Money, we will talk later.
0:54:51 > 0:54:54First, I want you to read my script.
0:54:55 > 0:54:59I have been watching your old movies, and I like the naivete.
0:55:01 > 0:55:04I'm having a small gathering of friends tonight.
0:55:04 > 0:55:06I'll come to collect you, OK?
0:55:27 > 0:55:30PHONE RINGS
0:55:35 > 0:55:39"Then I saw a serpent with six feet dart forth in front of a man.
0:55:39 > 0:55:43"With middle feet, it bound him round the paunch,
0:55:43 > 0:55:46"and, with the forward ones, his arms it seized."
0:55:52 > 0:55:55"Already the two heads had one become."
0:57:01 > 0:57:03Come on, we are late.
0:57:03 > 0:57:05You know the way is hard.
0:57:06 > 0:57:09No-one gets anywhere by lying in bed.
0:57:09 > 0:57:10You have to work.
0:57:10 > 0:57:12Work even when you don't know why.
0:57:12 > 0:57:14Where are we going?
0:57:14 > 0:57:15Where the thieves are.
0:57:15 > 0:57:17Oi.
0:57:19 > 0:57:21Thomas Lang.
0:57:36 > 0:57:38PHONE RINGS
0:57:40 > 0:57:42- Yeah?- 'Hey, Thomas. Where are you?'
0:57:42 > 0:57:44I'm in... I'm in my flat.
0:57:53 > 0:57:57- Hi.- Hey.- You good?- Yeah.
0:58:02 > 0:58:04- Where are we going? - To see Edoardo.- Oh.
0:58:07 > 0:58:09I really think you should be making a love story.
0:58:09 > 0:58:11All the best movies are love stories.
0:58:13 > 0:58:16Romeo and Juliet. Casablanca. Annie Hall.
0:58:16 > 0:58:17Beauty and the Beast.
0:58:19 > 0:58:21- Ciao.- Hi.
0:58:25 > 0:58:27- Hello, Thomas.- Hey.
0:58:27 > 0:58:29What's the matter?
0:58:30 > 0:58:32Why you always seem so scared?
0:58:32 > 0:58:34What is it you're scared of?
0:58:34 > 0:58:36Maybe having to make another movie.
0:58:37 > 0:58:40In case it's another failure. Come on.
0:58:41 > 0:58:43Ignore him, it's all right.
0:58:48 > 0:58:51Don't worry, I know the people who live here.
0:58:51 > 0:58:53- I own the house.- I'll wait here.
0:58:53 > 0:58:55See you in a minute.
0:59:01 > 0:59:05The reason my script is good is that I know what happened.
0:59:05 > 0:59:09Art has to provide the answer to the questions that life asks.
0:59:09 > 0:59:12I know you don't agree with me, but you are wrong.
0:59:12 > 0:59:15There is the truth, and there is the rest.
0:59:16 > 0:59:17The killing happened here.
0:59:19 > 0:59:20I was watching there.
0:59:20 > 0:59:22I saw it with my own eyes.
0:59:22 > 0:59:23What happened?
0:59:25 > 0:59:28Joseph was in love with Elizabeth, he wanted her.
0:59:29 > 0:59:31But she didn't want him...
0:59:32 > 0:59:33..so he killed her.
0:59:34 > 0:59:36Like Othello.
0:59:38 > 0:59:39Like this.
0:59:39 > 0:59:41THEY LAUGH
0:59:44 > 0:59:48THUMPING MUSIC
0:59:48 > 0:59:49Sorry it's so noisy.
0:59:49 > 0:59:51Come with me.
0:59:51 > 0:59:53- See you in a bit.- See you.
1:00:02 > 1:00:05I have decided, you can read my script.
1:00:07 > 1:00:08But you can't take it away with you.
1:00:08 > 1:00:11I don't trust anybody with my story.
1:00:11 > 1:00:13You have one hour, that's all.
1:01:09 > 1:01:11DOOR BUZZER
1:01:17 > 1:01:20BUZZER
1:01:22 > 1:01:24- Hi.- Hey.
1:01:24 > 1:01:26- Can I come in?- Sure.
1:01:27 > 1:01:29- You look terrible.- Do I?
1:01:35 > 1:01:38Where did you go last night? I was getting worried about you.
1:01:38 > 1:01:40Edoardo freaked me out.
1:01:43 > 1:01:45It's so dark in here.
1:01:48 > 1:01:50No wonder you're depressed.
1:01:54 > 1:01:56That's better.
1:01:56 > 1:01:58I have something that might cheer you up.
1:01:59 > 1:02:00You're gonna like it.
1:02:01 > 1:02:02La Vita Nuova.
1:02:03 > 1:02:05Thank you.
1:02:05 > 1:02:07Dante describes how he falls in love with Beatrice,
1:02:07 > 1:02:09and then how she dies.
1:02:09 > 1:02:12For a moment, he toys with the idea of loving someone else,
1:02:12 > 1:02:15but he'll never love anyone like Beatrice.
1:02:15 > 1:02:17It's so romantic.
1:02:17 > 1:02:20All those circles of hell in The Divine Comedy, it's boring.
1:02:20 > 1:02:23Everyone getting punished for no reason?
1:02:23 > 1:02:24That is a book of love.
1:02:26 > 1:02:28Hopefully that will make you happy.
1:02:28 > 1:02:31I'm late for class. I've gotta go. Are you gonna be OK?
1:02:31 > 1:02:33- Mmm-hmm.- Promise?
1:02:33 > 1:02:34- Yeah.- Good.
1:02:35 > 1:02:37I just want you to be happy.
1:02:40 > 1:02:43I'll see you later. Bye.
1:03:18 > 1:03:20"It was exactly the ninth hour of the day
1:03:20 > 1:03:23"when she gave me her sweet greeting.
1:03:23 > 1:03:26"I was filled with such joy that I had to withdraw
1:03:26 > 1:03:30"from the sight of others and return to the loneliness of my room.
1:03:33 > 1:03:35"As she walked down the street,
1:03:35 > 1:03:37"she turned her eyes towards me,
1:03:37 > 1:03:40"where I stood in fear and trembling."
1:04:21 > 1:04:23- I need your help. - With the film?
1:04:24 > 1:04:27- With Edoardo.- Maybe you should steer clear of him.
1:04:27 > 1:04:29Maybe you were right. Maybe he was involved in the killing.
1:04:29 > 1:04:33- OK, stop.- No, listen, listen, listen. I think he was there. He took me to the house.
1:04:33 > 1:04:35- He's got knives. He saw the killing. - He talks a bunch of shit,
1:04:35 > 1:04:38- he's messing with your head. - No, I got to steal the knives. I need you to help.- No.
1:04:38 > 1:04:41I need you to get them to Rome, to a lab, test them for DNA.
1:04:41 > 1:04:43- No.- I'll bring them to you in the morning.- Let go of me.
1:04:48 > 1:04:52Hello, Thomas. This is Thomas. He's a director.
1:04:53 > 1:04:55I'm sorry I couldn't finish your script last time.
1:04:55 > 1:04:58- Yeah, why? You disappeared. - I felt sick.
1:04:58 > 1:04:59Can I finish it?
1:05:00 > 1:05:03OK. You'll get another chance.
1:05:04 > 1:05:06But then you must tell me that you want to make it.
1:05:16 > 1:05:18One hour, OK?
1:05:49 > 1:05:50Damn.
1:05:55 > 1:05:56Shit.
1:08:10 > 1:08:12Did you come to my flat last night?
1:08:12 > 1:08:15- Yeah, but you weren't there.- Did you take the knives from my bed?
1:08:15 > 1:08:17No. What... What knives?
1:08:17 > 1:08:19Thomas, Thomas!
1:08:19 > 1:08:21Thomas!
1:08:28 > 1:08:30What the fuck are you doing here?
1:08:30 > 1:08:32I wanted to know if you read my script.
1:08:32 > 1:08:34I didn't read your fucking script.
1:08:34 > 1:08:37- Then you'll never know what happened.- Get out of here.
1:08:37 > 1:08:39- Get out of here!- Have you been looking for this, hmm?
1:08:39 > 1:08:42Did you think you had stumbled on the truth?
1:08:42 > 1:08:43You're an idiot.
1:08:43 > 1:08:46These are film props. I photographed them for my blog.
1:08:46 > 1:08:49And you should read it. You wouldn't be so ignorant.
1:09:06 > 1:09:08- Where are the knives? - Huh? What knife?
1:09:08 > 1:09:10Where are the real knives?
1:09:13 > 1:09:15Hey, hands off!
1:09:17 > 1:09:21SHOUTING IN ITALIAN
1:09:39 > 1:09:42You really have come off the rails, haven't you?
1:09:45 > 1:09:48They're letting you go. Let's get out of here.
1:09:50 > 1:09:53You're lucky. Edoardo's not gonna press charges.
1:09:53 > 1:09:55Says you need a doctor, not a prison cell.
1:09:57 > 1:10:00Looks like you hit him pretty hard.
1:10:01 > 1:10:02Good.
1:10:03 > 1:10:05I'm going back to Rome tomorrow.
1:10:05 > 1:10:08Stefano, Elizabeth's boyfriend's willing to talk.
1:10:08 > 1:10:11It's his first interview. You should come with me.
1:10:11 > 1:10:12Yep.
1:10:12 > 1:10:14I have to get back to work.
1:10:14 > 1:10:16Get some rest or something, OK?
1:10:16 > 1:10:18- Thank you.- Yeah.
1:11:46 > 1:11:49- Have you written anything yet? - Yeah.
1:11:49 > 1:11:51Really?
1:11:51 > 1:11:53Been thinking of taking your advice. Making the film fictional.
1:11:53 > 1:11:56Setting it in Florence as a tribute to Dante.
1:11:56 > 1:11:58Florence was the earthly paradise he lost.
1:11:58 > 1:12:02Must be nice to have had an earthly paradise, even if you lose it.
1:12:03 > 1:12:05Right?
1:12:07 > 1:12:11I don't want to make a film about fear or death or killing.
1:12:13 > 1:12:15I want to make a film about love.
1:12:22 > 1:12:23Yes?
1:12:31 > 1:12:34I lived in the flat below the girls.
1:12:34 > 1:12:37I met Elizabeth at the beginning of the term.
1:12:37 > 1:12:41She came down in our flat sometimes with Ana.
1:12:41 > 1:12:44We would hang out together, smoke a little weed.
1:12:44 > 1:12:48Mmm. In court, it was made very simple.
1:12:48 > 1:12:52That, um, Jessica was the bad girl and Elizabeth was the good girl.
1:12:52 > 1:12:53She was just normal.
1:12:53 > 1:12:56She liked parties, she liked having fun.
1:12:56 > 1:12:58She like making love.
1:13:00 > 1:13:01She was beautiful.
1:13:01 > 1:13:05I didn't know her for very long, but I still think of her.
1:13:06 > 1:13:08I will always think of her.
1:13:28 > 1:13:29Ah, shit, I'm late.
1:13:29 > 1:13:32- I'm gonna have to pick up the kids on the way, OK?- Sure.
1:13:42 > 1:13:45Hey, you guys, I'm sorry I'm late.
1:13:45 > 1:13:46- Again? - The traffic was really bad.
1:13:46 > 1:13:49- Andrew, Will. This is Thomas. - Hey.
1:13:49 > 1:13:51- How was your day? Good?- Good.
1:13:51 > 1:13:52Yeah? What did you do?
1:13:52 > 1:13:54Nothing much.
1:14:02 > 1:14:05- Your taxi's here. - Thanks for looking after me.
1:14:05 > 1:14:07No problem.
1:14:08 > 1:14:09Bye.
1:14:11 > 1:14:12You talk to Katherine recently?
1:14:12 > 1:14:16- No.- You should. Bea is yours and hers.
1:14:16 > 1:14:18That's how it is.
1:14:19 > 1:14:21- Bye.- Bye.
1:14:21 > 1:14:23Take care.
1:14:31 > 1:14:33Exterior, Siena - night.
1:14:34 > 1:14:37The sounds of students partying drifts up from the streets below.
1:14:37 > 1:14:40Elizabeth hangs out
1:14:40 > 1:14:41with her boyfriend, Stefano.
1:14:41 > 1:14:44Sometimes Jessica and Carlo are there.
1:14:44 > 1:14:46They smoke weed, drink beers,
1:14:46 > 1:14:47go to parties.
1:14:47 > 1:14:49They're typical students.
1:14:51 > 1:14:54Elizabeth loves art, music, literature.
1:14:55 > 1:14:58She visits the cathedral, the galleries, the libraries.
1:14:58 > 1:15:01Siena's everything she hoped it would be.
1:15:02 > 1:15:04She's happy,
1:15:04 > 1:15:06looking forward to the year ahead.
1:15:22 > 1:15:24Back into the belly of the beast.
1:15:24 > 1:15:26Yeah, let's try and avoid that.
1:15:27 > 1:15:29I booked you a room in the hotel.
1:15:29 > 1:15:32- Keep you in the real world. - Thanks.
1:15:36 > 1:15:38Heads up, verdict's at eight.
1:15:39 > 1:15:40- Hey.- OK.
1:16:05 > 1:16:07BELL RINGS
1:16:48 > 1:16:50JEERING
1:16:57 > 1:17:01We are thankful that Jessica's nightmare is finally over,
1:17:01 > 1:17:03and we'd like to thank the court
1:17:03 > 1:17:05for searching for the truth,
1:17:05 > 1:17:08and for overturning this conviction.
1:17:13 > 1:17:15JEERING
1:17:33 > 1:17:35Justice has been done.
1:17:35 > 1:17:38They are right to release Jessica.
1:17:38 > 1:17:42One young life had been already tragically taken.
1:17:42 > 1:17:45Why take another two? Based on what?
1:17:45 > 1:17:49Assumption by the police and the self-interest of the press.
1:17:49 > 1:17:51- Thank you.- OK.
1:18:01 > 1:18:04Our daughter Elizabeth has been completely forgotten.
1:18:05 > 1:18:08It's... It's very hard to find any forgiveness.
1:18:09 > 1:18:12We know that four years is a long time, but, um...
1:18:14 > 1:18:16Yeah, it's still very raw.
1:18:17 > 1:18:19PHONE RINGS
1:18:25 > 1:18:27Hey.
1:18:27 > 1:18:28- Hi, Dad.- Hi.
1:18:28 > 1:18:30How are you?
1:18:30 > 1:18:32Good.
1:18:32 > 1:18:34- How are you?- I'm good.
1:18:35 > 1:18:39- Is the case over? - Yeah, it is.
1:18:40 > 1:18:42What happened?
1:18:42 > 1:18:44They say they were innocent.
1:18:45 > 1:18:46That's good.
1:18:46 > 1:18:48I suppose so.
1:18:48 > 1:18:51So, does that mean you're gonna be coming home soon?
1:18:51 > 1:18:52I hope so.
1:18:52 > 1:18:55Is your mum there?
1:18:56 > 1:18:57Yeah.
1:18:57 > 1:18:59Can I talk to her?
1:19:00 > 1:19:02I'll see.
1:19:03 > 1:19:04Mum?
1:19:09 > 1:19:11- Yes?- Hey.
1:19:11 > 1:19:12- Hi.- Hey.
1:19:14 > 1:19:16I... I thought it would be good if we talked.
1:19:16 > 1:19:18Tried to talk.
1:19:19 > 1:19:20Yeah.
1:19:23 > 1:19:27- Yeah.- Let's, um... Let's do it when you get back here,
1:19:27 > 1:19:29because, uh, I hate speaking like this.
1:19:29 > 1:19:32OK. Yep.
1:19:32 > 1:19:33Good.
1:19:35 > 1:19:36- Bye.- Bye, bye-bye.
1:19:36 > 1:19:38See...
1:19:46 > 1:19:49PHONE RINGS
1:20:02 > 1:20:05Interior, church, London - day.
1:20:05 > 1:20:08Elizabeth's father reads the funeral oration.
1:20:09 > 1:20:12It is taken from Dante's La Vita Nuova.
1:20:14 > 1:20:18The power of my sighs fills me with anguish.
1:20:18 > 1:20:21Many times, while contemplating death,
1:20:21 > 1:20:25it drains the colour from my face, and I begin to tremble
1:20:25 > 1:20:27from the pain.
1:20:29 > 1:20:31In weeping, I call out to Elizabeth...
1:20:33 > 1:20:35.."Can you really be dead?"
1:20:35 > 1:20:37And just calling to her restores my soul.
1:20:39 > 1:20:42If anyone heard me, they, too, would grieve.
1:20:42 > 1:20:45And what my life has been like since she left this earth,
1:20:45 > 1:20:47there is no-one that can tell.
1:20:50 > 1:20:53Elizabeth has ascended into high heaven...
1:20:54 > 1:20:59..into a place where angels live in peace.
1:21:04 > 1:21:07- Have a good trip. - Yeah, we will. I'm driving.
1:21:07 > 1:21:08Oh, OK, right.
1:21:10 > 1:21:11Hey.
1:21:11 > 1:21:13Hey.
1:21:13 > 1:21:14It's all over.
1:21:14 > 1:21:17No, there's bound to be another appeal.
1:21:17 > 1:21:19This one's gonna run and run. Thank God.
1:21:19 > 1:21:23Meanwhile, back to Rome, and politicians with dirty hands. You?
1:21:24 > 1:21:26Going to Ravenna. Sort of pilgrimage.
1:21:27 > 1:21:29OK.
1:21:30 > 1:21:32Well, have fun.
1:21:35 > 1:21:37All right, I'm leaving.
1:21:39 > 1:21:42Oh, you're very welcome to carry my bag.
1:21:42 > 1:21:43- Bye.- Bye, baby. - See ya.- Be careful.
1:21:43 > 1:21:45Yes, I will be very careful.
1:21:48 > 1:21:50- Hello.- Hi.
1:21:52 > 1:21:54- Just getting the car.- Cool.
1:21:56 > 1:21:59- Look at those mountains. - Beautiful.
1:21:59 > 1:22:01I imagine you as a skier. Do you go skiing?
1:22:01 > 1:22:02Yeah, I do.
1:22:02 > 1:22:04- I'm a snowboarder.- Of course.
1:22:04 > 1:22:06Why of course? What does that mean?
1:22:06 > 1:22:08- You look like a snowboarder. - I look like a snowboarder?
1:22:08 > 1:22:10Yeah. Young, hip and cool.
1:22:10 > 1:22:11Really?
1:22:13 > 1:22:15SWITCHING BETWEEN RADIO STATIONS
1:22:19 > 1:22:22Yeah. Jovanotti.
1:22:22 > 1:22:25- Do you know Jovanotti? - No.
1:22:25 > 1:22:26Do you not?
1:22:26 > 1:22:28SHE SINGS ALONG
1:23:00 > 1:23:01What a dump.
1:23:01 > 1:23:03No wonder Dante was homesick for Tuscany.
1:23:06 > 1:23:07It's so flat.
1:23:10 > 1:23:12- Did you actually read it? - Yeah.
1:23:14 > 1:23:17"Oh, you, who on the road of love pass by,
1:23:17 > 1:23:20"attend and see if any grief there be as heavy as mine."
1:23:21 > 1:23:23There are two different endings.
1:23:23 > 1:23:26The original version, he ends up with a new wife.
1:23:26 > 1:23:29But later, he re-wrote it to stay true to Beatrice.
1:23:29 > 1:23:31I prefer that ending.
1:23:31 > 1:23:32Cos you're a teenager.
1:23:32 > 1:23:35I'm not a teenager, I'm an adult.
1:23:35 > 1:23:38- 21.- But you behave like a child.
1:23:54 > 1:23:57It's incredible. Dante's body is in there.
1:23:57 > 1:23:59So how old is it?
1:23:59 > 1:24:00700 years.
1:24:02 > 1:24:05Enough Dante. Enough death. Let's go.
1:24:09 > 1:24:11- You want some?- No, it's OK.
1:24:11 > 1:24:14Come on, you have to try it. It's so good, please.
1:24:20 > 1:24:23It's funny, I used to go to Dorset when I was younger.
1:24:23 > 1:24:26My mum and dad, they always took us to a beach
1:24:26 > 1:24:28and made us walk for hours.
1:24:28 > 1:24:31I never wanted to go cos it was so freezing and windy.
1:24:33 > 1:24:35They said it was good for us.
1:24:35 > 1:24:37Now I love it, but then, I just wanted to stay home.
1:24:38 > 1:24:40Do you see them much?
1:24:40 > 1:24:43Yeah, when I go back to London. They're crazy.
1:24:43 > 1:24:45They drove each other mad, so they're separated now.
1:24:45 > 1:24:47- It's definitely better. - Hmm.
1:24:47 > 1:24:48What about yours?
1:24:50 > 1:24:51Still together.
1:24:51 > 1:24:54- Amazing.- Yep.- How long for?
1:24:55 > 1:24:58- Almost 50 years.- No way. - Yeah.
1:24:58 > 1:25:00One second, wait here.
1:25:03 > 1:25:05Ciao.
1:25:22 > 1:25:24- It's a present.- No way.
1:25:24 > 1:25:25- Why?- Come on.
1:25:26 > 1:25:27Are you scared?
1:25:32 > 1:25:33Come on.
1:25:37 > 1:25:39Are you sure?
1:25:39 > 1:25:40What do you mean, am I sure?
1:25:42 > 1:25:44Oh...
1:25:44 > 1:25:46Don't be scared.
1:25:46 > 1:25:48It's so warm.
1:25:48 > 1:25:50- Is it?- It's like, oh, my God.
1:25:55 > 1:25:57- Come on!- Swim!
1:25:58 > 1:26:00Swim like a dolphin!
1:26:03 > 1:26:04Fuck you!
1:26:06 > 1:26:07You swim, you prick.
1:26:33 > 1:26:35PHONE RINGS
1:26:39 > 1:26:41- Hi, Steve.- Where the hell are you, I've been calling you for days.
1:26:41 > 1:26:44- I'm in Italy.- Still?
1:26:44 > 1:26:46Yeah. Flying home tomorrow.
1:26:46 > 1:26:48Well, that's good, cos, um, we need to meet.
1:26:48 > 1:26:51Not London. LA.
1:26:51 > 1:26:55OK, uh, listen, mate, we've... We've moved on.
1:26:55 > 1:26:57Caroline insisted. They want to make the film before it's too late
1:26:57 > 1:26:59and the heat's gone out of the story, I'm sorry.
1:26:59 > 1:27:02But listen, when you get back to London, let's, uh,
1:27:02 > 1:27:04let's talk about this face-to-face.
1:27:04 > 1:27:05I won't be back for a while.
1:27:05 > 1:27:07But look, I am really sorry.
1:27:09 > 1:27:12No need to be sorry. Good luck with it.
1:27:12 > 1:27:13Thanks, mate.
1:27:13 > 1:27:16- Bye.- Cheers, we'll speak soon.
1:27:25 > 1:27:26Hi.
1:27:27 > 1:27:30- How much is a single room? - 150 euros.
1:27:30 > 1:27:33- And how much for a double? - The same. You pay for the room.
1:27:33 > 1:27:36It's fine. We'll just get one room.
1:27:36 > 1:27:38It's all right, I trust you.
1:27:38 > 1:27:40Can I take your credit card, please?
1:27:42 > 1:27:44OK, check how many cards you've got.
1:27:46 > 1:27:48That's fine.
1:27:50 > 1:27:52- Ready?- Yeah.
1:27:54 > 1:27:56Wait a sec. Uh...
1:27:57 > 1:27:59On there. On there. On there.
1:27:59 > 1:28:02Oh, my God, oh, my God, oh, my God! Hold on.
1:28:03 > 1:28:05- No! Ugh!- Yes!
1:28:05 > 1:28:07Spit!
1:28:11 > 1:28:13What the fuck? I mean, it was...
1:28:16 > 1:28:18Ah, stop it.
1:28:18 > 1:28:20- Spit!- Ugh.
1:28:22 > 1:28:24One, two, three.
1:28:32 > 1:28:34- Spit.- Spit.
1:28:34 > 1:28:36Yeah, but I did this one, it's mine.
1:28:36 > 1:28:38- No?- Why did I choose this one?
1:28:38 > 1:28:40They're basically equal then.
1:29:34 > 1:29:40A MAN RECITES POEM IN ITALIAN
1:29:47 > 1:29:50"Beatrice looked at me and her eyes were full
1:29:50 > 1:29:55"of sparks, of love, of such divinity that, vanquished,
1:29:55 > 1:29:58"my virtue ran away and I was as if lost.
1:29:58 > 1:30:00"My eyes lowered."
1:30:03 > 1:30:06HE CONTINUES RECITATION
1:30:11 > 1:30:13What do you miss about home?
1:30:13 > 1:30:15I miss my family, a lot.
1:30:15 > 1:30:19But, apart from that, um,
1:30:19 > 1:30:21bad weather,
1:30:21 > 1:30:23and fish and chips,
1:30:23 > 1:30:27and pie and mash, and the Tube...
1:30:29 > 1:30:32..and I don't know what else.
1:30:35 > 1:30:37Yeah, it's beautiful.
1:30:37 > 1:30:41The power of my sighs fills me with anguish.
1:30:42 > 1:30:45And, weeping, I call out to Elizabeth...
1:30:46 > 1:30:48.."Can you really be dead?"
1:30:49 > 1:30:51And just calling to her restores my soul.
1:30:55 > 1:30:57If anyone heard me they, too, would grieve.
1:30:59 > 1:31:02And what my life has been like since she left this Earth,
1:31:02 > 1:31:03there is no-one that can tell.
1:31:07 > 1:31:10Elizabeth has ascended into high heaven...
1:31:12 > 1:31:16..into a place where angels live in peace.