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