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I´ve spent this whole beastly war
saying goodbye to people.
Goodbye to people who never come back.
People I love.
I´ll come back, darling.
I promise.
So I won´t say goodbye, then,
ever, ever, ever.
MAN: End board.
Test four. Take two. On the end.
And cut.
-Save the red. -Open the doors!
[ Bell rings ]
Carry on working, everyone.
Okay, boys.
I thought she was excellent.
Very raw. Pretty, though, which helps.
LORIMER: Oh, she´ll soon pick it up.
ROY: There´s little enough time
to shoot the damn thing in the first place,
without having to give the leading lady acting lessons.
Well, if you don´t think you can handle it, Roy.
You´re right. She´ll be fine.
Very good, very good.
How long have you known him?
Four years, in the army.
OTTIE: And you never suspected?
Suspect what? There was a war on.
What difference does it make anyway?
Quite a lot, in this case.
It´s nobody´s business but his.
Oh, grow up, Ian.
It´s everybody´s business now.
A man is judged by the company he keeps.
This is a kids´ program.
What do you expect me to do?
I don´t know. What do you usually do?
You look as if this is more your sort of thing
than mine, you know.
What´s your secret, love?
Discretion, Ian.
I admire you sticking by *** and I feel sorry for him,
but he´s finished.
What you´ve got to decide is what you´re going to do.
It just isn´t right.
I know, but that´s the way it is.
Sorry.
Thank you.
No.
It´s never happened before.
Never.
WAREHAM: I see.
A moment of weakness, then, was it?
Yes, I suppose so.
WAREHAM: And a lifetime of regret.
Sodomy with a minor.
You do realize this is a very serious charge?
You may be liable, if convicted,
to a term of imprisonment of up to 10 years.
Corporal Oliver Jackson Lee is under 21,
and he´s black.
What´s happened to him?
WAREHAM: He´s on his way home to America.
Not to a hero´s welcome, I´m afraid,
but there we are.
So, just out of interest, Mr. Dobson,
how well acquainted are you with Mr. Rudy Havel?
Don´t worry about a thing.
Old Roy´s got great confidence in you,
and he should know, shouldn´t he?
He has made a lot of pictures, hasn´t he?
And he knows star quality when he sees it.
It´s a fact.
Thanks, Rudy.
Thanks for everything.
My pleasure.
Can I give you a lift back to town?
Well, actually, Ralph´s offered to give me a lift
in his sports car.
He seems a bit old for the part, don´t you think?
No.
Does he?
He´s coming to hear me at the club.
You be careful.
I will.
LORIMER: Mr. Taylor.
Mr. Lorimer.
Young Ralph. Did you cast him?
Yes, nice-looking boy. I´ve used him before.
Use someone else this time. All right?
Aye, aye, sir.
Carry on.
Morning, Mr. Deasey.
Stop that man!
IAN: Hello, Mr. Stanley.
So, it´s you, Dozey?
Deasey.
MORTON: I heard you last Sunday.
Rubbish.
But then, again, kids laugh at anything.
IAN: Thank you.
How´s Hedda?
IAN: Oh, she´s up for a part in a film.
Oh. Good for her.
What are you up to?
Just seeing some old contacts.
I´ve got this idea, you see.
IAN: Oh, yeah?
"Morton´s Music Hall Memories."
-What do you reckon? -I don´t know.
MORTON: That´s what they said,
but try to show some bloody enthusiasm, Deasey.
What the hell´s up with you?
I´ve just lost my job.
[ Laughs ]
Join the club.
You look as though you need to buy me a very large drink.
IAN: How´s Mrs. Stanley?
Compared to what?
Thanks ever so for the lift.
My pleasure.
Am I going to see you tonight?
I should say so.
I´ll see you later, then.
Can´t wait. Ciao!
Ciao!
Hello, Ian.
Hello, love. How´d it go?
HEDDA: Oh, it was fine.
Second post.
Janet.
How´s *** bearing up?
He wants to see Lorimer´s lawyer.
Palliser? What about?
I don´t know. He was a bit evasive.
It´s all getting a bit serious, isn´t it?
Yes. It certainly is.
HEDDA: Tea?
IAN: Yes, please.
EDITH: You´re only doing
what any woman in your position would do.
Am I?
Yes.
Don´t feel guilty.
I mean, they never bloody do.
They never carry the can, do they?
Sod ´em all.
Including Frank Parsons.
You leave Frank Parsons out of this.
Just you concentrate on your own life
and what you want to do with it,
and don´t worry about anybody else.
That´s my advice.
All right.
Just tell me, Mum.
You and Frank?
Five years. Every Tuesday and Friday.
Regular as clockwork. Happy?
Are you?
Yes, I am.
So is Frank.
I mean, we´re not doing anybody any harm, are we?
What about his wife?
Tuesdays and Fridays Rose has Bible studies.
Rose found God during the blackout, bless her,
and Frank found me.
So, everybody has a little of what they fancy.
That´s all that makes the world go round, isn´t it?
I suppose so, if you put it like that.
Exactly.
You can´t change nature.
[ Laughs ]
Mother!
I´ve spent this whole beastly war saying goodbye.
Goodbye to people who never come back.
To people I love.
RALPH: I´ll come back, darling.
I promise.
So I´ll not say goodbye to you,
ever, ever, ever.
MAN: End board.
Test four.
Take two. On the end.
And cut.
Well?
We can get *** out on bail for £50.
That´s no problem.
What then?
He goes back to his sordid little apartment
and he stays there with his sordid little associate,
and he doesn´t talk to anybody else but us.
On no account must he contact me directly.
He stays put, and he keeps quiet.
-Understood? -Perfectly.
What about the trial arrangements?
There will have to be arrangements, Clive,
but there doesn´t have to be a trial.
***: Thanks, Deasey.
No, don´t thank me.
Lorimer´s going to want his bail money back, isn´t he?
He´s going to want a damn sight more than 50 quid.
Spare us a moment, gents?
Daily Sketch.
No, thank you. Please.
I understand you gentlemen work for the BBC.
Not anymore.
Are you Mr. Dobson´s partner, then?
Look, *** off!
Temper, temper. I´m only trying to do me job.
I take it you no longer work for the BBC, then?
Leave us alone. What´s the matter with you?
"What´s the matter with you?" is more the question.
Stop, ***. ***! ***!
***, leave it, leave it.
[ Door closes ]
JANET: Where are you?
In bed.
JANET: Why?
Why not?
I beg your pardon.
Nothing. Sorry.
I should think so, too.
You´re not too big for a good hiding, you know.
No.
Hey, I don´t mean it.
I thought you were going out with the doctor.
Change of plan. I´m tired.
Dad wants to see you.
I want to see your dad.
Is he coming home?
No, I´m afraid he isn´t.
Why not?
Well, ´cause, I think, in the long run,
we´re all happier as we are, aren´t we?
No.
You´re jealous because he´s on the radio
and he´s a big success and you didn´t want him to be.
You just wanted him to have a boring old job at the council.
I wanted a bit more than that, Alan.
I want him home with us.
I think he´d rather be with someone else.
♫ Come along and listen to ♫
♫ The lullaby of Broadway ♫
♫ The hip hooray and ballyhoo ♫
♫ The lullaby of Broadway ♫
♫ The rumble of the subway train ♫
♫ The rattle of the taxis ♫
♫ The daffy-dills who entertain ♫
Good evening, gentlemen.
I just wanted to thank you, Rudy.
What for?
Get him out of here.
What´s the matter?
You´ve been a very silly boy.
I know.
So drink up. It´s time for you to go.
Now?
Don´t come here again, Dickie boy.
If you don´t play by the rules, you´re out of the game.
We´ll be off in a minute.
All right?
Good.
Goodbye.
-♫ Let´s call it a day ♫ -Sit down. Come on.
♫ Listen to the lullaby of old Broadway ♫
[ Clock chiming, water pouring ]
What time did you get in?
Oh, it was late.
We ended up in some basement in Wardour Street.
I didn´t want to wake you.
I wouldn´t have minded.
I was exhausted.
Here.
Ta.
Never mind.
I´ve put in a good word for you, anyway.
What about?
A part in the film.
Rudy´s not cross with you.
Well, he´s one of the few that isn´t.
I´m not cross with you either.
Is something the matter, Ian?
Yeah, I think this milk´s off.
So, what about ***, then?
Oh, I think he´s going up-country for a few days.
Poor thing.
So, what are you up to today?
Well, I´m going to go and see my agent.
And...
I´m going to go and see my wife.
Mm-hmm.
MAN: Can I see it, please?
If it´s not too much to ask.
Can we clear the set, please?
I --
Sorry.
Don´t let me stop you.
Tip it up a bit, would you, Bertie?
That´s better.
Just give us the look, will you, please, miss?
Thank you.
I want to see Dobbo.
Well, you´ve changed your tune.
I was a bit hasty, but -- What are you doing?
Go away.
I need to talk to him.
Things need to be straightened out.
Okay.
I´ll let him know.
Good girl.
Does it look okay?
You look wonderful.
Oh, may we?
Yes, don´t keep the lady waiting.
Carry on, everybody.
Very good.
Very good.
-All right, my dear? -Yes. Thank you.
Right, then, let´s do it.
Hedda, you´ve just awoken,
thinking of your beloved lost at sea,
adrift in the cold, gray waters of the Atlantic.
You remember all the plans you made together,
the little home, the new family.
Try not to move your head too much.
Okay, let´s try a take.
Be quiet, everybody. Going for a take.
Red light and bell.
-[ Bell rings ] -Quiet, everybody, please.
So this is how you spend your time
when I´m not about, is it?
No, no, certainly not.
Merely a temporary lull.
There´s a photo of Ian and that ***.
Shocking.
JEREMY: Janet´s seeing Ian now, I think.
What is she going to do?
Well, it´s none of our business, is it?
Isn´t it?
No, it isn´t.
Well, what have you been up to?
Not a lot, lately.
JEREMY: I´m sorry.
I´ve been at it day and night here.
I think things are easing off a bit now, though.
Does that mean we can go to the cinema?
JEREMY: What would you like to see?
"Great Expectations."
Why not?
Oh, smashing.
Good morning, madam.
Hello.
Hello, Ian.
You look really well.
You look terrible.
Yeah, well...
Thank you very much.
Just what Alan and I needed.
Your personal life all over the newspaper
and a photograph.
I was going to try and sort things out.
That´s why I wanted us to meet.
Not now.
WOMAN: Can I help you?
Please.
Well, what would you like, love?
We´ll have two teas, please.
WOMAN: Thank you.
I´ll tell you what I really want, Ian.
A formal separation.
I see.
Well?
What can I say?
Try sorry.
I´m sorry.
So am I.
How´s the boy?
Oh, he´s all right. He thinks you´re a hero.
He wants you to do "Radio Playtime" from his school.
He´s written you a letter.
Here.
From you son.
Aren´t you going to read it?
By the way, do you want me to tell him
what happened with ***?
How can you?
I´ve no idea,
but I´d rather he heard it from me first.
Tell him I love him.
What about me?
WOMAN: Two teas.
Thank you.
WOMAN: Will there be anything else?
I don´t think so.
Oh, dear. How the mighty have fallen.
Well, things could be worse.
That´s the spirit.
His wife´s divorcing him, he´s been sacked from the BBC,
and his partner has been caught in bed with a black G.I.
Which makes me think what a sheltered life I´ve led.
What happened to Miss Kennedy?
Oh, she´s got a part in a film with Ken Hawkes.
That disposes of her, then, doesn´t it?
Yeah, well, there´s always Morton Stanley.
Morton Stanley?
Yes, he´s putting a touring show together,
"Morton´s Music Hall Memories."
Oh, be serious, Ian.
Morton Stanley.
Still, I suppose you could change your name to Livingstone.
What for?
Well, you´ve got to change your name.
You can hardly walk about as Deasey anymore, can you?
Why not? It´s my real name.
I didn´t think you´d made it up.
But you´ve made yourself a reputation,
and it´s not quite the kind you want.
Deasey and Dobson, the performing pansies.
Mr. Gould, I´m a married man.
But only just.
Besides, that´s hardly the point, is it?
Guilt by association, Ian.
A man is judged by the company he keeps.
Yes, that´s what Ottie Pond said.
She should know.
So, what do you think I ought to call myself, then?
Lucky?
[ Laughs ]
Well, I´m glad I came here.
[ Door closes ]
JANET: Hello, Junior. How was school today?
Rotten!
Alan, what´s happened?
Oh, lovey.
Sam said Dad´s a pansy, so I must be one, too.
Don´t be silly. You´re not. That´s daft.
Why? What´s it mean?
Tell me!
All right, it´s Dad´s friend from the army.
He´s been a very bad man.
Dad isn´t, is he?
You know he´s not.
Is that why you sent him away?
No.
I can´t go back to school.
They all laugh at me.
Right.
This is going where it belongs.
Now, come here.
Come on, come here, come here.
Now, listen, sweetheart.
They´ll soon forget about it.
It´ll pass just like everything else goes.
Ian.
Come on, Ian. Wakey, wakey.
What´s the time?
Where have you been?
Oh, we ended up late.
I spent the night at Rudy´s, in his spare room.
In one of his spare rooms.
Here, can you help me with this?
[ Giggles ]
Don´t, don´t. I´ve got to go.
Where are you going?
HEDDA: Work.
Now, get up, will you?
Well, I´m not going to work, am I?
Yes, you are.
I managed to persuade Roy
to let you be in one of the scenes for today.
Doing what?
Earning three quid.
What´s the matter with you?
I´m not shaved or anything, am I?
HEDDA: Well, you don´t need to.
You look perfect.
Just remember to bring your wash kit and your evening suit.
We´re going to a party afterwards.
I don´t want to go to a party.
Yes, you do.
How else are you going to meet anybody?
Well, I don´t want to meet anybody.
Well, that´s exactly your trouble, Ian.
MAN: Thank you very much.
Stand by, everywhere.
Strike the arcs.
And mind the lines.
Avast behind.
Good morning, shipmates.
Morning, Ken.
Any chance of a cup of tea?
-Right away, Mr. Hawkes. -So, Roy.
Just bear in mind, Ken,
your presence is what´s keeping these lads going.
You´re their captain.
They think of you as a protector, a father, even.
Thank you for that, Roy.
You know what I mean.
Could I take a gander at the dickie-birds?
Chop-chop.
John! Can you bring Mr. Hawkes´ script?
How is everyone this morning?
[ All talking ]
Good, good. I like a happy crew.
Even if we have just been torpedoed.
[ Laughter ]
Bless you for that.
Keep still there, please!
Waves. More waves!
It´s bloody freezing in here.
Don´t whine, please.
HAWKES: That tea, is it coming?
How long´s this blasted tea going to be?
John! Tea, two sugars. Chop-chop.
Running all the way!
Do you want to run the lines?
Not if I can help it.
[ Laughter ]
MAN: Runner, stand by!
Thank you. Thank you.
Just going to wet my whistle.
Morning, Ken.
Rudy, morning.
Shall we?
HAWKES: Ready when you are.
Red light and bell.
[ Bell rings ]
Let´s have the boat on its marks, please.
You don´t have to leave.
On the other hand, Jeremy, I think I should.
Why? This is silly.
Rather.
Listen, Janet, if there´s anything I can do...
Well, you could give me a lift home with this lot.
Oh.
No, I´m covering for Wakeley.
Never mind. I can manage.
ANNABEL: Hello.
Just off, Jan?
Jeremy´s taking me to the pictures.
Am I early?
Have fun.
Thanks.
Cheerio.
Now, listen, we got a signal out in good time.
They´ll have an accurate fix on our position,
so just hang on, everyone,
and then a nice fat frigate will be along
to pick us up at first light.
Come on, now.
Are we downhearted?
No, sir.
Come on, then, let´s have a jolly good song.
One, two, three.
♫ There is a tavern in the town, in the town ♫
♫ Where my true love sits me down ♫
That´s the ticket.
[ Singing indistinctly ]
I can´t feel me legs anymore.
ROY: Cut!
Very good. Print it.
Any good?
I want a closeup of that sailor in one minute.
Good, you won´t need me.
[ Speaking indistinctly ]
Right, take a short break, please, gentlemen.
[ Bell rings ]
Check the gate.
HAWKES: I think I caught the essence. I feel quite drained.
I think I need a rest, before the party tonight.
MAN: Let´s keep the noise down!
How long do you need, Bertie?
How´s it going, then, Deasey?
It´s going very well.
Bit parky, you know.
How´s young Richard?
MAN: Stand by to reset the boat.
He´s gone away.
Before the trial, you know.
I wanted him to stay where he was.
I need to be able to talk to him.
Where has he gone?
I thought you didn´t want to see him again.
I don´t want him talking to...
to anyone else.
Will you go and bring him back, please?
I don´t want to have to go looking for him myself, do I?
Well, I´m a little bit busy at the moment.
You just fetch your chum,
and everything will be hunky-dory, all right?
MAN: Stand by.
All right, let´s knock this off.
Camera´s ready, sir. First position!
[ Bell rings ]
Now, what´s his name?
Ian.
Ian.
Remember, you´ve been in the water for hours.
-You´re exhausted. -Yeah.
And you´re absolutely freezing.
Yeah.
Good. Okay, let´s do it.
All right. Enough.
Push the boat out.
Turn over!
Scene 53, take one!
Wait for it.
You´re losing consciousness.
You can´t hold on any longer.
It´s the end.
And...
Miming from "There is a tavern in the town."
Action!
I can´t feel me legs anymore.
ROY: Cut! Fine. Print it.
Roy.
Excellent day´s work, really.
Very good, very good.
Thank you. It went well.
LORIMER: Where is our host?
ROY: Waiting to make his grand entrance,
I should think.
LORIMER: Ah, the lovely Miss Kennedy.
Good evening, Rudy.
Better late than never, eh?
Hedda, my darling, you look divine.
Thank you.
You look pretty damn gorgeous yourself.
Ian.
I wasn´t expecting to see you here.
He didn´t want to come.
I twisted his arm.
LORIMER: Really? Hmm.
I must try that at some stage.
[ Clapping ]
Good evening, everybody, and welcome to you all.
Thank you.
There can be but one toast this evening.
"The Restless Wave"!
"The Restless Wave."
God bless her and all who´ve paid for her.
[ Laughter ]
Lovely to see you all.
Here´s to you, Captain.
No, no.
Here´s to you, Rudy, our fearless commander,
and to you, Roy, our gallant first officer,
and to you, my darling,
the prettiest little Jenny Wren in the navy.
Cheers.
Oh, do I know you?
"I can´t feel me legs."
I´m so sorry.
Ian played the drowning sailor today.
Oh, yes.
Yes, of course.
Sorry.
Were you, um, actually in the navy, then?
No, as a matter of fact, I wasn´t.
IAN: Acting wasn´t a reserved occupation, was it?
Oh, Ian.
Sorry. Just joking.
I think that´s enough of your comedy, Ian.
Pardon me, I´m sure.
Ken, do you remember "The Last Prayer"?
Oh, do I ever!
Camber Sands in February,
with a so-called sweat freezing on our faces
and a prop man blowing dead flies at us
with an electrical fan.
All in the cause of art.
I´ll drink to that.
The director was an absolutely frightful little man,
who shall remain nameless.
He kept smoking cigars,
and he wouldn´t eat the same food as the rest of us.
IAN: Mind your backs.
He used to have this boy with a script of his in a satchel,
with his cigars and his Malvern water.
One day, he actually turned up
in riding boots and an Astrakhan coat.
We were filming -- God, where was it?
LORIMER: What´s your problem?
IAN: Not my type.
So, who is your type?
Dobson?
Sod off.
Go and get your old pal.
I´ll make sure you´re both taken care of.
I promise.
What do you take me for?
A loser. Just look at yourself.
You don´t belong here.
HAWKES: And this character turns up in his Bentley
and strides off to look for a camera angle
with this poor kid in tow.
Anyway, there was a ground mist
and he caught one of his boots in the root of a tree
and he went base over ape,
and this boy landed on top of him!
It was perfect.
Cigars all over the deck, his script drenched in water.
[ Laughter ]
I shall never forget it.
I mean, oh, it was classic.
IAN: Good morning.
A beautiful morning, isn´t it?
I´ve come to see Mr. Dobson.
Dobs, in fact.
Is he in?
You mean young master ***?
Yes, I do, I think.
He´s over at the culvert.
Whereabouts is that, then?
I´ll show you.
But you´ll have to move that awful thing away.
I don´t think his lordship approves of motorbikes.
Oh. What do you think of them, then?
Ooh, you´re a caution.
[ Laughs ]
Well, I´d better be careful, then, hadn´t I?
Well, there´s a sight for sore eyes.
What are you doing here?
IAN: Well, I´ve come to see you.
I´ve been on the road since 5:00 this morning.
That´s quite a lot of potholes,
but it´s worth it to see you doing a bit of bloody work.
What´s happened?
[ Laughs ]
Quite a lot, all in all.
Have a log.
Thank you.
I´m shattered, to tell you the truth.
Tell your Uncle *** all about it.
You rolling your own now, then?
Yes, tricky to find Sullivan Powells up here.
Yes, I suppose it is.
Rudy Lorimer wants to talk to you.
Rudy Havel, you mean. I bet he bloody does.
What´s this all about?
Well, what do you think?
The police have got a file on him as long as your arm,
but they can´t make anything stick
because he´s always got some mug like me
in between him and the law.
Well, so what?
He´s going to get you off, isn´t he?
So he says.
Chief Inspector Wareham also claims he can get me off,
provided I dump Rudy right in it.
Personally, I don´t believe either of them.
Yeah, I see your point.
So, what do you think I should do?
Go to America.
What, jump bail?
IAN: Why not?
Rudy´s not short of 50 quid.
He´s probably got a good deal, better than Wormwood Scrubs.
Oliver´s there.
So he is.
He probably needs a mate just now.
Come and meet my father.
Dad.
This is Ian Deasey.
Is it, by God?
How do you do, sir?
Pleased to meet you, Mr. Deasey.
I´m very grateful to you for the way you´ve stood by my son.
I truly am. I mean that.
He knows what happened.
IAN: Well, *** and I, we were best mates
right through the war.
He´s a good bloke.
I think so.
So, what is all this, then?
Dad´s the gamekeeper.
My dad was a carpenter.
Was he?
You never told me that before.
Nowt wrong with that.
Joseph was a carpenter.
Get me another bag, will you, son?
Right you are.
Forgive me for asking.
Are you one?
What, a carpenter?
One of them, I mean.
No.
Fair enough.
So, what are these, then?
Pheasant.
And what are they for?
Shooting, you daft sod.
I look after ´em.
Feed ´em up, get ´em nice and fit and healthy
so that when the time comes,
his lordship can shoot the buggers.
Seems a bit of a waste of time, doesn´t it?
Aye.
And do some of them get away?
Oh, aye.
Some of them get between the guns,
like you and *** did, thank God.
I´d rather have him at home as he is
than a dead hero.
How are the pulps coming on, Dad?
Oh, they´ll be ready when their time comes.
"They shall grow not old as we
that are left grow old," eh, Deasey?
No, I suppose not, mate.
Dad.
I´m going back to London with Ian.
Oh, yes?
I don´t suppose you know how long for, do you?
Hello. Just passing.
Get away. You miss it.
Yeah, I suppose I do.
So, what´s wrong with Tillie this time?
Fuel pump.
She´s getting a bit past it, poor old thing.
She ought to get put out to grass.
Are you staying on?
I don´t know.
JANET: Had any other offers?
Yes, one, as a matter of fact.
-JANET: Jeremy? -Yes.
Good for you.
Do you mean that?
Yes, I do.
So, what are you going to do?
Well, I thought I might have a go at nursery teaching.
What do you think?
Smashing idea.
Well, Tillie, that´s your lot.
From now on, you´re on your own.
Why don´t we go and finish the medicinal gin?
Ooh, why not?
[ Knock on door ]
Done.
There you go.
It´s not the Queen Mary, but...
How?
Ask me no questions, and I´ll tell you no lies.
Where´s Hedda?
She´s keeping Rudy Lorimer occupied.
Oh, I´d like to have said goodbye to her.
Well, she won´t be back.
Not in time anyway.
You sound like you´re trying to get rid of me.
I am, as quickly as possible. Sod off.
Well, if that´s how you feel.
Well, you know how I feel.
Well, give us a lift to the station, then.
I can´t.
Don´t ask why. I just can´t.
All right?
I´ll call you a cab.
I´ll miss you.
Don´t miss the boat.
All right.
Bye-bye.
Bye-bye.
Why don´t you sit at the table?
I´m all right.
It says here that young people
are influenced by example more than by exhortation
and by collaboration more than by coercion.
What´s that mean?
I´m not sure,
but I think it means that you´re more likely to do as you´re told
if I don´t tell you what to do.
Whose idea is that?
Some American.
What´s it say about belting people?
That it´s unnecessary and counterproductive.
Can we go and live in America?
[ Laughs ] That´s an idea.
What´s the matter with you?
I´ve got cramp.
There you are, you see.
Could we go live somewhere else?
We´ll see.
Cheerio. Thanks for everything.
Sorry I messed it all up for you.
With a bit of luck, you´ll never see my like again.
Keep in touch.
You´re a good man, Ian.
Why don´t you go home to Janet and Alan?
I think they probably feel a bit like you.
With a bit of luck, they´ll never see my like again.
Well...
♫ Goodbye ♫
♫ It´s time I sought a foreign clime ♫
♫ Where I may find ♫
♫ Thou art more kind ♫
♫ Than I leave behind ♫
Da, da, da, da!
Pbht!
Beep!
[ Clears throat ]
Hello.
I wasn´t expecting you.
Where´s ***?
He´s gone.
Gone where?
A long way away.
From Lorimer or Havel or whatever his name is
and the police, everybody.
What about you?
Don´t worry about me.
And what about my £50 bail money?
Look on it as an insurance.
I look upon it as a bloody cheek.
I couldn´t care less, to be quite honest.
LORIMER: Where has he gone?
New York.
New York, huh, and who paid for that?
I did.
[ Laughs ]
Greater love hath no mug.
Why don´t you just...
Rudy was going to pay.
He had the same idea.
-Oh, yeah? -LORIMER: It´s a fact.
Look. Here, here.
See?
You take it.
You can go, too.
Start a new life.
Nothing much left for you here, is there?
No, I suppose not,
but then I´d rather pay my own way, if that´s all right.
Bon voyage, then.
Come along, my darling.
Thank you very much.
Well, this is cozy.
Mum?
What?
Are you wearing a corset?
No, I´m not.
Whyever do you ask?
I was talking to Gran.
Why, does she think I need one?
No.
She said that women wear them to make men look at them.
Why would I want men looking at me?
ALAN: Don´t you?
Not anymore.
Good.
You´ve got me, anyway.
Quite true.
Alan.
I´m sorry about your father.
Why?
Well, I think I´ve made a bit of a mess of things.
You see, when he first came home,
I just wanted things to be as they´d been before,
except I was different.
And then, when he started to want to do different things,
I wouldn´t let him, and you can´t do that, Alan.
You can´t expect people to be what they´re not.
You have to love them for what they are.
That´s what I think.
Good.
-What about me? -What about you?
-What am I? -Twerp.
You love me, don´t you?
Come here, twerp.
Thanks.
Bye, now.
Janet, uh, I´m sorry.
I´ve got no job now,
no money,
no motorbike.
I sold it to buy *** a ticket to go to America
so he can be with his boyfriend
when he gets out of jail.
I sold it, and I´m willing to give it another try
if you and Alan are willing to take me back.
I don´t think I can go back to the job at the council offices,
but I think I might be able to get a job
with this woman producer.
I think I might be able to get a job writing for this producer
at the BBC.
Because I really, really want to make it work.
Because this is where I belong.
I love you.
And you.
Come in.
I had a speech prepared.
Subtitling made possible by RLJ Entertainment