As Time Goes By S4/E2 'Rewrites' Geoffrey Palmer • Judi Dench
Transcript
00:00You must remember this, a kiss is still a kiss, a sigh is just a sigh, the fundamental
00:23things of life as time goes by.
00:46Nasty cough.
00:48I'm trying to find out if anyone's in the bathroom.
00:50Well, I'm not.
00:52No, you're not. I meant Judith or Sandy.
00:57Anyone in there?
01:00There's no one in there.
01:04I wasn't to know that, was I?
01:07Well, I should have thought the silence spoke for itself.
01:10Why stand there coughing? Why not just call out, is anyone in there?
01:14Well, because I wouldn't like anyone saying that to me.
01:16There's nothing worse than being in a bathroom, someone outside calling, is anyone in there?
01:20It inhibits whatever you're doing.
01:23This happens to you a lot in life, does it?
01:25Not a lot, no, but I don't like it, that's why I was coughing.
01:28Anyway, from inside the bathroom that could have just sounded like somebody coughing as they passed the door.
01:32No, it couldn't. I was coughing at the door.
01:38I've never heard of anyone aiming a cough before.
01:41Why are we having this peculiar conversation?
01:43Well, because sometimes you're peculiar.
01:45Is not wanting to burst in on a lot of naked women peculiar?
01:49You'd like that, wouldn't you?
01:51Well, there's no chance of you bursting in on anyone.
01:53If I hadn't come along, you'd still be standing there at lunchtime.
01:56You'd have a very sore throat.
01:58It's all these women in the house, you see.
02:00Look, Sandy, just one extra till she and Judy find a flat.
02:04Sandy does not suddenly make it all these women.
02:06All I wanted was a shower.
02:09Well, I'd go and have one now. Bathroom's free.
02:17Anyone in there?
02:21I do not have a suspicious nature.
02:24I just asked why the two of you had got up so early.
02:27Sheer enthusiasm for work.
02:29I just wanted to leave the bathroom clear for everybody else.
02:32I'm living with a pair of little angels.
02:34Oh, you are, you are.
02:36Plus, we wanted to get to the paper early.
02:38If there are any decent flats advertised, we want to be on the estate agent's doorstep before he opens.
02:42Look, I told you, you don't have to rush.
02:45We're perfectly all right until you find somewhere you really like.
02:48And Lionel?
02:50Well, you weren't to know that Lionel has a thing about cooking his own sprouts.
02:53I was just trying to help. Hard as cannonballs, he said.
02:56That's because you cook them properly.
02:58He likes his sprouts the consistency of porridge.
03:01Just be grateful he didn't pinch one of his custard tarts.
03:03That's practically a capital offence.
03:05Look, I don't want you two pussyfooting around.
03:08He's not the lord of the manor.
03:10He does live here.
03:11Well, so do you.
03:13I'd better go to work.
03:14Now you make him sound like the giant cutting down the beanstalk.
03:17You know, we're a bit much for him in the mornings.
03:22Morning.
03:23Morning.
03:24Morning.
03:27Why do women always get papers in such a mess?
03:30Cheerio, then.
03:31See you later.
03:34Are we going to say goodbye?
03:36Goodbye.
03:39Is that some formal statement?
03:41Yes, it is.
03:43I've never heard anyone make such a fuss over a few sprouts.
03:47It's not the sprouts. I told you, it's all these women in the house.
03:50Well, we're going to work.
03:52When do the next lot arrive?
03:54Mrs Flack.
03:56I know she's not a lot, but she seems like it sometimes.
03:59You've never really come to terms with Mrs Flack, have you?
04:02You can't come to terms with Mrs Flack. She never listens.
04:05You can't come to terms with Mrs Flack. She never listens.
04:08She just talks and talks and talks.
04:12Do you want me to have a word with her?
04:14Oh, no, I don't think that's right.
04:16After all, it's me she's working for, so when all's said and done, would you?
04:28Mrs Flack.
04:29Good morning.
04:32I'm sorry I'm early, but there was a bus strike.
04:36Oh, I see.
04:37Is it all right if I go through?
04:39Yes, of course.
04:42Yes, only the bus strike was in New York, you see.
04:47You live in Chiswick.
04:48But I didn't realise it was in New York when I heard it on the radio last night.
04:53You know how it is when you're on your own.
04:55You listen to the radio in bed and sometimes you doze off and don't get things right.
05:00I just got it into my head that the bus strike was here, so I set off early to walk here.
05:05Well, you didn't walk here when you found the buses were running.
05:08Oh, no, when I realised my mistake, I hopped on one.
05:12Which is why I'm early.
05:14I'm an idiot.
05:15I don't feel a fool.
05:17I wouldn't worry. It's the kind of thing that can happen to anyone.
05:19Look, Mrs Flack, now that you are here, I'd like a word regarding you and Mr Hardcastle.
05:24You've been to New York, haven't you?
05:26Once or twice, yes.
05:27Yes. Were you mugged?
05:29Most people are, apparently.
05:32No. I must have been the exception.
05:35About you and Mr Hardcastle...
05:37Oh, he's been to New York, hasn't he, to talk with the American people about the script he's writing.
05:41Well, Los Angeles, actually.
05:43You see, regarding Mr Hardcastle's work...
05:45Oh, he's doing ever so well.
05:47Except for sometimes when he loses track of what he's saying.
05:51Yes, well, perhaps something makes him lose track of what he's saying.
05:55You went with him.
05:57Where?
05:58To Los Angeles, he told me.
06:00Did you see any film stars?
06:03No, well, no, not really.
06:05You see, when you're working, when you're trying to concentrate,
06:09it isn't good to have too many distractions.
06:11Oh, I see.
06:12Good.
06:13So you didn't look for any?
06:17What?
06:18Film stars.
06:19I mean, if you'd gone looking for film stars, that would have been a distraction, wouldn't it?
06:24Well...
06:26Oh, will you excuse me?
06:28I used to like Warner Backstar, but I suppose it was before your time.
06:34Oh, yes.
06:39Did you have a word?
06:40Sort of, I had a sort of word.
06:42And?
06:43I got sidetracked.
06:44That's what she does to me.
06:45But I think I've laid down the foundations for a really sensible discussion.
06:49Which you're now going to have.
06:50I've got to go to work.
06:52Incidentally, why is she so early?
06:54Do you remember Warner Backstar, Mr Hardcastle?
06:58Warner Backstar?
07:01See you later.
07:03Mrs Pack will explain why she's so early.
07:05You won't believe this, but it was because of a bus strike in New York.
07:13She did say a bus strike in New York, didn't she?
07:15Bye.
07:22Yes, Mr Milner, that'll be absolutely fine.
07:26Thank you.
07:27Bye-bye.
07:29So, why didn't she check to see if there was a bus strike?
07:32Oh, I didn't get round to asking that.
07:35She'd moved the conversation on by then.
07:37Once Mrs Pack moves the conversation on, it's very difficult to get it back to where it was.
07:42Poor old Lionel.
07:43Well, you just have to be firm with her, that's all.
07:46Like you were.
07:47Well, it was the thought of her lying in bed, listening to the radio all on her own.
07:50Daisy's here. Can she see you?
07:53Daisy?
07:55Yes, of course.
07:56Lionel's dream secretary.
07:58Well, you can see why, can't you?
08:00Hello.
08:01Come in, Daisy. Sit down.
08:02Thank you.
08:04I feel silly.
08:05Oh, well, I wouldn't worry. I've felt silly all morning.
08:10Well, may I come off your branches, books, and onto yours, please?
08:14May I come off your branches, books, and onto yours, please?
08:17Why? Sally Curtis. I was asking Daisy.
08:21Sally Curtis. I don't want to sound disloyal.
08:24Well, you may have to, but we'll call it being frank.
08:27Go on.
08:28It's the job she gives me. They're all...
08:31Well, it's always working for a man.
08:33And when I turn up, I always find she's described me as bright and attractive.
08:38And it's the attractive bit that doesn't seem necessary.
08:41I just don't see that it's relevant to you.
08:44Well, I mean, you wouldn't describe a secretary as bright and plain, would you?
08:49No, I wouldn't do that.
08:51Well, I just get the feeling that Sally Curtis is using me as some kind of showpiece.
08:55Quite honestly, I'm fed up with it.
09:04You know, Daisy, when I was a nurse, the male patients used to flirt with me,
09:08and I used to get quite offended when they didn't.
09:10That was a long time ago, though.
09:14I wasn't in the Crimea with Florence Nightingale.
09:17But you're right. Times have changed.
09:20All right, I'll put you down on our books, and I will only describe you as bright.
09:24I'm ever so grateful.
09:32What does give her to Lionel mean?
09:36Uh, Lionel. Mum's Lionel.
09:38You worked with him once. You got on really well.
09:41Yes, well, I thought so.
09:43I only lasted a day, then I was told I was unsuitable.
09:46Yes, well, that was a mix-up.
09:48Anyway, Lionel's already got a secretary.
09:50Who's driving him up the wall?
09:52Anyway, Daisy, I should point out that Lionel found you very attractive.
09:56Oh, I don't mind being found attractive.
09:58I don't mind being pre-sold as attractive.
10:01No, it's a fine point, but I think I see what you mean.
10:03Well, that's all fixed up, then.
10:05No, it isn't.
10:07Mrs Flatt may be talkative, but you can't just replace her for that.
10:10No, of course you can't.
10:11Good.
10:12Sandy?
10:13Well, I thought it was a great idea.
10:16Now, I would describe Sandy as bright with exceptional hearing.
10:21Sandy, will you look on our books and see if there's anything suitable for Daisy?
10:24Right. Come on, Daisy. Let's see if we can find you a harmless old man.
10:30Lionel's a harmless old man.
10:34He's not old, and he's certainly not harmless.
10:37In case you've forgotten, he tried to seduce you the first time he met you.
10:40He didn't try very hard, and he didn't know I was your daughter then.
10:44Well, he still tried.
10:46Anyway, Mrs Pack is perfectly efficient.
10:48If Lionel can't just quieten her down a bit, then it's his affair.
10:52You're the boss?
10:53Yes, I am.
10:55No, it's a good job Lionel didn't seduce me.
10:58If things had gone on from there, he might have ended up calling you mum.
11:03Come in, Alastair.
11:05Hi, Lionel.
11:06I'll leave you two to chat then. I'll find something to do.
11:11I'll finish telling you about my cousin with the inflamed tendon later, Mr Hardcombe.
11:17She will as well.
11:19I have to say, Lionel, it's difficult to know where that lady is coming from.
11:22I just wish she'd go back.
11:24Give her the big E.
11:26The what?
11:27The elbow.
11:28And how do I do that?
11:30Simple. Just look her in the eye and say,
11:32Hey, we don't mix. Let's jump into different bowls.
11:35I can barely understand that. I'm sure Mrs Flack will.
11:40Okay.
11:41Try something subtler.
11:43Say, you're sacked.
11:46I can't do that. I mean, there's no harm in the woman.
11:48You're getting too cuddly, Lionel.
11:50I refute cuddly.
11:52It's just that...
11:53I have to say, Lionel,
11:55that staff problems are not a tolerant area.
11:58Staff problems are not a tolerant area for me.
12:01You never have any, of course.
12:02Correct.
12:03They please or they leave. That's my motto.
12:05I shouldn't have asked.
12:07Can we move on to more interesting areas?
12:09Like what?
12:11Sex.
12:14Sex?
12:15Right.
12:16I've been talking to Mike and Sol in La.
12:19I know La is L.A.,
12:21but I thought it was Mike and Psy we were dealing with.
12:23We were.
12:24But Psy is off the team.
12:26What, dropped for not scoring?
12:31In a way, yes.
12:32Psy is in therapy.
12:34He was in therapy when we met him in Los Angeles.
12:36Yes, I know, but when I say in therapy now,
12:38the emphasis is on in.
12:40You mean he's gone crackers?
12:42Let's just call it executive stress.
12:45But that didn't rattle our rafters
12:46because Sol, who's taken over from Psy,
12:48is even keener on your miniseries than Psy was.
12:50Sol has read the draft of your first episode
12:53and has gone crazy.
12:55He's going to join Psy in his padded service.
12:58I mean, he loves it.
13:01But...
13:02Now, why should there be a but?
13:04Because against my better judgment,
13:06I'm getting used to this weird business.
13:08Okay.
13:09But it's a mini-but,
13:10which brings us back to sex.
13:13I mean the part in the script where you and Jean...
13:16Hey, hey.
13:18For the first time.
13:20Yes.
13:21Sol found it...
13:23How shall I put this?
13:24As carefully as you can.
13:25Naturally.
13:27The word lie is dull.
13:30Then the man has no imagination.
13:32It comes down to what you actually put on the page.
13:36Sol found that it didn't leap out and hit him.
13:39Well, it should.
13:40But it doesn't.
13:41Then that's his hard luck.
13:43Wrong lie. It's yours.
13:44Look.
13:46I've re-read it myself.
13:48And to be, like, super honest,
13:50it doesn't actually say what happened that night.
13:53We slept together for the first time.
13:55What do you think happened?
13:56We're missing each other, aren't we?
13:58We frequently do.
14:00Look, mate.
14:01It's a love scene.
14:03And the sexiest line you've got in it is,
14:07shall I ask for a morning wake-up call?
14:14Have another look at it, please.
14:15I refuse to be explicit.
14:17Nobody's talking explicit.
14:20Just ex.
14:23Try a little re-write.
14:24Just for me.
14:25You mean Sol?
14:26And Sol.
14:28And the money.
14:30Now you're appearing to my finer nature.
14:33Well, good night, Mrs Flack.
14:40What about something like,
14:43she trembled as he slowly unbuttoned her blouse,
14:48slid unnoticed to the floor
14:50as his hands moved towards her eyes.
14:52Mrs Flack, please.
14:54I'm not going to write anything like that.
14:56As long as the right lines lie.
14:57And don't you start.
14:58Are you sure you don't like my idea of putting lots of gasps in?
15:03I'm not enamoured, no.
15:04I'll think of something.
15:05Oh, I'm sure you will.
15:07It's something to look forward to tomorrow, isn't it?
15:10Absolutely.
15:11That's what the late Mr Flack always used to say, you know.
15:14There's always tomorrow, Gwena used to say.
15:16Did he really?
15:17And then, of course, one day there wasn't a tomorrow.
15:20Not for him.
15:22Well, see you tomorrow.
15:24Yes, good night, Mrs Flack.
15:26I never did finish telling you about my cousin's inflamed tendon, did I?
15:32No.
15:33How we got on to talking about steam engines, I don't know.
15:37It's funny the turns conversation takes, isn't it?
15:40Yes, isn't it?
15:41Good night, Mrs Flack.
15:42Good night.
15:44I'll bring you up to date on the inflamed tendon tomorrow, shall I?
15:57Thank you.
16:00Oh, Mrs Flack.
16:02Hello, Miss Partita.
16:05Just off.
16:06Oh, would you like our cab?
16:08Oh, no, I can't run to taxis.
16:10Please, I shall get the baths, take Harriet for a walk and then get our tea.
16:14You're fond of Harriet, aren't you?
16:16Of course I am, he's my best friend.
16:19Good night.
16:20Good night.
16:21Good night.
16:22There's something rather indomitable about Mrs Flack.
16:25Her best friend is a Yorkshire Terrier.
16:28She's lonely.
16:30Do you still think Daisy's a good idea?
16:33Oh, stay right there.
16:35Why?
16:36The car's framed in that doorway.
16:38You don't look a day over 30.
16:41I'd up the age, I've got two children with me.
16:44Hey, this is too much.
16:46That's what Lionel says, and he doesn't mean quite the same thing.
16:51Where have you been lately?
16:53You know, around.
16:57Did I say something?
16:58No, you didn't. That's the trouble.
17:01Excuse me, I'm going to get changed.
17:03I would say, would you like any help?
17:04Yes, I thought you might.
17:06But I'm rather off the road here.
17:08Have you moved in?
17:09Only till I find a flat.
17:11My God.
17:12Living with three gorgeous women and Lionel's still miserable.
17:15I undercooked his sprouts.
17:19Oh, I'm so sorry.
17:21Oh, it's all right.
17:23I undercooked his sprouts.
17:32I could live with undercooked sprouts if I was in your shoes, Lye.
17:36Yes, I'm sure you could.
17:38Look what I've made you.
17:40It looks revolting.
17:41Are those the words of a man who says, hey, I'll try anything?
17:44No, they're mine.
17:45Hello, Lionel.
17:46Hello.
17:48Aw, have you depressed him?
17:50Would I do that?
17:51No, Mike and Sol want some rewrites for the first episode.
17:55Oh, I see.
17:56Shouldn't that be Mike and Cy?
17:58Mm-mm. Cy is yesterday.
18:00He's gone crackers.
18:02Well, I can't say I'm surprised.
18:04How many rewrites?
18:05Minimal. Just one scene.
18:07If Lye wasn't so fazed by Mrs Flack, he'd have done them by now.
18:10I'm not fazed by Mrs Flack.
18:12I'm being driven to distraction by Mrs Flack.
18:14Oh, dear.
18:15Come on, mate. Pick yourself up.
18:17Drink your gigolo's pardon.
18:19I don't even like the name of it.
18:21What exactly is gigolo's pardon?
18:23Espresso coffee with warm amaretto,
18:26which you drink through the cream on the top.
18:28That sounds nice.
18:30You drink it, then.
18:31Lye.
18:32Oh, all right.
18:37As I said, you drink it.
18:43That's delicious.
18:44Yeah?
18:46You know, I might give an espresso machine to Judy and Sandy
18:49for a housewarming present.
18:51Judy and Sandy?
18:53Yes.
18:55They're getting a flat together.
18:57Eventually.
18:58Oh, right.
19:00I see.
19:02Would you...
19:04Excuse me for a moment.
19:06His feathers are ruffled.
19:08Why?
19:10Look, I'll pour you a nice large scotch
19:13and we'll call it gigolo's last stand.
19:19Flat hunting?
19:20Yes.
19:22I'd have thought you'd have preferred somewhere on your own.
19:25I don't seem to function very well on my own.
19:27Well, you wouldn't be.
19:29Some of the time.
19:31But if you move in with Sandy...
19:33Clear off.
19:35Come again?
19:37Clear off.
19:38I'm fed up with you taking me for granted.
19:41Now, when have I ever done that?
19:43Come to think of it, Alistair, most of the time.
19:45Now, hold on, baby.
19:46No, you hold on, baby.
19:48I'm just supposed to be available, aren't I?
19:50I don't get a peep out of you for weeks
19:52and then it's just, oh, you know, around.
19:55Then on top of that, you don't want me to share a flat with Sandy
19:58because it might interfere with your life.
20:00Well, I've got my life, Alistair,
20:02and if leading it denies me the pleasures of your not-so-perfect body, tough.
20:12Are you off?
20:16Positively rancid, apparently.
20:22Raoul?
20:23Major.
20:25Don't worry, I'm not going to throw myself on the bed and cry.
20:28Good.
20:29Because, actually, I'd like you to take a look at your room.
20:32Why?
20:33To see if you notice anything.
20:36Rewrites?
20:38No, I'm writing to Mrs Flack.
20:41Mrs Flack?
20:42She was here half an hour ago.
20:44I've told you, she doesn't listen to a word I say.
20:46I'm hoping that the written word might prolong her attention span.
20:50Oh, Lionel!
20:52You can't!
20:54Either she goes or I'm joining Sy on his Californian funny farm.
21:00If I had a white feather, I'd take it.
21:03If I had a white feather, I'd stick it up your nose.
21:06I beg your pardon?
21:08You haven't the nerve to tell her to her face.
21:10Well, you would have, I suppose.
21:11Yes.
21:12What would you say?
21:13Well, I'd say, see here, Mrs Flack.
21:15See here?
21:17Well, we're not talking about me, we're talking about you.
21:20You can't write her a letter.
21:22Is this the man who played rugby against the parachute regiment?
21:25Who stood up to a hostile mule in Korea?
21:27They were blokes.
21:29Well, the mule wasn't.
21:30Mules aren't blokes, mules aren't one thing or another.
21:32Well, Mrs Flack is a woman, we can agree on that, can't we?
21:35Cowardly custard.
21:36Oh, no, we're getting really childish, aren't we?
21:38Oh, and that from a man who's writing a letter to somebody he's going to see in the morning?
21:41That carries absolutely no weight at all.
21:43Lionel, you can't sack her.
21:45Look, working with her is like trying to swim in treacle.
21:48Well, there's a way round it.
21:49What?
21:51Well, I haven't worked it out yet.
21:53So why can't we just sack her?
21:55Because our best friends are Yorkshire Terrier.
21:58Well, that's hardly a sound commercial reason.
22:00Well, I know it isn't, but because she's a lonely woman who likes working for you.
22:04She likes talking to you.
22:06I don't want her to talk to me. I'm not a lady's companion.
22:09You can't sack her, Lionel.
22:11I honestly don't think you can do that.
22:13Mum?
22:14Hm?
22:15Could we have a word?
22:16Yes, of course.
22:19Oh.
22:20Do you mind, Lionel?
22:22No, I've finished working. You carry on.
22:25Oh.
22:28Oh, I see. It's girly talk.
22:32Girly talk?
22:33No, I don't mind. I'll go and have a custard tart.
22:39Well, what is it?
22:42Well, it's a bit awkward.
22:44And I don't believe it for a moment.
22:46Oh, I don't believe it for a moment either.
22:48It's just a bit awkward.
22:50This conversation isn't exactly zooming along, is it?
22:54Someone's been going through my things.
22:57My clothes.
22:58And mine.
23:00Oh, you're not suggesting Lionel?
23:02Oh, no.
23:04No, we don't believe that for a moment.
23:06Then why did you want him out of the room?
23:08Well, we didn't do it. And we know you didn't do it.
23:11Well, nor would Lionel.
23:13I mean, of all things, I haven't got him down as a cross-dresser.
23:17He's coughing again.
23:19Come in, Lionel.
23:22Sorry to interrupt.
23:23Oh, that's all right. You know how trivial girly talk can be.
23:26You've all got funny expressions on your faces.
23:29Why did you interrupt?
23:31I thought you'd like to know that the kitchen has been rifled.
23:34I couldn't find my custard tarts.
23:36Well, I'd hardly describe that as the kitchen being rifled.
23:38I hadn't finished.
23:40I looked in another cupboard for the custard tarts,
23:42and then another, and then it struck me.
23:44Everything's been moved. It's all been rearranged.
23:47Well, I didn't do it.
23:48Well, no, of course you didn't. None of you did.
23:50Because you've been out all day.
23:52Which leaves Mrs Flack.
23:57Something I don't know about, isn't there?
23:59Well, somebody's been going through the girls' clothes.
24:04Mrs Flack?
24:05She was with you all day.
24:07No, not all day.
24:09Not when I was talking to Alistair,
24:11not when Alistair and I went to the pub to seek sanctuary.
24:15I must say, I didn't think she pinched clothes on the side.
24:18Oh, no, nothing was stolen.
24:20Things were just rearranged.
24:22It seems she's a compulsive tidier.
24:25Is this what you wanted to tell Jean?
24:27Yes.
24:28Why did you want me out of the room?
24:31If I thought for one moment that you thought...
24:33Oh, don't be silly.
24:35The conversation was just a bit personal, that's all.
24:37Oh, I see.
24:39Well, fair enough.
24:41Well, that brings us back to Mrs Flack, doesn't it?
24:44Well, she didn't actually do any harm.
24:47It is a bit weird, though, isn't it?
24:49Where will it end?
24:51I tell you this, I don't want her rearranging my pants.
24:56Nor mine.
24:57Oh, well, that settles it. She has to go.
24:59At last!
25:00Well, Lionel can tell her in the morning.
25:07I mean, it is possible to read a paper
25:09without getting it into a state like this.
25:11I'll tell them.
25:14Well, I'll see you later, then.
25:17I've never known the house empty so quickly.
25:19Now, you will talk to her?
25:21You won't just write her another letter?
25:22No, I'll talk to her.
25:24Goodness knows what I'm going to say.
25:26Well, I should take the professionally incompatible line.
25:29I shall have to.
25:30I certainly don't intend to go into why she rearranges women's underwear.
25:34You could mention the custard tarts.
25:36No, better not.
25:37It's in the same area, really, isn't it?
25:41It's a strange combination.
25:43Why do something like that?
25:45What makes someone do something like that?
25:48Well, it's not ill-intentioned.
25:50It is loneliness, I suppose.
25:52Oh, we're not back on the Yorkshire Terrier, are we?
25:54No.
25:55Look, I'll leave it up to you.
25:57Oh, thanks very much.
25:58But let her down lightly.
26:00Any more advice and I'll lock you in a cupboard till she arrives.
26:04There is a reward for all this, you know.
26:06Daisy.
26:08Daisy?
26:09Well, she's on my books now.
26:11You did like her.
26:12Yes, I did, I did.
26:16And if she's pretty, well, she's pretty.
26:18I can live with that.
26:20Yes, so can I.
26:23Yes.
26:25And she's very bright as well.
26:27She's so helpful.
26:28Yes, well, you'll be able to get on with your rewrites.
26:31Hopefully, yes.
26:34Well, I forgot to ask.
26:35What bit does this new chap want rewriting?
26:38Oh, it's just a scene, really.
26:40Which scene?
26:42The bedroom scene.
26:45Oh, I see.
26:46Well, you did ask.
26:47Yes, I did ask.
26:57Well, I'll talk to Daisy today, then.
27:00Thank you.
27:01You're not to go soft on Mrs Flack.
27:03Nothing Mrs Flack can say or do will make me go soft on her, I promise.
27:07She can...
27:09Oh, Lord.
27:10What?
27:12Look at me.
27:14It's Harriet's fault, bless him.
27:16His lead got twisted and I went over.
27:19Broken ankle.
27:21Still, here I am.
27:23Ready to go.
27:26I'm soft.
27:28So am I.
27:33Mrs Flack.
27:35Mrs Flack.
28:05I love you.
28:06All that you can rely.
28:12The world will always welcome lovers.
28:17As time goes by.
28:35© BF-WATCH TV 2021