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Short filmTranscript
00:00I think the first time maybe I did it too hard.
00:02No, I was really wanting to kind of like fly back or get knocked off my feet.
00:06Hi, I'm Benedict Cumberbatch.
00:08And I'm Gabby Hoffman.
00:09And this is a scene from Eric shot by shot.
00:19It's episode two.
00:20This is the end of episode two.
00:21It's 48 hours into the disappearance of our nine-year-old son Edgar.
00:24You're finally sort of coming out with your plan with Eric the puppet.
00:29I'm finally sort of confronting you about your losing your mind.
00:32Yeah.
00:33And the cut on your forehead.
00:35Yeah.
00:35I thought I saw it today.
00:39But it was just the jacket.
00:42It was just a jacket that looked like this.
00:44That's a good moment.
00:46I think this is where they both realize that they're going to have to go it alone.
00:50He can't be my partner in this endeavor and you're realizing I can't be yours.
00:53And I think this is the beginning of when we know that we're going to
00:56take two separate paths from here on out.
00:58Yeah.
00:59I didn't have my eyebrows arched like that either.
01:03What are you doing with his drawings?
01:07I told you I'm working on a new puppet.
01:13Look, if I can get Eric on the show, then Edgar will see him.
01:19Then he'll know how much we love him, how much we want him to come home.
01:25He'll know what to do.
01:27We had a little trouble getting here, remember?
01:29I do remember.
01:29There's the big shove prior to this and it took us a while.
01:32The fight over the remote and the check and what the scene was really about at the beginning.
01:36Yes.
01:36Yes.
01:37And it's interesting because it is about us trying to come together and then pushing each
01:42other apart or me pushing you away.
01:44I think the first time maybe I did it too hard.
01:47No, I was really wanting to kind of like fly back or get knocked off my feet.
01:50It's beautiful, Robbie's writing, because it's far more real.
01:54Real life doesn't go into some kind of crescendo of crisis.
01:57It ebbs and flows.
02:01It moves in a far less linear way.
02:03And that's really what I think she's crafted in this moment.
02:06How did you get that cut on your forehead?
02:11What I loved about this moment, though, in the playing of it with Gabby,
02:14was just the thread of trust and suspicion being pulled and pulled and pulled.
02:18That tension was a delightful thing to play dramatically.
02:22You have a bloody T-shirt as a bit of evidence at this point in the show,
02:24and that somehow I'm involved in what is supposed to be Edgar's injury,
02:29because it's blood on his T-shirt.
02:31I loved her leaning and going, oh, my God, oh, my God.
02:33And having that thought drop, which she does so chillingly, so beautifully.
02:37It was such a horrifying thing to face as Vincent.
02:41The ability to leave the scene with defensive disgust and revulsion was,
02:47I mean, it was really like a shutter dropping for that character.
02:51What blood type are you?
03:00I'm giving my mother her check back.
03:05He's lived a life of not being loved, not being cared for, not being held.
03:10And therefore, to be held by this check, to be helped by this check,
03:13he can't see the very, very obvious point that, of course, people need incentives.
03:18Of course, people need to have some kind of lure to come forward and help
03:22in a busy, crowded, loud city with tragedy on every corner.
03:26And the money, I'm afraid, does motivate people to do that.
03:29You can't accept it, because it would be to accept some sort of defeat.
03:32So I do think it's right and wrong is a funny binary to throw on this.
03:37But I do think it's a moment of indication as to the trap that you're still in.
03:42For sure.