Savage Grace (2007) Full Movie
Category
🎥
Short filmTranscript
00:00:00A few weeks ago, I was eating a tomato
00:00:05when I suddenly found out that my mother was not dead.
00:00:09It was something very, very mysterious.
00:00:16Dad spoke several languages and climbed mountains.
00:00:20He was an adventurer.
00:00:24Mom was a person very gifted for social life.
00:00:28She was master of the art of euphemism.
00:00:31An adventurer.
00:00:34Hello.
00:00:35Yes.
00:00:38He was boring and cold.
00:00:41She was warm and radiant.
00:00:47And I was little Tony.
00:00:49Hello.
00:00:50Are you with your mom?
00:00:52The steam that emanates when cold and hot contact.
00:00:57Mitch?
00:00:58Hello.
00:00:59Honey, I'm calling you because Prince Ashwin, Prince Ashwin Lipa,
00:01:04Prince Perhard's brother,
00:01:06well, he said that Ashwin wants us to meet tonight at the Stork Club
00:01:10and he would like to meet you and Just.
00:01:12He asked me if I ...
00:01:15Naturally.
00:01:16Let's say that at 10.30,
00:01:20which is too European.
00:01:26Be as sarcastic as you want,
00:01:28but I warn you that Tony hears everything you say.
00:01:31Can you imagine what kind of world is going to grow up?
00:01:35Brooks and I will see you tonight.
00:01:41Brooks.
00:01:43Dear.
00:01:47I deduce that you are compromising for me.
00:01:51Without my permission and without consulting me.
00:01:59Prince Ashwin Lipa, please.
00:02:02On behalf of Barbara Beckland.
00:02:05Don't make it difficult for you, not tonight, dear.
00:02:08Please, you have to forgive me for not telling you before,
00:02:11but tonight we are going to have dinner with Mitch and Just van der Uwel
00:02:15and for them it would be a great pleasure to have your company.
00:02:18They would be delighted.
00:02:21And me, of course.
00:02:23And also Brooks.
00:02:28Thank you, dear.
00:02:30People say I should hate you and mom.
00:02:34For what happened.
00:02:36We won't be late, I promise you.
00:02:39But everything that happened was out of love.
00:02:43It was out of love.
00:02:45Do I look like a penguin to you?
00:02:52Then why the hell do I have to dress like a damn penguin to go to dinner?
00:02:57You don't have to put on the smokey, let alone be vulgar.
00:03:00In front of T.O.N.I.?
00:03:01You would go well with the uniform.
00:03:03No way.
00:03:04You are so handsome and so elegant with the uniform.
00:03:07The war is over.
00:03:08Didn't you find out?
00:03:09You are in your right.
00:03:11The war is over and you were a volunteer.
00:03:13You have every right to wear the uniform.
00:03:16Your father is so handsome and so elegant with him.
00:03:19So elegant.
00:03:23Will the little one of virtues come or are you going to leave him here alone and abandoned?
00:03:27I have a date with Ninny at nine.
00:03:29In that case, he will be delighted to go out to dinner.
00:03:42T.O.N.I., T.O.N.I., T.O.N.I., T.O.N.I.
00:03:44Mom, don't you think we should call him Anthony?
00:03:47Anthony will be his full name, his formal name for the world.
00:03:51We will call him T.O.N.I. while he is a child.
00:03:54Those of the family and friends.
00:03:56But when I refer to him, when they ask me if I have a photo of him, I would have to tell them ...
00:04:02You tell them, this is T.O.N.I.
00:04:04And everyone will answer, he is an angel.
00:04:07Yes, he is.
00:04:09He is an angel, a beautiful angel.
00:04:13Is it true that my child is an angel?
00:04:16We may be late.
00:04:18Do it.
00:04:20Oh, my little T.O.N.I.
00:04:22Mom loves you.
00:04:29Barbara.
00:04:33Good evening, T.O.N.I.
00:04:34You are in good hands.
00:04:36Have a good time.
00:04:38You can come back as late as you want.
00:04:41Shit.
00:04:56Thank you.
00:04:58Good night.
00:04:59Your table is being prepared.
00:05:01So we came early.
00:05:04Mr. Speckland, this way, please.
00:05:06And believe me, I'm sorry.
00:05:08Next time.
00:05:21Hello.
00:05:23Delighted to see you.
00:05:25How are you?
00:05:31I'm Barbara.
00:05:32Simone.
00:05:33Delighted.
00:05:36And that's why Dieter and Brooks embarked on this great adventure.
00:05:40In Peru.
00:05:41In Villa.
00:05:43Oh, darling, you know that geography is not my strong suit.
00:05:48Brooks, help me.
00:05:50Villa.
00:05:51Darling, don't pressure him.
00:05:53Maybe your husband doesn't want to talk about it.
00:05:55Brooks, please.
00:05:56If it bothers you, comment.
00:05:58Vilcabamba.
00:06:00Dieter and I went to Vilcabamba, in Peru.
00:06:04And tell us, what was the purpose of your little adventure?
00:06:08There was none.
00:06:10Well, I'm lying.
00:06:12Yes, there was one.
00:06:14Unveil a mystery from 400 years ago,
00:06:17which had been of Inca manco.
00:06:19He wanted to find the ruins of the lost city.
00:06:21That is one of his passions.
00:06:23Show him a dusty path and he will take it.
00:06:26That's fine.
00:06:34And you, Simon?
00:06:36Well, I don't know.
00:06:38Your husband has asked you a question.
00:06:40It seems unfair to me.
00:06:42I find it...
00:06:43Cigarettes?
00:06:44... tedious.
00:06:46But I would do it.
00:06:47Answer, would you do it?
00:06:48Cigarettes?
00:06:50That if I ate half a kilo of human flesh,
00:06:53for ten million dollars?
00:06:55No, no way.
00:06:57I would do it.
00:07:00There is a difference between eating horse and eating the gentleman.
00:07:04Brooks, for ten million dollars, would you sleep with Simon?
00:07:09For ten million dollars, would you do it?
00:07:11No, Barbara, I beg you.
00:07:13Don't be stingy.
00:07:16Would you be able to go with the first person you meet on your way out?
00:07:20I don't know.
00:07:22I don't know.
00:07:24I don't know.
00:07:26Would you be able to go with the first person you meet on your way out?
00:07:30Yes, I would be able to.
00:07:33Well, shall we continue with our drinks?
00:07:36Brooks, Barbara, have you been to the Engadin?
00:07:40Oh, I was practically born in Gestat.
00:07:42The ski monitors drive her crazy.
00:07:49Yes.
00:07:52That's the rumour.
00:07:54I've heard it.
00:07:56Thank you for coming tonight.
00:07:58Goodbye.
00:08:01Barbara?
00:08:03You said you would be able to go with the first person you meet on your way out.
00:08:07No, what I said...
00:08:09So I intend to go home with the first person I meet.
00:08:12Hello.
00:08:14How are you, Barbara?
00:08:16I'm dying to be. Would you invite me to a drink?
00:08:18Excuse me.
00:08:20Barbara.
00:08:22Brooks.
00:08:25I've loved seeing you.
00:08:51Nini.
00:08:53I'm sorry.
00:08:55It's all right.
00:08:57I guess I...
00:08:59You've fallen asleep, of course.
00:09:01It's late.
00:09:03Too late. You've fallen asleep.
00:09:05I trust it was...
00:09:07Yes, we had a great time.
00:09:10I'll take over.
00:09:12Where's Barbara?
00:09:13She'll come back on her own.
00:09:15Shall I bring you the coat?
00:09:16No, I'll go.
00:09:18The prince was there.
00:09:19What did you say?
00:09:21The prince. The prince of Amsterdam.
00:09:23He was there.
00:09:25I suppose you're referring to Prince Bernhard of Holland.
00:09:28It was Count Lippa Bisterfel before his marriage to Juliana.
00:09:32The one who has dined with us is Ashwin Lippa.
00:09:34Simply Ashwin Lippa, his younger brother.
00:09:37He's only called Prince.
00:09:39Oh, because Barbara told me...
00:09:41Barbara said.
00:09:49Although he's a decent man.
00:09:51I understand.
00:09:53A good man.
00:10:18Don't worry, my love.
00:10:41My little one.
00:10:43My little one.
00:10:45My beauty.
00:10:47Oh, what a life, eh?
00:10:50Are you hungry? Are you hungry, little one?
00:10:53Tony, are you hungry?
00:10:57Daddy used to say,
00:10:59for two dollars the ceremony,
00:11:01and ten more for the orchestra,
00:11:03I turned your mother into Mrs. Beckland.
00:11:08And myself, for the next thirty years,
00:11:12into Barbara's husband.
00:11:17That's what I thought.
00:11:19¶¶¶¶
00:11:46Honey, you're an angel.
00:11:49Where's Daddy?
00:11:50He's gone to visit Duran.
00:11:54What are we going to do today?
00:11:56Well, tonight we'll go to the racetrack
00:12:01with Marcel and his wife Tinie.
00:12:03Do you remember them?
00:12:04I don't know them.
00:12:05Not in French, please.
00:12:07That's not very funny for a boy.
00:12:09You don't have to come.
00:12:11But when you leave me here...
00:12:12Tony.
00:12:13I'm more alone than a mother.
00:12:16You won't be alone.
00:12:17Clotilde will stay with you.
00:12:19Since I'll have to put up with Clotilde tonight,
00:12:21can we do something fun during the day?
00:12:25I see where you're going.
00:12:27I need time to paint.
00:12:29I'd like to ride in the Norya.
00:12:31Really?
00:12:32I want to eat ice cream for lunch.
00:12:34Oh, you've already eaten ice cream for breakfast.
00:12:41Don't tell Daddy.
00:12:43I won't say anything.
00:12:44It'll be our secret.
00:12:46Like the aspirins you're going to bring me from Daddy's closet.
00:12:49I'll go with you. I'll find them.
00:12:53Your mother has a terrible hangover.
00:12:59Mom.
00:13:02I'll cure you.
00:13:15Oh!
00:13:30It's okay. It's okay.
00:13:33You give up?
00:13:34I give up.
00:13:35I'm an expert in esgrima.
00:13:37So don't be ashamed to have lost.
00:13:44Do you love me?
00:13:46Of course.
00:13:47And will you still love me when I have gray hair and drooping tits?
00:13:51I love you anyway.
00:13:55Do you remember the dog?
00:13:57Which one?
00:13:58What dog?
00:14:00The one we had in Italy.
00:14:02Giotto.
00:14:05I still remember when he died.
00:14:07He was very old.
00:14:08It's not true.
00:14:09To be a dog, yes.
00:14:11We still have his necklace.
00:14:13Where?
00:14:14Somewhere.
00:14:15I know where.
00:14:17Leo was famous.
00:14:19Although not as much as you.
00:14:21Come on. I'm not famous.
00:14:23How can you say that?
00:14:24They gave you the Nobel Prize.
00:14:26You know Picasso, Camus, Malraux, DalÃ.
00:14:29It's Pilar who knows them.
00:14:31I only write.
00:14:32What I mean, Carlos, is that both you and Leo,
00:14:35fame came to you for your achievements, for your own merits.
00:14:39In Leo's case, his great idea was to try to stabilize phenol with formaldehyde
00:14:44to give it strength, cohesion, solidity.
00:14:46However, they did not mix, and it was Leo who thought of putting them under pressure.
00:14:50That's how he created long-chain molecules, bakelite, plastic.
00:14:55Telephones, bracelets, radios, discs, covers, submarines,
00:14:59the cover of the atomic bomb.
00:15:01The world as we know it.
00:15:04And that Leo was your father?
00:15:06No, for God's sake. He was my grandfather.
00:15:08My father is just a scrooge.
00:15:10He doesn't look like my grandfather at all.
00:15:13What's dad doing?
00:15:14What do you mean?
00:15:16It's just that...François asked me.
00:15:19Is he a friend of the school?
00:15:20François asked me.
00:15:21Then you have to tell him.
00:15:24My father writes.
00:15:26My father explores.
00:15:28My father is a man with great knowledge of mathematics.
00:15:33Oh.
00:15:34And also tell him that your mother was about to be a movie star.
00:15:41Do you find my wife attractive?
00:15:44Do you like men?
00:15:46But what she doesn't...
00:15:48What Barbara doesn't realize is that...
00:15:52...women also find me...
00:15:56...well, that...
00:15:59...attractive.
00:16:01The parents of some of your...
00:16:04...colleagues have to work in...
00:16:07...an office, in a factory or in a store every day.
00:16:10We are lucky.
00:16:13Because we do what we like.
00:16:17What does François's father do?
00:16:20He works.
00:16:21We also work.
00:16:23Dad worked and so did Nini.
00:16:26There was no other choice.
00:16:28That made me grow up alone.
00:16:30And I also had to work.
00:16:32It was the only way to leave one day.
00:16:36And I left.
00:16:39Nini wanted the best for me.
00:16:41Only the best for me.
00:16:43Look at the pocket, she said.
00:16:45And I guess...
00:16:46...she meant that she was looking for a rich man.
00:16:52The rich never give money a lot.
00:16:55Did you know that Leonardo da Vinci wrote backwards?
00:16:57To read it, you need a mirror.
00:17:04They say that the right thing in Paris is to bring flowers.
00:17:06Come on, don't start.
00:17:07What do you mean by that?
00:17:08They bring flowers, not wine, Carlos.
00:17:10This is not a dinner party.
00:17:11This is survival.
00:17:13Surviving in Paris, where you drink too little and eat too soon.
00:17:21Antoine.
00:17:22Hello.
00:17:23Carlos.
00:17:25Pilar.
00:17:26You look beautiful.
00:17:28Thank you.
00:17:29Mrs. Beclan, let me introduce you to Mr. Souvestre.
00:17:34Jean-Pierre, I am delighted to meet you.
00:17:38Come in, please.
00:17:42I was dying to ask you about Marcel Proust.
00:17:45You wrote your biography, but I haven't been able to read it yet...
00:17:48...because my knowledge of French is still insufficient.
00:17:52No, please, you don't have to apologize for that.
00:17:54Brooke, however, reads French as a native...
00:17:56...and Tony progresses every day in bilingual school.
00:17:59But for me, it is a challenge that still resists me, isn't it?
00:18:04I understand.
00:18:05What was I saying?
00:18:07Yes.
00:18:08Jean-Pierre thinks that Proust was really homosexual.
00:18:12What do you think?
00:18:13What do you think?
00:18:19So you met Carlos here in Paris?
00:18:21I was going to the Sorbonne.
00:18:23She was a young admirer who wrote about his works.
00:18:26But, I don't know, one morning all that stopped being important.
00:18:32I think I found out that he was serious...
00:18:34...when he introduced me to Marcel and Tini Duchamp.
00:18:38Ah!
00:18:39Today I met them at the Equipe.
00:18:41They told me that maybe they would come by later.
00:18:44Can I call them?
00:18:46I'm sure they just wanted to be nice.
00:18:52I don't want to be a party pooper, but...
00:18:54...Mr. Souvestre has to get up early to go to Vittel.
00:18:59It's a shame, certainly.
00:19:01But Mrs. Duran is absolutely right.
00:19:03A little coffee on the way?
00:19:05And he still has to meet Tony.
00:19:07Excuse-moi.
00:19:10She's hot-tempered.
00:19:17Mr. Souvestre, allow me to introduce you to my son, Tony.
00:19:23Did I do it right?
00:19:24Is the order correct?
00:19:25The young man is introduced to the elder and the less distinguished to the most illustrious...
00:19:28...with the exception that the man is always introduced to the woman...
00:19:31...except in the case that the man is a president, a cardinal or a sovereign who reigns.
00:19:37Then I did it right.
00:19:39In any case, this is Tony.
00:19:42Say hello.
00:19:43Good evening, Mr. and Mrs. Duran.
00:19:46Good evening.
00:19:47Bonsoir, Monsieur Souvestre.
00:19:49Enchanté de faire votre connaissance.
00:19:51Bonsoir.
00:19:52His French is better than mine.
00:19:54Would you like to read us a passage, darling?
00:19:57Maybe Tony prefers to go to bed.
00:20:00Besides, Mr. Souvestre has to get up early.
00:20:03Please.
00:20:04For me.
00:20:07Thank you.
00:20:26No need, Tony.
00:20:27Thank you for your goodwill.
00:20:29You're welcome, ma'am.
00:20:31Your mother is a little tired.
00:20:33Like everyone else.
00:20:34I'm sure you are too.
00:20:36We conclude the evening like this.
00:20:38As Mr. Duchamp's friend would say...
00:20:40..."Il n'y a pas de solution parce qu'il n'y a pas de problème."
00:20:43His husband or his son will translate it for him.
00:20:45How dare you?
00:20:47I don't allow that attitude with me.
00:20:49French whores give you lessons on how to educate your children...
00:20:52...but they look you in the ass.
00:20:54Yes, ass, I understood the word.
00:20:56Disgusting.
00:20:58It's a hypocritical society.
00:21:00Excuse me.
00:21:02Step aside.
00:21:07I'm leaving too.
00:21:09Say goodnight to Tony for me.
00:21:11One moment, please.
00:21:16Your keys.
00:21:36Thank you.
00:21:59What are you doing in my hotel?
00:22:06You bribed the doorman, didn't you?
00:22:36No.
00:23:06Fuck.
00:23:36Fuck.
00:23:55Hello.
00:23:57Hello.
00:24:07Mom.
00:24:10Mom.
00:24:29Hello, mom.
00:24:30Hello.
00:24:37Who's that boy?
00:24:39It's François.
00:24:41From school.
00:24:44From the bilingual school.
00:24:47Yes, I can imagine.
00:24:51You left as a father.
00:24:53And mom followed you later.
00:24:55She didn't want to be alone.
00:24:57So I called François and asked him to come.
00:24:59We've been listening on the radio...
00:25:01...a piece by Boulet, a poem by René Char...
00:25:03...to which Boulet added music.
00:25:05I like Boulet a lot.
00:25:07You don't, mom?
00:25:09Some people criticize him for being atonal...
00:25:11...but they don't know how to listen to it.
00:25:13Or why listen to it.
00:25:15Your friend is leaving.
00:25:19Now.
00:25:25Give him a towel.
00:25:35Give him a towel.
00:26:05Give him a towel.
00:26:25It wasn't bad, you know?
00:26:27Tony, can I have a cigarette?
00:26:32Black.
00:26:34I like black tobacco, although...
00:26:36...sometimes I die for a blonde.
00:27:04You know how they are.
00:27:06Well...
00:27:07Involved, always in trouble.
00:27:09Not all women.
00:27:11But almost all of them.
00:27:14Always giving instructions.
00:27:17Always telling us where to whistle...
00:27:20...and where not.
00:27:23You have it.
00:27:25You don't need me to tell you.
00:27:27You've seen it yourself.
00:27:30You don't need me to tell you.
00:27:32You've seen it yourself.
00:27:34What's all this about?
00:27:38You'll be there soon.
00:27:40What the hell are you doing with your life?
00:27:42I was just trying to give you...
00:27:44...advice from father to son.
00:27:48Thank you, dad.
00:27:50You know...
00:27:51...your mother was an actress.
00:27:54In a way, she still is.
00:27:56It's likely that's why...
00:27:58She may be hysterical, but she's not...
00:28:00Don't defend her.
00:28:01You don't need to defend her.
00:28:03We both love her.
00:28:04But now we're here, you and me.
00:28:06Brooks and Anthony.
00:28:07Two men.
00:28:13If she were more punctual, we wouldn't be talking about this.
00:28:28Do you think she wants to smoke?
00:28:31Well, she's Spanish.
00:28:34Okay, one puff.
00:28:37After you, friend.
00:28:44Do you want to give her a puff?
00:28:47Yes.
00:28:48Thank you.
00:28:59I learned from experts.
00:29:04Do you know what we're missing here?
00:29:08Some music.
00:29:11I have music.
00:29:12Are you serious?
00:29:28Yes.
00:29:59Come on.
00:30:22I don't know.
00:30:23How is it?
00:30:24I don't know. It's Spanish.
00:30:26I see. With a name like Blanca.
00:30:28Blanca, what else?
00:30:30I don't know her last name.
00:30:32We're not in a city. It's a port.
00:30:34When we go out, everyone uses their last names.
00:30:38And if you want to know if she belongs to a good family...
00:30:43If that's what you're asking...
00:30:47Don't you have enough condes and business cards?
00:30:52Like Ninny teaches you?
00:30:54With Prince Bernhard's card on top of everything...
00:30:57and the bills under it.
00:30:59I won't let you talk to your mother like that.
00:31:02I won't let you.
00:31:04Fuck off.
00:31:15A mother knows...
00:31:19when her son...
00:31:21when his son really likes someone.
00:32:21It all started in 1907.
00:32:23In less than ten years, my grandfather became a very rich man.
00:32:27In 1924, his face appeared on the cover of Time.
00:32:30In 1930, Coco Chanel made all her models wear bakelite accessories.
00:32:35Then the Depression ruined everyone, except the Becklans.
00:32:38We were going against the tide.
00:32:41It was our triumph and, of course, our ruin.
00:32:44Yes? What happened?
00:32:47Leo was among the richest in the country.
00:32:50He didn't care about the smallest things.
00:32:53For him, all that was superficial.
00:32:56Not like that for George, his son, my father.
00:32:59He valued him immeasurably.
00:33:01And with time, he lost everything.
00:33:03Waiter!
00:33:05Here are the empty glasses.
00:33:07Serve another round, please.
00:33:09Tony, let's drink while your father kills your friend with boredom.
00:33:21You're starting to understand me.
00:33:32It's been a long night.
00:33:36Good night, son.
00:33:38Good night, Blanca.
00:33:50Are you sure?
00:33:52Yes.
00:34:20You know...
00:34:22I've never met a family like yours.
00:34:25With all that passion, with so much history.
00:34:30Well, it is what it is.
00:34:32Yes.
00:34:50Good night.
00:35:20Mmm.
00:35:51You're a really handsome boy.
00:36:05Later, Mom said I brought Blanca home like the cat that kills its first mouse...
00:36:11and leaves it at your feet.
00:36:15And you...
00:36:17And you...
00:36:19You took it.
00:36:48Por favor, ¿dónde se encuentra ahora el avión que salió de Niza?
00:36:53¿A qué hora va a aterrizar?
00:36:55Verá, viene con retraso.
00:36:57A eso de las seis, a partir de esa hora.
00:37:18Se ruega al señor Beckman que se presente en el mostrador de Avianca.
00:37:21Señor Beckman, por favor, vaya al mostrador de Avianca.
00:37:23Le están esperando.
00:37:29El embarque es a la una y media.
00:37:33Déjame ver.
00:37:38SÃ, a la una y media.
00:37:40Vamos, querida.
00:37:43¡Cobarde!
00:37:46¡Cobarde!
00:37:49¡Cobarde!
00:37:51Si es asÃ, te estoy hablando a ti, pequeña puta.
00:37:54¡Escúchame, zorra!
00:37:56Aún no estamos embarcando.
00:37:58El avión no ha llegado todavÃa de su destino original.
00:38:00SÃ, por favor, tenemos que...
00:38:02Lo que estás haciendo no tiene nombre, ¿te enteras?
00:38:04Vas a fugarte con tu putita española.
00:38:06Lo que estás haciendo no tiene nombre, ¿te enteras?
00:38:08Vas a fugarte con tu putita española.
00:38:10Estás levantando mucho la voz.
00:38:12Vas a fugarte con una puta a la que le doblas la edad.
00:38:14Vio a Tony, te vio a ti, y no lo pensó ni cinco segundos.
00:38:17Enseguida lo tomó muy claro.
00:38:19¡Aquà es donde está el dinero!
00:38:21¿Verdad que s�
00:38:23Te pasas la vida hablando de tu gran abuelo y de su puta mente.
00:38:25Y yo me voy una semana.
00:38:27¿Y qué haces tú?
00:38:29Algo de lo más intelectual, muy intelectual y profundo.
00:38:32¿Te ha dado ya por el culo?
00:38:34SÃ, por el culo.
00:38:36Porque es lo que más le va.
00:38:38Él piensa que es algo muy viril.
00:38:40Yo creo...
00:38:42Que es precisamente lo contrario.
00:38:44Ella te mira con ojos tiernos.
00:38:46Y te dice...
00:38:48Oh, Brooks, eres...
00:38:52Un hombre importante.
00:38:54Y tú honras el gran nombre de los Beckland follándotela.
00:38:59Hazlo.
00:39:01Fóllatela.
00:39:03Fóllatela.
00:39:05Eso lo entiendo.
00:39:07Pero abandonarme,
00:39:09romperme el corazón,
00:39:11romper el de Tony...
00:39:13Él nunca roto el corazón de Tony.
00:39:17Ni siquiera yo.
00:39:19Todo lo que acabas de decir es una mezcla
00:39:21de paranoia y despecho.
00:39:23Puedes intentar convencerte de lo que quieras.
00:39:25En el fondo sabes que tengo razón.
00:39:27Y todos pensarán igual.
00:39:29Además...
00:39:33Ya eres viejo para esto, ¿no crees?
00:39:35Gracias.
00:40:05No tengo.
00:40:35¡Vamos!
00:41:05Has sido muy amable conmigo.
00:41:07Eres...
00:41:09Un hombre...
00:41:11Encantador.
00:41:35¿Qué pasa?
00:42:05Jake era como un demonio.
00:42:07O como un mago.
00:42:09Nada es cierto.
00:42:11Y todo está permitido.
00:42:15En la chaqueta llevaba huesos y otras cosas.
00:42:17Huesos pequeñitos.
00:42:25Tony.
00:42:27Jake.
00:42:29PodrÃas haber llamado.
00:42:31He llamado.
00:42:35He ido a buscar a Sam al aeropuerto.
00:42:37Y sabes a quién me he encontrado.
00:42:39A tu padre.
00:42:41Y podrÃa decirse que hemos reñido.
00:42:45¿Cómo que podrÃa decirse?
00:42:47¿No me lo estás diciendo?
00:42:49Tony, no seas duro conmigo.
00:42:51Lo siento.
00:42:53Le estás defendiendo.
00:42:55Te pones de su parte.
00:42:57Has tenido que conducir mucho.
00:42:59¿Qué te parece si te sientas y te sirvo una copa?
00:43:05No.
00:43:19Le he dicho a Sam que vendrÃas a cenar con nosotros.
00:43:23Hemos quedado a las nueve.
00:43:29¿Cómo puedes vivir en este agujero?
00:43:35¿Cómo?
00:43:53Sam era lo que se llama un comodÃn.
00:43:57Un homosexual que lleva a las mujeres ricas a cenar o a la ópera
00:43:59cuando sus maridos no pueden hacerlo.
00:44:01Aunque Sam adoraba a Bárbara.
00:44:03Y no por su dinero.
00:44:05De hecho, cuanto menos tenÃamos, más nos querÃa.
00:44:09¿Recuerdas lo que pasó con Maxine de Falaise?
00:44:11Pasó por un momento difÃcil.
00:44:13Yo la ayudé mucho.
00:44:15Todo lo que pude.
00:44:17Y no fui el único que lo hizo.
00:44:19En cambio, ahora, ya ves.
00:44:21¿Quién se acuerda de aquella época deplorable?
00:44:27Concretemos los hechos que hay que afrontar.
00:44:29Primero.
00:44:31Vamos a tratar con gente insegura y caprichosa
00:44:33que en caso de duda o vacilación
00:44:35siempre se ponen de parte del dinero.
00:44:39Y eso le da ventaja a Brooks.
00:44:45Segundo.
00:44:47Y juega esta vez a tu favor.
00:44:51A los ojos de cualquiera un poco observador,
00:44:53tú aportabas el encanto y la simpatÃa a la pareja.
00:44:55Asà que podemos utilizar perfectamente eso en tu beneficio.
00:44:59Cuánto me alegra que estés aquÃ.
00:45:01El placer es mÃo.
00:45:03Paseate unos dÃas por Cadaqués.
00:45:05Con desenvoltura.
00:45:07No te avergüences de que te vean en público.
00:45:09Asà la gente se permitirá ser vista contigo.
00:45:13Hola. ¿Me trae un café?
00:45:15Pensemos.
00:45:17¿Quiénes son las personas, ya sabes,
00:45:19que son el ejemplo a seguir para los demás?
00:45:21Alguien como Pilar Duran serÃa perfecta.
00:45:25Y por supuesto necesitamos a alguien de peso
00:45:27para rematarlo.
00:45:29¿Y tú conoces a Tinie Dijon?
00:45:31Tinie.
00:45:33Tinie Matisse Dijon.
00:45:35Querida.
00:45:37Yo, por mi parte, me encargaré de difundir el rumor
00:45:39todo lo que pueda.
00:45:41Y los demás...
00:45:43Los demás también lo harán.
00:45:47Tienes que volver a pintar.
00:45:49Eso es lo que marca la diferencia entre...
00:45:51La artista y la divorciada.
00:45:53Veo que lo entiendes.
00:45:57Pues eso para empezar.
00:45:59Sin duda pasarás por unos momentos
00:46:01emocionalmente desagradables.
00:46:03¿Dónde está?
00:46:05Ya vendrá, Bárbara.
00:46:07Acéptalo. Tony, es asÃ.
00:46:15Mamá, no entiendo a Brooks.
00:46:17La verdad no entiendo
00:46:19que teniendo la oportunidad de irse a cualquier parte del mundo
00:46:21decida instalarse cerca de nosotros
00:46:23y luego se niega a vernos.
00:46:25Y a Blanca tampoco.
00:46:27¿Qué sentido tiene que venga a Mallorca si tanto me odia?
00:46:29Ella no te odia.
00:46:33¿Y Brooks?
00:46:35Él tampoco te odia.
00:46:37¿Entonces por qué no quiere...?
00:46:39Renuncié desde hace mucho tiempo a intentar comprender a Brooks.
00:46:41No puedo justificar
00:46:43cómo actúa.
00:46:45Y eso es algo que tú sabes muy bien.
00:46:47Los hombres hacen lo que hacen
00:46:49y ya está.
00:46:51Mamá...
00:46:53Creo que nos va a escribir
00:46:55una carta.
00:46:57Que nos va a escribir una carta.
00:46:59En otro alfabeto.
00:47:01En el de los Beckland.
00:47:03Para que nadie pueda leerla.
00:47:05El problema con Brooks.
00:47:07Por favor.
00:47:09Mamá, no te enfades conmigo.
00:47:11No me enfado.
00:47:15Te quiero.
00:47:17Mamá, te quiero.
00:47:41Lo has hecho muy bien.
00:47:43No es necesario.
00:47:45QuerÃa decÃrtelo en serio.
00:47:47No puedes imaginarte lo mucho que ha mejorado.
00:47:49Bueno, se recuperará.
00:47:53Aún asÃ, siempre será bárbara.
00:47:57¿Y tú qué?
00:47:59¿Qué me cuentas?
00:48:01¿Qué pasa con la vida de Tony Beckland?
00:48:03Voy tirando.
00:48:07¿Eso es todo?
00:48:09¿Voy tirando?
00:48:11No, no, no.
00:48:13Eso no es suficiente.
00:48:15Tony se ocupa de Jake.
00:48:17Tony se ocupa de Bárbara.
00:48:21Alguien deberÃa ocuparse de Tony.
00:48:41¿Qué pasa?
00:49:11¿Qué pasa?
00:49:35Lo que me gustarÃa, lo ideal,
00:49:37serÃa colocarte en una galerÃa
00:49:39o, si eso fallase,
00:49:41con un marchante privado.
00:49:43Y no me será difÃcil conseguirlo.
00:49:53No has debido hacerlo.
00:49:59Sam,
00:50:01no tendrÃas que haberlo hecho.
00:50:03Es tu hijo.
00:50:05Y siempre será tu hijo.
00:50:07Pero ya es un hombre adulto.
00:50:09Tiene su propia vida y toma sus propias decisiones.
00:50:11No sabes lo que dices.
00:50:13Escucha, Tony es lo que es.
00:50:17Tony no es eso que es.
00:50:33¿Qué pasa?
00:51:03Querido papá,
00:51:05no sé cómo decirte esto,
00:51:07salvo siendo directo.
00:51:11Vuelve con mamá, por favor.
00:51:13Es tan desgraciada.
00:51:17Te necesita.
00:51:19Pero es demasiado orgullosa
00:51:21para pedÃrtelo.
00:51:25¿Te acuerdas de nuestro perro,
00:51:27de Xoto?
00:51:29Él se fue, murió,
00:51:31pero su collar sigue aquÃ.
00:51:33¿Sabes que en cada mudanza
00:51:35lo he llevado conmigo,
00:51:37de una casa a otra?
00:51:39No se ha perdido nunca,
00:51:41ni una vez.
00:51:47No sé por qué me tienes miedo.
00:51:51Yo no te tengo miedo a ti.
00:51:55A veces se me ocurren cosas extrañas
00:51:57y no sé qué hacer,
00:51:59pero me esfuerzo mucho
00:52:01para apartar esas ideas de mi cabeza.
00:52:05Con todo mi amor, Anthony.
00:52:29¡Anthony!
00:52:31¡Anthony!
00:52:59¡Brux!
00:53:29¡Brux!
00:53:55Tranquila, Barbara.
00:53:57Todo se arreglará.
00:54:27Tranquila.
00:54:51Desde los siete años,
00:54:53mamá siempre me ha dicho
00:54:55que tu amor es muy alta.
00:55:03Debe ser muy extraño
00:55:05ver cómo tu encanto se va apagando.
00:55:09Y cualquier cosa
00:55:11te hace caer en la tristeza.
00:55:17La gente deja de estar
00:55:19de tu lado
00:55:21cuando más necesita su apoyo.
00:55:25Ahora lo veo claro.
00:55:27Durante muchos años,
00:55:29mi vida ha sido
00:55:31una farsa absoluta.
00:55:39Asà que,
00:55:41por el bien de mamá,
00:55:43he decidido convertirme
00:55:45en una persona nueva.
00:55:47Asà que,
00:55:49por el bien de mamá,
00:55:51he decidido convertirme
00:55:53en una persona nueva.
00:56:17¡Brux!
00:56:47¡Brux!
00:57:17¡Brux!
00:57:47¡Brux!
00:58:17Nos moriremos de aburrimiento sin ti.
00:58:21La gente venÃa más cuando estábamos...
00:58:23¿Cuando estabais en Cadaqués?
00:58:25Lo sé.
00:58:27Ya es la hora.
00:58:33Es la hora.
00:58:47Es la hora.
00:59:01Me alegro de que se haya ido.
00:59:13Papá, no estoy seguro
00:59:15de que te interese saberlo,
00:59:17pero mamá se puso
00:59:19supositorios somnÃferos,
00:59:21seis o siete,
00:59:23lo suficientes para no poder
00:59:25arrepentirse.
00:59:27Recordaba que me habÃa dicho
00:59:29que su padre,
00:59:31mi abuelo,
00:59:33se suicidó.
00:59:35Por eso ya me temÃa
00:59:37que todo esto
00:59:39la estuviera afectando
00:59:41profundamente.
00:59:43Y que todavÃa estuviera con vida.
00:59:47Cuidarte, mamá, era cosa tuya.
00:59:53Pero, Brux, cuando nos dejaste,
00:59:55cuidarte, mamá,
00:59:57se convirtió en mi herencia.
01:00:01Bárbara.
01:00:13Bárbara.
01:00:43Hola.
01:00:57Hemos estado a punto
01:00:59de cruzarnos.
01:01:01En el hospital.
01:01:03Me han dicho que habÃas ido a verla.
01:01:05Supongo
01:01:07que debe ser muy duro para ti.
01:01:13¿Y tu música? ¿Tus escritos?
01:01:15Eso.
01:01:17Carlos te tiene en muy alta estima.
01:01:19Desde siempre. Y estoy segura
01:01:21de que sÃ. ¿Has visto a Brux?
01:01:23Carlos le vio.
01:01:29No creo que Brux
01:01:31sienta mucho aprecio por mà últimamente.
01:01:37Sé que digo que yo era un clápula.
01:01:39Por favor. Para Brux
01:01:41el mundo es una mierda del primero al último
01:01:43sin excepción. Y eso me incluye a mÃ
01:01:45y te incluye a ti. Y hasta el mismo
01:01:47Carlos, por el amor de Dios.
01:01:49Vale, o no.
01:01:53Su venerado abuelo se salva.
01:01:59¿Qué era lo que decÃa?
01:02:01¿Quién?
01:02:03Hemingway, creo. O ese otro.
01:02:05Fitzgerald. Hemingway o Fitzgerald.
01:02:07SÃ, uno de los dos. ¿Qué dijo?
01:02:09Uno de ellos dijo algo
01:02:11de lo que no consigo acordarme.
01:02:13Dios mÃo.
01:02:15Me vuelvo como Nini.
01:02:21Era algo referente a ParÃs, creo.
01:02:23Que estar harto de ParÃs
01:02:25era como estar harto de todo.
01:02:27SÃ, ya me acuerdo.
01:02:29Decir
01:02:31que uno está harto de ParÃs
01:02:33es casi como decir que uno
01:02:35está harto de vivir.
01:02:37O algo parecido.
01:02:39Mamá confiaba en que las cosas
01:02:41mejorarÃan en un sitio nuevo.
01:02:43Y tuvo razón.
01:02:45Pero no del todo.
01:02:47En cualquier caso, ParÃs
01:02:49fue un paso adelante.
01:02:51Fue en ParÃs donde empecé
01:02:53a escribir al revés en mi cuaderno
01:02:55para que nadie leyera mis pensamientos.
01:02:59Aunque mamá parecÃa capaz
01:03:01de leerlos.
01:03:03Como si estuviera dentro de mi cabeza.
01:03:07Mi bisabuelo Leo dijo una vez
01:03:09Gracias al dinero podemos vivir
01:03:11sin pagar las consecuencias
01:03:13de nuestros errores.
01:03:15Pero tengo la certeza
01:03:17de que en eso se equivocaba.
01:03:21Tony,
01:03:23¿sabes qué me gustarÃa mucho?
01:03:27¿Qué es eso que tanto te gustarÃa?
01:03:29¿Tú qué crees que me gustarÃa?
01:03:31¿Me gustarÃa mucho?
01:03:35¿Qué es eso que tanto te gustarÃa?
01:03:37¿Tú qué crees?
01:03:41Es delicioso.
01:03:43Me alegro.
01:03:45Es exactamente lo que querÃa.
01:03:47Entonces me alegro más por haberte lo conseguido.
01:03:49DirÃa que es el mejor helado
01:03:51que hay en el mundo.
01:03:55¿Hoy es jueves?
01:03:57SÃ, es jueves.
01:04:01Esta noche tengo una cena con Ethel.
01:04:03¿Ethel de Juaze?
01:04:05Yo haré mis planes.
01:04:07No quisiera molestar.
01:04:09Tony, no me gusta lo que pasa
01:04:11cuando haces tus planes.
01:04:13Mamá, por favor.
01:04:17Esos largos encuentros en los baños.
01:04:19Ya no hago esas cosas, mamá.
01:04:25¿Qué significa esta letra G?
01:04:27¿Qué letra?
01:04:29¿La G?
01:04:31De George.
01:04:33Como su padre.
01:04:37¿Me curas la muñeca, por favor?
01:04:59¡Ay!
01:05:29Lo has hecho muy bien.
01:05:31Ahora...
01:05:35Necesito intimidad.
01:05:41Sal. Tengo que vestirme.
01:05:47¿Qué pasa?
01:05:49¿Qué pasa?
01:05:51¿Qué pasa?
01:05:53¿Qué pasa?
01:05:55¿Qué pasa?
01:05:57¿Qué pasa?
01:06:05Tini, gracias.
01:06:07Mamá siempre dice
01:06:09que deberÃa estar enfadado contigo
01:06:11por haberme robado a la chica.
01:06:13Pero yo siempre le contesto.
01:06:15Mamá, él no me hizo daño a mÃ.
01:06:17Te lo hizo a ti.
01:06:19De todas formas, papá,
01:06:21deberÃas haber vuelto.
01:06:23Pensaba que algún dÃa te darÃas cuenta
01:06:25y lo harÃas.
01:06:27Pero no ha sido asÃ.
01:06:31Otra cosa que quiero que sepas
01:06:33es que el collar de Giotto
01:06:35ha desaparecido.
01:06:37Y no podré volver a dormir tranquilo
01:06:39hasta que lo encuentre.
01:06:55¿Qué pasa?
01:06:57¿Qué pasa?
01:06:59¿Qué pasa?
01:07:01¿Qué pasa?
01:07:03¿Qué pasa?
01:07:05¿Qué pasa?
01:07:07¿Qué pasa?
01:07:09¿Qué pasa?
01:07:11¿Qué pasa?
01:07:13¿Qué pasa?
01:07:15¿Qué pasa?
01:07:17¿Qué pasa?
01:07:19¿Qué pasa?
01:07:21¿Qué pasa?
01:07:23¿Qué pasa?
01:07:39No me refiero a una cena oficial
01:07:41de inauguración a la que asistiera
01:07:43con 17 amigos del marchante
01:07:45para acabar emborrachándonos en el residio.
01:07:47SerÃa muy diferente, más Ãntimo.
01:07:49Lo que he pensado es que después del vernizaje
01:07:51podrÃamos celebrar una pequeña reunión contigo,
01:07:53Mishka, por supuesto,
01:07:55y Ezelda Coassé, los Duran,
01:07:57y Bill y Rose Styron,
01:07:59si aún siguen en la ciudad.
01:08:01Algo aparte del negocio, no de posibles compradores.
01:08:03Gracias.
01:08:05Personas que aprecias y que se entiendan bien entre ellas.
01:08:07No te imaginas hasta qué punto
01:08:09a Tony le gusta Londres.
01:08:11Creo que ha sido un cambio radical para él.
01:08:15Estaba tan deprimido en ParÃs.
01:08:17¿Recuerdas lo hundido que se le veÃa?
01:08:19Estaba encerrado en sà mismo y por las mañanas
01:08:21con aquella inquietud.
01:08:23Bueno, sigue siendo el mismo Tony,
01:08:25pero al menos en Londres come,
01:08:27sale a pasear, estaba de compras esta mañana.
01:08:29Hemos leÃdo la prensa en la cama
01:08:31hasta las 11 para él,
01:08:33insólito para mÃ, el paraÃso.
01:08:35Oh, gracias.
01:08:37Es un placer.
01:08:39¿Qué te parece a ti, Mishka,
01:08:41una cena inmediatamente después del vernizaje?
01:08:43Bien, ¿por qué no? Me gusta mucho la idea.
01:08:45Si os parece bien,
01:08:47podrÃa ser aquÃ.
01:08:49Considero que le darÃa un toque de calidad
01:08:51a mis trabajos menores,
01:08:53que por propios méritos ni se verÃan.
01:08:55Por supuesto que puedes organizarlo aquÃ.
01:08:59No sé cómo agradecértelo.
01:09:03Tony estará encantado.
01:09:13¿Y bien?
01:09:15Hola.
01:09:19¿Dónde está, mamá?
01:09:21¿Dónde demonios lo has puesto?
01:09:23Yo no tengo por qué saber
01:09:25dónde tienes tus cosas.
01:09:27No lo encuentro por ningún lado.
01:09:29Missy Harden es el colmo
01:09:31de la generosidad.
01:09:33Le he comentado la idea del refrigerio
01:09:35después de la inauguración
01:09:37y se ha ofrecido para dar una cena
01:09:39Ãntima en su casa.
01:09:41Me alegro mucho por ti, mamá.
01:09:43¿Es de Gibbs?
01:09:45No, es un traje de Anderson.
01:09:47De Anderson y Shepard.
01:09:49¿Fuiste allà sin más?
01:09:51Puede que en Gibbs puedas presentarte sin más,
01:09:53pero se necesita una invitación
01:09:55para entrar en Anderson.
01:09:57En mi caso, de Timothy Chalmers.
01:09:59¿Has visto mucho últimamente
01:10:01al joven Timothy Chalmers?
01:10:05Porque no creo que sea la persona
01:10:07con la que más te va a relacionarte
01:10:09si lo que quieres es aprender a ser un hombre.
01:10:13¿Qué quieres decir?
01:10:15Que no me parece que Timothy
01:10:17tenga mucho interés en las mujeres.
01:10:19Es inglés, eso es todo.
01:10:21Y es de los que hacen cosas por las personas,
01:10:23como Missy Harden hace cosas por ti.
01:10:27De todos modos, espero que no le debas nada.
01:10:29Mamá, únicamente me ha presentado
01:10:31a un sastre, a un modisto.
01:10:33La verdad es que me gusta mucho
01:10:35este material, este tejido.
01:10:39¿Cómo se llama?
01:10:41Lana peinada, me parece.
01:10:43Es mucho mejor que el que sueles llevar.
01:10:45Normal, es de Anderson.
01:10:51Vaya, es curioso.
01:10:55Bárbara...
01:10:59¿No parece desagradarte,
01:11:01al menos a una parte de ti?
01:11:03Bueno, supongo que no me importa.
01:11:07Mamá...
01:11:09¿Puede que incluso te guste?
01:11:11Puede.
01:11:13Noto unos botones.
01:11:15¿Cuántos hay?
01:11:17Cinco.
01:11:19Los hacen con cinco.
01:11:23Ahora quedan cuatro.
01:11:25Y ahora tres.
01:11:31Sigue pensando en eso.
01:11:39Sigue pensando en eso.
01:12:05Me gustan los calzoncillos que llevas.
01:12:07Los elegà yo personalmente.
01:12:27¿Qué sientes?
01:12:29Creo que lo sabes.
01:12:37Lo sé.
01:13:07¿Qué sientes?
01:13:37¿Te has corrido?
01:13:39No.
01:13:45Ya.
01:13:47Eso aún podemos solucionarlo.
01:14:07Ya.
01:14:37Ya.
01:14:47Eres el mejor.
01:14:49Lo eres, Tony.
01:14:51El mejor.
01:14:57¿Seguro que no lo has escondido?
01:15:07No.
01:15:19¿Por qué demonios te importa tanto esa cosa?
01:15:23Por la misma razón que le importarÃa a cualquiera.
01:15:27Por su valor.
01:15:29Por su valor sentimental.
01:15:31Venga, Tony. Es un collar de perro.
01:15:33No lo entiendes.
01:15:35Un perro al que yo querÃa mucho.
01:15:37Un perro que murió.
01:15:39El perro murió, pero hemos seguido teniendo el collar.
01:15:41Y aunque nos hemos mudado,
01:15:43y mudado cientos de veces,
01:15:45nunca lo hemos perdido.
01:15:47Tony, por favor.
01:15:53Ve a buscarlo.
01:15:59¡Búscalo!
01:16:05¡Búscalo!
01:16:35¿Tony?
01:16:39¿Tony?
01:16:51¡QuÃtate ese dedo de la boca!
01:16:53Ya no eres un jodido niño pequeño.
01:17:05Lo escondiste.
01:17:07Lo escondiste en el armario.
01:17:11Estaba al fondo de todo,
01:17:13junto con la plata de Nina.
01:17:15Yo no lo escondÃ.
01:17:17Entonces, ¿qué hacÃa allÃ?
01:17:19Puede que tú mismo lo pusieras allÃ
01:17:21para tenerlo bien guardado, y después se te olvidó.
01:17:35No te preocupes.
01:17:37Todo irá bien.
01:17:43Déjame ayudarte, Tony.
01:17:45¡Tony!
01:18:05Después de la pelea de esta mañana,
01:18:07escribiste algo en un papel.
01:18:11Yo estaba tan enfadado
01:18:13que cuando saliste a almorzar,
01:18:15lo rompà y lo hice pedazos.
01:18:17No nos hemos peleado esta mañana.
01:18:19Estábamos en la cama leyendo la prensa.
01:18:25Lo escribiste todo del revés.
01:18:29Pero no soy tan estúpido.
01:18:31Sé que crees que soy tonto,
01:18:33pero te equivocas,
01:18:35porque soy lo bastante listo
01:18:37para saber que si hay algo escrito al revés,
01:18:41basta con ponerlo delante del espejo.
01:18:45Asà que lo rompà en pedacitos
01:18:49y lo tiré al retrete,
01:18:51pero ya sabes cómo es ese retrete.
01:18:53Los pedacitos se quedaron flotando
01:18:55en la superficie.
01:18:57Tony, no sé de qué me estás hablando.
01:18:59Cuando dices esas tonterÃas, no te entiendo.
01:19:01No puedo ayudar.
01:19:03Te estaba contando.
01:19:05Tony, estás delirando.
01:19:31Voy a llamar a una ambulancia.
01:20:01Gracias.
01:20:15SÃ.
01:20:17El 83
01:20:19de Cadogan Square.
01:20:23Gracias.
01:20:31¿Puedo hacer un pedido?
01:20:51SÃ, quisiera hacer un pedido.
01:20:55Para traer a domicilio.
01:20:57SÃ.
01:20:59Beckland.
01:21:05Tengo mucho apetito.
01:21:07Quiero esos
01:21:09fideos finos de arroz
01:21:11con tiras de carne de cerdo.
01:21:15Exactamente.
01:21:17Y también arroz.
01:21:19Frito, por favor.
01:21:21No, lo grande.
01:21:27Gracias.
01:21:35Querido papá,
01:21:37espero que recibas esta carta.
01:21:47Durante el tiempo que precedió a lo ocurrido,
01:21:49sucedieron un montón de cosas extrañas.
01:21:53Esa misma tarde, un poco antes,
01:21:55una amiga nuestra que vive en Gales
01:21:59me dijo que yo me habÃa caÃdo
01:22:01por el hueco de un ascensor.
01:22:03Me pareció muy extraño.
01:22:07Pero me afectó profundamente.
01:22:13Gracias.
01:22:15Me sentÃa muy mal.
01:22:19Durante un largo rato,
01:22:21no sabÃa ni dónde estaba.
01:22:23Los recuerdos del pasado inundaban mi mente.
01:22:25Era como si estuviera representando
01:22:27hechos de mi vida anterior.
01:22:31Sabes que quise
01:22:33y que quiero a mi madre más que a nada en el mundo.
01:22:37¿Hola?
01:22:39¿Hola?
01:22:43¿Señor Beckland?
01:22:49Usted debe de ser
01:22:51el señor Beckland.
01:22:53SÃ.
01:22:55¿Y esta mujer es...?
01:22:57Es mi madre.
01:23:03DesearÃa que volviéramos
01:23:05a estar todos juntos.
01:23:09Y hay algo más.
01:23:11Tengo tantas cosas en la cabeza
01:23:13que dejarlas salir
01:23:15me matarÃa.
01:23:17Sin embargo,
01:23:19ahora me siento mejor.
01:23:21Incluso siento que me he quitado
01:23:23un gran peso de encima.
01:23:31¿Qué ha pasado?
01:23:33Es una lástima.
01:23:35Una verdadera tragedia.
01:23:37Ahà no vivÃa una mujer y su hijo.
01:23:39¿Alguien sabe quién ha muerto?
01:23:41¿Es alguien famoso?
01:23:43SÃ. Estar aquà es muy aburrido,
01:23:45pero intento comportarme
01:23:47como si no hubiera pasado nada.
01:23:49¿Pero quién ha matado a esa mujer?
01:23:51¿Me preguntas cómo es estar en la cárcel?
01:23:53Bueno, pues...
01:23:55es tal como uno se imagina.
01:23:57Exactamente igual.
01:24:05Se celebrará una misa
01:24:07que ofrecen por su alma los amigos de Bárbara.
01:24:09Aquellos que la conocÃan bien
01:24:11y recuerdan su encanto y valentÃa.
01:24:13Será en St. Mary's,
01:24:15Cadogan Garden,
01:24:17el 30 de noviembre a las 6.30 de la tarde.
01:24:21A ella le hubiera gustado que estuvieses allÃ.
01:24:43FILMED AND EDITED BY
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01:26:07And the baby makes a sound Let's get out of here, go flyin', flyin'
01:26:26You're so pretty, dear, and you're mine Are you now higher than a cloud?
01:26:37Mm-mm, the baby makes a sound
01:26:48Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah-ah
01:26:59Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah-ah
01:27:12Oh, didn't you find me? Drawing on me? Dragging it out?
01:27:24Oh, didn't you know me? Nothing to show me? Just gotta get ahead
01:27:32Ah-ah-ah-ah-ah-ah Ooh-ooh-ooh
01:27:55Let's get out of town, go sailing, sailing Throw the anchor down, head to heaven
01:28:06With me now, angel on the bow Mm-mm, the baby made a sound
01:28:24Mm-mm, the baby makes a sound
01:28:29Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah
01:28:41Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah
01:28:54Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah
01:29:24Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah-ah
01:29:37Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah-ah
01:29:54Ah-ah-ah-ah-ah-ah Ah-ah-ah-ah-ah-ah-ah
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