All language subtitles for The.Theory.Of.Flight.1998.1080p.WEBRip.x265-RARBG2_English

[instrumental music]

[instrumental music]

[music continues]

(Richard)
I still can't really explain

how it was
that I came to be here.

Only that I think
that all of us

are probably capable
of committing an act..

...completely out of character.

[instrumental music]

And I know it's easy
to look back on it now

and say, "Wow

a little extreme,
don't you think?"

Because...it was.

[indistinct chatter over radio]

Roger. Stand by.

(Richard)
I was, uh, experiencing

some financial, uh..

...some, uh,
personal difficulty.

Look, you have to stop
fighting this, Richard.

(Richard)
And I think it's true
to say anyone

experiencing that kind
of crisis

will always express it
in their own individual way..

...and this was my way.

To take everything I had

a-all of which suddenly seemed

to be keeping me down.

And to try to reinvent it
into something

that would get me up.

[music continues]

It's Richard again.

- Where?
- He's on the roof.

[sighs]

[sirens wailing]

[aeroplane engine revving]

(Julie)
What are you doing?

'Richard.'

I love you.

[instrumental music]

(Richard)
And, you know, in that moment

I actually thought
it might work.

That finally I would
get my life off the ground..

...one way or the other.

Turns out, however,
that my prototype

at that time, anyway..

...was in need..

No!

...of a little refinement.

[instrumental music]

(female #1)
Although I have decided
a custodial sentence

'would perhaps be inappropriate
in this instance.'

You will be required
to fulfill 120 hours

community service.

[instrumental music]

It's, uh, it's a bit rundown.

But no one's lived here
for a while, eh?

What brings you here anyway?

Yeah. I'll take it.

(Catherine)
'And you must be Richard.'

Yeah. That's right.

And, uh..

...y-yeah, you're probation.

Uh, no. Catherine.
Social services.

- They passed you on to us.
- Right. Okay.

Well, would you like
to follow me?

Sure, yeah.

(Catherine)
'Now, we've given you Jane.'

She's got a strain,
quite a rare strain

of motor neurone disease.

So she's quite a handful
but tremendous fun.

Wait, so she's
in a wheelchair, then?

Oh, yes, she's in a wheelchair.

And her voice has now
definitely begun to deteriorate.

Which unfortunately
does usually signal

the beginning of the end.

It won't be too long
before she'll have to rely

entirely on a speech machine.

We're trying to encourage her
to use it more now

but quite understandably,
she's reluctant.

But it is worth remembering

that mentally, she's still
very much all there.

Or here. Indeed.

Oh. Sorry.

Richard, I'd like you
to meet Jane.

'And Anne, of course.'

Come on, Jane.

(Anne)
'Sorry.'

Well, say hello, Jane.

Hi.

Hi. So you're Jane?

And you're Richard?

Yes. Yes, I am.

Well, I thought
it might be an idea

if you'd take Jane
for a short stroll, Richard.

Get to know each other
without us two interfering.

(Catherine)
'Absolutely.'

[instrumental music]

So what do you normally do
with your days, then, Jane?

Stupid question.

No. I mean, you know,
do-do you read?

Or, you know, do you watch
videos? Or wh-what do you do?

I like, uh,
to leave them-them empty.

Right. I-I'll take you back,
then, shall I?

Why did you volunteer?

Uh...well, I've got
a lot of time.

All the volunteers
I get are either

desperately lonely or just,
uh, sorry fuckers.

Yeah, well, much as I probably
qualify as both

unfortunately I'm not a very
patient, sorry, lonely fucker.

So, um, I'll just
take you back, shall I?

I can do it myself.

So, uh, why didn't
we do this before, then?

Oh, people usually feel
more ridiculous

walking next to me.

Yeah? Why is that?

It implies friendship.

No, no, no. No, she really took
a shine to you, Richard.

That's very unusual.
It might even be a first.

- 'But, Mrs. Hatchard--'
- Anne. Please.

Anne, uh, you-you know, without

wanting to be
in the least bit rude

I mean, I honestly
don't know if..

I-I think she, Jane,
ne-needs somebody

who knows what they're doing,
you know

someone who's trained--

Nonsense, Richard.

This is entirely
the point of the program.

What Jane needs is
to participate a bit more.

Do a few of the things
that other people do.

Yeah, but I-I don't think I do
the things other people do.

Richard, we can only help out
two mornings a week.

That leaves Anne,
well, she too needs

the occasional break
to get on with her life.

Yeah, but I'm sure you'll find
somebody else. Someone who's--

Would I be right in thinking

you're not here entirely

of your own volition?

[instrumental music]

* On my way *

* On my way *

* On my way *

* On my way *

* I would like to *

* Reach out my hand *

* I may see you *

* I may tell you to run *

* On my way on my way *

* You know what they say
about the young *

* Well pick me up
with golden hand *

* I may see you *

* I may tell you to run *

* On my way on my way *

* You know what they say
about the young *

* Well I would like
to hold my little hand *

* And we will run we will *

* And we will crawl *

* Send me on my way *
* On my way*

* Send me on my way *
* On my way*

* Send me on my way *
* On my way*

* Send me on my way *
* On my way*

* Send me on my way *
* On my way*

* Send my on my way *
* On my way *

* Send me on my way *
* On my way **

[moaning]

(woman on screen)
'Yes!'

- 'Yes.'
- 'Yes'

[both moaning]

(woman on screen)
'Yes. Yes.'

'Oh! Yes!'

Yes! Yes!

[moaning]

(woman on screen)
'Yes. Yes.'

[both moaning]

[knocks on door]

He's here, darling.

[both moaning]

Okay, I've got the chair here.

- You alright?
- Yeah.

Excuse me.

Right. Mm..

Just do it.

Okay. Alright.
Okay. Legs first.

- Yeah.
- Excuse me.

Alright.

Now. One, two, three.

[Jane grunts]
Oh, sorry. Sorry.

There's obviously
a knack to this.

Um, it's...okay.

I'm resilient.

Oh, how original.

Your mother said you'd like it.

My mother knows shit.

I used to paint.

Really?

Males nudes mostly.

- 'You surprise me.'
- What do you paint?

Uh-uh, I-I don't.
I don't, really.

I was told you did.

Yeah, uh, I-I-I did

but I don't, uh,
I don't anymore.

Why stop?

I don't know.
Lack of talent probably.

Uh. Lack of talent
never stopped anyone.

So, uh, what do you think
of this one, then?

I don't think he was religious.

(Richard)
'Who? Who, Christ?'

(Jane)
'The painter.'

Why?

Not a religious dick.

Well, when do you guess
it was painted, then?

Wilton. 1789.

- Yeah. Near enough.
- Exact.

Yeah. Exact enough.

[band music]

So, Jane, uh, I can take it
that you haven't

overly enjoyed your day so far.

- Whatever gave you that idea?
- Oh, I don't know.

Maybe it was the sneering
at everywhere

I've taken you
that gave it away.

Without saying "Sneer"

it is difficult for me to sneer.

Yeah, well, you haven't exactly
been enthusiastic, uh, Jane.

Mm. My body language perhaps.

Well, look, come on, you know.
My, you know, my ideas are crap.

I mean, you know,
if they were any crappier

they'd be very, very crap,
and, you know, you've obviously

done them a thousand times
before, so you choose.

What would you like to do?

[screaming]

- You can't go on that.
- Why not?

Because...because you can't.

It's my afternoon.

Yeah, but they-they probably
wouldn't even let us.

(Jane)
'They let the young children
with parents.'

(Richard)
'I'm not your parent,
so think of something else.'

- What kind of man are you?
- A flimsy one.

So, you know, think-think
of something else, or-or I will.

Take me home.

'Look, J-Jane,
that's not very fair.'

Take me home.

[sighs]

[instrumental music]

Higher!

[laughing]

Higher!

[music continues]

[crying]

(Richard)
'Jane?'

'Jane, what's wrong?'

'Jane?'

(male #1)
'Come on, let's go. Let's go.'

'Come on, clear the way there.'

(Richard)
'We-we were just running
a little bit late'

you know, 'cause we didn't
realize how big the museum was.

But it was,
it was lovely, actually.

It was, um..
No, no. Honestly, it was..

- Mr. Hopkins?
- Oh, I-I-I'll tell..

If I could just..
I-I'll call you later.

Just runnin' out
of money. Okay.

Yeah. Yeah-yeah, bye.
Yeah, how is she?

Well, by all accounts, she's
been a remarkably lucky girl.

We've run all
the usual tests, x-rays.

I think
she's overstretched herself.

It can happen
with the condition.

But she's a very
resilient girl.

Yeah.

'Everyone says that.'

[siren wailing]

Look, I've tried to explain
to your mum, to Catherine.

I mean, fuck it, I even tried
to explain to you.

I'm just not..

...up to this kind
of responsibility.

To any kind of responsibility.

No. It was not your fault.

Well, of course it was.
I took you on it.

No.

I made my own decision.

Well, it must
have been terrifying.

I mean, it was for me

and I didn't even..

And not a little
embarrassing, as well.

Seeing you all..

Richard.

A-a long time ago..

...my body and me..

...separated.

Yeah?

Well, they fucking well
nearly did it again.

I'll get the car.

(Anne)
'Yes, yes.
It's a marvelous museum.'

'And Jane always thoroughly'

enjoys her trips there.

Don't you, darling?

Yes.

Well, Anne, I-I should
really be going.

Oh, right.
Yes, of course.

Again, I'm so sorry
about her chair going over.

It must have been
a terrible fright.

Yeah. Yeah, it was really. Uh..

Okay. Well, say good-bye,
darling, and-and thank you.

Yeah.
What are we doing next week?

Well, I-I'll try and think up
something in the week.

Yeah.

Bungee jumping perhaps.

Yeah. Thanks. I-I'd probably
have overlooked that, actually.

[laughing]

[instrumental music]

[music continues]

[crackling]

[thudding]

[car door shuts]

I got the address
from your mother

and I had to go to Bristol,
so I thought I'd see

if I could track you down.

I'm-I'm glad really.

You know, you can't
just disappear, Richard.

I wasn't trying to disappear.

So, why didn't you
give me your address

or at least a phone number?

You haven't given it
to anyone.

I just wanted to settle in
for a bit first.

Well, you've got some way to go.

Is that what you came
all this way to say?

No, of course not.

I wanted to know
you were okay.

I've been worried about you.

But then, maybe this is just
what you needed.

So what are you
doing in the barn?

Nothing.

- You're not painting again?
- No.

Just, you know..

...fiddling round.

Look, in case you're wondering,
Richard

I'm not with anyone else.

Okay? It was never about that.

No, no, I wasn't wondering.

And it was never
about the money, either.

I just..

...thought that my being there,
was making it worse

for both of us..

...but especially for you.

- I saw Michael the other night.
- Yeah?

Has he ever landed
on his feet this time.

Well, he was always
prone to that.

I know, but..

You know, I'm sure
you could always

stay with him
for a while, Richard

if you wanted.

Now, why would I wanna do that?

I don't know.
I just thought maybe--

Julie, I like living here.

Really.

I'm in no rush to get back.

[instrumental music]

So, what am I missing,
some shepherdess?

No.

But I-I do like the people here.

Uh, what people?

I like the hills.

[music continues]

Yeah.

(Richard)
'Yeah!'

Yay!

Whoa!

* From the dark end
of the street *

Faster!

Alright.

* To the bright side
of the road *

Whoa! Whoa!

* We'll be lovers once again *

* On the bright side
of the road *

* Let's enjoy it while we can *

* Let's enjoy it while we can *

* And help me sing my song *

* Help me sing my song *

* Little darlin' come along *

* On the bright side
of the road **

Alright, then.

Oh, right.

Freestyle, please.

Here you go.

Better absorption.

What are you doing?

What are you fucking.. what are
you fucking, hold on. Hold on.

What can they do, hmm?

Imprison me?

'Yes.'

What the fuckin'.. Jane!

J-Jane!

That's 16.53, please.

I'm sorry. How-how much
did you say it was there?

Sixteen-fifty three.

I just, uh, get my change,
sorry. Um..

So that's, uh, uh, I-I may have,
uh, over ordered a bit

'so if, uh,
maybe you could, um, uh..'

'Uh..'

[indistinct chatter]

Who was the girl in the photo?

Her name's Julie.

She used to be my girlfriend.

But not anymore?

No.

Not anymore.

Oh, sorry.
You want, um..

Looks fucking terri..

...terrible.

Shouldn't you maybe try using
that machine a bit more?

Oh, don't start playing mum
on me for fuck's sake.

I'm not, I'm not,
it's just, you know

I've never heard you
use it even once.

Yeah.

Well, I'll have to soon enough.

Well, come on, then.
Say something, anything.

Go on. I just wanna hear
what it sounds like.

I mean, if you're not
gonna eat..

Please.

[beeping]

(automated response)
'Fuck you, motherfucker.'

(Richard)
'Does-does it come
with that kind of vocabulary?'

No.

Really? You amaze me.

No. I added it...and others.

Yeah. Like what others?

(automated response)
'Cunt.'

And, uh..

(automated)
'Wanker.'

Well, they're very useful.

They'd be very useful on

you know, trips abroad

all sorts of things.

I think wanker
loses the resonance

electronically.

Really? I think
it works, actually.

Hmm.

No, I think
that sounds fabulous.

I don't want it
to sound fabulous.

Did you want
to give this a miss?

I often dream about eating

in good restaurants.

Hmm.
Somebody with clean dreams.

You haven't seen me eat yet.

It's a treat ahead.

Well, I mean, I'll tell you
what, Jane, I mean..

Y-you know, if you want..

Uh, I-I mean, you know..

You're-you're under
no obligation

but, um..

I-I-I mean, I'll gladly
cook you a meal at my house

if-if-if, you know,
if you wanna see what I eat.

Y-you know, only if you want.

I'd like that..

...very much.

[instrumental music]

(Richard)
'I was never really
a painter.'

'It's always been a bit
of a red herring though.'

'It's followed me around much
more than I've followed it.'

'Sometimes we get held to silly
things we say when we're young.'

(Jane)
'Then why say it
in the first place?'

I suppose like anyone
in their late teens

I was trying to find
a way to..

- Rebel?
- To get laid.

[chuckles]

I thought a whiff of the artist

wouldn't hurt.

Did it work?

Y-y-yeah, a little bit, yeah.

Yeah. Yeah. It probably did.

I mean,
it was a lot easier then.

You didn't
have to paint anything

uh, which was, uh, helpful.

You just had to wear a smock
and a beret and be a twat.

And now?

Now..

...I think success is the only
modern aphrodisiac there is.

Well, isn't it time

to do something else then?

[instrumental music]

(Jane)
'Where are we going?'

'I can see fuck-all.'

It's an installation.

(Richard)
'No. Oh, it's..'

No.

It's an airplane.

I'm inventing the airplane.

I think you may have
been beaten.

Oh, thank you for breaking
the news so gently.

So?

Why?

Well, uh, sometimes reasons
are hard to come by.

Maybe it's easy for you.
I don't know.

But one day in London

I realized that, I..

I didn't know
anything about it.

Flight.

'And-and, you know,
something so simple'

and I just didn't
have a clue

and, uh, you know

it suddenly seemed important.

Yeah.

Gravity is my thing, too.

Anyway, what else am I supposed
to do with this shit?

Can't seem to get rid of it.

Thought maybe I'd try
reconstituting it instead

you know?

(Jane)
'Hmm. Why the gun?'

Ah, well, I once read about
this artist, Paul Klee.

He used to wait
by an airfield

in the World War I, right?

And, uh, you know,
if an airplane crashed

he'd go out at night
and he'd use it

and strip it down
and make his canvases, right?

And, uh, well, I mean,
I'm-you know

I'm doing it
the other way around

and putting it back,
and, uh, I don't know

the, uh, the gun seemed
appropriate.

Will it fly?

I don't see
any real reason why not.

I mean, you know,
for fuck's sake

old, uh, Wilbur
and Orville Wright

I mean, you know, it was just
120 feet against the wind.

'Twelve seconds is all it was.'

'I mean,
that constitutes flight.'

'I mean, you know,
saying that as it stands'

it's a bit unbalanced
you know, this way

but I reckon, you know,
counterbalance, whoops

'you know,
that should solve it.'

I mean..

Yeah, I mean, it has to fly.

Otherwise, you know,
how do you know you understand?

It's beautiful.

Thank you.

Um, Richard?

Yeah.

'I have a favor to ask.'

Of course. Go ahead.

Hmm.

I've prepared it.

Oh. R-Right.

Otherwise we'd be here
all night.

Well, hit that play button.

'Okay.'

[beeps]

And, uh..

...brace yourself.

[beeps]

(Jane on recording)
'I was not always
like this, Richard.'

'My symptoms only became
noticeable'

'when I was about 18.'

'It was then
we moved back here.'

Until then, I was,
to all intents and purposes

a normal young woman

'and not entirely
unattractive either.'

'So much so that I had
a boyfriend, Stephen Mills.'

A little nerdy perhaps

but in his favor,
he was male.

'Once, on my 17th birthday'

'he asked to sleep with me.'

'Stupidly, I declined.'

'Every subsequent day I have
regretted that cowardice.'

'Every newspaper I now read
seems one big reference to sex.'

'In every book, film,
television drama, soap'

comedy, or even game show,
sex is the impetus.

'It is more important
even than money.'

'Money is a means to an end.'

'Sex is the end.'

'Richard, the favor
I ask of you'

'is to help me
lose my virginity.'

[beeps]

'Relax.'

'I'm not asking you
to do the awful deed.'

'No, there are places
in London'

that can help,
and you know London, Richard.

You can help.

'Other than a few
early teething troubles'

'I think our interaction
is as two adults.'

'You may not know it'

'but that makes you
unique in my life'

'and I know in saying this'

I am risking that.

'But then, perhaps
you will understand'

'how important this is to me.'

[beeps]

Say something.

Um..

Uh..

I'll take that as a yes.

Yeah, Jane, this is, um..

Well, it's a...bit strange.

(Jane)
'I know.'

I mean, um..

J-Jane, I-I know
what you're saying.

I mean, I think,
and I-I-I respect that

but, um..

I mean, are you sure
you're not getting this

'a little bit
out of perspective?'

'I mean, it's no great, uh'

'religious experience.'

I-I mean, you know,
sure, people enjoy it

but they don't, you know,
come away from it saying

"Oh, the meaning of life is--

Look, I can't do it
on my own.

Yeah, well, for the most part,
I manage.

No, I can't even
do that anymore.

Jane, I mean,
not wishing to put

too fine a point on it, but..

Do you know if you can--

- Do it?
- Mm.

My illness does not affect

my sense of touch

or sensation at all.

Yeah.

Jane, this is, uh

it's..

'I don't know about this,
really. I mean--'

Well..

Let's get realistic then.

Look, I know.

'Believe me.'

I'll never get
the whole deal.

But that doesn't mean

I shouldn't get

as much as I can.

Now will you help

or will I have to find

someone else?

I can't do this, Jane.

'It's not a good idea.'

'For you, for me.'

I'm staying here.

I've got to do my thing.

'I'm sorry.'

Yeah.

Then take me home, please.

[instrumental music]

Jane, I'd like you
to meet Becky.

Hello, Jane.

'I've been hearing
all about you.'

Hope it's not all true.

[chuckles]

Don't be rude, darling.

Please?

(Becky)
'That's okay, Anne.'

As I was just saying
to Catherine

I look after a little boy
with Down's syndrome

so I'm quite used
to sudden mood swings.

But I love him to bits.

I think of him
as my very special friend

which I'm sure
you can be, Jane..

...if you let me.

Pleased with yourself
are you, young lady?

'She really didn't
deserve that, Jane. Really.'

You've embarrassed me.
You've embarrassed Catherine.

I think you've even
embarrassed yourself.

No. It was fun.

Sometimes I wonder whether
you've ever given me

a moment's thought, Jane.

Ever. Once.

Hmm?

For one moment,
have you ever considered

that it wasn't
just your life?

This is definitely
not how I wanted

to live my life either.

[door closes]

Mrs. Williams?

Mrs. Williams?

Hey, Mrs. Williams.

Where do you wanna..

Mrs. Williams?
Mrs. Williams?

Oh, shit.

Oh, shit.

Oh, fuck.

Mrs. Williams?

[gasps]

You're alright.
No, no.

Rape! Rape!

No, I wasn't trying
to rape you

I was just,
I wasn't trying to..

You're alright.
You're alright.

(Richard)
'W-well, I do think
it's blocked, yeah.'

Right. Okay.

Well, you can
leave this with me.

I'll, I'll have a go.

Yeah.

Come on.

It'll never fly, you know.

Yeah. Well, we don't
know that yet, pal.

Look, um..

I'm afraid, uh..

I'm gonna have to
ask you to be out

by the end of the month.

Oh, look

I know, you know

I've been a bit,
uh, a bit slow

with the rent, but, you know--

Yeah.
No, no, no, no.

It's not the rent, alright?

Well-well,
that didn't help

'but it's just that, uh'

'I'm gonna sell the place.'

Well, apparently
there's a big market

for them nowadays,
and, uh

Well, I thought
a month would be fair.

'Right.'

Oh, if you could, um

clear it out a bit

I'd be grateful.

* Mi rival
es mi propio corazon *

* Por traicionero *

* Traicionero *

* Yo no se *

* Como puedo
aborrecerte *

* Si tanto te quiero *

* Te quiero *

* No me explico *

* Por que
me atormenta *

* El rencor *

* Yo no se *

* Como puedo vivir *

* Sin tu amor *

* Mi rival *

* Es mi propio corazon *

* Por traicionero *

* Traicionero *

* Yo no se *

* Como puedo
aborrecerte *

* Si tanto
te quiero *

* Te quiero *

* No me explico *

* Por que
me atormenta *

* El rencor *

* Yo no **

Bollocksing!

Fucking!

Wank-toss shite fuck!

Arsing, cunting fuck!

Fuck!

[thunder rumbling]

[sighs]

[knocking on door]

(Anne)
'Can I come in, darling?'

There's someone
downstairs to see you.

[sighs]

Fuck it.

If you wanna go
get shagged, then..

...that's between
you and yourself.

'But understand this, Jane.'

If I do come with you

don't blame me for anything
that might happen, okay?

'Anything.'

[Clarence Carter singing
"Snatchin' It Back"]

* How can I get your love *

* When you keep on
snatchin' it back *

* Tell me tell me tell me *

* Tell me tell me girl *

* How can I get your love *

* When you keep on
snatchin' it back *

* That's what I wanna
know right now *

* How *

(Richard)
'What we're, um, looking for'

'is, um, a disabled agency'

'that can, uh'

'give Jane the chance'

'to, um, experience
a sort of, um'

'complete, uh'

'adulthood,
to become more adult.'

I'm not sure I understand

what you're asking me,
Mr. Hopkins.

(Jane)
'No.'

Well, I-I'll try

'and be a little
more direct. Um..'

'Look, um'

Jane here, uh,
essentially, um

wants to, uh

to lose her virginity.

I think that's it.

'To, um, to, get..'

Fucked.

I think, yeah,
that about sums it up, uh..

I'm sorry, dear.

I'm afraid we can't.

No.

Absolutely,
absolutely.

We do this all the time.

We just put like
with like, and, uh

let it run its course.

Right. Jane?

Well-well, great.

We'll, um, we'll--

'We'll let you know.
Thanks very much, pal.'

'Jane?'

[upbeat music]

[indistinct chatter]

Hi. Do you wanna dance?

Sorry.

What are you doing?

Get me out of here!

(Jane)
I just want to be normal.

(Richard)
With all due respect, Jane,
you're not. Sorry.

Yeah, but my fantasies are.

They don't have no legs

and three heads,
funnily enough.

Well, then I don't see
what the difficulty is

when we're walking around
all the weird and wonderful.

I mean, you, if all you want
is-is to be laid by someone

with the requisite number
of limbs in all the right places

then there's no problem.

I don't know why
we're making a mountain of it.

I mean, look where we are.
It's easy.

(Richard)
'I mean, that's the truth,
Jane.'

'For 50 quid, it could all
be over in ten minutes.'

Cherry picked,
ambition realized.

What's the problem?

(Jane)
'Okay, then, Richard.'

Could you fantasize
about her?

Well, you know, I try to be
a little more romantic.

- But I'm sure--
- Yeah, exactly.

So do I.

And it's not him I visualize.

I wanted something
much more.

Something special.

Richard Gere.

Ah, well, then we
have a problem, Jane

because this is not
"Pretty Woman"

and I'm sorry about that,
but that's the way it is.

And, Jane, remember,
she was the prostitute.

What?

Not in "American Gigolo."

[instrumental music]

Uh, well, if it's
a gigolo you're after

then, yes, clearly we are
in the wrong place.

(Jane)
'There.'

(Richard)
'But how do you know?'

'That woman could be
his mother.'

(Jane)
'That's our man.'

Well, how can you tell?

Feminine intuition.

He's probably
just a businessman.

[indistinct chatter]

Well, go on then.

I can't just walk up to him.
He could be anybody.

(Jane)
'Another mother perhaps?'

'Now ask.'

(Richard)
'Yeah and say what
exactly?'

How much?

Well, Jane,
you can't afford him.

Ask.

Hi. Er, Richard.

Hi.

Uh, look, um

uh, I don't quite know
how to, uh, put this.

Um, but, uh,
I've been following you

and I think I know
what it is you do.

And, uh, I, uh..

...I need to know
how much you are

um, because I may be, uh..

...uh, interested in, um..

...propositioning you.

I don't know who you are..

...but I don't do gay.

No, no.
It's not for me.

It's, um,
for my friend over there.

[indistinct chatter]

(Jane)
'£2,000!'

Just to get laid?

No, Jane. You get laid
by Adonis himself.

Fuck.

I've got £873.

Yeah.
Which is 873 more than me.

Okay, then. You'll have
to do it then, Richard.

Oh, no.

Yes! It's as simple as that.

You'll have to do it.

Jane, I can't. You have
to understand that.

I can't do it.

Why not?

Because, uh..

Because I'm a cripple?

No, it's not because
you're a cripple.

As cripples go,
believe me, Jane

you're really quite fanciable.

Hmm.

Then why?

Because..

Because..

Because I am.

I'm a cripple.

[instrumental music]

Perfect.

What?

You really need to do this,
don't you?

'Yes!'

And you really need me
to make it happen?

There is no one else.

(Richard)
'Then I'll make it happen.'

You'll do it?!

No.

But I will rob that bank.

(Jane)
'No way.
Are you serious?'

(Richard)
'Oh, yes, fucking way I am.'

But I'm just trying
to get laid.

And I'm gonna make it happen.

I mean, do you
really think, Jane

that if I, Richard,
got my car

'drove to the other side
of the country'

'waited down some quiet country
lane for somebody to walk by'

nobody around,
took a few precautions

and then suddenly killed them

'for no apparent reason
and came back, I mean'

'do you really think that
they'd find me, Richard, eh?'

No.

The world order may rely
on myths like that

but not theory.

Theory allows us all
to do it once.

We just don't know it.

This is lunacy.

Alright, then, Jane.
Tell me what you see now.

Right now, what do you see?

A nutter on a plane.

(Richard)
'No, Jane. Look.
No plane here.'

Can't you see it's a dodo?

It'll never fly.
It was never gonna fly.

Because you can't
reinvent something

by adapting
what's gone before.

Now what we need is a..

...is a radical fucking
departure.

Richard, please.

I need to know..

...this is a joke.

Yes?

'Long, unfunny..'

...but a joke.

Yeah?

No, Jane, I'm doing this.

Finally something.

It's perfect.

'In fact,
all we need to know now'

is are you really doing yours?

No. Just, uh,
making a withdrawal.

Hello. Good morning.

[monitor beeping]

Alright! Alright!

Alright, this is a holdup!

Nobody fucking move!

Alright!
Alright, this is a holdup.

That's good.

That's crap.

What will you do

when I die?

Darling, when I said that,
I-I was--

I know, but I'd

still like to know.

Who knows? Who knows?

Anyway, the way you carry on

who's to say
I still don't die first?

Ladbrokes.

(Anne)
'What was it, darling?'

You said it was
nothing he did, so why?

You liked him.
I know you did.

'Nobody's perfect, darling.'

'Not you, not me, not anybody.'

Sometimes we do things
we don't necessarily understand.

I think you should
let that go

because otherwise
you end up with no one.

'I mean, whatever it was,
can it be that bad?'

Alright, alright, nobody move.
This is a fucking holdup!

Nobody move.
Don't do anything stupid.

Just hand the money over!

That's right.

Thank you.

[car door closes]

[gun clatters]

Just so as you know, Richard.

I think you're a complete
dickhead.

I can live with that.

[instrumental music]

* Put a rack on Mr. Maxie *

* Don't you know
you'll never win *

* You got your family
running around *

* Trying to stop you
from going down *

* It's you *

* They're talking to *

* It's you *

* They're talking to *

* Yes, it's you *

* They're talking to *

* It's you *

* They're talking to *

* Yes it's you you you *

* They're talking to *

* It's you *

* They're talking to *

[bottle pops]

Hi, Jane.

I'm Mary,
Camden Social Services.

I think it was Catherine
I spoke to.

- 'Hello.'
- Hi.

[sighs]

- 'Hello?'
- 'Uh, yes, uh, hello.'

- 'Uh, It's, Mr. Hopkins again.'
- 'Hi.'

(Richard)
'Yes.'

'Just ringing to confirm'

'it will be
at 2:30 tomorrow.'

(Gigolo)
'And you'll have the money?'

(Richard)
'Yes, I'm, I'm just
sorting that out now.'

(Jane)
'Are you going to tell me'

'why that bank?'

Why does it have
to be that bank?

Jane, I'm helping you
with yours, okay?

But leave me to mine.

I'm still not sure
you shouldn't start

on old ladies
with handbags first.

You know, work your way up
like everyone else.

Okay, Jane, I'll see you
in the morning.

- Yeah. Thank you.
- Okay.

Night-night.
Thanks very much.

[door closes]

Big day tomorrow then?

Yup, big day.

Best get in

some beauty sleep.

Best had, yeah.

Sleep well, then, Jane.

- Richard?
- Yeah?

Mm.

My mum always

kisses me goodnight.

See you in the morning.

[siren wailing]

[gun cocks]

[instrumental music]

- You look beautiful.
- Thank you.

Can I come in now?

Yes, but you mustn't laugh.

You-you look fabulous.

Don't you mean handsome?

No, I, I mean fabulous honestly,
and-and the dress.

Yeah. It comes off easily.

Well, I'll leave you now, Jane.

There's nothing else you need.

- No?
- 'No.'

And-and thank you, Mary.

It's okay.

[sighs]

So..

So..

You know, I'm very
nervous Richard.

Yeah, the thing is, though

I don't know who for.

I can still
call him off, Jane.

No.

No, I-I would never
forgive myself.

Unless we both

drive home

together now.

It's too late for that.

No, it's not.

We've done nothing yet.

Jane, I am doing this.
I have to.

[device beeps]

(Jane on recording)
'This may or may not'

be the right time
to say this..

Please, not now.

'...but I've pressed
the play button.'

Well, then turn it off.
Just please, turn it off.

'Once started
cannot be stopped.'

(Richard)
'Oh, bollocks.'

I have been
wondering why it is

that all rich and famous men

'however ugly they may be,'

'seem capable of finding love
only with gorgeous women'

or that the more intelligent
the man

the shallower
his criteria in women.

Is it, "A," because men
don't give a fuck for the mind

'and care only
about spending life'

'with gorgeous bodies'

'in which case, I'm fucked'

'or "B," because there is some'

'as yet unidentified
evolutionary quirk'

so that beautiful female minds

are only to be found stuck
on beautiful female bodies

in which case, I'm fucked

'or "C," none of the above?'

'If "C" then,
theoretically at least'

you, Richard,
could take his place.

Oh no, not again.

It's now or never, boyo.

Last chance saloon.

(Richard)
'Oh no, no, no, no, no..'

Why is it I knew
this was coming?

Jane, Jane, I can't.

'Jane, I-I just, I..'

It's okay. I know.

Look, we can't even pay
for the fucking room!

(Jane)
'Yes, it's okay.'

I know.

We're just being silly.

Relieve some tension.

Anyway, um, apparently,
there's, uh..

...no such thing as, uh..

...male sexual altruism.

'Yeah.'

And...half the women
of the world

commit it most nights.

[knocking on door]

Oh, shit.

Oh, fuck.

Um, a last rethink maybe?

No, not for me.

I wish it was at night.

These things are easier
at night.

Banks are closed at night.

Two reasons then.

Alright,
I'm going now, Jane.

'Richard?'

Yeah?

Good luck.

Right. So you know
about her, right?

Mm-hm.

And, uh, you be careful.

Of course.

And wear something, right?

Alright. Here's 500.

You'll get the rest after.

Well, I mean, she's not
going anywhere, is she?

Why not you?

[instrumental music]

Hi.

Um, hi.

* My angel *

* Clipped wings I know *

* Wanders in darkness *

* On grimy ground *

[chuckles nervously]

Yeah, um...
can we, uh..

...do this, um, slowly?

Sure thing.

As slow as you want, darling.

[chuckles nervously]

* To sell out *

* A swamp *

* In it hands stretched out *

* To catch a passing dime *

* Donations to the rich *

* Widened pavements
for the poor *

* Somewhere else to lie *

* But my friend
the carriage door *

* Stands slightly ajar *

* And I know clipped wings
make uneasy flight *

* But we've gotta reach *

* A place *

* Where the feast
never ends *

* A morn when
the music celebrates *

* And a time
when darkness belongs *

* To night skies
and nothing else *

* No *

* Nothing else *

* No *

[breathing heavily]

* Tomorrow my spirit's seen *

* Fears today my mind *

* Soul aches **

Richard, hi.

I nearly didn't recognize you.
Are you here to see Julie?

Does she know you're here?

Hey, wait there.
I'll go get her for you.

[moans]

[gasps]

Richard?

No. No, no, no!

Right!

[crying]

(Jane)
No, no, no.

[instrumental music]

Jane! Jane!

Jane, I didn't do it!

Jane! Jane, I didn't do it!

I didn't do it!
I didn't do..

[crying]

I haven't done
anything yet.

I've just undressed her,
that's all.

I swear!

You get out.

Okay. Okay.
I'm going.

Listen, I didn't wanna
to do this in the first place.

- I knew it would be fucking--
- You just get out!

Okay, okay!
I'm going! Shit.

Jane, Jane,
it's alright.

It's alright, Jane.
He's gone.

He's gone, he's gone, Jane.
He's gone, Jane.

Jane, it's alright.

It's alright.
He's gone now.

He's gone now.
He's gone now, Jane.

It's alright. It's okay.
And I didn't do it, Jane.

[sobbing]

It's alright.

He's gone now.
He's gone.

It's alright.
It's alright.

[sobbing continues]

Okay, it's okay,
it's alright.

[instrumental music]

[music continues]

(Jane)
'I..
Oh, fuck.'

Oh, fuck, what?

Just...oh, fuck.

How do you feel?

Like...a virgin.

'Richard..'

...this afternoon..

Yeah, maybe we should
just let it go, mate, eh?

It's all in the past.

'No.'

My voice.

It...went.

Well, that's probably..

...just the trauma
of it all, you know.

That's all, really.

Let's go...home.

Okay.

Oh, no, no , no, no, no.
Please not now.

(Jane)
'Who is it?'

- What?
- Go home. Just go home.

- Richard!
- Look, I've had a shitty day.

With your ideal lifetime,
so just go home.

- Get off! Get off!
- Will you just go home, Julie?

I have just slept all
night in the car.

I need to talk to you.

Yeah, and I need not to listen.

- Will you just go home?
- No.

I have to talk to you.

Look, something is very wrong
here, Richard. Badly wrong.

Alright. Just-just fuck this!

'Richard!'

What the fuck were you
doing in there?

Look, I thought
you were getting better.

I had to do a lot of covering.
You can't just..

'Okay, Jane, I'd like
you to meet Julie.'

'Julie, was my girlfriend,
partner, uh, common law wife.'

Whatever you like to call it.
Julie, this is, Jane.

Jane is my girlfriend
et cetera

and yes,
we have slept together.

We definitely slept.

[sighs]

(Jane)
'Effective.'

Yeah, I shouldn't have
used you like that, Jane.

I know. I'm sorry.

It's alright.

I really rather enjoyed it.

I felt I grew
into the part

quite well, hmm?

[instrumental music]

Richard? Richard?

Richard!

[instrumental music]

This 24 hours definitely
needs acing.

What?

(Richard)
'It has to be now, Jane.'

'Now..'

...is perfect.

What?

It has to be now, Jane!

Oh, but..

Oh, God.

[tools clattering]

What are you doing?

I have to get one of these
to balance it up.

But you said it wouldn't fly!

Yeah, I said a lot
of things, Jane.

But we won't know until we try.

You can't keep doing this
to yourself, Richard.

Taking flight has more
than one meaning.

'Okay.'

'Then I have to come
on the plane, too.'

Jane, I'm in a hurry,
so please be quiet.

Haven't I got you into
enough trouble already?

- No.
- Almost more?

You haven't got me in anything.

Now, I have to come
on this aeroplane.

Jane, you are not
coming on the plane!

Now, please, I am concentrating.

- Not with the--
- What?

Please! Listen to me.

Just once.
Listen to me.

Okay, whatever you
wanna say, say it.

Just say it quickly.
I'm in a hurry.

No, I can't quickly.

Oh, fuck it all!

Okay, Okay.

Take as long as you want.

In your own time.

I have to come with you..

'...on the plane.'

Yep, I think
we've established that, Jane.

Why is what we're
hunting for now.

- Because..
- Because, what?

Because, um..

...stories have to be round.

Because stories
have to be round?

'Yes.'

'Stories have to be long, Jane.'

That's what stories have to be.

And I don't know
if I've neglected

to mention it
but I can't fly.

I don't know
the first fucking thing.

And?

And it'll probably end up

in a mangled heap over there.

That's what "and".

And I might end up
in a wheelchair, hmm? Yes?

Sometimes reasons are harder

to come by, remember?

But I have to be..

...on that plane.

I do.

Otherwise, you'll regret
your cowardice

every subsequent day, yes?

No.

Yours.

What a day.

But, um, you have
to ask me, Richard.

I have to be asked.

How much do you weigh?

Ask properly.

Jane, would you like
to come with me on my plane?

Our plane.

Jane, would you like
to come with me, please..

...on our plane?

46 kilos.
Dead weight.

- Yeah, near enough.
- Exact.

Exact enough.

[engine turns over]

[engine whirring]

[instrumental music]

[music continues]

[music continues]

[music continues]

[engine sputters]

[crashing]

(Jane)
Richard?

Can we just be quiet
for a bit?

You do know..

...I'm going..

...to die soon..

...don't you?

Yeah.

Hmm.

Don't feel ready.

I'm only 25.

But I know I'd feel

a lot more ready

if you'd..

...get your act..

...together fast.

You have a future, matey.

[sobbing]

Either take it

...or swap bodies
with me, huh?

Oh, Jane.

Who the fuck do I think I am?

Hmm.

Sort of, Ronnie Biggs

meets Orville Wright.

And there I was

thinking you were my angel.

Actually, I'm much happier

this way around.

So what are we
gonna do then?

I'll see you off..

...if you see me off.

[instrumental music]

(Jane)
So there we are.

Our great adventure
pretty much over.

But where does it guide us?

For my part,
I think I do now accept

that love and friendship

should really count
for more than just sex.

But it's a bloody close call.

Indeed.

Should you never
return to painting

or even robbing banks

there is another
much older profession

I can think of that I'm sure
would welcome your talents.

Whatever, you have to
carry on now, Richard.

And I don't.

And if our time together
changes anything

let it be
that from now on

you'll think a little less

and just get the fuck on
with it.

Because, really, Richard

we can only live
the most complete life

available to us.

And that, I, at least
have now done.

So there..

Consider yourself released.

And always remember

though you may not
yet be soaring

high above the ground

neither are you lying
six feet beneath it.

And from my perspective

that's a hell of a lot
to be going for anyone.

I love you.

Jane.

[beeps]

[instrumental music]

[music continues]

[music continues]

[John Hiatt singing
"Have A Little Faith In Me"]

* When the road gets dark *

* And you can no longer see *

* Just let my love
throw a spark *

* And have a little faith
in me *

* And when the tears you cry *

* Are all you can believe *

* Just give these
loving arms a try baby *

* And have a little faith
in me *

* And have a little faith
in me *

* And have a little faith
in me *

* And have a little faith
in me *

* And have a little faith
in me *

* And when your secret heart *

* Cannot speak so easily *

* Come here darling
from a whisper start *

* To have a little faith
in me *

* And when your backs
against the wall *

* Just turn around
and you you will see *

* I will catch you *

* I will catch your fall baby *

* Just have a little faith
in me *

* Have a little faith
in me *

* Have a little faith
in me *

* Have a little faith
in me *

* Have a little faith
in me *

* Well I've been loving you
for such a long time girl *

* Expecting nothing in return *

* Just for you to have
a little faith in me *

* I said hey *

* All you gotta do
for me girl *

* Is have a little bit
of faith in me *

* I said
I said **

* Hey **