02x05 - Episode 5

[bunniefuu]

[plane rumbling]

FIFTH DIMENSION: [SINGING] Up, up and away in my beautiful,

my beautiful balloon.

BOTH: [SINGING] Balloon.

The world's a nicer place in my beautiful, my beautiful.

FIFTH DIMENSION: [SINGING] It wears a nicer

face in my beautiful balloon.

We could float among the stars together.

[phone rings]

You and I.

Hello?

Hang on.

I'm just pulling up.

FIFTH DIMENSION: [SINGING] We can fly.

Hi.

Where are you?

WILLIAM: I'm in Soho.

[helicopter whirring]

NURSE: Mary, have you got Mrs. Dalton's folder there?

Look, shall we start again?

WILLIAM: Um.

Well, I-- no, I can't tell you 'cause

as soon as I say something, you'll wheedle it out of me.

But I'm-- I'm-- I'm not in Soho, no.

I'm-- I'm-- mm. anyway, how are you?

How's it going?

How's your last-but-one day going?

William, I want a nice quiet wedding, OK?

Yes, I know.

MARY: Yeah, good. All right.

Listen, um, the boys are doing their rooms

with Rick today, and I--

I'm tied up here.

I can't get over there.

All right, I'll go around.

MARY: Oh, will you?

It's just that, you know, Terence painted

his room black the last time.

Remember? - Yep.

I'll check it out.

Thanks.

And then can we stay over tonight?

[chuckle]

[knock on door]

Afternoon.

I'm looking for Mr. Benson.

I'm expected-- William Shawcross.

Oh, he stepped out, I'm afraid.

Can I help?

Um, I-- I don't know.

I'm getting married next week.

Congratulations.

Thank you.

And I-- I wanted to hire one of those, um--

oh, what do you call it?

Uh, you know, that flies along in the--

Airplane?

Well, uh, yeah, a plane, but, uh,

trailing a banner-- a banner with a message written on it.

That's it. Yeah.

Your name again, sir?

William Shawcross.

[scream]

That's it, Lareese. That's it.

Well done.

You're doing brilliantly, OK?

[knock on door]

Yeah, yeah, hang on.

Listen, I might need to hitch this up a bit for the next one,

OK?

Shall I get on the bed?

Well, it's uncomfortable for you.

Oh, no, I'm fine.

You stay where you are.

Don't you worry about me.

[panting]

Yeah. Well done.

Come in. - Thank you.

Hi.

I'm, uh, Dr. Havers.

Just on call, so.

[groan]

[havers laughs]

What-- what's she doing?

Can I have a word?

[scream]

You don't learn, do you?

No.

I-- I'm sorry.

It's a birthing ball, Dr. Havers.

No, yes.

I-- I've never seen one being used before.

Well, now you have.

And laughing is not the right response,

unless you like bringing out the Nurse Ratched in me.

No.

Sorry.

OK.

Carry on.

[woman groans]

William, Tuesday's funeral--

Mrs. Driscoll's been on the phone wanting to put death

notices in tomorrow's Sundays.

Well, it's too late.

ARNOLD: I told her that, but she's in a bit of a tizz.

I'll go and see her.

ARNOLD: Right.

MARY: Now give me one last push.

That's it.

That's it.

Good girl.

That's it.

And here we are.

Here we are.

MAN: Well done, love.

[baby cries]

[woman laughs]

MARY: Well done.

Hello.

Yes, that's inclusive of VAT.

Not at all.

Thanks.

Goodbye.

Mrs. Driscoll.

I haven't told anyone.

I haven't told anyone, and he knew so many people.

[door opens]

Uh, could you call back?

Do you mind? MAN: Not at all.

No. No, no, no.

Please.

We have to stay open.

Mrs. Driscoll, people will understand if you

shut the shop for a while.

No.

We have to stay open.

We supply the schools, and there's

a delivery coming today.

But maybe you need some time to yourself.

I need my Gerald back because he was here, and now he's gone.

It's well down, you know.

Are you sure you've got your dates right?

Yes, thank you.

I've got six weeks to go.

And Terence and Brendan were both late.

Hey, we've got the birthing center Monday.

Oh, yeah.

What?

Oh, nothing.

No, no, no, that's-- that's great.

No, I was just thinking.

You know what?

I think that was my last delivery.

I mean, you know, the mum was worried about me,

and she wasn't the first.

And it was a good one.

Yeah.

DORIS: Well, you can book all the new ones in.

You can do all the jobs no one else wants to do.

[locker closes]

Because he was church warden, I

didn't have to do any of that.

But all these people-- the--

the Rotary Club, The Lit, the Friends of the Royal

College of Music, the--

the charities-- they should all be told as well.

And I can't phone them.

Well, I could do that for you.

Oh.

Could you?

Could you, please?

Because I-- because I don't know any of these people, and--

and Gerald's going might not mean anything to them.

Well, that's not possible, Mrs. Driscoll.

It's just not possible.

And I'll gladly do it.

Oh.

Well.

I think most of them have telephone numbers.

Um.

Oh.

This charity's in Uganda.

WILLIAM: That's all right.

Now, this one doesn't have a telephone number,

and they only meet the first Saturday of each month.

Let me see.

It's The Lit, the Literary Society.

Well, that's right near where I do choir,

so I can do that one tonight.

Is it Saturday today?

Yes, it is.

Mrs. Driscoll, time becomes a very strange thing

when we lose someone we love.

That happens to all of us.

Now, if there's anything we can do, anything at all, please

don't hesitate.

AUDREY: Thank you very much.

MOLLY: Isn't he clever?

Rick, I tell you, man.

That-- this is wicked and beyond.

Now that's wicked, man.

I'm quite pleased.

WILLIAM: Hello?

Oh, where's my kitchen?

There's still no kitchen down here.

Huh?

And where's the units?

And where's the very expensive cooker that's

supposed to be installed today?

Cool, yeah?

What?

Oh, yeah, that is cool.

That's really cool. Who is it?

It's Dizzee Rascal.

Who's that?

You know that tune, "fix up, look sharp"?

- Oh, he's a singer then? - No, he's an MC, William.

Oh, good. All right.

Don't go on about it.

Anyway, he makes good music, not out your crap.

That's nice. Thanks very much.

Thank you. Who are you having?

I haven't decided yet.

But, here, look at this 'cause Rick's rigged this up.

Let me show you how it works.

There you go.

And I just paint it.

BRENDAN: That's wicked, innit?

Yeah, that is wicked.

It's really wicked.

William, um, can I just--

Oh, yeah.

Where's my bloody kitchen?

We're getting married next week.

No, it's not that.

It's the Tracy woman.

Oh, how many does she think Mary can read?

No, William, it-- sorry.

She brought it round here.

She's got this battered Beetle.

She must've followed us from the flat

when we picked up the boys.

Bloody woman.

She knows where we're gonna live.

I know.

Well, maybe don't, um--

don't tell Mary?

Oh, I don't know.

Well, don't bring it up.

Are you all right to take the boys back?

'Cause I've got choir. - Yeah.

Sure. No worries.

WILLIAM: Thanks, Rick. - Sorry.

Oh, don't worry.

[engine turns over]

[choir singing]

Hang on.

Ah, don't stop.

It's beautiful.

William, you can't actually hear this until the big day.

Sorry.

Oh, oh, oh, all right, all right.

OK. I see.

All right. CHOIR: See you.

Bye. See you.

See you.

Same again.

One, two.

[choir singing]

AUDREY [VOICEOVER]: This one doesn't

have a telephone number.

It's The Lit, the-- the Literary Society.

[engine turns over]

[dance music]

[chatter]

Oh.

I know you, don't I?

I'm not sure.

Yes.

No, not from here.

No.

But from somewhere.

WILLIAM: No, I don't think so.

Oh, oh, yes.

I never forget a face.

Or a name.

And I'll have that, too, in a tick.

What line are you in?

What do you do?

I'm an undertaker.

Oh.

Oh, the hair, the makeup, the nails.

Not to mention the flowers.

William Shawcross.

Yes.

You did Toby Woodruff's funeral.

Yes, yes, I did.

Yes, and you did him proud.

Oh, the flowers on that one.

Olly Forshaw.

That's "Forshaw," not "For"--

put it there.

Your hand, that is.

What are you doing here?

Well, um, I think you can help me.

I'm looking for The Lit, the Literary Society--

The Lit.

Oh, Le Lit.

Lily?

Le Lit, yes, yes.

Well, uh, The Lit, right, "Le Lit."

Now, "le lit" is French for bed, isn't it?

So "le lit"-- "Le Lit."

They're upstairs.

Well, where else should a bed be?

Come on.

I'll take you up.

Thank you.

OLLY: You're into the arts, then, are you?

William, behave.

The arts, music.

Oh, they're at it already.

We'll just creep in the back.

WOMAN: [SINGING] Blow the wind south o'er the bonnie blue sea.

Blow the wind southerly southerly, southerly.

Blow, bonnie breeze, my lover to me.

[applause]

[vase clatters]

Sorry.

Oliver, honestly, what are you doing?

OLLY: I'm picking it up.

Nothing broken, just a bit of water spilt.

GEORGE: I'll get a mop.

OLLY: No, I'll get it.

Um, George, this is William.

William's looking for The Lit.

Pleased to meet you, William.

Yes.

GEORGE: Are you, uh, sure you're in the right place,

do you think? - Uh.

Uh, no.

I don't.

Uh, I've-- sorry.

Do you know a Gerald Driscoll?

Gerald's not here yet.

He should be along, though.

He's very fond of Kathleen Ferrier.

We did wait a while.

Something's happened, hasn't it?

Yes, I'm afraid it has.

I'm very sorry to have to tell you that, um,

Gerald died last week.

Oh, no.

How?

How?

When, exactly?

Uh, last Saturday.

A brain hemorrhage, I believe.

Very sudden.

I'm sorry.

Are you a relative?

No, I'm the undertaker.

So have we missed the funeral or, um--

Oh, yes, when is it?

Has it been and gone?

No, no, no.

Um, it's on Tuesday.

Oh.

Where?

Where?

Obviously, we'd like to come.

St. Jude's, about 2:30.

Right.

All terribly upset.

All really nice and ordinary, you know,

once you get over the fact that they're wearing dresses.

But what-- what do I do?

You know?

Oh, what do I do?

Do I tell his wife?

Or shall I say that I informed them and leave it at that?

They all want to come.

It only takes one of them to turn up in a frock.

Oh, God.

It's not funny. - Sorry, no.

It's not funny. WILLIAM: It's not.

No.

Neither is our invisible bloody kitchen.

How are we meant to move without a kitchen?

We can't.

William, we've got people moving in here next Thursday.

We've got to go.

I'll get onto them tomorrow.

I'm only doing bookings now.

Oh, yeah.

The boys' rooms, what are they like?

Oh, well, they're-- they're quite good, actually.

They've only done Brendan's, but have a look.

I won't spoil it.

It's quite clever.

Mm.

I mean, they're only men in dresses.

But, God.

MARY: Didn't you say this man was a church warden?

So why don't you go and see the vicar?

And he'll know the wife.

You can ask his advice.

[church bell tolling]

William.

I got your message.

Sorry about the answer machine.

Oh, no, Sunday's Sunday.

Yeah.

And, um, well, I was hoping Audrey Driscoll would be here.

I must pop round.

I'm actually quite glad that Mrs. Driscoll isn't here.

MARY: And everyone here sees a consultant

on their second visit.

OK?

[non-english]

MARY: Bye.

[non-english]

Hi.

Oh.

Hi, Tracy.

Uh, look, I'm a bit busy at the moment.

Yeah, yeah, you're all right.

Uh, Timmy-Toppy?

Yes, please.

Would you like to come through?

Hello.

Hello.

Timmy-Toppy, that's such a lovely name.

That's it, in there.

Yeah, give it a push.

You see, I don't--

I don't know Mrs. Driscoll.

I don't know, um--

I just-- I don't know.

People like the Driscolls are the backbone

of a parish like this.

I mean, they're dedicated, concerned,

conservative-- oh, certainly.

Pain in the neck sometimes.

But good people.

Mm.

VICAR: Intensely private.

But I-- I detected a strong bond between the two of them.

I mean, maybe-- maybe Audrey knew about this.

No, I don't think so.

No.

And is it my business to tell her, you know,

if she didn't know while he was alive?

Yeah, but the truth is the truth.

And someone needs to tell her before she finds out herself.

Yeah.

I should tell her.

I think she should be told, yeah.

But I'm-- I'm-- perfectly willing to do it.

No, no, no, no.

I, um-- I-- yeah.

Anyway, if-- if you tell her, that's as good as saying--

Right, it's like saying what Gerald did was wrong.

Yeah.

Well, it might be.

No.

I don't know why I say that, but, uh, they're

decent man who just like to--

well, I mean, what are you wearing?

[vicar laughs]

And very comfortable it is, you know.

No, I-- I wasn't saying--

yeah.

I should, uh-- I should go and see her then.

MARY: You take care, and I'll see you soon.

- Thank you. - Bye.

Bye.

Bye.

Goodbye, Miss Gilcrest.

Goodbye, Marcus.

[children talking]

Bye.

NURSE: Excuse me.

TRACY: Come on, Jodie.

Hiya.

Tracy, hi.

Um, listen, I've got a room full of women to book in, so--

Yeah.

Yeah, I'm one of them.

I'm pregnant.

Oh.

Are you sure?

Yeah.

Well, be pleased for me.

Well, I'm pleased.

I'm thrilled.

And, um, what I wanted--

I wanted you to be the first to know 'cause, um, well,

you'll be looking after me again,

and, uh, well, you're the best.

You make me feel safe.

Tracy, look at me.

No, no.

Look at me.

I-- I'm gonna to be having my own baby soon, and-- and I--

I'm gonna be off.

I mean, I don't know how long for,

but it's gonna be for at least a year.

This is my last day.

So I-- I can't look after you.

Of course you can't.

I mean, I--

I can-- I can book you in.

TRACY: No, no.

I'll, um-- I'll come back, you know?

I'll do it with the ones who'll be here.

Um, well, good luck, Mary.

Thanks.

TRACY: And, uh, I won't send you any more books.

No.

Give me a chance to read the ones I've already got.

And I will.

I'll have time soon.

You will, yeah.

[somber music]

Well, uh, bye then.

Say goodbye.

Bye.

Bye, sweetie.

Take care.

[baby crying]

[sigh]

AUDREY: Mr. Shawcross, come in.

Thank you.

Thank you, Mrs. Driscoll.

I've been called out.

So pick you up in the morning, yeah?

Yeah, brilliant.

Listen, um, Doris.

Um, Tracy Mellor came in.

Oh.

MARY: Yeah, wait.

She's pregnant again.

Or so she says.

Sorry.

Heigh-h*.

I'll see you in the morning.

Have you had any luck contacting people?

Uh, well, I've put calls into the Rotary Club

and the other charities, but, um, because of the weekend.

Oh, well, yes.

Oh, were you able to go to The Lit?

Yes.

Yes, I was.

Um, that's-- that's-- that's why I'm here.

Are they coming?

Only, I so want there to be a good turnout.

Gerald did so much for other people.

Well, they did say they'd all like to come, yes.

Mrs. Driscoll, um, do you know anything about The Lit?

No.

Well, Gerald had his interests, and I have mine.

We always felt it was rewarding not to do everything together.

Yes.

What is it?

WILLIAM: Um.

This is very difficult, Mrs. Driscoll.

Um.

The Lit is not only a focal point, um,

for people with interests in music and literature.

Um.

It's, um-- [sighs]

Mr. Shawcross, I'm imagining all sorts of things.

Please just say it.

Very well.

[hammering]

WOMAN: Arnold. ARNOLD: What?

Could you--

ARNOLD: Oh, right.

MAN: One, two, three.

[MUSIC - "WHEN THE SAINTS GO MARCHING IN"]

WOMAN: No!

No, no, no!

No.

This is not William.

No!

William, you apparently made an appointment for today.

Oh, bloody hell.

Yes.

God, I keep forgetting I'm getting married next week.

Well, um, just give them some, um, tea--

Well, it seems they just like playing.

WILLIAM: Well, uh, give them something stronger,

whatever jazz musicians like.

[upbeat jazz music]

[baby cooing]

Da, da, da, da, da, da, da, da, da.

Yeah.

Yeah, yeah, yeah, yeah.

Yes, yes.

Yeah.

And then as we emerge from the registry office, then we'll--

yeah.

And the plane will come over with the banner.

William. William.

WILLIAM: Hmm?

Oh, hello.

[inaudible] This is the band.

[soft music]

JODIE: Here we go, Bobby.

Good boy.

And she called you?

VICAR: Yeah.

And, as I say, asked if she could meet these men.

I suggested tomorrow lunchtime, although, of course,

I don't know if that's possible.

I'll call them.

Well done, William.

Uh, well we don't know that yet, do we?

[knock on door] - Sorry.

Uh, it's Mary.

She's at the new house.

It's rather urgent apparently.

Ah.

Oh.

Well, I have to get back to evensong.

I'll call you.

OK.

Thanks.

TRACY: Hot chocolate, everyone.

Hot chocolate, yeah, hot chocolate.

Warm for Bobby.

[somber music]

WILLIAM: Hi.

What is it?

Oh, still no bloody kitchen.

Oh, just forget kitchens.

Mm.

It's Sunday.

Follow me.

Did you like, um, Fizzy Jizzy, or whatever his name is?

[mary giggles]

Dizzee Rascal.

Yeah, I think he's great.

Yeah.

Wait till you see what Terence wants, though.

Mum, lights.

Rick.

[light ambient music]

You're joking.

MARY: That's what he wants.

RICK: Uh, no, he wants-- hang on--

that.

No!

No way.

No, he can't have it.

I don't care if he is his father.

That man wheedles his way into our lives

enough as it is without having him

on a bloody wall night and day.

I mean, he's everywhere!

RICK: Oh, yeah, Billy called round.

Exactly! Exactly.

Now, why did that thought occur?

Because who is now getting the band gigs that never,

ever happen? Reuben.

Reuben, Reuben, Reuben. - Well, no.

Actually, he just wanted to let you know that he's got

two new hats for the wedding.

Oh, and we're getting you such a present.

Well, it's from you, not me.

Yeah, great.

But how are we going to tell Terence that he

can't have Reuben on the wall?

I'll tell him!

I'll tell him!

[phone rings]

And if that's him, I want a word with him.

Hello? Brendan.

Brendan, yeah.

WILLIAM: That man is the bane of my life.

He's up there with the kitchen man.

Oh, I've had it with today.

For God's sake.

I just told a woman that her dead husband wore dresses.

I bet bloody Reuben sold them to him.

William.

William, it-- it's a wind-up.

What is?

MARY: It's a joke.

It's-- it's just a joke.

It's Terence's idea of a joke.

I'll give him a joke.

[somber music]

[engine turns over]

Mm.

William, what are you going to do?

Uh, I don't know.

Bucket of cold water seems pretty funny right now.

SOLOMON LINDA: [SINGING] Weeoh wee-um-mum-away.

A-weema-weh, a-weema-weh, a-weema-weh, a-weema-weh,

a-weema-weh, a-weema-weh, a-weema-weh, a-weema-weh

a-weema-weh, a-weema-weh, a-weema-weh,

a-weema-weh, a-weema-weh, a-weema-weh, a-weema-weh,

a-weema-weh.

ALL: [SINGING] In the jungle, the mighty jungle,

the lion sleeps tonight!

[laughter]

Nice music, Terence, eh?

Tight fit, yeah?

It's really cool.

[somber music]

Hello, lady of leisure.

[mary groans]

What are you doing?

Moving on Thursday.

Getting married next week.

That takes a little organization.

Kitchen?

Oh, yeah.

I'll get onto it this morning.

You're at the birth center this morning.

Yeah, well, I'll do it after.

I'll take Doris with me, give them the heavy treatment.

[william laughs]

Why don't you come to the birthing center?

Maybe you should, just to see it.

I've got Mrs. Driscoll and the cross-dressers this morning.

[mary laughs]

That's not a bad name for a band, is it?

You want to swap?

Mm.

Mm, no.

I'll see you at the new house later.

MARY: OK.

[william hums]

Ugh, William, will you stop singing that?

You keep singing it. - Sorry.

I heard it on the radio.

I hate it.

[phone ringing]

I've had an idea about our honeymoon.

I'm doing the honeymoon.

And where are we going?

I have no idea.

Well, how about this, then?

Obviously, you can't fly.

We take the Eurostar to Paris and the [inaudible],, hmm?

[FRENCH ACCENT] You like?

It's a good idea, hm?

I'm doing the honeymoon.

TERENCE: William.

Um, there's an aerodrome or something on the phone for you.

Don't be ridiculous-- the aerodrome.

Must be a wrong number.

TERENCE: No, it's Mr. Benson.

He said he missed you yesterday.

What would I have to do with an aerodrome?

Come on. Get out of here.

William.

I want a simple wedding.

WILLIAM: [SINGING] In the jungle--

Yeah?

A simple one.

No fancy stuff. I mean it.

WILLIAM: [SINGING] --the lion sleeps tonight.

WOMAN [ON RADIO]: So it's just touching 7 o'clock,

and it's your traffic news update.

[knocking] - Turn it off.

WOMAN [ON RADIO]: --the M25 is looking--

[radio turns off]

Yes, sir.

Three bodies.

I repeat, three bodies.

[somber music]

Yeah.

What are you gonna look like, walking

down the aisle in that state?

Aisle?

I hate registry offices.

WOMAN [ON INTERCOM]: Hello.

Birth center.

Am I sure I want to do this?

You don't have to.

[door opens]

VICAR: George.

Audrey.

GEORGE: William.

George.

George. Sorry.

Sorry, sorry.

Audrey, this is, um, George Emerson,

Frank and Vera Stanford, and Donald and Pauline Templeton.

Mrs. Driscoll, Pauline and I asked to come along because we,

too, were once unknowing.

GEORGE: And I am here alone because my wife still doesn't

know, I'm ashamed to say.

DORIS: A well-kept secret this, isn't it?

Yeah.

And in five years, they've lost exactly, what, zero midwives?

That's right.

You and I are gonna get this for our hospital

when I come back.

And is there any problem, me coming

in and doing the delivery?

Nope. [phone rings]

Oh.

Real world calls.

Hello?

Yeah.

So a water birth?

Yeah, I'm hoping.

I mean, I was on my back for the last two, but,

God, that was 13 years ago.

NURSE: Oh, in the dark ages.

MARY: Yeah, dark, but very bright lights.

[both laugh]

What?

[somber music]

No.

Doris, what?

Doris?

Oh, Mary.

What?

Tracy Mellor.

Tracy and her children.

Mrs. Driscoll, forgive me if this offends you,

but I always felt an affinity with your husband.

We shared views on many things, not least

the fear of telling our wives.

[phone rings]

Apologies.

Sorry, sorry.

Would it perhaps help if I talked

about why I need The Lit, why I have this need to--

Is it sexual?

If I speak for myself, no.

And yet Mr. Shawcross says you meet in a room

above a known h*m* haunt.

FRANK: Oh, yes.

So?

Yes, but for the simple reason, Mrs. Driscoll,

that the g*y community don't judge us.

And quite frankly, it would be hard to imagine

hiring somewhere else without attracting--

Are you h*m*?

Predominantly, no.

Some, yes.

Was my husband a h*m*?

GEORGE: No, no.

This is the great misunderstanding.

People see us as perverse at the worst

and inadequate at the best.

And I do feel inadequate.

I am not able to be as brave as these two and tell my wife.

Did you have any idea, Mrs. Driscoll?

I didn't with--

None.

GEORGE: All I can say is this.

If I couldn't occasionally have my--

I don't even say dress, you see.

I call them my other clothes.

But without them, I don't think I could

be the loving husband and father I hope

I am to my wife and children.

Will you excuse me a moment?

'Course.

[somber music]

MARY: Oh my god.

Oh, god.

Oh, god.

Oh, god.

Thanks, Arnold.

Thanks.

Bye.

[beep]

Should we get the doctor?

No.

I want-- I want William.

I-- I want William.

I need to speak to-- to William.

I'm trying to reach him.

I'll go to the house.

I said I'd see him at the house.

NURSE: Mary, maybe you should--

No, no.

I-- I want William.

[heavy music]

Thank you, and thank you for meeting me.

With regard to the funeral, I would greatly appreciate it

if you would all please come on the understanding

that you wear what your wish.

Thank you.

[somber music]

A mother and her two children have been found dead, William.

A Tracy Mellor.

Right.

RICK: Mary!

Mary!

It's here then!

Oi, the kitchen.

Well, they've not put it in yet, but at least it's here.

Yeah, they're gonna have it in by Friday.

[gentle music]

William!

Mary.

Oh, my Mary.

[mary sobs]

The children.

The children, the poor children.

Oh, god.

I told her--

I told her I wouldn't be looking after her.

Mary.

Mary, this is not your fault. No.

She sent me a letter.

She-- she said that I was her only friend and that--

and that she felt safe--

she felt safe with me.

She read this?

Sweet Lord.

Arnold.

I'm worried for Mary.

ARNOLD: She has William.

She's got William.

Damn the woman.

Damn her.

Damn her to damnation.

That's not her own work either.

[heavy music]

WOMAN: [SINGING] Have ye seen ought of my bonny lad?

And are ye sure he's well-o?

He's gone o'er the land with his stick in his hand.

He's gone to row the keel-o.

Yes, I've seen your bonny lad.

'Twas on the sea I spied him.

His grave is green, but not wi' grass.

And thou to never lie aside him.

Yeah.

Thank you.

She meant it.

Massive barbiturate overdoses to all of them.

[door closes]

What should we have done?

What should you have done, Mary?

What should I have done?

And all of us?

Taken her in?

Looked after her and the children?

Oh, the-- the children.

Jodie and the baby and--

and the unborn baby.

And I knew she was in trouble.

Well, so did I. And so did we all.

WILLIAM: Anyone who ever knew her would have known it.

But this community of ours, it can't cope with it.

It turns its back.

And we're with them.

We were looking the other way.

And the children should have been taken away from her.

But would you have set that in motion, Mary?

Would you, really?

I wish I had now.

WILLIAM: I only know one thing.

Without our families, we are nothing.

And friends?

Friends are a bonus.

But families-- families.

She had none.

Her family hates her because she was with a--

a black man, and his because he was with a white woman and--

Someone who takes their own life

has lost contact with the ones that mean the most.

And they can seemingly be in the bosom of the family.

But if they're not connecting--

and this is what I want to say because we

all have the seeds of this in us, a self-obsessive "I,"

that "me"--

when that "I" and illness and disconnection reach extremes,

then that selfishness can take two children

and an unborn child, and nobody can stop it,

and we're all to blame.

ARNOLD: And, Mary, that letter of Tracy's--

it's not her own.

Those are not her own thoughts.

Give me hers.

And you read this.

There.

That was written in 1732.

And she's changed a few words, but--

"I know that the taking of my children's lives

will be condemned.

But even if there's nothing to come,

I would rather take them with me than leave

them friendless in the world."

I need to go to church.

[gentle music]

William?

WILLIAM: Hmm?

I can't get married next week.

No.

But it's all arranged.

We'll un-arrange it, rearrange it.

MARY: But we've got to move.

WILLIAM: No, we don't.

The only thing we have to do is face this square on,

give it its time.

Everything else can wait for as long as it takes.

I like this place.

WILLIAM: Yeah.

Our children'll be all right, won't they?

I mean, this one's got the advantage.

But our Brendan and Terence and Kate and Julia--

they'll be all right, won't they?

Yeah.

But we've got work to do.

Yeah.

Oh.

Was that an elbow?

It was a kick.

You talk about the other kids too much.

[william chuckles]

[light music]