- You know, I know you
said it was remote,
but I didn't realize you
meant "no reception" remote.
- Wow.
I got it.
- Thank you.
- This is it.
This place is
perfect. Oh my God.
I've seen, I've seen this
place in so many photographs.
It's, I mean, what are
we doing here?
Thomas Alexander is everywhere.
- It's nice.
- He owns this place.
The affairs, the artistry, the,
this tree.
We're going to take the
perfect photograph here. Wow.
- Well?
It's just the two of us now.
- Oh, wow.
- Ooh.
- Oh, this is, I think
this is a Japanese tree.
- Oh, is this, is
this what you pictured
when you were
booking this place?
- Yeah. Yeah, I mean, yeah.
It's, you know, it's exactly,
it's exactly the vibe we're
looking for, you know?
Nobody will expect you in this-
- Okay.
- genre. It's...
- You think we can do
a good job on this one?
- Yeah.
- Yeah?
- Yeah.
What you need to do is trust
me and stop stressing so much.
- I am s-
- You need
to accept this process.
- No, I'm stressed because I
don't know what the plan is.
Peter, I need you to
tell me what the plan is,
because I am nervous.
- I am the plan.
- For my album cover.
You're the plan?
- Stop stressing
about this, please.
Oh my God.
- This is...
- What? What is it?
Tell me.
- This is, this is basically
where Thomas
Alexander took this...
- Bit rainier?
- This is, this is where he,
this is, this is
"Abbey Road" for me.
This is, this wall.
This is gonna be-
- Be the perfect album cover?
- Yeah.
- Okay.
- Yes!
- You're so cute
when you're excited.
- It's the perfect place.
This is gonna be perfect.
Come!
- It's just gonna be us
and Dolly here, right?
- Yeah.
You love to be soggy.
- Then I'm gonna
have to k*ll you.
- Oh!
- He needs
mouth-to-mouth!
- Hey.
- Mm-hmm?
- I love you. I do.
- So how would you sh**t me?
- Well.
There's this famous picture
that Thomas Alexander took
with this redheaded
woman floating...
- So do I inspire you?
Or does Thomas Alexander?
- You do inspire me.
- I might as well not be here.
- You do inspire me.
- Are you sure you, you,
you packed those clothes?
- Yes, I packed my
own clothes, Peter.
- No, but are you,
are you sure you packed
those outfits you're
talking about?
- Yes. Well, the, the ones
we chose for the sh**t.
- It happens
all the time...
Oh, for the shoots?
You don't have them?
- I know. I know I
packed them this morning.
- Because basically
back in the days,
kings and queens used to
come here and just, just like
have orgies-
- Orgies and stuff like that.
- and stuff like that.
- Yeah.
- And so they, they would
write their names on windows.
- On the windows?
- Yeah.
- I really think
that someone is,
someone is watching us
or following us-
- Nobody's watching us.
- It's like that.
It's happened before. So why
couldn't that happen again?
Okay, I packed my
bags this morning
and there is, there is
someone watching us.
- There's
no one watching you.
I'm here to manage you.
Not mother you, Patricia.
- Okay. So there
are people here.
Dolly, what the hell?
I thought we had
this for the weekend.
- You know who that was?
That was Thomas Alexander.
- Mm-hmm.
- The greatest photographer
of all time.
- Of all time.
- Who's her?
- Hey, hey,
hey, hey. No, no, no.
- You must take you with me.
Don't leave me alone.
- We have some friends,
We have some friends
to go and see, love.
- We have to be alone.
- Can you leave it?
- Who's her?
- Don't worry about her.
- No, no, no, no, no.
Don't take, don't
take, don't take.
- You stay.
You stay there.
- I'm gonna bite you.
- f*cking.
- I'm gonna bite you
if you don't take me.
- You f-
- Hey?
Hey.
- Don't, don't, don't, don't.
- I'm sorry for, uh,
sorry for earlier.
I didn't mean to, um, stare.
I'm a photographer. I...
Um, I'm sorry.
I love your work.
- Peter and Patricia.
- Patricia.
- Hi.
- I'm Thomas.
You hair is f*cking beautiful.
- Thank you.
Okay, I, um, I don't know
what's happening here,
but, um, I'm really
sorry that we're here.
Clearly there was some
sort of misunderstanding.
Dolly had said that the house
was ours for the weekend.
And then clearly we've
just come into your space
and very much
invaded your privacy.
So, I'm sorry. We should go.
- Why would you leave?
Plenty of bedrooms.
There's room.
- Oh...
- Hey guys. This is Jemima.
- Hi.
- Hey, Jemima.
- Nice to meet you.
- I'm Patricia.
- Hi.
- Hi.
- Oh, you play.
- Do I play?
- Yeah. You like playing?
- I, yeah. I play sometimes.
- Yeah?
- Hmm.
- Which play?
Which kind of play?
- I, uh...
- You want?
- Yeah. Yeah.
- Whoa.
- I, I...
- You don't wanna play?
- You should play.
- That was lovely.
- Hmm?
- You should play.
- No, keep playing.
Five of us
in a house with three bedrooms.
I think we've got space.
Honestly, Jemima came all
the way from Paris, guys.
- Yeah.
- I think
we felt a little bit threatened.
I apologize for coming
down aggressively.
We'll get outta
your hair tomorrow
and you guys can
sh**t your album.
- Thank you.
- Yeah?
- Yes. Yeah.
- Thank you.
They're gonna stay.
- I mean, they're gonna stay.
- Thank you, Dolly.
- Mm.
Quite the show.
- You think?
I haven't done anything like
this since back in our day.
- I can't kind of believe it.
Shall I f*ck with you?
Would you like that?
- Yeah.
- Like it's 2004.
- I'm the one in control here.
- Okay.
It's okay.
I got you.
- Thank you.
Thank you, Dolly.
- You're welcome, Thomas.
- Can you play music?
- Yeah. I'm, I mean, yeah.
I'm, I'm a singer
and I write music.
- Yeah?
- Singer/song writer,
I guess. Yeah.
- That's amazing.
- It's what do. Yeah.
- Yeah.
Well, I would love
to have a band,
like be there and let you fly.
I think he is one of-
- I mean, I-
- the most amazing things.
- Yeah. I mean,
that's the best part.
You know, I would love to...
Yeah, I guess I would just love
to play to bigger audiences
and move more people.
I mean, that's really why...
- Yeah.
- Amazing. It is beautiful.
- Thank you.
- Yeah. You're amazing.
- Stop.
- Really.
- Um, what, what do
you, what do you do?
- I know what I want to do,
but I, I feel like
I'm being pulled
in so many different
directions and it just, um, so.
- I think art is super
complicated thing
and it's something that
you never know what's
right, you know?
Like, like-
- Yeah.
- you have to be, like,
exploring all the time.
And it's like maybe
in your business,
like people want to,
to know the truth,
but the truth is fake, you know?
It is not any true.
And you have to
be like exploring
and discovering it by yourself
and doing-
- Thank you.
- what you feel.
f*ck the people, you know?
But you are with Peter,
you are a couple?
- Yeah. Yeah, yeah.
- Okay. Okay.
- I do believe that he
knows what he's doing,
but I really had to fight
for him to get
this job, you know?
And he's just so
obsessed with Thomas.
I mean,
he's so talented
and he really knows
what he, he could do,
but he just, he's just
completely consumed
with the idea of being
like Thomas and I...
I don't know.
- Hey.
- Hi.
- You ready to call it a day?
- Yeah, mine was pretty...
- Have you been crying, baby?
- No.
- Are you okay?
- I don't know how
to feel around them.
- What do you mean?
- Jemima's so-
- So what?
- Sexy, and-
- And you're not?
- And Thomas has like
this creative energy
that you're obsessed with
and I don't really know
what I'm doing with my...
- You don't have to
worry. I have good ideas.
- Yeah?
- Really good ideas.
I, I found my inspiration.
- Yeah.
What's your inspiration?
- You.
- That's a good answer.
- You're amazing.
- I haven't been a- ama- amazing
for quite some
time, so thank you.
Do you know,
do you know my picture,
"Strangers on the Bridge"?
After that picture came
out, everything changed.
And for the longest
time after it,
everything was amazing.
But it doesn't last,
whatever, you know?
It does end.
She ended.
- Shh, shh, shh, shh.
- But you've gotta fight
against that, you know?
You've gotta fight
against those thoughts.
I think if you let people in,
might be a chance,
a second chance.
I want to take a picture
that nobody can ever take away.
And when I take
it, this weekend,
I want you there.
- I wanna be there.
- The house, you like?
- Yeah.
- Yeah?
- I do. Yeah.
- In which part do
you want to take the photo?
- Yeah, I mean, I,
I had some ideas,
but I'm gonna leave
that to Peter.
He's gonna feel it.
- Listen, for every
a hundred thousand fans,
there's probably one stalker,
one that's a little
bit of a wrong'un.
- Do you know what's really
frustrating about this, Dolly?
Is that I chose you
because you were a woman
in a position of power
and you were great.
- And I accepted.
- Yes.
And you know, we got on
really well and everything
and you're great at your job,
but you make me feel
like the crazy woman
that people complain about.
- You work like to help her?
- Yes. Like an agent.
- Because you had a-
- SK&R.
- I'm gonna say it, okay?
You are kind of pressing her.
- Yeah.
- I'm
pressing her, am I?
- I don't know if
even that's the word
but, you know?
- Sometimes to succeed,
Jemima, you need
a bit of pressure.
- Yeah. You think?
- Yes!
- Yeah.
You think that if you want
to someone be like in their
best, you have to press?
- I don't know actually
now why you took me on,
because my first
album was solid.
I was really proud of it.
It was so artistic.
And now you're pushing
this flimsy bullshit.
- Okay. Alright.
We're doing finger
pointing now, are we?
It's my, it's my fault?
- I just want you to support me.
- I do nothing but support you.
What are we doing here?
- Mm.
- I'm gonna go get ready.
- Do you like to be
with Thomas here?
- Look, Peter wanted to
take Patricia's photo here.
He was very intent
on it being here.
He had the visions
for his photo,
so he came and I did not know
that Thomas was gonna be here.
I really didn't.
- How long?
- How long...?
- Yeah, like since when?
- Oh. I see.
You know, oh, you
know, 20, 20 odd years.
- Wow.
- Yeah.
You know, we were
both on the scene
in the, in the noughties-
- Uh-huh.
- Just sort
of partying and stuff.
We're just party, party friends.
- Yeah.
And you did a lot of
crazy things too, eh.
- We did. Yeah.
We, we had a nice time. Yeah.
- And how do
you feel here with him?
- I feel fine. I feel fine.
Thanks, Jemima.
- Yeah?
- No, no.
We're not really in,
in touch anymore.
I'm more concerned
with, uh, Patricia
and harnessing her talent.
- Do you like art?
- Do I like art? Of course.
It's my job.
- You have like
amazing eyes, but,
I don't know, it's, it's
like sadness on them.
It's like I feel
sadness in your eyes.
- Peter.
Peter, get up.
I really wanna just
get started today
so that we can get
the hell out of here.
Okay?
- So this is interesting
in terms of, uh.
No. That doesn't work.
Let's change
- What's wrong with this one
if you've got it already?
- There's nothing wrong with it.
It's just not good.
- I'm trying.
'Cause this is a
white background,
this is a white background.
I love that-
- Yeah, but that background-
- we came here to end up
with a white background.
T- tell me exactly what it
is that you need from me.
What is wrong with this picture?
- Okay, so let's, let's,
let's try it, okay?
- Okay. Yeah.
- You're with me?
- Yeah.
- I'm with you.
- I'm with you.
- Okay, now look at me as if
you're about to proposed to me.
- What do you mean by that?
- Are you proposing?
- Maybe.
I'm not asking, but if I did,
what would you say?
- Maybe.
- But I do.
- I think there are things you
need to know about me first.
- About what?
- Well, do you think
that you would
wanna have a family?
Like babies?
Oh, wow.
- So, before you go.
He should not put this to you.
Steal it.
- I think maybe it's
not a good idea.
And I think maybe
we don't do it.
- Um.
- Maybe.
I went to bed so sure.
And maybe we don't do it.
- Listen, listen.
Hey. Don't you-
- They're really
just young people,
they're really nice,
they're really normal
and I don't know if-
- And you're gonna
take a great photo.
We're not terminating,
we're doing this.
I'm not having you
walk out again.
We're doing it.
- It's just a picture, isn't it?
- Is it?
Is it?
I think we're gonna do this
and it's gonna be all right.
- All I've done is just
pictures for the last 10 years.
- This is why we're gonna do
this and it's gonna feel good.
We used to really
believe in this stuff.
Remember?
- We used to spend so
much time building this
and working at this
to make ourselves feel
like we were doing something
that meant something.
And I thought I could make
real things out of no things.
Models and f*cking pop stars
and actors and
people in the street
that meant nothing.
And we made them something.
- I know.
- I don't know if I
can still do that.
- You can.
And she's really good.
And it's worth it.
What is this?
- This is more than a picture.
This means something.
Right?
I have to think it is true.
Because if,
because, because if it isn't,
I'm gonna spend
the rest of my life
just looking at that photograph.
- Of her?
- Of my whole world.
And if I think that that
is more than a photograph,
I'm gonna live in it
and never come out.
And I need to get out of it.
I've got children
and I've got family
and I've got,
people if I want 'em.
But I need to get out
of that f*cking photograph.
- I just want to
do something good.
And I need you for that.
Just do this for me, please.
- Okay.
- Please don't jump ship. Again.
- Where have you been?
- Where have I been?
Where have I been?
You know, around.
- Have you been okay?
- What do you think?
- That
you're always okay.
- Okay, great. Then
I'm always okay.
It is fine. It's fine.
It's fine.
Thomas, you broke my heart.
You really broke it.
- I'm the one in control here.
- Okay.
- Do you ever get the feeling
that you're being
watched in this house?
- We're all being watched
all the time, man.
- Did anyone die in here?
- Yeah.
- What happened?
- They let her out of
the hospital so she
could die at home.
Truth is just a pill
sugar coated in a lie.
- f*cking hell.
- Hey there.
- Alright?
- f*ck's sake.
You're such a creep
lurking in my room.
- You want me
lurking in your room.
Don't you want me
lurking in your room?
- Do you want a bump?
- Yeah.
- Mm.
- Eight years of bad s- sex.
Another eight years.
- You've been
having bad sex for eight years?
- Just no sex.
- I don't believe that.
I don't think you're
telling me the truth.
You know,
I wasn't upset that
you lied to me.
- Mm-hmm.
- I was upset that I could
never f*cking trust you again.
- And you were scared.
You were scared that you'd lost
the only person that
believed in you.
- Do you know what you did?
- What did I do?
- You supported me and you,
you kept telling me
I was still an artist
when I wasn't anymore.
- Well, I loved you.
That's what you do
if you love someone,
you support them no matter what.
- It's not very
truthful, isn't it?
- Mm-hmm.
- The truth will set you free.
- Will it?
- Yeah. But not until
it's f*cked you right up.
- How are your nightmares?
- They've started
to be about dying.
I don't know what comes next.
And what if there's nothing?
- Isn't that a relief?
- Maybe.
Kate's in the back, we've
got Naomi in the back,
she's in the middle and
I'm driving up the front
and we still have not got
this picture all day long.
Right? We have not
captured anything.
It's a redundant
piece of imagery.
That's all we have.
And I just yank the
steering wheel to the left
and we slam into
the back of the van.
I get flung to the
right of the golf buggy.
Naomi is in the back.
She somehow managed to fly
over the middle, over her,
and when I look up,
Naomi's sitting in the front
with her knees bleeding.
Kate is on the floor and you
are completely outta sight.
And that's the picture
that you've seen
and that's the picture
that some people loved.
And honestly, I think
we'd spent two days
trying to get that image.
And all we needed to do was
crash a f*cking golf buggy.
For me, that was a
slice of something real
because they were damaged
and they were hurt
and they were shocked.
I don't know why.
I don't know why.
What do you think
makes a good picture?
- Uh, truth.
- Okay.
- Timing,
I would say.
- Mm-hmm.
- Uh, I don't know, it's
I don't know much.
- This much is
true. There we are.
- What do you think
it is about you
that makes you a photographer?
Yeah, like, why?
What is it about you that
makes you want to do it?
Where does the
passion come from?
- I think my, my eye.
Just a perception,
perception on life.
- You think you're special?
- No.
- You think you see things
that other people don't see.
- I think everybody is
special in, in that way.
- No, they're not.
- Thanks, Dolly.
- Listen, I'm
sorry for yesterday.
- No.
- No.
- No. It's all good.
- I, I know, I know, I
know, I know, I know.
You, you made me want
to be a photographer
and then everything about
you is a, is a wonder.
I just, I didn't
mean to intrude or...
- It's okay.
I have been, gonna take
some responsibility here,
I have been an
absolute todger to you
and it is not something
that I wish to be anymore.
So thank you for
saying that, Peter.
I really, really appreciate
it and I appreciate you
and I think you being
here is important
and I think all of us
being here is important.
It's gonna be important.
You okay?
- I'm sorry. Sorry.
I'm so sorry. It's all a ruse.
- Whoa.
- See, I knew
that your beloved Thomas
was gonna be here.
- Whoa. Whoa!
- I was going to show up.
It's all been-
- Dolly.
- it's all a game.
- Did you steal
all my clothes too?
- I did.
- I thought I could
trust you, but...
- Dolly.
- Yes, Dearest.
I think you should
share with the group.
- Thank you very much for
talking me off a ledge
and then putting me back on it.
My name's Thomas and I'm
afraid of taking a photograph.
- Hi, Thomas.
- Hi, Dolly, you f*cking d*ck.
I've watched you
for a long time.
I've listened to
you for a long time
and you've touched
me for the first time
in a very long time.
You need something this weekend,
I need something this weekend.
Please, let me
take your picture.
Let me take your picture
because otherwise
it's just f*cking pop.
And I know you don't want that.
I'm gonna take your picture.
- Oh my God.
- Look at me, in a minute,
I am going to take
your f*cking picture.
- Let him.
I know you want him to
take your photograph.
Not our lovely friend here.
- Our lovely friend?
- Mm-hmm.
- Don't be a b*tch.
- Am I being a b*tch
or am I being honest?
- Oh.
- You're a f*cking liar.
- So where was your
offering, Peter?
Where was your offering?
- I'm sorry, Dolly.
Does this make you
feel important, yeah?
Does it make you feel fulfilled?
I am not here to facilitate
whatever the f*ck is going
on between you and Thomas.
- You know what's
wrong with you two?
With your little circus
and your little backstory
and we kiss, we
f*ck, we disappear,
we come back, we
play with people.
You think you, you think you
can toy with people like that?
Because your miserable-
- Oh, I like it.
- existence feels so empty
that you have to
play with people.
- Why are you so obsessed
with him? It's weird.
- I'm obsessed with him-
- Why?
- because I've been
admiring him for years.
And I was probably wrong.
You know what? f*ck you two.
- No, no, no, no. Come on.
- No, no, no, no, no. I'm-
- You're right.
You are right. You are right.
- Don't patronize me, man.
- No, I'm not.
Actually, I think you've said
the first honest thing
I've heard you say.
- Who do you think you are?
- Let me take your picture.
- Hey, look at me.
- Let me take your picture.
- Thomas.
- I'm sorry, but-
- What?
- what fricking high
horse are you on?
Why do you think I
need your help, Thomas?
I don't need you here.
I don't need you here, Thomas.
- I don't care.
- I don't need you here, Dolly.
I'm sorry, tell me what you
have done that I need from you.
- Will you let me-
- We're not,
we're not children, okay?
- I understand that.
- Yeah-
- I understand that.
- And you just,
got your little puppets
that you're just making,
it's, it's just a load of...
- They say never
meet your heroes.
That's what they say.
- Hey, hey, can I lay it out?
- Cheers, Jemima.
- How do I get out
of this fricking...?
- You all right, Jemima?
- You are crazy.
- Shh, shh, shh, shh, shh, shh.
- You used to have
a little gold straw.
- Yes. Yes.
- And now it's hepatitis cash-
- Listen.
- that we're gonna get-
- it's more risky,
it's more fun.
f*cking...
You alright?
That's very young person though.
Why are you saying bougie?
- Hey
listen, I'm f*cking-
- You're f*cking young girls.
'Cause you're
f*cking young girls.
- How does that make you feel?
- Makes me feel-
- Amazing. Right?
- Really great.
Ugh. It's hot.
- Should we play a game?
- Yes.
- Because of all
the issues I've got,
I don't actually
have mommy issues.
So f*cking, don't
my mom into it.
- I think everyone
has mommy issues.
- Do you?
- Yeah.
You used to say mommy
when you came sometimes.
- No, I didn't.
- Yeah, you did.
- No, I didn't.
- One time.
- No, I didn't.
- Lets, oh?
- I said, "mammy,"
not mommy, but mammy.
- Because that's
great. That was hot?
- Every single thing I
did you f*cking loved.
- That's, you're
such a f*cking d*ck.
I hate you.
- Say that again.
- I hate you.
- Say it.
- I hate you.
- I don't believe you.
- I hate you.
- I don't believe you.
- I hate you.
Tonight.
Jemima?
Can I?
Can I?
Come. Come here.
- Alejandro. Alejandro.
I'm Thomas f*cking Ale-
- I will see you
around, man. Okay?
We'll see you later.
- But I need you
to stop being such
an as*h*le to Peter.
Okay? He's a good guy.
- Okay.
- He's a good guy
and he's done nothing to
deserve your behavior.
- We'll
talk about that.
- Oh,
please enlighten me.
- Bad art should
be punishable by jail time.
He should be doing
a lifetime stretch.
I think it might be a crime
to hold a camera when
you're that untalented.
- Jesus. You and you Jemima.
I don't wanna fight, okay?
I, we have been doing
enough of that this weekend.
I know people probably
put you on a pedestal.
I know what that feels like
and I know what it feels
like to not live up to that.
And I get that that's
frustrating and
can make you angry.
But, f*ck, you cast a lot
of aspersions on this one.
He is so nervous
and he has tried to learn
from you this weekend
and glean something from you
and you just, putting him
down, humiliating him.
It's too easy for you.
It's small.
- You are so like her.
- Like who?
- My person.
- Yeah, Thomas, I,
I am not,
I'm not your person.
And-
- Yeah.
- I'm sorry that you
experienced such a huge loss.
I am. I really am.
But I,
I think you just
projected things onto me.
I'm a pop star who
dies her hair red.
- I know.
I mean, hearing
it back from you,
it does actually sound really,
um, crazy.
I think I thought that
you could be with me
if I'm being really honest,
because she was
everything to me.
- I'm not your person.
Yeah. It's not me.
- Okay. Okay.
I think I see that.
- Mm.
- You are not my person.
I'm really sorry.
I've acted very
strangely. I know that.
And it must be quite frightening
and I'm not gonna f*ck
with you guys anymore.
But I am really glad
you're still here.
- You don't need to
do this. Not now.
You know. Not now.
You know? Don't do it.
- f*ck.
- Okay. Wow!
- Ladies, please.
Oh yes. Yes.
- There we go.
- Give us it all, darling.
- There you go.
- Does it pass muster?
Does it satisfy you?
You don't have a drink.
- Champagne.
- Coming right up.
- This house has chaotic energy.
- This, madam, is for you.
- Thank you.
How, how long have
you been here?
- Here for five years.
- What brought you to it?
- I bought it with a woman.
We were going to transform
it and renovate it
and that didn't happen.
And the renovation
didn't happen.
- Get the
sad violin out guys.
- Can you hear it?
Can you?
It's the tiniest violin.
He doesn't
think so. You f*ck.
Jesus Christ.
- So what are we
getting up to tonight?
- You tell me. You guys
showed up unannounced.
I'm assuming Dolly
called you guys, right?
- We just came.
- We just came.
We were just walking
through the forest casually
and we just called.
Little helpers, little
elves from the forest
come to help you.
- Your hiking gear
is really chic.
- Mm. Mm.
So what have we been
doing last nights?
- We've been working
on something.
Well, we've be making something.
- Can we help?
- You three.
You happy three.
You three.
You band of f*ck.
- I told you guys.
- You know. You know.
You f*cking know.
- We're gonna help you.
Oh wow. Look, the
princess is here.
- Ah.
- Woo!
- This is our queen.
Queen for the night.
- Looking good.
- Cheers.
- Looking beautiful.
- Cheers.
- Cheers.
- Cheers and beers.
- Cheers.
- Um, I don't like to,
I don't often get, uh,
I'm a great admirer.
- Of?
- Your work.
- Okay.
- No.
- Thank you.
- No.
- Thank you so much.
It's nice to meet you.
- You got
a fan, Patricia.
- Sorry. How do you know Thomas?
- Hmm.
- All of you?
- Oh, we just...
- We just came.
- Who invited you?
- By the way, I
have one request.
At some point,
whenever you feel it,
I'd really love to hear you.
- Uh, well,
I would like to wait
for Peter to get here.
- Yes.
- Is
she gonna perform?
- Why do you need Peter?
- Oh,
you've gotta perform.
- Because?
- It's your voice.
- Please.
- Please.
- Okay, I'm gonna just-
- Come on.
We wanna hear you sing.
- Where were you?
- I was, uh, outside.
- With Jemima?
- Listen, I, I,
I heard you guys,
I was looking for you and I,
I heard what you said.
And, and it's okay.
I know I'm not the greatest,
most talented photographer
you've ever seen, but,
I see you.
- Yeah?
- Yeah.
And I love you.
- That's all I care about.
I don't, I don't care
about any of the
rest of the stuff.
That's all I care about.
I love you too.
I'm actually gonna
play an old song
and, um, it makes
more sense to me now
than when I wrote it, so.
- Wow.
- Whoo!
- Wow.
- Encore.
- That was amazing.
- That was amazing.
- Come here,
come here, come.
- Nice to meet you.
- Nice to meet you.
I'm Patricia and I'm a pop
star who dyes her head red.
- I'm Thomas Alexander.
Nearly won the Toner Prize once
and I'm trapped inside a picture
of a woman with red
hair who's dead.
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