1 00:00:00,000 --> 00:00:01,500 [MUSIC] 2 00:00:30,000 --> 00:00:31,500 [BLANK_AUDIO] 3 00:01:00,000 --> 00:01:01,500 [BLANK_AUDIO] 4 00:01:10,370 --> 00:01:15,439 Then from between the tall tree trunks in the park we 5 00:01:15,469 --> 00:01:17,680 see him in the distance outside the gates. 6 00:01:17,680 --> 00:01:19,180 [BLANK_AUDIO] 7 00:01:22,480 --> 00:01:24,319 He turns and gazes at the trees. 8 00:01:24,319 --> 00:01:25,819 [BLANK_AUDIO] 9 00:01:32,129 --> 00:01:34,879 The park is bathed in beautiful soft light. 10 00:01:34,879 --> 00:01:36,379 [BLANK_AUDIO] 11 00:01:54,319 --> 00:01:59,750 From the top of the heath above the grass framed by 12 00:01:59,750 --> 00:02:03,599 the trees the London skyline unfolds along the Thames. 13 00:02:03,599 --> 00:02:05,099 [BLANK_AUDIO] 14 00:02:13,599 --> 00:02:23,979 There is nothing but greenness all around. 15 00:02:24,240 --> 00:02:25,740 [BLANK_AUDIO] 16 00:02:34,240 --> 00:02:41,120 He moves towards the gates. 17 00:02:41,370 --> 00:02:42,870 [BLANK_AUDIO] 18 00:02:45,770 --> 00:02:50,000 A single bird sings its song echoing in the quiet park. 19 00:02:50,000 --> 00:02:51,500 [BLANK_AUDIO] 20 00:03:00,000 --> 00:03:09,990 In the midst of this greenness a white patch 21 00:03:09,990 --> 00:03:13,599 stands out in the background, 22 00:03:13,599 --> 00:03:16,319 a row of houses set amongst the trees. 23 00:03:16,319 --> 00:03:17,819 [BLANK_AUDIO] 24 00:03:18,370 --> 00:03:21,229 We can see the houses across the trees and beyond their 25 00:03:21,229 --> 00:03:22,240 back gardens. 26 00:03:22,240 --> 00:03:23,740 [BLANK_AUDIO] 27 00:03:24,969 --> 00:03:28,080 There was a railway here, now it's just a wide path. 28 00:03:28,080 --> 00:03:29,580 [BLANK_AUDIO] 29 00:03:41,300 --> 00:03:44,680 Close up of Thomas squinting through the viewfinder 30 00:03:45,110 --> 00:03:46,319 adjusting the lens. 31 00:03:46,319 --> 00:03:47,819 [BLANK_AUDIO] 32 00:03:48,430 --> 00:03:51,569 Stop it stop it give me those pictures you can't 33 00:03:51,580 --> 00:03:53,659 photograph people like that. 34 00:04:16,319 --> 00:04:17,819 [BLANK_AUDIO] 35 00:04:46,319 --> 00:04:50,839 The only item with which I am concerned was the rather 36 00:04:50,839 --> 00:04:55,470 large black framed mezzo tint. 37 00:04:55,519 --> 00:04:59,990 It was a rather indifferent mezzo tint and an indifferent 38 00:05:00,000 --> 00:05:01,279 mezzo tint is perhaps 39 00:05:01,279 --> 00:05:03,269 the worst form of engraving known. 40 00:05:03,370 --> 00:05:07,069 It presented a full face view of a not very large 41 00:05:07,069 --> 00:05:08,240 manor house 42 00:05:08,259 --> 00:05:11,930 with three rows of plain sashed windows with rusticated 43 00:05:11,990 --> 00:05:13,600 masonry about them. 44 00:05:13,620 --> 00:05:17,199 A parapet with balls or vases at the angles and a 45 00:05:17,199 --> 00:05:19,040 small portico in the centre. 46 00:05:19,040 --> 00:05:23,600 On either side were trees and in front a considerable 47 00:05:23,639 --> 00:05:25,040 expanse of lawn. 48 00:05:25,040 --> 00:05:26,540 [BLANK_AUDIO] 49 00:05:30,560 --> 00:05:33,259 The moonlight seems rather good to me and I should 50 00:05:33,290 --> 00:05:34,740 have thought there were figures 51 00:05:35,189 --> 00:05:38,319 or at least a figure just on the edge in front. 52 00:05:38,319 --> 00:05:39,819 [BLANK_AUDIO] 53 00:05:40,610 --> 00:05:44,319 And indeed there was hardly more than a black blot on 54 00:05:44,319 --> 00:05:46,399 the extreme edge of the engraving. 55 00:05:46,399 --> 00:05:50,639 The head of a man or woman a good deal muffled up. 56 00:05:50,750 --> 00:05:53,980 The back turned to the spectator and looking towards 57 00:05:53,980 --> 00:05:54,639 the house. 58 00:05:54,639 --> 00:05:56,139 [BLANK_AUDIO] 59 00:05:57,730 --> 00:05:59,430 It was by this time rather late. 60 00:06:00,029 --> 00:06:01,529 [BLANK_AUDIO] 61 00:06:01,779 --> 00:06:04,949 The picture lay face upwards on the table where the last 62 00:06:05,040 --> 00:06:06,800 man who looked at it had put it 63 00:06:06,870 --> 00:06:07,920 and it caught his eye. 64 00:06:07,920 --> 00:06:09,360 [BLANK_AUDIO] 65 00:06:09,490 --> 00:06:13,000 It was indubitable, rankly impossible no doubt but 66 00:06:13,000 --> 00:06:14,319 absolutely certain. 67 00:06:14,319 --> 00:06:15,009 [BLANK_AUDIO] 68 00:06:15,129 --> 00:06:18,029 In the middle of the lawn in front of the unknown 69 00:06:18,029 --> 00:06:19,920 house there was a figure where no 70 00:06:19,920 --> 00:06:22,560 figure had been at five o'clock that afternoon. 71 00:06:22,560 --> 00:06:23,600 [BLANK_AUDIO] 72 00:06:23,850 --> 00:06:27,420 It was crawling on all fours towards the house and it was 73 00:06:27,480 --> 00:06:29,879 muffled in a strange black garment 74 00:06:30,209 --> 00:06:31,579 with a white cross on the back. 75 00:06:31,829 --> 00:06:33,329 [BLANK_AUDIO] 76 00:06:34,480 --> 00:06:37,629 I do not know what is the ideal course to pursue in a 77 00:06:37,629 --> 00:06:39,439 situation of this kind. 78 00:06:39,439 --> 00:06:40,939 [BLANK_AUDIO] 79 00:06:43,740 --> 00:06:47,180 Sleep visited him rather late but it was consoling to 80 00:06:47,220 --> 00:06:48,800 reflect that the behaviour of 81 00:06:48,800 --> 00:06:51,810 the picture did not depend upon his own unsupported 82 00:06:51,810 --> 00:06:52,720 testimony. 83 00:06:52,720 --> 00:06:55,839 Otherwise he might have been tempted to think that 84 00:06:55,839 --> 00:06:57,389 something gravely wrong 85 00:06:57,519 --> 00:07:00,639 was happening either to his eyes or his mind. 86 00:07:00,639 --> 00:07:02,139 [BLANK_AUDIO] 87 00:07:02,420 --> 00:07:05,279 The figure when he had seen it was clear of the edge of 88 00:07:05,279 --> 00:07:06,720 the picture but had not 89 00:07:06,720 --> 00:07:08,470 gone far across the lawn. 90 00:07:08,639 --> 00:07:11,730 He remembered a white mark on the back of the drapery 91 00:07:11,730 --> 00:07:12,879 but he could not have been 92 00:07:12,879 --> 00:07:13,839 sure it was a cross. 93 00:07:13,839 --> 00:07:15,339 [BLANK_AUDIO] 94 00:07:18,449 --> 00:07:22,389 The house has one, two, three rows of windows, five 95 00:07:22,389 --> 00:07:23,930 in each row except at the 96 00:07:24,009 --> 00:07:27,089 bottom where there's a porch instead of the middle one 97 00:07:27,089 --> 00:07:28,720 and one of the windows on 98 00:07:28,720 --> 00:07:32,399 the ground floor left of the door is open. 99 00:07:32,399 --> 00:07:33,899 [BLANK_AUDIO] 100 00:07:35,500 --> 00:07:38,240 I rather imagine we're meant to see the whole thing. 101 00:07:38,240 --> 00:07:42,209 You see between the time I saw it last night and this 102 00:07:42,209 --> 00:07:43,680 morning there was time for 103 00:07:43,680 --> 00:07:46,839 lots of things to happen but the creature only got into 104 00:07:46,839 --> 00:07:47,519 the house. 105 00:07:47,519 --> 00:07:50,600 It could easily have got through its business in the 106 00:07:50,600 --> 00:07:52,439 time and gone to its own 107 00:07:52,519 --> 00:07:56,079 place again but the fact of the window being open I 108 00:07:56,079 --> 00:07:58,079 think must mean that it's in 109 00:07:58,079 --> 00:07:58,639 there now. 110 00:07:58,639 --> 00:08:00,139 [BLANK_AUDIO] 111 00:08:03,040 --> 00:08:06,220 I have a kind of idea that it wouldn't change much if 112 00:08:06,310 --> 00:08:08,079 at all in the daytime. 113 00:08:08,269 --> 00:08:11,870 We might go out for a walk this afternoon and come into 114 00:08:11,870 --> 00:08:12,779 tea or whenever 115 00:08:12,839 --> 00:08:13,660 it gets dark. 116 00:08:13,910 --> 00:08:15,410 [BLANK_AUDIO] 117 00:08:17,269 --> 00:08:19,990 The picture was leaning up against a pile of books on 118 00:08:20,060 --> 00:08:21,360 the table as it had been 119 00:08:21,360 --> 00:08:21,610 left. 120 00:08:22,290 --> 00:08:23,790 [BLANK_AUDIO] 121 00:08:23,810 --> 00:08:26,720 There was the house as before under the waning moon 122 00:08:26,720 --> 00:08:28,240 and the drifting clouds. 123 00:08:28,240 --> 00:08:29,360 [BLANK_AUDIO] 124 00:08:29,550 --> 00:08:32,600 The window that had been open was shut and the figure 125 00:08:32,600 --> 00:08:34,070 was once more on the lawn 126 00:08:34,360 --> 00:08:37,210 but not this time crawling cautiously on hands and 127 00:08:37,210 --> 00:08:37,830 knees. 128 00:08:37,960 --> 00:08:38,870 [BLANK_AUDIO] 129 00:08:38,889 --> 00:08:42,080 Now it was erect and stepping swiftly with long 130 00:08:42,158 --> 00:08:43,918 strides towards the front of 131 00:08:43,918 --> 00:08:44,559 the picture. 132 00:08:44,559 --> 00:08:45,440 [BLANK_AUDIO] 133 00:08:45,580 --> 00:08:49,269 The moon was behind it and the black drapery hung down 134 00:08:49,269 --> 00:08:50,720 over its face so that 135 00:08:50,840 --> 00:08:54,580 only hints of that could be seen and what was visible 136 00:08:54,850 --> 00:08:55,929 made the spectators 137 00:08:56,169 --> 00:08:59,580 profoundly thankful that they could see no more than a 138 00:08:59,580 --> 00:09:01,419 white dome-like forehead 139 00:09:01,440 --> 00:09:03,029 and a few straggling hairs. 140 00:09:03,230 --> 00:09:04,730 [BLANK_AUDIO] 141 00:09:04,759 --> 00:09:08,250 The head was bent down and the arms were tightly clasped 142 00:09:08,250 --> 00:09:09,529 over an object which 143 00:09:09,549 --> 00:09:13,299 could be dimly seen and identified as a child whether 144 00:09:13,360 --> 00:09:14,879 dead or living it was not 145 00:09:14,879 --> 00:09:15,840 possible to say. 146 00:09:15,840 --> 00:09:17,340 [BLANK_AUDIO] 147 00:09:17,750 --> 00:09:20,559 The legs of the appearance alone could be plainly 148 00:09:20,559 --> 00:09:21,830 discerned and they were 149 00:09:21,840 --> 00:09:22,799 horribly thin. 150 00:09:22,799 --> 00:09:24,299 [BLANK_AUDIO] 151 00:09:26,720 --> 00:09:29,950 From five to seven they sat and watched the picture by 152 00:09:29,950 --> 00:09:31,830 turns but it never 153 00:09:31,840 --> 00:09:32,399 changed. 154 00:09:32,399 --> 00:09:33,899 [BLANK_AUDIO] 155 00:09:34,600 --> 00:09:36,840 When they were assembled again at the earliest 156 00:09:36,840 --> 00:09:38,509 possible moment the engraving 157 00:09:38,559 --> 00:09:42,519 was there but the figure was gone and the house was quiet 158 00:09:42,759 --> 00:09:43,759 under the moon beams. 159 00:09:43,759 --> 00:09:45,259 [BLANK_AUDIO] 160 00:09:46,710 --> 00:09:49,899 I have only to add that the picture is now in the Ashley 161 00:09:49,899 --> 00:09:51,039 and Museum that has 162 00:09:51,059 --> 00:09:54,049 been treated with a view to discovering whether sympathetic 163 00:09:54,149 --> 00:09:55,200 ink has been used in 164 00:09:55,200 --> 00:09:58,809 it but without effect and that though carefully watched 165 00:09:59,409 --> 00:10:00,159 it has never been 166 00:10:00,159 --> 00:10:01,919 known to change again. 167 00:10:01,919 --> 00:10:03,419 [BLANK_AUDIO] 168 00:10:16,720 --> 00:10:18,220 [BLANK_AUDIO] 169 00:10:46,720 --> 00:10:48,220 [BLANK_AUDIO] 170 00:11:16,720 --> 00:11:18,220 [BLANK_AUDIO] 171 00:11:46,720 --> 00:11:48,220 [BLANK_AUDIO] 172 00:12:16,480 --> 00:12:17,980 [BLANK_AUDIO] 173 00:12:21,100 --> 00:12:23,940 It will never be known how this has to be told in the 174 00:12:24,070 --> 00:12:25,120 first person or in the 175 00:12:25,120 --> 00:12:28,879 second using the third person plural or continually 176 00:12:28,879 --> 00:12:30,240 inventing modes that will 177 00:12:30,240 --> 00:12:31,200 serve for nothing. 178 00:12:31,200 --> 00:12:32,240 [BLANK_AUDIO] 179 00:12:32,490 --> 00:12:36,700 If one might say I will see the moon rose or we hurt me 180 00:12:36,820 --> 00:12:38,259 at the back of my eyes 181 00:12:38,679 --> 00:12:42,529 and especially you the blonde woman was the clouds that 182 00:12:42,529 --> 00:12:44,419 race before my your his 183 00:12:44,700 --> 00:12:48,080 our yours their faces what the hell. 184 00:12:48,080 --> 00:12:49,580 [BLANK_AUDIO] 185 00:12:50,809 --> 00:12:53,840 When one is walking about with a camera one has almost 186 00:12:53,840 --> 00:12:55,220 a duty to be attentive to 187 00:12:55,929 --> 00:12:59,559 not lose that abrupt and happy rebound of sun's rays 188 00:12:59,820 --> 00:13:01,440 off an old stone or the 189 00:13:01,440 --> 00:13:04,950 pigtails flying run of a small girl going home with a 190 00:13:04,950 --> 00:13:06,159 loaf of bread or a 191 00:13:06,159 --> 00:13:06,940 bottle of milk. 192 00:13:07,090 --> 00:13:08,590 [BLANK_AUDIO] 193 00:13:08,610 --> 00:13:11,200 He knew that the photographer always worked as a 194 00:13:11,200 --> 00:13:13,039 permutation of his personal 195 00:13:13,039 --> 00:13:16,059 way of seeing the world as other than the camera 196 00:13:16,059 --> 00:13:17,919 insidiously imposed upon it. 197 00:13:17,919 --> 00:13:18,990 [BLANK_AUDIO] 198 00:13:19,149 --> 00:13:22,779 Now a large cloud is going by almost black but he 199 00:13:22,779 --> 00:13:25,200 lacked no confidence in 200 00:13:25,200 --> 00:13:28,919 himself knowing that he had only to go out without the 201 00:13:28,919 --> 00:13:30,399 contacts to recover the 202 00:13:30,399 --> 00:13:34,659 keynote of distraction the site without a frame around 203 00:13:34,909 --> 00:13:36,240 it light without the 204 00:13:36,240 --> 00:13:40,240 diaphragm aperture or one over 250 seconds. 205 00:13:40,240 --> 00:13:41,440 [BLANK_AUDIO] 206 00:13:41,539 --> 00:13:44,960 I decided not to lose a moment more I got it all 207 00:13:44,960 --> 00:13:46,720 into the viewfinder with the 208 00:13:46,720 --> 00:13:50,529 tree the railing the 11 o'clock sun and took the 209 00:13:50,700 --> 00:13:53,100 shot in time to realize that 210 00:13:53,120 --> 00:13:56,320 they both had noticed and stood there looking at me 211 00:13:56,509 --> 00:13:57,840 the boy surprised and as 212 00:13:57,840 --> 00:14:01,360 though questioning but she was irritated her face and 213 00:14:01,360 --> 00:14:03,350 body flat-footedly hostile 214 00:14:03,710 --> 00:14:10,899 feeling robbed ignominiously recorded on a small chemical 215 00:14:10,899 --> 00:14:12,559 image the negative was 216 00:14:12,559 --> 00:14:15,620 so good that he made an enlargement the enlargement 217 00:14:15,620 --> 00:14:17,120 was so good that he made one 218 00:14:17,120 --> 00:14:22,440 very much larger almost the size of a poster he tacked 219 00:14:22,570 --> 00:14:24,000 up the enlargement on one 220 00:14:24,000 --> 00:14:27,440 wall of the room and the first day he spent some time 221 00:14:27,440 --> 00:14:28,559 looking at it and 222 00:14:28,559 --> 00:14:31,830 remembering that gloomy operation of comparing the 223 00:14:31,830 --> 00:14:33,679 memory with the gone reality 224 00:14:33,679 --> 00:14:37,279 a frozen memory like any photo where nothing is 225 00:14:37,279 --> 00:14:39,120 missing not even and 226 00:14:39,120 --> 00:14:43,360 especially nothingness the true solidifier of the scene. 227 00:14:43,360 --> 00:14:44,860 [BLANK_AUDIO] 228 00:14:46,769 --> 00:14:49,190 It had never occurred to me that when we look at a 229 00:14:49,190 --> 00:14:50,960 photo from the front the eyes 230 00:14:50,960 --> 00:14:55,039 reproduce exactly the position and the vision of the lens 231 00:14:55,139 --> 00:14:55,919 it's these things 232 00:14:55,919 --> 00:14:58,820 that are taken for granted and it never occurs to 233 00:14:58,909 --> 00:15:00,480 anyone to think about them. 234 00:15:00,480 --> 00:15:01,980 [BLANK_AUDIO] 235 00:15:03,980 --> 00:15:07,200 At that moment I didn't know the reason the reason I had 236 00:15:07,200 --> 00:15:08,320 tapped the enlargement 237 00:15:08,320 --> 00:15:12,059 onto the wall maybe all fatal acts happen that way 238 00:15:12,350 --> 00:15:13,419 and that is the condition 239 00:15:13,450 --> 00:15:17,690 of their fulfillment I don't think the almost furtive 240 00:15:17,879 --> 00:15:19,039 trembling of the leaves on 241 00:15:19,039 --> 00:15:20,559 the tree alarmed me. 242 00:15:20,559 --> 00:15:22,059 [BLANK_AUDIO] 243 00:15:23,309 --> 00:15:26,450 All at once the order was reversed they were alive 244 00:15:26,720 --> 00:15:28,559 moving they were deciding and 245 00:15:28,559 --> 00:15:32,320 had decided they were going to their future and I on 246 00:15:32,320 --> 00:15:33,840 this side prisoner of 247 00:15:33,840 --> 00:15:38,000 another time in a room on the fifth floor to not know 248 00:15:38,000 --> 00:15:39,509 who they were to be 249 00:15:39,639 --> 00:15:43,590 only the lens of my camera something fixed rigid 250 00:15:44,070 --> 00:15:45,840 incapable of intervention. 251 00:15:45,840 --> 00:15:47,340 [BLANK_AUDIO] 252 00:15:49,120 --> 00:15:53,490 I understood if that was to understand what had to happen 253 00:15:53,490 --> 00:15:54,799 now what had to have 254 00:15:54,820 --> 00:15:58,269 happened then what would have to happen at that moment 255 00:15:58,649 --> 00:16:00,480 among these people just 256 00:16:00,480 --> 00:16:04,259 where I had poked my nose into upset an established 257 00:16:04,259 --> 00:16:06,559 order interfering innocently 258 00:16:06,710 --> 00:16:09,710 in that which had not happened but which was now 259 00:16:09,710 --> 00:16:12,169 going to happen now was going to 260 00:16:12,190 --> 00:16:16,690 be fulfilled and what I had imagined earlier was much 261 00:16:16,779 --> 00:16:17,840 less horrible than the 262 00:16:17,840 --> 00:16:18,480 reality. 263 00:16:18,480 --> 00:16:19,980 [BLANK_AUDIO] 264 00:16:21,110 --> 00:16:25,059 And little by little the frame becomes clear perhaps 265 00:16:25,059 --> 00:16:26,639 the sun comes out and 266 00:16:26,639 --> 00:16:30,889 again the clouds begin to come two at a time three at 267 00:16:30,940 --> 00:16:33,120 a time and the pigeons 268 00:16:33,120 --> 00:16:38,320 once in a while and a sparrow or two. 269 00:16:48,080 --> 00:16:49,580 [BLANK_AUDIO] 270 00:17:17,838 --> 00:17:22,190 I think this is another way of making cinema verity to 271 00:17:22,180 --> 00:17:22,400 endow a person with a 272 00:17:22,400 --> 00:17:25,690 story that is with the story which I am going to tell 273 00:17:25,690 --> 00:17:26,960 you in a moment. 274 00:17:26,960 --> 00:17:28,460 [BLANK_AUDIO] 275 00:17:29,920 --> 00:17:34,160 I think this is another way of making cinema verity to 276 00:17:34,160 --> 00:17:34,880 endow a person with a 277 00:17:34,880 --> 00:17:38,049 story that is with the story which I am going to tell 278 00:17:38,049 --> 00:17:39,279 you in a moment. 279 00:17:39,279 --> 00:17:40,779 [BLANK_AUDIO] 280 00:17:41,349 --> 00:17:44,490 I think this is another way of making cinema verity to 281 00:17:44,460 --> 00:17:45,759 endow a person with a 282 00:17:45,759 --> 00:17:49,039 story that is with the story which corresponds to their 283 00:17:49,150 --> 00:17:50,309 appearance, to their 284 00:17:50,559 --> 00:17:53,619 position, their weight, the volume they occupy in a 285 00:17:53,619 --> 00:17:55,900 particular space. 286 00:17:56,339 --> 00:17:59,750 Slowly I move to the end of the bar counter going round 287 00:17:59,750 --> 00:18:01,119 behind the girl so 288 00:18:01,119 --> 00:18:03,920 that she appears in the foreground. 289 00:18:03,940 --> 00:18:06,950 At the back of the room is the slanting window with the 290 00:18:06,950 --> 00:18:07,920 dust clinging to the 291 00:18:07,920 --> 00:18:11,890 glass then slowly dripping to the ground as if it were 292 00:18:11,890 --> 00:18:12,869 liquid. 293 00:18:13,069 --> 00:18:16,259 From here with the girl in back view a relationship 294 00:18:16,390 --> 00:18:17,759 between the external and 295 00:18:17,759 --> 00:18:21,420 the internal is established, the image takes on body. 296 00:18:21,450 --> 00:18:27,049 There is a meaning in the whiteness outside, an almost 297 00:18:27,049 --> 00:18:29,369 nonexistent reality. 298 00:18:29,549 --> 00:18:33,750 And the dark patches inside including the girl. 299 00:18:34,000 --> 00:18:37,950 She is an object too, a character without a face, 300 00:18:38,000 --> 00:18:38,980 without a story. 301 00:18:40,140 --> 00:18:43,099 The setup is so beautiful that one hardly needs 302 00:18:43,200 --> 00:18:44,960 anything else to complete the 303 00:18:44,960 --> 00:18:45,599 impression. 304 00:18:45,599 --> 00:18:51,150 Nevertheless, I go up to her and while she is getting me 305 00:18:51,150 --> 00:18:51,920 another drink, 306 00:18:52,009 --> 00:18:53,339 I ask her what her name is. 307 00:18:53,730 --> 00:18:55,680 De Litta. 308 00:18:55,740 --> 00:18:56,839 What? 309 00:18:56,859 --> 00:18:57,349 De Litta. 310 00:18:57,359 --> 00:19:00,480 Like De Litto, a crime? 311 00:19:00,480 --> 00:19:02,640 Yes, but with an A. 312 00:19:02,640 --> 00:19:05,160 I look at her in amazement. 313 00:19:05,890 --> 00:19:08,890 It was my father, she explained. 314 00:19:09,089 --> 00:19:11,628 He said it was a crime to bring a child into the world 315 00:19:11,839 --> 00:19:13,539 in his circumstances. 316 00:19:13,559 --> 00:19:17,309 But my mother wanted one so he said very well but we'll 317 00:19:17,380 --> 00:19:19,279 call it De Litto, a crime. 318 00:19:19,279 --> 00:19:23,579 And as I was a girl, that's how it was. 319 00:19:39,359 --> 00:19:39,390 you 320 00:20:08,799 --> 00:20:10,299 you 321 00:20:10,799 --> 00:20:25,680 In reality, they have neither rackets nor balls. 322 00:20:27,220 --> 00:20:30,049 However, the imaginary game gets underway with the two 323 00:20:30,049 --> 00:20:31,269 players rushing around the 324 00:20:31,299 --> 00:20:34,319 court with convincing vigor and tenacity but without 325 00:20:34,319 --> 00:20:35,359 uttering a sound. 326 00:20:35,359 --> 00:20:38,400 Close-up of Thomas watching the game. 327 00:20:38,960 --> 00:20:40,319 He smiled slightly. 328 00:20:40,319 --> 00:20:43,869 Suddenly the boy hits the ball so hard it goes right 329 00:20:43,869 --> 00:20:46,069 over the back netting and ends 330 00:20:46,079 --> 00:20:47,440 up on the grass outside. 331 00:20:47,440 --> 00:20:51,549 Thomas runs towards the point where everyone saw the 332 00:20:51,549 --> 00:20:54,250 non-existent ball hit the grass, 333 00:20:54,440 --> 00:20:55,490 some way from the court. 334 00:20:55,519 --> 00:20:58,240 He drops his camera and bends down. 335 00:20:58,240 --> 00:21:02,819 Thomas picks up the imaginary ball, tosses it up and down 336 00:21:02,819 --> 00:21:05,190 in his hand two or three times 337 00:21:05,279 --> 00:21:07,819 and then runs forward and hurls it back into the 338 00:21:07,819 --> 00:21:09,839 tennis court, watching its path through 339 00:21:09,839 --> 00:21:11,190 the air with his eyes. 340 00:21:11,200 --> 00:21:16,559 Then he stands watching the game again, his head moving 341 00:21:16,559 --> 00:21:18,319 imperceptibly in time with the 342 00:21:18,319 --> 00:21:19,440 movements of the ball. 343 00:21:19,440 --> 00:21:23,920 He smiled again, ever so slightly. 344 00:21:23,920 --> 00:21:29,309 And very slowly the shots themselves begin to be heard 345 00:21:29,660 --> 00:21:31,190 above the rustling of the wind 346 00:21:31,200 --> 00:21:34,480 in the leaves, until they can be recognised as the 347 00:21:34,559 --> 00:21:37,039 typical sounds of a tennis ball hitting 348 00:21:37,039 --> 00:21:38,000 racket strings. 349 00:21:38,000 --> 00:21:43,039 One on this side, one on that side, one on this side, 350 00:21:43,039 --> 00:21:44,799 one on that side. 351 00:21:44,799 --> 00:21:50,859 Tok, tok, tok, tok.