Intermission Page #3

Stay out of trouble.

That's right.

F***ing disrespect my old one.

Now, hang on till I shake.

All right.

Go on.

So what's wrong with me? What did I do?

- Or didn't I do?

- I told you, Noeleen, nothing.

- It's just something that...

- Yeah, that happened.

You said that already,

and I don't believe you.

Is it my age?

Is it something I wouldn't do?

Is it my looks?

Wait a second. Look, don't you...

Wait! Don't you fancy me anymore?

Look. Listen to me.

It's nothing to do with you.

I fancy her, I fell for her.

We clicked, and we wanna be together.

You don't come into the equation, so relax.

Of course I come into the equation.

I'm your wife, for God's sake!

I'm your wife, Sam! 14 years!

What the hell did I do?

- So this fella's moving in with you?

- Yes.

Well, what do you want me to do?

Be like Sally?

Give up on them altogether,

grow myself a 'tache?

- Sally doesn't...

- Sally has a 'tache, Ma.

Whatever she did before,

bleached or waxed, she's quit.

Anyway, I'm better off.

Did you know John and Oscar

broke into Fruitfield a few months back...

stole a crate load of Chef Sauce?

And I know that wasn't the only time.

- Chef Sauce?

- It was all they could get.

I'd be over at his place,

he's making sauce sandwiches.

Putting it in his cornflakes.

Trying to use it all up. In his tea.

I mean, he dumps me, Ma, breaks my heart...

and then has the gall to come over

and call me a whore and a blackguard...

for not taking the f***ing vows?

Well, f*** him.

Him and his brown sauce. Sorry, Ma.

But I've got a guy who's well-off,

who's attractive...

- Who's married.

- Well, you can't have it all.

Who's not a thief, but a bank manager.

And if he wants to move in with me...

then I think

I'd be some kind of a fool to say no.

Now, I'm gonna have the carrot cake.

What are you having?

All right, my friends, do Daddy proud.

Show them what you've got.

All right. You lads ready?

And action!

Come on, guys,

we've been through this before.

They'll get it, lads,

just give them a second.

Don't f*** up on me here. Go!

For f***'s sake, how many times

have we rehearsed this, youse fucks. Go!

Get down. Martin, get back in the box.

Don't fight. Benny, get off him.

- It is Little Big City, isn't it?

- Yeah.

That's what it's called.

Which says to me,

yeah, stories, yeah, characters.

- There's a broad spectrum there.

- Diverse.

And that's what we're doing and that's fine.

But where that diversity is lacking is tone.

- What are you saying?

- Tone, Thomas. Texture.

What I'm saying is,

let's go a bit darker now and again.

Find a subject

with a little bit more of an edge...

and explore that edge

with the weight it deserves.

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