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Frank: Hello.

Irene: Hello. You're the hermit man, aren't you?

Frank: Well, I do get out a bit more these days. But yes, I was a Hermit.

Irene: Must be nice, peaceful I mean, no-one shouting at you all the time.

Frank: Emma said I must not talk about the voices.

Irene: She seems a bit bossy to me. Is there anything you need?

Frank: I think I know who you are.

Irene: Men are always saying that to me. Look, the meeting's about to start, but maybe we could talk again.

Frank: Do you write poetry?

Irene: Not for a long time.

Arthur: Thanks for your kind attention. Suzanne Toussand, who of course needs no introduction, was gracious enough to join us today. Now Irene is going to lay out what we'll actually be doing in the next few weeks and what changes we'll need to make.

Irene:  Hello, nice to see you again.  Well now.  Where to start?  Er, yes, the masons. The masons will be putting in the garden wall and fountain this week near the lake. No actual filming there yet, so that shouldn't be a problem.

Evelyn: No foundations, right?

Irene: Oh no, much too expensive. The bricks are actually a synthetic compacted fiber.  Should do just fine, unless we get too much rain. Then they tend to sag a bit.  Not too bad, really, but still, we don't want sloppy walls, do we? Yes, well. The other thing is the painting men, they need to get going on the doors. I think we're starting with green, but that could change with the schedule.

Emma: Chester, are you going to say something or just splutter?

Chester: Those doors were made in 1782. They will be painted green over my dead body!

Irene: But they won't stay green. You see at different parts of the filming the doors will be different colours--blue, red, black. So you don't need to worry, they won't stay green.

Emma: I think the objection is to painting the doors at all. They part of the original fabric of the house.

Irene: Oh they have to be painted. Alan insisted. It's shambolic.

Arthur: Symbolic dear, is what I think you mean.

Irene: Right.  And did you say they were fabric?

Chester: As in original material.

Irene:  Then they're not wood?

Emma:  Yes, Irene, they're wood.

Ann: Arthur you cannot paint the doors.  Not only do we not want to lose Chester, but he's right, they're antiques.

Arthur: Not even if we strip them after each paint job? We got a great bloke does re-finishing.

Ann: No.

Arthur: Bit of an impasse, then. Mr. Tinsley here was more accommodating when we were discussing the project.

Simon: Right. But you could you remove the doors? Very expensive to paint and re-paint these historic ones, especially if you're going to keep doing it. Why not make fake ones and just switch them in and out? Would that be all right Chester?

Chester: Well it's not ideal, but under proper supervision it might be possible, I suppose.

Irene: Goody. Now we need to create Loretta's London flat. We thought of stripping the office room in the front of the house, but it has all that paneling which would be expensive to replace. I'm guessing that you would want that put back?

Suzanne: But that room is so dark! I need some natural light for those scenes. You'll have to open up that wall to get the right light.

Emma: Open up the wall!

Suzanne: Absolutely. You may have that pseudo-gothic thing going darling, but I need clear light, not shadows. And don't tell me you can do it with the studio lights, because you can't.

Arthur: Hold on. Before everyone has a heart attack. It's OK. Change of plan here. We're building a set for Loretta's flat east of the house. Three sided, nice light, you can keep it as a tourist attraction.

Suzanne: When was this decided? Why was I not informed? I am expected to be passionate in a plywood shack in February?

Arthur: Production decision, my dear. I'm sure you and Peter can heat the place up.

Suzanne: I am not prepared to discuss this in public, but it's clearly unacceptable. I'm going to see Alan.

[Suzanne leaves]

Irene: Goody. Now for this week's filming, we'll be shooting here and in the village. We're starting with the scene following the funeral, and then the funeral itself. That'll be shot in the village, along with Loretta's walk.  For the opening train scene, we'll be using the Blue Bell railway.

Arthur: I'm off, meeting in London. Questions to Irene. 
[aside to Irene] Better stop those bloody painters! And look into some stripper, will you?

Ann: Simon, what did you tell Rev.  Banks about the wedding?

Simon: Oh just throwing out some dates, seeing what was available.

Ann: He said you'd chosen Tuesday, the 11th of December.

Simon: The church is free that day.

Ann: Didn't you think that perhaps we should discuss the date of our wedding?

Simon: Well, it just seems that everyone is getting stressed out over planning this and...

Ann: You thought you'd put it off for as long as possible.

Simon: Not true! I do want to get married Ann, honestly I do. But everything is crazy with the film crews here, and the house repairs and then all this wedding stuff on top of that.

Ann: So talk to me! Tell me you're feeling anxious. For example, though you could not have known, December 11th is a terrible date for the wedding. It was the day my Grandmother died.

Simon: You mean because she can't come?

Ann: Deep breath. We'll communicate again later. Are you coming to the hospital?

Simon: Hope the old codger's all right.

Phil: Hello Mr. Tinsley. I'd almost forgotten you were here.

Mr. Tinsley: They keep me locked in the attic, you know. Think I bother the visitors, but I escaped.

Phil: Really? Oh, yes, ha-ha. Anyway, got to run.

Mr. Tinsley: Wait a minute, young Phil. I have a question for you. Has he invited HER?

Phil: Who?

Mr. Tinsley: HER.

Phil: Oh--her! Mmmm, well, don't know actually. Couldn't you ask him?

Mr. Tinsley: I don't like to talk about it.