Production company: Phillip Emanuel presents; tail credit copyrights to Phillip Emanuel Productions Limited
Budget: n/a - low - using the 10BA (private investor tax break) scheme
Locations: Sydney, with the main emphasis around the northern beaches/Pittwater area. The Clareville and Palm Beach Fish Shops both feature briefly, but the main location is a Pittwater-facing house.
Filmed: The film was listed as being in post-production in the March 1989 Cinema Papers’ production survey (as “Depth of Feeling”). After the Sydney summer shoot, the film had an extended post-production path, with press reports quoting the press book that the film was first completed in June 1989, but then new scenes were shot, including a new ending. One scene had to be shot in Paris, because Colin Friels was living there at the time. The film was eventually completed in June 1990, but then waited until the end of the year for a limited theatrical release.
Australian distributor: Greater Union
Theatrical release: the film opened in Melbourne at GU’s Russell complex on 29th November 1990 and on 6th December 1990 in Sydney at Hoyts Centre.
Video release: Premiere
35mm Kodak Eastmancolor 5297
Lenses and Panaflex camera by Panavision®
Dolby stereo in selected theatres
Running time: 92 mins (Murray’s Australian Film, Cinema Papers); 95 mins (Variety)
Roadshow DVD time: 1’31”03
The film did dismal domestic business, being taken off screens almost as soon as it was released.
The Film Victoria report on domestic box office listed a humble $16,019 in returns, equivalent to $26,111 in A$ 2009.
The film didn't travel well internationally, being treated as a telemovie and restricted to tape and television, though it did at least pick up a US tape release.
The film was a winner at the controversial 1990 AFI awards and Catherine McClements didn’t escape all of the controversy, with her role deemed by some to be too lightweight, no matter that she delivered with energy and charm:
Winner, Pacvest Group Award for Best Performance by an Actress in a Leading Role (Catherine McClements) (Kerry Armstrong in Hunting, Claudia Karvan in The Big Steal and Rosanna Arquette in Wendy Cracked a Walnut were the other nominees, but there was also talk of actors not nominated, such as Carol Drinkwater in Father).
The film missed out in its two technical nominations:
Nominated, Best Achievement in Production Design (listed by Lawrence Eastwood at the AFI site, as Laurence Eastwood in the film's credits and aka as Larry Eastwood) (Roger Ford won for Flirting)
Nominated, Best Achievement in Costume Design (Michelle Leonard) (Roger Kirk won for Blood Oath)
The film was released on VHS in the US as well as in the domestical market, but it was a commercial dud, and obviously didn't sell well, because copies in the second hand market later became hard to find.
This rarity was overcome when the film was given a barebones release on DVD back in 2006 by Roadshow.
It was at least 1.78:1, 16:9 enhanced, reasonable enough for a romcom inexplicably shot on Panavision (inexplicable given that its main destination was obviously as a telemovie for television and tape).
The cigarette burns at reel changes suggest a release print was used for the transfer, but there’s nothing much wrong with the print, as it’s relatively clean and the colours are natural enough.
It’s the transfer that’s the shocker, well below Roadshow’s usual standard, soft, and with lots of digital artifacting. At least in the Roadshow way, there’s a decent set of subtitles.
This release is still easy enough to find, and doubtless the film will turn up on streaming services, though hopefully with a better digital transfer.
There’s no particular reason to watch the show, except to see the how and why of Catherine McClements winning the Best Actress award at the 1990 AFI awards for her work.
While it was controversial at the time, McClements is vivacious and bubbly enough as Kate, and the engaging Colin Friels as Richard does his best, though it’s a far cry from Malcolm, and he occasionally looks uncomfortable being asked to play a noxious immature brat of a husband prone to slapstick errors.
The problems begin with the script, which is more vacuous than even the standard form of US romcom, and miles below a film such as When Harry Met Sally, which was made in 1989 ... and that's before even mentioning the Katharine Hepburn style screwball comedies to which it was obviously aspiring.
Weekend with Kate puts the characters through predictable variations and McClements through a number of gratuitously nude scenes, and words like bland, insipid and wet spring to mind.
The artworks on the wall are indicative of the narrow middle class aspirations of the characters and the demographic the producer thought might like the show.
The music is also wretched, with the exception of a couple of typically perky and uplifting Paul Kelly tracks that only serve to heighten the artificiality of the comedy, which is more in tune with all the bland music the cast mime to. Bruce Rowlands’ underscore is also insipid, though it conjures up a certain style fashionable in the 1980s.
Jerome Ehlers struggles to make his English rock star Jon Thorne remotely convincing, and by the end the cynic will wonder why any of the actors bothered to go to bed with each other - with Helen Mutkins as Carla dealt the worst hand as the bossy, uppity career woman (gasp, she might even be a feminist), eventually jilted by Colin Friels’ Richard for his long-suffering but ditzy wife.
The film suggests that Kate and Richard are the winners, but some viewers might think that rock star Jon and business woman Carla are the lucky ones, with Jon able to get back on the rock circuit, and Carla saved from journeying through life with a bubble-head who makes Morgan seem like a suitable case for treatment and redemption (if only the screenplay had half the wit and energy of that film).
Luckily for her, Mutkins only arrives for the climactic scenes - the other actors have to endure each other’s company in what for the most part is a three hander tied to the one set of locations, which are at least Sydney pictureseque.
The final cruel joke is to end the show not with shots of the loving couple back together again, but with a voice over wild line suggesting a trip to Europe for Richard and Kate, and lengthy shots of a Qantas 747 taking off, as good an example as any of the crude contra that litters the show.
The best way to get through the show is to start off with a XXXX beer or a glass or three of Dom Pérignon, the two brews which are given endless plugs throughout the movie.
After the third glass, it might be possible to join in the spirit of the comedy, and no doubt the generous contra suppliers will be very pleased, as their grog has had a better shelf life than the movie.
This was one of producer Phillip Emanuel’s last 10BA offerings, and the budget looks painfully threadbare, though no doubt a lot of money went on financial services and ATL fees.
Unfortunately this was also director Arch Nicholson’s last film - he died before it was completed - but anyone wanting to pay tribute to his lost potential would be better off having a look at the mateship comedy Buddies, or his cult croc feature, Dark Age, both of which have been released on DVD and can be found in streaming services, and which are much more fun to watch, even if they too had a tough time at the box office.
Henry Tefay went on to write Pauline Chan’s 1999 Little White Lies with Kee Young, which was filmed in Queensland, but these would be their only two credits, and Tefay would go on to become a long-serving bureaucrat at the PFTC and what later became known as Screen Queensland.
Film critic Neil Jillett in The Age was so fascinated by the production notes about the genesis of the film - typical of the back of a coaster or napkin development path during the days of 10BA rorting - that he spent the first part of his review quoting the film’s production notes (29th November 1990 under the header Good story behind an inept script):
The romantic comedy ‘Weekend with Kate’ is just another inept Australian film, but its printed production notes, provided for the enlightenment of the media, are fascinating.
They say the film was “first completed in June 1989, but then new scenes were shot, including a new ending (at one stage a scene had to be shot in Paris, because Colin Friels was living there at the time) and the film was eventually completed in June 1990”.
‘Weekend with Kate’ began as a rough-half page paragraph for a film about three people and their interactions over one weekend.” This “skeleton of an idea” was presented to producer Phillip Emanuel. He is quoted: “When the project was brought to me it was provisionally certified. Everything met the necessary criteria for the underwriters as a 10BA project, and we were able to attract sufficient investment on that basis.”
What criteria? The film’s director, Arch Nicholson (who died last February), explained, according to the notes: “It was an unusual project in that suddenly the money became available before we’d thought out the sort of film we wanted to make. While it was unusual, it was incredibly rewarding, because it allowed us to start from scratch knowing that at the end of the day there was going to be a film.”
The production notes add: “It was time to find a scriptwriter, and one who could work to a strict deadline. Scripts were solicited; agents approached. According to Nicholson, “We wanted a writer who had had experience with dialogue and characters and could probably get it fairly right in the first draft.”
Henry Tefay and Kee Young were chosen as writers, Nicholson was “initially drawn to them because they obviously understood the mechanics of formally structuring a script”. They “don’t mind having to work from an outline they haven’t devised … although they prefer working from original ideas …”
They wrote the first draft in five weeks. “Several intense script meetings” with Emmanuel and Nicholson, including “two gruelling marathon cut and paste sessions” followed. Then the writers “set about reworking the material thoroughly to produce the second draft.” After that the actors were chosen.
(For the rest of Jillett's review, see this site's 'opinion' section).
2. Arch Nicholson:
This would be Arch Nicholson’s last film, and John Dingwall, writer of Sunday Too Far Away, writer/director of Phobia, and writer/producer of Buddies, which Nicholson directed, wrote an obituary for Nicholson for Filmnews, March 1990, under the header Memories of Arch Nicholson:
Film and television director Arch Nicholson died on February 24 aged 48. He was always a man in a hurry as if, somehow, he understood that his bodyclock was set for an abbreviated lifespan.
Arch came from the west (Perth) and was known as the fastest gun in town, delighting in his ability to shoot up to one hundred setups a day - and turn in great work.
Contracted to shoot a commercial over two days, Arch had it in the can by lunch of the first day. Two days to shoot thirty seconds? Come on ... Shooting an episode of Flying Doctors, he was working so quickly an assistant asked: "You're not double parked outside, are you Arch?"
Arch's first job was as a school teacher but it wasn't too long before he found his way to Sydney and Film Australia, then the Commonwealth Film Unit, where he quickly worked up the production ladder to director.
Arch loved what he did and there is no doubt he was born to the job. While at Film Australia he directed some thirty documentaries and was among the first western directors to penetrate Russia, with an excellent down to earth documentary series, The Russians, that concentrated on the person in the street.
One of Arch's last directorial efforts for Film Australia was A Good Thing Going, his first drama, starring John Hargreaves, Chris Haywood and Veronica Lang. It had all the elements Arch loved in film, larger than life Australian characters, pace, and humour, and it brought him to my attention when I was looking for a director for Buddies.
Arch and I had the most amazing collaboration. We looked at film - and at life - from totally different perspectives and we had great roaring arguments that went on for hours. But it was never personal because each of us was reaching for the best idea and no matter who got to it first, we grabbed it with, both hands.
While shooting in Emerald, Central Queensland, I didn't much like my own scripted words while a scene was being shot, and suggested changes to Arch for the next take. But Arch very much liked the original words and so began one of our mammoth arguments, conducted in a lowkey but very intensive manner. Finally the first, Phil Hearnshaw, told us both quite properly to get on with making the film. I said to Arch, "Shoot it both ways and we'll sort it out in editing."
Arch said: "If there's anything I hate, it's shooting a scene two ways - it robs the performances."
I said, "Okay, Arch, you're the director, shoot it your way." I stepped back and Arch shot it his way, but immediately turned and barrelled towards me, not stopping, but from a few metres away saying, "You're right, I'm wrong", then wheeling to reshoot the scene.
About seventeen months ago, while hanging washing out, Arch had difficulty opening the pegs. Doctors informed him he had the motor neuron disease, ALS. He was also told it was terminal.
Arch wanted to keep working. Only a few weeks before he died, down to seven stone, having to use the director's chair and with Jan Kingsbury, with whom he had lived for eighteen years, at his side physically supporting him, Arch completed his last job, an episode of Mission Impossible.
Arch never stopped fighting the disease but neither conventional nor alternative medicine could help him. Two days before his death, frail and needing oxygen to breathe, he said to his brother, Ian, in an absolutely typical Arch phrase: "This is boring."
But when the end did come it was with peace, with Jan holding his hand, in their much loved Whale Beach home high above the Pacific. The large number of filmmakers at his funeral - some from Brisbane and Melbourne - testified to the respect in which he was held.
I was very proud of what he did with Buddies and like to think of it as among his best work.
The one important event that this omits from Nicholson’s varied career was his involvement in the controversial Film Australia adaptation of David Ireland’s novel The Unknown Industrial Prisoner, which was canned as a result of federal ministerial intervention.
There was a good argument that Film Australia should not compete with the independent sector in relation to feature films, but this was a purely political intervention, on the basis that the story was too ‘leftist’ and political. As a result, novelist David Ireland walked away from the industry and was very reluctant thereafter to option his novels to film-makers.
It would have been a very different sort of outing than Nicholson's forays into genre.
For anyone interested in pursuing this aspect, a number of aspects of the story can be found on Trove - for example the ministerial decision at Filmnews here and here, and talk of the film’s development here.
There is a story about Nicholson filming in Russia for Film Australia in Filmnews at Trove here.
Weekend with Kate is perhaps not the best way to remember Nicholson’s career. As Dingwall notes, he did good work on the mateship comedy Buddies, and he is also a cult favourite for his croc movie Dark Age.
Colin Friels has also had a solid career and has a reasonably detailed wiki here.
Jerome Ehlers had a more mixed career - around the same time he struggled playing Peter Finch in the miniseries, Darlings of the Gods, telling of Laurence Olivier’s and Vivien Leigh’s 1948 Australian tour - and unfortunately he died from cancer in 2014.
The film is relentlessly cheap. In the opening scene where Jon Thorne mimes to a rock song prepared for the film, his performance is intercut with footage of a seething crowd, taken from a KISS concert - a banner for one of that band’s members (Ace Frehley) can be clearly seen in the crowd as a light passes over it.
The film is also full of cheap contra plugs, most notably for XXXX and Dom Pérignon, and it closes with endless shots of a Qantas 747 taking off.
This was the final solution for various attempts to end the movie, after re-shoots filmed alternative versions (including a shoot in Paris that required a matching re-build of sets - Colin Friels had moved to Paris).
One of the interests in watching the film is to see which scenes might have been part of the re-shoot.
For a full list of contra used in the film, see this site's pdf of tail credits.
5. Phillip Emanuel:
This was producer Phillip Emanuel’s final 10BA film, and in the 1990s he would struggle to continue producing feature films. He died in 2011, and attracted an obituary notice in The Times (paywall protected) which began:
Talented and prolific producer of the stage and screen who was behind a film adaptation of Ibsen’s The Wild Duck featuring Jeremy Irons in the lead role
Phillip Emanuel was a talented and energetic film and theatre producer; a true showman who continued to reinvent himself over four decades in the industry. Emanuel was more hands on than most with his productions, often securing high-profile cast members and other contributors, as well as sourcing the all-important funding for such ventures.
Among his most notable film productions were an adaptation of Ibsen’s The Wild Duck starring Jeremy Irons, Liv Ullmann and John Meillon — his first foray into feature films in 1984 — and Rebel, which featured Matt Dillon, Bryan Brown and Debbie Byrne…
(The remainder is accessible by Times’ subscribers).
There is other information about Emanuel online (he changed the spelling of his name a number of times), as for example, this tribute page here and a wiki listing here, though at the moment consists only of his feature film titles. Ozmovies has provided a few more details on Emanuel in some of the listings for his other films, such as Those Dear Departed.
None of Emanuel's feature films were distinguished by commercial success, and as with Antony I. Ginnane, Emanuel was involved in a number of scandals in relation to high fees and financial services costs on some of his 10BA films.
The film’s head and tail titles are bookended by songs by Paul Kelly and the Messengers, which for some might be the high point of the show.
The song Careless runs over the head credits, while the song Moon in the Bed runs over the tail credits.
Lyrics for the song Careless (as they are heard in the film):
(the song opens with an extended ‘wooohooohooohooh’)
How many cabs in New York city?
How many angels on a pin?
How many notes in a saxophone?
How many tears in a bottle of gin?
How many times did you call my name
And knock at the door but you couldn’t get in?
I know …
I’ve been careless …
I’ve been wrapped up in a shell ...
Nothing could get through to me …
Acted like I didn’t know
I have friends and family …
(lyrics are then obscured by a Colin Friels’ line and sounds of a hair dryer … “You’re my main chance Johnny boy …”)
(In the original, this obscured lyric runs:
I saw worry in their eyes, it didn't look like fear to me)
(then the song continues in the film):
I know …
I’ve been careless …
I lost my tenderness …
I’ve been careless
I turned vicarious
(harmonica solo, and music fades out under phone ringing and Colin Friels’ character saying “Shit” and telling Catherine McClements’ character, “if that’s work, tell ‘em I’ve already left”)
The song finishes, and just before the DOP credit for Dan Burstall turns up, it’s replaced by Jerome Ehlers miming to Troy Newman’s performance of a Peter Kaldor song devised for the film.
Lyrics for the song Two Steps Forward, One Step Back, as it runs over screaming multitudes and the remaining head credits:
(Compere, sounding distorted: “and now please welcome Jon Thorne”)
I know a brand new name now
For an old-fashioned dance
People do it every day now
At every given chance …
No one stands in fear
Everyone’s on the advance …
Two steps forward
(Colin Friels also miming as he drives to work)
One step back …
You keep yourself upon a human track
Look straight ahead, there’s no turning back
Two steps forward, one step back
Ah, ahh yeahhh…
(musical interlude, shots of screaming fans)
I know a brand new name now …
For an old-fashioned dance …
Two steps forward ...
(wild applause from the crowd, as the song fades out and turns up on TV screens in Friels’ studio)
Lyrics for the song Moon in the Bed (as heard over the tail credits):
I have the moon in my bed …
Every night, down she falls …
I have the moon in my bed …
I had nothing, now I have it all …
And now every sound in my heart
When I rise by her side
I have the sun in my heart
Even through the darkest night
She can save me … from myself …
Make me feel like someone else …
(guitar-led interlude and chorus doing ‘oohs’)
She can take me somewhere else (chorus repeats ‘somewhere else’)
Where I hardly know myself
I have the moon in my bed (chorus ‘my bed …and I’)
I have the moon in my bed (chorus ‘my bed ...and I’)
I have the moon in my bed (chorus ‘my bed...and I’)
I have the sun in my heart (chorus ‘my heart...and I’)
I have the moon in my bed (chorus ‘ my bed...and I’))
I have the stars in my room … (song fades out)
For more details of the music, see this site's pdf of music credits.
7. Synopsis, with cast details and spoilers:
Richard Muir (Colin Friels) works as a publicist for Origin Records, while his wife Kate Muir (Catherine McClements) dabbles as a painter, without fully committing to it …
Kate decides to lure Richard up to her parents’ weekender at Pittwater to produce a baby in a dirty weekend.
At the same time, hugely famous British-accented rock star Jon Thorne (Jerome Ehlers), is coming to town. We see him performing in concert at the start of the show, the performance then turning up in an editing suite, as Carla (Helen Mutkins) bosses around the control room assistant (Brian Vriends) and tries to work out what to do with the star.
Richard is working on Thorne’s itinerary, and Carla decides that this weekend will be the perfect time for Richard to whip him up to the weekender to relax before the tour starts, while at the same time, Richard can tell Kate he’s leaving her for Carla …
Richard’s reluctant, while back at home Kate’s art gallery owner friend Phoebe (Kate Sheil) is dubious about her plan to produce a baby …”you should never ask a man if he wants to have a baby. It just confuses him. Unless, of course, he’s Italian. He’s not Italian, is he?”
Meanwhile, Richard has decided to follow orders, as rock star Thorne sweeps into Sydney with a couple of minders, Gus (Jack Mayers) and Ted (Rick Adams).
Soon enough, Jon and Richard are heading north, but when Kate arrives at the weekender, she’s shattered to discover that Jon has intruded on her plans …
Worse, as she slips on sexy underwear and gets the Dom Pérignon ready for a dirty weekend, she mistakenly flashes Jon with a display of her underwear and a “ta da!”
Very nice, says Jon, but even more worse, Jon is egotistical and narcissist, and on a weird diet, and makes demands on Richard. While a reluctant Kate takes Jon out on a boat and he goes for a swim, Richard races off to the Palm Beach fish shop in search of bugs from a bug man (Bruce Venables) and from the Clareville fish shop (John Fielder).
Bumbling Richard returns and tries to de-Kate the house, in the process dropping one of Kate’s paintings. He’s then forced to paint over what's revealed - a Christmas greeting Kate left for her mum in 1972 - it’s not the kind of stuff to be left around in the presence of a rock star like Thorne - and then the ingratiating bumbler tops it off by dropping the seafood bugs in the paint roller tray.
Kate is furious at his redecorating her mother’s house and storms off.
It gets worse when Kate helps Richard prepare a lavish meal, served with Dom Pérignon, but it turns out that the ungrateful arrogant rock star is on a weird diet which precludes viscous glycoproteins - sauces. Richard has prepared all the food with sauces, so Kate drops a bowl of fruit and cheese in front of the guest, who retires, saying he’s lost his appetite.
Kate reckons he’s a spoiled brat, but Richard insists he’s a superstar.
Later, Jon tinkles out a piece of Scarlatti, but Kate is dismissive of his playing, and shows him how it should be done.
Jon is impressed, and as Richard tries to deal with more flak from Carla, Kate dismisses rock music as bashing at the keys and making a lot of noise.
As Kate tidies up in the kitchen, Jon says it’s maybe a little harder than she thinks, and Kate retorts that she doesn’t have his “innate sense of immaturity.”
She’s still outraged by his performance at the dinner table, but he tells her she’s so uptight she needs to loosen up a bit. “You might enjoy your life more.”
Kate: “If by ‘loosening up’ you mean I should be self-centred and arrogant, I’d rather be uptight, thank you.”
Kate heads to bed, leading a nervous Richard to offer a beer and pretend that his favourite Jon song is Quarter Moon Miser, a bit of pandering which makes Jon walk away, saying “This is really shaping up to be a brilliant weekend.”
Later in bed Kate gives Richard a massage, but he’s not interested in love-making or a baby, and he also fudges telling Kate about Carla, instead saying he should concentrate on his job.
The bickering continues, and while a disillusioned Kate stays home, Richard takes Jon on a fishing expedition on the Pittwater.
But when Richard actually manages to catch a fish, Jon grabs at the accelerator and sends Richard into the water and the boat charging towards the shore.
With the boat a wreck, the pair settle into a bit of fishing from a rock, and drinking XXXX, and bonding over disputes about rock history, with Richard scoring by pointing out that Frankie and Johnny wasn’t Johnny Rivers, it was Elvis.
Another track Richard sings - ‘hear the ding ding ring’ - wasn’t Creedance as Jon reckons, but also Rivers. “Ah, they both did it! You lose!” says Richard.
After more bonding, they stagger home, with only the outboard motor and some fish.
Kate is also softening, and approaches Jon to ask if his offer to teach her some piano riffs still stands.
“Oh, I think you’re far too mature for rock ’n roll,” he jokes, but she says she thinks she’s proved she’s not.
“You might not like my style of teaching,” says a smouldering Jon, “you know, self-centred and arrogant,” but she jokes “that should fit right in with my uptight attitude.”
Kate starts playing boogie-woogie rhythms while Jon plays melody, together on the piano, and we know what that will do …
Dinner, fuelled by Dom Pérignon, is a more pleasant affair, and Richard recovers a little pride by getting wasted on the Dom and thrashing Jon at darts.
Later, Jon strumming on his guitar, begins turning the Scarlatti melody into a song.
It’s lovely, Kate tells him, and he replies “so are you.”
That night, Richard just wants to sleep, so Kate heads down to the beach to shed a tear and drink more Dom bloody Pérignon.
Jon joins her on the beach, and Kate decides to finish the bottle with him, as they reminisce over the times when they first drank the stuff. Jon’s first time was when he signed his record contract, Kate’s first time was when her father, instead of giving her diamond stud earrings he couldn’t afford, still wanted to give her taste of luxury …
As they laugh together and toast the good Friar Dom, Jon says he feels like a swim.
Kate says she didn’t bring her bathers, but Jon plunges in nude and Kate also follows nude.
Kate talks about her student art days and he talks about his custom guitar, and wonders whether he should have kept his old guitar.
“Back then, I thought my music could make a difference. Make people feel like they could change things. You know, change the world.”
Kate: “But people still enjoy your music.”
Jon: “But it hasn’t made a difference. In the end, it’s only music. It doesn’t change the way people think.
Kate (gentle laugh): “But it has!”
Jon: “You don’t believe that.”
Kate (softly, sincerely): “Yes, I do.”
They look at each other, as romantic music (Gyan, Don’t Ask Me Why) begins to play, and then Jon leans in for a slow lingering kiss…
Post-coital and a nude Kate on the beach wakes up to realise what she’s done.
Guilt-stricken, she races in to the house, and is startled to discover Richard in the bath.
Over breakfast on the lawn, Richard challenges Jon to a bet, saying he knows his wife won’t eat the omelette Jon’s prepared.
Richard loses - Kate says it’s very nice - as Jon goes the grope under the table, and a startled Kate has to get up abruptly and leave.
Later, on a rubber boat, Kate tells Jon she feels terrible about what happened last night, and she shouldn’t have let it happen.
Jon is now infatuated with her - “I wanted you, and you wanted me” - but Kate says it didn’t mean anything to her.
Then Jon says he could see her having his child …before he plunges in the water, and Richard returns to the boat, agitated that Kate is agitated and wanting to sort it out right now. He’s not going to let her spoil everything just because she can’t get what she wants.
She tells him it isn’t about the baby!
Kate swims back to shore, as Richard tells a returning Jon not to let Kate get under his skin, and explaining about women: “They get married, and sooner or later, the next thing they want is babies and everything else that goes with it …”
Jon asks when he’s leaving Kate, and then things begin to get ugly. After Richard hears about Jon’s slimy behaviour, screwing his wife behind his back, the competitive males stage a fight for Kate’s affections.
Kate says she needs to be alone for awhile, and Jon tells Richard to tell Kate what he told him - “tell her or I will!”
Richard still can’t admit to Kate about Carla, saying instead: “I was going to take you to Europe for six weeks. But you can drop dead now, okay!”
Jon: “Bullshit! You told me you were going to leave her, you coward!”
Richard: “Is this what this bastard told you to get you into bed?”
The men fight with a paddle, and Kate demands Richard move his car so she can get out.
As Kate drives away, the fight sprawls into a cactus plant, and then the men bond as they patch their wounds with healing cream.
While a forlorn Kate contemplates Pittwater, Jon and Richard get drunk on XXXX, and as Jon plays the piano, Richard plays on a pots and pans drum kit, explaining that his brother was a hot shot drummer but died young.
Kate returns to find the jam session in progress, and later in the bedroom, there’s a truth session between Kate and Richard, as Kate realises there’s someone else in his life.
The phone rings - it’s Carla - but Richard hangs up on her, asking “Does a hormonal imbalance set in when women get babies on the brain?”
Richard goes off to sleep elsewhere, as Carla rings again, demanding he tell her what’s going on.
Storming past Jon strumming his guitar - why don’t you plug yourself into a power point - Richard ends up in the garden hammock with the mosquitoes.
Later, bitten and driven mad by the mossies, he ends up begging Kate to let him back into the room, and they make love.
The next morning Richard is on the phone to gallery manager Phoebe - he wants to arrange a retrospective exhibition of her work.
Phoebe is delighted, and Richard takes Kate breakfast in bed, and then goes for a romp in the water with her.
Meanwhile, Carla arrives, just as Jon arrives with a jeweller (Peter Talmacs) toting a case of diamonds cuffed to his wrist.
Jon offers Kate the sort of diamond studs she never got from her dad for her sixteenth birthday, but Kate says she can’t accept. He offers her all of the case, but Kate reels away.
Carla has headed down to the beach, and Richard knows he’s got a problem.
Jon follows Kate into the kitchen and says she’ll love New York, but she says what happened was a stupid mistake, she was half-drunk and out of her mind.
Jon persists, and as the foursome circle warily, they settle down to a meal in the garden, the Pittwater behind them.
Carla jokes snidely about Kate going to New York with Jon, and then about Richard telling her that Kate’s going to have a baby.
Carla: “Sounds like a very interesting weekend”.
Jon: “Whose baby?”
Carla: “Who knows darling?”
Kate: “Do you enjoy what you’re doing Carla? For the record company, that is ...”
Carla says she loves it - she and Richard work so well together - and a nervous Richard suggests she should be getting back.
Carla: “Why? You three seem to have sorted out your relationship, so I’m just sorting out mine …”
At that point, Kate asks what’s going on, and Richard deliberately spills his food and Jon wonders, “you’re leaving Kate for this bitch?”
Kate is devastated and asks Richard how long he long he’s been sleeping with her.
“Do you want the exact date or will an approximation do?”
Kate tosses wine in his face, as Carla mock applauds with a ‘bravo’.
Kate decides to leave with Jon, as Gus and Ted arrive with a stretch Merc limo.
A forlorn Richard decides not to give up without a fight. He springs into action, collecting some paint and materials and sets off after the Merc.
As Kate drives along, she sees signs spring up on poles alongside the road:
“Kate you’re right”
“I’ve been a jerk!”
And then a big one draped from an overpass:
“BUT I LOVE YOU”
As Kate heads to the airport, Richard’s on the phone to Phoebe, begging for help and saying there’s a lot at stake here, her exhibition and his life.
Phoebe says she can’t possibly organise all that in twenty minutes, but Richard says he’s already arranged everything. “All you’ve got to do is be there.”
Despite her protests, Phoebe turns up at the airport, as the stretch Merc drives up.
Phoebe sets a young girl (Zoe Emanuel) to lead a charge of a horde of young Jon Thorne groupies to besiege the rock star.
As Jon busily signs autographs, and Kate asks what she’s doing there, Phoebe gets in Kate’s ear: “Haven’t I always been there for the big moments in your life? I came to say goodbye.”
Kate: “Richard sent you, didn’t he? Well, it’s not going to work.”
Phoebe: “Oh that’s a terrible thing to say. I think what you’re doing is wonderful. You’re so lucky. Just look at it. Who wouldn’t want to be in your shoes? Imagine being with the man who’s the idol of every teenage girl in the world. (laughs, as we see the happily besieged rock star) Oh, just think of the life you’ll lead. Waiting in hotel rooms, sitting backstage, entertaining his musician friends. Oh Kate, I envy you …Darling, have a wonderful time (she gives Kate a kiss and hug) Of course it’s a shame about the exhibition, but, well, this is much more important than that ...”
That’s when Kate learns about the exhibition and Richard acting as her sponsor, being in love with her work …
Cut to a tinkling wind chime, and to Richard alone in the weekender with a XXXX in hand.
The phone rings, but it’s not Kate, it’s a wrong number.
Music starts as he begins packing, and a Paul Kelly song, “are you lonesome tonight”, begins …
Richard drives off as a ringing phone fades into the distance …
Richard begins the drive back to town, and then spots a figure in a public telephone box.
He pulls over, and reverses back. It’s Kate, hanging up and emerging. Richard offers her a lift, asks where she’s going.
Kate: “Well, where are you going?”
Richard: “Home I guess.”
Kate (smiling): “Me too.”
She tosses a bag in the back, and they drive off into the night, and Kate leans over to kiss him.
Later Richard is pouring out a couple of glasses of Dom, when Kate does a repeat of her underclothes flashing, with a “ta-da” …
Very nice, says Richard, proposing a toast, but Kate says there’s one thing they need to get straight: “You’re going to have to loosen up a bit.”
Richard: “Loosen up? What do you mean, loosen up?”
Kate: “No talking about rock ’n roll and superstars… and another thing …
Richard: “I’ll treat you like you were the …”
Both: “… centre of the universe.”
They kiss and hug, and we hear Kate in V/O:
“And what about that six weeks in Europe?”
Cut to extended shots of a Qantas 747 taking off, as a Paul Kelly song kicks in and end credits roll ...