Burton is drunk again and explaining to the barmaid about astral projection.
It’s Friday night and the tiny, one-room pub is half empty. Burton is telling the barmaid about the impossibly thin thread that ties her to this mortal realm, and about the wonders we could all experience if we could only shake ourselves loose of our attachment to this mundane version of reality.
‘Dawn breaks behind the eyes,’ he tells her – he’s quoting now, his hand on hers, leaning across the bar, and, oh, that voice – ‘From pole of skull and toe, the windy blood slides like a sea…’
It’s not the first time he’s used this approach. It may not even be the first time with this particular barmaid. In the three weeks they’ve been filming in this forgotten town in the middle of the marshes, the twenty-five-year-old Burton has managed to seduce two schoolgirls, a postmistress, a fifty five year old widower, a landlord’s wife – and at least four barmaids. He’s also started five fights, crashed two cars, been banned from three pubs and performed Hamlet at four in the morning to a field full of surprised cows. Read the rest of this entry »