Act 1 Scene 2 is Queenie's story, and we start with her, as I remember it, in the middle of a fight with Bernard about furniture leaving the house. Now, of course, we have a transition that takes us with Michael's journey out of Jamaica to Britain. We have a transition that takes us into the blitz, into the war. And again, we are using the language of cinema and projection using a lot of found footage, archive footage, to set the scene. And we've been in a hot country and we're going to a cold country, so we bring in a lot of people with big coats. And out of that, we are birthed into Scene 2 and this argument between Queenie and Bernard. Queenie breaks out of it, talk to the audience. And again, you know, we've got somebody saying, "I'm completely in control of this situation, and you think I'm mad because I'm with this crazy person, and why am I with him?" Well, I'll tell you, she's very straightforward, pragmatic, down to Earth, and in control of that story. And she tells us the story until the story catches up with her and Bernard goes off to war. And then we've got the arrival of the three airmen and her surprise meeting with the person who's gonna change her life, which is, of course, Michael, and the direct address promptly stopped. Again, there's a little use of cinema. This was one thing actually, which was not in the original draft of the play, and I knew, as a director, this is the scene where Queenie and Bernard go to the cinema and she decides she's going to break off the engagement. This scene was not in the play, in the original draft, but I just had a memory that it was in the book, and, of course, I'd read the book several times. And so I went back to the book and found this scene and said to Helen, "Look, any chance of getting the cinema in here? Because it will just strengthen the use of. ." And she immediately said, "Yes, no problem." And rewrote it immediately. And I absolutely love that scene because, of course, it gives me another chance to play with the idea of love, what you give up in your pursuit for what you really want. And we've got, of course, on the cinema that Queen and Bernard are at, you've got this ridiculous Hollywood love scene of these two actors in the style of what we were told love was about at that time. You know, you go and see really complex movies now. Television's really great and complicated and there's huge amount of it. In those days, there would be one movie playing at the cinema, and it probably would set up the idea of a love story like you see in that one. And, of course, that's the opposite of what Queenie's feeling. So, again, the use of the cinema and projection within that. The other thing, you know, that was always a little bit unfair on Hortense, if I'm honest, is the fact that there's a lot more gags in it. There's a lot more fun to be had. There are the characters that come into it, Arthur and Queenie's auntie. These are very funny characters, and it gave us a chance to have a lot of fun with the sweet shop and with her death, with all kinds of things. And, of course, Bernard also, you know, he becomes a tragic character later on, but he's quite a ridiculous character when you meet him. So, tracking the humor through Scene 2 is quite an interesting aspect of it. And, again, you know, how do you create, how do you do a bombing, you know, in a stage without throwing an awful lot of effects at it? And this is where, again, the use of video can work very closely with what you're doing in a live way. We had actors on stage who were moving, but we also had shadows. And shadows are another theme that runs all the way through our use of projection, video projection. So, you'll have shadows, huge shadows being blown at the wall when the explosions happen, And we also added in some props, so coats would fall down from above. So, you've got three things going on, which give the idea of much more action than is actually going on on stage. If you took one of them away, you'd think, "Oh, this isn't very effective." So, Scene 2 is, again, a useful way of looking at what are the layers that can give you the effect that you want the audience to feel.