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The Horses Mouth (1958)
Transcript
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00:04:23 Hey, Mr. Jimson!
00:04:25 [Music]
00:04:28 My bike! Bring it back! My bike!
00:04:31 Stop thief! Stop thief! Stop thief! Stop thief! Stop thief! Stop thief!
00:04:43 No, no, no. It's all right. He's not a thief. He's a friend of mine.
00:04:51 You've started getting stop thievery innocent people.
00:04:54 I never did.
00:04:55 Then you'll find yourself in hot water.
00:04:57 Now be off with you and pull your socks up.
00:04:59 [Music]
00:05:24 Don't hurry away. Stay till after.
00:05:26 [Music]
00:05:55 That's a real foot.
00:05:57 No one ever painted a foot like that before.
00:06:00 It's a leggy leg, all right.
00:06:03 That leg could talk, you would say.
00:06:06 I walk for you. I run for you.
00:06:11 I kneel for you.
00:06:14 But I keep myself respect.
00:06:20 That's it.
00:06:22 That's where it went wrong.
00:06:25 A white eye, that's the feel of it.
00:06:28 [Music]
00:06:57 [Music]
00:07:24 Mr. Hickson's house. Hello.
00:07:27 May I speak to Mr. Hickson, please?
00:07:29 Who shall I say?
00:07:31 The president of the Royal Academy.
00:07:33 Will you please hold the line, sir?
00:07:35 [Music]
00:07:47 The telephone, sir. The president of the Royal Academy.
00:07:51 Hickson speaking.
00:07:53 This is the president of the Royal Academy.
00:07:56 I understand you are in possession of...
00:08:00 He's out again, Robert. Stand by the other phone.
00:08:02 We may need the police.
00:08:05 Hello, hello. Are you there?
00:08:07 Is that you, Jemson?
00:08:09 Oh, certainly not.
00:08:10 I wouldn't touch the fellow with a dung fork.
00:08:13 But Mr. Jemson is destitute.
00:08:17 If Mr. Jemson is destitute, it's entirely his own fault.
00:08:21 And he will accept your personal check for 250 pounds.
00:08:29 I'm sure he would.
00:08:31 But I don't owe him anything.
00:08:33 If this check's not in Mr. Jemson's hands by tomorrow morning,
00:08:36 he fully intends to burn your house down and cut your tribes out.
00:08:40 [Music]
00:09:02 Mr. Hickson's house?
00:09:04 This is the Duchess of Blackpool.
00:09:08 I wish to speak to Mr. Hick...
00:09:11 One moment, Your Grace.
00:09:19 Who is it now?
00:09:21 The Duchess of Blackpool, sir.
00:09:23 Get the police and have the call traced.
00:09:25 I took the liberty of doing that on the previous call, sir.
00:09:28 He should be intercepted at any moment.
00:09:31 Yes?
00:09:32 This is Her Grace, the Duchess of Blackpool.
00:09:41 Can you hear me?
00:09:42 Very clearly, indeed.
00:09:45 Dear Mr. Hick, I am chairwoman of the Gunny Jemson Mural Committee.
00:09:53 We have got to raise 5,000 pounds...
00:09:59 to enable Mr. Jemson to carry out his three great projects for the nation.
00:10:07 The fall of the land, the raising of Lazarus, and the last judgment.
00:10:14 Mr. Jemson?
00:10:15 No, that's my first cousin, once removed.
00:10:17 An artist who's always getting into trouble with the police.
00:10:19 He just went up the road. Shall I call him back?
00:10:22 Have you just sent a telephone message of a threatening character to Mr. Hickson at Portland Place?
00:10:27 I only said I'd burn his house down and cut his liver out.
00:10:29 No, look, he doesn't want to prosecute, but if you go on making a nuisance of yourself...
00:10:33 well, he's going to have to take steps.
00:10:35 Would he rather I cut his liver out without phoning?
00:10:37 Now, come now, Mr. Jemson. I mean, put yourself in his place.
00:10:39 I wish I could. It's a very nice place.
00:10:42 Just a minute.
00:10:45 Do it again.
00:10:47 And you're for it.
00:10:49 (Birds chirping)
00:10:52 (Music)
00:11:15 That's better. A good bash and you'll get what you want out of life.
00:11:19 That's been my experience.
00:11:21 Now, what was it?
00:11:22 The usual.
00:11:23 They tried religion on me as soon as they saw what I was going to look like.
00:11:27 They always tried on the flatfoot squires, but I had my pride.
00:11:31 It's not fair of God to make a girl and give her a face like mine.
00:11:34 No religion for Koki.
00:11:36 I'm a primitive meself, but I'm not one of the strict ones.
00:11:39 Now, my missus is a peculiar.
00:11:41 She is strict.
00:11:43 Wind shifted. Gone round to the east.
00:11:46 Any messages for me? Letters, parcels, invitations?
00:11:49 Proper nipping, that breeze. Red noses tomorrow.
00:11:52 So you're out. I thought it was Friday.
00:11:54 A nice fool you made of yourself, uttering menaces at your age.
00:11:57 I got a mistake, Koki. Half a mild.
00:11:59 I got thinking how I'd been done and it made me mad.
00:12:02 You were lucky to get off with a month.
00:12:04 I rang him again this morning, wanted to give him a little fright.
00:12:07 I suppose you're proud of yourself.
00:12:08 I put it on the slate, Koki, and lent me 50 quid.
00:12:10 Don't be silly.
00:12:11 I'll take 40, then. I've got to get back to work.
00:12:13 What about the 4 pounds 9 and 6 you already owe me?
00:12:15 I've not been in a position to earn it, Koki.
00:12:17 You never are.
00:12:18 My boy is in a good position.
00:12:20 10 pounds a week at the gasworks.
00:12:22 Not like me daughter. She's deaf. Runs in the family.
00:12:25 Look, we'll do a deal, Koki.
00:12:27 Lend me 32, Bob. Add on the price of the beer and we'll say that I owe you 6 quid.
00:12:30 Not bloody likely.
00:12:31 I've got security.
00:12:32 I've heard that before, too.
00:12:33 Same again, miss, please.
00:12:35 Cross me hard. Listen to this.
00:12:36 It's the girls that get it, not the boys.
00:12:39 The boys have ears like water rats.
00:12:41 I'd rather be blind than deaf.
00:12:43 Not that I haven't had enough trouble with my earache.
00:12:45 Dear Gully Jimson, you will excuse, I hope, my temerity in writing to you.
00:12:50 Well, read it yourself.
00:12:51 Who's it from?
00:12:52 A. W. Alabaster.
00:12:53 Secretary to Sir William Beader, the millionaire.
00:12:56 Sir William wants to buy some of my early works. Go on, read it.
00:12:59 I'd rather be deaf myself. I likes to see the world.
00:13:02 You can do without the talk.
00:13:04 Shut up. Shut up.
00:13:05 They are extremely interesting.
00:13:06 He's a millionaire, Koki. You can trust him.
00:13:08 All that letter's worth 15 bob. Come on, I've got to get paints.
00:13:11 What are you going to do about this?
00:13:12 I haven't time to do anything about it.
00:13:14 Sir William Beader offers you 500 pounds for one of your early pictures
00:13:17 and you haven't got time to do anything about it?
00:13:19 I haven't got the pictures, Koki.
00:13:21 When Sal left me, she took them with her.
00:13:23 Where?
00:13:24 To my old friend, Hickson.
00:13:26 She ought to be hung on oaks.
00:13:27 Where have you been all the day, Billy boy, Billy boy?
00:13:31 Where have you been all the day, my Billy boy?
00:13:35 You and me's going to pay a little call on, Mrs. Jimson.
00:13:37 Oh, she's Mrs. Mundy now, Koki.
00:13:39 Whatever she calls herself, she's not going to make a fool out of you
00:13:42 and she's not going to make a fool out of me.
00:13:44 I want my four pounds, nine and six and we'll go tomorrow morning.
00:13:47 You can keep the rest of the 500.
00:13:49 Suits me.
00:13:51 Can you let me have five bob on a cup?
00:14:04 And me Nancy tickled me fancy, oh me darling Billy boy.
00:14:09 Disgusting, I call it.
00:14:23 How did you get in?
00:14:25 Through the hatch.
00:14:26 It's disgusting what they've done to your picture, Mr. Jimson.
00:14:29 They've ruined it.
00:14:30 I can patch it.
00:14:31 It's the little air gun holes that are the nuisance.
00:14:34 They've written names all over Eve, Mr. Jimson.
00:14:38 Mr. Jimson's just gone out.
00:14:40 He saw you coming.
00:14:42 I brought you some coffee and sausage rolls.
00:14:45 Don't they ever give you any homework?
00:14:47 It's the holidays.
00:14:48 If you want to get that scholarship and go to Oxford and get into the civil service
00:14:52 and be a great man and have two thousand pounds a year
00:14:55 and a nice wife and a kid with real eyes and open and shut,
00:14:58 go home and work.
00:15:00 It's nice and hot, Mr. Jimson.
00:15:02 There's sugar in it.
00:15:03 Mr. Jimson won't be back for some time.
00:15:05 I'll drink it for him.
00:15:06 Now go home.
00:15:08 I want to be an artist.
00:15:23 I want you to help me.
00:15:25 Of course you want to be an artist.
00:15:26 Everybody does once.
00:15:28 But they get over it.
00:15:29 Like measles and chickenpox.
00:15:31 But there have to be artists.
00:15:32 And lunatics too.
00:15:33 But why go and live in an asylum before you're sent for?
00:15:36 I don't want to bother you, Mr. Jimson.
00:15:39 But I don't know any other real artists.
00:15:42 I'll tell you a secret.
00:15:43 Jimson never was an artist.
00:15:46 You know what the critics said about him in the 1920s?
00:15:49 They said he was a nasty young man who tried to advertise himself
00:15:52 by painting and drawing like a child of six.
00:15:54 And since then he's got worse.
00:15:56 But they always say that, don't they?
00:15:58 Sometimes they're right.
00:16:00 Now, Jimson's papa was a real artist.
00:16:05 He painted noses in the right place.
00:16:08 He got into the academy, worked 16 hours a day for 50 years,
00:16:13 and died a pauper.
00:16:15 But he went on painting.
00:16:17 You're mad! You're deputy! You're out of your mind!
00:16:19 You're off your luck! Get out of here, quick!
00:16:21 You ought to do something sensible, like shooting yourself!
00:16:25 But don't be an artist!
00:16:34 [sighs]
00:16:37 [footsteps]
00:16:47 [music]
00:17:03 Skip out the board!
00:17:05 Let go forward! Let go aft!
00:17:09 [whistle]
00:17:15 [music]
00:17:24 No hawkers, no circulars.
00:17:26 Beware of the dog.
00:17:29 Oh, fine old mess.
00:17:31 I tried putting in little white fish, but that wouldn't work.
00:17:33 You ready?
00:17:35 For what?
00:17:36 That ex-wife of yours.
00:17:38 I'm busy.
00:17:39 You put that down and come with me.
00:17:41 Tomorrow, cookie.
00:17:44 Some other time.
00:17:49 Oh, look at Adam's old knob of a shoulder.
00:17:52 Like a lump of meat.
00:17:54 Call that a man, I call it a dwarf.
00:17:56 Why'd you do it with Egg?
00:17:58 No, it's got to be today. I got the morning off on purpose.
00:18:00 Come on, get your hat on.
00:18:06 Sarah Mundy, Hicks and Beda, and my four pounds fourteen and six.
00:18:15 I admire you, cookie.
00:18:17 Obstinate as a mule, aren't you?
00:18:19 Yes.
00:18:20 So, Sarah Mundy.
00:18:22 [music]
00:18:33 Where did you pick her up?
00:18:34 Is there a place for these models, or did you pick her up off the street?
00:18:37 Oh, she wasn't a model, and I didn't pick her up.
00:18:40 She was a married woman, and she picked me up.
00:18:42 Disgusting.
00:18:43 Poor regular man-eater, Sarah, when I first knew her.
00:18:46 Just getting up in the thirties, and full blast on all cylinders.
00:18:50 Don't tell me about her. I can see her. Which house is it?
00:18:53 Oh, search me, but I bet you five bob it's the one with the brightest polished door knob.
00:18:57 Dickie?
00:18:58 Great Scott.
00:19:00 Dickie?
00:19:01 It's the old dreadnought herself.
00:19:06 Why, it's not you, girly.
00:19:09 No, I'm Mr. Foster from Gloucester.
00:19:11 Well, isn't that nice?
00:19:13 You haven't seen a little boy with a ginger moustache coming along the street.
00:19:16 You might have heard him cough.
00:19:18 Excuse me, Mrs. Mundy. I'm Miss D. Coker, a friend of Mr. Jimson's,
00:19:22 and we want a few words with you, and not in the street, if you please.
00:19:26 Certainly, Miss D. Coker. Please come inside.
00:19:37 Excuse things as they are, but I wasn't expecting visitors so early.
00:19:41 And I never expected to see you, girly.
00:19:43 You gave me quite a turn.
00:19:45 Do sit down. Excuse me.
00:19:49 Dickie?
00:19:50 I don't want any drinks from you.
00:19:51 Excuse me being so rude, but I'm so worried about my little boy.
00:19:55 My husband's little boy, I should say.
00:19:57 We came on business. We'll stick to that, if you don't mind.
00:20:00 That's right. I'll just see how the kettle is.
00:20:07 Don't sit down, Mr. Jimson.
00:20:09 If you sit down in her house, it'll all come out against us in court if we have any trouble.
00:20:13 I know her sort.
00:20:14 You don't know Sarah, Cokie.
00:20:17 She's got better tricks than that.
00:20:20 Oh, dear, I get so short of breath since I had flu.
00:20:22 Excuse me leaving you like that, Miss Coker.
00:20:25 Kettle won't be a moment. Then we can have some tea.
00:20:27 Do sit down.
00:20:28 We've come about the pictures painted by Mr. Jimson here that you sold to Mr. Ixson.
00:20:32 That's right, Miss Coker.
00:20:33 Well, I don't call it right. I call it robbery.
00:20:35 That's right.
00:20:37 Why, gully, it's a real pleasure.
00:20:41 Of course, Mr. Ixson said the pictures weren't properly finished.
00:20:44 And we owed a lot of money all round.
00:20:46 Then Mr. Jimson left me, and I didn't know when he was coming back.
00:20:50 And of course, when Mr. Ixson said he'd pay all the debts, I was in such a whirl, I didn't know how to say no.
00:20:57 But you didn't think my pictures were worth toms anyway.
00:21:00 Oh, yes, gully. I always thought you were a lovely artist.
00:21:04 It's just like old times.
00:21:06 How well you look.
00:21:08 Oh, come off it, Sal. We're both tottering into the grave.
00:21:11 Oh, you may well say that of me, gully.
00:21:14 But he doesn't look a day older.
00:21:16 What a pity my husband's on duty this morning.
00:21:18 He would like to have seen you.
00:21:20 You old foal.
00:21:23 Why don't you stand up to her? She's twisting you round her little finger.
00:21:26 Not me. I know her game.
00:21:28 Not but what you can't get right down in the dirt if you want.
00:21:31 But I don't care.
00:21:32 As long as I get the evidence she stole those pictures, and I'll get my four pants, 14 and 6.
00:21:38 Excuse me, Miss Coker, offering you cake with a slice out.
00:21:42 But the truth is little Dickie keeps pestering me, poor mite.
00:21:45 And he's got such a bad cough, I just gave him a piece.
00:21:48 I notice you keep off the subject of Mr. Jimson's pictures.
00:21:51 That's right.
00:21:52 Well, will you sign a paper to say that Mr. Jimson didn't ought to have been swindled out of his legal property?
00:21:57 That's right.
00:21:58 Oh, dear. No sugar.
00:22:00 I can't get over seeing you again.
00:22:04 Dickie!
00:22:07 Dickie!
00:22:09 Dickie!
00:22:11 Excuse me, Miss Coker.
00:22:13 I could have sworn I heard Dickie cough just now.
00:22:16 And how are the paintings going, Gally? Nicely?
00:22:19 And how are your poor legs?
00:22:21 Bent.
00:22:22 And how you really sound.
00:22:24 I can see Mr. Watts' name and present owner, Mundy, takes good care of valuable property.
00:22:29 As we came on business, perhaps we'd better get on with it.
00:22:32 There were 19 canvases and 300 drawings.
00:22:35 No, there were only 18.
00:22:37 Where's the other one?
00:22:38 I don't know. I never could find it.
00:22:40 It must have got lost.
00:22:41 It wasn't the one you liked so much, of yourself on the bed.
00:22:44 You were always taking a peep at it.
00:22:47 Admiring yourself in your skin.
00:22:50 Well, I must say I never had any trouble with my skin, like some people.
00:22:54 Oh!
00:22:55 I thought I was bitten.
00:22:57 Excuse me, Miss Coker.
00:22:58 You'll never know the trouble I'm in.
00:23:00 These nasty little houses, keeping them off the furniture.
00:23:03 Sign here, Mrs. Mundy. We've wasted enough time.
00:23:06 Oh, you brought a pen.
00:23:08 How thoughtful of you.
00:23:09 I was worried about not having a proper pen.
00:23:12 You're signing for 19 pictures and you only gave Ixson 18.
00:23:16 That's right.
00:23:17 You don't care what you sign, do you?
00:23:19 You've always got something up your sleeve.
00:23:21 That's right.
00:23:22 Thank you, Mrs. Mundy.
00:23:23 That's all we require.
00:23:25 Come on, Mr. Jemson.
00:23:26 We're off to Mr. Ixson.
00:23:27 Ixson's gone.
00:23:28 Mr. Jemson, we're off to Mr. Ixson.
00:23:30 Ixson? Oh, no, Cokie, not this morning.
00:23:31 I've had enough. I'm not interested.
00:23:33 Maybe you're not, but I am, and you've got that millionaire to see.
00:23:36 Ow!
00:23:37 Oh!
00:23:38 Oh, there you are.
00:23:41 This is Dickie.
00:23:42 Where have you been, you bad boy?
00:23:45 Say, how do you do to the gentleman?
00:23:46 This is Mr. Jemson. He's an artist.
00:23:48 Since when?
00:23:49 You've never seen a real artist before, have you?
00:23:52 You've got the right idea, son.
00:23:55 Why don't you bite me?
00:23:56 That's the way you treat strangers.
00:23:58 Make them respect you.
00:24:00 Are you coming or are you not?
00:24:01 No, I'm not.
00:24:02 You'll get a crack from me if you don't.
00:24:04 I hope she looks after you properly, Gully.
00:24:08 She? She doesn't look after me.
00:24:10 I'm me own man.
00:24:13 Are you coming or am I going?
00:24:15 Goodbye, Gully.
00:24:17 You look so young, I...
00:24:19 I can't get over it.
00:24:25 Is that her?
00:24:26 Well, if I said I was surprised at you, Mr. Jemson, it wouldn't be true.
00:24:33 I see too many dirty old men and some of them didn't know better.
00:24:36 But pinching...
00:24:37 It was only a howdy-do.
00:24:39 With an old acquaintance, you're my steady.
00:24:42 Not me.
00:24:44 I'm nobody's steady but my own.
00:24:48 (HORSE GALLOPING)
00:24:50 Miss Deacoker, Mr. G. Jemson, to see Mr. Hickson on business.
00:25:06 I will inquire if Mr. Hickson is at home.
00:25:09 Will you please come this way?
00:25:13 (PHONE RINGING)
00:25:15 I should have phoned to see if he was in.
00:25:19 Hickson doesn't put much faith in the telephone.
00:25:22 Wait here, please.
00:25:24 Who was that?
00:25:28 Hickson's man, always in a dark suit.
00:25:30 Well, how could I tell he wasn't a gentleman?
00:25:32 You're not meant to, first time.
00:25:34 Look at this.
00:25:39 I'll pity the poor girl that's got to dust this lot.
00:25:42 Chunky work, but look at the detail.
00:25:44 Nice place.
00:25:46 Nice staff.
00:25:49 Keeps it nice, too.
00:25:52 Come here, Cokie.
00:26:05 (DOOR CREAKING)
00:26:07 Where's your Rubens now? Or your Renoir?
00:26:12 Who did it?
00:26:14 I did.
00:26:15 It's not that Sarah.
00:26:17 What's the matter, who it is?
00:26:19 How could she show herself like that?
00:26:21 It's such a lump, too. It's disgraceful.
00:26:24 It's a work of genius, Cokie. It's worth 50,000 pounds.
00:26:27 It's worth anything you like, because it's unique.
00:26:33 And Hickey's clever enough to know it.
00:26:35 Oh, now this old stuff's worn to shreds.
00:26:37 He wants a nice bit of chintz on that.
00:26:39 Look at my picture, Cokie.
00:26:41 I saw it once.
00:26:42 You didn't think about it.
00:26:44 I know if it was a postcard and some poor chap tried to sell it, he'd get 14 days.
00:26:48 You're missing a big slice of life, Cokie.
00:26:52 Half a minute of revelations worth a million years of no nothing.
00:26:57 Who lives a million years?
00:26:59 A million people every 12 months.
00:27:02 I'll show you how to look at a picture.
00:27:04 Don't look at it.
00:27:06 Feel it with your eyes.
00:27:08 First feel the shapes in the flat, like patterns.
00:27:12 Then feel it in the round.
00:27:15 Feel all the smooth and sharp edges.
00:27:18 The lights and the shades.
00:27:21 The cools.
00:27:24 And the warms.
00:27:27 Oh, the jugs look real. I'll give you that.
00:27:30 Now feel the chair.
00:27:32 The bathtub.
00:27:35 The woman.
00:27:37 Not any old tub or woman, but the tub of tubs and woman of women.
00:27:44 I suppose there's some sense in it.
00:27:46 Oh, I know you're clever.
00:27:48 Do you think I'd have any patience with you if you weren't?
00:27:50 I'd shove you in the first dustbin.
00:27:52 I'm trying to teach you something.
00:27:54 What?
00:27:55 A great happy thing.
00:27:57 Looking at a big fat totty in a bathtub. Do you think I'm a dirty old man?
00:28:00 Jemson, I don't know what you've come for,
00:28:03 but if you and this lady intend to make trouble...
00:28:05 Oh, no, Hickey. Coker's very law-abiding.
00:28:08 She has an artistic way of expressing herself, that's all.
00:28:11 Miss Coker, Mr. Hickson.
00:28:13 Pleased to meet you, sir.
00:28:15 Mr. Hickson, this morning, me and Mr. Jemson...
00:28:17 Please sit down.
00:28:24 Well, this morning, me and Mr. Jemson
00:28:27 called at the house of Mrs. Jemson,
00:28:29 that was and now calls herself Mrs. Mundy.
00:28:32 Miss Coker, Jemson owed me a large sum of money,
00:28:35 some 400 pounds.
00:28:37 Mrs. Jemson offered me 18 canvases in settlement of this debt.
00:28:41 I accepted her offer.
00:28:43 Oh, as I understand it, there were 19.
00:28:45 Well, Mrs. Jemson... Oh, I beg her pardon.
00:28:47 Mrs. Mundy kept one for herself.
00:28:49 I'm afraid I'm not going to be able to pay her back.
00:28:51 I beg her pardon. Mrs. Mundy kept one for herself
00:28:54 for sentimental reasons.
00:28:56 Did you hear that, Mr. Jemson?
00:28:58 I heard.
00:29:00 Now you had 18 pictures for 400 pounds,
00:29:03 and that one's worth 50,000 pounds by itself.
00:29:06 Hardly. Perhaps someday.
00:29:09 All I can say is that I wouldn't take 5,000 for it.
00:29:12 Well, it's bare-faced robbery.
00:29:14 Mr. Jemson, where are you?
00:29:16 Improving myself.
00:29:18 Appreciating the rare and the beautiful.
00:29:20 Well, come here at once.
00:29:22 Madam, I don't think you quite understand the position.
00:29:25 In all, Jemson has had some 3,000 pounds from me.
00:29:30 Apart from various loans,
00:29:32 I have given him 2 pounds a week
00:29:34 without any obligation whatever
00:29:36 for some considerable time.
00:29:38 You old fraud.
00:29:40 3,000 pounds, and you said he'd robbed you.
00:29:43 That's what you said, Cokie.
00:29:45 What I said was that he got my pictures cheap.
00:29:47 You've been telling a lot of lies
00:29:49 and borrowing money under false pretenses.
00:29:51 Please, please, don't let's have any argument.
00:29:54 I'm quite prepared to resume Jemson's allowance,
00:29:57 provided that he promises not to ring me up.
00:30:00 I'm an old man, Jemson,
00:30:02 and I don't very much mind if you murder me,
00:30:05 but I cannot stand all this telephoning.
00:30:07 It upsets the servants, and they give notice.
00:30:10 I hadn't thought of that.
00:30:12 I must have servants.
00:30:13 I'm used to them, and I can afford to pay for them.
00:30:16 And they probably wouldn't mind working here
00:30:18 if it wasn't for you.
00:30:19 May I have a word with you, sir?
00:30:21 In private. It's rather urgent.
00:30:23 Certainly, Robert.
00:30:25 Excuse me a moment.
00:30:27 What's going on?
00:30:34 It's a conference between master and man.
00:30:37 They're deciding who does the work.
00:30:40 He's telephoning.
00:30:45 Have you been up to anything in there?
00:30:47 What have you got in your pockets?
00:30:49 I thought you looked a bit bulgy.
00:30:51 You'll go to Toky for years this time, my lad,
00:30:53 and I won't be sorry.
00:30:54 Come on out with them, quick.
00:30:56 Why all the fuss?
00:30:58 I think he doesn't appreciate the stuff anyway.
00:31:01 Don't be silly. That butler's onto it already.
00:31:04 What's this?
00:31:07 I've seen her before.
00:31:12 Oh, I'll give you a good big punch for this.
00:31:14 I'm not going to be seen with a thief.
00:31:16 It's the police he's onto.
00:31:18 I don't believe that.
00:31:21 It's the police, I tell you.
00:31:23 Do you hear anything?
00:31:34 I can't hear a thing.
00:31:38 Well, I can. It's the police car.
00:31:42 (BELL RINGING)
00:31:44 Oh, the treacherous old crocodile.
00:31:49 No, no, no! No, no, no!
00:31:57 Up here, boys!
00:32:00 They're starving an artist to death.
00:32:03 No, no, no!
00:32:10 The police, Roberts. Let them in.
00:32:12 I don't see why they have to break the window.
00:32:15 Murder! Murder!
00:32:21 (SCREAMING)
00:32:23 She's killing me!
00:32:26 (SCREAMING)
00:32:28 No! No!
00:32:30 The kitchen, Roberts. The kitchen.
00:32:34 In the passage.
00:32:38 And I'm giving a month's notice.
00:32:40 Good morning.
00:32:53 I'm the gas man and this is my daughter, Gladys.
00:32:56 Oh, I wasn't expecting you. The maid is in the pantry.
00:33:00 (SCREAMING)
00:33:02 I say, you two, this tax is taken.
00:33:18 I'm Dr. A. W. Alabaster, in a hurry.
00:33:20 Taking this lady to St. George's Hospital.
00:33:23 I'm not going through with it, Mr. Jemson.
00:33:25 There's nothing the matter with me.
00:33:27 Pay no attention, gentlemen. She's a little over-wrought.
00:33:29 Hey, driver! Don't fool with a man at the wheel.
00:33:31 If you two have been up to any hanky-panky, we'll call the police.
00:33:34 She's not a girl for hanky-panky, I assure you.
00:33:36 And the police know all about us.
00:33:38 Don't they, Gladys?
00:33:40 I've heard enough. Here's your letter.
00:33:42 You go and see your millionaire on your own.
00:33:44 And don't forget the money you owe me.
00:33:46 And send it registered. I don't want to see you again, ever.
00:33:49 Shop treatment. That's what she wants.
00:33:52 Oh, excuse me.
00:33:56 Mr. William and Lady Beda. Chatfield Court. Thank you.
00:34:00 We've passed it.
00:34:03 And every space as small as a globule of man's blood,
00:34:20 such as this we now occupy,
00:34:22 opens into eternity.
00:34:25 A quote from old man Blake.
00:34:27 Are you sure Sir William and Lady Beda are expecting you?
00:34:30 Expecting me? They're down on their knees praying for me.
00:34:33 Top floor.
00:34:36 6B, on the left.
00:34:42 What are you waiting for? Think I'm going to walk off with the door?
00:34:53 I beg your pardon. I thought I heard the bell.
00:34:55 Are you the butler here?
00:34:57 Hardly. I'm Sir William Beda's secretary.
00:35:00 What can I do for you? Are you lost?
00:35:02 No. Now don't tell me I'm psychic.
00:35:05 You are A.W. Annabaster, the very man I want.
00:35:09 You have the advantage on me.
00:35:10 I'm Dudley Jimson, the world-renowned painter.
00:35:12 Mr. Jimson. Forgive me. I should have recognized you.
00:35:15 Yes, I'm Annabaster. Do come in.
00:35:17 It's all right, Hodges.
00:35:19 You understand we do have to be a little careful.
00:35:21 Let me take your hat.
00:35:23 What is it, Mr. Jimson? Are you unwell?
00:35:34 That wall.
00:35:36 It's rather bare, I'm afraid.
00:35:38 Lady Beda's just had the tapestry removed for renovation.
00:35:41 That's the wall I want. I've dreamt of a wall like that.
00:35:46 I see it. I see it.
00:35:50 The Raising of Lazarus.
00:35:53 A yellow pair of feet, long and stringy.
00:35:59 A black pair, huge and strong.
00:36:02 A child's feet, pink with nails like polished coral.
00:36:06 An old pair with wobbly toes, curled into the dust.
00:36:10 I'm afraid Lady Beda...
00:36:11 Oh, Lady Beda down in this corner, in the nude, laughing with pleasure.
00:36:14 Sir William...
00:36:15 Sir William down there, dead drunk, asleep,
00:36:18 unaware of the miracle that's taking place.
00:36:21 Sir William and Lady Beda are out. They'll be back shortly.
00:36:24 It would be great, Alabaster.
00:36:25 Of course, Mr. Jimson. Do let me give you some tea.
00:36:28 The servants are darned endorsed.
00:36:30 Or perhaps you'd prefer something stronger.
00:36:32 Brandy.
00:36:33 Well, it's lucky you're dropping in like this today.
00:36:35 The Beda's leave for Jamaica tomorrow morning, and I go with them.
00:36:38 Six weeks of sunshine.
00:36:39 I take it you have a picture for them. They'll be delighted.
00:36:42 How much will they pay for this delight?
00:36:44 Well, that depends, of course.
00:36:45 In your letter, you said they'd pay handsomely.
00:36:47 Well, I'm sure they will, for the right picture.
00:36:49 Something similar in style, perhaps, to the woman in the bath.
00:36:52 They've always admired it so much.
00:36:54 Friends of Hickson's, are they?
00:36:55 They dine together almost every week.
00:36:57 The world is too small, Professor.
00:36:59 But I know where I can find another picture of mine of Sal, the lady in the bath.
00:37:04 Sir William will be thrilled.
00:37:05 And I'll only ask 7,000 for it.
00:37:07 Well, they're great patrons of the arts, but they might think that a bit steep.
00:37:11 Millionaires, aren't they?
00:37:12 If they want culture, they pay.
00:37:14 My dear Mr. Jimson, Sir William and Lady Flora are most cultured people.
00:37:18 Oh, I bet they are.
00:37:19 Who are the most enlightened people in the world? The rich.
00:37:22 I love millionaires.
00:37:24 7,000 is my price.
00:37:26 But I'll tell you what.
00:37:28 I'll paint this wall and throw it in, free, greatest and for nothing.
00:37:34 A raising of Lazarus, it'll make your hair stand on end.
00:37:38 Thank goodness that's that.
00:37:39 We've done our last minute shopping and we're dead.
00:37:42 Good afternoon.
00:37:44 Lady Beda, this is Mr. Gully Jimson.
00:37:46 You remember you instructed me to write to Mr. Jimson about a painting.
00:37:49 He's just called.
00:37:50 How do you do?
00:37:52 Enchante.
00:37:53 Sir William, Mr. Jimson.
00:37:54 How do you do?
00:37:56 We are most honored, Mr. Jimson, I assure you.
00:37:59 Your Ladyship, I saw you in the nude, squatting down by that wall, laughing merrily.
00:38:05 But now I see you clothed rather foolishly, clasping a cornucopia from which you're distributing uselessly.
00:38:11 Distributing useless gifts to the poor.
00:38:13 Mr. Jimson's been telling me of his unusual ideas for a wall painting.
00:38:16 That wall.
00:38:17 Yes, well, it was a picture we wanted from you, Mr. Jimson.
00:38:19 Something quite small that we could hang in our country house.
00:38:21 You shall have both.
00:38:22 Oh, I'm sure that might be delightful.
00:38:24 But you see, we are just off for our winter holiday, flying tomorrow morning.
00:38:27 And I really don't think we can come to any decision before we are back.
00:38:31 Mr. Jimson has a picture.
00:38:32 Oh, how exciting.
00:38:34 I see you have finished your drink on the glass.
00:38:37 Yes, well, now we could see it, no doubt, and I'll return.
00:38:39 I'm not sure about that.
00:38:40 The Archbishop of Canterbury is most anxious to have it.
00:38:43 Lady Beda and Lady Flora.
00:38:46 I think you and Sir William, Sir Willie, Sir Bob, are two of the nicest people I've ever met,
00:38:53 and I shan't hesitate to diddle the Archbishop.
00:38:55 You shall have the picture.
00:38:56 I think we'd better leave details until much later.
00:38:58 Well, I think that's simply enchanting of you.
00:39:01 We're very fond of artists, you know, my husband and I.
00:39:03 My wife does a little painting herself.
00:39:05 Oh, William, you shouldn't say such a thing in front of a professional artist.
00:39:08 Nonsense, my dear.
00:39:09 I'm sure Jimson would love to see your stuff.
00:39:11 He may give you a few tips.
00:39:13 A touch more of the three-star, Professor.
00:39:15 Don't you think, Sir William, it would be better to wait for a proper session when there's plenty of time in life?
00:39:19 Oh, of course.
00:39:20 We have no right to impose on Mr. Jimson.
00:39:22 Arnold, get Lady Flora's portfolio.
00:39:23 Poor Mr. Jimson.
00:39:24 You'll be quite dreadfully bored, I fear.
00:39:27 William, I think I need a little fortification.
00:39:29 My dear, I think I'll have one, too.
00:39:31 How about you?
00:39:32 Well, thank you.
00:39:33 Everything about you, Lady B, gives me confidence.
00:39:35 I know I'm going to like your pictures.
00:39:38 Amateurs do much of the most interesting work.
00:39:44 Lovely.
00:40:13 Only wants a title.
00:40:15 I think the sky's not too bad.
00:40:17 Charmant.
00:40:18 Oh, I'm so glad you like it.
00:40:20 Of course, the sky is just a little bit chancy.
00:40:23 Just a little bit accidental.
00:40:27 Like when the cat spills its breakfast.
00:40:29 I think I see what you mean.
00:40:32 Well, you know, you get skies like that in Dorset.
00:40:34 This artificial light's rather misleading.
00:40:36 A typical Dorset sky, that's my point.
00:40:39 Pure accident.
00:40:40 Oh.
00:40:44 And just look at the wriggle of the mast on the water.
00:40:50 That's technique.
00:40:51 My wife has made a special study of watercolour technique.
00:40:54 Oh, William, you have Mr. Jimson laughing at me.
00:40:57 All you've got to do now, having mastered this technique,
00:41:00 is to forget it, kick your heels and blow it through the keyhole.
00:41:03 I do see what you mean.
00:41:05 You mean that mere cleverness can be dangerous.
00:41:07 The kiss of death.
00:41:08 All this is very clever, pretty, pretty, but is it worth it?
00:41:12 Ask yourself.
00:41:13 Use your loaf.
00:41:14 Do some thinking.
00:41:15 But don't you think--
00:41:16 Of course, I'm not a professional.
00:41:17 A good thing, too, my dear.
00:41:18 Don't you think that the intellectual approach can be dangerous, too, Mr. Jimson?
00:41:24 Now listen to them alabaster.
00:41:26 The poor dears.
00:41:28 The poor so-and-sos.
00:41:30 What do you think I've been doing all my life?
00:41:32 Playing tiddlywinks with little Freddy's colour box?
00:41:37 More brandy, Professor.
00:41:39 And help yourselves.
00:41:40 Let's get stinking.
00:41:42 I'll tell you something straight from the horse's mouth.
00:41:47 You have to know when you succeed and when you fail and why.
00:41:55 Know thyself, in fact.
00:41:57 In short, you have to think.
00:42:01 Yes, we're all very privileged, I'm sure, but--
00:42:06 How about your packing, Lady Beda?
00:42:07 A good idea.
00:42:08 Packing?
00:42:09 You talk of packing at a time like this, when we're getting down to fundamentals?
00:42:14 Fundamentals, now you're talking.
00:42:17 You should meet Mrs. Morton Grange-Waring.
00:42:20 She's always down to fundamentals, isn't she, William?
00:42:22 She has the flat immediately below us.
00:42:24 Then call her up.
00:42:25 Let's have a party.
00:42:27 That is impossible, I'm glad to say.
00:42:29 She's gone to Java to study the dance.
00:42:31 Aye!
00:42:33 Aye!
00:42:34 I have news for you.
00:42:44 I'm going to be just a little bit ill.
00:42:46 Oh, Bob.
00:42:47 No, no, no, no, no, no, no, no, no.
00:42:49 I'm just going to sleep here.
00:42:50 I say you can't do that.
00:42:51 I'll drive you home, Mr. Jones.
00:42:52 My London house is shut up for the winter.
00:42:55 And my aunt has gone zing zing to study the electric chair.
00:43:02 I shall sleep here.
00:43:04 But there are only two beds, ours and Arnold's.
00:43:07 Lovely!
00:43:08 Well, Bob, Bobby will sleep with Al, and I will turn in with you.
00:43:16 I'm 50-odd.
00:43:17 Well, call it 60-odd.
00:43:19 No, no, come here, come here, come here.
00:43:21 So it's unlikely you'll be inconvenienced.
00:43:25 Oh, heavens!
00:43:28 Oh, Arnold, William, what's the situation?
00:43:30 What are you going to do?
00:43:31 What?
00:43:32 Well, we'll push him out in the passage,
00:43:33 and Alabaster can get Hodges to drive him home.
00:43:36 Oh, William, that's out of the question.
00:43:37 Look, Mr. Jensen, he's ill.
00:43:39 We really must look after him.
00:43:40 We'll put him to bed in your room, Arnold.
00:43:42 Oh, really, Flora?
00:43:45 Oh!
00:43:46 And you can spend the night on the sofa.
00:43:54 [BELL RINGING]
00:43:57 [COUGHING]
00:44:19 [MUSIC PLAYING]
00:44:22 Good morning.
00:44:39 Good morning.
00:44:40 Peter's gone.
00:44:41 Hours ago.
00:44:42 Didn't they tell you I was here?
00:44:43 They left a message.
00:44:45 What time is it?
00:44:47 Past 11.
00:44:48 You going now?
00:44:49 I am.
00:44:50 For how long?
00:44:52 Six weeks.
00:44:53 Better leave me the key.
00:45:00 Message says, give key to porter.
00:45:03 Oh, Lady Flora was forgetting that I shall need the key.
00:45:06 I'll give it to the porter when I've finished.
00:45:09 That's not what the message says.
00:45:10 I assure you, Sir Bob and Lady Flora
00:45:13 would be most upset if they thought you'd
00:45:15 left me without the key.
00:45:16 There's the wall to paint.
00:45:18 I can't see it needs painting.
00:45:21 What are your feet like?
00:45:23 Why?
00:45:24 If they're really old, trampled feet, as I suspect,
00:45:27 I'd like to draw them.
00:45:28 Draw your own feet.
00:45:31 Old women's feet.
00:45:33 Thin, flat, long, clinging to the ground like reptiles.
00:45:38 [MUSIC PLAYING]
00:45:42 [MUSIC PLAYING]
00:45:45 Sir.
00:45:56 [MUSIC PLAYING]
00:45:59 Good morning.
00:46:04 Any mail this morning?
00:46:06 I beg your pardon.
00:46:07 If you're leaving now, could I have the key
00:46:09 to Sir William's apartment?
00:46:10 Mrs. Brace has fled.
00:46:11 Her feet had wings.
00:46:13 She left the key with me.
00:46:14 I know that.
00:46:15 I should be needing the key.
00:46:16 I should be staying here some time.
00:46:17 I like the air.
00:46:18 Oh, incidentally, my name is Jimson, Sir Gully Jimson.
00:46:23 Oh, I see, Sir.
00:46:24 O-M.
00:46:25 Oh, well, of course, that's different.
00:46:26 Oh, it certainly is different.
00:46:27 Oh, yes, of course.
00:46:28 If any friends call, set them up.
00:46:30 Very well, Sir.
00:46:31 Just slipping out for some charcoal.
00:46:33 [MUSIC PLAYING]
00:46:39 28 pounds, 12 shillings and sixpence.
00:46:43 Thank you.
00:46:45 Very fair prices for this time of the year.
00:46:47 Thank you, Sir.
00:46:48 May I?
00:46:49 Certainly, Sir.
00:46:50 It's a pleasure to handle merchandise like this.
00:46:52 Oh, it is, isn't it?
00:46:53 One mural, "Raising of Lazarus," plus Sarah on bed, 7,000 pounds.
00:46:59 Advance, 28 pounds, 12 shillings and sixpence.
00:47:03 Balance owing, 6,971 pounds, 7 shillings and sixpence.
00:47:10 [KNOCKING]
00:47:12 A face from the distant past.
00:47:20 One must be businesslike when dealing with millionaires.
00:47:23 I don't have much experience in that line, Sir.
00:47:26 Oh, you will have.
00:47:27 [KNOCKING]
00:47:30 What you trying to say, Nosy?
00:47:32 Oh, you still want to be a painter.
00:47:36 My, uh, bitter self follows me like a whipped dog.
00:47:44 You want to work for me?
00:47:49 Make tea.
00:47:53 It's the kind of face you want to throw a brick at, don't you think?
00:47:56 Would you mind?
00:47:57 Sir, Sir, you're joking.
00:47:59 Scram!
00:48:01 Au revoir.
00:48:03 Arrivederci.
00:48:05 Hasta la vista.
00:48:07 You won't get rid of me by shouting, Mr. Jemson.
00:48:12 Miss Coco told me where to look for you, and now I've found you.
00:48:15 You really want it to be useful, Nosy?
00:48:17 That's right.
00:48:18 Then get me a tiger.
00:48:20 Tiger?
00:48:22 [MUSIC PLAYING]
00:48:25 Tiger, tiger, burning bright in the forests of the night,
00:48:35 what immortal hand or eye could frame thy fearful symmetry?
00:48:41 Not mine.
00:48:45 Did he smile his work to see?
00:48:50 Did he who made the lamb make thee?
00:48:54 Apparently.
00:48:56 Shh.
00:49:00 We should have got something live from the zoo.
00:49:04 I like it, Mr. Jemson.
00:49:06 You like meringues, cream puffs, and candy floss.
00:49:10 I'm sorry.
00:49:13 I should have learned by now it's easy to offend the faith of the little ones.
00:49:17 You don't offend me, Mr. Jemson.
00:49:19 But perhaps I'm not such a little one as you imagine.
00:49:22 I've got eyes in my head, and I like your tiger.
00:49:25 The trouble with you is you're an enthusiast, like my dad.
00:49:29 He'd start painting a picture of a girl on a swing and go right on to the shine on the rose thorn
00:49:35 and the pollen in the lily and then lacquer it.
00:49:38 Me, I like starting.
00:49:41 But I don't like going on.
00:49:44 For me, the tiger's dead.
00:49:48 And the rest is a blank.
00:49:51 What do you see in the blank, Mr. Jemson?
00:49:59 A kind of colored music in the mind.
00:50:03 A glass screen, Lazarus, stiff as an ice man.
00:50:09 My mother bore me in the southern wild, and I am black.
00:50:16 How does it go on? Where's your education?
00:50:19 When I from black and he from white, cloud free.
00:50:23 Freedom, that's it.
00:50:25 Freedom from paintbrushes, from fear of yourself.
00:50:29 Freedom to do or not to do.
00:50:32 Freedom to come and go as you please.
00:50:40 Black, white, yellow, black.
00:50:46 But Sir Jemson, sir, he said he wanted to see me.
00:50:51 How do I know that?
00:50:52 That's what Sir Jemson said, sir.
00:50:54 All right. Go on, use the stairs, top floor, 6B.
00:50:58 Sir Jemson said I wasn't to walk, sir, and not to tie my feet.
00:51:02 Come on, then.
00:51:04 How did you get such feet?
00:51:09 What kind of feet, sir?
00:51:10 Cheeky feet.
00:51:11 I don't know, sir.
00:51:12 What do you do for a living?
00:51:14 I'm a waiter, sir.
00:51:15 Ah, so that's it.
00:51:16 I don't know what you mean, sir.
00:51:18 Salud.
00:51:19 Yum-ho.
00:51:20 Yasu.
00:51:21 Uegishe.
00:51:23 Kampai.
00:51:25 Bundio.
00:51:26 Skol.
00:51:27 You know what would happen if you took off all the waiters' boots?
00:51:30 No, sir.
00:51:31 Their feet would make such rude remarks, the customers wouldn't be able to enjoy their dinners.
00:51:35 Just as you say, sir.
00:51:37 I can only get 18 bob for the teapot, Mr. Jemson.
00:51:40 You've been robbed.
00:51:42 It was a serve.
00:51:43 That fellow at the pawn shop's diddling you.
00:51:45 So I got some turps, and the yellow ochre, and flake white.
00:51:49 Two tubes each.
00:51:50 That leaves ninepence.
00:51:51 Young man, I drink to your gloomy future.
00:51:55 We can no longer afford tea and sugar.
00:51:58 We are reduced to what was known in my youth as bubbly.
00:52:02 Do you want to sign the account book now, Mr. Jemson?
00:52:05 You're my auditor, Nosy.
00:52:07 The financial situation is your concern.
00:52:10 Well, I'm slobbered ass.
00:52:12 It looks as if I shall have to do you in white.
00:52:15 [phone ringing]
00:52:36 You've been wearing shoes.
00:52:39 The feet are like something out of a medical museum.
00:52:42 Everyone wears shoes, Mr. Jemson.
00:52:45 I can't help it.
00:52:47 [phone ringing]
00:52:52 Do you want me to answer the door?
00:52:54 What door?
00:52:56 The bell's ringing, Mr. Jemson.
00:53:03 You move your feet, I'll chop them off.
00:53:06 [phone ringing]
00:53:08 Oh, no, not you.
00:53:13 Remove yourself, Misson.
00:53:15 I heard you'd struck a dritch, Jemson.
00:53:16 You should have told me.
00:53:17 No sculptors for me, thank you.
00:53:19 All bash and no brain.
00:53:21 Go down any coal mine, Misson.
00:53:22 Take your chisel and dig yourself a hole.
00:53:25 Ah, Jemson, that's no way to talk.
00:53:27 We're old friends, share and share alike.
00:53:30 That's our motto.
00:53:31 That's your motto.
00:53:32 Remember the boots I gave you.
00:53:33 They were your father's.
00:53:34 What's all this nonsense?
00:53:36 Papering the wall?
00:53:38 No, you dox, biscuit.
00:53:39 I'm painting a picture.
00:53:41 That looks like a lot of feats to me.
00:53:43 What a crackpot idea.
00:53:44 They'll be putting you away soon.
00:53:46 Who are you?
00:53:47 I'm Lowley.
00:53:48 Oh, get down.
00:53:49 No, you don't, Misson.
00:53:50 That's mine.
00:53:54 Stick out your arm and pull in your wind a bit.
00:53:57 Ah, you'll do.
00:54:00 Look out, Bissell.
00:54:01 You're about to die.
00:54:04 That's fine, just about here.
00:54:06 You won't be in my way.
00:54:09 Ah, she'll come through here very pretty.
00:54:12 Get out, you humbugging rockhacker.
00:54:15 You're not bringing any of your monumental masonry in here.
00:54:17 It's a commission, Jemson.
00:54:19 Real money.
00:54:20 Big stuff.
00:54:23 Take her steady, dox.
00:54:48 Don't repeat.
00:55:02 Don't repeat.
00:55:03 Hold it.
00:55:04 Hold it.
00:55:16 You miserable chump and chancet.
00:55:18 What do you think you're playing at?
00:55:20 Get that rock out of here.
00:55:23 Shut up, Jemson.
00:55:24 This is tricky.
00:55:25 It's all right.
00:55:26 The porter's in the red line.
00:55:27 We're quite safe.
00:55:28 Come on, give me those rollers.
00:55:30 Listen, I'm sending for the police.
00:55:32 Jemson, will you stop larking about?
00:55:35 This is a serious matter.
00:55:37 It's a commission from British Railways.
00:55:40 Let me go, you lout.
00:55:42 Let go.
00:55:44 Let go.
00:55:47 Let go.
00:55:49 Let go.
00:55:51 Let go.
00:55:52 Let go.
00:56:21 Anyone home?
00:56:31 Mrs. Morton-Gray is wearing.
00:56:38 She's gone to Java.
00:56:40 That's all right.
00:56:41 I'll work down there.
00:56:51 Come on, I want to get started.
00:57:00 The light's not so good, but it'll do.
00:57:15 Everything all right, sir?
00:57:16 I had a bump.
00:57:17 Must have been an explosion at the gasworks.
00:57:20 It gave me a terrible shock, sir.
00:57:22 The old ticker's not too good.
00:57:24 Oh, I'm sorry.
00:57:25 I wouldn't bother to come up this far in future.
00:57:32 Pull her up, Mike.
00:57:39 You down there.
00:57:41 I'll only charge you a pound a week for Mrs. One-Nots flat.
00:57:46 Do you hear me?
00:57:51 Another 15 bob, my houseboy will do a little light dusting.
00:57:57 I'll be right back.
00:58:07 Lovely hot stew, Miss Lowley.
00:58:30 I've got cramp, I can't put my hand to my mouth.
00:58:34 Better try all the same.
00:58:42 Oh, buzz off.
00:58:57 Lovely, fiery stew, Mr. Jimson.
00:59:12 He hasn't eaten for two days.
00:59:15 He won't even speak.
00:59:17 Shut up, shut up, shut up.
00:59:19 Who cares if the old fool dies of starvation?
00:59:25 He's thinking.
00:59:28 You're chilly.
00:59:29 Better eat.
00:59:31 Can't.
00:59:32 Let me help you.
00:59:34 Open, open wide.
00:59:37 That's a good girl.
00:59:40 Jimson.
00:59:43 Jimson.
00:59:53 I hear a voice crying in the wilderness.
00:59:57 I'd like your advice.
00:59:59 Just come here a moment, will you?
01:00:11 Just look at this, will you?
01:00:13 Won't you come down?
01:00:15 I'd rather not.
01:00:20 I want to know.
01:00:22 What does it say to you?
01:00:24 It says to me, I'm getting smaller and smaller every day.
01:00:30 Well, it is smaller, of course, but bigger too, in a sense, don't you think?
01:00:35 Tell him it's wonderful, Gully.
01:00:37 Tell him it's not ruined.
01:00:39 I've been in this position for six weeks.
01:00:41 If he keeps me here much longer, I'll be stuck like this for life.
01:00:45 That's a very selfish thing to say, Lowley.
01:00:47 You're quite comfortable.
01:00:48 I'm numb.
01:00:51 Doesn't it say to you, Mother Earth's surrounded by her dead?
01:00:56 It may say that someday, but not yet.
01:01:00 Forgive me, Bisson.
01:01:02 I'm not in a receptive mood.
01:01:05 I've problems of my own.
01:01:07 I'd be grateful if you'd come up here a moment.
01:01:10 Oh, I could do with a stretch.
01:01:12 If I had a stretch, I'd snap.
01:01:14 Quiet, Lowley.
01:01:15 Rest yourself.
01:01:25 It's getting bigger and bigger, in a sense.
01:01:29 What do you mean, in a sense?
01:01:31 Well, it's all filled in.
01:01:33 Any fool can see that.
01:01:35 Frankly, I don't like it.
01:01:36 I asked you up here as a friend.
01:01:38 I didn't ask for your pea-brained opinion.
01:01:40 Too many feet.
01:01:41 I'm telling you, Jimson, for your own good, too many feet.
01:01:44 Get out! Get out, submerged, before I chop your eyes out!
01:01:48 It's a crackpot painting, that's what it is.
01:01:50 Stay down! Where you belong!
01:01:54 Earth and her dead.
01:01:57 Chop off its extremities.
01:01:59 It'll do for a guided missile.
01:02:01 A misguided missile!
01:02:03 Broken old idiot, you'll be a broad more before you know when.
01:02:08 He's mad!
01:02:13 And he's dangerous!
01:02:17 Take a week's notice.
01:02:19 We're going now!
01:02:20 Drunk and insane old fool with a conceit of a devil!
01:02:24 Me, me, me! Arrogant, complacent, filthy old phony!
01:02:35 He's right.
01:02:46 A crackpot painting.
01:03:09 Not what I meant.
01:03:13 Not the vision I had.
01:03:17 Why doesn't it fit?
01:03:22 Like it does in the mind.
01:03:24 Oh, thank you, Hodges, that's fine.
01:03:27 Well, I must say it's good to be coming home.
01:03:32 Oh, William, we've come to the wrong flat.
01:03:34 Hmm? Oh, no, no, six feet, six feet.
01:03:36 This is out, my dear, this is out.
01:03:37 No, but it isn't it.
01:03:41 Praise God.
01:03:44 I can see it, my dear.
01:03:51 Oh, oh, oh!
01:03:54 Sir William, you're sinking, come back!
01:03:56 Oh, oh, oh!
01:04:25 It's the monsoon!
01:04:26 Oh, shut up.
01:04:28 Go away!
01:04:31 I'm not going to let you go!
01:04:34 I'm not going to let you go!
01:04:37 I'm not going to let you go!
01:04:40 I'm not going to let you go!
01:04:43 I'm not going to let you go!
01:04:46 I'm not going to let you go!
01:04:49 I'm not going to let you go!
01:04:52 I'm not going to let you go!
01:04:55 Go away!
01:04:58 Go away, I tell you he's not here.
01:05:01 But he is here, Coco.
01:05:03 Home is the sailor, home is the sea, and the hunter, home from the hill.
01:05:08 I'm not speaking to you!
01:05:10 Well, I'm coming in, out of the rain.
01:05:12 Ah, it's as wet inside as it is out.
01:05:15 What are you doing here?
01:05:16 I told you once I'm not speaking to you, why don't you listen?
01:05:19 I am listening, Cokie.
01:05:20 What are you doing in my studio?
01:05:22 Living here, that's what!
01:05:24 You're welcome.
01:05:26 Why?
01:05:27 Because I've got nowhere else to live!
01:05:29 Because you've got my name in the paper!
01:05:31 Because I was a mugging prostitute, because I lost my job, is that enough?
01:05:36 Why, it's a little bourgeois bunker you've made of it.
01:05:39 It's clean, that's all, but it doesn't float, and when the tide comes up, it comes in.
01:05:43 Where have you been all these weeks?
01:05:45 Staying with my millionaire friends.
01:05:47 They came back today, so I moved out.
01:05:49 I bet you're on the run again.
01:05:51 There's no place for you, let me tell you. The police are after you.
01:05:54 Quite a nice little account they have to settle.
01:05:56 No one saw me come here.
01:05:59 I'll stay a bit.
01:06:01 Where's my picture?
01:06:03 Facing the wall.
01:06:06 It's better like that.
01:06:10 Here, you'll catch a death of cold. Get out of those things.
01:06:13 I've nothing else to wear.
01:06:14 Take them off and get into bed.
01:06:18 Come on, don't stand there shivering.
01:06:20 Do as you're told.
01:06:22 And don't get the wrong idea.
01:06:24 At my age?
01:06:26 I wouldn't put it past you.
01:06:32 Come on.
01:06:36 Well, don't be so modest.
01:06:39 All right, I won't look.
01:06:41 I've never known anyone as bumptious as you. Be so modest.
01:06:51 You ought to be in the workhouse.
01:06:53 You can't put me in the workhouse. I'm a houseboat holder.
01:06:56 Have my socks dried for me, will you?
01:07:05 And my trues.
01:07:09 Heaven help us.
01:07:19 What's this?
01:07:21 My vest and pants.
01:07:31 You can look now. I'm decent.
01:07:40 I'll sleep on the floor if you like. I'm used to it.
01:07:42 That's old talk.
01:07:44 You ought to be in the circus with that muck on your face.
01:07:50 Just hark at that cough of yours.
01:07:53 I've been harking to it for 30 years.
01:07:58 30 years or more.
01:08:18 I'll tell you how I started, if you like.
01:08:22 I worked in an office, oh, very respectable and clerk-like I was.
01:08:28 Then one day I saw a painting by Matisse, a reproduction.
01:08:33 I saw it because some of the chaps were laughing at it and called me over.
01:08:38 It gave me the shock of my life.
01:08:43 It skinned my eyes for me.
01:08:48 And I became a different man.
01:08:54 Like a conversion.
01:08:59 I saw a new world.
01:09:04 A world of color.
01:09:08 You listening?
01:09:10 No.
01:09:14 What are you doing?
01:09:17 I was saying my prayers. I forgot them.
01:09:20 I thought you hated God.
01:09:22 Maybe I do.
01:09:24 Why'd you pray then?
01:09:27 Well, he's our father, isn't he?
01:09:31 That's a funny reason.
01:09:35 I've got things to be thankful for, haven't I?
01:09:38 E. Ray called me live-face like an accident.
01:09:42 Kicked all round the place by my auntie and uncle when I was a girl.
01:09:46 But I've got both legs the same length and I don't squint.
01:09:50 It's a sort of miracle.
01:09:53 That's something to be grateful for, isn't it?
01:09:56 In the name of the Father and of the Son and the Holy Ghost, amen.
01:10:02 But I'm not going to be grateful if you kick the bucket in my bed.
01:10:12 Who'd you pray for?
01:10:15 Me.
01:10:17 Who else?
01:10:20 All sorts.
01:10:22 Me.
01:10:25 You mind your own business.
01:10:29 Sarah Munday.
01:10:31 Not likely.
01:10:37 Ixson.
01:10:39 Why should I pray for him? He's dead.
01:10:48 What?
01:10:50 Dead.
01:10:51 Stiff.
01:10:53 Didn't you know?
01:10:55 I reckon you polished him off, poor old turkey.
01:10:59 You don't say much, do you?
01:11:02 Your poor old friend popping off like that.
01:11:05 Well, you don't have to worry any more.
01:11:08 It's all right about your pictures.
01:11:11 I read in the paper he's given them to the nation.
01:11:16 I suppose you'd rather have the cash.
01:11:21 [music]
01:11:38 Gully!
01:11:43 Oh, Gully, please forgive me calling out like that.
01:11:46 And you with all your admirers and me drawing attention to myself.
01:11:49 It shames me.
01:11:51 Nothing ever shamed you, Sal.
01:11:53 It makes me blush, I tell you, to think of all these people going in to see me naked in a bath.
01:11:58 You're going with them, I notice.
01:12:00 I couldn't resist another peek.
01:12:01 Not that you're best, Gully.
01:12:03 Oh, it's a picture, all right.
01:12:04 They all are wonderful pictures, even if they're not what you call pretty.
01:12:08 You've been to this exhibition before.
01:12:10 Twice last week.
01:12:11 I couldn't get in the week before.
01:12:13 Mr. Munday had a bronchial attack.
01:12:15 It's his chest, you know.
01:12:16 Oh, get on, get on.
01:12:19 Sal, the picture of you in the bath.
01:12:23 It's not as good as mine.
01:12:24 The one you did of me in the bed.
01:12:26 Oh, Gully.
01:12:27 I knew you had it.
01:12:29 That's right.
01:12:30 Now you can see your picture every day in the gallery.
01:12:32 You won't need yours, will you, Sal?
01:12:34 I don't know.
01:12:35 I'm not sure.
01:12:37 Where'd you keep it?
01:12:38 In your old tin trunk?
01:12:39 Thank you.
01:12:40 That makes things very much easier.
01:12:42 [Growls]
01:12:46 In your old tin trunk?
01:12:48 I'm too upset to talk.
01:12:50 Seeing you sadly like that put me in mind of the old days when we were young.
01:13:05 They drive you at such a speed to your grave these days.
01:13:07 What's the matter?
01:13:08 It's not natural, Gully.
01:13:10 There I see that picture you painted.
01:13:12 Me as I was 20 years ago.
01:13:14 Then we pass the funeral.
01:13:16 It's unlucky, Gully.
01:13:17 It's my unlucky day.
01:13:19 Let's have a drink on it.
01:13:21 To tell you the truth, it's just what I want.
01:13:23 Can you pay?
01:13:27 I can manage, Gully.
01:13:29 It'll mean kibbles for Mr. Marnie tonight instead of a nice pork chop.
01:13:39 You may laugh, Gully, but ever since I was a chit of a girl, I've always dreamt of a real posh funeral.
01:13:46 I don't want to be taken through the streets quickly like the blinds drawn and no flowers.
01:13:52 Take me home and give me the picture and there'll be enough for six funerals.
01:13:56 If I can throw in your portrait sale, the bidders will stump up 7,000.
01:14:00 You and I can go 50/50.
01:14:03 I just want enough for a nice funeral and a proper stone.
01:14:07 You let me have the picture and when the time comes, you can buy yourself an oak coffin and a stone six foot high.
01:14:17 Oh, Gully, God bless you.
01:14:20 You don't throw a woman's weakness in her face.
01:14:23 You know how God made us.
01:14:25 That's the funny thing about you.
01:14:28 You know about women.
01:14:30 When it comes to a wife, give me a woman every time.
01:14:36 Pity we broke it up, Sal.
01:14:40 Same again.
01:14:41 Do you think we ought to?
01:14:43 Oh.
01:14:44 The king, he said to me, you are a marvel.
01:14:57 And singing, you have really got the knack.
01:15:03 Then from his tie he took a diamond and scarfed him.
01:15:08 He smiled at me and then he put it back.
01:15:16 La dee da dee dee.
01:15:19 La dee da dee dee.
01:15:22 Then from his tie he took a diamond and scarfed him.
01:15:27 He smiled at me and then he put it back.
01:15:33 Come on, Sal.
01:15:35 It always did make me laugh, that song.
01:15:38 That wicked old king.
01:15:40 Wrap it up and I'll be on my way.
01:15:45 I don't know, I'm sure.
01:15:48 I hate to part with it.
01:15:50 Think of that stone, Aberdeen granite.
01:15:54 Here lies, maid, model, cook, wife and a true friend.
01:16:01 In nice clean chisel lettering.
01:16:05 Now that you're such a success, Gully,
01:16:08 I should think you could ask almost any price you want.
01:16:16 What will you do with all the money?
01:16:20 I'd change your mustaches.
01:16:22 I just want room to expand.
01:16:25 I've learned a lot the last few weeks.
01:16:29 I have a new vision.
01:16:32 Something quite different.
01:16:36 Why don't you get yourself a proper job, a big boy like you?
01:16:40 Where would it get you being artistic?
01:16:42 A bit on the embankment at best, more like a spell in the cooler.
01:16:46 Look out, please.
01:16:48 La dee da dee dee.
01:16:50 You Melbourne whore.
01:16:54 Oh, it's you.
01:16:55 I thought it was some unrespectable like the inspector from Scotland Yard.
01:16:59 Where have you been? You gave us the slip.
01:17:01 Never mind where I've been.
01:17:03 Look what I've got.
01:17:04 What is it? A new chimney? We could do with one.
01:17:06 You wait and see. I'm on my way to the beaders.
01:17:09 But I wanted Nosy to have a look at this
01:17:12 before it's put in its golden frame.
01:17:16 Oh, eight thousand I get for this and gone streets.
01:17:22 That quality, fault and seech.
01:17:25 Poor Mr. Jimson.
01:17:26 Done in the eye by your girlfriend again, I suppose.
01:17:28 Will serve you right for taking up with such people.
01:17:30 I'll do her properly this time.
01:17:32 Look, we haven't even got a larder to keep them in.
01:17:35 Well, don't stand there snivelling.
01:17:36 Run after the old boy and see he doesn't get into any more mischief.
01:17:42 (music)
01:17:44 Gully!
01:17:57 You didn't expect me back so soon, did you?
01:17:59 Gully, go away. I'll call the police.
01:18:01 You wicked Orwin bird. Give me my picture.
01:18:04 Gully!
01:18:05 Give me my picture.
01:18:07 No, Mr. Jimson.
01:18:08 Come out of there.
01:18:11 Open the door, Mrs. Munday.
01:18:13 No, not there, Madam.
01:18:18 Madam!
01:18:19 No, go away.
01:18:23 Go away.
01:18:24 Help.
01:18:25 It's mine.
01:18:33 It's mine.
01:18:39 Let go.
01:18:40 Let go.
01:18:41 Stop, Mr. Jimson.
01:18:42 Mrs. Munday.
01:18:50 Quick, Mr. Jimson, this way.
01:18:52 It wasn't your fault, Mr. Jimson. She slipped.
01:18:57 Mrs. Munday, are you all right?
01:19:00 She's only knocked herself out.
01:19:03 Quick, Mr. Jimson, before they get in.
01:19:05 Mrs. Munday.
01:19:07 Let go.
01:19:08 It's mine, Gully.
01:19:11 It's mine.
01:19:12 God help me, I could have killed her.
01:19:15 Let me in.
01:19:16 Quick, Mr. Jimson, this way.
01:19:19 Quick, Mr. Jimson, this way.
01:19:21 Never get spliced to a scheming cook general.
01:19:47 Or you'll end on the gallows.
01:19:49 We can't spend the night here.
01:19:55 I like it here.
01:19:59 Bricks and broken glass.
01:20:02 And an old garbage can.
01:20:05 It's the story of my life.
01:20:09 I can hear a cuckoo.
01:20:15 I...
01:20:16 Oh, hell.
01:20:19 I told you I could hear a black cat.
01:20:43 Hail, fellow citizen.
01:20:46 She likes it here.
01:20:49 It's a palace, she says.
01:20:51 Fit for the queen.
01:20:53 She says, fit for the queen.
01:20:55 Mr. Jimson, come here.
01:21:17 Don't want to move.
01:21:22 I'm broody.
01:21:23 Please.
01:21:51 A wall.
01:21:52 The last judge.
01:22:02 Judge.
01:22:03 Judge.
01:22:05 Judge.
01:22:07 Judge.
01:22:08 Wouldn't think I am a surgeon.
01:22:35 I hear you are, Michael Angelo.
01:22:37 Square B1 in the top left-hand corner.
01:22:39 Oh, for the wings of a dove.
01:22:41 - Oh, so. - Collect your paints from nosy.
01:22:43 It won't stay white for long.
01:22:47 I'm a colorful man.
01:22:49 I'm sick of cleaning you up.
01:22:50 And if you're going to mess about with paints, you're wearing this.
01:22:52 I'm not painting, Cokie.
01:22:54 I'm supervising my apprentices.
01:22:56 What's your name, dear?
01:22:57 - Sybil. - Oh, speak up.
01:22:58 You'll never make good if you mumble.
01:23:00 - Sybil. - That's better.
01:23:01 Let the world know who you are, the great Sybil.
01:23:04 Well, you take C2, the snout of the whale.
01:23:06 And nothing niggly, mind you.
01:23:08 Let me hear the paint going on.
01:23:10 Call yourself an artist.
01:23:11 What do you mean not painting?
01:23:12 There's no time, Cokie.
01:23:13 It's a race against the demolition boys.
01:23:15 Once my design's on that wall, they won't dare touch it.
01:23:18 A British painting of unparalleled magnitude.
01:23:21 - Excuse me, Mr. Jim. - Yes?
01:23:23 C2 appears to be occupied.
01:23:26 There's some mistake somewhere.
01:23:33 Hey, you! Fatty!
01:23:36 You're fooling around in the wrong square.
01:23:44 Oh, I'm terribly sorry, Mr. Jim, son.
01:23:48 Oh, my!
01:23:50 Well, it's so confusing up here.
01:23:52 It could happen to anyone, dear.
01:23:54 All the greatest artists got their squares wrong.
01:23:57 Numbers were invented by Arabs who hate art.
01:24:01 You have to lower Madge.
01:24:02 I'll provide him for India.
01:24:04 You two, give him a hand with Madge.
01:24:06 Go on, stir it.
01:24:12 You ever seen your mum beating up eggs?
01:24:15 Or is your house all modern machines?
01:24:17 Oh, don't, Madge!
01:24:19 - Hi! - Hi!
01:24:23 Madge, we heard that there were painting lessons from Gully Jimson.
01:24:26 That's right, six months an hour.
01:24:28 He's paying for the three of us.
01:24:30 Where do we go and what do we do?
01:24:31 I'll give Andy over there with Madge.
01:24:33 # Oh, dear baby, wife of mine... #
01:24:37 Oh!
01:24:39 Oh, look who's here.
01:24:41 Dr. Livingstone, I presume.
01:24:44 - You've been warned. - Are you a hot gospel?
01:24:46 - You know who I am. - Your face escapes me.
01:24:49 - I'm Clark to the borough surveyor. - Oh!
01:24:52 I've told you 20 times in the last 10 days.
01:24:55 Oh!
01:24:57 Ha-ha! Ha-ha-ha!
01:25:01 (cheering)
01:25:03 When you finish that, you can start on the dam.
01:25:10 D8910.
01:25:12 - We may need tigers and orches... - We've run out of...
01:25:17 Flycatchers and flesh eaters, flowers of evil.
01:25:21 Or a borough councillor eating a baby for breakfast.
01:25:25 We've run out of cobalt blue.
01:25:27 Go and get some house cookie for the money.
01:25:29 # Andy's for Ida, please... #
01:25:32 We've run out of blue already, Miss Coker.
01:25:35 I'll want two quid.
01:25:37 Don't be silly. This lot costs 30 bob.
01:25:39 - We've got to have it. - There's only 12 and fourpence in the kitty.
01:25:43 Oh, look at that one chip. Right, that goes back.
01:25:46 (counting)
01:25:49 Make her eyes hard, Elsbeth. Steely, like ball bearings.
01:25:53 - Can I speak to you in private? - I'm all ears.
01:25:57 We've only 12 and fourpence left.
01:25:59 12 and fourpence? Give me the fourpence.
01:26:02 Let me have the coppers, cookie.
01:26:05 - But the telephone... - I want to make a small investment.
01:26:13 You, keep the colour clean, keep it balanced and enjoy yourselves.
01:26:25 All I want to know is, will it peel off?
01:26:28 I don't care to spend the rest of my life with all those trotters.
01:26:31 - It's a national monument, Sir William. - Yes?
01:26:33 - If you say so, I suppose it is. - Who shall I say?
01:26:36 A national monument in the park is one thing...
01:26:39 - I beg your pardon? - You wouldn't want to live with the Alba Memorial in your room.
01:26:44 - Arnold, please. Who is it for? - Do try to smile.
01:26:47 - I gather it's for you, Lady Beda. - I'm inclined to agree with Lord Stanwood...
01:26:51 that it would be sacrilege to attempt to move it. Who is it, Arnold?
01:26:54 - The Duchess of Blackpool. - This is Flora Beda speaking. Who is it, please?
01:26:58 - The Duchess of Blackpool. - Who?
01:27:01 7,000 pounds of my debt and I don't suppose I'll ever see a penny of it.
01:27:04 And what am I left with? Feet! I don't want...
01:27:07 - Can I get you a glass of sherry? - Oh, thank you.
01:27:11 Where in the world is that? No, I... I don't know that part of London at all.
01:27:16 Oh, bring a cheque book.
01:27:19 I can honestly say I'm the last person in the world to harbour thoughts of revenge.
01:27:23 But I would like to cut Mr. Jimson's head off with a meat axe.
01:27:26 - Hear, hear! - Oh, it does sound rather fun.
01:27:30 - Oh, but my arm... - Renoir painted with one arm.
01:27:34 Oh, I see. Renoir did, did he?
01:27:37 Yes, Mr. Jimson, I understand. Slap it on. No Dorset sunsets.
01:27:43 Yes, I think I can manage that.
01:27:47 - All you've got to do is paint the giraffe's eye. - The giraffe's eye?
01:27:51 - Yes. - (Mumbling)
01:27:55 Innocent. Velvety.
01:28:09 River brown. That's the idea.
01:28:15 You've got your whale upside down.
01:28:18 But, Mr. Jimson, surely a whale doesn't have its eye under its jaw, does it?
01:28:23 None of your sarcasm now. My whales do.
01:28:26 Otherwise they wouldn't be real. They'd just be pictures out of a whale book.
01:28:29 - Shall I try and reverse it? - Not now. It's too late.
01:28:33 No, no, no, Flo. Learn when to leave well alone.
01:28:39 - You mean it's finished? - Finished.
01:28:44 Three cheers for Mr. Jimson. Hip, hip...
01:28:47 - Hooray! - Hip, hip...
01:28:49 - Hooray! - Hip, hip...
01:28:51 - Hooray! - The Philistines are upon us.
01:28:55 Let them be. And remember, girls, no roughhousing.
01:29:00 - It's all yours. - Right, come on, get them trestles down.
01:29:13 If I paint a wall, it's as good as asking it to catch fire or be struck by lightning.
01:29:18 I had hoped that this would take an earthquake or a world war.
01:29:23 I hadn't reckoned on a better council and demolition.
01:29:26 - It's blasphemous and it's obscene. - Who?
01:29:29 Obscene, but I'm bashing the first bloke what touches it.
01:29:33 I warned him two weeks ago, Sir William, and I first got wind of it.
01:29:41 This chapel's got to come down. But a spay has orders.
01:29:45 Now clear the way, please. Come on, everybody, everybody, come on.
01:29:54 Bert, the bulldozer.
01:29:57 Rotten bastard.
01:29:59 She's coming down in 15 seconds from now.
01:30:04 It's not my responsibility, I assure you.
01:30:07 Oi, Bert, come on, get started.
01:30:11 Bert!
01:30:20 Bert!
01:30:22 Everyone OK?
01:30:48 I'm fine.
01:30:50 I'd know that cough anywhere.
01:31:01 I had to do it, Cokie.
01:31:13 I'm a genuine.
01:31:17 Where do you think you're going?
01:31:20 I've got a few bits and pieces to collect.
01:31:23 Then I'll be on my way to Freshwoods and Pastures New.
01:31:28 - Where? - I need a new horizon.
01:31:33 Hey, you.
01:31:37 Come here. Yes, you in the pinstripe.
01:31:43 You great nasty beastly...
01:31:46 ...bull!
01:31:48 Miss Coker, before there's a fire, fire, fire, riot.
01:31:57 - Please, Bert. - Keep out of this.
01:32:06 We need more sails.
01:32:09 We're in the talldroms.
01:32:12 Flood that man.
01:32:14 Skipper, you're just in time to relieve me for the first dock.
01:32:31 Let her go, Captain. I'm away with his tide.
01:32:36 Hold on, swatter. Let go up.
01:32:40 Hold on up.
01:32:43 She'll rip with this tide.
01:32:51 Hail the midships.
01:33:00 Hail the midships.
01:33:03 - Where is he? - He's away, miss.
01:33:15 Away with the fleet. There's a river, miss, blowing up.
01:33:19 It's not a trip I'd like to be making.
01:33:24 Get out, the boat.
01:33:27 Get out, the boat.
01:33:31 Get out, the boat.
01:33:35 Get out, the boat.
01:33:38 Get out, the boat.
01:33:41 Get out, the boat.
01:33:44 Get out, the boat.
01:34:12 Where do you think you're going, sir? What's the big idea?
01:34:16 Ah, there is good news yet to hear.
01:34:19 And fine things to be seen.
01:34:22 Before we go to paradise by way of Kensal Green.
01:34:27 I hope he drowns.
01:34:39 You can't hear me, Mr. Jimson, I know, but...
01:34:42 Michelangelo, Rembrandt, Blake...
01:34:47 You're one of them. Just so you'd know.
01:34:51 © BF-WATCH TV 2021
01:34:56 © BF-WATCH TV 2021
01:35:01 © BF-WATCH TV 2021
01:35:06 © BF-WATCH TV 2021
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