00:00The
00:30Come on girls, keep going now, there you go, go girls, go girls, go girls, go girls,
00:53go girls, go girls.
01:00There we go.
01:10There we go.
01:13Here we go.
01:23There we go.
01:25Oh, hell.
01:36That to the whole damn pack of them.
01:38Anna!
01:41Anna, where are you going?
01:43First of all, along this road, and then the next, and so on.
01:47Add in for bloody night of...
01:48You don't have to be so damn fractious about this.
01:50Look, Toby, if you want to help me, then five birds are the sort of help I want.
01:54You can't just up and off when you've got nowhere to go.
01:56I don't have to have somewhere to go.
01:58I'm not a flaming home in Pedgeham.
01:59Damn it all, Anna. Six months at least gives me the right to be concerned.
02:04Enough to give up five, Bob.
02:06I've not got a brass father into my name.
02:07What about your wages?
02:09Every damn bean owed to the other servants.
02:11So you've got nowhere to go and not a penny to get there with.
02:13I'm not coming back with you.
02:15Sorry, my old darling.
02:17But, Anna, I thought you were taken with me.
02:24You're not a bad lad at heart, but you drew pink for my liking.
02:38Pink?
02:39One of life's great old fathom dreadles is how these boarding schools manage to produce lads with bright pink skin.
02:46You stripped off you like a six-foot-tall Dublin bay prawn.
02:49With an Eton accent.
02:50It's Winchester, actually.
02:54Be honest with yourself, Toby.
02:57What you're after is a cheap mistress.
02:59And not this cheap mistress in particular.
03:01Damn it, old woman, I've jumped into my car and come chasing after you to take you back.
03:04Oh, come on, Toby.
03:06When it's hey, lads, hey, I couldn't rely on you to spit down me throat if my back teeth were on fire.
03:10Do you have to reduce our relationship to gutter level?
03:13You wouldn't recognise a gutter if you were dying of thirst.
03:16And I got most of my morals up a back ginnel in Cheetham Hill.
03:22Look, for a dollar, the names of three girls who'll oblige.
03:26And one of them's a virgin, which is more than I am.
03:30What do you say, Toby?
03:32Trade the names for five bogs to tide me over.
03:34Stick it there, where the monkey sticks the nuts.
03:43I'm just trying to turn off my mind.
03:56I don't see you at all.
03:59I just don't do this.
04:06So it's a virgin.
04:08I don't know.
04:08I don't know.
04:09I don't know.
04:10I don't know.
04:10I don't know.
04:41Sorry.
05:11Now there's a cockeyed way to cook sausages for you.
05:25Really?
05:27Ah!
05:29I've got the measure of you now.
05:31You're an eccentric millionaire, aren't you?
05:33Aren't you?
05:45No.
05:47No.
05:49No.
05:51No.
05:53No.
05:55No.
05:57No.
05:59No.
06:01No.
06:03No.
06:05No.
06:07No.
06:08No.
06:09No.
06:10No.
06:11No.
06:12No.
06:13No.
06:14No.
06:15No.
06:16No.
06:17No.
06:18No.
06:19No.
06:20No.
06:21No.
06:22No.
06:23No.
06:24No.
06:25No.
06:26No.
06:27No.
06:28No.
06:29No.
06:30No.
06:31No.
06:32No.
06:33No.
06:34No.
06:35you're sitting there hoping I'll go away I'm a loose woman by conviction or by
06:41circumstance by way of making conversation are these blankets yours
06:51it's a dewy dewy death waiting for you if you don't fold them up I'm busy those
06:56damn blankets are bothering you I'll only fold them up yourself shortest answer is
07:02doing
07:22would it be inside the tent with them I suppose so
07:32don't expect a thank you from me people who do me unasked favors make me feel uncomfortable
07:46you've not got this look of a man who'd spit in the Samaritan's eye most Samaritans have ulterior motives
07:52these days I cynicism now there's a sickness for striking down the soul and that's my sausage is
08:02staring at why don't you fry them it's not them to knit a sausage in the singular there's a spare one
08:10down there you know mankind's greatest fault is the overwhelming suspicion he develops when
08:15he's down to his last two bangers you got away with words yourself well education might begin the
08:23gentleman but it's the conversation that completes him
08:25how long is it look I'm damned if I can eat the sausage with you staring at me like that
08:39well you go ahead I like watching people eat I'm asking you are you hungry grab all of that
08:55it's two sausages all you got two is enough and enough is sufficient in the Sahara the Bedouins say
09:13a mouthful of desert grass is worth a belly full from the plains condition you shut up while you're
09:17eating it you bought my silence with a sausage what's your name I know I'm a Fitzgerald Nick
09:28Faunt what are you making for oh I'll probably end up in Manchester have a scandalous affair with
09:35a married man depends which way the wind blows put your hat on are you giving me my marching orders
09:43no I'm asking you to put your hat on well it's not often I meet blokes who ask me to put something
09:50on is that all right for you are you an artist I'm occasionally accused keep your eyes on me no
09:59keep your eyes towards me but turn your head slightly to the right slightly woman I did say
10:03slightly for god's sake there's no need to throw a fit does that suit you
10:08are you a real artist well the merry hell is an unreal artist well I mean do you do it for a
10:17living well no not exactly that's a relief well if it's a living you're trying to make you're not
10:24making much of one are you for an artist you'd be better off with a decent window around Gauguin
10:29died in poverty and two weeks after Sisley starved to death one of his paintings saw for three thousand
10:34pounds you're working up a lather again I'm not saying anymore after all sausages don't grow on
10:42trees you should smile more often suits you I smile when there's something worth smiling about
10:50would you for god say keep your damn head still
10:52poor old Gauguin didn't go all that short of earthly comforts on that island of his though did he
11:00what was it called again Tahiti servants leave on Saturdays don't they unless they're sacked and if
11:08you're sacked at this time of day you must have done something pretty serious I sucked myself
11:12deliberately what do you do do you flower the butler do you mind if I have a deco you put your
11:19backside one inch I'll boot you straight over that gate what you drawing me for I like drawing
11:26beautiful things thank you beauty is not an achievement it's bestowed don't squander your
11:33thanks on me skin like yours drove the pre-raphaelites to distraction I know that's the Irish in me my skin
11:40was probably a birthday present from one of them shipwrecked Spanish Armada Matalos
11:43I saw it made a pig's ear of it I've been sitting here sweating pins and bloody needles I wouldn't have
11:53minded a quick gander no I wouldn't where are you going walk
11:57begging me come with you I prefer my own company
12:10after having had six solid months around here I'd like to get a tram at Trafford bar to St Peter's
12:24Square and shoo me down Oxford Street
12:26I'm not likely to get there tonight
12:31is that why you left your case in my tent when you put those blankets away
12:35do you mind if it stays there all night
12:48I've got nowhere else to go Nick
13:06if I walked five miles to the nearest bus stop I couldn't whistle up the breeze for a ticket
13:11I thought perhaps he'd quite like me to you know stay the night
13:22if you're stuck
13:25you better stay
13:28anyway I'm off I'm planning on only start in the morning
13:33while you're there
13:37I palabras
13:40I wasbooks
13:43I did try and do my own
13:45work
13:48I am so happy I didn't really know
13:50it's about bitch
13:52I felt like you know what 40� mondan
13:54still
13:57if you're at high quality
13:59but maybe soon
15:02I know you're asleep.
15:12You've got both blankets.
15:14Come on now.
15:15Let's be having one of them.
15:16A blanket.
15:18Come on.
15:32Let's be having one of them.
16:02Let's be having one of them.
16:22Still in the land of the living, then.
16:24Where did you sleep?
16:33It wasn't necessary.
16:35It's character forming.
16:36Do you mind if I go in for a swim?
16:40No, I don't mind.
16:41You've seen both sides of me now.
16:49Well?
16:50The line of a woman's back is the loveliest thing God created.
16:54Tish and Tumpet all that centuries ago.
16:56I waited for you to come back last night.
17:00I thought you would.
17:02Come on, Nick.
17:04Take your clothes off and come in.
17:06Pleniness is next to godliness.
17:08I know a man who bears twice a day.
17:11And he's an atheist.
17:12There's no such thing.
17:14What?
17:14They're all half believing God at night.
17:16And on their deathbeds, they're the quickest convents in Christendom.
17:19Spunk!
17:21See you back in the tent.
17:42See you back in the tent.
18:12Oh, come on, Lightning.
18:14Keep your damn heads still.
18:15Oh, come on, Lightning.
18:18Keep your damn heads still.
18:42Where is it you're going that you planned an early start for?
18:46Tarpley races.
18:48Oh, you're a sporting gent after all.
18:49No, I'm going to draw the horses.
18:51They're the only creatures with any semblance of dignity on a race course.
18:54I'll tell you what.
18:55I'll come with you part of the way.
18:56No, thanks.
18:57I can hump some of the camping gear for you.
18:59That's like helping a blind man to strike a match.
19:02In the end, it's not helping at all.
19:03Well, I've been going to Tarpley with my dad for ever since Donkeys wore top hats.
19:13He died six months ago.
19:16Look, nobody's talking you out of it, but I prefer traveling by myself.
19:23You know, he who travels light, his travels, or whatever it is, alone.
19:35He was old Scriven's groom.
19:38That's how he had his crust.
19:40Twenty-odd years grooming another man's horse.
19:43It's like that tale about the Rolls-Royce workers producing something they'll never be able to afford themselves.
19:48When the revolution comes.
19:51After the funeral, old Scriven called me up to the house and told me what a wonderful man my father had been.
19:57And how he was going to look after me.
19:59Biled down to giving me a job as a bloody servant.
20:03Anyway, I thought I'd stick it out long enough to see the dirty weather through.
20:10And then?
20:10And then, here I am.
20:23Do you mind if I put this to the torch?
20:27Might do for laying somebody out in, but it's not for sleeping in.
20:30Not for me, anyway.
20:31It's nicked.
20:40Well, I'd better be making tracks.
21:01Thanks for putting me up for the night.
21:03Well, thanks for just putting up with me.
21:21And the sausage.
21:22Are you going to Tarpaulay?
21:29Oh, I doubt it.
21:30You don't start making a new life for yourself at a race meeting.
21:34And why, Dickens, couldn't you have stuck Scrivenhall for one more night?
21:36Look, if you're not going anywhere in particular, and I'm not going anywhere in particular, well, we may as well go there together.
21:47I thought you were going to Tarpaulay.
21:49I'm not in the mood for drawing horses.
21:52Wait for moods, Nick Font, and you wait forever.
21:55Come on.
21:56Let's push the boat out.
21:57How much further do you think it is now?
22:10Oh, five miles.
22:12Five and a half.
22:14Six, maybe.
22:15You're not pegged, are you?
22:17Six miles is a detail.
22:19Four times around the Ayers and Graces.
22:21The what?
22:22Epsom.
22:23Ayers and Graces, Epsom races.
22:27Hello.
22:31Hello.
22:36Hello.
22:43What we need now is a song to sharpen our stride.
22:46Oh, I reckon we ought to save our lungs for breathing with.
22:48Come on, you kick off, I'll join in.
22:51I don't know many songs.
22:53Well, sing one you do know.
22:57Oh, four and twenty virgins standing in a row.
23:04What's wrong with four and twenty virgins?
23:06I think they're not exactly from the same repertoire as we're happy when we're hiking.
23:09Oh, you're laughing.
23:23Oh, my gosh.
23:33sweat's popping out of my armpits
23:42can't be far now
23:48even less after a rest still three miles off yet I think we'll cut over those
24:06fields get off this damn road
24:10be good Mo it's the Colleen how have you been keeping Peggy where the Buxton of you
24:20sprung from nobody's seen any hide of you since your old man died oh put your
24:26billy pot on before you look like the hypocrite we've all come to love
24:30everything all right Mo yes I wondered what have become of you I'll tell you
24:35all about it while you're driving me and my fancy man to Tarpaulay Nick come on
24:40meet the fine gentleman who's given us a left and where the blazes do you suppose
24:44that I can conjure up enough room for you to well you'll never get a job with
24:49Pickford's we shall never get a job with Pickford's Mo no it's a job with Pickford's
24:55we're looking for eh I've not clapped an eye on you for six months and in seconds
25:00I'm a hypocrite who couldn't hold down a job with Pickford's aren't you glad you
25:04bumped into me I wish I'd run over you and stop tampering that's my livelihood
25:09where's the beer where it stays in the back I bet you're both spitting feathers
25:17throats on you a mile long why don't you have a bottle now you've stopped and let
25:22little orphan Anna perform miracles on this lot what do you say Mo time for a
25:27quick one quick one
25:34if there's one going begging it'd be just a tonic to set my old bloke on his feet
25:50soon make room for me and my shadow
25:53shadow's just about the size of him eh Piggy
25:57well split the difference and I reckon we'd make a couple of good blokes
26:01Piggy White Nick Pond how do you do hello the laughing cavalier at the back is Mo short
26:08for Moses no location is holy Moses though his real name's Jacob there's one for Anna
26:13mine and there's one for yourself if you can find time to sup it thanks Mo well it's his
26:19beer his car even the date of the year is you want a day off Mo he says I'll give you a day off
26:25he keeps them in the safe
26:31Piggy you've always got an eye open for a bargain I don't want to know I said a
26:37bargain a real Robin Hood's Pennyworth real culture if you're behind bars that's
26:44immaterial was it thieved I'd earned if the truth were told come on Piggy solid silver
26:51no monogram you know when something's safe all right half a bar take ten bob and keep
27:00stomach take the brush back all right you must have found a way of taking it with you
27:06for the kid please Anna please don't give me money we've been all around the houses with this one but I
27:22earn enough money to look after the boy and for you too Anna what's gonna happen when I settle down
27:29oh dear god Mo don't look at me like that Anna no
27:39if you two are coming along with us you better act dumb and vigoury or we shall miss the first race
27:44something in the first you fancy never ask a bookmaker lad oh come on Piggy you must have
27:51heard of something that's worth a risk so giving you two a lift wasn't enough now it's the bread out of
27:56me mouth just the crumbs come on Piggy is fine you stored up a few favors in heaven for the sake of
28:01your immortal soul to hell with my immortal soul Piggy well it's it's meddling with fundamentals but so
28:08long as you don't do it with me promise Roysterer in the second should get 20 to 1 now get in
28:26so
28:31I'm coming out of the house
28:35I'm coming out of the house
28:39THE END
29:09THE END
29:39What did you want stopping off here for?
29:41There's a century of dried up sweat in the air.
29:45Engineering and ingenuity.
29:47The workshop of the old world and it's bloody magnificent.
29:50You'll feel a lot better when you've got some food inside you.
29:53Can we go and eat?
29:55There's a place just round the corner.
29:57Come on then.
29:58There's a place just around the corner.
30:26It's a long way to tip the...
30:28Price of a cup of tea on you, mate.
30:30Oh, I'm sorry.
30:31I see you and the missus are as needy as me.
30:34Hang on, we're trying to get to.
30:37I've come from Burnley, but I'm not that particular about getting back.
30:41Weaver?
30:41Hey, that's going back a bit, lad.
30:44I'm nowt.
30:45Nowt at all.
30:48Two mornings' work I've had this year.
30:50Right.
30:51The municipal reading room.
30:53Blacken out racing columns.
30:56Just have to unemployed for isn't where they're dog money on tosses.
30:59Well, uh, this'll get you to Burnley if you decide to go back.
31:03Yeah, I'm glad.
31:05Hey, hold on a check.
31:07This I found, no.
31:08Well, uh, we came into a bit of money today.
31:11Yeah.
31:13Well, the best of, uh...
31:15Well, I hope something turns on.
31:17I remember you, lad.
31:19Bink-on, I remember you.
31:20Um, how does, uh, minestrone, wiener schnitzel, and a bottle of burgundy sound?
31:39Poetic.
31:40And then, uh, oh, we'll think about that later.
31:41All right, Adolf.
31:42Two minestrone, two wiener schnitzel, and one bottle of burgundy.
31:47Oh, there was a message for you.
31:48Your father's secretary.
31:51Yes, it was last Friday.
31:52Would I tell you, if you came in, that Sir George is in the palace,
31:55and he would be very pleased to see you if you would care to join me?
31:58Oh, well, there's no sunshine without a few showers, eh, Adolf?
32:03Sir George?
32:04I'd rather not talk about it, if you don't mind.
32:07Well, who'd have tumbled that old sausage on a stick had a father called Sir George?
32:11There's no money there.
32:13If you'd said that to me in the street, I'd have put your bloody eye in a sling.
32:16If I'd been looking for a fellow with money line in his pockets,
32:19I'd know you don't find them dossing out in the fields.
32:22I'm sorry, but there's some things I don't talk about,
32:23and my family takes pride of position.
32:26All right, then.
32:27Let's talk about mine.
32:28No, thanks.
32:28I'm a ministroni.
32:33It's fine, ministroni.
32:34Plus, all this I and Svai had off your English is damn near perfect.
32:37Well, you've got to throw a little Germany in, Mr. Faunt.
32:39Who would eat in an English restaurant around here?
32:43Now, please, Liebschen, tuck in and fill your boots.
32:47Have you given any thought to where we're going to sleep tonight?
32:59No, we're fine somewhere.
33:00There's plenty of places between here and the infirmary.
33:04Now, Liebs, just look at that one.
33:06Isn't he a dish to set before a king?
33:08Now, there's a real artist for you.
33:10You can tell just by looking.
33:12Well, I have to.
33:13That's Tony Brown.
33:14It's not an artist in Manchester who's more like an artist than Tony Brown,
33:17but don't call him that, for God's sake.
33:19It'd deflate him for weeks.
33:21Anton!
33:23Nick!
33:24Excuse me.
33:25My dear chap, why was I not informed of your return?
33:29We only got in half an hour ago.
33:30It's been months.
33:32Two weeks.
33:32No matter.
33:35Oh, you two don't know each other, do you?
33:36This is Anna Fitzgerald, Anton Brune.
33:39Dear lady.
33:40Model?
33:41No, mistress.
33:42Ah.
33:42A wife in watercolors.
33:46Pulling your leg, Anton.
33:47You're now in the company of a highly respectable young man.
33:51Still working?
33:53Oh, my dear chap, I can hardly tell you.
33:55Day in, day out, I'm up to my eyes.
33:57I'm constantly asking myself where it's all going to end.
34:00In the honours list and paying super tax?
34:01Hardly.
34:02How have you managed to drag yourself away from your studio?
34:04Well, that's the word for it, and I shouldn't have done so, really,
34:06but I did promise to go to the bassoon club dance.
34:09Still a little relaxation.
34:12What are you two doing?
34:14Ah, well, we've got to find somewhere to stay.
34:16But you don't have to do it straight away, do you?
34:18Come to the bassoon club.
34:19We'll all go together.
34:20We'd look a right pair of specimens.
34:22Look at us.
34:23We can't go dancing dressed like a couple of gypsies selling pegs.
34:25There is a selfish motive for asking you, Nick.
34:28A small surprise.
34:29All right, we'll come with you,
34:30but you'll have to sit through at least another three courses of this
34:33before we're ready to leave.
34:34It's all right, I've not eaten myself yet.
34:37If I could just attract Adolph's attention.
34:44All artists start by being obsessed with form
34:47until they realise that art is about light.
34:49It's just out here, Mr. Gerald.
34:51Light and open light.
34:53All form is light.
34:55Oh, hell.
34:58Is this where the halls of gate are?
35:00I'm sorry, dear lady.
35:01I'm afraid the entrance isn't as imposing as one would wish.
35:05Yet one might say the same about parts of Venice.
35:08Yet Canaletto painted there and Roswell.
35:10Oh, my bloody foot.
35:13For the night shows stars and women in a better light.
35:16What do you want to drink, Anna?
35:32What do you want to drink, Anna?
35:42What could I have a yard of satin?
35:44What?
35:44A dim piss.
35:45A what?
35:45A dim piss.
35:46And you two.
35:48Well, it's solved.
35:48I've got the way of it.
35:49We lost.
35:49You might as well take a banjee twirling glass.
35:51In a moment, dear boy.
35:51First, I want you to meet someone.
35:53Oh, please.
35:55You two, Mrs. Gerald.
35:56Oh, can we ditch Miss Fitzgerald?
35:58Call me Anna.
36:00Oh, dear lady.
36:01I like that.
36:02From now on.
36:03Now, promise not to move.
36:04Stay where you are.
36:05Excuse me.
36:15It's a girl he's going to introduce us to.
36:17Four cents, all of it, Daryl.
36:19Excuse her.
36:20Excuse her.
36:21Excuse her.
36:25Well, here he is, Rachel.
36:26Nick Fawnt's in the flesh at last.
36:29I feel I know you already, Mr. Fawnt.
36:31But Anton doesn't simply drive one to distraction talking about you.
36:34He positively eulogizes.
36:36Oh, well, you know Anton.
36:41Well, tell me, are you really a demigod or just what you look?
36:46Or just what you live?
36:49Well, you tell me what I look like to you and I'll return the compliment.
36:52Sorry Nick doesn't come up to expectations, Rach.
36:55God knows.
37:00It would be Robin the rag and bone man to take a balloon for him.
37:04Hello, Anna.
37:06Not quite the sort of place one would expect to find you.
37:09I got chucked out of the wine lodge.
37:12My God, Rach, you've gone damn posh all of a sudden.
37:15All jam in Jerusalem.
37:17Anybody think you've been used to art silk, Nicholas, all your life?
37:20Now, have this dance, Rachel.
37:32Has your Anton got any money or is he all squeak and no fool?
37:35He's the only artist I know has.
37:37He'll do anything.
37:39Shirt front, menus, birthday cards.
37:42He's never been known to turn a damn thing down.
37:45Ah, that must be where Rachel's capital comes from.
37:49It's got a little dress shop on Market Street.
37:51Old plate glass and coffee mill.
37:59Hello.
38:01I'll let it sigh.
38:03Isn't that your Rachel's place?
38:05Rachel's place?
38:07Well, they've got an advert in.
38:08They come pricey that size of advert.
38:10What the hell does it sigh mean?
38:12I'll let it sigh.
38:14H.C.
38:15It's French.
38:16Who?
38:18Arlott and Company.
38:21She's going up in the world, that sister of yours.
38:23It's not too far to my way of thinking.
38:25Too far for your liking?
38:27Same difference.
38:29She'll be moving out to Didsbury before you know where you are.
38:32That's the choice of the chosen ones, eh, Moe?
38:35Didsbury?
38:38Cheetham Hill will not be much to her liking for so long.
38:41I can tell you that for what it's worth.
38:42Well, I'm not bothered.
38:56Five favourites in at York and three, four, five, six at Sandown.
39:01About the wearing black armbands down there.
39:05Book balance with the bonds?
39:06Well, on my reckoning, it should be twenty...
39:08No, forty-four pounds, seventeen and sixpence.
39:11On my reckoning, it should be forty-four pounds, seventeen and sixpence.
39:15Expenses incurred, twenty pounds, twelve and eightpence.
39:18Not a bad day's book, eh, Moe?
39:19If you keep old Mother Carey off the doorstep for a bit, you're not away, are you?
39:23Yes, it's half-past turned.
39:26Hey, you know who's on at the hip tonight, Moe?
39:28Aye, Billy Bennett.
39:29Ah, it's a good turn, old Billy Bennett.
39:32Not going to miss Billy, are we?
39:36I, er, I promised I'd be back before eight.
39:40I've passed at the latest.
39:41I'm not in the market for excuses.
39:43We shall commence the proceedings at Hill's Tripe Saloon,
39:46and then we shall belt round to the hip in time for the second city.
39:50Yes, but what about...
39:51What about a night out, that's what about.
39:53Come on, Moe, if anybody was ever in dire need of a damn good laugh, it's you.
40:12Tell me about that languid, supercilious bitch.
40:16You'd know about her already.
40:17You'd let me tell you about my family.
40:19Is she one of your relatives?
40:21The only relative I've got is a five-year-old son.
40:25Now, isn't that a talking point?
40:27A mother at 16.
40:30Who's the father?
40:32I'm the foggiest.
40:34As a matter of fact, I'm damned if I can remember his name.
40:36Some six-day millionaire I met at Blackpool.
40:49What do you want, supercilious, Mr. Paul?
40:57Oh, I try not to miss banana votes.
40:59You and Anton engaged?
41:01Quaintly.
41:02Must be a tempered affair with Anton.
41:04Like walking out with a Jesuit.
41:06What about you and Anna?
41:08No, it's all right.
41:09I don't think that means that, Mr. Paul.
41:11Do you always dance so badly, Mr. Paul?
41:19I don't bloody dance at all.
41:23That's the first thing you've said.
41:24I like it.
41:25I don't think I've said anything else.
41:27Well, they're not exactly orchestrated, are they?
41:41Sorry?
41:42Them two.
41:44It's like watching Lon Chaney dancing with Gertrude Lawrence.
41:48I'm not saying which is which.
41:54What is it you're working on?
41:56I beg your pardon?
41:58I mean, what couldn't you hardly spare the time from to come to this band of hope meeting?
42:02Oh, um, shoe polish.
42:05A card to stand on counters.
42:07Well, all form is light, as they say.
42:20Oh, uh, thanks for the loan of, uh, Rachel and Anton.
42:24Thank God you're back.
42:33All things have been frotting like gummed velvet seeing you in another man's arms.
42:37Isn't that right, my dear chap?
42:48I must say the hangers-on are out in large numbers tonight.
42:50One or two of them are most certainly gatecrashers.
42:53Three, if you include me, love.
42:55Well, those who can paint, those who can't patronize.
43:01I think Nick's probably the star attraction here tonight.
43:04The present fair sex accepted, of course.
43:07God knows why we're called fair sex.
43:11Well, I'm stumped.
43:17I'm bloated if I know why.
43:21Perhaps it's just a...
43:25Perhaps it's just a saying.
43:32Come on, Anna, let's find a bed before this little lot disintegrates.
43:34Well, my studio's only on Moseley Street.
43:36There's a shake down there you're welcome to make use of.
43:38All right.
43:39Hmm.
43:40It is a grand bohemian life we live in.
43:42Before it, you said, Mr. Rosing.
44:06Before it, I expected you.
44:08Well, it's my fault, Mrs. Moss.
44:10Yes, dragged him off to the second house of the hip.
44:13I did.
44:14No chance of getting out of it.
44:16Is Brian all right, Mrs. Moss?
44:17He's been asleep four hours.
44:19Well, before seven, I put him to bed.
44:21Into the limousine with you, Mrs. Moss.
44:24You shall go home in style down the street tonight.
44:26Mr. Rosing did say he'd be back before eight.
44:29Oh.
44:35Good night, Mrs. Moss.
44:37Will you be around in the morning?
44:38Tomorrow's another day.
44:39And what tomorrow brings, we'll just have to wait and see, won't we?
44:43Good night, Mole.
44:45Good night.
44:46Good night.
44:46Well, here it is.
45:11Gas ring in the corner.
45:18Everything there for making coffee.
45:20And the, um...
45:22Bed in the corner over there.
45:27Well, I'd better be getting back to Rachel.
45:29You'd better, before she's not there to get back to.
45:31Oh, you got trouble there.
45:33Yes.
45:35Well, I'll see you both in the morning.
45:38Oh, uh...
45:39Thanks, sir.
45:41Thanks, Anton.
45:43Sleep well.
45:43Yeah.
45:44I'm sorry.
45:45What about you?
45:46Thanks, man.
45:47Yeah.
45:48Wait.
45:49Yeah.
45:49What about you?
45:50What about you?
45:51I'm sorry.
45:51What about you?
45:52Yeah.
45:52What about you?
45:52Well, I mean, you've got to get back to her.
45:56I unох, but we've got to get back to the store.
45:57Yeah.
45:58Oh, you could...
45:58Yeah.
45:59Oh, you could...
46:00I didn't know.
46:00No.
46:01But I'm not going to go...
46:02No.
46:02I turned like before.
46:03Come on, let's turn in. It's been another long day.
46:28How often do you get to see a kid?
46:32Brian. Oh, as often as I can. Which isn't often enough.
46:53Brian?
47:02Brian?
47:03Brian?
47:04Brian?
47:05Brian?
47:06Brian?
47:07Brian?
47:08No one's gonna take you away from me, Brian.
47:10No one's gonna take you away from me, Brian.
47:12No one's gonna take you away from me, Brian.
47:14No one's gonna take you away from me, Brian.
47:36No one's gonna take you away from me, Brian.
47:44They won't take you.
48:06No one's gonna take you away from me, Brian.
48:08No one's gonna take you away from me.
48:09No one's gonna take you away from me, Brian.
48:10No one's gonna take you away from me, Brian.
48:12Oh, God.
48:14What a daub.
48:16Poor old Anton.
48:18Nick?
48:19Hmm?
48:20Thanks.
48:21Thanks.
48:22You're putting up with me.
48:23Didn't have to.
48:24Not really.
48:25Go to sleep.
48:26I can't.
48:27Why?
48:28Why?
48:29I'm waiting for you.
48:30I'll see you in the morning, Anna.
48:33Why, Nick?
48:34Why?
48:35Why?
48:36Why?
48:37Why?
48:38Why?
48:39Why?
48:40Why?
48:41Why?
48:42Why?
48:43Why?
48:44Why?
48:45Why?
48:46Why?
48:47Why?
48:48Why?
48:49Why?
48:50Why?
48:51Why?
48:52Why?
48:53Why?
48:54Why?
48:55Why?
48:56Why?
48:57Why?
48:58Why?
48:59Why?
49:00Why?
49:01Why?
49:02Why?
49:03Why?
49:04Why?
49:05Why?
49:06Why?
49:07Why?
49:08Why?
49:09Why?
49:10Why?
49:11Why?
49:12Why?
49:13Why?
49:14Why?
49:15Why?
49:16Why?
49:17Why?
49:18Why?
49:19Why?
49:20Why?
49:21Why?
49:22Why?
49:23Why?
49:24Why?
49:25Why?
49:26Nick?
49:35Nick?
49:40Nick, are you asleep?
49:45Are you asleep?
49:56Are you asleep?
50:26Are you asleep?
50:56Are you asleep?
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