Episode 115 of Prisoner Cell Block H. Pre-advert gate slams, incidental music and Network 10 logo have been restored as originally broadcast.
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00:00Well, I don't know who did it, but she bloody well deserved it.
00:06All laggers deserve what they get, I reckon.
00:10An eye for an eye and a tooth for a tooth, I say.
00:13You know, it's got me tossed.
00:15If she is a lager, why hasn't she lagged on whoever smashed her painting?
00:18She might be scared.
00:20She might be.
00:21Where have you been, Gilmore?
00:23I'm not sure that's any of your business.
00:26But if you must know, I've been to see Paul Reed to get permission to see Judy.
00:29And who do you think smashed Vincent's painting?
00:35I did.
00:37Well, if we waited for you to do something, we'd all be out of here.
00:39You brainless little bastard.
00:41We're not sure Vincent is the lager.
00:42Oh, come on, you said she was yourself.
00:44Well, now I'm not so sure.
00:46Yeah, well, I reckon she deserves to be taught a lesson.
00:48She gets favours from the screws, so I don't care either way.
00:51Oh, that's nice.
00:53Maybe you don't care either way if I break your stupid neck.
00:56Now get out of my sight!
00:57Why don't you go over to the hospital and cut off your friend's blood supply?
01:03My dear fellow, I think that she's the hottest thing since Sydney Nolan.
01:07How much better she would be if she was free to work and create in her own time this oppressive atmosphere of witness.
01:13Now, something I have to tell you, this isn't widely known, but a certain prison officer actually coerced Mrs. Vincent into handing over one of her finest works in exchange for artist materials and the right to paint.
01:25This blatant piece of blackmail wouldn't have even come to light apart from an extraordinary coincidence.
01:31Of all the people who could have framed the picture, whom did you choose?
01:34The one person who could immediately recognise the style of Kerry Vincent and would know exactly where the painting came from.
01:40I dear fellow, she came to me.
01:41Some of these critics can be very vicious men.
01:58I knew one poor bastard they drove to an overdose.
02:00But they were absolutely purring about you.
02:03Poor little waif from Wentworth.
02:06Yeah, well, I can't say I was taken with them.
02:08Ah, now, the important thing is that they like you.
02:10And we need them, Kerry.
02:11I know we think there are a load of vultures, but when you get out of here, you're going to be very comfortably off.
02:16Why starve in a garret unless you really have to?
02:18Why don't you ask Van Gogh?
02:21Don't argue, love.
02:23Let me be the expert.
02:25Ah, do you work all the time?
02:27A broken shift, I'm afraid.
02:28How'd the exhibition go?
02:29Ah, terrific.
02:30This girl is going to put the art world on its ear.
02:33Bye-bye now, Kerry.
02:36Look after her, won't you?
02:38She's a national treasure.
02:40Thanks, Ted.
02:43You must be pleased with yourself.
02:46Oh.
02:47Is it because of coming back here?
02:50All I want to do is paint.
02:52I mean, I can paint just as well in here.
02:55I guess it's a bit of an anti-climax.
02:57Oh, some of those people at the exhibition were their champagne and their la-de-da voices.
03:04You'll get used to them.
03:05Okay, Lizzie, play your trump.
03:10What trump?
03:11The one you've been sitting on.
03:14Nah.
03:15And these are the two best tarts.
03:18Oh.
03:18We done them like a dinner, didn't we, dog?
03:20You know, I reckon if Lizzie had been with Sitting Bull, the Indians would have won the war.
03:24Come to think of it, she probably was.
03:25She's old enough.
03:26That counts out loud, doesn't it, dog?
03:28Sure does.
03:30I mean, Jeremy, ten cigarettes, Ben.
03:32I don't want any of them bloody awful ones you gave me before.
03:35I thought I was doing you a favour.
03:36You keep saying you want to give up smoking.
03:40Carrie, we've got some.
03:42Sorry.
03:44I just thought that when she finds out who smashed her painting, she's not going to be very pleased.
03:48It's going to lag on me, eh?
03:49You call me a lagger, girly.
03:51And it isn't lagging when you're just seeing the record straight.
03:54Remember in the halfway house, we could play cards all night and nobody turned the lights out or nothing.
04:01I suppose that's why you were breaking your neck to get back in here.
04:04Oh, just because I was so bloody lonely doesn't mean to say I don't miss it.
04:08Oh, save it for Paul Reed.
04:11Anyway, the next time we get out, Lizzie, we won't be making the same mistakes.
04:16You've said it.
04:17But think of all them fags I pinched and I didn't even smoke one of them.
04:22Oh, hi, Carrie.
04:23How'd the exhibition go?
04:25Yeah, love.
04:25Sit down here and tell us all about it.
04:27No, thanks.
04:28Oh, listen, love.
04:29About that...
04:30What Lizzie's trying to say is we know you're not a lagger.
04:35Well, well, well.
04:36That's a turn-off.
04:37No hard feelings?
04:41All right.
04:42All right.
04:43Except for one thing.
04:44What's that?
04:45Who messed up my painting?
04:48Is it making a difference?
04:49It does to me.
04:50But if there's any trouble, you're only going to lose privilege.
04:52B, I want to know.
04:55Well, let's say absent friends.
04:59Sharon.
05:02Don't worry, I'll find her.
05:04Well, I wouldn't like to be in Sharon's side as far as when she does.
05:18I thought you were off till morning.
05:21Unfinished business.
05:22Well, what was the exhibition like?
05:24All those people.
05:26It's where they own the world.
05:27Well, they just about do.
05:28Who else can afford to buy original paintings?
05:30Excuse me, Meg.
05:31I have something rather urgent.
05:39Hi, Kerry.
05:40What's up with you?
05:42Just cramps, you know.
05:56You're a liar.
05:57Suit yourself.
05:58I'm a liar.
05:59And you ruined my painting.
06:01Did I?
06:02Oh, you really are amazing.
06:08Well, we all thought you lagged.
06:10B Smith as much as anybody else.
06:12They all wanted me to do it.
06:13Look, if it was Bea or someone, well, worthwhile, I wouldn't mind losing my privileges.
06:17But not you.
06:19You see, you're spiteful, Sharon.
06:21You're like a little kid.
06:22And you're petty.
06:24But being petty's one thing.
06:26Being stupid's another.
06:27I mean, you really thought I wouldn't find out, didn't you?
06:30Didn't you?
06:33Now, you just stay out of my way.
06:36Or you'll get trodden on.
06:45What are you doing in here?
06:47Nothing, Miss Bennett.
06:48Oh, then I'll have to find you something.
06:49How about garbage duty for the next week?
06:51Do you think that might keep you busy?
06:52But, Miss Bennett...
06:53If you're going to argue, I'll make it two weeks.
06:57Vincent?
07:03That agent of yours, or whatever he is, why did you tell him I was blackmailing you?
07:07I beg your pardon?
07:08Don't play games with me, Vincent.
07:10I thought I could help you.
07:11In spite of you getting chances, I never did.
07:13I thought I could help you, and you do that to me?
07:15Miss Bennett, I don't know what you're talking about.
07:17Oh, don't give me that, Vincent.
07:19You see, I heard your David Austin talking to that newspaper reporter,
07:23telling him I'd blackmailed you into giving me a painting.
07:26Well, you must have misunderstood.
07:29I didn't misunderstand!
07:30I didn't tell him any such thing!
07:33Well, then it proves one thing.
07:34You crims always bite the hand that feeds you.
07:39As your painting's so precious, I'll certainly return it.
07:43But I'm awake up to you now, Vincent.
07:45No more special considerations.
07:47I'll stick by the book.
07:48They say I'm hard, but I don't care because I'm honest,
07:52and no-one is going to take that away from me!
07:55I just thought you were different.
07:56Hello, Miss Bennett.
08:21I'm afraid we're actually closed at the moment.
08:23This won't take a minute.
08:25Ah, right, well, come in.
08:30Well, what can I do for you, Miss Bennett?
08:34Did you see something at the exhibition that took your fancy?
08:36That painting I gave you to be framed?
08:38Yes.
08:39I want to show it to someone.
08:40Could I have it back?
08:41Oh, I'm terribly sorry, but it's not finished yet.
08:44That doesn't matter.
08:45No, you see, as it was for a friend of Kerry's,
08:48I treated it as a special order.
08:50A special frame, you see.
08:51I had to send it out.
08:53When could I collect it?
08:54Well, if you'd call back in a week.
08:56Definitely a week?
08:57Absolutely, absolutely.
09:00No worries.
09:02It's been a pleasure.
09:03Hey, where's Mighty Overs?
09:23Lizzie probably nicked it.
09:24Why, if anything goes missing, I always get the blame.
09:27It's usually you that knocks it off.
09:29Oh!
09:29Oh, it's okay.
09:31I've found it anyway.
09:33Vincent apparently thinks she's royalty.
09:35Lives at a slower pace than the rest of us.
09:37Any time you miss on normal duties,
09:39we'll be made up out of your painting time.
09:44What are you smirking for, Gilmore?
09:46There's garbage to be collected before breakfast.
09:51What's got into vinegar?
09:52Just a misunderstanding.
09:54Oh, well, strategy for the day, girls.
09:56Stay out of Vera's way.
09:58Oh, so what's new?
10:00Oh, the light in here is awful.
10:02What?
10:02Oh, the light.
10:03It's flat and bloody ugly.
10:04Thank God I got my lamp.
10:08Sharon?
10:10Miss Bennett's looking for you.
10:11So?
10:12Didn't Vera say there was some garbage?
10:15She wouldn't mean Sharon, would she?
10:17Hmm.
10:17Newspapers here yet?
10:24I haven't seen them.
10:25This place gets less efficient every day.
10:27Looking for something special?
10:30Oh.
10:31I just bought a lottery ticket, that's all.
10:33Oh, I buy them too.
10:34Oh, I have to share one.
10:35Which lottery is it?
10:39Oh, Miss Bennett, could you find Lizzie Birdsworth
10:41and bring her to my office, please?
10:42I'll check the paper when it comes in.
10:45What for?
10:46Oh, Vera's got a lottery ticket.
10:47Good morning.
10:50Oh, Mr. Reid.
10:52This is Mr. Westmore.
10:54He's a solicitor here to see Doreen Anderson.
10:56Mr. Westmore, Paul Reid, our social worker.
10:59How do you do?
10:59Any problems?
11:01Oh, it's a particular matter, personal for Miss Anderson.
11:04Oh, I see.
11:04Well, if you need me, I'll be in my office.
11:07If you would just sign the book.
11:09Hmm.
11:10Have an officer take Doreen to the interview room, please.
11:13Right.
11:13And have you seen Miss Bennett?
11:14Oh, she should be back in a minute.
11:16I'd like to see her in my office.
11:17Immediately, she's free.
11:23Ah, Miss Anderson.
11:24My name's Mr. Westmore.
11:26I was expecting Angela.
11:28Angela Jeffries.
11:29Ah, yeah.
11:31Ah, do sit down, Miss Anderson.
11:34What's it about, your mum's will?
11:36It touches on that, yes.
11:37Must be just about sorted out by now, eh?
11:40I should make it clear, Miss Anderson.
11:41I am not representing Angela Jeffries.
11:45Um, I'm here concerning your mother's house.
11:48To make an offer, in fact.
11:50A rather generous one, if I may say so.
11:53$85,000.
11:55$85,000?
11:56But Angela had it valued,
11:58and they said it was only worth $60,000.
12:00No doubt she did.
12:01Uh, where there's a will concerned,
12:04uh, property's often valued rather conservatively.
12:06There are legal advantages, that sort of thing.
12:10Well, let's just say it's not unusual.
12:12However, our offer is still very generous.
12:14But why?
12:15Well, uh, our client has, uh, begun to like the place.
12:21Hmm.
12:21I don't know.
12:23Let me assure you, Miss Anderson,
12:24you won't get a better offer.
12:26Oh, maybe not.
12:27But you see, I've got this friend, Lizzie Birdsworth.
12:29And anyway, she's kind of old,
12:31and we just thought that we would be living there.
12:34$85,000 is a lot of money.
12:37Hmm.
12:39Well, I'll have to make up my mind.
12:40Could you give me a couple of days?
12:42My client is looking at other properties.
12:46All right.
12:46I'll give you my card.
12:48But I'm, uh, I want to assure you
12:50that the matter is urgent.
12:56Quite candidly, Miss Anderson,
12:58you won't get a better offer.
13:02You wanted to see me?
13:03I do indeed, Miss Birdsworth.
13:05There is a report in here of yesterday's art exhibition.
13:08I've marked a paragraph,
13:09mostly a small paragraph.
13:11I would like to hear your comments on it.
13:14It's a lie.
13:16Well, certainly it is just an insinuation.
13:19But I think you ought to tell me what has been happening.
13:21It's very simple.
13:22That agent of Vincent's, he's trying to incriminate me.
13:25Why should he try to do that?
13:27Well, I don't know.
13:27Publicity, I suppose.
13:29Look, I was talking to Vincent.
13:31Mentioned that I'd once been interested in art.
13:33She offered me a painting, and I took it.
13:36Foolishly, perhaps.
13:37But I trusted her.
13:39She gave it of her own free will?
13:41Of course.
13:43Without any suggestion from you?
13:45You know my record, Mrs Davidson.
13:51Don't lose that card.
13:55What's up, Dor?
13:57Oh, I'm just waiting for somebody
13:59to take me back to the garden.
14:00Yeah, like a bloody bus stop, isn't it?
14:03I've got to go back to the laundry.
14:04Where you been?
14:05See, Paul Reed.
14:07He's hounding me about me future.
14:09So I said to him,
14:10if you're so interested in my future,
14:12you can cross my palm with silver,
14:14and I'll read your tea leaves.
14:15What'd he say?
14:16He didn't come across with no money.
14:18I said to him,
14:19look, I'm an old woman,
14:21I don't need much.
14:22Three meals a day,
14:23a roof over my head,
14:24and I'll get that from Dor and Kev.
14:26Yeah.
14:28What's the matter, love?
14:29Oh, it's this bloke, Lizzie,
14:31that came to see me.
14:32He wants me to sell the house.
14:33Yeah?
14:35Yeah.
14:36For $85,000.
14:39$85,000?
14:41God, Dor.
14:43You might never get another offer like that.
14:45Yeah, but what about all this stuff
14:47about a roof over your head
14:48and me and Kevin and all that stuff?
14:50$85,000.
14:51You could buy a couple of houses for that.
14:53No, I couldn't.
14:54Not anywhere decent.
14:56Well, I'll tell you what you've got to do.
14:57You've got to talk to Kev.
14:59You reckon?
14:59Of course.
15:01It's only natural.
15:02I mean, he's your bloke, isn't he?
15:03Is this a conference?
15:05Go on.
15:06Oh, well, Mr. Reid,
15:07I've got this problem, you know.
15:08It's personal, sort of.
15:10And I was wondering if you could
15:11ask Kevin to come in and see me
15:14and tell him I'd like to talk to him real quick.
15:16Yes, certainly.
15:16I can't help.
15:18Oh, no.
15:18Thanks anyway,
15:19but I'd really like to talk to Kevin,
15:21you know, him being my boyfriend and everything.
15:23Okay, well, I'll ring him this morning.
15:25Meantime, I'd better get somebody
15:26to take you back to the laundry.
15:28Oh, no hurry.
15:29With my luck as it is lately,
15:31I ought to get Miss Bennett.
15:33I'll get somebody anyway.
15:34I accept your explanation, Vera.
15:39Obviously, there has been a misunderstanding.
15:42Misunderstanding?
15:43I heard that man at the art exhibition yesterday.
15:46He told that reporter that I'd blackmailed Vincent.
15:48That's where this came from.
15:49Vera, these kind of innuendos are often made by the press
15:54without any encouragement from anyone.
15:57But I heard him.
15:59Oh, I take a very serious view of this, Mrs Davidson.
16:01If you accept my explanation,
16:03then I insist that he be banned from Wentworth.
16:06Did you hear the entire conversation?
16:08I heard enough.
16:10Enough to make a mistake.
16:13Vera, I have met Mr Austin, too.
16:17And I believe him to be a man of principle.
16:19Genuinely interested in the rehabilitation of prisoners.
16:22I have accepted your explanation.
16:25And we will let the matter rest there.
16:28But I do suggest you return the painting.
16:31Well, I would have done that already,
16:32but I've given it to Mr Austin to be framed.
16:35I went to see him yesterday and asked for it back.
16:38What did he say?
16:39That he'd sent it away.
16:41It was a special frame.
16:42Well, then, I would suggest that is the explanation.
16:47If it would make you feel better,
16:49I would take the matter up with Mr Austin.
16:52If you have any faith in me, Mrs Davidson,
16:54he should be banned from Wentworth.
16:58Supposing you are right about this, Vera,
17:01what do you expect banning him would achieve?
17:07It would just stir up adverse publicity
17:10about stopping him from seeing his client.
17:14Mrs Davidson, I'm not imagining this.
17:19Leave it with me.
17:32There you are, Meg.
17:33There's your file back.
17:34Oh, that was quick.
17:35Oh, well, a half an hour without interruption
17:37makes all the difference.
17:39I'll see you later.
17:39Wentworth's attention, Cindy.
17:42Mr Reid?
17:47Paul Reid?
17:48Oh, Mr Reid, look, it's Kevin Burns here.
17:50I've got a missus to ring you.
17:51Is Doreen all right?
17:52Yes, yes, she's okay,
17:53and thanks for being so prompt, Kevin.
17:54Are you sure Doreen's all right?
17:56Yes, yes, she's fine.
17:57She does want to see you.
17:58She wants your advice on something.
18:00She does?
18:01Yeah, can you get out of here right away?
18:03Yeah, sure.
18:04I'll be there in half an hour.
18:05Yeah, fine, we'll see you then.
18:06Some people never seem to have work to do.
18:14Oh, Kerry Vincent must have sold a painting.
18:16I just saw David Austin looking very pleased with himself.
18:19No doubt.
18:20That Vincent woman gets too many.
18:22Well, I got top price for the prostitute painting.
18:31Oh, when?
18:32This morning.
18:33No physical contact?
18:36Yes, well, it seemed all set last night,
18:38but they obviously thought if they kept me hanging about,
18:40I might drop the price.
18:41So I rang her back this morning,
18:41said, any more messing about,
18:43they might miss out altogether.
18:44Told them nicely, though.
18:45Oh, you're terrific.
18:47Well, being terrific is the secret
18:48of being a good salesman, you know it.
18:49Um, David, look, there's something else.
18:53Hmm?
18:54It's about, um, a gift.
18:57Yes.
18:59Well, you seem to have misunderstood.
19:02No, I haven't misunderstood at all.
19:05What do you mean?
19:05You did it deliberately?
19:07Publicity, my darling, publicity.
19:09You see, I want you out of here as soon as possible.
19:12Now, just trust me.
19:12I know it doesn't seem to matter to you
19:14where you are as long as you can paint,
19:15but that'll change, believe me.
19:16Now, I've made representations
19:18to a certain member of Parliament.
19:20He says you'll be paroled very quickly.
19:21Yeah, but that doesn't mean that...
19:23Look, she was nice to me.
19:25She really was.
19:28Look, I've checked her around.
19:29She's a bitch.
19:30She's been asking for it for years.
19:32Now.
19:32You look after yourself, love.
19:38Madam Perry, you understand the important thing
19:39is that you keep on working.
19:41You're going to need lots more paintings.
19:43I can tell you, after this exhibition,
19:44there's going to be a terrific demand.
19:46So.
19:48Hello, Miss Bennet.
19:50Show Mr. Austen out.
19:53Bye.
19:57I, um...
19:58I spoke to him about the painting.
20:00Had a good laugh, did you?
20:01Look, I didn't know anything about it.
20:03I've seen the Governor.
20:04Seems your little plan's fallen apart.
20:06She doesn't put much faith
20:07in Crimson and their associates.
20:09Yes.
20:10For a while there, I was starting to go soft.
20:12I've apologised.
20:15Did you know your bed's not made?
20:17I'll make it now.
20:18You most certainly will.
20:20And to help you remember in future,
20:22each day for the next week,
20:23you'll spend an hour cleaning out the toilets,
20:26deducted from your painting time.
20:30Now get going.
20:31Hi.
20:39Hi.
20:45Jeez, it's good to see your door.
20:48When you didn't answer my letters and that,
20:49I thought that...
20:51Well, what did you want to see me about anyway?
20:53Oh, well, nothing really.
20:58I just wanted some advice about my house, you know?
21:00Well, what about your house?
21:04Well, there's this guy who wants to buy it
21:06and I just wanted to talk it over with somebody.
21:09Uh-huh.
21:12Well, what's up?
21:14Yeah, well, it just seems to me like you need some legal advice.
21:17Yeah, I suppose I do.
21:18So maybe you should be talking to a lawyer.
21:20Oh, Kevin.
21:21Yeah, well, can't you afford one or something?
21:22You know I can, Kevin.
21:25Look, Dora, I'm sorry, but...
21:27Yeah, well, what have you got to be sorry about?
21:28It wasn't my idea to see you in the first place.
21:30It was Lizzie's and I just went along with it.
21:32Well, if that's all I mean to you, then I am bloody sorry.
21:36Don't you think you two ought to take a breather?
21:38No, Mrs. Jackson.
21:40Can I go back to work now?
21:42Are you sure?
21:43Of course I'm sure.
21:45I don't care if I never see you again.
21:49Yeah, well, act fine with me.
22:03Come in.
22:05Oh, good morning, Jim.
22:07Mrs. Davidson.
22:08How are you?
22:09I'm fine, thank you.
22:10Well, you know, it really wasn't necessary for you to...
22:13Yes, I realise that, Mrs. Davidson, but I would rather be working.
22:16Well, we still have the same amount of problems, I'm afraid.
22:19Judy Bryant arrives back today and, well, apart from that,
22:23everything's much the same as when you left.
22:25Excuse me.
22:28Yes?
22:28There's another visitor for Doreen Anderson.
22:30I've already told him that she's had her quota for the week.
22:33Who is it?
22:34Harry Bone, a representative of Mr. Westmore.
22:36Well, that's a legal matter.
22:39I suppose he'd better see her.
22:40It's got nothing to do with the court appearance.
22:42Show him through, Miss Bennet, and explain we can't make a habit of it.
22:48Very well.
22:49Is something the matter, Miss Bennet?
22:51Well, it's just that I've got the rosters to do today and the monthly requisitions to finalise.
22:56Phone through to Jock Stewart in Block B and ask him to attend to Mr. Bone.
23:01Really?
23:02Sometimes I don't know whether it's me or this place.
23:04I'm sorry, that wasn't a very encouraging welcome.
23:09Well, business as usual, I see.
23:11Jock Stewart, wouldn't you have been colleagues at Pentridge?
23:15Yes, I know the name.
23:16Might jog my memory when I see him.
23:19Oh, well, it doesn't matter.
23:21He seems to be quite efficient.
23:23Well, I might as well get started then.
23:25Oh, I have to go out this morning for about an hour.
23:29Fine.
23:30Just let me know.
23:38Sit down, love.
23:44I'm Harry Bone.
23:45Call me Harry.
23:47Mr. Westmore sent me.
23:49We've got a problem, Doreen.
23:50We want to give you a large sum of money, right?
23:52Very large sum indeed.
23:54Yeah, well, Mr. Westmore said that he'd give me a couple of days, you know, to make up my mind.
23:58Oh, sure he did, love.
23:59Sure he did.
23:59But you see, this client of ours, he's a kind of high-powered sort of individual and he's giving us problems.
24:05So to get this settled once and for all, I'm going to offer you a hundred big ones.
24:10A hundred thousand?
24:11That's right, love.
24:12Can't get much fairer than that.
24:14Right?
24:14Some buyers got to be out of their skulls.
24:16He must want it real bad.
24:18Real bad, love.
24:20But a hundred's the limit and he wants the answer right now.
24:22Here's the contract.
24:25You see a hundred thousand typed in there.
24:28All you've got to do is sign it.
24:29There you go.
24:30Um, my fiancée.
24:36What about him, Doreen?
24:37Well, he said that he would be making some inquiries.
24:40While your fiancée's making inquiries, our client's going to be viewing other properties, love.
24:45Oh, well, you might be able to sell the house for $60,000, but then you'd be $40,000 out of pocket, wouldn't you?
24:51I mean, is that sense?
24:53Uh, I've got to talk to Kevin.
24:56Kevin, huh?
24:58Doreen, this deal means a lot to us.
25:00A lot of money.
25:02Big bread.
25:02They're ladies, eh?
25:07Hard getting them to make up their minds.
25:12We're serious, Doreen.
25:14Real serious.
25:17This might be your only chance.
25:19That's it for today.
25:28Tell Mr. Westmore I'll let him know in a couple of days, just like I promised him.
25:31If it's still there, Doreen...
25:33You just hang on, sir.
25:34I'll send an officer to escort you out.
25:36He wouldn't be our salesman by any chance, would he?
25:50What?
25:50No, nothing.
25:51You know, with all the visitors you've been getting lately, you must be quite important, wee lady, hmm?
25:58Could I say Mr. Ray, please?
25:59Well, I just didn't like him, Mr. Ray.
26:07You didn't like who?
26:08That bloke.
26:09The bloke from Mr. Westmore.
26:10The one who's trying to buy my house.
26:12They offered me $100,000.
26:15That's a lot of money.
26:16Yeah.
26:17Yesterday it was only $85,000.
26:19Have you discussed this with Kevin?
26:20Oh, yeah, and we had a fight and that's all off.
26:23What do you think I should do, Mr. Ray?
26:26Well, it has to be your decision, Doreen.
26:27Yeah, but you're supposed to help people.
26:30You'll have to make up your own mind on this one.
26:32Yeah, but $100,000, what am I going to do with $100,000?
26:36I suppose I could go around the world.
26:39Yeah, and I could take Lizzie.
26:41Hey, that's what I could do.
26:42And we could see Hollywood and Disneyland and drive past Robert Redford's house.
26:46I could do whatever I wanted.
26:47Oh, thanks, Mr. Ray.
26:48No, hold it, hold it, Doreen.
26:50Part of making up your mind is thinking things through.
26:55But I've thought it through.
26:56All right, what happens when you get back from your world trip
26:59and you've seen Hollywood and you spend all your money?
27:02The house is security.
27:04Don't you think I should sell the house?
27:06I just wanted to think it through, Doreen.
27:10But I asked you what I should do, and you wouldn't tell me.
27:14Oh, this is what always happens.
27:16Anytime anything happens to me,
27:18people always say, work it out for yourself,
27:20and then it's just more problems.
27:22Well, I'm sick of it!
27:23A reception.
27:31Could you get in touch with Kevin Burns
27:33and having him ring me as soon as possible, please?
27:35It's very urgent.
27:36Yes, yes, I've got that.
27:43Right.
27:46There's a list of your personal belongings.
27:48If you could check it and sign, please.
27:50Right.
27:52You know, I'm getting used to this.
27:54Well, I can't say I really enjoy it very much.
27:56How are you feeling?
27:57I'm fine.
27:58I'm not doing too many knee bends yet,
28:00but I think I'm going to be okay.
28:02Well, according to the sister here,
28:04your medical's just a formality.
28:05Well, I haven't been playing up too much, have I?
28:08I'm back.
28:10Oh, hello, Bryant.
28:12You've made a remarkable recovery.
28:14I sure have, Mrs Davidson.
28:16You know, Captain Barton's been real good to me.
28:18He phoned to say he'd be in later to see you.
28:20Oh, that's real good.
28:21Mrs Davidson,
28:22the department called while you were out
28:25Mr Douglas.
28:26He wants to see you this afternoon.
28:28He said it's urgent and it's about Kerry Vincent.
28:46Judy!
28:47Hey, don't move too suddenly.
28:49I'm not going to fall apart, you know.
28:50They have stitched me back together again.
28:53Oh, I missed you.
28:55I missed you too.
28:57You know, at times in here on my own,
28:58I get so depressed.
29:00Women in here are being rotten to me, June.
29:03Miss Bennett's got me collecting garbage.
29:06Oh, well, never mind.
29:07I'm back now.
29:08Everything's going to be okay.
29:10Hey, I, um,
29:12I brought you something.
29:14Something special.
29:15I'll get it.
29:17Thanks.
29:17Thanks.
29:18Violet crumbles.
29:23Remember how you used to love them?
29:24Yeah.
29:25And remember that day in the botanical gardens?
29:27Just after we met?
29:28For a holiday.
29:29Nothing to eat but violet crumbles.
29:31You know, you're the only person in the world I can trust, aren't you?
29:37You know, honey, when I was in hospital, I...
29:39I realised just how important trust is.
29:43I don't know what I would have done without Captain Barton.
29:45That guy from Salvos.
29:49You've never needed people like that before.
29:51Oh, please, Sharon.
29:53It's your business, I suppose.
29:55It's just people who try and sneak into your good books
29:57and fill you up with religion.
29:59Look, I don't want to talk about that, okay?
30:02I saw that new girl when I was coming in.
30:05What's her name?
30:06Carrie.
30:07The one that sucks up to the screws the whole time.
30:10Well, she's a bitch.
30:11Oh, sometimes, you know, you're a bit unfair on people.
30:13Yeah, and what would you know?
30:14You haven't been here.
30:16She reckon she's an artist.
30:18Got the screws falling over themselves, being nice to her.
30:21Special time I've worked for a painting.
30:23A special light in a cell.
30:25Special visitors.
30:25Well, that's her good luck, isn't it?
30:27And why shouldn't it be the same for everybody?
30:29Why's Miss Bennet got a knife into me?
30:31Honey, do you know that if you tried to be nice to the people,
30:34you might get along better?
30:35Nice?
30:36The rotten bags in here.
30:38You don't see them trying to be nice to me.
30:40Oh.
30:40I would have expected a little sympathy from you.
30:50Lizzie's still expecting that she'll move in with Kevin and Doreen
30:52when she gets out of here.
30:54And the way things are for Doreen at the moment,
30:56that may not be possible.
30:58Which leaves Lizzie with nowhere to go but straight back inside.
31:01You got any ideas?
31:03A lot of prayer?
31:05Sorry, but I have to operate on a much more mundane level.
31:08Let me talk to her.
31:10She's on her way here right now.
31:11You don't waste any time, do you?
31:12I'd also like to speak with Judy Bryant, if possible.
31:15Yes, I can arrange that.
31:17And it'll give me an excuse to leave you and Lizzie alone together.
31:20But just one thing.
31:21When you've finished with Lizzie,
31:23please, please don't leave her here by herself.
31:26Not everything is nailed down.
31:29Come in.
31:33Oh!
31:34Hello, Lizzie.
31:34I'll just be outside.
31:37Have you lined up for me to go on a visit on the outside?
31:40I'm afraid not.
31:41What sort of a miracle worker are you
31:43if you haven't even lined up for me to have a visit on the outside?
31:47I'll just go and arrange for you to see Judy Bryant.
31:49Excuse me.
31:51Why is he leaving us alone?
31:53He could have done that on the phone.
31:56What's cooking?
31:57Mr Reid's been telling me that you're planning to live with Doreen
32:00when you get out.
32:02So?
32:03Somewhere to live.
32:04It's not enough.
32:05You need an interest.
32:09Doreen and me are mates.
32:12That's enough for me.
32:14You need a life of your own, Lizzie.
32:16I believe you have a daughter.
32:19She was the eldest.
32:21The Salvation Army does a lot of work locating missing persons.
32:25You mean...
32:27You'd find my daughter?
32:29Why not?
32:29Oh, I haven't seen her for 30 years.
32:37Maybe more.
32:39She's still your daughter.
32:41I don't know.
32:42I don't know.
32:45Mars, here's her name.
32:47She was in a kid's home.
32:50She mightn't want to know me.
32:52Perhaps.
32:53Perhaps.
32:54Why don't we find out?
32:55I don't know.
32:59When their welfare came to take them away,
33:03I scrubbed them all up clean and shining in the bloke.
33:06He said he said he'd never seen a nicer bunch of kids.
33:15I don't know.
33:16It's entirely up to you, Lizzie.
33:18Do you think it'd be good for them to find out that I still care?
33:27I think so.
33:28Well, there's no harm in trying, I suppose.
33:37How long do you think it'd take?
33:39I don't know.
33:41Do me a favour.
33:44Don't tell me nothing until you know something.
33:47Something definite.
33:48Of course I would.
33:51Okay.
33:52Well, that's that.
33:55Do you mean...
33:56Do you mean that you might be able to find it?
33:59Do you mind if you'd just leave me alone for a minute?
34:01Just till I get myself together?
34:04The devil finds work for idle hands, is he?
34:08We're right now.
34:10Come on, Lizzie.
34:12Oh, that's the trouble these days.
34:14Nobody don't trust nobody.
34:18Well, good afternoon, Erica.
34:25I hope so, Ted.
34:27Do sit down.
34:30Some tea?
34:31No, thank you.
34:31Erica, look, at this stage I'm here unofficially,
34:33so you haven't seen me?
34:35Very well.
34:36It's a delicate situation.
34:38You're aware of this prisoner called Kerry Vincent?
34:40Yes.
34:42Well, the department's had a complaint.
34:44Rather serious, I'm afraid.
34:45It's alleged that Vera Bennett is blackmailing her.
34:49Arising out of this?
34:51Hmm?
34:51Uh, no.
34:52No, it came from her agent, a man called David Austin.
34:55I have met him.
34:56Yes, apparently he's quite well known and respected.
34:58He said he has evidence.
35:01The evidence would be the painting.
35:03When I saw this, I questioned Vera.
35:06She readily admitted having the painting and said it was a gift.
35:11Well, do your inmates make a habit of giving gifts to your officers?
35:16You must admit, Ted, this whole situation is most unusual.
35:21Miss Bennett was most concerned.
35:23She feels that David Austin is trying to involve her.
35:26Yes, well, guilty or innocent, she'd say that.
35:30Well, I know she is harsh with the prisoners,
35:32but she's a most conscientious officer, and I trust her.
35:36Yeah, well, she was demoted from deputy governor.
35:39Maybe she's bitter.
35:42Hmm.
35:43Oh, well, I've asked Austin to put it in writing.
35:45He'll have it on my desk in the morning.
35:47After that, it becomes official.
35:48And in the meantime?
35:52Well, if it is true, it could look bad for your administration.
35:56But if you fixed it yourself,
35:58I just thought you should know.
36:03If this painting is a gift,
36:05surely the girl would come clean,
36:07when she has no reason to lie.
36:09I'll certainly look into it.
36:11Oh, well, good luck.
36:18Bring Vincent to my office immediately.
36:26I hope you enjoyed your extra cleaning duties.
36:29A taste of real prison life.
36:32I put a new light globe in there this morning.
36:37You took it, didn't you?
36:38As a matter of fact, I didn't, Vincent.
36:40But if it stops you painting that trash,
36:43well, all the better.
36:43You lay off my work, because you wouldn't know.
36:46I know trash when I see it.
36:47And that's trash.
36:48Even I've seen some screws
36:49pull some pretty heavy trips in my time,
36:51but stealing a light globe just stopped me working.
36:53You...
36:54Okay.
36:58Can I have it back, please?
37:01Well, well, well.
37:03Changed your tune.
37:04Can I please have my light globe back?
37:06If you want another light globe, Vincent,
37:08you're going to have to earn it.
37:10What's all this, Miss Bennett?
37:12Apparently, Vincent here has misplaced a light globe.
37:16Well, we'll see about that later.
37:17Come on, Vincent.
37:17The governor wants to see you.
37:26Yes?
37:30Could you wait outside, please, Mr. Fletcher?
37:32I have a question, Vincent.
37:39A very important question.
37:42And I must have a truthful answer.
37:45Of course.
37:46I believe Miss Bennett has a painting of yours.
37:50That's correct.
37:53Could you tell me how she came by it?
37:56That's easy.
37:57She made me give it to her.
38:03I think it's this place.
38:08It's like when you have a bucket of water poured over you.
38:13You know, you're angry, you're depressed.
38:15But you're soaked as well.
38:17What I mean is it's more than just a feeling.
38:21It's physical.
38:22And that's how this place makes me feel.
38:25Only what's been poured over me isn't water.
38:27And you feel what?
38:29Degraded?
38:30Yeah.
38:32Can you learn from the experience?
38:33Learn what?
38:34What it feels like to be degraded?
38:36Tolerance.
38:37How not to judge.
38:39The time will pass more quickly if you can.
38:42And what's brought this on anyway?
38:43Nothing.
38:47Well, it's...
38:48It's personal.
38:53See, I...
38:54I think that the hospital thing has done the trick.
38:56I mean, I'm not so nervous about whether I live or die anymore.
38:59But I'm not going to live to a hundred.
39:02Time's precious.
39:05See, when I came back from hospital,
39:07I was really looking forward to seeing Sharon.
39:10The first five minutes were really great.
39:12Just like old times.
39:15And then suddenly she's the same old Sharon.
39:19Stupid and selfish and self-indulgent.
39:23Do you think she's likely to change?
39:26If she can, even slowly,
39:28then there's some hope.
39:30If she can't...
39:31Look, it's not even her fault.
39:32I mean, I'm the one.
39:34I've been catering to her every whim.
39:36Judy, look.
39:38She's not a fool.
39:40She knows when she's using people.
39:43I can't give you an answer.
39:45It's up to you.
39:47I know.
39:51It's just that...
39:52When you love somebody,
39:57no matter how bad they treat you,
40:01breaking up's still not easy.
40:04Yeah, well, I just hope you're right.
40:06That's all, Mr. Reid.
40:06Kevin, I am convinced that I am.
40:09I've thought about this a lot,
40:10and in Doreen's case, I'm sure it's the only answer.
40:12Provided you stick to your guns.
40:14Yeah, well, I can try.
40:16All right.
40:16You can wait in the garden.
40:18Doreen will be out there shortly.
40:19What if she doesn't front?
40:20Don't worry, she will.
40:21Yesterday, she said she wouldn't even talk to her.
40:23Stick with it.
40:25Right.
40:29Go on, go on. Off you go.
40:35Trouble with Anderson?
40:36I hope, Miss Bennet,
40:38the answer to some problems.
40:39No, Miss Bennet,
40:45the governor would like to see you.
40:47Vincent?
40:48She didn't say.
40:56One more,
40:57and we can start again.
41:00Phil?
41:03What about you, Lil?
41:05Oh, I'll give it a go.
41:06Where are we supposed to get books?
41:08These are all rubbish.
41:10What about you, Sharon?
41:11Would you like game of cards?
41:12I'm suddenly accepted, am I?
41:14Where's Darling B?
41:16She's in her cell,
41:17writing a play.
41:18Probably shedding a quiet tear for Ken.
41:20Don't you let B hear you say that.
41:23Now, are you going to have a game of cards or not?
41:25If I'm not good enough to play yesterday,
41:27I'm not good enough to play today.
41:29Well, that's for bloody sure.
41:31What do you say?
41:31Mr Anderson.
41:32Oh, anything's better than being in here.
41:34Oh!
41:38Give us a fag, love.
41:39I seem to have forgot mine, too.
41:43Oh, hello, love.
41:45We can't have a game of cards,
41:47so let's swap heart complaints.
41:51Hey, Sharon?
41:53Come on over here, love.
41:54She play cards?
41:55We can make a four, then.
41:57I don't feel like playing cards.
42:00Oh, hello, Kerry.
42:01I thought you'd be painting your pictures.
42:03No, blame Vera Bennett.
42:05Bloody Vera.
42:05Now, what's she done?
42:06She took the globe out of my lamp,
42:08so I can't paint.
42:09Typical.
42:10You don't feel like a game of cards,
42:12do you, Kerry?
42:13Oh, I just thought I'd ask.
42:16This wouldn't be what you're looking for
42:17by any chance, would it?
42:18Where did you get that?
42:18I needed one.
42:20And I thought,
42:21well, you being so friendly with the screws,
42:22you wouldn't have any trouble getting another one.
42:25Okay, you've had your little joke.
42:26Can I have it back now?
42:27Sure.
42:29Goof!
42:29Oh, sorry, Kerry.
42:31It was an accident.
42:32But the screws will get you another one.
42:36It's funny,
42:37that's just what I thought she'd do.
42:39You clean that up.
42:41Yeah, who's going to make me?
42:43Well, I was going to anyway.
42:45Look, she deserved it.
42:46She's a bloody rat bag.
42:48Sure.
42:48I want to talk to you.
42:53Now, you did that on purpose, didn't you?
42:55Well, she's been asking for it for days.
42:57Listen, I don't care what you say.
43:00I just want to tell you one thing.
43:03It's over.
43:05We're finished.
43:06Look, it's as simple as this, Doreen.
43:15Are you going to marry me or not?
43:16But, Ken...
43:17Yeah, no, I need an answer,
43:18and I need it right now.
43:19I can't.
43:20Yes, you can.
43:21Look, we've been talking about this for months.
43:23The day after we got engaged,
43:24I made the marriage application.
43:25It's still valid.
43:26But...
43:26We can be married in two days' time.
43:29But I've got to know,
43:30one way or the other.
43:31Well?
43:40Yes.
43:49Mr. Fletcher, before I speak to Miss Bennet,
43:54there is something I must ask you.
43:57Certain statements have been made to me
44:00which I am reluctant to accept
44:01on the word of one prisoner.
44:04Have you any evidence,
44:06any evidence at all,
44:08that Miss Bennet has applied undue pressure
44:10to carry Vincent?
44:13What kind of pressure?
44:14Any kind at all.
44:17Perhaps.
44:18What do you mean by that?
44:21Well, when I went to fetch Vincent earlier,
44:23I heard her ask Miss Bennet for a new lightbulb.
44:26A reasonable enough request, and?
44:28Miss Bennet replied that she'd have to earn it.
44:35Could you show Miss Bennet in, please, Mr. Fletcher?
44:44That will be all, Mr. Fletcher.
44:56Concerning Kerry Vincent,
44:59additional evidence of a serious nature
45:01has come to hand.
45:03On the basis of this evidence,
45:05there are grounds for believing
45:06that you might indeed have blackmailed
45:09Kerry Vincent.
45:10You are, therefore, suspended from duty
45:13until further notice.
45:15Dr. Fletcher Smet
45:19Votcher
45:20That will be all in from you.
45:21Speaking of her,
45:22NASA
45:22Initially this Tad
45:25over
45:25We are not
45:26as
45:26President
45:27Hopefully
45:28Anna
45:30Votcher
45:31Volunteer
45:31detective
45:32Qu awful
45:33No
45:34About
45:35Please
45:35I
45:35But
45:37Don't
45:37See
45:38In
45:38The
45:39Oh
45:40as
45:40A
45:41Po
45:41A
45:42I