#marpletowardszero #poirotdeadmansmirror #enchantedapril
Louisa Bridgenorth commissions a portrait of the ideal man. James Mallory turn her down, but knows just the artist, Mary Tredick. Starring: Pamela Brown, Faith Brook, Anton Rodgers.
Louisa Bridgenorth commissions a portrait of the ideal man. James Mallory turn her down, but knows just the artist, Mary Tredick. Starring: Pamela Brown, Faith Brook, Anton Rodgers.
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Short filmTranscript
00:00The End
00:30Just three more seconds.
01:00There.
01:05That's all for today, Duchess.
01:07Thank God for that.
01:08If I'm late with me old man's grub again, he'll skin me.
01:11My dear Maggie, if it weren't for your modelling fees, there mightn't be any grub for him.
01:15Does he ever think of that?
01:17Well, if he does, he keeps quiet about it, doesn't he?
01:19What's it to be tomorrow, then?
01:21The French Countess for a story in the Strand.
01:23Don't they never think of nothing but knobs?
01:25My dear Maggie, I don't write them, I merely illustrate them in between portraits.
01:28Yeah, it's a game though, innit?
01:30I'll just go and tidy up.
01:36A lady to see you, sir.
01:39Mrs Louisa Bridgenorth.
01:41I don't know her, do I, Thomas?
01:43Not to my knowledge, sir.
01:44Is she downstairs now?
01:45Yes, sir.
01:47What's she like? I mean, is she...
01:48She has very good lace, sir, and her own carriage.
01:51Oh, you'd better show her up, then?
01:53Yes, sir.
01:56If you would be so good as to follow me, madam.
02:04Mrs Bridgenorth, sir.
02:06Oh.
02:09Mr Mallory?
02:10If you value your gloves, Mrs Bridgenorth, we shall not touch hands.
02:13Won't you sit down?
02:15I saw your remarkable portrait of the beautiful Mrs Flora Dawling at your exhibition last month.
02:26Ah.
02:27And your no less remarkable portrait of the extremely plain Mr Dawling.
02:31He was, of course, the greater challenge.
02:33Please do sit.
02:34I'm glad you appreciate a challenge, Mr Mallory.
02:37It's a challenge I believe I've brought you.
02:39You, er, may find my request a little odd.
02:43Un peu bizarre.
02:45Well, if it's a portrait.
02:46It is a portrait.
02:47Then I shall consider it a challenge.
02:49Of the most pleasurable kind.
02:50The portrait would not be of me.
02:52Of your husband?
02:54I have no husband.
02:56Of whom, then?
02:57Of no one.
02:58Of anyone.
03:00You see, I told you you would find it bizarre.
03:03Do you mean I am to choose my own sitter?
03:07On the contrary.
03:08There is to be no sitter.
03:12Whom, then, is the portrait to represent?
03:14An extremely handsome, distinguished man of not more than thirty, clean shaven, superbly dressed, and a gentleman.
03:24He is to hang over my chimney piece.
03:26And where, my dear Mrs Bridgenorth, am I to find this paragon if I am denied a sitter?
03:31Oh, in your head, Mr Mallory.
03:33He is to be a work of the imagination.
03:35I'm afraid I don't...
03:36Oh, there is to be one other stipulation.
03:39The portrait must be in the manner of a generation ago.
03:44It must look old.
03:46It must have the tone of time.
03:49Mrs Bridgenorth, I'm afraid you do me too much flattery.
03:53How?
03:54You overestimate my capacities.
03:57I am in that category of painter who is a mere recorder.
04:00I paint the thing that I see, and I paint it as it is.
04:03I have no skill in creating what I do not see.
04:05But I thought an artist was skill...
04:06Moreover, I am a child of my time, limited to my time.
04:09I cannot reproduce a style that is gone, even by generation.
04:12You see how narrow my talents are.
04:14Oh.
04:15Er, money is not an object, Mr Mallory.
04:18It may cost what it will.
04:19It's not a question of money, my dear lady.
04:21The trick is simply not within my competence.
04:25I've returned only recently to this country.
04:27I was told you were the coming man.
04:31I know no one else to ask.
04:33Mrs Bridgenorth, if you will trust me, I believe I do.
04:37A good artist.
04:39It must be beautifully executed.
04:41Oh, an excellent artist.
04:42In fact, the only artist for you in the whole of London.
04:44She specialises in what you call the tone of time.
04:48She?
04:49The tone of time?
04:51Well, it is your kind of thing, Mary, my dear.
04:54Mary Treddick, magician of the palette.
04:58I really wonder, you know, why you don't go in for forgery.
05:01And for someone who effortlessly strolls back through the centuries,
05:04a mere 20 or 30 years would be nothing.
05:06Oh, that part of it, yes, I can see, but a face out of my head.
05:10But you have so many in your head, Mary, my dear.
05:13From all the museums you've haunted and all the great things you've studied.
05:16If anyone in London can conjure up what Louisa Bridgenorth wants,
05:19then it's you.
05:20Well, what I don't quite understand is what she wants it for.
05:23Well, it's only my guess, but I suspect it is to symbolise a husband
05:30who's not alive and perhaps never was.
05:33She's just returned to London, you say?
05:36I get the impression she's lived abroad.
05:38Her past is not clear.
05:40I believe she's trying to build up a kind of substance for herself.
05:44A background.
05:46Which the portrait is to be a part.
05:48You can see the scene, can't you?
05:50Portrait over the mantelpiece.
05:52In the due course of time the transfiguration will occur.
05:55Who is that awfully handsome young man?
05:58That?
05:59Oh, that's just an old sketch of my husband.
06:01Long time ago, of course.
06:03Is she respectable?
06:06Oh, how you do go directly to the point.
06:09What can I say?
06:11She may have had her adventures.
06:13And if she has, she's obviously made them pay.
06:16I can hardly ask.
06:17Can't imagine anyone asking Mrs Bridgenorth anything remotely impertinent.
06:21She sounds to be the sort of woman who is the creation of her own talents.
06:26Well, she's clearly seen a great deal of life.
06:28Do you suppose she's foreign?
06:30Well, her French is perfect.
06:32But then so's her English.
06:33Do you think Bridgenorth is her real name?
06:35My dear Sherlock, I have no idea.
06:37Pardon my soul, Mary.
06:39I've never known you prowl around a commission so in my life.
06:41Are you expecting her to get up and bite you?
06:43That's your idea than ever was a Mr Bridgenorth.
06:46Look, I don't know and I don't particularly care.
06:49Will you at least meet her?
06:54No.
06:55Then you won't take it on?
06:57Well, need I meet her in order to take it on?
07:00No.
07:01She's left it entirely in my hands.
07:03I mean, it isn't as if she's going to describe anything to me.
07:06She leaves it entirely to me.
07:07That's what you said.
07:08Yes, yes.
07:09You have carte blanche.
07:10Oh, and 400 guineas.
07:14Will you kindly tell your friend that I'm greatly obliged to you both
07:17and that I accept the offer?
07:18Splendid.
07:19And you'll give him all of his good looks?
07:21That is my main reason for accepting him.
07:23I shall make him supremely beautiful.
07:26He'll be the finest gentleman you've ever seen.
07:28I think I've touched a spring somewhere.
07:31Now you can take me to tea.
07:33Oh, all right.
07:34I would have thought she might just like to have seen me.
07:38And to appreciate the fact that I might like to see her.
07:42I think she felt it might put some constraint on her imagination.
07:47And you did so want her to have complete freedom in that work.
07:50Yes, I suppose that's true.
07:52You'll see her when it's finished.
07:54So when you collect the portrait.
07:56And when I pay her, I suppose.
07:58Will she take very long?
08:00No, no, I don't think so.
08:02She seemed very excited.
08:04Oh, she is enthusiastic about it, then.
08:06Oh, about the whole idea.
08:07It seemed to strike her very powerfully.
08:09Is, er, Mrs Treddick's husband alive?
08:14No, no.
08:15He died out in India.
08:16Oh.
08:17Well, did she wonder why I should want such a picture?
08:20Not really.
08:22He's to go there.
08:26You do see how much both the room and I need him.
08:30How soon, do you think?
08:32Oh, er, I don't think it'll be long.
08:35But I think you should leave for at least two or three weeks.
08:38Yes.
08:39As I say, she is in a ferment.
08:41But even that process takes little time.
08:49Major and Mrs Monarch.
08:50They apologise if they're disturbing you, sir, but they are most anxious to see you.
08:53You'd better show them in, then.
08:55Yes, sir.
09:01Major and Mrs Monarch, sir.
09:03We come from Mr Rivet.
09:05Ah, Claude Rivet recommended me.
09:07Said you were the right one.
09:08I try to be when people wish to be patient.
09:10Yes, er, we should like to be.
09:12Won't you sit down?
09:15Did you have any particular theme or setting in mind?
09:19Well, er, we rather thought we'd leave that up to you.
09:22I suppose there'd be, er, various settings, would there?
09:25Well, it's best if it's appropriate, of course.
09:27In the best portraits, the setting always compliments the sitter.
09:30We rather thought, erm, gun rooms.
09:33Yes, palaces.
09:34Royal Ascot, cards.
09:35Huntballs, senior regatta.
09:36The glorious twelfth.
09:38Queen Charlotte's, erm...
09:40Ball.
09:41Yes, yes, they're a little unexpected.
09:44But I suppose I could do something with one of them.
09:46Why not all?
09:47Why not?
09:48Do you mean to sit together?
09:51That would be double, I suppose.
09:54Well, naturally, there is a higher charge for two figures than for one.
09:57We should like to make it pay.
09:59Oh, that's very good of you.
10:02Erm...
10:03We mean for the illustrations.
10:06Mr Reeve said you might be able to, er, use us.
10:10Oh, I see.
10:12You mean...
10:13What you're saying is that you want to be models?
10:16Mr Reeve told us that you were quite exclusive in your work for publishers and magazines
10:20and I thought...
10:21That is, we thought...
10:23Well, you do often have to depict ladies and gentlemen.
10:26Oh, yes, but...
10:27Well...
10:28I don't actually...
10:30You see, art is as deceptive in that as in everything else.
10:34By some strange alchemy I drape a piece of velvet over a scrap of an East End girl and she becomes a Duchess.
10:41You do see.
10:43I'm sorry.
10:44But, erm...
10:45Surely, sir.
10:47The real thing...
10:48We have been much involved in amateur dramatics.
10:51Before I left the army and had the, er, misfortune to lose our money.
10:56My husband has...
10:57Has tried everything.
10:59Er...
11:00Do sit down.
11:01Er...
11:02Er...
11:03Do sit down.
11:04There isn't a confounded job I haven't applied for.
11:08Waited for.
11:09Prayed for.
11:10Well, you can imagine we'd have had to be pretty desperate first.
11:16Secretarieships, that sort of thing.
11:18Might as well ask for a peerage.
11:20I'd be anything.
11:21But they just won't look at you.
11:23There are thousands as good as oneself already on the floor.
11:28Gentlemen who've drunk their wine and kept hunters.
11:32Or beggars.
11:35Look, I tell you what.
11:37Why don't I try a couple of sketches and we'll see how it goes from there, hmm?
11:42What a sensible idea.
11:43Why not?
11:44Leave me your card and, er, I'll be in touch in a few days.
11:53Mr. Mallory.
11:54It's done, then.
11:55It's finished.
11:56Well...
11:57So he says.
11:58He's insisted on being a likeness, you see.
12:00He's not out of your head, then?
12:01Yes.
12:02So, in the sense that I've had him there all these years and during the course of the
12:07last four weeks...
12:08...I let him out.
12:09The circumstance is practically dictated that it had to be he.
12:10Who?
12:11If I was to do the most beautiful man in the world, it could be but one.
12:21And before I go quite mad, you see.
12:24It's happened.
12:25That man's doing a good self.
12:26It'll not be the best of all.
12:27But it's done.
12:28It's done.
12:29It's done.
12:30Why?
12:31It's done.
12:32It's done.
12:33And I've done it.
12:34But I've done it.
12:35It's done.
12:36And before I go quite mad with impatience, may I please see him.
12:41Oh.
12:50Mary, it's magnificent.
12:53I feel the force of the man as he was.
12:56You feel some of it.
12:58And you did this without aids of any kind?
13:00Depends what you mean.
13:01Well, notes, sketches, studies.
13:02Oh, I destroyed them years ago.
13:03But you did once have them.
13:04I once had everything.
13:08It's all memory, then?
13:09It's all hate!
13:11Hate.
13:14But, Mary, the vitality, the passion, that's not hate.
13:17He had that all right.
13:22Do you know what I think?
13:25I think it's too good for its purpose.
13:29It's the best thing you've ever done.
13:30It's absurd to put it to the service of a lady who simply wants a posthumous husband.
13:37A clever piece of humbug would do as well.
13:39The picture's served its purpose.
13:41I've worked it out of me, and it's helped.
13:44To see him stuck up there in a wall as a piece of window dressing for some poor, socially-minded widow,
13:52that's just the kind of absurd and humiliating fate I could wish for.
13:56Let him go and be Mr. Bridgenorth.
13:59Mr. Bridgenorth.
14:01When may I tell Mrs. Bridgenorth if she can come and see her late lamented?
14:10I feel like an undertaker.
14:13Or an embalmer.
14:14Yes.
14:16Now, when may she come?
14:20She can't.
14:22But you said she could have him.
14:24Well, she can, but I don't want her to come here.
14:27Do you mean you still don't want to meet her?
14:29But why?
14:30Well, it isn't if I'm going to alter anything in the picture for her.
14:33But she won't want you to.
14:34She'll adore him as he is.
14:35Well, then.
14:36Well, what the deuce do you want me to do?
14:39Well, I'll have it framed.
14:42And then, James, would you mind very much having it taken round to your place?
14:47Letting her see it there?
14:49Hmm?
14:50If that's what you want.
14:52Women.
14:52And furthermore, and even more so, women artists.
14:58Oh, sheesh.
15:11You keep admirably still, Mrs. Monark.
15:13I was quite used to being photographed when I was younger.
15:17Look, would you try to give me a little more looseness?
15:20A little ease in us.
15:25No, no, no.
15:27Try not to feel as if you're on show.
15:30Just relax.
15:31That's it.
15:32Try to feel as if you're in your own home.
15:35That's it.
15:36Relax.
15:36Relax.
15:45Rebay said something about your doing the illustrations for a complete new edition of Dickens.
15:50Yes.
15:51If the publishers like my examples.
15:53Perhaps we could be in for the series.
15:55That is, if you like to ask.
15:57Major.
15:58Mrs. Monark.
15:59I'm afraid it's not a question of whether I like you.
16:04It's the treacherous laws of art.
16:06Do they like you?
16:06Do they favour you?
16:07Don't you control that?
16:08Well, we've had what?
16:10Four sessions?
16:11Five.
16:13I thought at first it was me, not being able to capture your style, learning how to work
16:18you, but it's no good.
16:21You see, you are superb.
16:25You are the real thing.
16:27But you're intractable.
16:28You won't mould.
16:30The cheating, foxing stuff of art is just not in you.
16:32I'm sorry.
16:33So you can't use us?
16:36We don't get the Dickens edition.
16:38I'm sorry.
16:40Well, perhaps there's something else.
16:42Something not quite so arty, perhaps.
16:44Something you could...
16:45It's been very kind of you to persevere with us, as you have done.
16:54May I?
16:55Yes.
16:56Let's see.
17:00Now, I owe you for what?
17:01Four sessions?
17:02Oh, no, please.
17:03Oh, no, please, I insist.
17:04Perhaps a cheque.
17:05My husband.
17:06You have our card.
17:07And if anything should occur to you?
17:10Yes, indeed.
17:11Who was the model for that?
17:13Oh, that was Maggie.
17:14A little cognitively.
17:15I don't like yous.
17:28Ah, Saunders.
17:29I'll be up in a moment.
17:30Yes, sir.
17:33I'm so sorry.
17:35You do understand.
17:36We do.
17:36Thank you again, Mr. Mallory.
17:38Goodbye.
17:38Of course we do.
17:38Goodbye.
17:39Goodbye.
17:39Goodbye.
17:39Goodbye.
17:40Goodbye.
17:40Goodbye.
17:48Yeah, it is good, isn't it?
17:52Remarkable resemblance, sir.
17:54To whom?
17:56Paul Visco, sir.
17:57Visco?
17:58He works in the orchestra pit at Collins Music Hall, sir.
18:02Will there be anything else, sir?
18:04No, no, thank you.
18:06Sir.
18:11Paul Visco, eh?
18:16Mrs Bridgenorth, sir.
18:18Mrs Bridgenorth.
18:22I may say, Mr Mallory,
18:24that I find your lady portrait painter more extraordinary by the art.
18:28They're a strange breed, Mallory.
18:30Well, she declined to meet me beforehand.
18:32I can perhaps understand there was nothing I could tell her.
18:35I think that's what Mrs Tredick felt.
18:37Ah, but to persist in her isolation after the work is done
18:41can only be either bad manners
18:43or a lack of confidence in her results.
18:46I think it's less a question of manners than a kind of personal reserve.
18:50I can assure you that no offence was intended towards you personally.
18:53As to her results,
18:55you must judge for yourself.
19:04Saunders!
19:06There's no conceivable possibility in my pretending, I suppose.
19:18That you just happen to faint for no reason in the world?
19:21Not a chance, I'm afraid.
19:23No.
19:25Were I a gentleman,
19:27but you see you're now dealing with painters and people like that.
19:30You knew him, didn't you?
19:32He's too magnificent.
19:34Mrs Bridgenall.
19:35But how did she know?
19:36I'll tell you how did she if you tell me how did you.
19:39Well, it's simply the one face in all the world that I would have wanted painting,
19:42if I'd known how to ask.
19:44Now then, how did she know?
19:47It's quite easy.
19:48She didn't.
19:49You mean she just painted him out of the air?
19:51Oh, no, no, no.
19:52She knew him all right.
19:53But she didn't know you did.
19:54Oh, I realise she knew him.
19:56He's there to the light.
19:58What I find hard to accept is that it's a coincidence.
20:02Oh, these things do happen, you know.
20:04I give you my word of honour that she doesn't know about you,
20:06or your connection with him.
20:08Oh, which brings me to something I wish to know.
20:11Who the devil was he?
20:15You mean she hasn't told you?
20:17Not a word.
20:19Then I shan't either.
20:21You really are two of the most aggravating ladies
20:23a man could possibly meet on a day's march.
20:25Oh, stop.
20:26Oh, Mrs Bridgelth, I'm so sorry.
20:28It's all right.
20:29It's just the likeness.
20:30It's beyond anything.
20:33It's magnificent.
20:35Then you're suited.
20:36Oh, suited.
20:37Oh, good.
20:38I'll tell my friend.
20:39Please, I have a particular favour to ask.
20:41What is it?
20:42By all means tell her I'm suited.
20:43You can even say I'm delighted.
20:45But please promise me you'll say nothing else.
20:47Nothing about my recognising him.
20:49But why?
20:50Because if you do, she will not let me have the picture.
20:53Why should she behave like that?
20:55Because then she'll realise how much I must want it.
20:58Look, I know you ladies are contrary,
21:00but I can assure you that my friend is not that kind of dog in a manger.
21:04Oh, she'll reflect.
21:05She'll put two and two together.
21:07She'll be jealous.
21:09What?
21:10She'll hate me.
21:11Why should she do that?
21:13I mean, I know she didn't like him, but...
21:15I know she did.
21:16But she said he was bad.
21:17Then what was she?
21:19Mrs Bridgenor, forgive me, but you speak as if you know her.
21:25I do know her.
21:26Not in the way you mean.
21:27I know her as I know all the silly creatures who used to flock around him,
21:31who got used and discarded and whose infatuation then turned to hate.
21:36My friend is not at all a silly creature.
21:38Oh, it's twenty, thirty years on now.
21:40Do you know what she was like then?
21:42And what of you?
21:43Were you a silly creature?
21:45I was too and married him.
21:47Well, why didn't you?
21:48Circumstances prevented him.
21:50What circumstances?
21:51Well, they're not relevant now.
21:52What is relevant is that I remember how I felt when he made me jealous.
21:56That wonderful picture was painted with rage,
21:59which means that she can still be jealous.
22:01If she learns what the picture means to me, I know I'll have lost it.
22:05So much so that I have a proposal for you.
22:08What is it?
22:10If you promise me to keep silence, I'll double your friend's fee.
22:15Eight hundred guineas.
22:17I was about to make the same suggestion myself.
22:21For different reasons.
22:22Oh?
22:23What?
22:24Because you got much more than you bargained for.
22:28Oh.
22:30Hmm.
22:31It's understood then, on your oath as a gentleman.
22:36I double the fee and you say nothing.
22:40Very well.
22:42And, er, when may I send for it?
22:45Well, I shall be seeing her before dinner tonight.
22:50Shall we say early tomorrow?
22:52Early tomorrow.
22:54I'll send you my cheque as soon as I get home.
23:04Eight hundred guineas after we agreed the fee in advance?
23:07Oh, I don't think I like that.
23:09My dear girl, you're entitled to it.
23:11You contracted to do a decorative trifle
23:13and instead you produced a breathing masterpiece.
23:15Is that what she calls it?
23:16No, it's not what she called it.
23:18It's what I call it.
23:19She's just very pleased with it, that's all.
23:21What does she know?
23:22She knows she wants it.
23:24She's willing to pay twice as much as we agreed for it.
23:26Yes, she's sending the cheque round this evening.
23:28What, before she's even got the picture?
23:30She's sending for that tomorrow.
23:32Well, look, it's little enough for any woman to pay for a husband,
23:35let alone the superb one you've given her.
23:37You're convinced that's what I have given her?
23:39A husband?
23:40Let's just say you've given him a wife.
23:43Now, look, I really must go.
23:44I'm late for dinner already.
23:46You...
23:47Come on.
23:52What?
23:54Oh.
23:59Oh.
24:00Oh.
24:01All right.
24:03Oh.
24:04Oh.
24:05Oh.
24:06Yeah.
24:11Oh.
24:21Morning, Saunders.
24:43Oh, good morning, sir.
24:44Ah, the post.
24:45The breakfast is ready, sir.
24:46Good.
24:48Oh, Saunders?
24:49Yes, sir?
24:49What time did Mrs. Bridgenold collect her painting last, sir?
24:53Mrs. Bridgenold, sir?
24:54Hmm.
24:55Oh, no, it wasn't Mrs. Bridgenold, sir.
24:57It was your painter friend, Mrs. Tredick.
24:59What?
25:00She had a hackney waiting, sir, and I have to load it.
25:04Mr. Mallory.
25:05What on earth are you playing at?
25:08I've taken him back.
25:09For heaven's sake, why?
25:10Well, there's something about it all that I don't understand.
25:12What don't you understand?
25:13It started to work in me as soon as you left me last evening.
25:16Her doubling the fee like that, her anxiety to get hold of the painting.
25:19Well, it's just her way.
25:21She's like that.
25:22She's impulsive, impatient.
25:24It's hardly surprising she should fall in love with him.
25:26Fall in love?
25:27Well, certainly.
25:27What woman wouldn't?
25:28In any case, you have no right to back out now.
25:31Well, I won't back out if you will answer me a question.
25:33Did she say she knew him?
25:38Well, she certainly didn't name him to me.
25:40It's come to me she must know him.
25:43It would account for so much the strange way I feel.
25:47I see him set up there in your studio, and she face to face with him,
25:52quivering to claim him as she never could in real life for her husband.
25:55Oh, so you've decided you know Mrs. Bridgenall, have you?
25:58Well, there were thousands of Mrs. Bridgenalls.
26:01They spread themselves like an endless carpet at his feet.
26:04And the Mary Tredicks, did they spread themselves?
26:07We were engaged to be married.
26:09Why weren't you then?
26:10That's not important now.
26:13Would you please, miss, there's a lady to see Mr. Mallory.
26:16She says she called at his lodgings, and his man told her he was here.
26:19Her name's Mrs. Bridgenall.
26:21Well, I could hardly say I'm not now, could I?
26:24Oh, well, all right, Jemima.
26:26Um, show her up.
26:29Well, she's still not having him.
26:31And why, if you hate him so much, do you mind her having him?
26:35Because I believe she is one of the reasons why I hate him.
26:39Oh, so she's not one in a thousand, then?
26:40She's a particular one.
26:42From her pursuit of you here, which I find to be typical.
26:45Yes, she is a very particular one.
26:49Mrs. Bridgenall.
26:50It is you.
26:55I felt it must be.
26:57Mary Parker.
26:58The fairy little thing forever drifting around Como with her sketching pad and watercolour case.
27:04And I remember you too.
27:06Louisa Bonham.
27:08The governess who was always more at home with the fathers than the children.
27:12I don't know what gives you the right to be offensive.
27:14This meeting is not of my choice.
27:15Nor of mine.
27:16I simply came for my property.
27:18Your property?
27:19He's no more yours now than he was then.
27:22Mr. Mallory.
27:28I entered into a business transaction.
27:31I performed my part of it by sending you my cheque last night.
27:34When I came to take delivery of the goods this morning, I found they've been snatched back.
27:38I look to you, sir.
27:39Business transaction?
27:41Delivery of the goods?
27:41Whoever it was who lent you the name Bridgenall.
27:43It's obvious he was a shopkeeper.
27:45Strikes me.
27:46It's pretty much of a shop you keep yourself.
27:48Ladies, please.
27:48Mary Louisa.
27:50Look, I am quite willing to arbitrate.
27:51There's nothing to arbitrate about.
27:52I choose not to sell my painting.
27:53You have sold it!
27:54As I say, I am quite willing to arbitrate.
27:57But I insist that tempers are cooled.
28:00I'm perfectly cooled.
28:01So am I.
28:01But before I do so, there's a great deal I must be told.
28:04The alternative is that I wash my hands of the whole affair, walk out and leave you two stranded like two beach turtles.
28:10One turtle.
28:11One whale.
28:13Since I'm obviously not going to get even common courtesy here, and common courtesy was all I expected,
28:19I have nothing further to say.
28:21From this point, it's a matter from my solicitor.
28:27Goodbye.
28:28Mrs. Bridgenall, sir.
28:34Well, she can call the Lord Chancellor for all I care.
28:39Well, is there anything she can do with her talk of solicitors?
28:42I don't know.
28:43The thickets of the law are a mystery to me.
28:46But since you've landed me in this, I demand to know the whole story.
28:49I shall take you to luncheon at rules, and in return I expect nothing less than a full confession.
28:53Why, I'm not dressed for lunch.
28:58Oh, it was one of those magical summers at Como.
29:02Oh, the lake had that blue, you know, the kind of blue one can never quite catch.
29:08I was in Italy studying.
29:10Leopoldo Visconti was a violinist.
29:14He was only at the beginning of his career, but already he was one of the most distinguished retrosos.
29:22What was he doing in Como?
29:23Oh, he was giving a series of concerts.
29:29Oh, with his violin.
29:31And his eyes looking out under those brows, so he looked like a fallen angel.
29:38His concerts were packed to the doors with silly women.
29:41Of whom you were not one, of course.
29:42One night, he happened to catch my eye.
29:47I could have sworn he missed a note.
29:49His eyes kept coming back to me.
29:53Next day, I happened to see him, quite by chance, practising on the terrace of his villa.
30:01How extraordinary.
30:02Now, how did you just happen to do that?
30:04Well, I was interested in him more as a subject.
30:07Those bones.
30:08I asked if I could sketch him while he practised.
30:11I see.
30:11So you plied your separate arts, as it were, together.
30:14Hmm.
30:15How very romantic.
30:17It wasn't romantic at all.
30:18It was very hard work.
30:19I couldn't quite catch the expression.
30:21I had to go back, day after day.
30:23Night after night.
30:24Well, he had so many women after him.
30:26I think he found it rather a relief to be with one that wasn't chasing you.
30:30I'm sure he did.
30:32Then, one day, we realised we'd fallen in love.
30:40Came as a complete surprise to us both.
30:42Yes, of course it would.
30:43I mean, a handsome young man and a pretty young girl, spending all their time together.
30:48Falling in love would be the last thing they'd expect.
30:51James, I did not chase you.
30:53My dear Mary, I never said you did.
30:56Oh, we were in seventh heaven.
30:58I was supposed to go back to Florence and study, but I didn't.
31:02Oh, it was beautiful.
31:04Idyllic.
31:07Then, the brutish world broke in in the shape of little Louisa Bonham, now known as Mrs. Bridgenorth.
31:14Ah.
31:16The moment she saw Leopoldo, she marked him down.
31:20Wherever he turned, there she seemed to be.
31:23I did my best to protect him, but I couldn't be there all the time.
31:27I'm sure you did your best.
31:29Well, Leopoldo thought the best thing to do would be to announce our engagement.
31:32Then she'd have to leave us alone.
31:34Leopoldo thought that.
31:35Yes, but I didn't want to appear to be pushy things, so I wouldn't let him announce it.
31:43But you were unofficially engaged.
31:45Mm, yeah.
31:46Mm, he was very romantic.
31:48He wanted us to run away and get married in a little chapel in the hills.
31:54Oh, we named the day.
31:57We planned it all very carefully.
31:59Well, what was wrong?
31:59He ran off with pushy little Louisa Bonham.
32:06What?
32:08I was left alone in the rendezvous in the hills.
32:12I finally returned to Como, he'd gone.
32:15So had Louisa Bonham.
32:18I left the next day.
32:20I never saw either of them again.
32:22She obviously ruined his career.
32:24He never became famous.
32:25What a tragedy.
32:27Which is one of the reasons.
32:28Why, she has as much chance of getting that painting as I have of becoming the Archbishop of Bombay.
32:37Thank you for a most delightful luncheon, Jane.
32:47She'd come along sweet as pie not long after you're gone.
32:50She'd come in a big broom with a footman.
32:52But what did she say?
32:53She said she'd come to pick up the painting as arranged with you.
32:56A footman carried it out.
32:57Well, all right, Jemima.
33:00It's not your fault.
33:06Well, she hasn't changed.
33:07That woman has not changed one millimetre.
33:10But this time she's gone too far.
33:11This is theft.
33:12I think I shall speak to the police.
33:14Oh, no, no.
33:14I don't think you should do that.
33:16Now, let me speak to her first.
33:17Oh, no, no one ever got anywhere with Louisa Bonham by talking.
33:20Well, at least let me try.
33:22I mean, if this thing gets out, it's most embarrassing for both of you.
33:25Well, she's the one who'll go to Holloway.
33:27What on earth possessed you?
33:30Isn't it gorgeous?
33:32Isn't he gorgeous?
33:34Wasn't I right about what he does for this room?
33:37What he does for me?
33:38You realise you have committed a criminal act?
33:40Rubbish!
33:41The picture is bought and paid for.
33:43Even if it weren't, even though I hadn't paid a penny for it, she owes it to me for what
33:46she did to me.
33:47What did she do to you?
33:49Would you really like to know?
33:50Well, yes.
33:52Have dinner with me tonight at Rules.
33:55I'll tell you the whole story.
33:57Must it absolutely be Rules?
33:59Absolutely.
34:01Very well.
34:03I'd just arrived in Como with the family I worked for, and the whole resort was talking
34:09about this brilliant new young pianist, Leopoldo Visconti.
34:14He was giving a series of concerts.
34:16I beg your pardon, you did say pianist?
34:19That's right, pianist.
34:20Oh, he had such exquisite hands.
34:24He was obviously destined for a brilliant future.
34:26When he sat at the piano, those magic fingers casting spells.
34:32Well, women fainted at some of his concerts.
34:35Paganini had the same effect, I'm told.
34:38He, of course, was a violinist.
34:41One night, after a concert, one of my little charges, Little Charlotte, she decided she wanted
34:47Leopoldo's signature.
34:49How old was she?
34:50She was three.
34:52Three?
34:54I see.
34:55So, of course, you had to get it for her.
34:58Well, I took the child with me, of course.
35:00Of course.
35:01There were positive hordes of stupid, clamouring women outside his door.
35:06But none of them had an angelic little child of three who wanted the maestro's signature.
35:10Exactly.
35:11Oh, he was kindness itself.
35:14All Italians adore children, of course.
35:16Well, I spoke very good Italian in those days, but he had very little English, so it seemed
35:21perfectly natural that he should ask me to give him English lessons.
35:25Well, of course, that necessitated seeing rather a lot of him.
35:29Oh, yes, it would.
35:30I don't know if you've noticed about languages, but they do create the most extraordinary
35:38intimacy between teacher and pupil.
35:41Well, we should have known what would happen.
35:44It never occurred to you?
35:45Well, these things don't happen suddenly.
35:47One knows that.
35:48They blossom slowly.
35:50Still, it did seem to us that we'd been hit by a thunderbolt.
35:54He would play Lieberstraum by the hour.
35:58We really did drift about in a dream of love.
36:02Until?
36:03Until that female Cossack, Mary Parker, turned up, using her pencils like lances and her
36:08sketch pad like a battering ram.
36:10Oh, dear.
36:11At every turn in the path behind every tree, she lurked.
36:13Scribble, scribble, scribble.
36:14Turn your head this way, Leopoldo.
36:16Turn it that way, Leopoldo.
36:18I suddenly knew what it was like in the Garden of Eden when the serpent arrived.
36:22What did Leopoldo think about this?
36:24Oh, he was the gentlest of men, capable of being rude to anyone.
36:29I mean, she forced herself upon him.
36:31After all, I couldn't exactly behave like a jailer.
36:34Of course not.
36:35I knew he'd realise the sooner we got engaged, the sooner she would have to go away.
36:41And he did realise this?
36:43Oh, yes, yes, yes, he did.
36:44He finally agreed that it was the best thing to do.
36:48We eloped to a little village across the lake.
36:52I went ahead to make the arrangements while he stayed in Como to tidy up his affairs.
36:57How very romantic.
36:59He never arrived.
37:01Eight o'clock at night, I dragged myself back to Como to find he'd run away with a female Cossack.
37:07Mary.
37:07Can there be two brutes like her in the world?
37:11Are you very sure about this?
37:13Well, he disappeared from Como and so had she.
37:16I never heard another word about either of them.
37:18Evidently, he didn't marry her.
37:21She probably killed him.
37:23Poisoned him with her paints or something.
37:25All I say is, possession is nine-tenths of the law.
37:30Ah!
37:31I simply played her own trick back at her.
37:42I told her servants I needed to have the picture in order to make a few slight alterations.
37:46You realise this is the kind of game they must play in hell?
37:49I mean, this could go on forever.
37:51By legal process or by stealth, she will get back at you, you will get back at her.
37:55She can come at me with lawyers or a company of dragoons.
37:57I painted that in bitterness.
37:59I'm keeping it in joy.
38:01Why not paint another one?
38:02One of your marvellous copies.
38:03Then you'd both have one.
38:04Oh, that wouldn't serve at all.
38:05Oh, I see.
38:06So the joy is not in having him, but in depriving her.
38:08Oh, you can think that if you like.
38:10I'm so sorry.
38:11It's all right, Jemima.
38:13Very clever, James.
38:15You take me out to dinner at Rules while she steals the painting.
38:18My dear Louisa, dinner, if you recall, was at your suggestion.
38:21The last thing I want is to be mixed up in all this.
38:24Well, I've come to take it back, so if you don't mind.
38:27If you don't leave my house at once, I will call the police.
38:30If you don't release my property, I shall call the police.
38:32Ladies, please.
38:33You always were an insufferably forward creature.
38:35You were selfish then and you're selfish now.
38:37Please.
38:37Now, Mary, Mary, Mary, Louisa.
38:40Now, look, I have a suggestion.
38:43Let me be custodian of the picture for the time being.
38:46How will that help?
38:47Well, if neither of you have it, neither of you, curiously enough, will feel deprived.
38:52Very cynical.
38:52Meanwhile, I am feeling my way to a kind of judgment of Solomon.
38:56What way?
38:56Well, the outlines are dim at the moment.
38:58It may well come to nothing.
38:59But at least, let me try.
39:01Thank you, Saunders.
39:12Oh, Saunders.
39:13Yes, sir?
39:14When you first saw that picture, you said it reminded you of someone.
39:17Yes, sir.
39:18Paul Viscoe, sir.
39:19Hmm.
39:21Have you any idea where I might locate him?
39:23Well, that's rather difficult to say, sir.
39:25As I said, he used to work in the orchestra pit at Collins.
39:28But I hadn't seen him there for some time, sir.
39:31Did he?
39:32I could make inquiries as to his whereabouts if you wish, sir.
39:35Would you do that?
39:35Oh.
39:55Oh.
39:56Oh.
40:04Oh.
40:15Oh.
40:15Oh.
40:15Are you all right?
40:21Yes, sir?
40:23What can I...
40:24Excuse me, am I addressing Mr. Paul Viscoe?
40:27Yes.
40:29And am I also addressing Signor Leopold de Visconti?
40:32Yes.
40:34How do you know me?
40:36Ah, you have seen me work.
40:40It's all just my tails, quickly.
40:42I have to be back in the East End in 20 minutes.
40:44Sir, Major and Mrs. Moniker upstairs, sir.
40:47What on earth do they want?
40:53Look, I'm awfully sorry, but...
40:55Saunders!
40:57Mr. Mallory!
40:58If, as you say, it's all illusion,
41:00well, there are as many lower-class characters in Mr. Dickens as ladies and gentlemen.
41:05Bill Sykes?
41:07At your service, sir.
41:08And, say, Mrs. Gamp.
41:10It could work, it could.
41:12Look, I'm in a terrible hurry at the moment.
41:15Could you possibly come back tomorrow, say about four o'clock, huh?
41:21Saunders!
41:22Being transported to Camden Town at this hour is not what I have in mind when I agreed to put myself in your hands.
41:31Well, I've nothing to say for the moment.
41:38There.
41:40Premises downstairs.
41:42They were a public house, if I'm not mistaken.
41:44You're quite right, they were.
41:46I'm surprised you didn't show us into the public bar.
41:48I would have done, but our host felt we'd be more comfortable here.
41:51Who on earth is our host?
41:54If you don't mind, I'd prefer him to answer that himself.
41:58Now.
41:59Ah!
42:00Louisa.
42:01Maria.
42:02Leopold.
42:03Leopold.
42:04How wonderful to see you.
42:06Oh, I do hope you forgive me.
42:08Forgive me.
42:09Bellissimo.
42:10A million pardons, my little flower.
42:13I have thought about you so much.
42:15Wondered about you.
42:16Is this place yours?
42:18Yes.
42:19Isn't it wonderful?
42:20You're a publican.
42:21I prefer innkeeper, but as you please.
42:23She means your piano.
42:24Permit me to know what I mean.
42:26Ah!
42:27Champagne.
42:28For such an occasion, only the best will do.
42:31Please, Mr. Murray.
42:32Certainly.
42:34Ah!
42:35Ah!
42:36Whoa-hoo!
42:37There you go.
42:38Vintage, obviously.
42:40Ah!
42:41There you go.
42:44Hey!
42:46There's a little, er...
42:48Carissima!
42:50To Comor.
42:53Comor.
42:54Comor.
42:55Mmm.
42:56To our youth.
42:57Well, to your youth.
42:59I was not so young.
43:00Oh, you were.
43:01You were the young Paganini.
43:03Oh!
43:04You mean Chopin.
43:05What happened to it all?
43:06The success?
43:07The concerts?
43:08The concerts?
43:09Ah!
43:10Luisa Maria.
43:12I am older than you.
43:14And I am a peasant.
43:16My memory is better than yours.
43:17And without mercy.
43:19The concerts took place in the lounge.
43:22How do you call it?
43:23The tea lounge.
43:24Of the Hotel Bellini.
43:25Oh!
43:26What does it matter?
43:27Where?
43:28I was leader of the resident quintet.
43:30We played during tea.
43:31During dinner.
43:32After dinner.
43:33No!
43:34Morning coffee.
43:35No!
43:36Sometimes I played the solos.
43:37Sometimes I played the violin.
43:38Sometimes I played the piano.
43:39Sometimes the clarinet.
43:40I can play anything.
43:42It's a trick.
43:43Musicians despise it.
43:45It means nothing.
43:46Please, Leopoldo.
43:47Don't disparage yourself.
43:49Oh!
43:50I don't.
43:51Little Luisa.
43:52Believe me.
43:53I don't.
43:54I practiced certain pieces until I could play them well.
43:57And with the lake, the skies, the mountains, all the magic of Italy to help me.
44:03I was a lion.
44:05And I gobbled up little English girls for breakfast.
44:09Was that all I was to you?
44:10Just another little English girl?
44:11Oh!
44:12No!
44:13No!
44:14No!
44:15No!
44:16You were the different ones.
44:17You were my downfall.
44:18Your downfall?
44:19You both had such force.
44:20You, Maria, with your crayons.
44:21And you, Luisa, with your books of grammar.
44:23So beautiful.
44:24And so determinate.
44:26And both are so jealous of each other.
44:28Oh!
44:29I was never jealous.
44:30Ah!
44:31You were the different ones.
44:33Always before, I was in control.
44:36But now, I was on the run.
44:38But I adored you both.
44:40You adored me.
44:41Pay no attention to her.
44:43I was like a juggler.
44:45I managed to keep both plates in the air.
44:47Now we're plates, are we?
44:48For quite a long time.
44:50And then, you both proposed it to me.
44:55Passionately.
44:56I did not dare to say no to either of you.
44:57I was terrified what you might do to each other.
44:58And to me.
44:59You make us sound like she-wolves.
45:00Oh, but such beautiful ones.
45:01I tried everything I could to keep you happy.
45:04I invented excuses, reasons, little fantasies.
45:08But you were both implacable, so what could I do?
45:10I arranged to meet you both on different occasions.
45:15I had to keep you happy.
45:17I had to keep you happy.
45:18I had to keep you happy.
45:19I had to keep you happy.
45:20I had to keep you happy.
45:21I had to keep you happy.
45:22I had to keep you happy.
45:23But I do.
45:24I arranged to meet you both on different sides of the lake.
45:27And I, I ran away to America.
45:32But I thought you-
45:33But in America, I went in for what they call vaudeville.
45:37I was the man who could play anything.
45:41Of course, my name was too long, Leopoldo Visconti,
45:43so they shortened it to Paul Visco.
45:46I was very successful.
45:47Vaudeville?
45:48But after some years, they became tired of me.
45:51So, I came to London.
45:53And that was when I bought my pub.
45:56Oh, I went to Collins Music Hall and told them who I was,
45:59but they weren't interested in my act.
46:01But for old time's sake, they let me play in the orchestra pit.
46:08You ruined your life.
46:09Oh, no.
46:10You could have been a great virtuoso.
46:12Oh, I found my level.
46:14If I had been short and fat and ugly, I would not have got even so far.
46:20Oh, Leopoldo.
46:21Oh, Leopoldo, as I explained, it is a question of the picture.
46:26Ah.
46:27You must adjudicate.
46:28Oh.
46:29Oh.
46:30Oh.
46:31Oh.
46:32Oh.
46:33Oh.
46:34Oh.
46:35Oh.
46:36Oh.
46:37Oh.
46:38Oh.
46:39Oh.
46:40Oh.
46:41Oh, you, Maria, you have a real talent.
46:46I kiss your hand.
46:49Oh, as I say, it is a complicated story.
46:55The question is, will you two accept Leopoldo's decision?
47:02Maria? Yes. Luisa? Yes. Benissimo. Now, do you know who I think really deserves this
47:13tremendous a picture? My wife. Your wife? You both remember me as I was at my best.
47:20She has had to put up with the real man. Oh, when did you get married? Teresa. Oh, you remember Teresa.
47:25The chambermaid at the Hotel Bellini. Teresa? Ah, mama. Here are some dear friends from the old days in Como.
47:35Ah, Como. Si, I remember. Eccolo. Oh, but this is you as a younger man. E' maraviglioso. It's miraculous.
47:45Who painted it? Questa donna qua. I believe she wishes to give it to you. Oh, I beg your pardon.
47:51It's not hers to give. I wish to give it to you. Oh, I am so sorry. It is this, a lady, who wishes to give it to you.
47:57A lady is a horrible little upstart. She always has been. You're a common little doorband.
48:00This painting is my painting. I paint it. And I wish to give it to you.
48:03Luisa, look, you are behaving very bad. Oh, a moment before.
48:07Mary? Luisa? What do you mean a medium?
48:09Leapolver. Oh, please, please, please, my beautiful ones.
48:16Yes. You tear my heart for the sake of all that we had together, for the magic of Como that we shared,
48:24for the memories that I hold in my heart. Will you please not allow me to feel that this is a gift from both of you?
48:33It would make me such happiness. Oh, please, please say yes.
48:39Yes. Yes.
48:41Ah, a million, thank you. You are both magnificent as ever. Whenever I look at this picture, I will think of you both.
48:49And now, arrivederci, my little Rosa. Arrivederci, my other Rosa. We are immortal. We three.
49:01Ah.
49:02Immortals.
49:04Arrivederci, my beautiful ones.
49:11With music behind you, must have been a massacre.
49:16It's quite simple, then.
49:18Now that you have both agreed to a joint gift,
49:21you, Mary,
49:23accept the fee from Luisa
49:24and give half of it back.
49:27Agreed?
49:29Yes.
49:31Yes.
49:33Well, why don't we stop off at my house
49:35and do it there?
49:37Well, it would be better to go to mine.
49:39I have my cheques there.
49:41Well, I've got your cheque already,
49:43sitting on my table.
49:44That cheque is made out of Mr. Mallory.
49:46Well, I don't see that makes any difference
49:47whether or not to Mr. Mallory or not.
49:49I want two cheques of either one.
49:50Well, I don't...
50:00My...
50:00Yes.
50:03...
50:03ORGAN PLAYS
50:33ORGAN PLAYS
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