- 5 months ago
Part 1 of 7 of the 1973 period drama. When Irish serving girl Anna Fitzgerald quits her job and her lover to hit the road, little does she know what fate has in store for her when she encounters a stranger camping in a field. After a difficult first meeting, he reveals himself to be an aspiring artist called Nick Faunt and despite his initial reluctance agrees to let her accompany him up to Manchester. What she doesn't know is that he is a millionaire's son who has rejected his privileged upbringing to try and make it in the art world in the Depression hit 1930's. But he is not the only one who has secrets, as Nick is soon to find out.
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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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