- 5 months ago
Part 7 of 7 of the period drama from 1973. Anna is still trying to come to terms with the fact that Rachel is pregnant with Nick's child. Piggy White is stunned to find Rachel now working as a prostitute in a posh hotel, now that her engagement to Sir George is off, and makes her a job offer to work for him at his new pub. Jacob, now deep in depression, helps out the Kepple's with their protest march about unemployment. Nick decides to sketch the march, but on the day things turn ugly and go badly wrong. Meanwhile Anton Broune returns to make Nick an offer, but while there is hope for some, for another there is tragedy just around the corner...
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TVTranscript
00:00.
00:30What's that?
00:43What?
00:44See, two ladies.
00:45Oh, two queens.
00:47Queens?
00:47I've run again unclean eggs.
00:49So you have.
00:50Brian, it's bed for you.
00:51No oars, no ifs, no buts, and no bellyaching.
00:56Ah, you've enough mud on them to start a potato patch.
00:58Come to me, I'll clean them.
01:00Ah, the good Lord sent us another saint.
01:02Come on, Brian, bedtime.
01:05Hey, what about a kiss?
01:07Night, Uncle Matt.
01:08Night, Brian.
01:14Night, night.
01:15Night, night.
01:17Sleep tight.
01:18Mind the bugs don't bite.
01:20And if they do, bite them back.
01:24Where are the brushes?
01:26Ah, let me see now.
01:28Did I last see them in the conservatory, or was it down in the butler's pantry?
01:31All right, all right.
01:35In the sideboard.
01:40Same as everything else.
01:41Pay attention, ladies and gentlemen.
01:56Kindly note the artist's brilliant brushwork.
01:58When asked to describe the artist's work, Mr. Augustus John replied, highly polished.
02:04All right.
02:05I just never thought I'd see you cleaning somebody else's shoes.
02:09Well, why not?
02:10You've never been that devoted to your own.
02:11Oh, yes, I have.
02:13Nick, when I first met you, I really didn't understand you.
02:16But after studying your clothes there for six months, I'm completely baffled.
02:19I'm not such a puzzle.
02:31Why are you so nice to Brian?
02:32Why?
02:34Because I'm fond of him, because I like him.
02:37Oh, is that because he's not your own?
02:38Because he's got no claims on you?
02:39That's nonsense.
02:40I like my own kid.
02:42Oh, well, why didn't you marry Rachel and have your own?
02:44Oh, is that what you wanted, me to marry Rachel?
02:46Yes, why not?
02:47That'll be the day when I'll let anything or anybody come between me and my work.
02:52Unless we're playing at happy families or unhappy families for that matter.
02:54Well, it's not for me.
02:56All right, you're an artist.
02:57That's wonderful for you.
02:59But what do you think the rest of us are?
03:00Just handy models to squint at over the end of your thumb?
03:03On the whole, yes.
03:04I see.
03:06When you close your eyes, Nick, the rest of the world doesn't just disappear, you know.
03:09It's still there.
03:10What was the pity?
03:14And don't kid yourself you're on the outside of it all, because you're right in the middle.
03:44Oh, very good, love.
04:05What?
04:06You'll make a people's artist yet.
04:08Yeah, no, that's not finished.
04:09Listen, can you finish that one off over there for me, love?
04:12That one on the table, thank you.
04:13Right.
04:15Have you ever been to Rush, Olga?
04:16Not yet, Mo.
04:18One day.
04:19Yeah, you sound Russian, Olga.
04:21I'm no more Russian than your cat.
04:23You don't seem a bit Russian.
04:25No, I'm not Russian.
04:26I'm Olga, from Bake Up.
04:29Bake Up?
04:30Well, why ever did you turn communist?
04:32Look, Mo, you're a nice lad and I love you very much, but it's no use me talking politics to you.
04:37You haven't got a political bone in your body.
04:39I've been and bought a red tie.
04:40Mo, if I thought there was a cat in hell's chance of making you a red, believe you me, I'd have a go.
04:45But you're not a red.
04:46Or pink, or blue, or green with orange spots, so just accept it.
04:50I am a communist.
04:51You get on with something useful and leave the politics to Joe and me.
04:54How about this, then?
04:57Hard to put the wind up the Lord Mary.
05:19Large brandy, please, Fred.
05:21Yes, Mr. Wright.
05:23Hello, Piggy.
05:24Do you feel like some company?
05:28Not this evening, thank you, Annie.
05:30No hard feelings.
05:32Well, you should know.
05:37You're brandy, Mr. Wright.
05:49Hello, Richard.
05:50Hello, Richard.
05:51Hello, Richard.
05:51Blimey.
06:13Blimey.
06:14It is you.
06:15I can't believe it.
06:16Don't give me a lecture, Piggy.
06:17Just do me a favour and go away.
06:20Bloody hell, Rachel.
06:21I need a customer, Piggy, and I wouldn't dream of taking you, so go away and let me get
06:26on with it.
06:26No, I'm going to leave.
06:27I will sit down.
06:29I can't get over it.
06:31You in this, this meat market.
06:34Oh, you always work course.
06:35You've picked a course trade.
06:37Oh, go away.
06:38You don't give a damn about me.
06:40I don't mean anything to you.
06:41All right.
06:42I admit that I'm not going to cry myself to sleep about it.
06:46But what about Mo?
06:48Keep Mo out of this.
06:49He'd care, wouldn't he?
06:51And you'd care about him knowing.
06:54Oh, don't tell Mo.
06:55How's it going, Mo?
07:06Not bad, not bad.
07:08Yeah, we've done a lot, Joe.
07:09Why do we need so many?
07:10For the demonstration, Mo.
07:12When we march to the town hall.
07:13Yeah, I know.
07:13But I mean, what good will banners do?
07:15Look, Mo, it's for the same reason an army needs guns.
07:19When we go down to the town hall asking for work, there's two ways we can go.
07:23One of them is crawling.
07:25The humble working man with his cap in his hand.
07:28That's what the people who run this country like to see.
07:31Well, I say to hell with that.
07:33The other way is marching with our heads held high.
07:36And these banners.
07:37These banners are the only weapons we've got.
07:41You see, Mo, look at that blasted cat walking all over the wet letters.
07:46Why the hell do you keep that thing, Mo?
07:47I've told you often enough.
07:48Oh, come on, come on.
07:50This way.
07:51I'm sorry, Joe.
07:52I'm sorry.
07:52Well, get it out.
07:53All right.
07:54Must you keep on at him?
07:59All right, all right.
08:00Well, I'm surprised at you.
08:02You know he's barmy about that cat.
08:05Remember how he brought it here with that kid?
08:07Well, now he talks to it as if it was the kid.
08:09I've said all right.
08:11Let's get on with the work.
08:12Hey, well, come and look at this, then.
08:15That should make the bastard sit up and think.
08:18Rachel, I want to tell you something.
08:25I want to tell you something.
08:27I'm giving up racing.
08:28Yes, I am.
08:32I'm not going to be a bookie any more.
08:35After the November handicap, in six weeks' time, that'll be the last book that I shall make.
08:42Now then, what do you think about that?
08:47Well...
08:48It's true.
08:49I'm settling down.
08:51You're branded, Mr. White.
08:52Ah, thank you very much.
08:54It's perfectly true.
08:55I'm settling down.
08:56And you're most settling down with me.
08:58It's right.
08:59Me and Mo.
09:01I'm buying a pub.
09:04That'll be fine.
09:05Fine?
09:06I shall bloody well think it will be fine.
09:09Lovely country pub.
09:11Near Terpoli.
09:12Smothered in bloody roses as big as dinner plates.
09:15And it's all settled.
09:16Now then, what do you think of that?
09:19Are you offering me a job?
09:21It's yours for the taking.
09:23Best billet you've ever been offered.
09:25What sort of a job?
09:26Well, what sort of a job do you fancy?
09:29No, more to the point is what you fancy.
09:32What did you have in mind for me, Piggy?
09:35A sort of bed warmer.
09:37Oh, Rachel.
09:38No, be honest.
09:39Is that what you had in mind?
09:40You mustn't say things like that.
09:43You make me see pictures when you talk like that.
09:47Listen, Piggy.
09:48I haven't got a penny in the world except what you've given me.
09:51So I'll be honest with you.
09:54I'll come to your pub and I'll work for you.
09:56And I'll work damn hard.
09:57But I'm not coming as your bed warmer.
10:00Now, do you still want me to come?
10:03Then I'll come.
10:05Good.
10:07I'll tell you what.
10:09You could do a lot worse than me.
10:12Let's leave it like this.
10:14You've given me a job and I'm grateful for it.
10:17And who knows what might come of it in the end.
10:20One of these days you may be able to throw your hot water bottle away.
10:23That's settled then.
10:26You need somebody, Rachel, and I need somebody.
10:31We might do each other a bit of good.
10:34Well, it's not quite all settled, Piggy.
10:36You see, it's still six weeks off the November handicap.
10:39Oh, yes.
10:44And you mean that you have got to live until then.
10:47Yeah.
10:48Well, how much can you live on?
10:49Two pounds a week.
10:50Two pounds a week.
10:51Well, that's six weeks, twelve pounds, five.
10:53Oh, there's 15 quid.
10:56When you get the pub, I'll work for nothing till I pay you this back.
10:58You'll do an out at sorts?
10:59Yes, I will.
11:00Whose bloody pub is it?
11:01Now, listen.
11:02We'll meet here after the meeting, right?
11:05All right.
11:06Where are you going to stay?
11:08Have you thought about that?
11:09No.
11:10I think I'll go to Blackpool.
11:12Blackpool, yes.
11:14Blackpool, eh?
11:15Living it up a bit, aren't you?
11:17But it'll do you good.
11:18Oh, you can't beat Blackpool for putting a bit of colour back into your cheeks.
11:21Oh, you can't beat Blackpool for putting a bit of colour back into your cheeks.
11:52By all means.
11:56There's no smoke coming out of chimneys.
12:02The chimneys aren't smoking, because the mills aren't working.
12:09Aye, that's what's wrong with it.
12:19What's keeping him?
12:20Who?
12:21Harry Meddles.
12:22He's supposed to have a value at ten o'clock.
12:23Oh, he'll be here.
12:24He better be.
12:25I'm not going to let us on a tram with that lot.
12:27Oh, calm down.
12:29I've made some cheese sandwiches.
12:31Oh, I trust you.
12:33Oh, we'll be glad of them.
12:34By the time we get to the town hall, I bet they keep us waiting hours before they'll see us.
12:39Yeah.
12:40If we get there.
12:41I've got a feeling about this march.
12:44What sort of feeling?
12:45Oh, no.
12:47Trouble.
12:48Well, that's all right.
12:50You're out of work.
12:51What other sort of trouble have they got?
12:53You know Councillor Airwood?
12:55Oh, aye.
12:56The people's friend.
12:57Aye.
12:57I bumped into him yesterday.
13:00Well, in fact, he bumped into me.
13:03You know he's on the waterworks committee.
13:06He said there was a job going he could get for me.
13:09What sort of job?
13:10Waterman.
13:11At a reservoir.
13:13There's a house with it.
13:15It'd mean no more scrubbing for you.
13:18But...
13:18But what?
13:20He said they'd not give the job to a known troublemaker.
13:23He's trying to buy you off.
13:25That's what I thought.
13:26Well?
13:27He can stick it.
13:30You don't mind, then?
13:32I'd mind if they could buy you.
13:35Van's come.
13:36Oh, good.
13:36Right, time we were off, then.
13:39You don't have to kill me no more.
13:41What?
13:41I want to.
13:43You're going, aren't you, Olga?
13:44Yes, Mo, I'm going.
13:45Oh, I want to go too.
13:47It won't be a picnic out in.
13:50Right.
13:51Let's go.
13:52Let's go.
13:53Let's go.
13:53Let's go.
16:23No, you're taking far too much upon yourself.
16:25You know that, don't you?
16:29No, brothers.
16:31You're no good at all.
16:33Now, the police have asked us to make a change in our route so as to avoid disruption in Market Street.
16:39Now, we don't want any trouble.
16:41No.
16:42So just by the route the police have marked out and we shall all get to Albert Square in good
16:45order.
16:46Thank you very much.
16:59Comrades.
17:00Comrades.
17:01This is our city.
17:02And as its citizens, we've the right to march where we choose.
17:07We have chosen a room for this march.
17:10But know the police are trying to force a route of their choosing on us.
17:15Are we going to let them herd us like sheep?
17:20No.
17:21All right, brothers.
17:22Come on.
17:23Come on.
17:24Come on.
17:25Come on.
17:26Come on.
17:27Come on.
17:28Are you all right, though?
17:30Yeah.
17:31We're off.
17:32Now, listen.
17:33Move, stick close by me.
17:34Remember.
17:35Right.
17:36Move, stick close.
17:37Come on.
17:38Move, stick close.
17:39Move, stick close.
17:40Move, stick close.
17:41Move, stick close.
17:42Come on.
17:43Move, stick close.
17:44Move, stick close.
17:45Move, stick close.
17:46Will you look at this, sorry lot?
17:47It's like break Karno's army.
17:48Retreating from Moscow.
17:49They don't even know how to sing.
17:50Come on, Nick.
17:51Let's teach them how to sing.
17:53It's got nothing to do with me or you either.
17:54Keep part of this.
17:55I'm heading for trouble.
17:56You've got to be headed for somewhere.
17:57Anna, come back.
17:58I'll dab and blast the woman.
17:59Help, please.
18:00I've got none of you sing.
18:01Does anybody know I'm a hobo?
18:02Yes, it does.
18:03Why don't you work like all the men do?
18:06Are the heads that don't work when there's no work to do?
18:08I'll do it.
18:09I'll dab and blast the woman.
18:10Help, please.
18:11Let none of you sing.
18:13Does anybody know I'm a hobo?
18:15Yes, it does.
18:17Why don't you work like all the men do?
18:20Are the heads that don't work when there's no work to do?
18:23Hallelujah, I'm a Pom.
18:24Hallelujah, come again.
18:27Hallelujah, come again.
18:29Get your hands up, man.
18:31What is it?
18:32Come on, sing it again.
18:34Let him hear you in the town hall.
18:37Hallelujah!
19:07Go away!
19:20Go away!
19:26Go away!
19:37Go away!
19:50Go away!
19:57Go away!
20:01Go away!
20:06Alleluia!
20:19Alleluia!
20:36I told you, you take them far more than you can do.
20:40Brothers, we're turning right.
20:43Turn right, brothers, right.
20:46Follow me, brothers.
20:47Brothers, hold fast.
20:49Come on, brothers.
20:50We're turning right.
20:51Brothers, come on.
21:21Come on, Nick.
21:41Right, walk when he can ride.
21:42Can't let you ride unless you pay your firmness.
21:44It's more than me job's worth.
21:45Well, that knocks everybody to mind from his job.
21:47You're really enjoying this, aren't you?
21:51Come on, do it, sir.
22:00Let the champs up, huh?
22:01Yeah.
22:02Yeah.
22:03Yeah.
22:04Yeah.
22:05Yes!
22:06Yes!
22:07Yes!
22:08Yes!
22:09Yes!
22:10Yes!
22:11Yes!
22:12Yes!
22:13Yes!
22:14Yes!
22:15Yes!
22:16Yes!
22:17Yes!
22:18Yes!
22:19Yes!
22:20Yes!
22:21Yes!
22:22Yes!
22:23Yes!
22:24Yes!
22:25Yes!
22:26Yes!
22:27Yes!
22:28Yes!
22:29Yes!
22:30Yes!
22:31Yes!
22:32Yes!
22:33Yes!
22:34Yes!
22:35Come on, come on!
23:05Come on, we're getting out of this.
23:35Oh, God.
23:49Oh, God.
23:55It's all right, sirs.
24:08Where's Olga?
24:10Oh, no.
24:11What have they done to you?
24:12Oh, it's the only seems I've got.
24:14Oh, never mind us.
24:16Never mind us.
24:17Nick, he needs a doctor.
24:19I'll get a taxi or something.
24:21Stay here.
24:22Oh, it's all right.
24:24God, what a bloody world we live in.
24:54What did the doctor say?
24:57No bones broken.
24:58Oh, thank God for that.
24:59Made him whistle when he saw those bruises, though.
25:01He was very anxious to know what Moe had been up to.
25:04Did you tell him?
25:05Not likely.
25:06I said we'd been playing football.
25:07I told him that Moe was the star centre forward of the Sunday School League.
25:09But I don't think he believed me.
25:11Come on, the pair of you.
25:12I got some food ready for you.
25:13I don't know about you, but I am starving.
25:24What is it?
25:25Special invalid food.
25:27Irish stew.
25:28Can he manage you all right, Moe?
25:29Yeah, thanks.
25:30What about you?
25:31Oh, Brian and me have had ours.
25:32I've put him to bed in Olga's room.
25:33Oh, no.
25:34Brian can have my room.
25:35I don't want to disturb Olga.
25:36You'll not be disturbing Olga for a day or two, Moe.
25:37Maybe a week or two.
25:38What do you mean?
25:39A friend of Joe's came while you were out.
25:40He was looking for you, but he left the message with me.
25:41Joe was arrested.
25:42Olga, too.
25:43Arrested?
25:44Well, I've got to...
25:45Where are they?
25:46The city police station.
25:47Well, I must go to them.
25:48Now, what good would that do, Moe?
25:49Do you want to be locked up, too?
25:50But...
25:51Nick's right.
25:52He's right.
25:53He's right.
25:54He's right.
25:55He's right.
25:56He's right.
25:57He's right.
25:58He's right.
25:59He's right.
26:00He's right.
26:01He's right.
26:02He's right.
26:03He's right.
26:04He's right.
26:05He's right.
26:06He's right.
26:07He's right.
26:08But...
26:09Nick's right.
26:10Sit down.
26:11Now, the best thing you can do is stay here and get that hand better.
26:14And look after the place for Olga.
26:16But...
26:17We'll stop the night with you, and then tomorrow we'll go into town and see what's happening
26:20to him.
26:21Will they have to go to prison?
26:22Maybe, but it won't be for long.
26:23Prison?
26:24The man who came, he said a month at most.
26:26Sure, what's a month inside for a man like Joe?
26:29It's a diploma in his trade.
26:30And if I know Olga, she'll have the entire jail sewing red flags before she's been there ten minutes.
26:35She knew.
26:36Olga knew they'd be troubled today.
26:38I'm sure she did.
26:40And Joe too.
26:42They knew they'd be troubled but they went ahead all the same.
26:45I think I envy them.
26:47That sort of certainty, that sort of courage.
26:51I think I envy them.
26:52I think I envy them.
26:53Mo, you look dead on your feet.
26:54Why don't you get to bed?
26:55Yeah.
26:56I think I will.
26:57Good night, Anna.
26:58Good night, Mo.
26:59Good night, Mo.
27:00Good night, Mo.
27:01Poor old Mo.
27:02He always gets the dirty end of the stick.
27:06Nick, he's going to have a job getting himself to bed with that hand.
27:07Hmm.
27:08That's if he needs any help.
27:09Good night, Anna.
27:10Good night, Mo.
27:11Good night, Mo.
27:13Good night, Mo.
27:14Poor old Mo.
27:15He always gets the dirty end of the stick.
27:17Nick, he's going to have a job getting himself to bed with that hand.
27:19I see if he needs any help.
27:34Nick.
27:36I see if he needs any help.
27:48Thanks for everything. I mean, Anna and doctor and things.
27:53Oh, forget it.
27:58There we are.
28:00Yep.
28:03Okay.
28:05Yeah.
28:06That's it.
28:07Nick.
28:08Uh-huh.
28:09About Anna. You know, you and me.
28:13What?
28:14But she...
28:16She doesn't love me.
28:20She loves you.
28:23Yes, I know, Mark.
28:29Nick.
28:31What?
28:34Don't...
28:35Take care of her.
28:38Don't hurt her.
28:44No, I won't hurt her, Mo.
28:47That's all right.
28:49Now, you get some sleep.
28:51Good night, Mo.
28:52Good night, Mo.
28:52Good night, Mo.
29:04Okay.
29:04Good night.
29:10Alright.
29:11What's the matter with you?
29:39I've been looking at you.
29:39Have you now?
29:43But God, aren't I the lucky one?
29:46I'm going to bed.
29:47I'm going to marry you.
29:56What?
29:58I want to marry you.
30:04What on earth did I put in that Irish jewel?
30:06What?
30:08All these months you must have...
30:10Well, I've never really wanted to...
30:14No, what I want to say is that I want to marry you.
30:18Does that mean we're going to stop living in sin?
30:23Since when have we had any sin?
30:25It's true.
30:27It's true.
30:28I don't even know if you know how to kiss.
30:32You know how to kiss.
30:34You know how to kiss.
30:48You know how to kiss.
31:18You know how to kiss.
31:48Hello, Nick.
31:52Antron, what the hell are you doing back in Manchester?
31:55You had enough of the great metropolis?
31:57Certainly not.
31:57As a matter of fact, I'm doing rather well.
31:59You should have told me you were coming.
32:00I would have put out the red carpet.
32:02Right, this calls for a drink.
32:03Oh, no, wait a minute.
32:04Wait a minute.
32:05Wait a minute.
32:06Hmm.
32:08She's a...
32:09What can I say?
32:11It's the most restful thing you've ever done.
32:14Something new for you, isn't it, Nick?
32:16A change of style.
32:18I must say she makes an excellent model.
32:20Yes.
32:20Well, I'm going to marry her.
32:21Now, come on, off to the spinners.
32:22My dear, Shaq, congratulations.
32:24This means we've got two things to celebrate.
32:26Why, what's the other thing?
32:27All in good time.
32:28You wait till you've got a glass in your hand.
32:29But it's important.
32:30It's why I've come up to Manchester.
32:31Right.
32:32The top room of the spinner's arms.
32:34Here we come.
32:35Oh, no, if I'm going to be your best man, an occasion like this demands the Midland.
32:38We'll start as we mean to go on.
32:40I really am terribly pleased, my dear fellow.
32:42Now, listen here, Anton, calm down.
32:45It's going to be a very small affair.
32:47And we don't want you broadcasting it all over town, right?
32:50Oh, it reminds me.
32:51I'd better leave a note for Anna till away we've gone.
32:54My God, Nick.
32:56You have changed your style.
32:59Tell you what I'll do, Harry, seeing it's my last day making a book, I'll do you a favour.
33:05I'll give you each way on the first floor in the handicap.
33:07Now, how about that?
33:08I can't speak fairer than that now, can I?
33:10Thanks very much, Mr White.
33:11But you know me, I never touch the horses.
33:13Piggy, time we were off.
33:14Oh, no, that's all right.
33:15I've got time for a quick one.
33:17Harry, between you and me and the beer pumps, very wise.
33:22It's a mugs game.
33:23But then there again, where should I be without the mugs?
33:25Fill that up again, will you?
33:28Piggy?
33:29Oh, look, why do you keep bobbing up and down, Moe?
33:33Not that the punters have done me any harm.
33:35Bought me a nice little country pub they have.
33:38And that's where I shall be tomorrow in your game, Harry, behind the bar.
33:41Now, will you take for one yourself?
33:43Oh, thanks very much, Mr White.
33:44Oh, give over, Moe.
33:49Anton, it really defeats me why you want to come into places like this.
33:52Hi, Nick.
33:54Hello, Piggy.
33:55Hello.
33:56Now, gentlemen, what are you having?
33:59And it's on me, whatever it is.
34:01Whatever's come over you.
34:03Hello, Moe.
34:04Somebody shot the favourite?
34:06Well, so far as I'm concerned, Nick, they can shoot the bloody lot.
34:10Because from today, I've finished.
34:12I'm standing at Castle Irwell, and then I'm off to my little country pub.
34:16Oh, really?
34:17Well, I'll believe that when I see it.
34:19Minds a light ale, please?
34:21Light ale.
34:21Shall I make that two light ales?
34:22Oh, no.
34:23Might I have a dry sherry, please?
34:24Or a beaker full of the warm south, as we say in Manchester.
34:27You remember, Anton, don't you, Piggy?
34:29Yes, of course I do, at that party that you and Anna gave.
34:31Well, cheerio, gentlemen.
34:33Well, cheers.
34:34Good health, Piggy, and best of luck with the pub.
34:36Thank you very much.
34:37How do I look for a landlord?
34:38Won't nobody ever take you for a bookie?
34:40No, nobody would ever take me for a bloody jockey.
34:42Are you fit, Moe?
34:43Is that wrist better?
34:44Do you feel up to it?
34:45Much better.
34:45I'm looking forward to it.
34:46Right then.
34:47Well, it's time that we wasn't here.
34:48So what I'll say is au revoir, gentlemen.
34:50Goodbye, Piggy.
34:50Thanks for the drink.
34:52It's all right.
34:52Are you coming, Moe?
34:53Back on the ledge then, Moe?
34:54Yeah, just for today.
34:56Then I'm going with Mr. White to his pub.
34:57Are you bloody coming, Moe?
34:58Yes.
34:58So you're going too?
35:00Going to work behind the bar.
35:02Well, we'll come and see you one of these days.
35:04I'd like that.
35:05Bring Anna and Brian.
35:08Muscle tough.
35:11I must say, Nick, you do have some exotic friends.
35:14Who was that?
35:15That's Moe.
35:16Don't you know him?
35:17Rachel Rosing's brother.
35:20Brother?
35:22What's the matter?
35:23You're not turning into some sort of a snob, are you?
35:25No.
35:26No, no, certainly not.
35:27It's just that, well, Rachel always said she hadn't a relation in the world.
35:32Ah, well, perhaps that's what she thought you'd like to hear.
35:34What she thought I'd like to hear?
35:35Damn it, I was engaged to her.
35:38Of course, you hardly knew her, so you couldn't tell.
35:41No.
35:43Have you seen her at all since I went to London?
35:46No.
35:48Ah, well, let's talk about something more worthwhile.
35:51You, for example.
35:51Ah, well, thank you kindly.
35:52No, seriously, Nick, it's why I've come up to Manchester.
35:55Down to Manchester.
35:56Pardon?
35:57Now, London people always say, down to Manchester, and you must be very careful about that, Anton,
36:01otherwise you'll betray your provincial origins.
36:03Yes.
36:03And another thing, never say pardon.
36:05All right, point taken.
36:07Now, how did the exhibition go?
36:09Oh, so-so.
36:10On a marvellous notice in the Guardian.
36:12Yes, I saw it.
36:13What did you sell?
36:14Uh, three or four.
36:16Cleared about 20 quid after expenses.
36:18That's not all you did, old boy, if you only knew it.
36:21Do you remember a chap called Holiday who bought one of the pictures?
36:24I can't say I do.
36:25Which one was it?
36:25Oh, a pastel.
36:26A big horse straining like blazes up a hill, dragging a bright green dust cart sort of thing.
36:31Oh, yes.
36:32I remember that.
36:32That's a very good picture, that one, Anton.
36:34What did you get for it?
36:35Ten quid.
36:36Well, you'll be pleased to hear it's since been resold for 30.
36:39Like hell, I'm pleased.
36:41That's the sort of thing that really drives me around the bank.
36:43Hang on, hang on, hang on.
36:45This chap, Holiday, his trade, profession, whatever you like to call it.
36:47How about Parasite?
36:48Wait a minute.
36:49Do you want a drink?
36:50No, I don't want a drink.
36:51Holiday sells it to somebody who's loaded with money.
36:54This actress everybody keeps talking about.
36:55Peggy, uh, what's her name?
36:57Never heard of her.
36:58Well, everybody else has, old boy.
37:00Now, the point is this.
37:02Holiday then designs an entire room round the picture.
37:05You know the sort of thing.
37:07Repeating the colour of the cart and the hangings and the carpets
37:10and the colour of the horse and the leather of the armchairs,
37:12that kind of thing.
37:13I tell you, the whole room's built round it.
37:16I'd like to see that.
37:17That's the first of my pictures ever to get to London.
37:20Well, that's my point.
37:21Make sure it isn't the last.
37:23Holiday designs hundreds of rooms.
37:25He could make a fortune for you.
37:26But the only way he could do that is...
37:29Well, why don't you come to London yourself?
37:32Is this a party?
37:33Can anyone come?
37:33My dear Anna!
37:35You're looking blooming.
37:37Positively splendid.
37:39Sit down.
37:42Congratulations.
37:43Oh, thanks.
37:44He's going to make an honest woman of me at last.
37:47Oh, this, um, this will be Ty Coon here.
37:50He's trying to persuade me to go to London.
37:52Yes, I heard him.
37:53Well, why not?
37:55Well, I don't transplant easily.
37:58Seems to me, old horse,
37:59that I'm having to take you to the water
38:01and stick your head in the trough.
38:04Drink.
38:05Or gem fizz, please.
38:06Gem fizz, please.
38:07What the hell's that noise?
38:28Which one?
38:29Well, it sounded like a sort of whining.
38:32This bloody old rattletrap's almost dropped to bits.
38:35Oh, no.
38:36It's me cat, Piggy.
38:37It's in a box in the back.
38:40You're what?
38:41Who do you think you are?
38:43Dick bloody Whittington?
38:46Well, don't just sit there, Mo.
38:49Get it out of the car, for God's sake.
38:51I don't want to.
38:53He's my cat.
38:55I want to keep him.
38:59Look.
39:00Look at that.
39:01I shan't be fit to drive in a minute.
39:04Yeah.
39:04Have a bit of sense, Mo.
39:07I can't stand a cat near me.
39:10The damp things bring me out.
39:13All in bumps.
39:14They get on top of me, the cats.
39:15They give me the willies.
39:18Well, what are we going to do?
39:20Look, Mo.
39:21Just hop out.
39:23There's a good chap.
39:26Get it out of that box and it'll buzz off and that'll be an end to the matter.
39:31Somebody will look after it, Mo.
39:34He won't go.
39:35Not even if I do take him out.
39:37Look, he will.
39:39Have a try, Mo.
39:42We've got to be getting on.
39:48Come on.
39:49No, I can't stand him.
39:55Get out of it.
40:00Oh, never mind about the races, Mo.
40:03I'll find somebody to do the ledger.
40:06A lot of the lads would be glad of the money.
40:09But do something about that cat.
40:13Oh, and Mo.
40:13Mo.
40:15Mo.
40:17I promised Rachel that we'd meet her in the Octagon Bar straight off that Blackpool train.
40:23But get rid of that bloody cat.
40:25Look, Nick.
40:34Holiday can find all sorts of outlets for your work.
40:37Not just your paintings, I mean.
40:40Mural work.
40:41Designing textiles.
40:42Textiles?
40:42Oh, come on, Nick.
40:43Don't be sniffy.
40:44Duncan Grant designs textiles and he's pretty good.
40:47Yes, but textiles.
40:49Nick, my love.
40:49If you design them, maybe some of those poor struggling spinners you went marching with might get the chance to make them.
40:54And I might even get the chance to wear them.
40:56Look, Nick.
40:56Holiday really wants to help you.
40:58Your exhibition knocked him sideways.
41:00He says you've got the makings of a very fine painter.
41:02The makings?
41:03Oh, come on, Nick.
41:04It's a splendid opportunity.
41:07What do you think, Anna?
41:09Never mind what Anna thinks.
41:10I make my own decisions about my own future.
41:12That's right, Anton.
41:14It's Nick's decision.
41:15But, seeing as I have an extremely high regard for her opinion, what do you think?
41:21Well, and this is just my opinion, because it's Nick's decision.
41:24Yes.
41:25Well, it's like this.
41:26This year, Nick Faunt, you've sold ten paintings.
41:29Now, we've about twenty more cluttering up the bedroom.
41:31Now, it seems to me, and always remembering that I'm just an ignorant girl from the box,
41:36that there's something wrong.
41:37Either it's wrong with the pictures, or it's wrong with the people who won't buy them.
41:45There's nothing wrong with the pictures.
41:47Right, my lad.
41:48Then you'd better find yourself some different people.
41:54Damn it, you're right.
41:55Does this mean you'll come to London?
41:57Damn right it does.
41:58Nobody's heard a word of me a yard outside this bloody town, and it's time they did.
42:03Marvellous!
42:04This calls for a drink to celebrate.
42:06There's only one drink for this.
42:08Champagne.
42:09Right.
42:10Oh, er...
42:11Yes, I insist.
42:13Might we have a bottle of champagne, please?
42:15Yes, sir.
42:18Somehow, I don't think you two will ever starve.
42:21Yes, sir?
42:22Yes, sir.
42:22Yes, sir?
42:28Yes, sir.
42:34Yes, sir.
42:39Yes.
42:39you what love? did you say something? yes i want some meat, some liver, quarter please.
43:06right love
43:09right how much love? just a minute love. right thanks love please. right.
43:21thank you very much. now love. come on brian.
43:31what's in that box mister? it's me cat. what's his name? called brian.
43:36i'm going to feed him mr. yes. can i help you? all right. you hold that. come on brian. there we are.
43:47brian. brian! brian! brian! brian! brian!
44:05brian? brian? brian! brian! brian? brian? brian? brian?
44:31There he is, mister!
44:48Brian!
44:50What are you going to do, mister?
44:55Brian!
45:01You'll fall in, mister!
45:24You'll fall in, mister!
45:31Now, what's he doing there?
45:37He's doing his hat.
45:38Bloody fool!
45:39Hey, hey!
45:40Get off there!
45:41Get off!
45:44No!
45:46No!
46:01Get off!
46:04Is that it?
46:16To tell you the truth, Harry, it was a bit of a letdown, really.
46:20After the last race or outside of when it romped home, I'm stood on my box watching the punters swearing and tearing the tickets up.
46:28And, you know, to tell you the honest truth, I could have almost done a little weep.
46:34Still, it's no good looking back.
46:37You've got to look forward.
46:38Same again, please.
46:39Yes.
46:40Has that lad more of mine been in?
46:41No, I've not seen him.
46:43It's funny.
46:44He said he'd meet me in here.
46:45Oh, and I'm expecting a lady to.
46:47PHONE RINGS
46:52Hello.
46:53Oxygen rooms?
46:55Oh, yeah.
46:56Just a minute.
46:57Somebody to speak to you, mister.
46:59Me.
47:00Oh, hello?
47:01Hello, Piggy.
47:02Oh, hello, Rachel.
47:03Where are you?
47:04In Blackpool, remember?
47:05Um, listen, Piggy, I won't be coming.
47:08What the hell are you doing?
47:09Well, you'll just have to find someone else for the job.
47:12What?
47:13Something's happened, you see.
47:14I've met somebody.
47:15You what?
47:16There's no need to take that attitude.
47:17I didn't have to ring you up.
47:18Who the bloody hell is it?
47:20It's someone a lot different from you.
47:21For one thing, he's got some manners, and for another, he's...
47:23Look, Rachel.
47:25I always knew that you were a fast worker, but bloody hell.
47:29And what about my money?
47:30When are you going to pay that back?
47:32Rachel!
47:35Bitch.
47:36Not bad news, I hope, mister.
47:38Put not thy trust in bitches.
47:40Fill that up again, will you?
47:41Yeah.
47:42Did a woman a good turn, and...
47:44and she spit in my eye.
47:45I don't know whether you'd call that bad news or not.
47:47Oh, well, maybe she's got some...
47:49I'll give you a word of advice, Harry.
47:50If ever you do anything for a woman,
47:52make sure that you get something back.
47:57By God, when that mo turns up,
47:59I'll tell him something about his fancy sister.
48:01Hey, did you have your bloody thumb in the measure
48:03when you pulled that one out?
48:04Tides out indeed, Philly.
48:05No, did I?
48:09Four favourites won at Kempton.
48:11Well...
48:13I'm glad I wasn't there.
48:17Where the hell's that mole got to?
48:19Taxes should be here any minute.
48:20Hey, have you seen tonight's paper?
48:21No.
48:22Well, take a look at it.
48:23What am I supposed to be looking at?
48:24There.
48:25It's your dad.
48:26He's a game-all cock.
48:27Listen to this.
48:28The engagement has been announced of Sir George Faunt Bart,
48:30of Cottom Hall, to Mrs. Saundersen, the widow of the late Mr. James A. Saundersen,
48:34of Saundersen and Briggs, the well-known Manchester firm of cotton merchants.
48:36Is she nice?
48:37Nice.
48:38Only met her once.
48:39Rich as hell.
48:40But I don't envy in the job of, er, tickling the old trout.
48:43Do you know, I've just thought of something.
48:45One of these days you're gonna be Sir Nick Faunt.
48:47Hell's bells.
48:48What'll that make me?
48:49My lords, ladies and gentlemen, Sir Nicholas Faunt and, er, Lady Faunt.
48:50And, er, what'll it make Brian?
48:51Another of those, er, aristocratic bastards.
48:52Stop picking your nose, Brian.
48:53Still should be worth a fiver on the price of a picture.
48:54Mr. James A. Saundersen.
48:55Well, I've only met her once.
48:56I've only met her once.
48:57Rich as hell.
48:58But I don't envy in the job of, er, tickling the old trout.
48:59Do you know, I've just thought of something.
49:00One of these days you're gonna be Sir Nick Faunt.
49:01Hell's bells.
49:02What'll that make me?
49:03My lords, ladies and gentlemen, Sir Nicholas Faunt and, er, Lady Faunt.
49:06And, er, what'll it make Brian?
49:08And, er, what'll it make Brian?
49:09Another of those, er, aristocratic bastards.
49:13Stop picking your nose, Brian.
49:15Still should be worth a fiver on the price of a picture.
49:18Nick, do you really want to go to London?
49:22I don't give a damn where we go.
49:25It's not the where that matters.
49:27Taxi coming!
49:29What about old Julian?
49:40Oh, let's leave him.
49:42Let him look after the place.
49:48Come on then.
49:49Let's live a little bit while they let us.
49:51Only a little bit.
49:52We'll do a damn sight better than that.
49:59Come on, Brian.
50:00Jump in.
50:01Sit over there.
50:17Come on, Brian.
50:18Jump in.
50:19Sit over there.
50:29I'm ready.
50:31Bye-bye.
50:34How'd they get a new chromosomal business?
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