- 3 months ago
- #belle
- #janeeyre
- #carrington
#belle #janeeyre #carrington
Uncle Nick's conjuring skills are put to the test when an on-the-run suffragette leader asks for his help--to make her disappear before the police can arrest her. Much to Richard's distress, an attractive young singer named Nancy Ellis plans to vanish as well. Starring: Colin Firth, Laurence Olivier, Pamela Stephenson, John Castle.
Uncle Nick's conjuring skills are put to the test when an on-the-run suffragette leader asks for his help--to make her disappear before the police can arrest her. Much to Richard's distress, an attractive young singer named Nancy Ellis plans to vanish as well. Starring: Colin Firth, Laurence Olivier, Pamela Stephenson, John Castle.
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Short filmTranscript
00:00:00Piano music
00:01:00It rained the day of Harry Burrard's funeral.
00:01:09I suppose it said everything about Harry's life.
00:01:13The last few years of it anyway.
00:01:18A life of laughter that ended in tears.
00:01:30I'm not going to say much.
00:01:57Words can't do Harry any good now.
00:02:01He's gone.
00:02:02But what should be said is that, well, that Harry wasn't always like what most of you remember him.
00:02:10He used to be the best, and I mean that, the very best.
00:02:13Top of the bill.
00:02:16Ask them up there on the top shelf what's happened, because it's the gods who break you, just as it's the gods who make you.
00:02:23And the gods stopped laughing.
00:02:25But Harry, he didn't know why.
00:02:28Nobody knows why they stopped laughing.
00:02:30Just the same as nobody knows why they start laughing.
00:02:32I can tell you that for nothing.
00:02:37So let's remember, Harry.
00:02:38Harry, like he was when they were still laughing.
00:02:43When Harry G. Burrard was top of the bill.
00:02:48His act was replaced by Jennings and Johnson, as much ahead of their time as Burrard had been behind it.
00:03:08Shine on, shine on, harvest moon up in the sky.
00:03:18I ain't had no lovin' since January, February, June or July.
00:03:27Snow's time, ain't no time to sit outdoors and spoon.
00:03:34So shine on, shine on, harvest moon.
00:03:41We'll be like a...
00:03:43Hey, where are you going?
00:03:45I'm getting out of here.
00:03:45This theater's been raided so many times, the police get top billing.
00:03:49And that doorman, he told you you hadn't had a bite in four days?
00:03:51Well, that's all right.
00:03:52I bit him.
00:03:54My real reason is I don't think the act is working.
00:03:57Aw, pal, don't take on soul.
00:04:00Be positive.
00:04:01Okay.
00:04:02I'm positive the act isn't working.
00:04:06Well, whose fault is that, tightwad?
00:04:08Who ever heard of buying a comedy act from a French mime artist?
00:04:12It was a bargain.
00:04:13Some bargain.
00:04:14What did we get?
00:04:14Ten pages of blank paper.
00:04:16Yes, but we didn't know that till we had it translated.
00:04:20Just think what all these girls in Bradford are gonna miss.
00:04:24It's tragic.
00:04:24Goodbye, I'm leaving all the other girls behind me.
00:04:32Goodbye, I'm caught so mad that this will never mind me.
00:04:38I made the leap and I took the chance.
00:04:41I found the girl and she'll make me dance.
00:04:43So it's a wedding trip with my own pride.
00:04:57Hey, I'm Bill.
00:04:59Can we buy you a drink, honey?
00:05:00Something sharp for a sharp little lady?
00:05:02Get her a gin.
00:05:03Make it a double.
00:05:04A double.
00:05:04They're a couple of cards, aren't they?
00:05:09They are.
00:05:18Are you a card, Eugene?
00:05:21Me?
00:05:22Well, I'm only a boy.
00:05:25Julie was right.
00:05:26They were a couple of cards.
00:05:29They existed in an atmosphere of cigars, whiskey and cool lechery.
00:05:34Uncle Nick liked them.
00:05:38And they respected him.
00:05:40He spent many an afternoon teaching them to play billiards and snooker.
00:05:43And, of course, he couldn't resist showing off his trick shots.
00:05:45HE CHUCKLES
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00:06:26I spent my days very differently.
00:06:39My favourite Bronte country.
00:06:43Just getting drunk on all the beauty and trying to paint it wasn't enough anymore.
00:06:47I wanted Nancy to see it too.
00:06:56MUSIC CONTINUES
00:07:26I'm going up on the moors tomorrow to do a bit of sketching,
00:07:36and if you're not doing anything, if you'd like to come.
00:07:41And it's wintry, of course, but that's wonderful country.
00:07:45You can walk for miles and see nobody.
00:07:47I wish you'd come.
00:07:49What am I supposed to do while you're painting? Stand about and freeze?
00:07:53No, it is cold.
00:07:55I suppose you're not used to it.
00:07:57Not like our girls.
00:08:00What girls?
00:08:03It's just an idea. Forget it.
00:08:05Richard!
00:08:06I just happen to remember how I've been wishing today. All day.
00:08:10But, er, no, sorry, I spoke.
00:08:12My goodness. You can be artful when you try, can't you?
00:08:16Come on, Nancy. We're waiting for you.
00:08:20What time do we start?
00:08:22Seven o'clock, sharp.
00:08:26I don't know why I came up here.
00:08:33There aren't even any trams.
00:08:37What do you want trams for?
00:08:39I like trams.
00:08:41There's something nice and comforting about a tram.
00:08:43Are you going to be famous one day, Richard?
00:08:48I mean, a really famous painter.
00:08:49Yes.
00:08:50Yes.
00:08:50Yes.
00:08:52Yes.
00:09:04Nancy.
00:09:04No, I can't meet you tonight, darling.
00:09:10I'm sitting for Sir Richard Hernecastle, don't you know?
00:09:14The Botticelli of Bruddersford.
00:09:17He tells such amusing stories about his wild youth in the music halls.
00:09:21He fell in love there, you know.
00:09:24Did he?
00:09:25Who is?
00:09:27Oh, a little chit of a thing he took a fancy to.
00:09:29Common as muck, of course, but she had quite good ankles.
00:09:33He cast her aside in his ruthless rise to the top.
00:09:38And she starved to death in an attic.
00:09:41He wept buckets.
00:09:43So romantic.
00:09:48What's that noise?
00:09:50Guns.
00:09:51An army range over there somewhere.
00:09:59Cold?
00:10:00A bit.
00:10:02Won't be long.
00:10:08No.
00:10:14It was just the look on your face.
00:10:19Like a happy child's look.
00:10:22That's what I wanted to kiss.
00:10:27Oh, I love it here.
00:10:29I want to come back every summer.
00:10:31Say something, Richard.
00:10:38What's the matter?
00:10:39Aren't you enjoying it?
00:10:40Don't think I've ever enjoyed a day so much in my life.
00:10:43I know what you mean.
00:10:53I'll remember that look till I die.
00:10:54It was the first really intimate thing that happened between us.
00:11:05Oh, God.
00:11:08It's nearly five o'clock.
00:11:09I've got to be on before seven.
00:11:10Oh, gosh, what are we going to do?
00:11:25Katari.
00:11:27Katari.
00:11:30How I adore you, Katari.
00:11:33Mi amore.
00:11:35Come on.
00:12:04Oh, no, no, no, no, no.
00:12:13Oh, my God, you're back.
00:12:20You're back.
00:12:31Oh, the bed is here.
00:12:33Oh, no, no, no, no, no, no.
00:12:37Oh.
00:12:43Definitely not from round here.
00:12:47By gum, but he must have been going at a hell of a lake.
00:12:53Ah, that's better.
00:12:54At last, take him a joy, every man.
00:12:57A leadership of himself will be waiting for hours.
00:13:00We are different.
00:13:02Relief is at hand, you lordship.
00:13:04Lad here, help Kitchener relieve mafeking.
00:13:06Really?
00:13:07Got my medal to prove it, you lordship.
00:13:09Especially.
00:13:10Oh, very civil of you, lordship.
00:13:11Now, what's the problem?
00:13:13There has been no movement for days.
00:13:16Days?
00:13:17Days, we are different.
00:13:19Oh, not to worry, you lordship.
00:13:21I was out at one only the other day.
00:13:23No movement for a fortnight.
00:13:25Bunged up solid, it was.
00:13:26And no wonder, if you see what I pulled out,
00:13:28everything but the kitchen sink.
00:13:31I cured it, though.
00:13:32Good man.
00:13:33When I get my brodler going, whoa.
00:13:37Let's sing.
00:13:38Ballcock.
00:13:40Never heard a thing, you lordship.
00:13:44Please walk.
00:13:45Hello, you're late.
00:13:55No, I am.
00:13:59Hello.
00:14:00I thought it was Nancy you were falling for.
00:14:20Hey, that's good.
00:14:20Can we use it?
00:14:21I'm also going to wear a pill.
00:14:38Oh, my God.
00:14:39Oh, my God.
00:14:40I don't mind.
00:14:41Oh, my God.
00:14:43Oh, my God.
00:15:48Yeah.
00:15:52It's a good house tonight.
00:15:56Good for a Tuesday night.
00:15:57Oh, you know what day it is.
00:15:59I thought you might have forgotten.
00:16:00As well as the time you should be on stage.
00:16:03Sorry it was a bit late, Uncle.
00:16:04I was up on the moors painting.
00:16:06Don't lie to me, lad.
00:16:08It's as good as an insult.
00:16:10I was painting, Uncle.
00:16:11You were out with, what's her name?
00:16:13Nancy Ellis.
00:16:14She came with me, that's all.
00:16:16Isn't it allowed, taking a girl out?
00:16:18Anything's allowed.
00:16:19As long as it doesn't interfere with your part in my act.
00:16:23It goes for Nancy Ellis or Susie or any other little tart you might take up with.
00:16:28Don't ever be late on stage again.
00:16:32Nancy is not a tart.
00:16:34She's not female, then.
00:16:37Ask this one.
00:16:38She'll tell you.
00:16:40Oh, have your supper without me.
00:16:41Been telling you off for being late, has he?
00:16:49What do you think?
00:16:52What for you to ask me?
00:16:54Oh, just another of his expert opinions about women.
00:16:56Is she worth it?
00:17:03Well, then.
00:17:05You can put up with his opinions.
00:17:09He should have been late, Richard.
00:17:11He's not professional.
00:17:13He's in the right about that.
00:17:17Hungry?
00:17:20Just taking Kitty for supper.
00:17:21Come on.
00:17:22Mr. Arlerton, forgive this intrusion.
00:17:48And my name is Miss Foster Jones.
00:17:52Not unknown to you, I imagine.
00:17:55I'm here on behalf of my wife.
00:17:57I saw your amazing performance tonight.
00:17:59And I also saw a faint ray of hope.
00:18:02And that, Sarah, is why I am standing here now.
00:18:10I want you to make my wife disappear.
00:18:13Oh, no, not on stage, of course, but actually, in real life.
00:18:20From a meeting, in fact.
00:18:23A public meeting?
00:18:24Exactly.
00:18:25My wife, Mrs. Foster Jones, is one of the leaders of the suffragette movement.
00:18:31She's already suffered two periods of imprisonment.
00:18:34And even now she is on the run, as they say, hiding from the police who will arrest her on sight.
00:18:39But I take it you do believe that women should have the vote?
00:18:44No, I don't.
00:18:47Neither should most men.
00:18:49Still, go on.
00:18:52On Sunday night, in Leeds, a big meeting has been arranged at the Forrester's Institute.
00:18:58Now, the police will be there in force, of course.
00:19:01But if my wife could get onto the platform and make a speech, the effect would be sensational.
00:19:05Of course, as soon as she's finished speaking, they will arrest her.
00:19:10That is, unless in some way it were possible to make her disappear.
00:19:18Can you?
00:19:20Will you help us?
00:19:21There would be a fee.
00:19:24No, no.
00:19:24Forget the money.
00:19:26It's the problem that interests me.
00:19:29Will your wife take orders from you?
00:19:31We don't believe in that sort of relationship.
00:19:33Well, you can tell your wife, Mr. Jones, that I cannot undertake to rescue her from the police
00:19:39unless she promises to do exactly what I tell her to do, without question.
00:19:45There'll be no difficulty there, Mr. Arlington.
00:19:48We'll meet tomorrow, then, at the Forrester's Institute in Leeds, ten o'clock.
00:19:52I'm very grateful.
00:19:54Oh, no.
00:19:55Forget the thanks.
00:19:56I haven't agreed yet.
00:19:58Now, off with you, Mr. Jones.
00:20:01I'm late for my supper already.
00:20:02Oh, yes, of course, I'm so sorry.
00:20:08Thank you again, and good night.
00:20:20I'll take the box.
00:20:33Nothing for me, I suppose.
00:20:42Billy Do?
00:20:43No.
00:20:44Pink envelope?
00:20:46Must be a Billy Do.
00:20:48What's she say?
00:20:50She just wants me to come and say this morning, that's all.
00:20:53Can't bear to be parted from you, is that it?
00:20:56Probably.
00:21:03Can I speak to Nancy?
00:21:08Who are you?
00:21:11Is she in?
00:21:18A Mr. Richard Herdencastle, the squire, presents his compliment and his size 10 boobs.
00:21:29I got your note.
00:21:33Uh, free if you are.
00:21:36Where should we go?
00:21:39Where would you like to go?
00:21:40Um, Harrogate.
00:21:44It's not very far on the train and I want to take the waters for my completion.
00:21:49Right, Harrogate.
00:21:53I'll be about five minutes.
00:21:55Do you know where the Forrester's Hall in Leeds is?
00:22:17It's near the town hall.
00:22:20We're going now.
00:22:21Now?
00:22:22Yes, now.
00:22:24I can't.
00:22:25Why not?
00:22:26You've no rehearsal?
00:22:27You've nothing on the board with Sam and Ben?
00:22:29Well, I've just this second agreed to be somewhere else.
00:22:31I must not have made myself clear enough the other night.
00:22:36You've only won priority lab while you work for me.
00:22:39That's to do what I ask you to do.
00:22:41Anybody else plays second fiddle.
00:22:44Whoever she is.
00:22:44And I might as well say this while I'm at it.
00:22:50I'm getting tired of having to repeat myself.
00:22:54I'll wait for you in the car for exactly two minutes.
00:22:58Do we even get to know why we should go to Leeds?
00:23:01To see a man about a dog.
00:23:03It'll be a sight more interesting than running after some tart.
00:23:06Oh, it's him again.
00:23:16I think he's tied to a piece of elastic.
00:23:19I'm not ready yet.
00:23:22Um, well, I can't manage it.
00:23:25Could we change it till this afternoon?
00:23:27Won't his uncle let him play out, then?
00:23:29Well, I have to go to Leeds on some business.
00:23:30He has to go to Leeds, and he wants me to go with him.
00:23:32I want to go to Harrogate.
00:23:33Well, we could go this afternoon.
00:23:37So you're going to Leeds with your uncle, then, are you?
00:23:40I'll have to.
00:23:42Well, even you can't be in two places at once,
00:23:44so off with you to Leeds.
00:23:54Richard.
00:23:56I'll meet you at the station at one o'clock.
00:24:00I don't teach you to play around.
00:24:02Oh, who are you doing?
00:24:03Like your bloody mother.
00:24:21Hello, Miss Rollerton.
00:24:23This is Mrs. Muriel Dirks.
00:24:25She will be chairing the meeting on Sunday next week.
00:24:28How do you do, Miss Rollerton?
00:24:30It's marvelous for you to help us.
00:24:33We're always especially pleased when a man sympathizes with our cause.
00:24:37I don't sympathize with it.
00:24:48Driving over from Bradford,
00:24:50Uncle Nick had condescended to tell me a bit of what we were supposed to be doing.
00:24:53It must have appealed to his vanity, because he obviously wasn't interested in suffragettes.
00:24:59Just as I hoped.
00:25:01Stairs on either side with the pass door back there.
00:25:04Um...
00:25:05These seats, will they be occupied on Sunday?
00:25:10Every seat will be filled.
00:25:12We put a screen in front of the pass door.
00:25:14Mrs. Foster Jones exits a bit uncertainly behind the screen,
00:25:17comes out again as if she's changed her mind,
00:25:20and goes out by one of the stairs.
00:25:22Police move in and arrest her.
00:25:23And it won't be Mrs. Foster Jones?
00:25:25Exactly.
00:25:27Sheila swapped coats and hats with the second woman.
00:25:29Made her escape through the pass door.
00:25:31Look, Miss Rollerton.
00:25:32What's this about a second woman?
00:25:34The woman who'll be impersonating your wife while she escapes.
00:25:38Don't the police have to be very stupid to be deceived by that?
00:25:44Don't teach me my business.
00:25:52Here's the manners of a ruffian.
00:25:55Typical, arrogant man.
00:25:57We've got to trust him, Muriel.
00:26:01Agnes should be sold the sort of man we're trusting with her freedom.
00:26:08Have you got a photograph of your wife, by any chance?
00:26:11Yes, as a matter of fact, I have, yes.
00:26:16There you are.
00:26:20Well, well.
00:26:21Who do you think she looks like, Richard?
00:26:25Julie Blaine?
00:26:32You're in luck.
00:26:33Your wife has a passing resemblance to an actress in our company.
00:26:36She could do the impersonation.
00:26:38Oh, that's splendid.
00:26:39Isn't it, Muriel?
00:26:40An actress?
00:26:42We don't even know.
00:26:43Only trouble is, she drinks.
00:26:45Still, you can't have everything, can you?
00:26:48You're really going to ask Julie to do it?
00:26:49Why not?
00:26:50We don't even like her.
00:26:52I'm not going to sleep with her, lad.
00:26:53Thought that was your department.
00:26:55But isn't it a bit risky?
00:26:56I mean, she might end up in prison instead of Mrs. Foster Jones.
00:26:58She might well.
00:26:59You'd have to find somebody else to lust for then, wouldn't you?
00:27:02I'm not lusting after Julie Blaine.
00:27:14I can't get the taste of that awful water out of my mouth.
00:27:17I thought spa water was supposed to be good for you, not poison you.
00:27:20You know, like the man said, it strengthen his stomach, good and quick appetite and further
00:27:25his digestion.
00:27:26What more can you want?
00:27:26I wonder what a love potion tastes like.
00:27:47Oh, it tastes horrible.
00:27:48Everything that's good for you tastes horrible.
00:27:49It's one of the laws of the universe.
00:27:51Oh, you think a love potion will be good for you, do you?
00:27:53If you need one.
00:27:54You don't?
00:27:55No.
00:27:57Don't you flatter yourself?
00:27:59Yeah.
00:28:25This is how you like me to be, isn't it, Richard?
00:28:33All froth and giggles.
00:28:37I can't be like that all the time.
00:28:40What about when I'm old and grey?
00:28:43I think I'll just remember you like you are now.
00:28:47Forever and ever.
00:28:48Until the colours of the rainbow fade.
00:28:51Yeah.
00:29:02Richard!
00:29:02Richard!
00:29:02Richard!
00:29:18All you have to do is creepy.
00:29:28Okay, Daddy have to go!
00:29:30I've got to do it.
00:29:36ų
00:29:48I don't know.
00:30:18We're just going to get you some help, Mr. Ollenton.
00:30:31As I anticipated, the journey to meet Mrs. Foster-Jones at her secret hideaway in the winter-strewn hills was more than a little tricky.
00:30:39Apart from them disliking each other, Uncle Nick hadn't told Julie why we were actually going.
00:30:43He was being his usual perverse self, I suppose.
00:30:46So Julie in her turn was looking for opportunities to be willful.
00:30:50And she found one.
00:30:52And we got stuck in the snow conveniently near a public house.
00:30:55One for the road.
00:31:24She was much fatter than her mum, wasn't it?
00:31:27Oh, come see.
00:31:29Oh, come see.
00:31:31Oh, come see.
00:31:32Oh, come see.
00:31:35Oh, come see.
00:31:36Oh, come see.
00:31:37Oh, come see.
00:31:38Oh, come see.
00:31:39Oh, come see.
00:31:40Oh, come see.
00:31:41Oh, come see.
00:31:42Oh, come see.
00:31:43Oh, come see.
00:31:45Oh, come see.
00:31:47Oh, come see.
00:31:48Oh, come see.
00:31:50Oh, come see.
00:31:51Oh.
00:31:52Oh, come see.
00:31:53Oh, come see.
00:31:54Oh, come see.
00:31:55Oh, come see.
00:31:56Oh, come see.
00:31:57Oh, come see.
00:31:58Oh, come see.
00:31:59Okay.
00:32:00Uh huh.
00:32:01Oh, come see.
00:32:02Oh, come see.
00:32:03Oh, come see.
00:32:04Oh, come see.
00:32:05They held forth at ever-increasing length.
00:32:09She was more than a match for him.
00:32:11So you think women should be condemned to play a minor role forever, do you, Mr. Ollenton?
00:32:15They should play the role they were made for, like everybody.
00:32:18Born the weaker sex, remain the weaker sex.
00:32:21That's the way nature works.
00:32:22But shouldn't women at least have the chance to show what they can do?
00:32:25Hear, hear.
00:32:26The best will make their own chances like the best men do.
00:32:29But the best women can't even vote, Mr. Ollenton.
00:32:32Now, do you think I should have the vote, for instance?
00:32:34That depends on whether you're an idiot or not.
00:32:37That's insulting!
00:32:39He's an expert at that, please.
00:32:41Rather than, say, an illiterate labourer.
00:32:44As I've said, I don't know.
00:32:46Really?
00:32:48You're afraid to give us the vote, Mr. Ollenton.
00:32:51You're afraid that women might start to ask some awkward questions.
00:32:55Questions we ask ourselves when we look at our sons.
00:32:59What's the use of all your seeking?
00:33:02All your achieving, your competing?
00:33:05When we know, we know from our babies at our breasts,
00:33:09that it's love and tenderness that are the most precious of God's gifts.
00:33:13I think you feel threatened by our having the vote.
00:33:18I think you feel threatened by the prospect of our being your equals.
00:33:23I haven't met a woman yet who was my equal.
00:33:27Haven't you?
00:33:30Then you've missed a terrible lot, Mr. Ollenton.
00:33:33We can be quite interesting and stimulating in every way.
00:33:37And so say all of us.
00:33:39I think we should discuss the events of Sunday night and listen to Mr. Ollenton's instructions.
00:33:45That is, if your wife still wants to hear them, I think she might think I'm trying to play God Almighty.
00:33:50I'll tell you one thing, Mr. Ollenton.
00:33:53You're a better magician than I am.
00:33:55No, please, I'm all ears.
00:33:58I take it your husband has described the mechanics of the plan, the screen, the past all?
00:34:03Yes.
00:34:04Miss Blaine here will be waiting behind the screen to make the change with you.
00:34:08The police will then be tricked into arresting her while you escape.
00:34:11Me?
00:34:13Why, didn't you know, Miss Blaine?
00:34:15No.
00:34:16Still, we're all just props to Mr. Ollenton.
00:34:32You're all just props to Mr. Ollenton.
00:35:02Right, let's go through it again.
00:35:11How many more times do you have to do this?
00:35:12Until we can do it in our sleep.
00:35:14It doesn't bother me how many times we have to rehearse it, as long as it confuses the cops.
00:35:18That helps a lady in distress.
00:35:20Yeah, let's hear it for ladies in distress everywhere.
00:35:23God bless them.
00:35:24Right, Miss Blaine.
00:35:25I get there early with a bright red coat and two hats I'll buy tomorrow.
00:35:33I give the coat and one of the hats to Mrs. Foster Jones, and I wait behind the screen while she's talking.
00:35:37When she comes behind the screen again, I take the coat, go down the steps, imitating a walk, and hope to find myself arrested.
00:35:42Don't forget to practice the change till you can do it in under three seconds.
00:35:46I'll do my best, Mr. Ollenton.
00:35:49Bill.
00:35:50Hank and I wait for the lady outside the pass door here.
00:35:53Then we just lead her out of the building.
00:35:55Shh, this way.
00:35:57Two-gallon American gentlemen coming to the assistance of a nice old lady.
00:36:01It was ever thus.
00:36:03There won't be a dry eye in the house.
00:36:05Richard, I leave my seat here and go after you, Miss Blaine, and tell the police who she really is and try and keep them there as long as possible.
00:36:16Why can't I do that?
00:36:18Why can't I go after Julie?
00:36:20Why does it have to be him?
00:36:21Because you're the key to the whole thing, Tommy.
00:36:22I feel, Chris, it's really nice to me.
00:36:52monstrously cruel and it's degrading and i tell you sisters we are getting through to the conscience
00:37:02of the nation more and more people are beginning to say that it can't be right to treat women like
00:37:08animals just because they want the vote the foresters hall was indeed packed tight
00:37:16not just with women but with an intensity of belief and purpose
00:37:19the atmosphere was electric though i felt out of place both as a man and a neutral i
00:37:26couldn't help being affected by all the sincerity and emotion don't let your sisters down work
00:37:34and fight for our cause even now ladies and gentlemen
00:37:49i have a surprise for you an additional speaker none other than our dear friend
00:37:56and leader agnes foster jones
00:38:10fellow campaigners supporters you can have no idea of the intense pleasure
00:38:28and hope for the future it gives me to see so many of you here today
00:38:40thank you
00:39:02illiterate farm laborers can choose your government
00:39:05provided they have a house but the principle of lady margaret hall oxford cannot now men may be
00:39:16the technical creators and achievers but it is women who are the sustainers of society
00:39:24without women it would crumble to dust yet we are treated as inferiors
00:39:29we are considered unfit to choose those whose decisions shape our lives and our children's lives
00:39:39we are no better than slaves ladies and gentlemen
00:39:42and we shall not fail we shall fight for our rights for what is due to our dignity
00:39:56we demand to be heard we demand to be heard and we shall win
00:40:10we shall not fail within the í† ï¿½ani
00:40:12we should be heard and have no pizza
00:40:31we shall not fail to stand again
00:40:31we shall not fail to stand again
00:40:33We shall not fail to stand again
00:40:35Let's move.
00:40:36Hooray!
00:40:40Hey, get off, sir.
00:40:42What the hoot?
00:40:43All right, madam.
00:40:45What on earth do you think you're doing, man?
00:40:47Take your hands off me.
00:40:49All right, madam.
00:40:50If you don't give us any trouble, we won't give you any.
00:40:52Who are you?
00:40:53I'm Detective Inspector Woods.
00:40:54And they've ordered us to take you into custody, Mrs Foster Jones.
00:40:57Don't be silly.
00:40:58I'm not Mrs Foster Jones.
00:41:00What's going on?
00:41:00Richard, this man's trying to accost me.
00:41:02He says he's a policeman.
00:41:03You can clear off now.
00:41:05Miss Blaine is a friend of mine.
00:41:06We're on the same variety bill at Leeds Empire this week.
00:41:08I must say, Inspector, you're not very fluffy
00:41:10if you can't tell the difference between me and Mrs Foster Jones.
00:41:13She's years older.
00:41:15I'm an actress, a present playing in a sketch
00:41:17with Tommy Beamish, the comedian.
00:41:19You must come and see it.
00:41:22You're right.
00:41:23I've seen you.
00:41:24But the coat...
00:41:25Brought yesterday.
00:41:27Do you like it?
00:41:27Isn't it gorgeous?
00:41:30Quickly, Sergeant.
00:41:31You must still be here.
00:41:32Come on, sir.
00:41:33Move, man.
00:41:34Come on, Sergeant.
00:41:44Let's try and open the opening door.
00:41:48Nice and met now.
00:41:51Thank you very much, Officer.
00:41:57Goodbye, dear little old lady.
00:41:58Bon voyage, darling.
00:42:01Thank you, Mr. Hunt.
00:42:04You know I would have trusted you with my life.
00:42:08Uncle Nick had pulled it off with his usual efficiency and style.
00:42:13And I had accidentally moved closer to Julie Blaine.
00:42:26What are you doing here? Come on!
00:42:28What are you doing with us?
00:42:36What are you doing here? Come on!
00:42:44Come on!
00:42:51What are you doing here? Come on!
00:42:59Flap! Flap! Flap!
00:43:01Flap! Flap!
00:43:03Take me on the pen!
00:43:05Flap!
00:43:07Flap! Flap!
00:43:15Flap!
00:43:17Flap!
00:43:24Flap!
00:43:25Flap!
00:43:26Flap!
00:43:30That's not
00:47:01If I were you,
00:47:02Dick.
00:47:03I wouldn't say anything to her tonight.
00:47:05I don't think you're in the right mood.
00:47:08You might say something you'll be sorry for after.
00:47:11I won't be long, Sissy.
00:47:34I didn't take her advice.
00:47:37Nobody could have stopped me behaving like a young idiot.
00:47:40I was a sour vat of anger, bitterness and stupidity.
00:47:55Oh, Richard.
00:47:56I've just been thinking about our day on the moors.
00:47:58I'd like to go back in the spring or summer sometime.
00:48:01I just heard you're leaving.
00:48:03Going into a pantomime.
00:48:04Yes, Plymouth.
00:48:05I'm playing Cinderella and Susie's the fairy godmother.
00:48:08You sound very happy about it.
00:48:11Well, I am.
00:48:12Panto's more fun.
00:48:13You're in a company and you can get settled without having to move every week.
00:48:16I must say, for someone who pretends not to like being on stage,
00:48:19I can't say a panto should be more fun.
00:48:21It was showing even more leg every afternoon and evening.
00:48:23Oh, stop it, Richard.
00:48:24You know, I also had this strange idea we were friends.
00:48:27I wish you could hear yourself.
00:48:28Oh, I'm hearing myself.
00:48:30I know if I were leaving, I'd be sorry and not sound so bloody happy about it.
00:48:33Oh, go and swear at somebody else.
00:48:35Good night.
00:48:36Good night.
00:48:39Good night.
00:48:40Good night.
00:48:45Good night.
00:48:46Good night.
00:48:48Good night.
00:48:50Good night.
00:48:52Good night.
00:48:54Good night.
00:48:56Good night.
00:48:58Good night.
00:49:02If I'd had any sense, I'd have gone looking for her
00:49:05and we'd have done some real arguing and then made it up.
00:49:08But I wasn't going to make the first move and neither was she.
00:49:12What I didn't understand was what it would be like when she really had gone.
00:49:16Well, she was still close at hand around any corner.
00:49:18The quarrel was like a kind of idiot game I was playing.
00:49:23But as soon as she was 300 miles away,
00:49:25there was a great blank in the pattern of my life.
00:49:27Quite impossible to ignore.
00:49:30Until the whole pattern changed, leaving her out of it.
00:49:32Then I changed with it.
00:49:36First in anger, then despair.
00:49:39And after that, of course, it wasn't quite the same chap.
00:49:41After Nancy left to play in pantomime,
00:49:51I resolved that the quickest way to stop feeling angry and bitter was to forget her.
00:49:56The musical Tiplos, the act which replaced Susie and Nancy, helped.
00:50:00They were priceless.
00:50:02They had Hank Johnson and Bill Jennings and me in stitches.
00:50:04The trouble with you, son, is you just don't appreciate genuine refinement.
00:50:13You're looking at two females that even Bill would keep his hands off us.
00:50:18I'm trying to picture them playing Butte, Montana on Saturday night.
00:50:21There's a bar across the street, friends.
00:50:23You're coming, kids.
00:50:24Yes.
00:50:25Plenty of water with it.
00:50:25Thanks, but I think a better way here from the turn.
00:50:28Suit yourself.
00:50:28Exposure to so much culture makes me kind of surprised.
00:50:37But inevitably, the main distraction was Julie Blaine.
00:50:40How long are those idiots going to be?
00:50:50Are you next?
00:50:51I hope so.
00:50:53Wait for me and we'll have a drink after, hmm?
00:51:05Here's how.
00:51:10God knows what Tommy will do to the Tiplos.
00:51:12They were May-famed for this.
00:51:14I'll let you know when he puts them into the act.
00:51:16You don't like them because they're here and your little Nancy isn't.
00:51:19No, I just don't like them.
00:51:24You realize, don't you, that for sixpence you could send her a wire at the Theatre Royal
00:51:28Plymouth and put an end to your ridiculous quarrel.
00:51:31And what do I say?
00:51:33I'm sorry, it was all my fault.
00:51:35Yes?
00:51:36Just that?
00:51:37Don't you know anything about women?
00:51:42Just tell you to subject you, then.
00:51:47Well, I'm finding it all rather ghastly at the moment, too.
00:51:50Tommy's been playing these dates for years.
00:51:53I don't know anyone round here.
00:51:54All the people he knows are bookies and pub proprietors and their fat, dull wives.
00:52:00Staying at one of their pubs at the moment.
00:52:01Where are you this week?
00:52:04Sharing digs with Uncle Nick and Sissy.
00:52:08Doesn't she ever sneak out of his bed and climb into yours?
00:52:14All Sissy wants from me is friendship and vice versa.
00:52:19Well, you must have some friends in leave.
00:52:23One or two.
00:52:24When they're free in the evenings, I'm not, am I?
00:52:29Tell me, Richard, do you want you and I to see more of each other or not?
00:52:40It's up to you.
00:52:44Yes.
00:52:44All right, then.
00:52:49Just leave it to me.
00:52:53Isn't it going to be easy?
00:53:03See you, lady.
00:53:08It's average, Richard.
00:53:10What address are you going to in Sheffield, sir?
00:53:13Er, Entry Parade.
00:53:15Number 51, I think.
00:53:18The same as Mr. Beamish and Miss Blaine.
00:53:21I didn't know that.
00:53:23No, you don't.
00:53:34Boop, boop, boop.
00:53:40No, no, no, no, no!
00:53:53Marcel, my angel!
00:53:54Hello, my angel!
00:53:54Oh, my angel!
00:53:55Hello!
00:53:55Hello!
00:53:56Hello!
00:53:56Hello!
00:53:57Hello!
00:53:57Hello!
00:53:58Hello!
00:53:58Hello!
00:53:59Hello!
00:53:59Hello!
00:54:00Hello!
00:54:01Hello!
00:54:01Hey, how many look in the garden in the side, may they?
00:54:03Yeah.
00:54:03He's wonderful to see you.
00:54:05And who is a handsome young man?
00:54:07Well, very darling, this is Richard Herndon Castle.
00:54:10Richard, Mrs. Wall.
00:54:11How do you do, Mrs. Wall?
00:54:12Oh, come y'all.
00:54:14You're welcome to my house.
00:54:17What is mine is yours.
00:54:19Everything except a bloomers.
00:54:23Oh, Mr. Bitt.
00:54:26What a bloomers.
00:54:27What a bloomers.
00:54:29Oh, good morning.
00:54:31Your friends, they arrived.
00:54:34Now we are the family.
00:54:38Come.
00:54:39We have the drink to celebrate.
00:54:42Christmas comes but once in year.
00:54:44But when it does, we might as well get into practice.
00:54:47Happy days.
00:54:48Welcome back.
00:54:51I love you all.
00:54:54It's the food here, wasn't it?
00:54:56A lot of it is.
00:54:57Hey, gingerbread soup and mince, Jack.
00:55:02Georgie's cooked her up when he was working at the steelworks in St. Petersburg.
00:55:07I think the corpse of a yonder's a mum.
00:55:11Stick a pin in her, George.
00:55:12See if she says something.
00:55:15Hey, say how do, dear Dobby.
00:55:18Nothing.
00:55:19You like the drink, Mr. Herndon Castle?
00:55:22Very good.
00:55:23I'll have a drop more, Georgie.
00:55:24You're married, Mr. Herndon Castle.
00:55:26Not yet, eh, Richard?
00:55:27He's trying, though.
00:55:28No.
00:55:29His mother and father forbid it.
00:55:32My mother and father are dead.
00:55:35Bob Thornton?
00:55:37They both died this year.
00:55:38Oh, your mother and father both died this year.
00:55:42Bed now with my chicks a-cut.
00:55:44Oh, you're a-cut.
00:55:46Tragedia.
00:55:48Tragedia.
00:55:49Tragedia.
00:55:49Tragedia.
00:55:49You don't have to eat at all if you don't want to.
00:55:55I'll come down when I'm ready.
00:55:59Sounds drunk.
00:56:00He is.
00:56:01And you'll get drunker.
00:56:03Leave your door ajar tonight.
00:56:04Why?
00:56:05Don't pretend to be stupid, Richard.
00:56:07I have the pillow for you, Mr. Herndon Castle.
00:56:10You will sleep like the baby on this.
00:56:12Um, I think it's a bit, uh, dangerous for all these people around.
00:56:18I like it when it's dangerous.
00:56:20Don't you want me to come to your room?
00:56:22Mr. Herndon Castle, come to look.
00:56:24Did you hear the one about the actresses who have this plan?
00:56:38They can't speak English, can they, George?
00:56:41You know, I'm not sure, Tom.
00:56:43I've never heard him speak English.
00:56:45But I've seen him smile when I've said something funny.
00:56:47It's the way you tell them, George.
00:56:48It's the way you tell them.
00:56:49It could be.
00:56:52What's this, Bavara?
00:56:53Still pulled a bit, shut the milk him up.
00:56:55It's the rice pudding.
00:56:57Rice pudding?
00:56:58Oh, you don't have rice pudding in rice grocery, do you?
00:57:01You teach me the rice pudding.
00:57:03I make it to win the heart.
00:57:05I'm very clever.
00:57:07It's the best rice pudding in the world, Tommy.
00:57:09You see?
00:57:09He's still loved it.
00:57:10Oh, yeah.
00:57:14What's the way to your heart, Richard?
00:57:19I don't know.
00:57:21Lads of his age haven't got a heart.
00:57:23They're just lecherous.
00:57:25All right, Nick?
00:57:27You're remembering your own young days, Tommy.
00:57:30I don't have to remember anything.
00:57:33I bring what I want with me.
00:57:34A hot, guilty blush spread from the top of my head until it seemed to me I must be glowing.
00:57:45I don't think I was obsessed with sex any more than the next lad.
00:57:48It was just so tantalizing.
00:57:51Tormenting almost, being under the same roof as a fascinating, bewitching creature like Julie.
00:57:55Tommy's had a boozy lunch.
00:58:01He's going to sleep it off.
00:58:02Meet me at the corner.
00:58:03What?
00:58:03Ten minutes.
00:58:04I'll say I'm going shopping.
00:58:05I'm going shopping.
00:58:05I had the bright idea of going to the picture palace.
00:58:19I felt safer in the soft darkness.
00:58:23Safer and passionate.
00:58:25Safer, what do you know about me?
00:58:49I was living with a man who suddenly went off and married somebody else.
00:59:19He liked drinking, so I drank with him.
00:59:24When he wasn't there, I drank for both of us.
00:59:28Then I did the fatal thing.
00:59:30Instead of just drinking after the show, I drank before it and during it as well.
00:59:35They rang the curtain down on me.
00:59:37That was it.
00:59:38I was out.
00:59:41Tommy Beamish was the only person who'd touch me after that.
00:59:45He'd had a similar experience and was willing to give me a chance.
00:59:49Well, he offered me a decent salary.
00:59:53And you, uh, share his bedroom.
01:00:00On the stage is where I earned that money, Richard, dear.
01:00:02I'm not at all.
01:00:05Tommy rescued me.
01:00:06I was very grateful.
01:00:07Are you jealous?
01:00:16Yes.
01:00:19Aren't you taking something for granted?
01:00:22I don't think so.
01:00:22So, what's Tommy really like?
01:00:32I know he's wonderful on stage, of course, but, uh...
01:00:35Off stage, I think I dislike him as much as he seems to dislike me.
01:00:39Young, strong and good-looking.
01:00:40He's jealous.
01:00:41Riccala thinks he's mad.
01:00:45He's mostly...
01:00:47A clever, naughty little boy.
01:00:52Not going to be very kind and generous.
01:00:55Let's say four days out of five.
01:00:58And what happens on the fifth?
01:00:59What do you think?
01:01:09This is my only chance to get back where I belong, Richard.
01:01:12I can't walk out in him.
01:01:16But it would be all very different if...
01:01:20If what?
01:01:25Someone else was really making love to me.
01:01:27You know, Richard, it would be so much better
01:01:37if you didn't keep sharing digs with your uncle and his idiot girl.
01:01:40Why didn't you insist on taking your own?
01:01:43Because they know about digs and I don't.
01:01:47Next week, Christmas week, we're in Nottingham.
01:01:51I know some people there you could stay with.
01:01:54Will you let me arrange it?
01:01:57Yes, please.
01:02:18Good afternoon, Valvara.
01:02:19Good afternoon, Junie.
01:02:22I'm Mr. Hernecastle.
01:02:24Mr. Hernecastle, I'd like to speak to you.
01:02:29This is where we talk.
01:02:33My house.
01:02:36Richard, I call you.
01:02:39Because to you,
01:02:41I am as the mother.
01:02:43You are a nice boy.
01:02:48Good boy, I think.
01:02:49So, I speak to you as the mother.
01:02:54Oh.
01:02:56Your drink is good for you.
01:03:00All of us, we see very plain.
01:03:03My muska, my husband, even Valvara.
01:03:06What do you see, Mrs. Wall?
01:03:08Richard, I speak to you as the mother about love.
01:03:13Love?
01:03:14All there is between you and this Miss Blaine's
01:03:17is hunger for the sex.
01:03:20Animal feeling.
01:03:21I don't really see what it is.
01:03:22You are foolish to deny.
01:03:23We have seen, we have spoken of it, we know.
01:03:27It's because you are young, strong man.
01:03:31You want girl, you have no girl.
01:03:33It's not the same with this Miss Blaine's.
01:03:36She is mature woman.
01:03:38Very strong in sex.
01:03:41Anyone can see she has terrible hunger.
01:03:44You've been in bed with this woman.
01:03:46No, I haven't.
01:03:48Mind all in business, eh?
01:03:51No, you mean well, Mrs. Wall.
01:03:53Richard.
01:03:54This is not nice, young girl, dreaming.
01:04:00This is woman, strong in passion.
01:04:03It can be madness for young man like you.
01:04:07Like terrible disease.
01:04:09No heart, no soul.
01:04:11Richard, please finish with this Miss Blaine's now.
01:04:15Please.
01:04:16If you do not, you will be broken in pieces.
01:04:20I'm warning you, Richard, as mother,
01:04:24you will be broken in pieces.
01:04:27In pieces.
01:04:28Jennifer, when you do not talk to me,
01:04:30is the only one of my brothers,
01:04:31and I will accept your heart.
01:04:32Let me do it.
01:04:34Do not talk to you, Alilair.
01:04:35Let I do not talk to you, Yenis.
01:04:37Do not talk to us.
01:04:42cannZeal.
01:04:47Do not talk to you again.
01:04:48Listen.
01:04:49Get your head up.
01:04:49Come on.
01:04:50We don't give to others.
01:04:56I will.
01:04:56I will.
01:04:57ORGAN PLAYS
01:05:27ORGAN PLAYS
01:05:57ORGAN PLAYS
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