Lost Empires (1986) Colin Firth & Laurence Olivier in TV Miniseries Drama by J.B. Priestley E05

Beth Freed

#belle  #janeeyre  #carrington Richard gets mixed up with a volatile young singer and her entourage. At first, the woman simply requests that Richard sketch her portrait. But soon, he unwittingly enters a new, darker side of theatre life. Starring: Colin Firth, Laurence Olivier, Pamela Stephenson, John Castle.

Transcript

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01:27The audience intrudes, and they're just abandoned faces,

01:32pale balloons waiting for a breeze.

01:36I wasn't unhappy.

01:38I enjoyed playing the solitary, rather aloof artiste and artiste.

01:42The latter was a role I'd often rehearsed in my mind

01:44back in the mill office in Bruttersford.

01:46It certainly kept me out of trouble, which was the main thing.

01:49And if I wanted company, there was always someone to have a gossip with,

01:52like Sissy Mapes.

01:53And Uncle Nick could certainly be relied on to provide a dramatic diversion.

02:09What a bloody din!

02:12Who called it a bloody din?

02:14I did. I'll say it again if you like.

02:17What a bloody din!

02:19That's because you're out of date on these new numbers, pup.

02:23Don't call me Pop.

02:24And I heard your new numbers 12 years ago when touring America.

02:29They were a bloody din then, too.

02:31I wouldn't care to quarrel with you, Mr. Ollenton.

02:42Miss Sissy Mapes, I am Otto Mergen.

02:45Mr. Herncastle, pleasure.

02:47Mr. Ollenton's nephew who wants to be a painter, am I not right?

02:51Well, Miss Mapes, what do you think of Liverpool?

02:53She doesn't. Neither do I.

02:57She'll be good for business, huh?

02:58Oh, I think so. I think so, yes.

03:00As you said, what a bloody din.

03:03I do not much care for these performers, you know.

03:08Ah.

03:11May I introduce Miss Lily Ferris, Mr. Ollenton,

03:14his nephew, Mr. Herncastle, Miss Sissy Mapes.

03:17Alfred, aren't you going to invite them to lunch?

03:28Oh, yes. Yes, of course, Lily.

03:30It would give me great pleasure if you would all lunch with me

03:33at the Adelphi Hotel at, um, one o'clock.

03:36That's where Otto and I are staying.

03:40Excuse me.

03:43Don't forget, one o'clock.

03:44Tell me, Mr. Mergan, who is Alfred Dunsall?

04:03He's the son of a very rich cotton manufacturer,

04:05but Alfred does not pay much attention to business.

04:08For months, he's been completely infatuated with Lily.

04:11She seems to be bossing him.

04:12She never stops bossing him.

04:15As far as she is concerned, Alfred is there to be bossed.

04:20I think I must tell you about Lily.

04:23She's the third of eight children of a poor family in West Ham.

04:27It was a very good home to get away from and to stay away from.

04:30That is why Lily sings so much about love and is attracted to men,

04:36though, hasn't the least desire for marriage, domesticity, or family life.

04:42Alfred would marry her at once, but she laughs at him.

04:45Of course, he is most easy to laugh at.

04:48He is at the opposite extreme to your uncle, Mr. Ollenton.

04:51He's clever and clearly a formidable man.

04:54Yes, she's got plenty of character.

04:57Yes.

05:12Welcome, Miss Farris.

05:14Are you quite well?

05:15Yes, thank you.

05:16Good.

05:16Will you please follow me?

05:47Well, I hear you're a naughty bad boy.

05:51Who told you that, sissy?

05:53No, Richard, I didn't.

05:55Richard.

05:56May I call you Richard?

05:58You can call me Lily.

06:01All right.

06:02Lily.

06:04Tell me, Richard, do you paint portraits?

06:08Only landscapes.

06:10Not people at all?

06:12I've tried a few sketches of faces, but I'm not any good at it.

06:17I could just be modest.

06:20He did a lovely one of Julie Blaine.

06:22There you are, you see.

06:23You could do me too.

06:24Alfred will buy it, won't you, Alfred?

06:26Well, I might.

06:28And again, I might not.

06:30And I might draw it in there again.

06:31I might not.

06:31Please try.

06:33Please try.

06:36Don't take any notice of him.

06:38I don't care about anyone buying the sketch.

06:39It's just that it's not my kind of work.

06:43But if you really want me to try, then I will.

06:46It's afternoon.

06:48Hey, well, we're steady the boss.

06:50Don't forget we said that we'll be...

06:51Shut up, Alfred.

06:51It wasn't a definite arrangement.

06:55It's afternoon.

06:57Sorry, we're rehearsing.

06:58Oh, God, I bet you're not.

07:00And I bet he is.

07:01I don't know about you, Miss Ferris,

07:03but in my line of business, we have to keep working at it.

07:07I hear you have a wonderful act, Mr. Olington.

07:11I shall sneak into the back of a box and watch.

07:13Do you have a long face, lad?

07:31Do you think you should be drawing Lily

07:33instead of riding a bike this afternoon?

07:35It was their idea, not mine.

07:36I ought to have said anything about you and Julie Blaine.

07:39Put ideas into a rig.

07:40Not ideas.

07:42Only one.

07:43I'll tell you one thing.

07:45I don't like that lot.

07:47Her and Mr. Mergan and that silly Alfred.

07:50They give me a funny feeling.

07:52Hand me a simple daisy

07:56The meaning I shall get

08:00Then I will kiss your two lips

08:06As soon as you answer

08:12Somewhere the sun is shining

08:28Somewhere a little rain

08:34Somewhere a heart is pining

08:39For love but all in vain

08:46Somewhere a soul is drifting

08:51For love but all in vain

08:58Somewhere my love lies dreaming

09:04Somewhere a broken

09:17Somewhere a broken

09:17Come on in vain

09:18I think he knows I'm longing

09:32Come on my babies

09:37Let's go and see them

09:38He knows that he could eat my thinking

09:41Lonnie I brought these

09:42Because they're pretty like you

09:43I brought them to show you

09:45They're lovely and lonely

09:46They're beautiful

09:47Oh my darling

09:49They're for you

09:49They're for you, Lonnie

09:51I brought them to you

09:51I do

09:53I do

09:53Misery

09:55I do

09:56I do

09:58I do

09:59I do

10:00I do

10:01I do

10:02Somewhere a little rain

10:08Somewhere a heart is pining

10:14For love but all in vain

10:32There was a disturbing irony about this pair

10:38A perfect English rose

10:41And a soft and oily Otto Mergen

11:02And a soft and oily Otto Mergen

11:32And a soft and oily Otto Mergen

12:02And a soft and oily Otto Mergen

12:32And a soft and oily Otto Mergen

12:33What's this?

12:34What's going on?

12:35Don't you knock?

12:37Lily's doing the dance of the seven veils

12:39And I'm cleaning a bicycle

12:41Yeah

12:42Don't be silly Alfred and go away

12:44Well I'm not being silly

12:45It's him

12:46I can look can't I?

12:51Well I don't think that's really like her

12:54Neither do I

12:57So do I

12:58Look what you've done you bloody twat

13:02Get out and stay out

13:03Well half a gif Lily

13:04I didn't mean any harm

13:05And who is he anyhow

13:07Just some cheeky young blighter

13:08I'm telling you get out

13:09All right

13:10All right

13:11All right

13:12I can tell when I'm not wanted

13:15Musty temper you've got haven't you?

13:16No I haven't

13:17Tell you the truth it was going wrong anyway

13:18Can you try again?

13:19Don't go Richard

13:20Don't go Richard

13:21Have some tea

13:22Don't go Richard

13:23Don't go Richard

13:24Have some tea

13:50Are you?

13:51What?

13:52Alfred said

13:53Cheeky young blighter

13:54No

13:55I wish it'd be

14:00Good

14:02What?

14:03Alfred said

14:04Cheeky young blighter

14:05Oh

14:08No

14:10I wish you'd tell me something.

14:28I wish you'd tell me exactly.

14:32And I mean exactly.

14:37What you did with that actress.

14:40What's her name? Julie Blaine.

14:45Tell me everything you did with her. Go on.

14:51Oh. I can't remember.

14:56It was private.

15:01Spoke too soon, didn't I?

15:05Maybe later on.

15:08When we're really friends.

15:11I suppose you think I've got lots of friends, but I don't.

15:15Do you?

15:16No.

15:19You seem to have struck a poor company this time.

15:21Nothing new to me, my dear.

15:25I'm very particular indeed.

15:29I mean, I act very friendly.

15:32I don't put on too many airs, seeing as I'm the star-turn and everything.

15:35But as for being really friendly with most of the people on any bell, well, will you ask Otto Mergen?

15:45He'll tell you how very particular I am.

15:49I don't sleep with him.

15:50I don't sleep with him.

16:04I didn't think you did.

16:06A lot of people do.

16:08They don't say it, but it's written all over their faces.

16:11I'll tell you one thing about Otto Mergen.

16:15Whatever you do, stay on the right side of him.

16:21What'll happen if I don't?

16:23I don't know how it works, but things, some very nasty things tend to happen, so it's the God's truth, Richard, so don't say or do anything he might take offence at.

16:37But try and make a friend of him, if you can.

16:46I think Otto likes you.

16:52I know I do.

17:02Next time we won't have Alfred Battingham.

17:06Well, look the door.

17:12No.

17:14Turn both.

17:16I don't think I'll do it.

17:36You bloody little skin.

17:38Get out.

17:40No!

17:42No!

17:46More rain on the way I fear, Mr. Hearncastle.

18:16As it transpired, I couldn't quite forget Lily Farris.

18:40Still, that's one of life's many ironies.

18:47The record usually shows more things we never wanted to do than those we actually did.

18:59I'm not going to mince words, Richard, old fellow.

19:01I love Lily Farris, and I don't care who knows it.

19:07I've loved Lily Farris since I first saw her at the Tivoli, Manchester.

19:13And she sang a pure white rose.

19:17A great star, as we all know.

19:20But that's only the beginning.

19:21Only the beginning.

19:23Now, you don't really know Lily, do you?

19:26No.

19:26Well, I do, old chap.

19:28We're the greatest of friends.

19:31And I'll tell you, she's not just a pure, simple girl, as everyone knows.

19:36But Richard, old man, while she has to put on a bit of an act as a star turner,

19:43I mean, offstage, behind it all, she's shy.

19:48Believe it or not, she's desperately shy.

19:51Shy.

19:52Come on, come on here, come on here, Alexander's Ragtime Band.

19:58Come on here, come on here.

20:01Come.

20:03Oh, Richard, how very kind of you.

20:06Go sit down.

20:08Now, what would you like to drink?

20:11Gin, whiskey, I have some excellent lager.

20:13Lager, please.

20:14Good, good, we should both have lager.

20:15I, uh, understand you've been receiving a visit from our poor friend Alfred.

20:22Was it, uh, was it embarrassing?

20:26Not really.

20:28He only said what you'd already told me.

20:31Lily sent him to apologize.

20:33Yes, yes, I know about that, yes.

20:36It wasn't just to pull the, uh, strength of a hold on him, although I must say she does enjoy that,

20:44but you, uh, you seem to have made quite an impression upon her.

20:48She did on me, too.

20:51Lily's, um, Lily's unusual personality, which is difficult to detach from her stage character,

20:58repels some people.

21:01Others find it, uh, quite fascinating.

21:05What about you, Richard?

21:07She's certainly interesting.

21:10She has not said so, but I think she feels rather hurt that you've not suggested another afternoon for the sketch portrait.

21:19Now, look, Mr. Mergen, it was only yesterday afternoon that I had my first try.

21:23Today I did some sketching down near Speak, and tomorrow...

21:25Lily is, uh, ranging a little.

21:28...supper party tomorrow.

21:30She often does on a Saturday night.

21:32If you'd, uh, you'd care to come, too, she will invite your uncle and Miss, um...

21:37Mapes.

21:38Sissy Mapes.

21:40Well, that's very kind of her, and if Uncle Nick and Sissy accept her, I'll come.

21:45Otherwise, no, Mr. Mergen.

21:53Richard.

21:53I've been asking myself if you are merely naive or what some people call a cool young card.

22:05Yesterday afternoon, I was called an artful young sod.

22:09After I'd done nothing and said nothing, only taken what was being handed out to me.

22:12You better tell yourself I'm merely naive.

22:20Thank you for the lager, Mr. Mergen.

22:22The one we're getting is the Napier.

22:30Oh, Nick.

22:31What's wrong with it?

22:32It's a fine vehicle.

22:34I don't know why you want a new car at all.

22:36Because it's better and faster and does over 12 miles to the gallon.

22:41We're taking in for a test run tomorrow, Richard, towards the lakes.

22:44Care to come?

22:45We'd start early, 7 o'clock.

22:46Oh, yes, do, Dick.

22:48Hey, we could take a picnic.

22:50That'd be lovely.

22:51I'll bring my pains.

22:53What about Lily's party?

22:56I don't want to go to that silly woman's party.

22:59Oh, Nick.

23:00Oh, you go, girl.

23:02Richard here will take you.

23:04Will you, Richard?

23:05If you want.

23:06Have a glass of this, Richard, old man.

23:17Grow a few hairs on your chest, I dare say.

23:22Good evening, Richard.

23:24Alfred has already attended you, I see.

23:26He's quite a talent for that, have you not, Alfred?

23:29You make an excellent waiter.

23:33He's very sensitive.

23:35We are disappointed your uncle could not attend.

23:38He's a most delightful man with strongly held opinions.

23:42He knows who he likes and who he doesn't like, yeah?

23:44Perhaps it is better he is not here.

23:46Then we are free to enjoy ourselves in our own special and particular way.

23:51And what can you mean by that, I wonder?

23:53Richard, you're a highly intelligent young man.

23:55You are truly aware that not everyone in the world is built in the same way.

23:59You do not always wish to be painters, for instance.

24:03As part of good and civilised behaviour will tolerate the differences between one person and another,

24:08provided I don't know harm is done.

24:10I'm sure you will agree.

24:11I'll think about it, Mr. Mergen, and let you know.

24:17Richard!

24:18Here's someone who's dying to meet you.

24:20Phyllis Robinson, my very good friend, Richard Hermcastle.

24:22He's on the same ball as I see.

24:24Oh, I know, I know.

24:24Why don't you two dance together?

24:26Have you seen the act?

24:31Oh, yes.

24:32Ten or twelve times, I should think.

24:34Ten or twelve?

24:35It's Lily, you see.

24:36I follow her act everywhere.

24:39I expect you to think I'm exaggerating, but I'm not, truly.

24:43If I could be like Lily, I would.

24:46She's got such a wonderful way to treat the audience.

24:49She's got such a wonderful way to treat the audience.

25:19You're Richard Hermcastle, I know.

25:39Can I sit down?

25:40I'm Lady Chernock.

25:41I'm a friend of Otto and Lily's.

25:43They often come and stay with me.

25:45I have a damn big house, and I'd like you to come too one weekend.

25:49Bring Phyllis here.

25:50Well, I hardly know her.

25:51Oh, you won't regret it.

25:54You'll enjoy yourself, I can promise you that.

25:56How long have you known Otto and Lily?

25:58About three years, I suppose.

26:01They're special friends, though.

26:03Not many secrets between us.

26:06If you take my advice, you'll get to know them really well.

26:10Life's for enjoyment, isn't it?

26:14Excuse me.

26:17Hey, do you mind?

26:20Don't leave me on my own, Richard.

26:22You all right?

26:24He's that man.

26:27He's horrible.

26:30Everybody's funny here, if you ask me.

26:31Shall we go?

26:42He's a nice boy, isn't he?

26:45I hope not.

26:53What was going on?

26:55I couldn't make it happen.

26:57Such a funny connection, it'd be.

27:00Yeah.

27:01And it, Phyllis something.

27:03She spent the entire time following Lily about with great sheep's eyes.

27:07Just like Alfred.

27:08Stupid.

27:09That's where they get invited.

27:11I wouldn't have gone at all, but I thought you might cheer me up.

27:16And did it?

27:18No.

27:19Nothing will at the moment.

27:20Don't you get mixed up with that Lily Ferris and Murg and Dick, will you?

27:26Promise me.

27:27I promise.

27:31Nick's been getting grumpier and grumpier ever since we came to Liverpool.

27:35It's not the audience and their business.

27:37They're all right.

27:39It's a two-dwarf trick.

27:40You can't make it out.

27:41And that's another thing.

27:42It's bad enough having one dwarf, but two.

27:44Do you think he's found another woman here, Adam?

27:57I shouldn't think so, is he?

28:00He doesn't want me at all now.

28:02Except for the act.

28:04Oh, he's still liable to say, come on, girl, we're away, but it's nothing.

28:11He could do that with anyone.

28:14What's become of that nice little Nancy Ellis?

28:20I don't know.

28:21She doesn't reply to my letters.

28:22Oh, she will, Dick.

28:24You'll see.

28:26Don't give up hope.

28:28She's a nice kid and well out of this law.

28:33And you're lucky, aren't you?

28:37When were you last really happy, Sissy?

28:41Day I met Nick.

28:44He was marvelous, didn't he?

29:08Oh, God.

29:08This is now.

29:09No.

29:09No, no.

29:09No.

29:10No.

29:11No.

29:12No.

29:13No.

29:14I thought you'd have gone to bed.

29:26We've had a lovely evening, don't we, Richard?

29:28He's very nice.

29:29Yeah.

29:30He don't know what you miss, does he?

29:32No.

29:33Sit there.

29:35You're lucky you don't have to make a living as an actress.

29:37You'd starve.

29:39What do you mean?

29:40Do you think I've been living in a nursery all my life?

29:42I know the kind of parties Lily and Mervyn give.

29:45Fancy ones, not to put it crudely, am I right?

29:48There were a lot of very strange people there.

29:50Then you're no better.

29:52You've not much time for Lily, quite rightly.

29:53She's an evil bitch, but that didn't stop you going to her party, did it?

29:56You couldn't get there fast enough

29:58to gape and pry like a pig with its snout in the dirt.

30:01Oh, I'm not seated this.

30:03I'm not going to...

30:04No, because you know I'm right.

30:10That won't change the world!

30:12Trying to shut it out!

30:14It's there!

30:15And it's like a running saw!

30:29Why do you do that to her, Uncle?

30:32Because she won't face facts.

30:34She wants to believe the world's one big magic garden.

30:37Well, it isn't.

30:39It's a slum.

30:40She doesn't believe it's a garden.

30:42It's as if you need somebody to shout at!

30:44The next day, we motored to the Lake District.

30:59The weather was warm.

31:01The blue and gold springtime of the old poets.

31:03I've never seen Sissi happier.

31:11She had that deeply feminine delight in a picnic in fine weather.

31:15And an even deeper joy which women feel when they're with their men,

31:18and those men are happy.

31:19For once, I didn't have to feel sorry for her.

31:26Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha

32:26The weather soon broke again, and the frustrated painter in me let Lily persuade me to do another portrait.

32:45I wanted to capture the changeling, half-repellent quality of her personality.

32:50Don't know what you like on the outside, too.

32:51I know what it feels like on the inside.

33:00And there I'm a bleeding mess.

33:01Don't like my act, do you?

33:11There's no reason why you should, don't be embarrassed.

33:13It's just that there's a part of me that still believes in nightingale and the star and fields of golden hay and pure white rose.

33:30I don't know where they are, but I know where they're not.

33:35I don't know where they are.

34:05It's a part of me that believes that somewhere it's different.

34:17That's a bit I sing with.

34:18I know that most of the people I'm singing to are in as big a bloody mess as I'm in, but that's not you.

34:27Or that cool, clever, cool uncle you've got.

34:31And I'll give you a tip while you're in the mood.

34:37Don't get mixed up with me, Richard.

34:39Or Mergan, especially Mergan, believe me, I know what I'm talking about.

34:41Why don't you push off now?

34:47Before I start something I can't finish and then get angry with myself and then...

34:51Go on.

34:53My, uh...

35:08Thank you for...

35:13time and everything.

35:24Go on.

35:29So...

35:41So nice.

35:44Thank you for...

36:04Thank you for...

36:24I've warned you a dozen times!

36:37You can't deny it, I've smote it on your breath!

36:40I'm sorry, I'm sorry...

36:41I'm sorry...

36:42I'm sorry, I'm sorry.

36:43I'm謝ing...

36:45I'll do it.

36:46I'm sorry.

36:47You're doing my act on this tour, boy.

37:01If you want one of your own, go and build it and then try to get the bookings yourself.

37:06I was wrong then, was I?

37:09What do you think?

37:10Well, it seems to me I saved the illusion, perhaps the whole act.

37:14But if I was wrong, then the next time we have an accident, I'd just do nothing and just wait for you to save the days.

37:18That's it.

37:18That's exactly it.

37:20Even if I seem to be making a pig's breakfast of it, you've got to leave it to me.

37:24It's my responsibility.

37:26If you and the others start improvising on what we've rehearsed, inventing new bits of business and God knows what,

37:30in a few weeks' time, we won't have any act at all.

37:34Just this once, I wasn't bright and you were, and what you did came off.

37:38But don't ever do it again.

37:40This is my act, whether it goes right or wrong.

38:02Ah!

38:03Ah!

38:04Ah!

38:05Ah!

38:06Ah!

38:07Ah!

38:08Ah!

38:38Ah!

38:38Hi, Joe.

39:01Oh, Mr Arncastle.

39:03Hello, South Africa.

39:06Dear Richard,

39:10I'm sure you understand now why I didn't want to see you after that horrible night.

39:15Though I was genuinely fond of you,

39:17there wasn't enough that was real between us to withstand the embarrassment and humiliation.

39:22But the real reason I'm writing is to explain what happened at Plymouth

39:26and why Nancy didn't want to speak to you.

39:29It was all my fault, Richard, dear.

39:31I behaved in the bitchiest fashion.

39:33I saw her when I went backstage after the pantomime matinee,

39:37and she told me she had to change in a hurry because she was meeting you for tea.

39:40And then, I suppose out of jealousy or envy, I told her about us.

39:46She was upset, naturally, but if she cares anything about you, she'll come round.

39:51If I know anything about girls, she's secretly devoted to you.

39:54There now.

39:56You're still affectionate, Julie.

39:59Dear Nancy,

40:02I've heard from Julie in South Africa explaining why things went so wrong between us in Plymouth.

40:07Are you receiving my letters sent from Drew Bozenby?

40:12Please let me know if you get this.

40:14Even a postcard will do.

40:19Hello, Sam.

40:20I came to tell you that the get-in's tomorrow morning, not tonight.

40:24They don't work Sunday nights in Warrington.

40:26Why not? Everywhere else they do.

40:28Warrington's not everywhere else.

40:30Not a stage hand under 90 years old.

40:34Go on.

40:35The stage has got splinters,

40:37the orchestra sounds like 50 cats in agony,

40:40and the roof of the auditorium leaks.

40:42I thought I'd better just warn you.

40:44Does Nick know?

40:45I shouldn't think so.

40:46He's never played for, isn't he?

40:48Go away, Warrington.

41:07Sam was right.

41:09Everything that could go wrong went wrong from the moment we arrived in Warrington.

41:13Everybody soon started feeling very edgy.

41:16Now, that's nice, fast.

41:18Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da!

41:23Thank you so very much.

41:25I thought Lily and I had years ago seen the last of such places as this.

41:28Large brandy and soda, if you please.

41:31The Imperial Hotel is equally as bad, you know.

41:34Yeah, we're at the Victoria.

41:35Yeah.

41:36The rooms smell like old magazines and the Natty.

41:40You know, I don't like getting drunk, but I think I might smell it.

41:42I can offer you something better, Richard.

41:44In fact, Lily gave me a message for you.

41:46A pretty and charming young admirer, Miss Robinson, whom you remember, is attending to a nice performance.

41:51So, Lily, who can be any kind, has asked her to spend the night with us at the Imperial.

41:56And you, Richard, have been especially invited to join us for supper.

41:59Now, there would only be the four of us, and I think you will find that pretty little Phyllis would not be as coy as she was in Liverpool.

42:06Good food, pretty girl.

42:10I think I'll let you know how I feel after the second house.

42:13I think I might feel fit for nothing except crawling into bed.

42:16Oh, you say that because you've already had a long morning.

42:19Tonight, you'll be longing for nourishment and excitement.

42:23I'm an old performer, Richard, believe me. I know.

42:26Good idea, eh?

42:28Can I let you know how I feel after the second house?

42:31Most certainly, provided we all survived the experience, eh?

43:05I don't give a damn. If there wasn't another date available, we should have had this week out rather than have played a miserable hole like this.

43:24Now, damn lucky I'm not cancelling my contract with you here and now, George Bolsonby.

43:28And I'll do just that, by God, unless there's some major changes by first house tomorrow.

43:33Richard?

43:38Phyllis?

43:43Good evening, Richard.

43:58I'm delighted you've come. We are in for a most jolly evening, I feel sure.

44:07Oh, yes. Most jolly.

44:11Richard painted her in the nude, didn't you, Richard?

44:18I painted her dressed in white, lying on a gravestone in a churchyard, honest.

44:22What an odd thing to do.

44:24Well, that's what she wanted. She was a bit of a show-off. She had flaming red hair.

44:28Sat up in the tree to do it. You never guess what happened.

44:30She became an angel before your very eyes, Richard. Took you by the hand up to heaven. Am I not right?

44:37I'm an angel, aren't you, Lily?

44:39Yes, my dear. Pure and white as an angel. Go on, Richard. What happened?

44:45Well, what did you say?

44:49I'm a galop.

44:55minor

45:01Asian

45:10And

45:25Oh, no. What was happened to you?

45:36Look at her. She's drunk as a mop.

45:39Might be wise, Lily, to get her into the bedroom.

45:42Come along, my dear. Come along.

45:45Richard, no, no.

45:47Come on, my dear. There you are.

45:49Come on, sir. Come on, my dear.

45:51I'll serve you.

45:51No, no, no. No dancing. No dancing.

45:55Come along now. Come on.

45:57Try it to me. Come on, my dear.

45:59Richard, here in Castle. I'll serve you.

46:01There you are.

46:04Oh, oh, oh, oh.

46:06Come on, my dear.

46:07On the bed, my dear.

46:09There you are, my dear.

46:14Richard?

46:21Oh, oh, oh, oh, oh.

46:51Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh

47:21Take her, my boy. She's yours.

47:49Enjoy her. Your enjoyment will be our enjoyment.

47:58You're not all have the same taste as you or my boy.

48:01What are you expecting to enjoy?

48:03There's nothing else.

48:12Come, Richard, are you waiting?

48:14Enjoy her, my boy.

48:17I don't know what you're looking for.

48:24I'm trying to try watching you.

48:28I'm trying to try watching you.

48:30I'm trying to try watching you.

48:31I'm trying to try watching you.

48:32No! Get out of here!

48:34You fucking bitch!

48:35I'm sorry, I'm sorry, I'm sorry.

48:36I'm sorry, I'm sorry.

48:38Come on, outside or I'm not the hell out of here.

48:40What are you going to do?

48:42I'm trying to try watching you.

48:43Don't let me know.

48:44Don't let me know.

48:45Don't let me know you kids.

48:47Don't let me know me!

48:49Don't let me know me.

48:51I'll come and thrash the daylights out, you woman!

49:17Stop that!

49:21There's not so much anger that I felt.

49:51Not even disgust.

49:53I thought that was there.

49:57It was far deeper.

49:59There was a warning note echoing in my mind.

50:03The sound of an age, perverted and deformed.

50:07The sound of that particular year.

50:111914.

50:13The sound of a woman's voice.

50:15The sound of a woman's voice.

50:19The sound of a woman's voice.

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