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00:20Piano music
00:52ORGAN PLAYS
01:00I don't think it was a deliberate decision.
01:03But after the messy affair with Julie Blaine
01:05and Nancy's baffling behaviour,
01:08I stuck rigidly to a routine of work
01:10and the odd trip into the available countryside to do some painting.
01:14Compared with the recent past, my life was almost monastic.
01:18The theatre can actually be a kind of womb.
01:21You walk through the stage door and you leave the world behind you.
01:25The audience intrudes.
01:28And they're just abandoned faces.
01:31Pale balloons waiting for a breeze.
01:35Wasn't unhappy.
01:37I enjoyed playing the solitary, rather aloof artiste and artiste.
01:41The latter was a role I'd often rehearsed in my mind
01:43back in the mill office in Bruttersford.
01:45It certainly kept me out of trouble, which was the main thing.
01:48And if I wanted company,
01:49there was always someone to have a gossip with, like Sissy Mapes.
01:53And Uncle Nick could certainly be relied on to provide a dramatic diversion.
02:07What a bloody din!
02:10Who called it a bloody din?
02:13I did.
02:14I'll say it again if you like.
02:16What a bloody din!
02:17That's because you're out of date on these new numbers, pop!
02:21Don't call me pop!
02:23And I heard your new numbers 12 years ago, when touring America.
02:27They were a bloody din then, too!
02:37I wouldn't care to quarrel with you, Mr. Ollenton.
02:40Miss Sissy Mapes, I am Otto Mergen.
02:44Mr. Hearncastle, pleasure.
02:46Mr. Ollenton's nephew, who wants to be a painter, am I not right?
02:49Well, Miss Mapes, what do you think of Liverpool, huh?
02:53She doesn't.
02:54Neither do I.
02:56Should be good for business, huh?
02:57Oh, I think so.
02:58I think so, yes.
02:59As you said, what a bloody din.
03:02I do not much care for these performers, you know.
03:06Ah.
03:10May I introduce Miss Lily Ferris, Mr. Ollenton,
03:13his nephew, Mr. Hearncastle, Miss Sissy Mapes.
03:24Alfred, aren't you going to invite them to lunch?
03:26Oh, yes.
03:27Yes, of course, Lily.
03:29It would give me great pleasure if you would all lunch with me at the Adelphi Hotel at, um, one
03:34o'clock.
03:35That's where Otto and I are staying.
03:39Excuse me.
03:42Don't forget, one o'clock.
03:59Tell me, Mr. Mergen, who is Alfred Dunsall?
04:01He's the son of a very rich cotton manufacturer, but Alfred does not pay much attention to business.
04:06For months, he's been completely infatuated with Lily.
04:10She seems to be bossing him.
04:18I think I must tell you about Lily.
04:21She's the third of eight children of a poor family in West Ham.
04:25It 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, though, hasn't the least desire for
04:37marriage, domesticity, or family life.
04:40Alfred would marry her at once, but she laughs at him.
04:43Of course, he is most easy to laugh at.
04:46He is at the opposite extreme to your uncle, Mr. Ollenton.
04:50He's clever and clearly a formidable man.
04:54Yes, he's got plenty of character.
04:57Yes.
05:11Welcome, Miss Phelps.
05:12Are you quite well?
05:13Yes, thank you.
05:14Good.
05:14Will you please follow me?
05:45Mr. Honecastle?
05:46I hear you're a naughty bad boy.
05:50Who told you that, sissy?
05:52No, Richard, I didn't.
05:54Richard!
05:55May I call you Richard?
05:57You can call me Lily.
05:59All right.
06:01Billy.
06:03Tell me, Richard.
06:05Do you paint portraits?
06:07Only landscapes.
06:08Not people at all?
06:10I've tried a few sketches of faces, but I'm not any good at it.
06:15I think I could have just been modest.
06:19He did a lovely one of Julie Blaine.
06:21There you are, you see.
06:22You could do me too.
06:22Alfred will buy it, won't you, Alfred?
06:25Well, I might.
06:26And again, I might not.
06:28And I might draw it in there again, I might not.
06:33Please try.
06:34Don't take any notice of him.
06:36I don't care about anyone buying the sketches, it's just that it's not my kind of work.
06:42And if you really want me to try, then I will.
06:45It's afternoon.
06:47Hey, well, we're steady the baths.
06:48Don't forget, we said that we'll...
06:50Shut up, Alfred.
06:50It was no definite arrangement.
06:54It's afternoon.
06:55Sorry, we're rehearsing.
06:57Oh, God, I bet you're not.
06:59And I bet he is.
07:00I don't know about you, Miss Ferris, but in my line of business, we have to keep working at it.
07:05I hear you have a wonderful act, Mr. Olington.
07:09Well, she'll sneak into the back of a box and watch.
07:28You've a long-faced lad.
07:30You think you should be drawing Lily instead of riding a bike this afternoon?
07:33It's their idea, not mine.
07:35I ought to have said anything about you and Julie Blaine.
07:37Put ideas into a red.
07:39Not ideas.
07:40Only one.
07:42I'll tell you one thing.
07:44I don't like that lot.
07:46Her and Mr. Mergan and that silly Alfred.
07:48They give me a funny feeling.
07:50Give me a simple daisy, the meaning I shall get.
07:59Then I will kiss your two lips.
08:06As soon as you answer.
08:22Somewhere, the sun is shining, somewhere, a little rain, somewhere, a heart is pining for love, a little rain, somewhere,
08:41a heart is pining for love.
08:41But all in vain.
08:46Somewhere, a soul is drifting.
08:52But all in vain.
08:58Somewhere, a soul is drifting.
09:02Somewhere, a young man where man says mama is pining for love.
09:06Somewhere, a walk, a walk, a walk, a walk, a walk.
09:34Come on, my babies. Let's go and see him now.
09:38Come on.
09:39Nonnie, I brought these because they're pretty like you.
09:42I brought them to show you.
09:44They're lovely, Nonnie. They're beautiful.
09:46They are.
09:47Oh, my darling.
09:47They're for you. They're for you, Nonnie.
09:50I brought them to you.
09:50Do not grieve, for we shall never part.
09:56Somewhere the sun is shining
10:02Somewhere a little rain
10:07Somewhere a heart is pining
10:13For love, but all in vain
10:34There was a disturbing irony about this pair. A perfect English rose and a soft and oily Otto Mergan.
10:42A broken
10:44A broken
10:48A broken
10:49A broken
10:49And a broken
10:57A broken
11:16A broken
12:31What's this?
12:33What's going on?
12:35Don't you knock?
12:36Lily's doing the dance of the seven veils and I'm cleaning a bicycle.
12:42Don't be silly, Alfred, and go away.
12:44Well, I'm not being silly. It's him.
12:47I can look, can't I?
12:51Well, I don't think that's very like her.
12:56Well, neither do I.
13:00Look what you've done, you bloody twat. Get out and stay out.
13:03Well, half a gif, Lily. I didn't mean any harm.
13:05And who is he, anyhow? Just some cheeky young blighter.
13:08I'm telling you, get out.
13:10All right?
13:11All right?
13:13I can tell when I'm not wanted.
13:26Must be a temper you've got, haven't you?
13:30No, I haven't.
13:33Tell you the truth, it was going wrong anyway.
13:34Can you try again?
13:38Don't go, Richard.
13:40Have some tea.
13:54Are you?
13:57What?
14:00Alfred said.
14:03Cheeky young blighter.
14:08No.
14:23I wish you'd tell me something.
14:26I wish you'd tell me exactly.
14:31And I mean exactly what you did with that actress.
14:39What's her name?
14:41Julie Blaine.
14:44Tell me everything you did with her. Go on.
14:50Oh.
14:52I can't remember.
14:54It was private.
15:00Spoke too soon, didn't I?
15:04Maybe later on.
15:06When we're really friends.
15:10I suppose you think I've got lots of friends, but I don't.
15:13Do you?
15:15No.
15:17You seem to have struck a poor company this time.
15:22Nothing new to me, my dear.
15:24I'm very particular indeed.
15:27I mean, I act very friendly, and I don't put on too many airs, seeing as I'm the star-turn
15:34and everything.
15:34But as for being really friendly with most of the people on any bell, well,
15:41well, you ask Otto Mergen.
15:44He'll tell you how very particular I am.
16:01I don't sleep with him.
16:04I didn't think you did.
16:06Not if people do.
16:08They don't say it, but it's written all over their faces.
16:12I'll tell you one thing about Otto Mergen.
16:16Whatever you do, stay on the right side of him.
16:21What'll happen if I don't?
16:24I don't know how it works, but things, some of them very nasty things tend to happen, so...
16:31It's God's truth, Richard, so don't say or do anything he might take offence at.
16:38Try and make a friend of him if you can.
16:45I think Otto likes you.
16:51I know I do.
17:01Next time we won't have Alfred butting in.
17:06Look at the door.
17:13Don't both.
17:33What the hell do you think I'm doing?
17:35You bloody little kid!
17:37Get out!
17:39Just now!
18:03More rain on the way I fear, Mr. Hearncastle.
18:29As it transpired, I couldn't quite forget Lily Farris.
18:36Still, that's one of life's many ironies.
18:39The record usually shows more things we never wanted to do than those we actually did.
18:51I'm not going to mince words, Richard, old fellow.
18:54I love Lily Farris, and I don't care who knows it.
18:59I've loved Lily Farris since I first saw her at the Tivoli, Manchester.
19:04And she sang a pure white rose.
19:08A great star, as we all know.
19:11But that's only the beginning.
19:13Only the beginning.
19:15Now, you don't really know Lily, do you?
19:18No.
19:18Well, I do, old chap.
19:20We're the greatest of friends.
19:22And I'll tell you, she's not just a pure, simple girl, as everyone knows.
19:28But, Richard, old man, while she has to put on a bit of an act as a star turner, I
19:35mean offstage, behind it all, she's shy.
19:39Believe it or not, she's desperately shy.
19:43Shy.
19:45Come on in here, come on in here, Alexander's Ragtime Band.
19:50Come on in here, come on in here.
19:53Come.
19:55Oh, Richard, how very kind of you.
20:00Now, what would you like to drink?
20:02Gin, whiskey, I have some excellent lager.
20:05Lager, please.
20:06Good, good, we shall both have lager.
20:09I, uh, understand you've been receiving a visit from our poor friend Alfred.
20:14Was it, uh, was it embarrassing?
20:18Not really.
20:20You only said what you'd already told me.
20:23Lily sent him to apologize.
20:25Yes, yes, I, I know about that, yes.
20:29It wasn't just to pull the, uh, strength of a hold on him, although I must say she does enjoy
20:35that.
20:36But you are, you seem to have made quite an impression upon her.
20:40She did on me too.
20:43Lily's, um, Lily's unusual personality, which is difficult to detach from her stage character, repels some people.
20:52Others find it, uh, quite fascinating.
20:57What about you, Richard?
20:59She's certainly interesting.
21:02She has not said so, but I think she feels rather hurt that you've not suggested another afternoon for the
21:09sketch portrait.
21:11Now, look, Mr. Mergan, it was only yesterday afternoon that I had my first try.
21:15Today I did some sketching down near Speak, and tomorrow...
21:17Lily is, uh, arranging a little supper party tomorrow.
21:22She often does on a Saturday night.
21:23If you'd, uh, you'd care to come too, she will invite your uncle and Miss, uh...
21:29Mapes.
21:31Well, that's very kind of her, and if Uncle Nick and Sissy accept her, then I'll come.
21:37Otherwise, no, Mr. Mergan, thank you.
21:45Richard.
21:46I've been asking myself if you are merely naive or what some people call a cool young card.
21:57Yesterday afternoon I was called an artful young sod.
22:00After I'd done nothing and said nothing, only taken what was being handed out to me.
22:07Better tell yourself I'm merely naive.
22:12Thank you for the lager, Mr. Mergan.
22:20The one we're getting is the Napier.
22:22Oh, Nick.
22:23What's wrong with it?
22:24It's a fine vehicle.
22:26I don't know why you want a new car, too.
22:28Because it's better and faster and does over 12 miles to the gallon.
22:33We're taking it for a test run tomorrow, Richard, towards the lake.
22:36Scare to come?
22:36We'd start early, seven o'clock.
22:38Oh, yes, do, Dick.
22:40Hey, we could take a picnic.
22:42That'd be lovely.
22:42I'll bring my pains.
22:45What about Lily's party?
22:48I don't want to go to that silly woman's party.
22:51Oh, Nick.
22:52Well, you go, girl.
22:54Richard here will take you.
22:56Will you, Richard?
22:57If you want.
23:07Have a glass of this, Richard, old man.
23:09Grow a few hairs on your chest, I dare say.
23:14Good evening, Richard.
23:16Alfred has already attended you, I see.
23:18He has quite a talent for that, have you not, Alfred?
23:21You make an excellent waiter.
23:25He's very sensitive.
23:27We are disappointed your uncle could not attend.
23:30He's a most delightful man with strongly held opinions.
23:34He knows who he likes and who he doesn't like, yeah?
23:36Perhaps it is better he is not here.
23:37Then we are free to enjoy ourselves in our own special and particular way.
23:42And what can you mean by that, I wonder?
23:45Richard, highly intelligent young men, you are truly aware that not everyone in the world
23:50is built in the same way.
23:52You do not always wish to be painters, for instance.
23:54It is part of good and civilised behaviour to tolerate the differences between one person
23:59and another, provided no harm is done.
24:02I am sure you will agree.
24:06Well, think about it, Mr. Mergen, and let you know.
24:09Richard!
24:10Here is someone who is dying to meet you.
24:12Phyllis Robinson, my very good friend, Richard Herncastle.
24:14He is on the same ball as I am.
24:16Oh, I know, I know.
24:16Why don't you try to dance together?
24:21Have you seen the act?
24:23Oh, yes.
24:24Ten or twelve times, I should think.
24:26Ten or twelve.
24:27It is Lily, you see.
24:28I follow her act everywhere.
24:30I expect you to think I am exaggerating, but I am not, truly.
24:35If I could be like Lily, I would.
24:38She has got such a wonderful way to treat the audience.
24:46Woof.
24:51Hi!
25:03My parents.
25:06What are you doing?
25:29You're Richard Hermcastle, I know. Can I sit down?
25:32I'm Lady Chernock. I'm a friend of Otto and Lily's.
25:35They often come and stay with me.
25:37I have a damp big house, and I'd like you to come too one weekend.
25:41Bring Phyllis here.
25:42Well, I hardly know.
25:43Oh, you won't regret it.
25:45You'll enjoy yourself, I can promise you that.
25:48How long have you known Otto and Lily?
25:50About three years, I suppose.
25:53They're special friends, though.
25:55Not many secrets between us.
25:58To take my advice, you'll get to know them really well.
26:02Life's for enjoyment, isn't it?
26:06Excuse me.
26:09Do you mind?
26:12Don't leave me on my own, Richard.
26:14Are you all right?
26:16He's that man.
26:19He's horrible.
26:21Everybody's funny here, if you ask me.
26:25Shall we go?
26:34He's a nice boy, isn't he?
26:37I hope not.
26:45What was going on?
26:47I couldn't make it out.
26:50Such a funny connection of people.
26:52Yeah.
26:53And that Phyllis something.
26:55She spent the entire time following Lily about with great sheep's eyes.
26:58Just like Alfred.
27:00Stupid.
27:01That's where they get invited.
27:03I wouldn't have gone at all, but I thought you might cheer me up.
27:08And did it?
27:10No.
27:11Nothing will at the moment.
27:14Don't you get mixed up without Lily Ferris and Murg and Dick, will you?
27:18Promise me.
27:19I promise.
27:23Nick's been getting grampier and grampier ever since we came to Liverpool.
27:27It's not the audience and their business.
27:29They're all right.
27:31It's a two-dwarf trick you can't make it out.
27:33That's another thing.
27:34It's bad enough having one dwarf, but two.
27:41Do you think he's found another woman here, Adam?
27:49I shouldn't think so, sissy.
27:52He doesn't want me at all now.
27:54Except for the act.
27:56Oh, he's still liable to say,
27:58come on, girl, we're away, but...
28:00it's nothing.
28:03He could do that with anyone.
28:08What's become of that nice little Nancy Ellis?
28:12I don't know.
28:13She doesn't reply to my letters.
28:14Oh, she will, Dick, you'll see.
28:17Don't give up hope.
28:20She's a nice kid and well out of this, Mum.
28:25And you're lucky, aren't you?
28:29When were you most really happy, sissy?
28:33Day I met Nick.
28:36He was marvellous, didn't he?
28:51Oh, my God.
28:52Oh.
28:53Oh, my God.
28:55Oh, my God.
29:01Oh, my God.
29:05Okay.
29:06Oh, my God.
29:09I thought you'd have gone to bed.
29:18We've had a lovely evening, don't we, Richard?
29:20He's very nice.
29:21Yeah. He don't know what you miss, does he?
29:24No.
29:25Sit there.
29:27You're lucky you don't have to make a living as an actress. You'd starve.
29:31What do you mean?
29:32Do you think I've been living in a nursery all my life?
29:35I know the kind of parties Lily and Merden give.
29:37Fancy ones, not to put it crudely, am I right?
29:40There were a lot of very strange people, though.
29:42And you're no better.
29:44You've not much time for Lily, quite rightly.
29:45She's an evil bitch, but that didn't stop you going to her party, did it?
29:48You couldn't get there fast enough
29:49to gape and pry like a pig with its snout in the dirt.
29:53I can't see to this.
29:55I'm not going to...
29:57No, because you know I'm right.
30:02That won't change the world!
30:04Trying to shut it out!
30:06It's there!
30:06And it's like a running saw!
30:21Why do you do that to her, Uncle?
30:24Because she won't face facts.
30:26She wants to believe the world's one big magic garden.
30:29Well, it isn't.
30:31It's a slum.
30:32She doesn't believe it's a garden.
30:34It's as if you need somebody to shout at!
30:47The next day, we motored to the Lake District.
30:50The weather was warm.
30:52The blue and gold springtime of the old poets.
31:01I've never seen Sissy happier.
31:03She had that deeply feminine delight in a picnic in fine weather.
31:07And an even deeper joy which women feel when they're with their men,
31:10and those men are happy.
31:17For once I didn't have to feel sorry for her.
31:19Ha!
31:20Ha!
31:20Ha!
31:27Ha!
31:56VIOLIN PLAYS
32:26VIOLIN PLAYS
32:27The illustrated painter in me let Lily persuade me to do another portrait.
32:31I wanted to capture the changeling half-repellent quality of her personality.
32:36I don't know what you like on the outside, too.
32:41I know what it feels like on the inside.
32:46And there I'm a bleeding mess.
32:54Don't like my act, do you?
32:56Well, there's no reason why you should, don't be embarrassed.
33:02It's just that there's a part of me that still believes in nightingale and the star and fields of golden
33:13hay and pure white rose.
33:19I don't know where they are, but I know where they're not.
33:25I don't know where they're going.
33:32I don't know where they're going.
33:40I don't know where they're going.
33:45Oh, shut me up, shut me up.
33:58It's a part of me that believes that somewhere it's different.
34:03I don't know what the bit I've seen with.
34:07I know that most of the people I'm seeing do it as big a bloody mess as I'm in, but
34:11that's not you.
34:13Or that cool, clevered, old uncle you've got.
34:20And I'll give you a tip while you're in the mood.
34:23Don't get mixed up with me, Richard.
34:25Or Mergan, especially Mergan.
34:27Believe me, I know what I'm talking about.
34:31Why don't you push off now?
34:33Before I start something I can't finish and then get angry with myself and then...
34:39Go on.
34:50Maya.
35:05Thank you for...
35:07Thank you for...
35:09Time and everything.
35:14Go on.
35:27So...
35:28So nice.
35:40So...
36:34I've warned you a dozen times.
36:36You can't deny I smot it on your breath.
36:46We're doing my act on this tour, boy.
36:49If you want one of your own, go and build it, and then try to get the bookings yourself.
36:53I was wrong, then, was I?
36:55What do you think?
36:57Well, it seems to me I saved the illusion, perhaps the whole act.
37:00But if I was wrong, then the next time we have an accident, I'd just do nothing and just wait
37:03for you to save the days.
37:04That's it.
37:05That's exactly it.
37:07Even if I seem to be making a pig's breakfast of it, you've got to leave it to me.
37:10It's my responsibility.
37:12If you and the others start improvising on what we've rehearsed, inventing new bits of business and God knows what,
37:17in a few weeks' time we won't have any act at all.
37:20Just this once, I wasn't bright and you were, and what you did came off.
37:25But don't ever do it again.
37:27This is my act, whether it goes right or wrong.
37:51This is my act, whether it goes right or wrong.
38:47Hi, Joe.
38:48Oh, Mr. Aaron Castle.
38:51South Africa.
38:55Dear Richard, I'm sure you understand now why I didn't want to see you after that horrible night.
39:02Though I was genuinely fond of you, there wasn't enough that was real between us to withstand the embarrassment and
39:07humiliation.
39:09The real reason I'm writing is to explain what happened at Plymouth and why Nancy didn't want to speak to
39:14you.
39:15It was all my fault, Richard, dear.
39:17I behaved in the bitchiest fashion.
39:20I saw her when I went backstage after the pantomime matinee, and she told me she had to change in
39:25a hurry because she was meeting you for tea.
39:27And then, I suppose out of jealousy or envy, I told her about us.
39:33She was upset, naturally, but if she cares anything about you, she'll come round.
39:38If I know anything about girls, she's secretly devoted to you.
39:42There now.
39:43You're still affectionate, Julie.
39:48Dear Nancy, I've heard from Julie in South Africa explaining why things went so wrong between us and Plymouth.
39:55Are you receiving my letters sent from Drew Bozenby?
39:59Please let me know if you get this.
40:01Even a postcard will do.
40:06Hello, Sam.
40:07I came to tell you that the get-in's tomorrow morning, not tonight.
40:11They don't work Sunday nights in Burrington.
40:13Well, why not? Everywhere else they do.
40:16Burrington's not everywhere else.
40:18Not a stagehand under 90 years old.
40:22Go on.
40:23The stage has got splinters, the orchestra sounds like 50 cats in agony, and the roof of the auditorium leaks.
40:29I thought I'd better just warn you.
40:32There's Nick now.
40:33I shouldn't think so.
40:34He's never played, Burrington.
40:53Sam was right.
40:56Everything that could go wrong went wrong from the moment we arrived in Burrington.
41:00Everybody soon started feeling very edgy.
41:10Thank you, sir, very much.
41:11I thought Lily and I had years ago seen the last of such places as this.
41:15Large brandy and soda, if you please.
41:18The Imperial Hotel is equally as bad, you know.
41:21Yeah, we're at the Victoria.
41:22Rooms smell like old magazines and a natty.
41:26You know, I don't like getting a drink, but I think I might say that.
41:29I can offer you something better, Richard.
41:31In fact, Lily gave me a message for you.
41:33A pretty and charming young admirer, Miss Robinson, whom you remember, is attending tonight's performance.
41:38So, Lily, who can be very kind, has asked her to spend the night with us at the Imperial.
41:43And you, Richard, have been especially invited to join us for supper.
41:46Now, there would only be the four of us, and I think you will find that pretty little Phyllis will
41:51not be as coy as she was in Liverpool.
41:53Good food, pretty girl.
41:57I think I'll let you know how I feel after the second house.
42:00I think I might feel fear for nothing except crawling into bed.
42:03Oh, you say that because you already had a long morning.
42:06Tonight, you'll be longing for nourishment and excitement.
42:10I'm an old performer, Richard, believe me.
42:12I know.
42:13Good idea?
42:15Can I let you know how I feel after the second house?
42:18Most certainly, provided we all survive the experience.
43:04I don't give a damn.
43:05If there wasn't another date available, we should have had this week out rather than have played a miserable hole
43:09like this.
43:11Now, damn lucky I'm not cancelling my contract with you here in our job, Balsonby.
43:15And I'll do just that, by God, unless there's some major changes by first house tomorrow.
43:25Richard.
43:28Phyllis.
43:41Good evening, Richard.
43:47I'm delighted you've come.
43:50We are in for a most jolly evening, I feel sure.
43:54Oh, yes.
43:56Where's the jolly?
44:03Richard painted her in the nude, didn't you, Richard?
44:05I painted her dressed in white, lying on a gravestone in a churchyard, honest.
44:09What an odd thing to do.
44:10Well, that's what she wanted.
44:12She was a bit of a show-off.
44:13She had flaming red hair.
44:15Sat up in a tree to do it.
44:16You never guess what happened.
44:17She became an angel before your very eyes, Richard.
44:21Took you by the hand up to heaven.
44:23Am I not right?
44:24I'm an angel, aren't I, Lily?
44:26Yes, my dear.
44:27Pure and white as an angel.
44:30Go on, Richard.
44:30See what happened.
45:20Oh, no, what's happened to you?
45:23Look at her.
45:23She's drunk as a mop.
45:26Might be wiser, Lily, to get her into the bedroom.
45:29Come along, my dear.
45:30Come along.
45:32Richard, no, no.
45:34Come on, my dear.
45:35There you are.
45:36Come on, sir.
45:37Come on, my dear.
45:37I'll sit.
45:39No, no, no, no dancing.
45:41No dancing.
45:42Come along now.
45:44Straight to bed.
45:45Come on, my dear.
45:46Richard Hayden Castle, I'll sit.
45:48There you are.
45:51I'll sit.
45:52Come on, my dear.
45:53On the bed, my dear.
45:56There you are, my dear.
45:57You're welcome, my dear.
45:59Come on, my dear.
46:00Richard?
46:05My dear.
46:06Come on, my dear.
46:20Do you want me to land on your backpack?
46:21Come on, my dear.
46:24I want you to land on your backpack.
46:24Come on, my dear.
46:26I'll be with you later.
47:34Thank you, my boy. She's yours. Enjoy her.
47:37You are enjoyment. I may are enjoyment.
47:45None of all have the same tastes. You are my boy.
47:47I'm trying to be watching you. She's waiting for you. There is nothing wrong.
47:51It's all I see. It's all I see.
47:58Come, Roger. I'll keep waiting.
48:01Roger, I have my boy. How are you doing?
48:03I can't say no.
48:04I can't say no.
48:05No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
48:08no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
48:17I wish I could try watching you.
48:19No, get out of here.
48:21You're a bitch.
48:22Come on.
48:25Come on.
48:26Outside or I'm not the hell out of you.
48:27What are you going to do?
48:29Nothing you need to try watching.
48:30Come on.
48:32No.
48:33No.
48:48I'll come and thrash the daylight.
48:50I'll come and thrash the daylight!
49:03I am a woman! Stop that!
49:35It was not so much anger that I felt.
49:38Not even disgust.
49:41All that was there.
49:44It was far deeper.
49:47There was a warning note echoing in my mind.
49:50The sound of an age, perverted and deformed.
49:55The sound of that particular year.
49:581914.
50:04The sound of a light.
50:05The sound of a light.
50:14The sound of a light.
50:15My mother died, there is nothing.
50:25The sound of a light is broken.
50:27The sound of a light.
50:44ORCHESTRA PLAYS
51:15ORCHESTRA PLAYS
51:32ORCHESTRA PLAYS
51:33ORCHESTRA PLAYS
51:41ORCHESTRA PLAYS
51:44ORCHESTRA PLAYS
51:46ORCHESTRA PLAYS
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