- 2 days ago
First broadcast 27th March 1984.
A previously unknown painting by Vincent Van Gogh, said to have come from Russia, comes up for sale at a London auction of impressionist paintings.
Peter Vaughan - Les Stone
Michael Aldridge - John Bourke-White
James Maxwell - Geoffrey Anderson
Peter Bayliss - Trevor Boveen
Robert Putt - Mick McClaren
Stanley Lebor - Derek
Bernard Gallagher - Jim
David Cardy - Tony
Christopher Fulford - Billy
Harry Ditson - Teichman
John Tallents - Weaver
Julie Legrand - French Woman
Nina Botting - Receptionist
Jill Meager - Jenny
Alister Williamson - Commissionaire
Francesca Brill - Princess of Wales
Judith Fellows - Housekeeper
Jeremy Clyne - Russian Interpreter
Bibs Ekkel - Pankovski
Czeslaw Grocholski - Shirogorokhin
Roger Ostime - Advisor
Lloyd Johnston - Detective
Richard Bates - Messenger
A previously unknown painting by Vincent Van Gogh, said to have come from Russia, comes up for sale at a London auction of impressionist paintings.
Peter Vaughan - Les Stone
Michael Aldridge - John Bourke-White
James Maxwell - Geoffrey Anderson
Peter Bayliss - Trevor Boveen
Robert Putt - Mick McClaren
Stanley Lebor - Derek
Bernard Gallagher - Jim
David Cardy - Tony
Christopher Fulford - Billy
Harry Ditson - Teichman
John Tallents - Weaver
Julie Legrand - French Woman
Nina Botting - Receptionist
Jill Meager - Jenny
Alister Williamson - Commissionaire
Francesca Brill - Princess of Wales
Judith Fellows - Housekeeper
Jeremy Clyne - Russian Interpreter
Bibs Ekkel - Pankovski
Czeslaw Grocholski - Shirogorokhin
Roger Ostime - Advisor
Lloyd Johnston - Detective
Richard Bates - Messenger
Category
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TVTranscript
00:00:0040,000, 460,000, 480,000, 500,000 in the front, at 500,000 pounds, 550,000 at the back
00:00:14of the
00:00:15room, against you, sir, 600,000 pounds, at 600,000...
00:00:57Good morning, John.
00:00:58What is that?
00:01:31Thanks.
00:01:33I'd best have tea first, tell the lads.
00:01:38I don't know what else I should do.
00:01:41Well, I'll get you guys, you can open it up, you can run a cable up there.
00:01:46Have a little look at the VR.
00:01:57Morning.
00:01:59Morning.
00:02:04They're coming.
00:02:09Even sparks haven't run a cable under one of them partitions, haven't they?
00:02:12It's chronic, ain't it?
00:02:14Far plain biscuit, just a plain biscuit.
00:02:17I don't think fancy, that's just up to the individual himself.
00:02:20Probably best.
00:02:21You can't have all this complicated gift, and I want this, I want that.
00:02:25It's too complicated.
00:02:28Where's the sugar?
00:02:30I'll put it in that tin bag.
00:02:32A bag.
00:02:33You need a little bit of this rabbit, of course.
00:02:38Where's Tony?
00:02:40For my jacket, would you make?
00:02:41What?
00:02:45Cheers.
00:02:51Need an eye on the back of the sizzly, Mick.
00:02:53Looking at it, may have to put one with a tab on.
00:02:55I'll have a look at it.
00:02:57Sorry I'm late, lads.
00:02:58Sorry I'm late, lads.
00:03:00Cheers.
00:03:06Bloody sparks hasn't put a cable under one of them partitions.
00:03:09Where's that?
00:03:10On the right, at the end of the long gallery, you know?
00:03:13The two partitions out?
00:03:14Yeah, that's cringe, yeah.
00:03:15Well, we should have run a cable under there.
00:03:17He has on the left, but not on the right.
00:03:20Can't you get one under with them already in place?
00:03:22Daddy.
00:03:24Have you tried?
00:03:25Mmm.
00:03:27He's tried and all.
00:03:29Can't you get one in the pile of the carpet?
00:03:31You know, like, burrow it under?
00:03:33Nah.
00:03:35Can't you get it in the corner by the skirting board, then?
00:03:37Nah.
00:03:38I'll have a look at that.
00:03:40Gonna have to run it round the bottom, I'm afraid.
00:03:43I'll have a look.
00:03:49Those electricians aren't coming down for tea, are they?
00:03:51No.
00:03:52You did ask them, did you?
00:03:53No, they've got their own.
00:03:54But you did ask them?
00:03:55Oh, yeah, I asked them.
00:03:58Right.
00:03:59A small announcement to make.
00:04:02I want this understood that this is in strict confidence.
00:04:05I don't want anyone running off and telephoning the press.
00:04:08I don't want anyone running off and telephoning relatives and friends.
00:04:12Tomorrow morning, at 10 o'clock, the galleries will remain closed to the normal public for the first hour.
00:04:18But you, to the Princess of Wales, will be attending the gallery to view the sale.
00:04:23Ha!
00:04:24Lady Di!
00:04:25It's to be a low-key affair, and I've simply been informed that she'll be viewing the sale.
00:04:30She'll probably be in the gallery for half an hour or so, and Mr. Birkwhite would be most grateful if
00:04:35the staff would take special care with their attire, which I'd take to mean collars and ties at a bare
00:04:40minimum.
00:04:40And, of course, I assured him, which I'm sure most of you would agree to anyway.
00:04:46Is she buying, you know, Les?
00:04:47I don't know, Derek.
00:04:49In fact, I haven't been told, even if she'll be attending the sale itself.
00:04:52Although it'd be my guess that she wouldn't, even if she was to buy, I imagine she'd have someone to
00:04:57do that for her.
00:04:59And what about, will we be allowed upstairs, Les, while she's on the premises?
00:05:03Oh, for that as a wish, certainly.
00:05:06There'll be an area cordoned off in the lobby to welcome her.
00:05:09And, of course, there'll be those on duty in the rooms in the normal way.
00:05:12So you'll have to get a clean shirt, though.
00:05:15Don't suppose you'll want to be up there, eh, Mick?
00:05:18What's that?
00:05:19I say I don't suppose you'll be interested in being upstairs to see the Princess, eh?
00:05:23I don't mind.
00:05:23Wherever I'm told.
00:05:24Wherever Les tells me.
00:05:25Very good of you.
00:05:27Probably best everyone else wants to be upstairs.
00:05:29I'll hold the fork down here.
00:05:31That's very thoughtful of you.
00:05:38I think they're level individually, but not one with the other.
00:05:43Yes, maybe all right.
00:05:44They're terribly charming, aren't they?
00:05:47Hmm.
00:05:52Must be a very late one.
00:05:54Yes.
00:05:55Yes.
00:05:56I've never come across it before.
00:05:58No.
00:05:59Well, it's been out of circulation.
00:06:04Geoffrey.
00:06:05Morning.
00:06:05Ah, John.
00:06:07It's all very lovely, isn't it?
00:06:09It is.
00:06:10Hello, Walter.
00:06:12Morning.
00:06:13Although I must admit, I'm not mad about the Hessian behind the small pictures.
00:06:19No.
00:06:20I like the screens and I like the way the room has been divided up in that way, but I
00:06:25must admit I'm not an admirer of the Hessian.
00:06:29I thought I might be, but I'm not.
00:06:31No.
00:06:32I'm not suggesting we should change it at this late stage, and I'm sure there'll be those that like it.
00:06:36But I think we should think twice before we use it again.
00:06:39Yeah.
00:06:40But overall, the effect is enchanting.
00:06:43I have nothing but praise.
00:06:45And the suit, he looks fabulous.
00:06:48Absolutely crazed and wonderful.
00:06:50Yeah.
00:06:51Although I did wonder if it was a bit high.
00:06:55Perhaps.
00:06:57No.
00:06:58No.
00:06:59No, let's leave it.
00:07:01Absolutely, absolutely.
00:07:03No.
00:07:04I think it's all very lovely.
00:07:08Oh.
00:07:09There's the Russian picture.
00:07:11Yes.
00:07:13Hmm.
00:07:16Still good.
00:07:17However much I look at him, I don't like him.
00:07:21I never feel he likes me.
00:07:23Of course he was very mad when he painted this one.
00:07:27Yes.
00:07:28Still it's nice to see it back.
00:07:30One must hope their paintings will take a leaf out of their ballet dancers' books and more and more will
00:07:35defect.
00:07:37How did they get hold of this one?
00:07:38How did they get hold of any of them?
00:07:40Precisely.
00:07:41It's supposed to be part of a German collection which they acquired at the end of the war.
00:07:45Acquired?
00:07:46Clearly one of the thousands they pillaged.
00:07:48I remember speaking to Hans Lunt in Berlin in 1947.
00:07:52Poor man.
00:07:53At least Hitler went through the motions of paying for his acquisitions.
00:07:56We seem to be well on schedule, Les.
00:07:59Thank you, sir.
00:07:59Yes, things seem to be going quite well.
00:08:01Yes, sir.
00:08:02Good morning, sir.
00:08:03Good morning, Miss Im.
00:08:04I don't know if I'm right, but it seems to me that one of the Renoirs is a bit off
00:08:08-level.
00:08:09Not the individual pictures, one picture with the other.
00:08:12I'm with you, I'll have a look at that, sir.
00:08:14Where's the Pizarro?
00:08:15Has the Pizarro been hanging on?
00:08:16Yes, sir.
00:08:24Stout, is it?
00:08:25It's good.
00:08:27A glass of stout for Derek and a kind of Guinness, Margaret, please.
00:08:31And I'll have a pork pie and a pickle.
00:08:33Five minutes wrinkle.
00:08:35He is a good eye.
00:08:35He's a good eye.
00:08:37He's a good eye.
00:08:43Time to get down the old bookies, huh, Mick?
00:08:45What you got this afternoon?
00:08:46Not a lot.
00:08:48Prairie Moon looks best bet.
00:08:49A bit of going, I don't know.
00:08:50Normally I fancy Prairie Moon.
00:08:51That was a handy old win you had last week, eh?
00:08:54Yeah, it was a nice bubble, that.
00:08:56I'm surprised that you were gambling.
00:08:58I'd have thought it was against your principles.
00:09:00Well, it is, Jim.
00:09:01You're absolutely right.
00:09:02So why don't you, you know, stop?
00:09:06Well, I'm not strong-willed enough.
00:09:07Apart from which I've got very expensive tastes,
00:09:09which I can't engage in on the wages they pass.
00:09:11Shift up on him, Billy.
00:09:13Shut up, Mick.
00:09:15Thanks.
00:09:18So is everything all right, then, lads?
00:09:20Very good, Jim.
00:09:21Very good.
00:09:22Mr. Anderson and Mr. Bert White seem very pleased.
00:09:25Oh, good.
00:09:26Well, that's nice to know.
00:09:27I can't complain about the timing, but in good time.
00:09:30Oh, we are in good time?
00:09:31Yeah, a good job.
00:09:33Apart from that bit with the electricians.
00:09:35Yeah.
00:09:36He didn't seem to care, did he?
00:09:38No.
00:09:39They're art ain't it?
00:09:41There's no apprenticeship these days, you see.
00:09:42That's true.
00:09:44Years ago, you'd have done your five years
00:09:45before you were ever allowed to do anything.
00:09:48No, it's straight out of school.
00:09:50Never mind about anything.
00:09:52Just get out and budge it in.
00:09:54Yeah.
00:09:55There's a lot in that, there.
00:09:56What time does the viewing start?
00:09:58Two o'clock.
00:10:01Funny thing.
00:10:04Oh, a little chap.
00:10:07Interesting little chap.
00:10:08Between Mr. Anderson and Mr. Bert White.
00:10:11About that Van Gogh.
00:10:13The Russian picture from Russia to be sold.
00:10:17Seemingly.
00:10:18This is what they were saying, I don't know.
00:10:21Seemingly that picture was stolen during the war.
00:10:25Plundered, was it?
00:10:27Plundered.
00:10:28Plundered, yeah.
00:10:30The way they were talking it was quite a common thing.
00:10:33As if there's old rooms of pictures over there
00:10:35that are just hanging with these sort of pictures.
00:10:38Stolen pictures.
00:10:40It wasn't even a surprise me, Les.
00:10:42Not when you think about it.
00:10:43Don't do it, Jim.
00:10:44That's what I said.
00:10:45Don't even surprise you.
00:10:46No, and I thought it was interesting.
00:10:48Oh, it is, it is.
00:10:52What do you reckon of that, Mick, then?
00:10:54What's that?
00:10:55Oh, that painting.
00:10:55The Van Gogh painting.
00:10:57Reckon the Russians nicked it.
00:10:58Did they really?
00:10:59They're terrible, aren't they?
00:11:00I just thought it was interesting, that's all.
00:11:02It is.
00:11:04Well, there's only one thing to do, Les.
00:11:05Take it down to the police station.
00:11:07Stolen property.
00:11:08A whole firm like this wouldn't want to handle stolen property.
00:11:13Oh, they're all very amused.
00:11:14That's just very clever.
00:11:16Notice communism doesn't stretch to buying anybody else a drink.
00:11:20That's it, isn't it?
00:11:21So it looks like them screens
00:11:23is going to be part of the big picture sales from now on.
00:11:25Yeah.
00:11:26Now, where they're going to store them?
00:11:28Kettle Street, I suppose, in the basement.
00:11:31I suppose that would be the place.
00:11:33Would it?
00:11:34Carry him round?
00:11:36Yeah.
00:11:38Be a job for you, Billy.
00:11:40What's that, though?
00:11:42Apparently, they're going to store them partitions round at Kettle Street
00:11:45and carry them round for each time they're needed.
00:11:47I'll say that's a job for you.
00:11:49Oh, yeah, and a rest.
00:11:51You see?
00:11:51I thought they were hired.
00:11:52No, they're part of the establishment now.
00:11:59What do I don't understand?
00:12:00I mean, you're the one who always has the soul-bloody marvellous
00:12:03and we should be like them.
00:12:04Look what they did here and there.
00:12:06And when you hear something like this, you're not interested.
00:12:09You pretend it's not right.
00:12:10That's what I don't understand.
00:12:11I don't pretend.
00:12:12You don't seem to want to listen.
00:12:13No waste of breath.
00:12:14I don't listen.
00:12:15Of course I listen.
00:12:16Just I don't necessarily believe what I hear.
00:12:18You don't believe it when two leading picture experts in the country
00:12:21send a picture with Stalin?
00:12:22Not necessarily.
00:12:23No, not necessarily.
00:12:24You'd know better.
00:12:25Listen, if they say that about Russia...
00:12:26Oh, it's Russia.
00:12:27Don't just keep any anti-communist pot boiling, that's all.
00:12:30You should say anything against Russia.
00:12:31I'll tell you something.
00:12:32The money that's taken to buy that picture will buy everyone in this pub an house to live in.
00:12:36What's that got to do with anything?
00:12:38Yeah, go on.
00:12:38What's that got to do with anything mixed?
00:12:40But they're the ones.
00:12:41They're the ones.
00:12:41The Russians are the ones who've got it.
00:12:44They're the ones getting the money for it.
00:12:46Yeah.
00:12:47Of course.
00:12:48And everyone's going to use the money to build houses for the working people.
00:12:51Oh, yeah.
00:12:52No, they're all the same.
00:12:53Well, you never hear them say anything against the big dollar, do you, the Americans?
00:12:57You never hear they've been nicking paintings, do you?
00:12:59Because they don't.
00:13:00They buy them.
00:13:01They don't need to nick them.
00:13:02They've got so much money.
00:13:04The Yanks, eh?
00:13:06I wouldn't mind a slice of that, eh?
00:13:09But you like to live, do you reckon, Billy?
00:13:11Not many.
00:13:12Never get a permit, would you?
00:13:14Yes.
00:13:15I don't know why you'd like to go and live in Russia.
00:13:17Well, they don't have petting shops, do they, Jim?
00:13:24They need someone with a bit of pace on the outside and someone who's good in the air in the
00:13:28middle.
00:13:28Well, Graham's good in the air.
00:13:30Oh, granted, but he's so short.
00:13:32I wonder, can you help me?
00:13:34Uh, Lot 73, a watercolor of a windmill.
00:13:38This is not a windmill.
00:13:41Uh, no, I think you'll find you've got the wrong catalogue.
00:13:57Yes, that's next week's sale.
00:13:59Would you like to come down to the desk and we'll see if we can get it changed?
00:14:08You're the big France, Tom.
00:14:09No.
00:14:11Ah, I'm fancy, to be honest.
00:14:21But it is there I've made a mistake.
00:14:24This is on the catalogue I ordered.
00:14:26Yes, indeed, but the difference in price is very similar.
00:14:28Excuse me.
00:14:29Uh, I'd rather want to see Mr. Bork White about one of the lots in the sale, if that's at
00:14:34all possible.
00:14:34Do you have an appointment, sir?
00:14:36I do.
00:14:37I know.
00:14:39Will I ask the name, sir?
00:14:41Robert Teichman of Goldberg-Cook and Teichman.
00:14:43Jenny!
00:14:44Sue, sorry.
00:14:46Sorry?
00:14:46Teichman.
00:14:47Robert Teichman of Goldberg-Cook and Teichman, Manhattan.
00:14:52Hello, Jenny.
00:14:53I have a Mr. Teichman here.
00:14:54I would like a moment with John Bork White, if at all possible.
00:14:57No.
00:15:01Come in.
00:15:04Mr. Teichman, sir.
00:15:06Mr. Teichman, how nice to meet you.
00:15:08How do you say it?
00:15:09Trevor Cook told me you were coming.
00:15:11I was hoping we'd meet.
00:15:12Did you arrive this morning?
00:15:13I did.
00:15:14I flew in on Concorde just a couple of hours ago.
00:15:16Did you really?
00:15:17Isn't that a simply delicious aircraft, don't you think?
00:15:19Oh, it is.
00:15:20I was hoping you were coming.
00:15:20It is.
00:15:20It's marvellous.
00:15:21Isn't it?
00:15:22Hmm.
00:15:22Where would the world be if we always counted the cost?
00:15:25I think that's the lesson we have to learn from that.
00:15:27Absolutely.
00:15:27Absolutely.
00:15:32And how is poor Trevor?
00:15:34Well, he's better.
00:15:36A little better, but it's fair to say he isn't a well man.
00:15:39It's going to take time.
00:15:43So, what do you think of the entries?
00:15:45Have you had a chance to look round yet?
00:15:46I have indeed.
00:15:47Indeed.
00:15:48And it needs no dealer come from Manhattan to tell you what a fine display it is.
00:15:53And not merely aesthetically, but clearly.
00:15:55Well, I've been reading your papers since I got here and on the airplane,
00:15:58and clearly it's going to be a great occasion socially,
00:16:00which must be very gratifying for you.
00:16:03Yes.
00:16:04And I dare say it'll help the prices a bit.
00:16:06Good for you.
00:16:06Bad for us.
00:16:08No.
00:16:09No, it's very impressive.
00:16:11To see the gilets jaunes in an auction room is what it's all about.
00:16:15It's very exciting.
00:16:16Very exciting.
00:16:16Yes, we were rather pleasing at that.
00:16:18I imagine.
00:16:19I think there was a bit of gnashing of teeth you know where over that.
00:16:22Yeah, I should think there was.
00:16:25No, but I...
00:16:27I'm very taken with it all.
00:16:29Although, I mean, I wouldn't be taking up your time now if I didn't...
00:16:35I do have to say that I am a bit bothered by the Van Gogh, the herdsman.
00:16:42Yes, I was watching it being hung earlier today.
00:16:44I must admit I don't like it much.
00:16:46You don't?
00:16:48No, I mean I don't really like any late Van Gogh.
00:16:51He just isn't my cup of tea.
00:16:52Oh.
00:16:53No.
00:16:54No.
00:16:55No.
00:16:56Well?
00:16:56No, I understand.
00:16:57That isn't what you're talking about.
00:16:58You have some doubt, some reservation about the victor?
00:17:02To be blunt, yes.
00:17:03I have an unease.
00:17:05About what?
00:17:06Its authenticity, one assumes?
00:17:09I suppose, I suppose in the final analysis, yes.
00:17:12It's just a question, you understand?
00:17:14An unease, a doubt, but I thought I ought to express it.
00:17:18Oh, absolutely, of course.
00:17:19Do you know, is it in the catalogue raisonne of his work?
00:17:23I think the best thing...
00:17:27Do you know Geoffrey Anderson?
00:17:28Well, of course I know of him.
00:17:30I think the best thing...
00:17:31I've never met him.
00:17:32I think we'll ask him to come and have a look at the picture.
00:17:34Would you like to talk to him?
00:17:35Well, of course, but I mean...
00:17:37Jenny, eh?
00:17:38Can you locate Geoffrey for me?
00:17:42It is so terribly much the early preoccupations.
00:17:46And yet it can only possibly be the last two or three years.
00:17:53When he was obsessed that this landscape was Japan
00:17:59and was highly influenced.
00:18:01And yet where is Japan?
00:18:05There's no sign of Japan.
00:18:07There's no sign of Japan.
00:18:09And the handling here...
00:18:14Is...
00:18:17I don't know.
00:18:19It just doesn't seem right.
00:18:20I wonder if I might, um...
00:18:23Of course, I'm sorry.
00:18:24It's become rather noticeable.
00:18:25Of course.
00:18:27Is it in the catalogue, Raisiné, of his work?
00:18:30It's mentioned.
00:18:31A raw picture like it is mentioned.
00:18:33But it doesn't have the absolute benediction of the writer.
00:18:36And it's not in Le Fay?
00:18:38Oh, no, no.
00:18:38It's only come to life very recently.
00:18:40It changed hands privately during the war.
00:18:43The vendors have a newspaper photograph,
00:18:45which they think is of the picture.
00:18:47They say is of the picture.
00:18:48Although it's far from clear.
00:18:50A contemporary photograph?
00:18:52Hmm.
00:18:53It's not specifically of the painting.
00:18:55It's a picture of some bigwig,
00:18:56Minister of Finance,
00:18:57someone of that kind.
00:18:58And what purports to be the painting
00:19:00is in the background.
00:19:02Where was this taken?
00:19:03It's supposed to have been
00:19:04the Paris Impressionist Exhibition, 1892.
00:19:08The Rijksmuseum are happy with it.
00:19:11Hmm.
00:19:12Of course.
00:19:12It has their certificate.
00:19:15I wonder if we continue this discussion upstairs.
00:19:18Yes.
00:19:28And so they have to do this rather complicated fiddle.
00:19:31Come in.
00:19:32Whereby these things are sent to one of their embassies.
00:19:34Thank you, Jenny.
00:19:35Shall I put it here?
00:19:36Yes.
00:19:37In this case, their Paris embassy.
00:19:40And then it's simply sold off as an unspecified asset.
00:19:42Hello, Les.
00:19:43Would you take down Lot 76
00:19:44and take it down to the appraising room?
00:19:46Would you be so kind?
00:19:48Yes.
00:19:48And get someone to take the backboard off, would you?
00:19:51Yes.
00:19:52Right away, please.
00:19:53Thanks, Jim.
00:19:54Oh, Les.
00:19:54Sorry.
00:19:56I suppose we ought to get on to the vendor's representatives.
00:19:59Oh, I do think so.
00:20:00And to be on the safe side.
00:20:02You know how suspicious they are if they send Lyndon along
00:20:05and he finds it isn't hung even for five minutes.
00:20:07And also, I suppose one should just warn them.
00:20:11Yes.
00:20:12Yes.
00:20:13Yes.
00:20:13Yes.
00:20:13Cover ourselves.
00:20:16Yes.
00:20:16Not.
00:20:17There we go.
00:20:21There we go.
00:20:50you know what it's all about do you what taking that down you know what the american geezer was
00:20:57here reckons it's a fake yeah you see burke white anderson that was both down and this geezer going
00:21:05for it but i reckon it weren't right why it doesn't even surprise you when you think about it i
00:21:17was just
00:21:17going to say it doesn't even surprise you that's what it is see you
00:21:42so there's a turn up yep but we won't rub it in
00:21:58uh stick it down there
00:22:04get me a pair of pincers would you
00:22:12see you up hey nads that's the picture right that's it
00:22:19what's that something in there for you what's that
00:22:25what's he on about oh hello mr van goff i presume you presume do you you presume that's van goff
00:22:33do
00:22:33you well that's a painting you're on about isn't it it's your expert opinion that's van goff is it
00:22:39well i'm not that much of an expert but i don't think it's a rembrandt is it no it's not
00:22:44and it's not a van goff either that picture from your friends out in moscow is a fake go on
00:22:52is it it is
00:22:54go on dear dear me kgb did it did they
00:22:59no
00:23:02they're very good though aren't they handy with the old paintbrush
00:23:06you won't learn will you i think you're afraid to learn it's a fake
00:23:13so that's the smallness little myth up the spout
00:23:15right i mean if you're saying now it's a kgb school of art it's obviously not stolen which
00:23:21was the smalling story so that's that out the window that they stole it
00:23:24what's it matter whether they stole it or faked it
00:23:26you believe it whatever they tell you you believe it that's what it matters
00:23:30you're like a great silly dog running after any dirty thing its master chucks it
00:23:37who's on this les it's a fake oh yeah it's a fake it's a fake
00:23:42it's stolen oh yeah it's stolen it's not a picture it's a can of beans oh it's not a picture
00:23:48it's a can of beans but you've got to admit it les get out of here get out of here
00:23:59oh dear jesus christ les come on out get out please get out holly go on
00:24:13did he kick it
00:24:14i think it did
00:24:37that's what it looked like anyway couldn't see the picture but that's what it looked like
00:24:44oh dear oh dear
00:24:51you didn't see did you
00:24:54could you see nick but did he kick it yeah
00:25:02bad was it badly damaged i couldn't see i didn't i didn't take it in
00:25:08but he did kick it oh yeah he definitely kicked it
00:25:36i think no one said a word about it saying not a word oh definitely
00:25:44i don't know
00:25:45on the other hand at least it's a it seems it's a fake probably not as serious as
00:25:56is he coming you know
00:26:02perhaps one of us should go and see
00:26:11hello it's less stone dear where's mr anderson there could i have a word it's rather urgent
00:26:23mr anderson it's less stone here i wonder if you've got a moment uh could you come down to the
00:26:29basement sir
00:26:31there's been an accident with a painting sir
00:26:36thank you sir it's in the appraising room
00:26:38it's in the appraising room
00:26:48go away derek if you don't mind
00:26:51just push off there's a good friend
00:27:17oh god
00:27:20oh god
00:27:23that's what happened
00:27:36so tell me what happened
00:27:41well
00:27:42it was me
00:27:44i kicked it
00:27:46any particular reason
00:27:49i lost my temper
00:27:51who was i was having a
00:27:55discussion about the painting and things to do with the painting with mclaren sir and
00:28:00it got out of hand
00:28:02it got out of hand
00:28:02and you kicked the painting
00:28:04yes sir
00:28:06instead of kicking mclaren
00:28:07yes
00:28:08i wish you kicked mclaren
00:28:15so do i
00:28:16so do i sir
00:28:16he was saying things i couldn't accept
00:28:20i'm very sorry
00:28:22yes
00:28:23whereabouts was the painting
00:28:24on the floor by the wall there sir
00:28:27there are a few flakes of paint here
00:28:30um be a good man and put any flakes of paint you find in there
00:28:36that's serious is it sir
00:28:37it's very serious yes
00:28:40now i thought perhaps because the painting had been brought down here sir
00:28:47and listen
00:28:52i'm not get derrick mallard to deal with him would you
00:28:57a friend of mine
00:29:00koenig you say
00:29:01doesn't ring a bell tell him i'm out soon
00:29:03so i'm not available for the rest of the afternoon except in the diarist emergency
00:29:06get derrick mallard to deal with any inquiries would you
00:29:10koenig
00:29:11i don't know anybody called koenig
00:29:14hello jenny is john in his room do you know
00:29:18oh i imagine he is yes never mind thanks
00:29:22koenig
00:29:23yes if only you could have done it half an hour earlier
00:29:26now we've rung the leningrad people and they're sending their representatives over to look at it
00:29:32and they ain't going to like what they see from russia no no from paris they have an office there
00:29:37oh there we are
00:29:41oh my god
00:29:44oh my god oh my sainted aunt i hadn't realized it was so bad
00:29:52it is repairable for some reason i
00:29:54oh my god i thought it was a what's it called a
00:30:00a dent
00:30:02it's very bad
00:30:04i'm very sorry
00:30:06i'm very sorry
00:30:09yes
00:30:10yes of course
00:30:11what do we do jeffrey what are we going to do
00:30:14they're coming in the morning
00:30:15oh it's less down here oh this could i have
00:30:17uh not now george down the corridor see someone down the corridor
00:30:20we're busy sorry sorry excuse
00:30:24so let's go upstairs shall we all right yes
00:30:33does anyone know about this a couple of the other department quarters sir but i doubt if they saw
00:30:37exactly uh absolute discretion you understand that don't julius yes of course sir and if you
00:30:44could make sure that the others understand i'm sure that will go without saying sir i'm sure
00:30:49you're right but best say it's all the same yes now you've already had a word with them about
00:30:54the visit tomorrow morning yes sir that's as you would expect good lock this door when you leave
00:30:59and stay near the office phone would you very well sir may i say before you go sir how very
00:31:05very
00:31:05sorry i am of course of course we'll come back to you
00:31:15we're in an impossible position
00:31:19oh my heavens
00:31:25perhaps you to drop the matter of it being a thing we've said it now we can't really drop it
00:31:29that might really set them thinking well at least it will stop them coming in the morning
00:31:32no it would only need them to send linden in to have a look he'd find that it wasn't hung
00:31:37well then what do we do you see i really feel
00:31:41leaving aside the matter of authenticity for the moment i really fear that if this picture is
00:31:46withdrawn from the sale now particularly if it's through any fault of ours it could do us terrible
00:31:52damage apart from the immediate financial loss there's the risk of litigation
00:31:58ghastly publicity which both the russians and our competitors would do their best to
00:32:02stir up and it could not merely lose us the lead we've established in this market it could put us
00:32:08out of the race altogether hand the whole russian market over to our competitors and that would
00:32:14sadden me oh yes oh yes but what do we do you see my feeling is that in fairness to
00:32:21ourselves here
00:32:23we should go into the possibility of a discreet repair but these chaps are coming tomorrow morning
00:32:29oh yes yes it would have to be done before then oh it's impossible it could be done could it
00:32:38have you
00:32:40ever known of it i believe it could we'd have to take advice what time are they coming eleven but
00:32:46they'll
00:32:46spot it won't they won't they bring their little blue lamps and pick it out immediately they won't
00:32:51be looking for it i doubt if they'll bring their little blue lamp they might ask us to use ours
00:32:55no
00:32:56no they won't think of this they won't be looking for this and if they did find it they'd probably
00:33:00keep quiet about it because they'd think the comrades back home had done it yes well can it be done
00:33:08in the
00:33:08time i very much started i think it can we can't take it to anyone around here it'll be around
00:33:13the
00:33:14neighborhood like wildfire every gallery in london no we couldn't take it to anyone near here who had
00:33:19you in mind trevor bovine isn't he retired semi one of the reasons i thought it'd be suitable where does
00:33:27he have his studio at his home out at kingston does he yes at least he's out of the swim
00:33:34out there
00:33:35why don't i give him a ring right away shouldn't we plan what you're going to say i should simply
00:33:41say that we've got a painting that needs repair yes you will be careful what you say of course
00:33:50trevor bovine jeffrey anderson here i was wondering whether you could help us we've got a damaged painting
00:34:01are you still working in that line do you think you could help us we need it in a bit
00:34:07of a hurry
00:34:10shall i bring it out for you to have a look at
00:34:14would it be all right if i brought it out right away we need it for tomorrow morning
00:34:24right i shall be with you within the hour now have you got
00:34:32what'd you say not very much he's not an easy man but there i'll go straight away i'll take
00:34:38les stone with me right you don't think i should come do you not really no we're not certainly going
00:34:44to agree to do it are we no you don't think my presence would help no not at this stage
00:34:48perhaps
00:34:49you should put in an appearance later in the day well that might be better keep up morale
00:34:54trouble is i've got a dinner yes i've got rigoletto no really that's tonight you must tell me what
00:34:59you think of that yes of course it's all academic unless you'll do it hello les wrap the painting and
00:35:07put it in a cab and wait for me at the front i'll be with you immediately all right immediately
00:35:12yes
00:35:14yes so he'll have to go yes yes you'll have to he'll keep your posted yes
00:35:49good afternoon george
00:35:51good afternoon
00:36:08the only trouble with this fellow is that he tends to make promises that he doesn't then keep
00:36:15so even if he says all right you think he might not have it for the morning exactly could be
00:36:20a bit
00:36:20embarrassing for us he's so confoundedly monosyllabic one never knows where one is with him
00:36:27and of course he doesn't know that you're the culprit no
00:36:36and if i know him he won't ask he misses out on a lot of gossip thereby attracts a lot
00:36:41of customers
00:36:43whom he charges exorbitant fees
00:36:48i'll assume that he'll be working all night on the picture if he thinks he can do it at all
00:36:51he'll have to
00:36:54perhaps it would help if i was to stay stay with him i could perhaps keep him up to the
00:37:00job
00:37:01hmm that's not a bad idea we'll put it to him and see how he reacts and just say i
00:37:07uh i could be of
00:37:09assistance yes that might be a good idea
00:37:31how much
00:37:34Yeah, this is a long time.
00:38:05Yes?
00:38:06Is Mr. Bovine there?
00:38:09Is he expecting you?
00:38:10He is.
00:38:11Anderson?
00:38:12Is that Anderson?
00:38:14Is he Mr. Anderson?
00:38:16That's right.
00:38:17Mr. Anderson and another gentleman.
00:38:20Come in, come in, taking a notice of her.
00:38:23Bring in the patient.
00:38:27Hello, Trevor.
00:38:28Hello.
00:38:29It's been a long time.
00:38:30Has it?
00:38:32This is Les Stone, our chief porter.
00:38:35How do you do?
00:38:35Porter, eh?
00:38:36Well, you porter along here.
00:38:37We don't want to stand around here gossiping, do we?
00:38:38Come on, follow me.
00:38:40Three coffee as quick as you can.
00:38:41You'll like coffee, I see.
00:38:43Yes, thank you.
00:38:44But do you like the stuff she makes?
00:38:45A lot's a different matter.
00:38:47You can never be sure, can you, eh?
00:38:50That's the thing.
00:38:51You can never be sure.
00:38:54Right.
00:38:56In here, Mr. Stone, if you please.
00:39:13Ah, Vincent.
00:39:16You didn't tell me it was Vincent, did you?
00:39:19After Vincent.
00:39:20After Vincent, yeah?
00:39:23You're the expat.
00:39:27Oh.
00:39:29Someone kicked it, huh?
00:39:30I couldn't say.
00:39:32Yeah.
00:39:33Leather-soled shoe.
00:39:36Short, sharp kick, I'd say.
00:39:38Because I could be wrong.
00:39:39Oh, yes, I see what you mean.
00:39:41You see that rim-like effect here?
00:39:45Toe over shoe, I'd say.
00:39:48Turn her around, uh, would you?
00:39:59Best view of a picture, some would say.
00:40:18I could recite this label here, put it over the back.
00:40:24Hmm.
00:40:26Uh-huh.
00:40:28Do you think you can do it?
00:40:30Oh, yes, I can do it all right.
00:40:32By the morning?
00:40:34I've been working all night.
00:40:35Yes, of course.
00:40:36One would take that into account.
00:40:39Oh, I'd have to.
00:40:44Yes, all right.
00:40:45As long as I don't drop off.
00:40:47No, absolutely.
00:40:48And you think you can make it pretty well undetectable?
00:40:52That'd be the idea.
00:40:56Twirl around again, would you?
00:41:10Must have been quite a loss here.
00:41:12We've got an envelope with some paint flakes.
00:41:15Ah, got a little snappy.
00:41:16And I've brought you a photograph.
00:41:18Well done.
00:41:20And we were wondering on the way out here
00:41:22whether you could find any use for an assistant.
00:41:24Whether it would be of any help to you
00:41:26if Lez were to stay on and help you in any way.
00:41:29I want someone to keep an eye on me, eh?
00:41:30Well, that's all right.
00:41:31As long as he can make coffee, it doesn't get in the way.
00:41:34Oh, no, no, of course you won't.
00:41:35As long as I don't have to pay him.
00:41:37No, no, of course not.
00:41:39Mm-hmm.
00:41:41Mm-hmm, mm-hmm.
00:42:02Mm-hmm, mm-hmm, mm-hmm, mm-hmm.
00:42:20I don't know.
00:43:02Sugar.
00:43:04Sugar.
00:43:04Four.
00:43:06Sweet, too.
00:43:19There we are, not too close.
00:43:54Mine?
00:43:56Yes.
00:43:57Sugar?
00:43:58Four on the sturdip.
00:44:00Good.
00:44:01Put it down close over that polyfitter, will you?
00:44:08Oh.
00:44:11Pretty good.
00:44:17Pretty good.
00:44:24I assume you did this.
00:44:26What?
00:44:27Kicked it.
00:44:28Good Lord, now.
00:44:31Why are you hanging around here all night?
00:44:33There's no need.
00:44:35Well, I suppose it's like you said.
00:44:37You want to be sure and get it for the morning.
00:44:41They asked me.
00:44:42It's part of my job.
00:44:45I've worked for them for 12 years.
00:44:51It's all this about it being a blasted fake.
00:44:55It is.
00:44:56It isn't genuine.
00:44:58It's genuine enough to me.
00:45:01I once tried a couple of Van Goghs myself.
00:45:04Wouldn't have convinced a schoolboy.
00:45:06Puts his paint on so damn thick.
00:45:08You can't do it just in that way.
00:45:11In the sale at the moment, is it?
00:45:13Yeah.
00:45:16You done fakes yourself, have you?
00:45:17Yes.
00:45:19Dutch school mainly.
00:45:21Pretty good at them.
00:45:23Used to cook them up in the oven.
00:45:25I've got a catalogue around here somewhere.
00:45:29Ah.
00:45:30Here we are.
00:45:33What the hell is a copy doing in a sale of this quality for the love of Moses?
00:45:40Is that the sort of...
00:45:41Out!
00:45:42Out!
00:45:46Bloody creature.
00:45:48I don't know how they come in here.
00:45:50Still they come.
00:45:54Sweep that up, would you?
00:45:56There's a broom on that corner there.
00:46:04Here we are.
00:46:06Lot 76.
00:46:09Doesn't say anything about after Vincent here.
00:46:13Didn't discover it until the sale went on view, eh?
00:46:19Not supposed to see that.
00:46:28How could anyone do that?
00:46:33I don't understand.
00:46:36Do you understand how anyone could do that?
00:46:43You will be able to repair it, will you?
00:46:45Dart it.
00:46:47Why not?
00:46:49I'll put his paint on too flat.
00:46:51Too monochrome.
00:46:53Nothing to lose the tear in.
00:46:56Better for him to do another picture.
00:46:58Piece of cake, that sort of painting.
00:47:01I could do one for him.
00:47:07They said in the papers that it would be repaired.
00:47:10Did they?
00:47:12The artist himself said that it would be.
00:47:15Did he?
00:47:16He said that it would be repaired and rehung within a couple of weeks.
00:47:20Did he?
00:47:22Well, you'd better come along and do it then.
00:47:27He's a boss, I suppose.
00:47:30I hoped he might have thought better of it.
00:47:31Okay.
00:47:33What?
00:47:44Should I hear you?
00:47:51Get off the plate?
00:47:53Yes, sir.
00:47:54Here are you.
00:47:55Here are you.
00:47:56Here are you.
00:48:02Oh, puss. Puss, puss, puss. Puss, puss.
00:48:08Well, I'm not friendly, she says.
00:48:13We're not going to disturb you, are we?
00:48:16Come in.
00:48:18We don't want to interrupt your endeavors.
00:48:21Have you met?
00:48:23This is John Burke White, our managing director.
00:48:26Uh, Trevor Bovine.
00:48:28No, curiously enough, I don't think we have, have we?
00:48:31I don't think so.
00:48:33I was just trying to make friends with a little tortoise show.
00:48:35We met on the landing, but she said no.
00:48:39Ah.
00:48:43So, how's it coming along?
00:48:49It seems to flatten down quite well.
00:48:53Yes, I'll have to sculpt it down there a bit when it's dry.
00:48:56Yes.
00:48:58Puts his paint on so damn thick.
00:49:02Who's that?
00:49:03Van Gogh.
00:49:04Puts his paint on so damn thick.
00:49:07Oh, he does, yes.
00:49:10The, uh, little Japanese tissue here is a bit of a giveaway.
00:49:19I thought we'd cover him up when he's gone off a bit with a customs label.
00:49:24A customs label around here somewhere.
00:49:26Steamed it off.
00:49:28They'll never notice.
00:49:30I've left the gallery label here.
00:49:33Such bloody sticklers, these Ruskies.
00:49:35Probably notice if you moved it.
00:49:37You have got that customs label, have you?
00:49:40It's around here somewhere.
00:49:42Don't you worry.
00:49:43And you reckon you're on schedule for the morning?
00:49:45Oh, yes.
00:50:14You certainly seem to be.
00:50:16For your work, which would be admirable at any time.
00:50:19But under these conditions, quite remarkable.
00:50:24Thank you so much.
00:50:26Good.
00:50:27Glad you're pleased.
00:50:31We'll see our own way out.
00:50:33Good night.
00:50:36Good night.
00:50:36Good night.
00:50:39Oh, er, Harberti.
00:50:42Yes?
00:50:44Is it all right for COD?
00:50:46You want cash?
00:50:48I can't do it first thing.
00:50:50I could let you have it after lunch.
00:50:54That'll do.
00:50:54I'll come in the afternoon.
00:50:57Better scribble the amount
00:50:58and send it in an envelope with layers in the morning.
00:51:03Geoffrey!
00:51:04Right, ho.
00:51:07Good night.
00:51:15Sorry I didn't wait, Geoffrey.
00:51:17You can't bear to be in that house another moment.
00:51:20Quite all right.
00:51:22God, what a disreptable character he is.
00:51:25Wasn't that an awful smell?
00:51:27It was cats, I think.
00:51:30Oh, I don't think so.
00:51:32No, it was him.
00:51:34Anyway, he's a remarkable craftsman.
00:51:36Oh, agreed.
00:51:37Very clever of you to think of him.
00:51:39Very opportune.
00:51:46Learstone will have to go.
00:51:48Yes.
00:51:48No, he will.
00:51:49You do understand that, don't you?
00:51:51I suppose I do.
00:51:52I can't really convince myself that it's essential.
00:51:55Oh, but it is.
00:51:56I sympathise, of course.
00:51:57But it is.
00:51:58I want you to tell him first thing in the morning,
00:52:01after he's brought the picture in.
00:52:03All right.
00:52:04No point in leaving it.
00:52:06Couldn't one just leave it till after the royal visit?
00:52:09No, these Russian people are coming directly after a royal highness,
00:52:12and I have to be able to tell them,
00:52:13in the event of them realising what's happened,
00:52:15I have to be able to tell them
00:52:17that the man's been sacked.
00:52:19Well, I thought they are on that sort of thing.
00:52:21Well, then, if they don't notice,
00:52:22we've sacked a good man.
00:52:26No, I'm not happy.
00:52:27I'm not happy about keeping a man like that.
00:52:30It's like a dog that's bitten.
00:52:32I really don't think he'll do it again.
00:52:35I wish I agreed with him.
00:52:37I've always hoped there was an emotional side to him,
00:52:40that I wasn't quite happy with him.
00:52:42But only in the nicest possible way.
00:52:45Perhaps.
00:52:46But can one afford to have a volatile character
00:52:49of any kind amongst these priceless things?
00:52:52I mean, simply as a principle, it's very doubtful.
00:52:55Here he is, he's kicked a painting.
00:52:57I don't think we can simply wait and see if he'll do it again.
00:53:00Well, how's to act?
00:53:02It was specifically a Russian painting.
00:53:08Of course.
00:53:10But, Jeffrey, you know better than I.
00:53:12We expect to do an increasing amount of business
00:53:14with all these Eastern Bloc countries,
00:53:16and I don't think we can afford
00:53:17to have a head porter in modern masters
00:53:20who kicks their paintings on principle.
00:53:22No, true.
00:53:24Poor old Lears.
00:53:26Oh, agreed.
00:53:27No one is more sorry than I.
00:53:30Of course, between ourselves,
00:53:31I sympathise absolutely with his feelings
00:53:34about those repulsive people.
00:53:37But, uh...
00:53:39Yes, sad business.
00:53:42Perhaps you might give him something.
00:53:44Yes, that's a good idea.
00:53:45A present.
00:53:47Or maybe cash.
00:53:49Better still.
00:53:49Oh, yes, he may be a bit short.
00:53:53Yes, I'm glad you thought of that, Jeffrey.
00:53:55I might not have done.
00:53:58Good.
00:54:09Morning, Liz.
00:54:11Morning, Tony.
00:54:19Hmm.
00:54:20It's very good.
00:54:22As long as one isn't looking for it.
00:54:25Which I suppose one won't be.
00:54:27Did you notice whether he put that label
00:54:29where he said,
00:54:29at the back of the tear?
00:54:30He did, yes, sir.
00:54:31He pointed it out to me.
00:54:32Hmm.
00:54:33I think, get someone to give you a hand
00:54:35with this, Les,
00:54:35and take it back up
00:54:36and rehang it.
00:54:37We want it to be there
00:54:38for the princess.
00:54:40And then I'd like you
00:54:40to get these two lamps
00:54:41out of sight.
00:54:42Best put them
00:54:42in the small office.
00:54:43And then
00:54:45I've got to have a word with you.
00:54:47Perhaps you'll come up
00:54:48to my room
00:54:48when you've done that
00:54:49in, in, uh,
00:54:51in, in about
00:54:51ten minutes' time.
00:54:52Very well, uh,
00:54:53yes, sir.
00:54:55Oh, by the way,
00:54:56he, uh,
00:54:57he gave me that for you, sir.
00:54:59Thanks.
00:54:59I'd best be getting on.
00:55:00There's an awful lot
00:55:01to get through.
00:55:05William.
00:55:07Come and give me a hand
00:55:07with this picture upstairs, please.
00:55:09What's that, Liz?
00:55:10We've got to rehang
00:55:11this lot out.
00:55:13I was wondering
00:55:14if we should get
00:55:14Derek Mallard
00:55:15to handle the Russians.
00:55:16Might seem a bit odd.
00:55:18Not knowing the situation,
00:55:19I thought it might be
00:55:20a bit easier for him.
00:55:21They'll want to talk to you,
00:55:22I'm afraid.
00:55:23Maybe we should all
00:55:24be there.
00:55:26No,
00:55:27I can't see any useful
00:55:28purpose in that.
00:55:30I'm very willing
00:55:31to see them up here,
00:55:32but I'd really rather not
00:55:33just come downstairs.
00:55:35Well, I'll get Derek Mallard
00:55:36to stand by me.
00:55:38I'll have to brief him.
00:55:40What do you mean,
00:55:41brief him?
00:55:41On the matter
00:55:42of authenticity.
00:55:43Oh, yes.
00:55:44But not on the other.
00:55:45Oh, no.
00:55:46No.
00:55:50I've got Les Stone
00:55:51waiting.
00:55:52I'd better
00:55:53go.
00:55:55Oh, he gave me this.
00:55:57It's Bovine's
00:55:59ransom note.
00:56:09Not much we can do,
00:56:10really,
00:56:11except pay.
00:56:19Get Derek Mallard
00:56:20to pop in and see me
00:56:21in 12 minutes' time,
00:56:22would you, Sheila?
00:56:23Come in, Les,
00:56:24would you?
00:56:29Do sit down,
00:56:30do.
00:56:32So,
00:56:34we're very grateful
00:56:35to you for doing
00:56:36all that last night.
00:56:37You must be
00:56:38absolutely whacked.
00:56:40Oh, I'm all right,
00:56:40sir.
00:56:41This is an awful
00:56:42business, isn't it,
00:56:43Les?
00:56:43Yes, I am.
00:56:44Awful, awful, awful.
00:56:46By the way,
00:56:46did you manage to get
00:56:47those lamps down
00:56:48in the appraising room?
00:56:49Yes, sir,
00:56:50I put them in a small
00:56:50office between the two.
00:56:52Good, good.
00:56:52Well done.
00:56:55Yes.
00:56:56Well, I think
00:56:57you know what
00:56:59I have to say, Les.
00:57:01I suppose I do, sir.
00:57:03I'm sure you understand.
00:57:06I do, sir.
00:57:07It's not my wish,
00:57:08my decision.
00:57:10It's felt,
00:57:11rightly or wrongly,
00:57:12that we can't simply
00:57:13overlook the matter.
00:57:14Our insurers,
00:57:15I'm afraid,
00:57:16would eventually
00:57:16force our hand
00:57:17in any case.
00:57:18But apart from that,
00:57:20there are considerations
00:57:20of confidence,
00:57:22our shareholders,
00:57:23our customers.
00:57:24We do have some
00:57:25very tricky customers.
00:57:26Understandably so.
00:57:27These are valuable things
00:57:28in a lot of cases.
00:57:31And then there's
00:57:32the financial loss.
00:57:33Even in this incident
00:57:34so far,
00:57:35there is a financial loss.
00:57:37And that's even
00:57:38if they don't,
00:57:38if these people
00:57:40don't notice anything.
00:57:42Of course,
00:57:42if they do,
00:57:43my goodness.
00:57:45And so,
00:57:46I'm afraid
00:57:47we really have
00:57:48no option,
00:57:49Lers.
00:57:49No, sir.
00:57:51It goes without saying
00:57:52that we'll provide you
00:57:53with flawless references.
00:57:56The very best
00:57:57that a man looking
00:57:57for work
00:57:58could hope for.
00:57:59Thank you, sir.
00:58:00But I'm afraid
00:58:01that's all we can do.
00:58:03I understand, sir.
00:58:09I'm very sorry,
00:58:11No, sir,
00:58:11you mustn't.
00:58:12But it was my doing
00:58:13after all.
00:58:15What would you like me
00:58:16to do, sir?
00:58:18What would you like
00:58:19to do, Lers?
00:58:22Perhaps I should
00:58:22just slip away.
00:58:24Probably the best
00:58:25to make a clean break.
00:58:26I mean,
00:58:27do stay for the visit
00:58:28if you'd like.
00:58:29Well,
00:58:31I haven't had time
00:58:32to change.
00:58:33I don't want to spoil
00:58:34things looking like this.
00:58:35No, I think I'll just
00:58:37slip away.
00:58:39As you think best.
00:58:40I'm sorry I've got to rush,
00:58:42but I've got such a morning.
00:58:45I'll go, sir.
00:58:46We'll make sure
00:58:46that everything's
00:58:47sent on to you.
00:58:49Thanks for being
00:58:50so decent about it, Lers.
00:58:52I'm sorry it ever happened, sir.
00:58:56Oh, and Lers,
00:58:57there will be a gift.
00:58:59A token of our gratitude
00:59:01to you.
00:59:03Thank you, sir.
00:59:11No, of course not.
00:59:13What's the point
00:59:14of wearing a suit, then?
00:59:16No one said
00:59:17nothing about suit.
00:59:18Les never said
00:59:19nothing about wearing a suit.
00:59:20It was just collar and tie.
00:59:22Oh,
00:59:23and we're going to be
00:59:23bollock naked
00:59:24apart from a collar
00:59:25and tie, I suppose.
00:59:27I bought this suit,
00:59:29especially.
00:59:30Well, you wear it,
00:59:32but you wear it
00:59:33under your overall.
00:59:34How's she going to know
00:59:35you're a portler
00:59:36if you're wearing a suit?
00:59:37I don't care
00:59:38if she knows I'm a portler.
00:59:39Well, you and all portlers
00:59:40wear your overalls.
00:59:42Now, how's it going to look?
00:59:44Oh, there he is.
00:59:45Talk to the devil.
00:59:46Morning, Les.
00:59:47Pour him a cup of tea, Tony.
00:59:49Have a cup of tea, Les.
00:59:50What have you been up to, Les?
00:59:53I've had some work to do, Tom.
00:59:57I've had some work to do, Tom.
01:00:00OK.
01:00:02Les decides.
01:00:04Les,
01:00:05do I have to wear my overall
01:00:07over my suit
01:00:07up in the lobby?
01:00:09Yeah, of course you do.
01:00:10Why?
01:00:12Because all porters
01:00:13wear their overalls upstairs.
01:00:15I hope you brought
01:00:16a clean overall.
01:00:17I haven't.
01:00:19Well, in that case,
01:00:21thanks.
01:00:23In that case,
01:00:24you needn't be in the lobby door.
01:00:28You lot ought to be on your way.
01:00:31Don't rush at the last minute.
01:00:39Les,
01:00:40I bought this suit
01:00:41especially.
01:00:42Put your overall on
01:00:43and get up there.
01:00:45That's a good lad.
01:00:51Nothing all right?
01:00:53Yeah.
01:00:54See you up there.
01:01:33Her car is just leaving.
01:01:35She'll be here shortly.
01:01:37Walter,
01:01:38I wonder,
01:01:39would you go through
01:01:39and tell George?
01:01:40Oh, I've got to see.
01:02:07Oh, Walter,
01:02:08next to David,
01:02:09please.
01:02:11The car's just come around
01:02:12the corner, Mr. Blanker.
01:02:13Ah, thank you.
01:02:14Jeff.
01:02:44Mr. Burk White.
01:02:46How do you do?
01:02:47May I introduce Mr. Leonid Pankovsky?
01:02:49How do you do?
01:02:50Very nice.
01:02:51And Mr. Konstantin Shirok-Garokhin.
01:02:54How do you do?
01:02:57And this is Jeffrey Anderson.
01:02:59How do you do?
01:03:00How do you do?
01:03:03Come in, dude.
01:03:10Forgive me, but you're an hour early.
01:03:15It's 10 o'clock.
01:03:17That's Paris time.
01:03:18But we've come from Paris.
01:03:21Excuse me, please.
01:03:21What are you talking about?
01:03:23Oh, forgive me, please.
01:03:25Jeffrey, come in.
01:03:26Uh, first of all, please.
01:03:28Please cut.
01:03:28So, I want to see you.
01:03:45Very nice to see you.
01:03:48Very nice to see you.
01:03:50do come this way
01:04:10thank you
01:04:10your royal hand is
01:04:32Your old hands may introduce Leonid Pankovsky.
01:04:35Very pleasure.
01:04:37And this is Konstantin Shirogoshkin.
01:04:39Shirogoshkin.
01:04:41Shirogoshkin.
01:04:42Your Majesty.
01:04:44Interpreter.
01:05:03Have they given you the bullet?
01:05:10What's happened about that picture?
01:05:13It was alright.
01:05:15There was nothing wrong with it.
01:05:39You're just going to go, quietly.
01:05:43That's it.
01:05:44You ought to stick up for yourself, Liz.
01:05:46You could...
01:06:01Oh, and this is the new Van Gogh, which we've just been discovered earlier.
01:06:06It's a new one.
01:06:07From Russia.
01:06:08Well, from Paris.
01:06:10You see, I haven't seen it before.
01:06:12It's very exciting, indeed.
01:06:14Very late, as you said, I think.
01:06:16Very late, as you said, we've decided to rehang the painting.
01:06:29Как вы видите, мы решили выставить опять вашу картину.
01:06:33We did have it done, and we looked at it very carefully.
01:06:36Нам пришлось ее снять и внимательно исследовать.
01:06:39And though there was an opinion expressed that I respect.
01:06:44And although there was a doubt that it is, there is a doubt that it is.
01:06:50There is a doubt that it is.
01:06:50I think, on the whole, we should let it go into the room.
01:06:54In the sense of view, I believe that we can turn the painting into the room and see what the
01:06:59market decides.
01:07:01Look at how to decide the free market.
01:07:03Ah, when you...
01:07:03Do you have any feelings?
01:07:05Как вы думаете, по этому поводу?
01:07:08А, ну, вообще, конечно, хорошо, что...
01:07:11Oh, yes, down in the country, of course.
01:07:13Anyway, Sheila said, why don't you put it in as a woman in it?
01:07:15Oh, of course.
01:07:16She broke off in an absolutely flat spin.
01:07:18There was no way in it.
01:07:20There was no way in it.
01:07:23There was no way in it.
01:07:36But, um, I don't know, I think we should let it go into the room and see.
01:07:40I'm sure you're right.
01:07:41I'm sure.
01:07:42Why don't you come over and have a talk with her Royal Highness?
01:07:50Would that be nice?
01:07:53And who knows, she might turn out to be your effective fertilizer.
01:07:58Who knows, she might turn out to be your future owners.
01:08:01Thank you very much.
01:08:33One million pounds. New bidder. One million pounds on my right. One million, one hundred thousand. The back of the
01:08:46room. One million, one hundred thousand pounds. The back of the room. It's against you, sir.
01:08:55One million, one hundred thousand at the back of the room. One million, two hundred thousand. And your bid, sir.
01:09:04One million, two hundred thousand pounds on my right. Against you at the back of the room, sir.
01:09:12One million, three hundred thousand. Your bid at the back, sir. No, it's against you, sir. One million, three hundred
01:09:23thousand pounds at the back of the room.
01:09:27One million, four hundred thousand. New bidder. One million, four hundred thousand pounds. Lady on my right.
01:09:38One million, four hundred thousand pounds. The lady's bid on my right. But one million, four hundred thousand pounds anymore.
01:09:47One million, five hundred thousand.
01:09:49New bid on the telephone. Telephone bid. One million, five hundred thousand pounds on the telephone. It's against you, madam.
01:09:57One million, six hundred thousand. At one million, six hundred thousand pounds. Against you on the telephone. Against the rest
01:10:04of you in the room.
01:10:05at £1,600,000 any more.
01:10:09Yours, madam.
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