- 19/06/2025
Category
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FunTranscript
00:00Uh, uh, well, well, well.
00:30Good morning.
00:37Good morning.
00:38Good morning.
00:39Right.
00:40Can I help you?
00:41Yes, you'll face my arse.
00:43No.
00:44I said, can I help you?
00:47Oh, I see.
00:48Um, yes, I'd like some information, please.
00:51Yes?
00:52Well?
00:53Well, what?
00:54I'd like some information, please.
00:55Yes, but what sort of information would you like?
00:57Well, what sorts have you got?
00:59I beg your pardon?
01:00What sorts of information have you got?
01:02Well, we have all sorts.
01:03Such as?
01:04Such as the average weight of an adult rabbit?
01:08Well, lie me.
01:09I never knew that.
01:14You never knew what?
01:15I never knew rabbits had an average weight.
01:17Oh, yes.
01:18Have you got any other information?
01:20Well, yes, but you have to ask me questions, you see.
01:22Oh, and then you'll tell me the answers.
01:24That's right.
01:25If I ask the questions.
01:26Right.
01:27Right.
01:28What's the name?
01:29Yes.
01:30What's the name of the man who taught me English at school?
01:33That really isn't the kind of thing.
01:36Ah, ah, yeah.
01:37Ah.
01:38All right.
01:39His name was Colin Drip.
01:40That's right.
01:41Drippy, you used to call him.
01:44Drippy?
01:45God, that takes me back a bit.
01:47Oh, now, yeah, there was a bloke in our class.
01:49What was his name?
01:50Uh.
01:51Adams.
01:52Attisham.
01:53Bennett.
01:54Connor.
01:55Hotson.
01:56Oh, Hotson.
01:57That's it.
01:58Ned Hotson.
01:59Oh, blubber.
02:00He used to drive old Drippy up the wall.
02:01Do you know what he used to do?
02:02Yes.
02:03I wonder what happened to him?
02:06He married a girl called Susan Trite and they now live in Fenton, near Worcester.
02:10Hmm.
02:11I don't think I ever met her.
02:12Yes, you did.
02:13July the 4th, 1972, on top of a number 29 bus going down the Garboldisham Road.
02:18She told you about the Bay City Rollers and you were in love with her until the following
02:22Wednesday.
02:23You've got quite a lot of information then.
02:28We do try to provide a service.
02:31Anything else?
02:32Yes.
02:33Can you tell me?
02:35Yes.
02:36Can you tell me how to be happy?
02:39How to be happy?
02:41How to be happy.
02:42I'm afraid that information is restricted.
02:44But you do have it.
02:47Oh, yes.
02:48But it's restricted.
02:49That's right.
02:50Oh.
02:51Contented?
02:52Yes, thank you.
02:53No.
02:54Have you got any information on how to be contented?
02:56Oh, I see.
02:57Yes, we do have information on that.
02:58Well, can I have it, please?
03:00I'm afraid it is a secret.
03:01Oh, go on.
03:02Oh, all right.
03:03The secret of contentment is...
03:05Yes?
03:06...not to ask any questions.
03:08Oh, well.
03:11I haven't actually met her, of course.
03:14It's one of my biggest regrets.
03:16In many ways.
03:17In fact.
03:18Fine.
03:19What are those new ones that get to black and white?
03:23But I was away on business when we got married.
03:26And we've both been so frantically busy since then.
03:29It doesn't have to be like this, you know.
03:33I know what she looks like, of course.
03:35And the vehicle does belong to you, does it, sir?
03:38Yes.
03:39Were you driving it at the time?
03:42Yes, I was.
03:43Yes.
03:44All right.
03:45Do I just have your name, please, sir?
03:46Right.
03:47Hold on a second.
03:48Ready?
03:49Yes.
03:50My name is Derek.
03:51What are you doing?
03:55That's my name.
03:56What is?
03:57This.
03:58Derek.
03:59What?
04:00Derek.
04:01Is your name?
04:02Yes.
04:03What kind of name is that?
04:04Well, it's my name.
04:05Bit unusual, isn't it, Mr.
04:06Uh...
04:07What?
04:08Derek.
04:09Is your name?
04:10Yes.
04:11What kind of name is that?
04:12Well, it's my name.
04:13Bit unusual, isn't it, Mr.
04:15Uh...
04:16If I had a pound for every time someone had said that to me.
04:21Um, how do you spell...
04:23Mr...
04:24It's as it sounds.
04:25Yeah, but if you wouldn't mind.
04:26I'm sorry.
04:27I'm sorry.
04:28I'm sorry.
04:29I'm sorry.
04:30I'm sorry.
04:31I'm sorry.
04:32I'm sorry.
04:33I'm sorry.
04:34I'm sorry.
04:35Yeah, but if you wouldn't mind spelling it for me.
04:37Well, I mean, can't you, I mean...
04:38I would be very grateful if you would spell it for me.
04:40All right, then.
04:41N-I-P-P-L hyphen E.
04:51Nipple.
04:53Beg your pardon?
04:54Nipple.
04:56Nipple?
04:57Where?
04:58What are you talking about?
04:59N-I-P-P-L-E.
05:01Hyphen E.
05:02Hyphen E.
05:03My book spells Nipple.
05:05It does not spell...
05:09Have you gone mad?
05:10What are you talking about?
05:11I thought the modern policeman was supposed to be a highly trained law enforcement unit.
05:15You can't even spell.
05:16All right, Mr. Nipple, if I can have your address, please.
05:22Your address, please.
05:23You're talking to me?
05:24Yes.
05:25You want to know my address?
05:26Yes, please.
05:27Mr. Nipple's address.
05:30Your address, please.
05:31My address.
05:32Right.
05:33My address is number 22.
05:37Watch it.
05:38What?
05:39Just watch it.
05:40Watch what, for heaven's sake?
05:41Do you realise that assaulting a police officer is a very serious offence?
05:44Yes, I imagine it probably is.
05:45Very serious.
05:46But giving your address to a policeman, on the other hand, probably isn't so serious.
05:49Or is it?
05:50Perhaps the law's changed since I last looked.
05:51Perhaps the Home Secretary has had to take stern measures against the rising tide of people giving their address to policemen whenever they're asking.
05:58All right.
05:59All right.
06:00Let's just check this with you, shall we, Mr...
06:03Yes?
06:04Your address is 22...
06:12...Lyn.
06:13Oh, no, no.
06:14What's the matter with you?
06:15It's 22...
06:18King's Lynn.
06:19Oh, I'm sorry.
06:20I thought it was 22...
06:24King's Lynn.
06:25Well, it isn't!
06:27Don't give me any handwriting.
06:28Well, get a typewriter.
06:30Well, if only we can afford a typewriter, then.
06:33Do you know, it's funny.
06:34From some angles, it looks like 22...
06:41King's Lynn.
06:42That was too...
06:43Yeah, well, like you say, sir, we should get a typewriter.
06:50That was too hard.
06:52Well, you must admit, difficult address to get the hang of, isn't it?
06:55Never mind the frigging sketch.
06:56That was too hard.
06:57That really hurt.
06:59Oh, please don't.
07:03He's just a child, really.
07:04From another angle, it might easily look like a liquid.
07:10Until you drink it.
07:11So let's talk instead about flexibility of language.
07:14Linguistic elasticity, if you like.
07:16Yes, I think I said earlier that our language, English...
07:19As spoken by us.
07:20As we speak it, yes, certainly, defines it.
07:22We are defined by our language, if you will.
07:25Hello.
07:26We're talking about language.
07:28I can illustrate my point.
07:30Let me at least try.
07:32Here's a question.
07:39What is it?
07:41Well, my question is this.
07:43Is our language, English, capable...
07:46Is English capable of sustaining demagoguery?
07:51Demagoguery?
07:52Demagoguery.
07:53And by demagoguery, you mean?
07:54By demagoguery, I mean demagoguery.
07:55I thought so.
07:56I mean, um, highly-charged, oratory, persuasive, whipping-up rhetoric.
08:01Listen to me, listen to me.
08:03If Hitler had been British, would we, under similar circumstances,
08:07have been moved, charged up, fired up by his inflammatory speeches,
08:10or would we simply have laughed?
08:12Is English too ironic to sustain Hitlerian styles?
08:16Would his language simply have run false in our ears?
08:19We're talking about things ringing false in our ears.
08:22Um, may I compartmentalise?
08:23I hate to, but may I?
08:25May I?
08:27Is our language a function of our British cynicism, tolerance,
08:31resistance to false emotion, humour, and so on?
08:34Or do those qualities come extrinsically, extrinsically,
08:39from the language itself?
08:40It's a chicken and egg problem.
08:42We're talking about chickens, we're talking about eggs.
08:44Um, let me start a leveret here.
08:47Um, there's language, and there's speech.
08:51Um, there's, there's chess, and there's a game of chess.
08:55Mark the difference for me, mark it, please.
08:58We've moved on to chess.
08:59Imagine a piano keyboard, um, 88 keys, only 88, and yet, and yet, hundreds of new melodies, new tunes, new harmonies,
09:09are being composed upon hundreds of different keyboards every day in Dorset alone.
09:12Now, our language, tiger, our language, hundreds of thousands of available words,
09:21frillions of legitimate new ideas, hmm, so that I can say the following sentence,
09:25and be utterly sure that nobody has ever said it before in the history of human communication,
09:29Hold the newsreader's nose squarely, waiter, or friendly milk will countermand my trousers.
09:39Perfectly ordinary words, but never before put in that precise order.
09:45A unique child delivered of a unique mother.
09:48And yet, oh, and yet, we all of us spent all our days saying to each other the same things time after weary time.
10:01I love you, don't go in there, get out, you have no right to say that, stop it, why should I, that hurt, help, Marjorie is dead.
10:08That surely is a thought to take out for a cream tea on a raining sunny afternoon.
10:13So, so to you, language is more than just a means of communication?
10:15Oh, of course it is, of course it is, of course it is, of course it is, of course it is.
10:19Language is my mother, my father, my husband, my brother, my sister, my whore, my mistress, my checkout girl.
10:24Language is a complimentary moist lemon-scented cleansing square or handy freshen-up wife-net.
10:30Language is the breath of God. Language is the dew on a fresh apple.
10:34It's the soft rain of dust that falls into a shaft of morning light as you pluck from an old bookshelf a half-forgotten book of erotic memoirs.
10:42Language is the creek on a stair. It's a spluttering match held to a frosted pane.
10:49It's a half-remembered childhood birthday party. It's the warm, wet, trusting touch of a leaking nappy.
10:55The hulk of a charred panzer. The underside of a granite boulder. The first downy growth on the upper lip of a Mediterranean girl.
11:01It's cobwebs long since overrun by an old Wellington boot.
11:06No night.
11:07No night.
11:08No night.
11:09America.
11:10America.
11:22America.
11:26America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America, America
11:56The states, the states, the states, the states, America, America, America, America, America.
12:21Well, thank you. That was the unmistakable sound.
12:25Right now, my next guest wrote his first novel way back in 1972.
12:30The Year of Flair, Susie Quattro, The Glitter Band, all that stuff.
12:34He's been writing ever since. He's got a new one coming out now.
12:36He's a bit of a cult dude with the Sapporo and Tsushima set.
12:39So let's now say a big hi to Richard Morley.
12:52Take the weight off your paragraphs.
12:55Now, this novel, what's it called?
13:00Well, the novel I've just written is called The Emperor of Disgust.
13:03Emperor of Disgust. Well, that sounds pretty heavy.
13:05Heavy?
13:06So, what's it about?
13:08Well, haven't you read it?
13:10Well, I mean, for the viewers at home. I mean, obviously they haven't read it.
13:13Well, how come they've done it? It isn't published till tomorrow, is it?
13:16Well, it's not very easy to describe the plot exactly because it's quite complicated.
13:21Yeah, highbrow stuff, I'll bet. So, where's it set?
13:24Well, it's in a number of, you know, different countries over several centuries.
13:29Yeah, yeah.
13:30Basically...
13:31Tell me, do you use a word processor?
13:33It's something I've always wanted to know about writers.
13:35You know, do you use a pencil, pen, typewriter, what?
13:38Well, I do use a word processor, yes.
13:40Yeah, yeah.
13:41I used to use a typewriter, but I discovered that...
13:42Yeah, how many novels have you had, in fact, actually published?
13:45Well, The Emperor of Disgust will be my seventh novel.
13:48Seventh?
13:49So, you take it pretty seriously, then?
13:52Well, yes, I do. Yes, I take it very seriously.
13:54Yeah.
13:55It's my living, you see. It's my job.
13:56Yeah.
13:57Where do you get your characters from? Real life?
13:59Well, it's, I suppose, a sort of amalgam, in a way.
14:01Yeah? You're going to put me in one of your books, are you?
14:05Well, I think I might, actually, yes.
14:07Yeah?
14:08Yes.
14:09I have to say, I think you're one of the most repellent and flatulent-minded people in the night.
14:13In many respects, ideal fodder for a novelist.
14:19I don't know what you're laughing at. I find you vapid, irrelevant and a waste.
14:24Yeah, now, seriously, Richard...
14:26I am being serious. I am being serious, you repulsive ball of spittle.
14:31And who told you you could call me Richard? Hmm?
14:33You know, I mean, you're rotting in hell and you haven't the first idea about it, have you?
14:37Now, your last book...
14:39My last book? You don't know anything about any of the books I've written,
14:41except what that daffy researcher you sent round tells you.
14:43Your head is so full of pappy drivel and greasy...
14:47You know, crass brash ignorance.
14:50There's not room in it left for a single idea, is there?
14:53This is brilliant.
14:55Oh, it's brilliant, is it? I suppose it's good television, is it?
14:58I suppose it shows you at the cutting edge of dangerous broadcasting.
15:01Well, let me tell you, I find you about as dangerous as a chocolate hobnob.
15:07Look at you, sitting there like a fat-smug...
15:10Oh, I've forgotten the next bit now.
15:13How's it...? No, no. Oh, look, Vince, we go live on air in ten minutes.
15:17He's supposed to know this. Come on!
15:20Let's have a script, script, come on.
15:22I'm sorry.
15:23Ten minutes, come on.
15:24Oh, yes.
15:25It's a fat-smug git who's just won a BAFTA.
15:26Who's just won a BAFTA, that's right.
15:27Luke, you're sitting there like a fat-smug git who's just won a BAFTA.
15:31Yeah.
15:32Have you any idea...
15:33...how degrading the meaning to the human spirit people like you really are?
15:37People like you are.
15:38All right, then, I'll ask you, you know, where the book's on sale, how much it costs.
15:42Um, then we'll play you out after that.
15:44That's a bit of chat. Blah-de-blah-de-blah-de-blah.
15:47And what's next?
15:50Hello, Control.
15:51Oh, hello, Tony.
15:53How are you today?
15:54Very well, thank you, as it happens, Control.
15:56Good.
15:59Yes.
16:00So, what can I do you for?
16:04Well, this just came through Flash from Berlin, sir.
16:07I thought perhaps you might like to take a look at it.
16:10Flash from Berlin, eh?
16:11Yes, perhaps I'd better had.
16:12We've got quite a few important agents in Berlin, haven't we?
16:16So it might be something quite urgent, I expect.
16:18Yes.
16:28I see Valerie has decoded it for me.
16:30That's very kind of her.
16:31It saves me quite a lot of work.
16:33I must remember to thank her.
16:34That would certainly be a nice gesture, sir.
16:38Well, I don't know if you had a chance to glance at this before thoughtfully bringing it in to me, Tony.
16:44But, um, it's quite an urgent communication from Firefly, our network chief in Berlin.
16:49Yes, I did just have time to glance at the code name.
16:52Firefly is under deep cover.
16:54Has something quite important happened to make him break it?
16:57Yes, I'm afraid it has.
16:59It seems as if the entire network has been penetrated by an enemy agent.
17:03Oh, no.
17:06I'm afraid so.
17:07It seems that Glow Worm was shot trying to escape into the west.
17:11Um, Firefly himself is holed up in a safe house somewhere towards the east of that city.
17:17So, the whole network's been blown.
17:18Eh, I'm afraid so.
17:21It's a thundering nuisance.
17:23It really is thundering.
17:24Yes.
17:25I'm severely vexed.
17:26I don't mind telling you.
17:30I expect a coffee would come in welcome then.
17:33Well, it couldn't hurt, could it?
17:35No, not one.
17:37I'll get Valerie onto it.
17:38That's ever so kind of you, Tony.
17:40Let's hope it's not going to be another one of those days, eh, Control?
17:45Like Thursday.
17:47Oh, that's all we need.
17:48I don't know.
17:50See you then, Tony.
17:51Bye.
17:53Ooh, suck it.
18:10What are you doing?
18:23What on earth are you doing?
18:26What do you mean?
18:27What is that cloth cap there for?
18:30Well, it's for the money.
18:31Money?
18:32What money?
18:33What are you talking about?
18:34What are you doing?
18:36Well, I'm busking, aren't I?
18:37Busking, busking, what busking?
18:39Busking what?
18:40Well, I play the mouth organ and people give me money.
18:43They give you money?
18:45People give you money?
18:47Playing the mouth organ like that?
18:49They actually give you money?
18:51They pay you?
18:53Well, some of them do.
18:54There's no harming that.
18:56No harming that?
18:58No harming that, he says.
19:00You sit there sprawl against a paving stone,
19:03blowing through spittle,
19:04and people actually pay you?
19:07It's unbelievable.
19:08Oh, look, if you don't like it,
19:09you don't have to listen or give me anything, you know.
19:12Not like it?
19:13How could I like it?
19:14It's the most pathetic noise I've ever heard.
19:16And people give you money for it?
19:19Well, it's kindness as well, isn't it?
19:20They're just being kind.
19:22Just being kind?
19:23Just being kind?
19:24What do you mean, just being kind?
19:26If they were just being kind,
19:27they'd put a bullet through your head, wouldn't they?
19:30What do I call being kind?
19:32But do I have your misery?
19:34You're very insulting, you know.
19:36Yes, I know.
19:37Of course I'm insulting.
19:38I'm very insulting indeed.
19:40Especially to smelly, squalid, poor people
19:43who can't play the harmonica properly.
19:45We share the same planet, why can't you let me be?
19:49Share the same planet?
19:51Have you gone mad share the same planet?
19:53What are you talking about?
19:54The planet I inhabit is full of fast cars, restaurants,
19:58holidays in Barbados and fine wines.
20:01Your planet is full of bottles of meth,
20:03howling harmonicas and grimy DOS houses.
20:07It's not the same planet at all.
20:08How dare you suggest otherwise?
20:10Well, you may not think it's the same planet,
20:11but it is.
20:12You couldn't have one without the other.
20:14Couldn't have one without the other?
20:15What are you talking about?
20:16Are you saying I depend upon you?
20:17Of course you do.
20:19All your wealth is entirely propped up
20:21on the rotting hull of my poverty.
20:22And one day it will give way
20:24and you'll come crashing down with it.
20:25Rotting hulk?
20:27Rotting hulk?
20:28Have you gone mad rotting hulk?
20:31Is this communist talk?
20:32Are you a communist?
20:33Do you want me to call a policeman?
20:35It's a crime to be a communist anyway.
20:37I'm not.
20:38Not a crime to be a communist?
20:41Of course it's a crime to be a communist.
20:43This is 1989.
20:45Communists are the enemies of democracy.
20:47They should be locked away.
20:48Well, what's so good about democracy?
20:50What's so good about democracy?
20:53What's so good about democracy, ladies and gentlemen?
20:57Democracy is freedom of thought and belief and speech.
21:00That's what's so good about it,
21:01you degraded heap of smelliness.
21:04Get out of my way before I set fire to you.
21:08Get yourself a job.
21:09Clean yourself up.
21:10It's demeaning to have the harmonica played at one
21:12by a heap of litter.
21:13Here.
21:14Hold on.
21:15Hold on.
21:16Hold on.
21:17Hold on.
21:18What do you mean, hold on?
21:19Have you ever seen a television program called
21:21On the Streets with Bibby?
21:23On the Streets with Bibby?
21:25On the Streets with Bibby?
21:26On the Streets with Bibby?
21:28Oh!
21:29Oh, you mean the one with the hidden cameras?
21:31That's the one, yeah.
21:32Oh!
21:33Oh, yeah.
21:34You're not Bibby Peebies, are you?
21:36Ha!
21:37Ha!
21:38Ha!
21:39Ha!
21:40Ha!
21:41Oh, are you really Bibby Peebies?
21:43No.
21:46Well, I might have been.
21:48Today we're going to be concentrating on the hands.
21:51Now, we use our hands so often in our everyday lives
21:54that it's all too easy to take them for granted
21:57and just forget about them altogether.
21:59And that could obviously be fairly dangerous.
22:01So, first of all, as always,
22:03make sure you're absolutely comfortable.
22:05Now, this is very important,
22:06otherwise you may find it rather uncomfortable.
22:09So, very comfortable.
22:12Very relaxed.
22:14Now, just watch me this time,
22:16and then we'll try and do it together.
22:18We start with the right hand on the knee,
22:21and we move the hand like this.
22:28And rest.
22:30Now, you'll have noticed that I did the exercise twice.
22:33It's very important that you don't try to do it twice in one go.
22:37You should always aim to build up the routine gradually.
22:40Never overdo it.
22:42Now, try it with me this time.
22:44And rest.
22:48Now, be very careful when you put your hand back on your knee
22:52because you could so easily bruise yourself.
22:54It's not a bad idea to cover the knee with a few sheets of cotton wool
22:59so as to avoid internal hemorrhaging.
23:02And if you don't have any cotton wool,
23:04a continental duvet will do almost as well.
23:06But do please make sure it's a soft one.
23:10Now, if you have any doubts about your ability to perform this exercise,
23:14do please consult your GP.
23:16But make sure he's a gentle GP.
23:18Tomorrow we'll concentrate on the left hand.
23:21I'm sorry. I do not speak English.
23:33Calm down, John. We're not going to get anywhere by running.
23:35Don't tell me to calm down.
23:37Damn it, Peter. I want answers and I want them fast.
23:40Answers?
23:41Bit late for all that, don't you think?
23:43What the hell's happened to you, Peter?
23:45You know as well as I do there's no such word as a bit late for all that, don't you think?
23:50Agreed.
23:51So, shoot. What have we got here?
23:53Marjorie wants control of Derwent Enterprises.
23:56And from where I'm sitting, she's going to get it.
23:58Marjorie?
23:59Jesus, Peter. Marjorie's just a kid.
24:02Tell that to the board.
24:04You watch me. I might just do that.
24:07Well, good luck to you.
24:09Meaning?
24:10Meaning they'll laugh in your face, John, like they did me.
24:13Marjorie's got them eating out of her hand.
24:16Then I'll go to old man Derwent himself.
24:18Oh, come off it, John.
24:20No one's even spoken to old man Derwent in years.
24:23A man's a recluse.
24:24It's over, I tell you. Marjorie's wild and she hasn't even fired a shot.
24:28Listen to me, Peter.
24:29Marjorie may have won the war, but she hasn't won the battle.
24:35Damn it, John. You're up to something. I've seen that luck before.
24:38You're damn right I'm up to something.
24:40Damn it.
24:41What?
24:42What are you up to?
24:43Something.
24:44I thought so.
24:45I want you on my side for this, Peter.
24:47I'm yours, John. You know that.
24:48I haven't finished yet.
24:49It's absolutely mandatory that you buy into my way of working.
24:53Things could get a little hairy over the next 48.
24:56You know me, John. Hairy is as hairy does.
24:59Good deal.
25:00Now, call O'Neill. Get him to postpone the meeting.
25:04What shall I tell him?
25:05Tell him any damn thing you like. Just buy me some time.
25:11It's good to have you back, John.
25:13Save the pretty speeches till later on, Peter.
25:15We've got a long night ahead of us.
25:16Just like old times, eh?
25:18Sure, Peter. Sure.
25:19You know, it's funny. I drove through High Wycombe just the other day.
25:23Yeah, it's Peter here. Get me O'Neill.
25:25And fast.
25:26And fast.
25:27Say again?
25:28Damn it.
25:29Why?
25:30O'Neill's out of town. Can't be reached.
25:31Damn it to hell and back down.
25:33Damn blast and double damn.
25:36Want me to try Amsterdam?
25:37No.
25:38But, I mean...
25:39Come on, Peter. You're not thinking straight.
25:41Amsterdam is too obvious.
25:43Marjorie was never obvious.
25:45That's why I loved her.
25:48My God, here's a turn up.
25:49I never thought I'd hear an old war horse like you talk about love.
25:52Love's nothing to be afraid of, Peter.
25:54You don't need a Harvard MBA to know that the boardroom and the bedroom
25:58are just two sides of the same agenda.
26:01I wonder...
26:03Try me. Shoot.
26:05Put it together.
26:06If we were to act fast,
26:08a block of part-paid ordinaries funneled through Geneva.
26:12A carefully staged pre-release of IDL preference stock through the back door
26:17underpinned by a notional rights issue.
26:20Who the hell would be wincing then?
26:22Damn it, John. It's starting to add up.
26:25You want me to try Sydney?
26:27Stay awake, Peter. He'll be in Australia by now.
26:30Stay awake, Peter.
26:32But William, won't they trace it back to us?
26:35A ploy like that? No.
26:36It'll have Seagrove's handwriting all over it.
26:38And back again.
26:40But that still leaves us with Marjorie.
26:43Yeah, Marjorie.
26:45What's she after?
26:47I gave up trying to understand Marjorie years ago, Peter.
26:51Yeah? Women.
26:52Marjorie's not women, Peter.
26:54No, of course not, John. I beg your pardon. I meant no offence.
26:57Something I've always been meaning to ask you.
26:59How did you manage to keep Nancy for so long?
27:02I've never been Nancy, John.
27:03Your wife, Peter.
27:04Oh, Nancy. Oh, you know.
27:05You take the rough with the smooth. You do your best. You cover all the angles. You keep on grafting long hours. You think you know, but of course you don't. They talk about stress. I tell them I'm married to it.
27:23You have a daughter, I believe. Yeah. Yeah. Henrietta. Did he? Did he? I'm sorry to hear that.
27:34That must have hurt. That must have hurt like hell on a Jets.
27:38You never had kids of your own, I believe.
27:40You're wrong, Peter. You're so damn wrong.
27:42Oh, I beg your pardon?
27:43You're standing in my children right now.
27:48I think I may have misheard that, John.
27:51The company, Peter. Oh, the company. Yeah.
27:54I gave this company everything I've got.
27:56Damn it. New York should have run by now.
27:58Relax, John. It's still early.
28:00Yeah, but it's not going to stay early for long.
28:03New York will come through, John. I know they will.
28:05I hope so. I hope so.
28:08There are six million people out there.
28:11Really? What do they want?
28:17Peter?
28:19I say we go with it.
28:21Damn it, I agree.
28:25If New York rings, tell them the penalty.
28:27Right. I'll get on to Susan.
28:29Now, let's get the hell out of here.
28:32Are you sure?
28:33Yeah, yeah, yeah.
28:34I don't think even we two can maintain a level of intense work without coming down for a space.
28:39Damn it, you're right.
28:40Besides, I could use a drink.
28:46I'll see you soon.
28:47And a half.
28:48There's a little bit of intense music.
28:50I hope so.
28:51I didn't do this.
28:52There's a big deal.
28:53This is the last time I was supposed to be.
28:54There's a big bag.
28:56I didn't do this.
28:57I'm so excited.
29:00Just to go ahead and go ahead and you're ready.
29:02Oh, you're ready.
29:03There's room for me and see you're ready.
29:05This is the last time.
29:07This is my last time.
29:08I won't call you.
29:09I hope so.
29:37
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