George Butters is a double for a South American opera singer.
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Source:
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Short filmTranscript
00:01:59Three, four.
00:02:01Here.
00:02:02Where's the other fellow?
00:02:02He can't come.
00:02:03Who says so?
00:02:04The big.
00:02:04Fourteen days.
00:02:06Where's the other extra?
00:02:07In jail.
00:02:07What do we do?
00:02:08We must have six for the big scene.
00:02:09Can I use one of the choristers?
00:02:10No, you can't.
00:02:11Get another extra.
00:02:12Well, where am I going to find one at this time of the day?
00:02:13Don't ask me to step outside and see if there's anyone hanging around the stage door.
00:02:16Righto.
00:02:20Any extras around here, Bob?
00:02:21I should try the boozer over there.
00:02:23That's an idea.
00:02:23Any of our boys in the other bar, is it?
00:02:31Not this afternoon.
00:02:32And they won't be now.
00:02:33We're just closing.
00:02:34Oh, well, I must find a fellow somewhere.
00:02:35Miles?
00:02:36Well, I didn't order it, but I might as well.
00:02:37The bar made out of the rose and crown.
00:02:43I thought I told you not to come here.
00:02:44Well, I'd buy a drink if I could raise enough.
00:02:46Go on, get out of it.
00:02:48Hey, hey, want a job?
00:02:50A job?
00:02:51What kind of a job?
00:02:52I can put you on at the opera house this afternoon.
00:02:54You can?
00:02:55Yes, you can do the night show, too.
00:02:56Ten bob for the two performances.
00:02:58Is it all right?
00:02:59It's better than all right.
00:03:00What do you want me to do?
00:03:01Sing what I've just sung now?
00:03:02Well, be an opera, something a bit more showy.
00:03:04You won't have to sing at all.
00:03:06I won't have to sing?
00:03:06Well, what we'll have to do?
00:03:36The fool, who is it?
00:03:43The fellow I picked up at the stage door.
00:03:49Beg your pardon, missus.
00:03:52Well, I declare, it's young George Butters.
00:03:55Aye?
00:03:56Here, take a look.
00:03:59Aye.
00:04:00On stage.
00:04:02This will break his father's heart.
00:04:03Ah.
00:04:04Of course, we've got to tell him.
00:04:12What are you trying to do?
00:04:13Doing the show?
00:04:13But, Mr. McGoon.
00:04:14Quiet!
00:04:15Get those clothes to the wardrobe, get your money, and get out.
00:04:18Yes, but, Mr. I...
00:04:19Joe, get another extra for tonight's show.
00:04:21Yes, sir.
00:04:21Yeah, but, but, Mr., look, give me what I was going to try.
00:04:24But, Mr., this is the first performance I've done.
00:04:26And you're lost.
00:04:27But, honest, Mr., I know I can make good the stages in me blood.
00:04:29Then you must be anemic.
00:04:30Oh, don't ruin me career the first day it started.
00:04:34Yes, Miss Carroll.
00:04:40Good afternoon, Miss Carroll.
00:04:42Good afternoon.
00:04:43You don't mind me calling you Miss Carroll, do you?
00:04:46You see, that's all I've heard anybody call you around, do you?
00:04:49I mean, I don't know your mother and father's names, so it's...
00:04:52Shouldn't you be on?
00:04:53Well, that's just it.
00:04:54I've got the sack.
00:04:55The sack?
00:04:56I dropped my musket.
00:04:58And did that pick it up?
00:05:00Eh, eh, fancy it.
00:05:02It broke.
00:05:02Miss Carroll, Mr. Vanetti's gramophone record.
00:05:05Oh, put them in his dressing room.
00:05:08Oh.
00:05:09Oh.
00:05:10Sorry, Miss Carroll.
00:05:11Well, I was wondering if you could put a word in for me with Mr. Vanetti.
00:05:15Well, I'm afraid...
00:05:16Well, you see, my auntie was Mabel Bannerman, the gaiter star, you remember?
00:05:20Well, she started in the chorus like I did today.
00:05:23Miss Carroll, will you have Mr. Vanetti sign his horse, Prathbult?
00:05:25I will, right away.
00:05:27See, there's me auntie's house.
00:05:29There's 23 bedrooms and everything you want outside.
00:05:32There's me auntie standing next to the fountain.
00:05:35See, doesn't Mr. Vanetti sign his name nice?
00:05:37Well, I've got the family bug, you see.
00:05:40No, I mean, I've got the itch from me aunt.
00:05:44That's worse.
00:05:45What I mean, you know what I mean.
00:05:47I know what you mean, but the opera season finishes after tonight's performance.
00:05:50Yes, but there'll be another one and Mr. Vanetti might...
00:05:52Carol?
00:05:53Yes?
00:05:53Mr. Ricciardo would like to see Mr. Vanetti after the matinee.
00:05:56All right, I'll tell him.
00:05:57Well, Mr. Vanetti might...
00:05:58Hello, Miss Carroll?
00:05:59Yes?
00:06:00Oh.
00:06:00I thought I told you to get those clothes off.
00:06:03Get them off immediately.
00:06:04Immediately?
00:06:05At once.
00:06:07But I hardly know the young lady.
00:06:09Upstairs.
00:06:10No.
00:06:16No.
00:06:17Bein.
00:06:23It's been a long time for you.
00:06:34Thank you, Mr. Vanetti.
00:06:44Come back soon.
00:06:46Goodbye and good luck.
00:06:48Me too.
00:06:50Your autograph, Mr. Vanetti, please.
00:06:52Goodbye and good luck.
00:06:53Mr. Vanetti, your autograph.
00:06:56Excuse me. Mind your backs, please.
00:06:59For me?
00:07:00No, for him.
00:07:02I'm sorry, but Mr. Vanetti is very tired.
00:07:07He can't see anyone now.
00:07:13Excuse me.
00:07:17Mr. Vanetti won't...
00:07:18Oh, Mr. Ricciardo, I expect he'll see you.
00:07:20You expect he'll see me?
00:07:22Well, that's very nice of him.
00:07:24Hey, Vanetti, I want to talk to you.
00:07:28Won't you sit down?
00:07:29I can sit down.
00:07:30If I sit down, I'll start to think.
00:07:32And if I start to think, I'll have a stroke.
00:07:33What's the matter?
00:07:34Is anything wrong?
00:07:35Yes, these flowers are wrong.
00:07:37The flowers?
00:07:38They should be lilies.
00:07:39The opera season passed peacefully away this afternoon.
00:07:43You must be crazy.
00:07:44This afternoon is the best house you ever had in your life.
00:07:46Yes, and the best things in life are free.
00:07:48That's what the house was.
00:07:49Free!
00:07:50Ever heard of passes?
00:07:51One for all, all for nothing?
00:07:52Passes?
00:07:53You mean the house was papered?
00:07:55Should have been distempered too.
00:07:56Listen, in South America, Gilly Vanetti may be...
00:08:00But what they blow him over here isn't kisses.
00:08:02Oh, he's one of the greatest tenors in the world.
00:08:05You've got to think that.
00:08:06You're his press agent.
00:08:07But I'm the guy losing the money,
00:08:09and I'm entitled to think he's a stinkeroo.
00:08:11What's he say?
00:08:18Shall I leave out the swear word?
00:08:20Yes.
00:08:21Then he said absolutely nothing.
00:08:22But he can't say nothing to me like that!
00:08:24And there's no need to shout.
00:08:26There's no need to shout?
00:08:27When I'm being ruined every night,
00:08:29and twice on Saturdays,
00:08:30I'm entitled to shout!
00:08:32Oh, Mr. Ricardo,
00:08:34you look me in the face and say that behind my back.
00:08:37I tell you, Gilly Vanetti is a large bang.
00:08:39No, not a large bang.
00:08:41A huge blow-off.
00:08:42No, Gilly.
00:08:44The big shot!
00:08:46So what do I say, oi?
00:08:48Now look, Vanetti,
00:08:49I know you have a contract with me for next season.
00:08:51Si, si, my frown.
00:08:52It is a pig iron contract.
00:08:54No, cast iron.
00:08:55Cast pig, pig cast.
00:08:56What's the matter?
00:08:57Come off.
00:08:59Vanetti,
00:09:00I'm willing to let you off next season.
00:09:02Let's cut our losses.
00:09:03Call it a day.
00:09:04Tear up the contract.
00:09:05Forget all about it.
00:09:07You ask for me to tear up next season?
00:09:10Look.
00:09:13These are practice records.
00:09:14I make for myself.
00:09:15Of all these songs I sing next season,
00:09:17you will see how good I sing.
00:09:19I play them.
00:09:20Call out.
00:09:21I won't listen.
00:09:22I play them.
00:09:23I won't listen.
00:09:24I play...
00:09:26Ah, my songbird.
00:09:30Gilly, gilly.
00:09:31You know if you get excited your voice goes.
00:09:33You are right.
00:09:34Then it is after this night's performance, yes?
00:09:36No.
00:09:37Not till we get to Las Palmas.
00:09:38Oh, in Glasgow you say when we get to Manchester.
00:09:41In Manchester you say when we get to London.
00:09:44In London is when you get to Las Palmas.
00:09:46What could be fairer than that?
00:09:49I'm trying very hard to keep my sanity.
00:09:52For if I have to stay here another moment,
00:09:54I shall be a shrinking imbecile!
00:10:00What's the matter with him?
00:10:01Here's the wasp in the hat.
00:10:03A bee in his bonnet.
00:10:04Now we eat.
00:10:05Tomorrow we sail for Las Palmas.
00:10:07Tomorrow?
00:10:09You can't go tomorrow.
00:10:11You've got a date.
00:10:12I do not give a fig for a date.
00:10:14But you've got to present your cheque to the actor's benevolent home.
00:10:16It's a most important appointment.
00:10:18I have only one important appointment.
00:10:20Las Palmas.
00:10:22But, but, Mr. Venetti, I...
00:10:24Goodbye, Miss Carroll.
00:10:25Oh, hello.
00:10:26See you later.
00:10:27I won't be here later.
00:10:28I won't be here later.
00:10:29I'll do as you go.
00:10:30George Buttigieg, you're going daft over a girl you've hardly met.
00:10:33Now what you're going to be?
00:10:34Girl or career?
00:10:36Career.
00:10:37All right, so you're a lawyer, aren't you?
00:10:39Okay, then.
00:10:40If I want Venetti's contract broken, you break it.
00:10:42That's what I pay you for.
00:10:44Excuse me, mister.
00:10:46Well, what do you mean by drawing up a contract without an out?
00:10:49I know I wanted a cast iron one.
00:10:52But not if I want to break it.
00:10:54Listen, Appleby, I haven't got time to argue.
00:10:56You've got to find me some clause in his contract
00:11:00that allows me to tear it up.
00:11:03I'm not going to pay him another five thousand pounds.
00:11:06What do you want?
00:11:07Five shillings.
00:11:08Five shillings?
00:11:09Five shillings?
00:11:10Who are you?
00:11:11The soldier on the end of the line.
00:11:12What do you expect me to do?
00:11:13Salute?
00:11:14No, but I thought you could help me.
00:11:15You see, when I came in here, they promised me ten shillings for two performances
00:11:18and they've only given me five.
00:11:19Well, have you done the two performances?
00:11:21Well, no.
00:11:22Halfway through the first, I dropped my musket and they gave me the sack.
00:11:25That's why you got five shillings?
00:11:26But I can't go unless I get ten shillings.
00:11:28What am I going to do?
00:11:29I'm dying.
00:11:30He's asking me riddles.
00:11:31But I've got to get another five shillings.
00:11:33Then go out and earn it!
00:11:35Come on.
00:11:36Here you are, sir.
00:11:37Buy a pair of silk stockings for you, young lady.
00:11:39Haven't got one.
00:11:40You buy a pair of these and you soon will have.
00:11:42Don't talk so dafty.
00:11:44Here it is.
00:11:45The curl is what it puts a kink into half the clown heads of Europe.
00:11:48It sets as it kinks, as it waves, as it curls.
00:11:51Now, inside the interiors, what do we find?
00:11:53One electrical batteries.
00:11:55The only air curler that develops its own central heating.
00:11:58Now, I would like to demonstrate on one of you.
00:12:00Ah, you, madam.
00:12:01Not on me, you don't.
00:12:02My old man likes me as I am.
00:12:04Ah, you, sir.
00:12:06Would you like wonderful curls?
00:12:08Not half I wouldn't.
00:12:11Ah, you, my friend.
00:12:14Now, in the interest of progress, you will demonstrate.
00:12:17Is it worth half a crown?
00:12:18Half a crown?
00:12:19In the interest of progress.
00:12:21All right, sit down.
00:12:23Now, you take the first Britannia waiver, so.
00:12:29Then you coil a strand of the hair around the cylinder.
00:12:33And when you are satisfied that the coiling is tight enough,
00:12:36you bring the copper wire into position.
00:12:38And from the moment the copper wire is in position,
00:12:41the hair have started to curl.
00:12:43And so we find the results of the Britannia miracle waiver.
00:12:46A head of curls full.
00:12:48If he went down one street, five pounds it would cost him.
00:12:52Hey, fancy.
00:12:54It works.
00:12:55The gentleman himself is astounded.
00:12:57Ah.
00:12:58Hey, mister, how do I get these out?
00:13:00Ah, that is where the Britannia waiver leads the world.
00:13:02They don't come out.
00:13:04They don't?
00:13:06Ooh!
00:13:07I can't go home like this.
00:13:20George?
00:13:21Yes, dad.
00:13:22Come here, George.
00:13:24Yes, dad.
00:13:25Back late, aren't you?
00:13:27Yes, dad.
00:13:28Come in.
00:13:29Yes, dad.
00:13:30Yes, dad.
00:13:31Yes, dad.
00:13:33Hello, mother.
00:13:34Hello, George.
00:13:35Good evening, George.
00:13:38Good evening, George.
00:13:39Aye.
00:13:40Well, did you get that vacuum cleaner job?
00:13:42Did you sell any?
00:13:43Well, yes and no, dad.
00:13:45Yes and no?
00:13:47Well, yes, I didn't get the job and no, I didn't sell any.
00:13:51Then where have you been all afternoon?
00:13:53I went to several places looking for jobs.
00:13:55I went to a builders near Euston and I saw the foreman and I asked him could he give me a job and he said yes.
00:14:01He was looking for a smart, intelligent young man.
00:14:04Aye.
00:14:05Well, what happened?
00:14:06He told me to go and find one for him.
00:14:09George Butters, it's my opinion you don't like going to work.
00:14:12Yes, I like going to work and I like coming away from work.
00:14:16It's that bit in between I don't like.
00:14:18George Butters, I tried to raise you the best I know how.
00:14:22I brought you up to be an honest speaking God fearing young man.
00:14:26And I'd reckon without the family curse.
00:14:28Honest.
00:14:29Be quiet, mother.
00:14:30Do you deny that you've been displaying yourself brazenly on a stage this afternoon?
00:14:34With faint on his face.
00:14:36Aye.
00:14:37Oh, we've got a couple of loudspeakers now.
00:14:40Well, let me tell you, I'd rather be on a stage than live in a place where there's a couple of narrow-minded tittle-tattlers.
00:14:45Yes, that's what you are, tittle-tattlers.
00:14:48Come, Jane.
00:14:49Aye.
00:14:50George, you didn't mean that.
00:14:52Yes, I did, mother.
00:14:53Just because me auntie was on the stage, they're always picking on you.
00:14:55I've heard them.
00:14:56They're nothing but a couple of nosy-parkering old humbugs.
00:15:00Oh.
00:15:03If that's the manners the stage teaches you, and take your hat off.
00:15:09God.
00:15:11Yes, dad, I was...
00:15:13Have you gone mad altogether?
00:15:19You don't think I did anything wrong, do you, mother?
00:15:22Of course not, lad.
00:15:23I mean, after all, I was only trying to earn some money at them and, well, showing off them rotten wavers.
00:15:29They'll all come out with a good wash.
00:15:31At least, I hope so.
00:15:36Good morning, George.
00:15:37Morning, mother.
00:15:38Oh, I thought it would be a nice change for you.
00:15:45Hey, mother, they're all out.
00:15:47George, lad.
00:15:48After last night, I don't think I should go to Fernlands today.
00:15:50What, not visit me auntie?
00:15:51Mother, whatever are you thinking about?
00:15:52I was only thinking of your father.
00:15:53If me dad's got anything more to say, I'm going to tell him straight.
00:15:54Oh?
00:15:55And who are you going to tell straight?
00:15:56The man at the lane bridge change.
00:15:57I'll...
00:15:58I'll tell straight, that's what I'll do with him.
00:15:59Hello, George.
00:16:00Hello, George, my boy.
00:16:01How's auntie?
00:16:02Oh, she's fine.
00:16:03But what's to do?
00:16:04They're all busy.
00:16:05I don't know.
00:16:06I'm going to say I'm going to tell him straight.
00:16:07I'm going to tell him straight.
00:16:08Oh, and who are you going to tell straight?
00:16:09The man at the lane bridge change.
00:16:10I'll tell him straight, that's what I'll do with him.
00:16:24Hello, George.
00:16:25Hello, George, my boy.
00:16:26How's auntie?
00:16:27Oh, she's fine.
00:16:28She's all right.
00:16:29And your father?
00:16:30I'm afraid he's all right, too.
00:16:31Now, you mustn't say I'm going to tell you, they're all busy.
00:16:32They're all busy.
00:16:33They're all busy.
00:16:34They're all busy.
00:16:35They're putting on a show for Gillyvinetti, the opera star.
00:16:36Gillyvinetti?
00:16:37He's coming here this afternoon.
00:16:38What, to live?
00:16:39No, no.
00:16:40She'll give 500 pounds to be home.
00:16:41Oh, George!
00:16:42Hello, auntie.
00:16:43I thought you'd forgotten me.
00:16:44You know, have I ever done that?
00:16:45My mother sent you that.
00:16:47And he's ten bob to buy some fillies.
00:16:49And I would buy him, too, if I thought anyone would see him.
00:16:51You cheeky fast cat.
00:16:53How's your mother?
00:16:54She's all right.
00:16:55I'm afraid he's all right, too.
00:16:57Now, you mustn't say that, George.
00:16:58Your father's a proper man.
00:16:59You know, sometimes the way he actually thinks he's a proper gump.
00:17:02Hey, open up!
00:17:07But it's a great disappointment to us, Miss Dean.
00:17:09We had hoped that the newspaper picture of Mr. Bonetti handing over the cheque
00:17:12might start the ball rolling.
00:17:14I know, but he really had a most important engagement.
00:17:17Well, I'd be grateful if you'd explain to the old folks.
00:17:19They'd be very disappointed.
00:17:20Tell them he was detained by for an affair of state.
00:17:23An affair?
00:17:24Oh, yeah, sure, I would.
00:17:25Hello, Miss Carol.
00:17:26Take your hat off.
00:17:27Well, if you don't mind, it's a bit gone.
00:17:30It's, you know, it's...
00:17:32It's amazing!
00:17:34Yes, it is, isn't it?
00:17:35You see, it must be the eater of my hat that's brought them all back again.
00:17:38You're coming with me, young fellow.
00:17:40You, too.
00:17:42Now, sit there and don't move.
00:17:47Hey, hey, what do you think you're doing?
00:17:52You'll make me look like a mucky pup.
00:17:53You'll be a mucky pup.
00:17:54You'll be Gilly Bonetti ready to present his cheque.
00:17:56That's me, Steve.
00:17:57Fetch your photographer and we'll get on with it.
00:17:59Of course.
00:18:00Hold that.
00:18:01You're doing this to help Fernlands and Bonetti, too.
00:18:04Well, I don't mind helping a fellow that's down.
00:18:07Oh, I wouldn't call Bonetti down.
00:18:09That's because you don't know.
00:18:11Don't know what?
00:18:12He's going to lose his job.
00:18:14What are you talking about?
00:18:16Well, I heard the manager say he was going to find some way to break his contract.
00:18:19Oh, Ricardo said that, Billy.
00:18:24The photographer's outside.
00:18:26I think you'd better supervise this, Miss Dean.
00:18:28Right.
00:18:29That looks fine.
00:18:31Oh, don't touch it.
00:18:32I'll talk to you later.
00:18:33Now, how about some picturesque setting?
00:18:37Over there by the fountain.
00:18:39Now, Senior Bonetti will smile and hand over his cheque to the superintendent.
00:18:44I think you've got your picture.
00:18:45Okay, boys.
00:18:46Anytime you like.
00:18:54When Gilly Bonetti, the celebrated opera star,
00:18:56was handing over a cheque for 500 pounds to the actor's benevolent home yesterday,
00:19:00there was an unfortunate accident.
00:19:02I couldn't be more pleased.
00:19:04I trust it damped his order.
00:19:06Later in the day, Mr. Bonetti left for Las Palmas.
00:19:09Now, didn't damp his order.
00:19:11Wait a moment.
00:19:12Where did he leave for?
00:19:14Las Palmas?
00:19:15But that's most interesting.
00:19:17Do you know I believe Mr. Bonetti has found us the answer?
00:19:20I don't even know the question yet.
00:19:22The clause that breaks the contract.
00:19:24What?
00:19:25Las Palmas is in the Canary Islands.
00:19:27So what do you want me to do, sing?
00:19:29Now, listen.
00:19:30Clause 11 says the party of the second part shall not leave the United Kingdom
00:19:36without the consent in writing of the party of the first part.
00:19:40Clause 11.
00:19:42Miss Target?
00:19:43Yes, Mr. Ricardo?
00:19:44Get me Bonetti's flat.
00:19:46I think I got something there.
00:19:49You?
00:19:50But, Mr. Ricardo, if you remember it, was I?
00:19:52I don't know what I pay you for.
00:19:54I get all the ideas and...
00:19:55Hello?
00:19:56Hello?
00:19:57Carol?
00:19:58Oh, Carol!
00:19:59I wanted to talk to Bonetti.
00:20:01Bonetti?
00:20:02Oh, I'm afraid you can't.
00:20:04Was it anything important?
00:20:06Oh, nothing.
00:20:07So he's left for Las Palmas, has he?
00:20:09Has he?
00:20:10Has he left for Las Palmas?
00:20:12No, he's still here.
00:20:14He changed his mind at the last moment.
00:20:16What?
00:20:17Yes.
00:20:18Must have been a quick change.
00:20:19The papers have him on board the boat already.
00:20:21What?
00:20:22In bed?
00:20:23Arangitis?
00:20:24Oh, that's too bad.
00:20:26She's trying to cover off for him.
00:20:29Verbum set-sepientize.
00:20:30Well, tell him to keep his temperature down.
00:20:32We'll be right over.
00:20:34Oh, but he mustn't see anybody.
00:20:43Who is it?
00:20:44A cable gram for Miss Dean.
00:20:46Is there any answer?
00:20:47Yes.
00:20:48Yippie!
00:20:59Paul Porter, don't let anyone come up here without ringing me.
00:21:03Signor Bonetti!
00:21:08Signor Bonetti!
00:21:09We've both been very smart.
00:21:10Riccardo just phoned and he had clause 11 written all over his voice.
00:21:14He was asking questions about the Las Palmas trip.
00:21:16I think he's going to try and be clever, so don't be too long in that shower.
00:21:20Yeah, I feel proper daft in this stuff.
00:21:27You know, if I fell down on this collar I'd chop me ears off.
00:21:30Oh.
00:21:35Look at these.
00:21:36Hey, whiskers.
00:21:37Yes, Bonetti's.
00:21:38There's nothing happen to them, has there?
00:21:39No, I had them made up.
00:21:41Oh.
00:21:42Do you know how to put them on?
00:21:43I guess my auntie showed me.
00:21:44Well, go on, stick them.
00:21:46Stick them.
00:21:47Oh, stick them.
00:21:48Oh.
00:21:49Now, don't be long.
00:21:50Riccardo will be here any minute.
00:21:52Oh, it won't take me long.
00:21:54Who?
00:21:56Who did you say was coming?
00:21:58Mr. Riccardo.
00:21:59What, you don't mean the manager bloke?
00:22:00Yes.
00:22:01Oh, I don't feel so well.
00:22:03I don't think I can do it, Miss Carol.
00:22:05You can and you're going to.
00:22:06Where's the George who was willing to do anything for the old folks at Fernland?
00:22:10Well, I didn't know I'd have to sit around dressed up like...
00:22:14Well, like Mr. Woo.
00:22:16Besides, we don't know if his nibs will give another £500.
00:22:19We do?
00:22:20Listen to this cable from Vanetti.
00:22:22Double idea or a knockdown stop will pay £500 pos-alutely.
00:22:26Whee!
00:22:27Another £500, that's a thousand they'll have.
00:22:28Oh!
00:22:29Oh!
00:22:30Oh!
00:22:31I'm sorry, Miss Carol.
00:22:32I don't know how that happened.
00:22:34It must be the Jekyll and Hyde in me.
00:22:36Oh!
00:22:37Bygum, that's hot.
00:22:38Well, put the cozy on it.
00:22:39Yes?
00:22:40Yes?
00:22:41Thanks.
00:22:42What's to do?
00:22:43Ricardo's on his way up.
00:22:44Oh?
00:22:45Now, put on your whiskers and hop into bed.
00:22:46And don't forget you're in bed with laryngitis.
00:22:47With who?
00:22:48With a sore throat.
00:22:49Oh.
00:22:50And remember, you're a very sick man.
00:22:51You can't talk.
00:22:52If they ask you anything, answer by sign.
00:22:54Heh.
00:22:55Don't worry, I'll be proper for Willie.
00:22:56Hurry up.
00:22:57I'll get your tea.
00:22:58I'm ready now.
00:23:00George, your hair.
00:23:01Oh, it's gone straight.
00:23:02Must have been the water.
00:23:03Oh!
00:23:04What are we going to do?
00:23:05Well, they want to warm it up again.
00:23:06Haven't you got a gas oven?
00:23:07I can put my head in.
00:23:08Oh, George, why did you have to go and get it wet?
00:23:09Well, I'm sorry, Miss Carol.
00:23:10I know, I can put my hat on.
00:23:11What in bed?
00:23:12Oh!
00:23:13Oh!
00:23:14Oh!
00:23:15Oh!
00:23:16Oh!
00:23:17Oh!
00:23:18Oh!
00:23:19Oh!
00:23:20Oh!
00:23:21Oh!
00:23:22Oh!
00:23:23Oh!
00:23:24Oh!
00:23:25Oh!
00:23:26Oh!
00:23:27Oh!
00:23:28Oh!
00:23:29Oh!
00:23:30Oh!
00:23:31Oh!
00:23:32Oh!
00:23:33Oh!
00:23:34Oh!
00:23:35Oh!
00:23:36Oh!
00:23:37Oh!
00:23:38Oh, oh, first sightseeing in.
00:23:40Yes!
00:23:41Well I have to keep them out of here, that's all.
00:23:43Now, for the love of my, keep quiet.
00:23:44Oh!
00:23:45Could I have me cup of tea?
00:23:46Oh yes.
00:23:47Not a sound.
00:23:56Stay where you are and don't stir.
00:23:57Wooo, what it do.
00:24:03Must you make so much noise, when Eddie's asleep.
00:24:04Well I want to see.
00:24:05I have to keep him out of here, that's all.
00:24:07Well, I want to see him.
00:24:09The doctor said he wasn't to be disturbed.
00:24:11I won't disturb him.
00:24:12I'll kiss him gently on the forehead.
00:24:15I tell you, you can't disturb him.
00:24:17If I pay a man 5,000 pounds per season,
00:24:21am I or am I not entitled to see him?
00:24:24Well, I'm afraid, as part of the second part,
00:24:27unless the writ of habeas...
00:24:28You make me sick.
00:24:30Yes, and Vanetti's sick.
00:24:31And neither you nor anyone else is going to see him.
00:24:33I believe you.
00:24:35You know for a while?
00:24:36Because he isn't dead.
00:24:42Well, I'll go to...
00:24:44You probably will in due course.
00:24:46Well, now you've seen him, perhaps you'll leave him alone.
00:24:51Hey, what's the matter with your throat?
00:24:52You got some of those old decayed notes stuck in it?
00:24:55I, uh...
00:24:56Gilly-gilly, your voice.
00:24:57You mustn't talk.
00:25:03Are you in pain?
00:25:04I...
00:25:06Good.
00:25:07You had this coming to you, Gilly.
00:25:09It's poetic justice for all the pain you caused me.
00:25:11Only mine wasn't a pain in the throat.
00:25:14Hey, what's he wearing this for?
00:25:16To keep his ears warm.
00:25:20No, no.
00:25:21You must keep that on.
00:25:23Oh yes, this is, uh, one of my friends.
00:25:33Fine.
00:25:34You must bring the other one up sometime.
00:25:36What's he up to?
00:25:37He's saying hello to your friend.
00:25:38Look.
00:25:39They're ingenious.
00:25:40I was hoping he'd gone mad.
00:25:41How do you feel now?
00:25:42Irritated.
00:25:43Not up to scratch?
00:25:44No, he says he's feeling loud.
00:25:45Well, not so good.
00:25:46So will you please go?
00:25:47Alright, Gilly, so you don't feel so good.
00:25:49Who knows, by next season you might be dead.
00:25:51And I'm saying hello to my friend.
00:25:52He's saying hello to your friend.
00:25:53Look.
00:25:54Very ingenious.
00:25:55I was hoping he'd gone mad.
00:25:56How do you feel now?
00:25:59Irritated?
00:26:02Not up to scratch?
00:26:04No, he says he's feeling loud.
00:26:06Well, not so good.
00:26:07So will you please go?
00:26:08No, he says he's feeling loud. Well, not so good. So, will you please go?
00:26:12All right, Gilly. So, you don't feel so good.
00:26:14Who knows? By next season, you might be dead.
00:26:17Why don't you be wise and take a settlement for your contract right now? How's about it?
00:26:24I imagine that one answers itself.
00:26:26All right. So, you want to be tough, eh?
00:26:29Well, two can play that game, and before I finish with you, you, you, you, you...
00:26:33You sons or something?
00:26:34You'll be offering me your contract on bended knees!
00:26:38And don't tell me to put a sock in it!
00:26:44I know. It's a bee.
00:26:46Yes, and you know what? That means buzz-off.
00:26:57Hey, call him back. I've just thought of a beauty.
00:27:01As far as I'm concerned, they're...
00:27:04What's that?
00:27:05A couple of squirts.
00:27:08I'd like to break his neck!
00:27:13It might be easier than breaking his contract.
00:27:15Listen, when I want you to be a comedian, I'll let you know.
00:27:18Just now, I want you to be a lawyer.
00:27:21I wonder if Clause 5 would lead us anywhere.
00:27:25I'm sure it would.
00:27:26It would lead us through Clause 6, 7 and 8, and back to Clause 2 again.
00:27:29I don't know what I'd pay you for.
00:27:31I've got it.
00:27:32If it's as good as your last one, you can keep it.
00:27:34Now, look here. Clause 5 says the party of the second part hereby undertakes...
00:27:40Forward!
00:27:42Head away!
00:27:44Backward!
00:27:46You can't do a thing like this and get away with it!
00:27:48My dear delightful young lady, Clause 5 in Vanetti's contract states...
00:27:53The party of the second part...
00:27:55That's Vanetti.
00:27:57Shall obey all instructions given to him by the stage manager.
00:28:00To what?
00:28:01To wit.
00:28:02What?
00:28:03I said to wit.
00:28:04What do you think you are an owl?
00:28:06But Gilly Vanetti's a sick man!
00:28:08If he's too sick to appear, that's force majeure and automatically cancels his contract.
00:28:13Oh.
00:28:14Oh, but he's not that sick.
00:28:15Exactly.
00:28:16And that's why he's up there doing what the stage manager tells him.
00:28:23Oh, this is terrible. Gilly Vanetti doing that. If he ever gets out of this theatre, I'm ruined.
00:28:27You couldn't help it. It wasn't your fault.
00:28:28No, but it was me who had to order him to do it, wasn't it?
00:28:35This is it.
00:28:38This is it.
00:28:59Of course, if you want to turn a first-rate opera singer into a fifth-rate ballet dancer...
00:29:03This dancing can't lose me any more than the singing and this phonia.
00:29:06Ha, ha!
00:29:07Mr. Vanetti can always refuse to do what the stage manager tells him.
00:29:11And don't you wish he would?
00:29:16Excuse me, sir.
00:29:17What is it?
00:29:18Signor Vanetti, sir. Couldn't I tell him to stop?
00:29:20Stop, certainly not. I'm just beginning to enjoy it.
00:29:22Sir, you can't ask a man of his standing to...
00:29:24Why not?
00:29:25But it's outrageous, sir. A man like Gilly Vanetti rolling about a dirty stage.
00:29:29Dirty stage?
00:29:29Mr. Is it very dirty?
00:29:32Well, it's a...
00:29:36Would you like it cleaned?
00:29:39No.
00:29:40Not that, Mr. Ricardo.
00:29:41You mustn't ask me to do that.
00:29:43I won't.
00:29:44I won't.
00:29:44You can't get away with this.
00:29:49You're simply trying to humiliate him. No court in the world would uphold it.
00:29:55Well, he can always refuse to do it.
00:29:58We've got him there.
00:29:59We?
00:30:00I suppose this is your idea, too.
00:30:01Oh, but, Mr. Ricardo, shut up.
00:30:13Is he sweeping to your satisfaction?
00:30:15Oh, Miss Carroll.
00:30:16Where is he?
00:30:18Yes.
00:30:19No, he's not.
00:30:22Just a minute, just a minute, just a minute.
00:30:24Time to sweep it harder and faster.
00:30:27And with one hand behind his back.
00:30:29Did you?
00:30:30Did you?
00:30:31Did you hear that, sir?
00:30:33Oh.
00:30:46The stage looks cleaner already.
00:30:49You're right.
00:30:50Wasn't dirty enough in the first place.
00:31:00That was very careless of me.
00:31:04Now you'll have to clear it all up.
00:31:06Don't do it.
00:31:07The contract doesn't say anything about taking orders from you.
00:31:10That's right.
00:31:11Do I pay you for her to be right?
00:31:13Clause 5.
00:31:14All right, all right. Come here, you. Come on.
00:31:18You tell him.
00:31:19Mr. Vanetti, would you please sweep up the snow?
00:31:22Cut out the mister, cut out the would you, and cut out the please.
00:31:26Sweep up the snow.
00:31:27Cut out the snow.
00:31:35Now!
00:31:57He's done it!
00:32:03Qua direct demonstrandum.
00:32:06Now, don't you start!
00:32:09You were terrific, George.
00:32:12You've shown them.
00:32:16All finished, eh?
00:32:18All finished, Mr. Ricciardo.
00:32:19Every single bit?
00:32:20Every single bit.
00:32:21That's all I wanted to know.
00:32:34Now sweep them up again!
00:32:36Sweep them up again!
00:32:40And when you finish collecting them, count them!
00:32:42Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha!
00:32:49Eighteen thousand and four.
00:32:51Eighteen thousand and five.
00:32:53Eighteen thousand and five.
00:32:56Eighteen thousand and six.
00:33:02Coffee, George? How many lumps?
00:33:03Eighteen thousand and...
00:33:04Eighteen thousand and five.
00:33:06George, pull yourself together!
00:33:07Well, that's all right.
00:33:08That's all over now!
00:33:10Oh!
00:33:11Come on, drink this.
00:33:13You'll feel better.
00:33:16I counted them, Miss Carol.
00:33:17I know you did.
00:33:18You were wonderful!
00:33:20And I can tell you something else.
00:33:21I did it on them.
00:33:22You did what?
00:33:23I told them ten too many.
00:33:25Oh!
00:33:26Oh!
00:33:27Well, what's to do?
00:33:28Have I done something wrong?
00:33:29Your whiskers!
00:33:31Well?
00:33:32Well, I'm afraid they might come back here
00:33:34and see you without them.
00:33:35Oh, well, let me leave them off for a bit.
00:33:38When I've got them on, I feel I don't look like the kind of chap
00:33:41that I'd like you to think I look like.
00:33:45See what I mean?
00:33:46Yes, I think I do, George.
00:33:48Why are you doing all this for me?
00:33:50Because you deserve it.
00:33:51When I think of the things Ricardo made you do...
00:33:53Well, I nearly chucked it up halfway through the snowstorm
00:33:56when I got to 14,000 and no sign of a thaw.
00:33:59But I didn't.
00:34:00I did the last thousand for you.
00:34:02For me, George?
00:34:04I bet you think I'm daft.
00:34:06George, I know it sounds silly, but I can't think of any other way to put it.
00:34:10I think you're the biggest little man I ever met.
00:34:13What, me the biggest little?
00:34:15You shouldn't say that.
00:34:16It makes me go all unnecessary.
00:34:19Besides, I'd do more than that to earn 500 pounds.
00:34:21And for what?
00:34:23To give to the actor's benevolent home?
00:34:25Oh.
00:34:27Well, that's another thing, Miss Carol.
00:34:29I told you that my auntie was famous,
00:34:31and that she had a lot of money, and that Fernland's was her home.
00:34:34Well, it's...
00:34:35I knew about Fernland's all the time.
00:34:37What?
00:34:38And it is her home.
00:34:40And one day she's going to be famous as your aunt.
00:34:43Good night, Carol.
00:34:45Carol?
00:34:50How much long is she going to be up there?
00:34:52Well, the night is young.
00:34:54Maybe, but it's making me old.
00:34:55If this scheme of yours goes wrong...
00:34:58Under clause 13, any undesirable publicity...
00:35:01Shhh! Here she is.
00:35:02All right, now are we all set?
00:35:03Hey, Durand.
00:35:04Yes?
00:35:05You know your job?
00:35:06How dare you, sir?
00:35:07That's my wife.
00:35:08By the way, what's the woman like?
00:35:09She's an actress.
00:35:10She's out of the work.
00:35:11She's blonde, but she's very nice.
00:35:12Go on.
00:35:13How dare you, sir?
00:35:14That's my blonde.
00:35:15I mean, that's my wife on information received.
00:35:17No, no, no.
00:35:18That's my wife.
00:35:19Stop.
00:35:20Oh, I'm sorry.
00:35:21I'm not used to working without a script.
00:35:22How dare you, sir?
00:35:23That's my wife.
00:35:24Stop.
00:35:25By the way, what will they be doing?
00:35:26I don't know.
00:35:27In any case, whatever they're doing, you don't say stop.
00:35:29You know, this idea of mine is the best you've had yet.
00:35:31It had better be, or I'm reporting you to the law, society.
00:35:34She thinks I'm the biggest little man she knows.
00:35:59I think you're the biggest little twerp I know.
00:36:02Huh?
00:36:03What chance have you with a girl like that?
00:36:06Who are you?
00:36:07I'm Jiminy Cricket.
00:36:08Never heard of you.
00:36:09Well, you should go to the pictures more often.
00:36:12I'm your conscience, George Butters.
00:36:14Oh, is that all?
00:36:16You know, that's the trouble with you.
00:36:18You ought to listen to me now and then.
00:36:20But you're always telling me to do such daft things.
00:36:23I never told you to fall for Carol Dean.
00:36:26That's the daftest thing you ever did.
00:36:28Well, I love her.
00:36:29I know I love her.
00:36:31You'll love her.
00:36:32You'll love her.
00:36:33What could you give her?
00:36:35If turkeys were sixpence a pound, you haven't enough to buy her a feather from a tom tits earhole.
00:36:39Now look here, Jiminy Cricket.
00:36:41One day I'll earn a lot of money.
00:36:42I'll be famous.
00:36:43Anyway, who wants a feather from a tom tits earhole?
00:36:46You just saw a girl sitting on your bed.
00:36:52Couldn't be.
00:36:53Can't be true.
00:36:54You know perfectly well it's true when she was wearing frillies.
00:36:58I never saw that.
00:36:59Well, go and have another look.
00:37:01I will.
00:37:05What am I going to do?
00:37:06You take your clothes and hat, climb out of the window and down the fire escape.
00:37:10Oh, there you go, talking daft again.
00:37:13If you do, I'll scream.
00:37:24If I do what?
00:37:26Well, aren't you going to do something?
00:37:30Oh.
00:37:31Well, I was going to tell you that you'd come to the wrong room.
00:37:36Well, what's gone wrong with you, missus?
00:37:39Take your clothes and hat, climb out of the window and down the fire escape.
00:37:49Oh, well, I...
00:37:52What do I do when a girl starts crying?
00:37:54You take your clothes and hat, climb out of the window and down the fire escape.
00:37:58Oh, shut up.
00:37:59You mean me?
00:38:00Oh, no.
00:38:01Not you, missus.
00:38:02I was talking to...
00:38:03I was talking to Jiminy Butters.
00:38:06You look so kind.
00:38:08You'll help me, won't you?
00:38:10Well, it just depends what you want me to do.
00:38:14Now, George Butters, no wishful thinking.
00:38:18And don't sit on the bed.
00:38:19Oh, you twerp.
00:38:23I'm in desperate trouble.
00:38:25Everything I've been touching lately seems to have gone wrong.
00:38:28Well, don't touch me.
00:38:30Now, look here, missus.
00:38:31You can't stop here.
00:38:32You'll have to go.
00:38:33I'm a respectable single man.
00:38:35Oh, please don't turn me away.
00:38:37Please.
00:38:38I've got no money, no friends, no home, no hope.
00:38:42I've got nothing.
00:38:43Oh, I wouldn't say that.
00:38:44You've got something all right, but you can't bring it in here.
00:38:47But where can I go?
00:38:49Like this?
00:38:50What can I do?
00:38:51You take a close and a long time out of the wind and down the fire escape.
00:38:54I know, I'm telling her.
00:38:56Mother!
00:39:01She should be up there by now.
00:39:02Of course, he may prove obdurate.
00:39:04Oh, forget it.
00:39:05I've got Spanish blood myself.
00:39:08How dare you, sir?
00:39:09This is my wife.
00:39:18Oh, please, would you mind waiting a moment?
00:39:20My husband is just paying the taxi.
00:39:22All right.
00:39:26Oh, I'm afraid I kept you waiting.
00:39:29How dare you, sir?
00:39:30This is my wife.
00:39:32I'm sorry, sir.
00:39:33I had no idea.
00:39:34Excuse me.
00:39:35Good night.
00:39:36Stop, Mr. Johnson.
00:39:37Stop, Mr. Johnson.
00:39:38Stop, Mr. Johnson.
00:39:39I'm sorry.
00:39:40I'm sorry.
00:39:48You know what to do?
00:39:49How dare you?
00:39:50Shh.
00:39:51Okay, Barrymore.
00:39:52Keep it for later inside.
00:39:55What's this?
00:39:56It's a handy little instrument given me by an unsuccessful client.
00:39:59Okay, boys.
00:40:00In you go.
00:40:23It's very quiet, isn't it?
00:40:25What do you want?
00:40:26A brass band?
00:40:27How many are you?
00:40:30Come on.
00:40:31Get out.
00:40:32How dare you, sir?
00:40:33This is my wife.
00:40:34No, not yet.
00:40:36You haven't even seen the girl yet.
00:40:38Such actors, you get me.
00:40:39Right?
00:40:40Ah, get out of here.
00:40:42Open up here.
00:40:44Open up here, you hear?
00:40:46Open up or I break the door.
00:40:59Mr. Ricardo.
00:41:00Really, I'm flattered, but why bring your friends?
00:41:05But, but…
00:41:07I'm afraid I haven't the legal knowledge of Mr. Appleby, but isn't this known as forcing an entry?
00:41:14Isn't this known as forcing an entry?
00:41:16What are you doing here?
00:41:17I was about to ask you the same question,
00:41:19but I think I'll let the police do that instead.
00:41:21No, listen, girl, girl, don't do this, listen!
00:41:23No, no, no!
00:41:25What's the idea of wasting my time? I want my money.
00:41:28Money? So someone's bribing witnesses.
00:41:31They put people in jail for that, don't they, Mr. Appleby?
00:41:34Well, I...
00:41:36Hey, why are you hearing Burnett's flat in his bed in his dressing gown?
00:41:40Because he's staying out tonight, and as I was working late,
00:41:42he said I could have the use of his flat and his bed and his dressing gown.
00:41:56Ah!
00:42:03You missed this one?
00:42:05You think I'm pretty darned, don't I?
00:42:07A magnificent piece of understatement, my friend.
00:42:10Now get out.
00:42:11All right.
00:42:12But remember this.
00:42:13If Burnett is well enough to flit about tonight,
00:42:15he's well enough to come to the theatre tomorrow
00:42:17to do something rather more strenuous.
00:42:20Hey!
00:42:21And for heaven's sake, play your pipe and get these other rats to follow you.
00:42:24And don't you call these rats rats!
00:42:26These rats rats!
00:42:47All right, George. In you come.
00:42:49Oh, I'm sorry, Carol.
00:42:59I'm glad you got rid of them. I nearly gave up.
00:43:02Oh, boy, George. It must have been freezing out there.
00:43:04Aye, it was. And I'm not going on that ledge any more.
00:43:06Why?
00:43:07Well, the pigeons didn't like it.
00:43:08Oh, come on. Help me with Cleopatra here.
00:43:10Oi! Get out of it!
00:43:20You know, you're a cheeky fast cat and nearly got pneumonia through you.
00:43:23I didn't mean any harm.
00:43:25Mr. Ricardo promised me a job if I did it well.
00:43:28He said it was a joke.
00:43:31A joke? Huh.
00:43:32Well, remember, he laughs, laughs.
00:43:34He laughs, that's what he does, see?
00:43:36Now, if you're a smart girl, you'll take your hat and your clothes.
00:43:38Climb out of the window and down the fire escape.
00:43:44I don't know what I'd have done without you, Carol.
00:43:46The feeling is mutual, George.
00:43:49If you hadn't have come in when you did, anything might have happened.
00:43:53I'll say it might, and this is Jiminy Cricket saying it.
00:43:57Well, you can't blame me if Vanetti wasn't in his flat.
00:44:02Hey, couldn't I swear I saw him in his flat?
00:44:05I'm afraid not.
00:44:06It would be your word against Miss Dean's,
00:44:08and you know what the judge called you the last time.
00:44:10I don't remember.
00:44:12Anyway, who is on an IRS?
00:44:15Excuse me, Mr. Ricardo.
00:44:16The stage manager says he told Mr. Vanetti to do what you said.
00:44:19And did he do it?
00:44:20Yes, he's in the middle of it now.
00:44:22Mm!
00:44:23Mm!
00:44:24Mm!
00:44:25Mm!
00:45:27Clause 5 shall do as the stage manager tells him.
00:45:31Clause 11 shall not leave the country.
00:45:34Clause 13, undesirable publicity clause.
00:45:38Oh, it's a disgusting contract.
00:45:41There isn't an out for me in it anywhere.
00:45:43Perhaps if you allowed me to have another look, I...
00:45:45You've sold me your last clause, Affleby.
00:45:47Go and work for Vanetti.
00:45:49I might stand a chance then.
00:45:50You may have to...
00:45:58It's outside!
00:46:02Well, if it isn't old Black Pants, the lawyer.
00:46:06Oh, yourself.
00:46:08Swifty, what do you call him Black Pants for?
00:46:10Because he's got a long grey overcoat on.
00:46:12Well, he ain't.
00:46:14Will you do me a favour?
00:46:15Will you act as though we were just walking along the corridor and nothing happened?
00:46:25Oh, chucking things, eh?
00:46:27Troll, Slappy.
00:46:28Watch it, Guff.
00:46:30Got something good for you in the three o'clock.
00:46:31Look, Swifty, I can't see you now.
00:46:33I got trouble.
00:46:35Huh, you've got trouble.
00:46:36What do you think the bookies are gonna have when this filly walks in at 108?
00:46:39Eh, Slappy?
00:46:40Yeah.
00:46:40Will you go away?
00:46:42I'm in no mood to talk horses.
00:46:44He's not in the mood.
00:46:45Lady Luck walks in the door and he's not in the mood.
00:46:47Listen, Guff, this tip's red hot.
00:46:49We had to beat up the stable there to get it.
00:46:51I'm not interested.
00:46:52Don't you understand the king's English?
00:46:54Scrum!
00:46:55Bulldog!
00:46:56Hey, my desk!
00:46:58Control, Slappy.
00:46:59You must excuse him.
00:47:00He can't resist a circle.
00:47:01This will have to be re-barnished.
00:47:03He worries about a desk.
00:47:04With 108 certainty, you can buy 50 desk and hand-varnished three times a day.
00:47:09Miss Target?
00:47:10What's her name?
00:47:11Control.
00:47:13Yes, Mr. Ricardo?
00:47:14Tell the porter to come up and chuck two men out.
00:47:17New porters are half to get, Governor.
00:47:18I don't want a new porter.
00:47:19You will, if you try and chuck us out.
00:47:22Miss Target?
00:47:22Yes, Mr. Ricardo?
00:47:23Tell the porter to stay where he is.
00:47:25Yes, Mr. Ricardo.
00:47:28Will you put that knife away?
00:47:30Control, Slappy.
00:47:32Circles affect him.
00:47:33Look, here's a pound.
00:47:35Give me the horse and go.
00:47:36Go.
00:47:37I don't want you to feel that you're being forced into this, Guff.
00:47:40Give me strength.
00:47:42What's the matter?
00:47:42You're different.
00:47:43Has the wife come back?
00:47:45Wife?
00:47:46Come here.
00:47:46Come here.
00:47:49You see that man out there in the cradle?
00:47:51Yeah.
00:47:51He just cost me £5,000.
00:47:53He's going to cost me another £5,000.
00:47:55£5,000 for doing that?
00:47:56I'm in the wrong business.
00:47:57Why do you have to pay him £5,000?
00:47:58Because he's got a contract and I've got to pay him another £5,000 next season.
00:48:02Oh, but wait a minute, Governor.
00:48:03That can't be union rates.
00:48:04But that's what his contract calls for.
00:48:07Well, me and Slappy could spill out words for half that.
00:48:09Chalk among gates, too.
00:48:11Ah, go back to sleep.
00:48:12Do you want me and Slappy to talk to him, Guff?
00:48:14Talking is no good.
00:48:15I tell you he's got a contract and I can't break it.
00:48:18You remember that mugger Epsom who wanted his money back?
00:48:21What did we do to him?
00:48:22Broke his arm.
00:48:24And that smart-allocate Donkester who said we weren't on the level.
00:48:26What did he get?
00:48:27Bloating legs.
00:48:28You see?
00:48:29We're good at breaking things.
00:48:31We ought to be able to break a contract.
00:48:34Say, you might have that.
00:48:35What's it worth?
00:48:36Now, listen, boys.
00:48:37I don't want none of that race gang stuff.
00:48:39And it's nothing to do with me.
00:48:40Ah, so long as he disappears or leaves the country, you don't know nothing.
00:48:44All right.
00:48:47Here's £100.
00:48:48Speak a bit louder.
00:48:49I didn't hear.
00:48:51£150.
00:48:52You're still a bit faint.
00:48:53£200.
00:48:55It's a deal.
00:48:56£250.
00:48:57All right, listen.
00:48:57I'll send you a check.
00:48:58Where do you live?
00:48:58That's my business.
00:48:59We'll take cash.
00:49:03Oh, by the way.
00:49:04That horse's name's the sucker.
00:49:09George.
00:49:10George.
00:49:11Oh, hello, Carol.
00:49:13How's it going?
00:49:14All right.
00:49:15I've nearly finished.
00:49:16I've only got the ice to dock now.
00:49:17Nice work.
00:49:18I'm saving this till last.
00:49:19And when I dot Ricardo's I am going to dot it good now.
00:49:22Now, look after your money.
00:49:25Keep away from the drink and don't buy no more knives.
00:49:28Oh, Swifty.
00:49:29I saw such a beauty in the high street.
00:49:30It had a lovely pig sticker on it.
00:49:32That's just what we don't want, pig stickers.
00:49:34This has got to be a clean job.
00:49:37And no more knives.
00:49:38All right.
00:49:39No more knives.
00:49:41What happened?
00:49:47Did the rope break?
00:49:47Are you OK?
00:49:48Hello?
00:49:54Hello?
00:49:55Mr. George White on the telephone.
00:49:57Well, put him through.
00:49:59Hello?
00:50:00Hello, Georgie.
00:50:00When's the new show open?
00:50:02Next Thursday, if you'll give me a break.
00:50:04Listen, my star's walked out, so now don't yell at me.
00:50:07I want to borrow Gilly Vanetti.
00:50:08Yes.
00:50:09What?
00:50:09I asked you not to yell.
00:50:11I'll give you a thousand pounds profit on his contract and ten percent of the gross.
00:50:17You're offering me a thousand pounds profit and ten percent of the gross to take Vanetti's contract off my hands?
00:50:24I know it's a lot to ask, Ricky, but it'll save my show.
00:50:27I'll give him his own spots in the program.
00:50:28He can do his own stuff.
00:50:29Ah, come on, Ricky.
00:50:30Transfer him to me.
00:50:32Will his contract stand for it?
00:50:33Um, Georgie, just hold on a minute.
00:50:36I'll get it out of the safe.
00:50:37Hurry, go ahead.
00:50:38Miss Target?
00:50:39Miss Target?
00:50:40Oh, there you are.
00:50:41Miss Target, take these keys and get me Vanetti's contract out of the safe.
00:50:45Not that safe to be safe!
00:50:47That's it.
00:50:48Hello, Georgie.
00:50:49Just hold on.
00:50:49Just getting it for you.
00:50:51Oh, yes.
00:50:51Here it is.
00:50:53Yes, it can be transferred to a third party by mutual consent.
00:50:56Now, listen, Georgie.
00:50:57I wouldn't do this for anybody else but you.
00:51:00You're a white man, Ricky.
00:51:01Bring Vanetti to my office in the morning to sign his consent to the transfer.
00:51:05Is it a deal?
00:51:06It's a deal!
00:51:08What?
00:51:10Vanetti will be delighted.
00:51:12He and I are like...
00:51:13like this.
00:51:14All right.
00:51:15Bye-bye, Georgie.
00:51:17Miss Target?
00:51:18Yes, Mr. Ricardo?
00:51:20Send the stage manager in immediately.
00:51:31You turn for me, sir?
00:51:33Oh, yes.
00:51:33Come along.
00:51:34You've got some new orders to give.
00:51:39Gilly!
00:51:43You missed me that time.
00:51:45Have another go!
00:51:46Go on.
00:51:47You heard what Mr. Ricardo said.
00:51:49Have another go!
00:51:50Very funny.
00:51:57You've got a marvellous sense of humour.
00:51:58But listen, Gilly.
00:51:59Calm down.
00:51:59I want to talk to you.
00:52:02But, my dear fellow, you don't need to do that.
00:52:06It's a joke.
00:52:07It's a practical joke.
00:52:08All of it.
00:52:09Everything I've asked you to do.
00:52:11Don't you understand?
00:52:12It was for a bet.
00:52:13That's it.
00:52:14The stage manager, he bet me I wouldn't ask you.
00:52:16But I know you, with your marvellous sense of humour.
00:52:26To Gilly Vanetti, whose golden voice has thrilled the world.
00:52:33Here's wishing him health, wealth, and success
00:52:36in that even wider field of vocal endeavour
00:52:39to which he has been called.
00:52:42Hey, wait a minute.
00:52:43What wider field?
00:52:45And who called him?
00:52:47Ha, ha, ha.
00:52:48Fancy me forgetting to tell you.
00:52:50You'll be thrilled when you know.
00:52:51The suspense is killing him.
00:52:53Ha, ha, ha, ha.
00:52:54I know I've got a sense of humour too.
00:52:55Now, cut the build-up.
00:52:56Who called Gilly where?
00:52:58I've arranged for him to go into George White's vanities.
00:53:00The show opens Thursday, and he starts rehearsing tomorrow morning.
00:53:04Gilly and a leg show?
00:53:06You must be mad.
00:53:09But it's nothing to do with that part of the show.
00:53:11He's getting his own spot with excerpts from the operas.
00:53:14So he can't object to the transfer.
00:53:16Read the contract.
00:53:16You know perfectly well he can't do it.
00:53:18He's got laryngitis.
00:53:21I've got that fixed.
00:53:22I'll have the two best throat doctors in town see him this evening.
00:53:25Now, take him home, keep him warm,
00:53:26give him anything he wants within reason what he must sing.
00:53:29And if he can't?
00:53:30Then, the contract's broken.
00:53:33He'll sing all right.
00:53:34Come on, Gilly.
00:53:35Miss Target?
00:53:57Yes, Mr. Ricardo?
00:53:58Find the two best throat specialists in town,
00:54:01and have him go to Benetti's flat this evening.
00:54:03Yes, Mr. Ricardo?
00:54:04Oh, Miss Target?
00:54:05Yes, Mr. Ricardo?
00:54:06Did you send that wire five pounds each way to soccer?
00:54:09Yes, Mr. Ricardo.
00:54:11Did it win?
00:54:12No, Mr. Ricardo.
00:54:13Yeah.
00:54:14I shouldn't worry anywhere.
00:54:15A thousand pounds for nothing, ten percent of the gross.
00:54:18Longly, Benetti, my little gold mine.
00:54:21Ha, ha, ha, ha.
00:54:22Who threw that?
00:54:29A man in that car.
00:54:30I saw him do it.
00:54:31It must have flew out of his hand.
00:54:32There's a note on it.
00:54:34That's a daft way to send a note.
00:54:37Take a tip, Benetti.
00:54:38Get out of the country.
00:54:39Last time we cut your rope,
00:54:40next time it may be your throat.
00:54:43Last time we cut your rope?
00:54:45Yes, remember?
00:54:46When I was fixing the sun,
00:54:47I fell down on my, well, on the electrician.
00:54:50The sooner we get off the streets, the better.
00:54:51Taxi.
00:54:52You know, one day we're going to laugh about this.
00:54:55I hope.
00:54:56With a guarantee of ten weeks,
00:54:58the contract of guillibility is transferred to...
00:55:02Ah, it's all right, it's all right.
00:55:04Hello?
00:55:05It's me, Governor.
00:55:06We've just scared a couple of cadenzers out of your canary.
00:55:09What are you talking about?
00:55:10I ain't got a canary.
00:55:11Hey, who's that talking?
00:55:13Take a guess.
00:55:14We thought you'd like to know we were on the job.
00:55:16Your South American friend will be out of the country by midnight.
00:55:19So long.
00:55:20Oh, Slappy would like to send you a big kiss.
00:55:22Yeah.
00:55:22What?
00:55:23Slappy.
00:55:24Slappy?
00:55:25Hey, Swifty, don't do it.
00:55:27Listen, I need Veneti.
00:55:28I want him.
00:55:28He's precious to me.
00:55:29Don't do it, Swifty.
00:55:30Swifty, Swifty.
00:55:31What's the reference?
00:55:31We don't know.
00:55:32Oh, oh, oh.
00:55:33Oh, Mr. Ricardo, are you ill?
00:55:36Am I ill?
00:55:37What do you call a man who pays 250 pounds
00:55:39to lose himself a thousand plus ten percent?
00:55:42And all I get for it is a tip for a horse that don't win.
00:55:44Oh, the sucker.
00:55:48La donna immobile, cual fiume al vento, muta d'accento, e licenciero.
00:55:59George, that was perfect.
00:56:02Oh, thank heaven for Veneti's practice records.
00:56:04Well, it seems silly just moving me mouth.
00:56:08I feel like a daft goldfish.
00:56:10When the specialists arrive, you'll be singing.
00:56:12Your voice has come back.
00:56:14Aye, but what about the rehearsals tomorrow?
00:56:16You'll have to lose it again.
00:56:17Oh, this is going to be fun.
00:56:19Flyway voice, come back specialist.
00:56:20Flyway specialist, come back voice.
00:56:22They'll spend all the fees in taxi fares.
00:56:24It's the only way, George.
00:56:26We've got to stall till Veneti arrives.
00:56:27I phoned him and he'll be back for Thursday's opening.
00:56:30I'll be a bit sorry when he does arrive.
00:56:32Sorry?
00:56:32Well, I mean, I'll be just George Butters again
00:56:36and there'll be no more excitement and no more you.
00:56:43Hello?
00:56:46Oh, thanks.
00:56:48Quick, George, they're on the way up.
00:56:49Two of them, get your make-up on.
00:56:51They're singing will be all right, but suppose they ask me to talk.
00:56:54They won't, I won't even let them see you unless I can help it.
00:56:57Now, I'll put the record on,
00:56:58then they can hear you the minute the door opens.
00:57:00I don't feel nervous.
00:57:12Good evening.
00:57:14It won't be necessary to see Mr. Veneti after all.
00:57:17He's quite better now.
00:57:19You can hear him practicing.
00:57:20Yes, well, we'll see him just the same.
00:57:22Yes, about his health in general.
00:57:24Oh, but he mustn't be disturbed.
00:57:26Oh, well, we'll see him some other time.
00:57:27Good evening, Mr. Veneti.
00:57:54What I've got to say to you won't take long.
00:58:12Can't you sing a little softer?
00:58:13You're innocent if you've got sense.
00:58:22Even now, you see.
00:58:23This country's unhealthy for you.
00:58:24And the quicker you get out...
00:58:25Here we go!
00:58:55Swifty! A bull's eye on a moving target!
00:58:59Slappy! Control!
00:59:02George! George! These men aren't specialists!
00:59:06Oh, no. I'd like to see you at a moving target.
00:59:09Say, sister, I thought I'd said goodbye to you once.
00:59:12Now, listen, we've come to warn Mr. Bonetti here
00:59:15that if he don't leave this country in seven days,
00:59:17he'll leave it in a wooden overcoat.
00:59:20Wooden overcoat? You're not wanted here, see.
00:59:23Who sent you to threaten Mr. Bonetti?
00:59:25Threaten? My dear young lady, we're not threatening him.
00:59:28We're just telling him. Yeah.
00:59:30Well, why do you want me to go away?
00:59:32Yours is not to reason why. Yours is but to do.
00:59:35I'll die. Die?
00:59:38Oh! No, you don't, sister.
00:59:40Leave me alone! Take your hands off me!
00:59:42Hey, leave that young woman alone!
00:59:44Another moving target!
00:59:49Get him quick, Slappy! Don't let him get out!
00:59:52One can't run for it! Don't move!
00:59:54Ah! Here's a moving target. Bet you can't hit it.
00:59:57Is that so?
00:59:58Come on, Slappy. Slap your knife into this.
01:00:00Ooh!
01:00:07George!
01:00:08Somebody's left the lift door open.
01:00:10We'll have to watch, Doctor. He's upstairs.
01:00:12He's flat, I suppose.
01:00:13Flat? He's flat every night. Only this time he can't speak at all.
01:00:16What are you doing there? Playing trains?
01:00:18What?
01:00:19There's a couple of men up there trying to do our dimey.
01:00:20Oh!
01:00:21Gilly!
01:00:22Ahem.
01:00:23Is this the patient?
01:00:24Ah!
01:00:25This boy seems very good now.
01:00:26Exactly.
01:00:27We'll send you our bill.
01:00:28Good evening.
01:00:29Oh, now, your duplicato's got to be kept out of this.
01:00:31You are not Gilly Vanetti.
01:00:32Well, you see, it was like this.
01:00:33Gilly!
01:00:34It's no good, Carol. The game's up.
01:00:35I'll say it's up. You'll get ten years for this.
01:00:38Fraud!
01:00:39Oh!
01:00:40Impersonation!
01:00:41Oh!
01:00:42Oh!
01:00:43Oh!
01:00:44And false pretenses!
01:00:45You'll pay for this!
01:00:46You leave him alone. He's just fallen down five flights of stairs.
01:00:48Not nearly enough. Should've been 50.
01:00:49Don't talk so daft. How could've? There's only six flights to the top of building.
01:00:52Oh!
01:00:53And it gives me great pleasure to declare this contract.
01:00:55Oh!
01:00:56Oh!
01:00:57Oh!
01:00:58Oh!
01:00:59Oh!
01:01:00Oh!
01:01:01Oh!
01:01:02Oh!
01:01:03Oh!
01:01:04Oh!
01:01:05Oh!
01:01:06Oh!
01:01:07Oh!
01:01:08Oh!
01:01:09Oh!
01:01:10Oh!
01:01:11This contract, well and truly broken.
01:01:13At last, I've got Vanetti where I want him!
01:01:16Ha!
01:01:17Ha!
01:01:18But I thought you wanted him at George White's Theater in the morning.
01:01:21Ha!
01:01:22Ha!
01:01:23Ha!
01:01:24If you listen to reason, we might be able to save you.
01:01:27You might be able to save me?
01:01:29He's going to prison for ten years, and you might be able to save me!
01:01:34I phoned Gillie and he'll be back by Thursday.
01:01:36But White show opens on Thursday!
01:01:38Yes, fits in nicely, doesn't it?
01:01:40But how can he be back in time to sign the transfer in White's office tomorrow?
01:01:44I don't know!
01:01:45But he doesn't. George does it.
01:01:48George? Oh, you're George.
01:01:51Yes, Enrico.
01:01:52He won't have to rehearse. We can say he's saving his voice for the night.
01:01:55And on the night, Gilly goes on.
01:01:57And Wallop, Mrs Cox, your mother's won a duck.
01:01:59For he'll never get away with it.
01:02:01Anybody but a lunatic will see he isn't Vanetti.
01:02:04You didn't.
01:02:10All I can say is I'm very, very sorry, Lee.
01:02:22The Ministry of Labour won't grant permits to the Blackbirds.
01:02:26No, I can't put on half a show.
01:02:30What's the matter?
01:02:32I feel a bit scared with all these people.
01:02:34Never mind them. Just sign Gilly's name like you practice.
01:02:36At least you've gone numb already.
01:02:38Then send out press announcements.
01:02:40Say we're appealing.
01:02:41Ah.
01:02:42Good morning, Mr White.
01:02:43Good morning.
01:02:44We're here.
01:02:45Well, what about it?
01:02:46But, Georgie, this is Gilly Vanetti.
01:02:48Look, look.
01:02:50Oh, yes. Well, I'm sorry about all this, Vanetti.
01:02:53He can't talk.
01:02:54He's resting his voice, preserving it for the opening night.
01:02:57Well, as far as I'm concerned, he better pickle it.
01:02:59There won't be an opening night.
01:03:01I've just lost the first half of my show.
01:03:03But, Georgie, we still complete the deal.
01:03:05Ah, be your rage, Ricky.
01:03:06I'm losing enough already without keeping you and Vanetti.
01:03:09Why, you're cheap.
01:03:11You got no ethics.
01:03:12I've got no show.
01:03:13When I've got no show, what do I want with ethics?
01:03:15Hello.
01:03:16Yes.
01:03:17Piccolino, begin to begin.
01:03:19Graziani.
01:03:20I suppose you know what this means.
01:03:21Yeah.
01:03:22It lets me out.
01:03:23It means White doesn't need Vanetti.
01:03:24And if he doesn't want him, I'm certain I don't.
01:03:26For two pins, I'd blow the whole story just to see you squirm.
01:03:29Save your breath.
01:03:30The show's off and that finishes Vanetti.
01:03:33Wait a minute.
01:03:34Hey, wait a minute.
01:03:35If this show really went on, would he keep Vanetti's contract?
01:03:37Of course he would.
01:03:38He was going to make money out of it.
01:03:39I know a first half of George White's show.
01:03:41So do I.
01:03:42Me kicking Vanetti out of my theater.
01:03:44George, do you mean it?
01:03:45If it's a good idea, will he sell it to George White?
01:03:47Here am I.
01:03:48With one foot in the bankruptcy court, he's asking me conundrums.
01:03:51Talk, George, and talk quickly.
01:03:53Well, first of all, I can see the fiddles start up.
01:03:56Then the trumpets come in.
01:03:58Then the whole orchestra strikes up.
01:04:00The curtain rises.
01:04:01The audience applaud.
01:04:03And on the stage singing.
01:04:16I certainly had a good idea with this.
01:04:17Yes, didn't I?
01:04:21What an idea, George.
01:04:22What an aunt.
01:04:23Let's go and see if Vanetti's arrived.
01:04:24Miss Dean.
01:04:25Yes.
01:04:26A cable for you.
01:04:27Any reply?
01:04:28No.
01:04:29Well, what's to do?
01:04:30It's from Gilly.
01:04:31He says the plane may be late.
01:04:32Late?
01:04:33It mustn't be late.
01:04:34He's on soon after the interval.
01:04:35I'll ring the airport.
01:04:36Hello.
01:04:37I've been holding on for ages.
01:04:39There must be a reply.
01:04:40Hello.
01:04:41Hello.
01:04:42Hello.
01:04:43George, I hate to ask you to do this, but if he's not here, you'll have to go on for him.
01:04:46What?
01:04:47Me?
01:04:48No, how can I?
01:04:49Well, we can't let this throw us now.
01:04:50Yes, and if I sing a phone to them, they'll throw me.
01:04:51It worked once.
01:04:52Why shouldn't it work again?
01:04:53What?
01:04:54The grammar phone?
01:04:55No.
01:04:56No, no, no.
01:04:57No, no.
01:04:58George, I hate to ask you to do this, but if he's not here, you'll have to go on for him.
01:05:00Well, me?
01:05:01No, how can I?
01:05:02Well, we can't let this throw us now.
01:05:03Yes, and if I sing a phone to them, they'll throw me.
01:05:04It worked once.
01:05:05Why shouldn't it work again?
01:05:06What?
01:05:07What?
01:05:08The grammar phone?
01:05:09No, I couldn't.
01:05:10Not in front of all these people.
01:05:11George, you've got to do it.
01:05:12For me.
01:05:14Well, I'll do it for me.
01:05:17Well, I'll do it for me.
01:05:19That's fine.
01:05:22I'll do it for you, Carol.
01:05:24Good.
01:05:25But?
01:05:26No time for buts.
01:05:27Well, this is only a little but.
01:05:28Well, what is it?
01:05:29Don't let the needle get stuck again.
01:05:52Look, Dad, don't you think he's a bit like our George?
01:05:59Our George.
01:06:01First we have to watch your sister make an exhibition of herself,
01:06:03now you're finding likenesses to our George.
01:06:22He's the biggest thing in the country.
01:06:27Sure, but it took me to exploit him.
01:06:29You know, George, one day you're going to put your shoulder out,
01:06:32patting yourself on the back.
01:06:33Why shouldn't I?
01:06:34Look at the house, it's packed.
01:06:35It's not packed all that packed.
01:06:37There's an empty box up there.
01:06:52How much longer have we got to listen to this junk?
01:06:55That ain't junk, that's opera.
01:06:57Why do they sing south of the board or something classy?
01:07:12Go on, give him a hand.
01:07:13What for? I think he's terrible.
01:07:15Well, it's his farewell performance, ain't it?
01:07:17Be big.
01:07:22George, you did it.
01:07:27I don't know how I did.
01:07:28I suddenly saw my mother and father sitting in front
01:07:30and I sung the same chorus twice once.
01:07:31Oh, you were wonderful.
01:07:33Aye, has he come yet?
01:07:35No, he's at the airport.
01:07:36I sent him a duplicate of the next costume
01:07:38so that he can change on the way here.
01:07:40That's good.
01:07:41Duplicate?
01:07:42Why didn't you send him the proper one?
01:07:43I want you to put that one on, just in case.
01:07:45Oh, just in case, Carol, you don't want me...
01:07:47It won't be necessary, George, I said just in case.
01:07:49Now, you go and change now.
01:07:51I'll telephone the airport and see if he's left.
01:07:53Oh, mother, is it worth it?
01:07:55I'll never pluck up enough courage to go through with this.
01:07:58George Butters, are you a man or a mouse?
01:08:01It's all very well for you to talk, but I've got to sing.
01:08:05Oh, a black cat.
01:08:07That's supposed to be lucky, isn't it?
01:08:09That depends on whether you're a man or a mouse.
01:08:11I'm a man.
01:08:12Oh!
01:08:13So, Gilly Vanity.
01:08:14You thought you could hop on that plane and I wouldn't know, eh?
01:08:16Oh!
01:08:17You thought you'd left me flat, didn't you?
01:08:19Well, I took another plane.
01:08:20And if you can think of any good reason why I shouldn't kick the daylight out of you, you'd better start talking quick.
01:08:26Yes, but you see, I'm, I'm, I'm, I'm, I'm, I'm not, what a, what a muckle.
01:08:30What?
01:08:31Gilly, Gilly, you're different somehow.
01:08:32You know, I like you like this.
01:08:33You have a je ne sais quoi.
01:08:35That's my business.
01:08:37Gilly...
01:08:38Ha!
01:08:39Ah!
01:08:40Ah, ah, ah!
01:08:41Ah, ah, ah, ah, ah, ah!
01:08:43Ah, ah, ah, ah!
01:08:44Ah, ah, ah!
01:08:45Ah, ah!
01:08:46Ah, ah, ah!
01:08:47Ah, ah!
01:08:48Ah!
01:08:49Ah, ah!
01:08:50Ah!
01:08:51Ah!
01:08:52Ah!
01:08:53Ah!
01:08:54Ah!
01:08:55Ah!
01:08:56Ah!
01:08:57Ah!
01:08:58Ah!
01:08:59Ah!
01:09:00Well, it wasn't me, I don't know, it was her.
01:09:10Oh!
01:09:13Well, I had nothing to do with it.
01:09:17So you're in this too? What is all this?
01:09:19If you listen, I'll tell you.
01:09:20I knew he wasn't Gilly Vanetti.
01:09:22If that's a sample that went on in Les Falmers, I'm very glad I'm not.
01:09:25Now, George, you go and change and I'll explain the whole thing.
01:09:27You better.
01:09:28Well, you see, when Gilly left here...
01:09:29Oh, can I trouble you?
01:09:30What is it?
01:09:30You're sitting on my moustache.
01:09:34It's a good job I still haven't got it on.
01:09:38Good man, you get me here too, to pronto.
01:09:40Hey, don't I get a tip?
01:09:42Tip?
01:09:44Ah, tip.
01:09:45You go round to the man with the office at the box.
01:09:47He gives you the pass to hear me sing.
01:09:49I don't want a pass, I want a tip.
01:09:51I've got to eat, I want bread.
01:09:53Bread?
01:09:54And you drive the baker.
01:09:55He gives you bread.
01:09:56I sing her, I give the pass.
01:09:58Adios.
01:09:59I remember once at the stage door, mind you, I was under the same bag at then, there was one guy who used to say to me...
01:10:08Quiet.
01:10:10It's Nibs.
01:10:10Pardon you.
01:10:11Ah, good evening, Mr. Venetti.
01:10:12Do you remember us?
01:10:13I have not made the pleasure.
01:10:14I am in a dash and tear.
01:10:15You're in no hurry.
01:10:16You ain't going anywhere.
01:10:17What is this, eh, hold on?
01:10:18Listen, Mr. Venetti, can you fight?
01:10:20Right.
01:10:21No, I am a singer.
01:10:22Ah, well, that makes it all easier.
01:10:23Here, that was too quick.
01:10:24Get the number.
01:10:25The mister.
01:10:26Get the number.
01:10:27Get the number.
01:10:28What number, chum?
01:10:29The car which knocked me down.
01:10:30Oh, so it was a car that knocked you down.
01:10:32Oh, so it was a car that knocked you down.
01:10:33Watch out, here comes a bus.
01:10:34Oh.
01:10:35Here, play the game.
01:10:36That was my turn.
01:10:37Don't be greedy.
01:10:38Sorry, George, you haven't come, you have to go on again.
01:10:39Good luck.
01:10:40Oh, don't leave me.
01:10:41Don't be silly, I must, now on you go.
01:11:08Oh
01:11:32Well can you beat that I told you don't pay to be nice listen
01:11:36We've got to get that guy or we'll be laughed out of the business
01:11:48Will you stop talking about George I've done with him so shut up one piggy of this fella
01:12:06Come on I'll go this way
01:12:3450
01:12:49There you go
01:12:49Don't say it's coming
01:12:51Oh
01:13:01What's that fool thing he's doing blow the actor blow the actor
01:13:05Take the character
01:13:07Take the character
01:13:09Take the character
01:13:11Take the character
01:13:13Oh
01:13:15Oh
01:13:17Listen to them they love it
01:13:19Take it up again
01:13:21Take the character
01:13:23Take the character
01:13:25We're going to kill the ghost with the golden eggs
01:13:27Well do something get George down
01:13:29Oh
01:13:31Oh
01:13:33Oh
01:13:35Oh
01:13:37Oh
01:13:39Oh
01:13:41Oh
01:13:45Oh
01:13:47Oh
01:13:49Oh
01:13:51Oh
01:13:53Oh
01:13:55Oh
01:13:57Oh
01:13:59Oh
01:14:01Oh
01:14:03Oh
01:14:07Oh
01:14:09Oh
01:14:11Oh
01:14:13Oh
01:14:15Oh
01:14:17All right
01:14:19Oh
01:14:21Oh
01:14:23Oh
01:14:25He's got George's nose, too.
01:14:40We'll never get a chance like this again.
01:14:43What's this for?
01:14:44Your two thugs are under there somewhere.
01:14:46Under there?
01:14:55Stop! You hear me? Stop!
01:15:00That is not me.
01:15:04I'll prove it to you. See the voice.
01:15:11He's a proper dwarf, isn't he?
01:15:15Come on, you.
01:15:16All right, you come, sir. I'll shoot. I'll go mad.
01:15:18You go quietly.
01:15:22Hey, I know that one.
01:15:25It is George. Hello, George.
01:15:29Hello, Mother.
01:15:38Give the lad a clap.
01:15:42Yes, Mother.
01:15:44Hello, Mother.
01:15:49Come on.
01:16:01Francis.
01:16:02My nightingale.
01:16:03I no talk with you.
01:16:05In Glasgow, it is Manchester.
01:16:06In Manchester, it is London.
01:16:08In London, it is no.
01:16:09Wait.
01:16:10In Las Palmas, it is plain no.
01:16:12But here is the elaborate.
01:16:14No.
01:16:15Yes.
01:16:17Oh!
01:16:18George!
01:16:20Look!
01:16:20A contract.
01:16:22For me?
01:16:22You mean, I've done it.
01:16:23I'm a success.
01:16:24Well, there's your answer.
01:16:25Do I get all that?
01:16:27Every penny.
01:16:28Except my share.
01:16:29Oh, you can have it all.
01:16:30Nonsense.
01:16:31I just take 10% as your manager.
01:16:33As my manager?
01:16:35Oh, I see.
01:16:36You will let me be, won't you?
01:16:38Of course, if that's what you want.
01:16:41I mean, I love being managed by you, Carol.
01:16:44Always.
01:16:46George, cut out the being, cut out the managed, and cut out the by.
01:16:50I love you, Carol.
01:16:54Always.
01:16:56I love you, Carol.
01:16:57Always.
01:16:57I've said it.
01:16:58I love you, Carol.